http://www.philspacesantafe.com/jerry-west-the-alchemy-of-memory daily 0.75 2015-07-07 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1431977924167-Y6J0WTE9M7KY3X3KEIQW/Jerry+West+%28Red+Grief%2C+Exaltation+and+Joy+of+Imprinting%29+2014+24%2522+x+40%2522+Oil+on+linen.Collection+of+the+Artist.jpg THE ALCHEMY OF MEMORY / JERRY R. WEST - A Blue Gnawing Urge for a Homeostatic Prairie World 2014. 24" x 40". Oil on linen https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1431977924167-Y6J0WTE9M7KY3X3KEIQW/Jerry+West+%28Red+Grief%2C+Exaltation+and+Joy+of+Imprinting%29+2014+24%2522+x+40%2522+Oil+on+linen.Collection+of+the+Artist.jpg THE ALCHEMY OF MEMORY / JERRY R. WEST - A Blue Gnawing Urge for a Homeostatic Prairie World 2014. 24" x 40". Oil on linen https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1432837475347-W04AEGMAPUENQBXKX66G/Jerry+West+%28A+Blue+Gnawing+Urge+for+a+Homeostatic+Prairie+World%29++24%2522+x+40%2522+Oil+on+linen.Collection+of+the+artist.jpg THE ALCHEMY OF MEMORY / JERRY R. WEST - Red Grief, Exaltation and Joy of Imprinting 2014. 24" x 40". Oil on linen https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1432837668309-B4O6N62650BV01TQGNGN/Jerry+West+%28Flight+in+Ice+Cube+over+the+Old+Arroyo+de+Gallina+Sheep+Camp%29+1990.+72%2522+x+56.%2522+Oil+on+Linen.jpg THE ALCHEMY OF MEMORY / JERRY R. WEST - Flight in Ice Cube over the Old Arroyo de Gallina Sheep Camp 1990. 72" x 56". Oil on linen https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1432837843038-RJRN5ZTNATLBH4MTBTOY/Jerry+West+%28Exodus+from+Kosovo%29+1999+66.5%2522+x+56.5%2522+Oil+on+linen.Collection+of+the+artist.jpg THE ALCHEMY OF MEMORY / JERRY R. WEST - Exodus from Kosovo 1999. 72" x 60". Oil on linen https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1432837915459-HRLDP9S41PZFK8U8954O/Jerry+West+%28Prairie+Matriarch+with+Rooster%29+1988+24%2522+x+48%2522+Oil+on+linen.Collection+of+Ray+Graham.jpg THE ALCHEMY OF MEMORY / JERRY R. WEST - Prairie Matriarch with Rooster 1988. 72" x 48". Oil on linen https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1432837566836-OKR4DIJ8M5M6ZAUW5HVD/Jerry+West+%28Coyote+Winter+Dreamscape%29+2014.+14%2522+x+11%2522+Oil+on+canvas.jpg THE ALCHEMY OF MEMORY / JERRY R. WEST - Coyote Winter Dreamscape 2014. 14" x 11". Oil on linen https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1432837622283-VR32EW190R58L7PE0XNR/_DSC2523+300dpi.jpg THE ALCHEMY OF MEMORY / JERRY R. WEST - West Berrendo Studio- Looking South- Mesquite Country with Mocking Bird and Homage to Andrew John Ciel and His Iron Truck 2013. 22" x 18". Oil on Masonite https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1432837723532-63V7P230USRLQ6L219FV/Jerry+West+%28Horse+Under+a+Tree%29+2015.+24%2522+x+18%2522+Oil+on+canvas.jpg THE ALCHEMY OF MEMORY / JERRY R. WEST - Galisteo Winter Cottonwood with White Horse 2015. 24" x 18". Oil on linen https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1432837755976-8TIA4GGJ9CWT686F4ZZU/Jerry+West+%28Rooster+and+Fence%29+2015.+24%2522+x+18%2522+Oil+on+canvas.jpg THE ALCHEMY OF MEMORY / JERRY R. WEST - Slant of Winter Sun with Rooster and Hens 2015. 24" x 18". Oil on linen https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1432837876674-59MME65BL6EQN2UXPBCP/_DSC2534+300dpi.jpg THE ALCHEMY OF MEMORY / JERRY R. WEST - Fall Apricot Water Tank with Little Girl and Red Umbrella 2014. 18" x 24". Oil on linen https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1432837966774-CWMN1TZG2B96X74QOR3C/Jerry+West+%28Donkey+Under+a+Tree%29+2015.+24%2522+x+18%2522+Oil+on+canvas.jpg THE ALCHEMY OF MEMORY / JERRY R. WEST - Taos Plateau Landscape with Tree and Burro 2015. 24" x 18". Oil on linen http://www.philspacesantafe.com/erika-wanenmacher daily 0.75 2015-12-10 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419973162957-DNONV2H87QEHX7BZHP5J/photo.JPG INCORPORATE / ERIKA WANENMACHER - ERIKA WANENMACHER INCORPORATE October 31- December 5 2014 THE Magazine Review https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419973162957-DNONV2H87QEHX7BZHP5J/photo.JPG INCORPORATE / ERIKA WANENMACHER - ERIKA WANENMACHER INCORPORATE October 31- December 5 2014 THE Magazine Review https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419971136198-TI5JDLLXKRMC8M7XCH2K/_DSC4151+72dpi.jpg INCORPORATE / ERIKA WANENMACHER - DATURA PERSON 2014, Gouache on Inkjet; 15.75" x 18.75"     https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419283613179-4S0XIVKEL4ZMZKWHP90K/_DSC4148+72dpi.jpg INCORPORATE / ERIKA WANENMACHER - MOTH 2014, Gouache on Inkjet; 15.75" x 18.75"   SOLD https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419974199654-A4YS6BRCHRR7MZB6ZTXV/10608532_719756251439521_8778524535973117060_o.jpg INCORPORATE / ERIKA WANENMACHER - RADIOLARIA 2014, Gouache on Inkjet; 15.75" x 18.75" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419283624830-9F2TB5IYURWWRE62XAQB/_DSC5618+72dpi.jpg INCORPORATE / ERIKA WANENMACHER - LITTLE BLUE EYES 2014, Found Leaded Glass and Thermoset Plastic; dimensions vary     https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419283652755-FLZAPV12HZAAWPDBL4VO/_DSC5633+72dpi.jpg INCORPORATE / ERIKA WANENMACHER - TASTY SONG 2014, Found Leaded Glass and Thermoset Plastic; dimensions vary     https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419283905495-725ER0PPQPCR43SN3QON/_DSC5654+72dpi.jpg INCORPORATE / ERIKA WANENMACHER - DATURA 2014, Found Leaded Glass; dimensions vary     https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419283924980-XTG7QQ6TPK9YNHDGX28D/_DSC5666+72dpi.jpg INCORPORATE / ERIKA WANENMACHER - BIRD SINGER (detail) 2014, Found Leaded Glass and Thermoset Plastic; dimensions vary   SOLD http://www.philspacesantafe.com/play-with-the-space-between daily 0.75 2015-02-24 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1424370825820-E573B3W1VBEX7ORXYZ8N/indian.jpg PLAY WITH THE SPACE BETWEEN / DIANNE STROMBERG & PHILIP HART - PLAY WITH THE SPACE BETWEEN Dianne Stromberg, 2014. 15.25" x 22.5." Gouache on paper. WORKS BY DIANNE STROMBERG & PHILIP HART FEBRUARY 20th- MARCH 7th 2015 A two-person show featuring the lyrical works of Dianne Stromberg, whose paintings are interested in the specifics of how cultures bump into each other, and Philip Hart, whose colorful kinetic sculptures break away from their original order into random motion. Parody and delight are juxtaposed in this playful show.   SHOW OPENS FRIDAY, FEBRUARY 20TH 5-8 PM https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1424370825820-E573B3W1VBEX7ORXYZ8N/indian.jpg PLAY WITH THE SPACE BETWEEN / DIANNE STROMBERG & PHILIP HART - PLAY WITH THE SPACE BETWEEN Dianne Stromberg, 2014. 15.25" x 22.5." Gouache on paper. WORKS BY DIANNE STROMBERG & PHILIP HART FEBRUARY 20th- MARCH 7th 2015 A two-person show featuring the lyrical works of Dianne Stromberg, whose paintings are interested in the specifics of how cultures bump into each other, and Philip Hart, whose colorful kinetic sculptures break away from their original order into random motion. Parody and delight are juxtaposed in this playful show.   SHOW OPENS FRIDAY, FEBRUARY 20TH 5-8 PM https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1424370602107-RXQ017TO0C4RJBCHLT5S/Hart+%28Elevenses%29+2015.+34%2522w+x+18%2522h.+Aluminum%2C+wire%2C+fishing+line%2C+paint.jpg PLAY WITH THE SPACE BETWEEN / DIANNE STROMBERG & PHILIP HART Philip Hart, Elevenses, 2015. 34"w x 18"h. Aluminum, wire, fishing line https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1424370557470-IWDP6M3BMFB0U7YSOS6H/slot_final.jpg PLAY WITH THE SPACE BETWEEN / DIANNE STROMBERG & PHILIP HART Dianne Stromberg, 2014. 22.5" x 15.25." Gouache on paper. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1424370667647-894EW6WL9MO1IUV6ABSE/Hart+%28Plunge%29+2014.+21%2522w+x+9%2522h.+Aluminum%2C+wire%2C+fishing+line%2C+paint.jpg PLAY WITH THE SPACE BETWEEN / DIANNE STROMBERG & PHILIP HART Philip Hart, Plunge, 2015. 34"w x 18"h. Aluminum, wire, fishing line https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1424370958714-67MLZCVW1JCS7399JYBZ/trapeze.jpg PLAY WITH THE SPACE BETWEEN / DIANNE STROMBERG & PHILIP HART Dianne Stromberg, 2012. 22.5" x 15.25." Gouache on paper.   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1424370871110-5T8DSNLG3N27BV5BUXCK/Hart+%28Russet+Bird%29+2014.+9%2522w+x+9%2522h.+Aluminum%2C+wire%2C+fishing+line%2C+paint.jpg PLAY WITH THE SPACE BETWEEN / DIANNE STROMBERG & PHILIP HART Philip Hart, Russet Bird, 2015. 34"w x 18"h. Aluminum, wire, fishing line http://www.philspacesantafe.com/ice-station-quellette daily 0.75 2016-01-28 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1435862642125-C6EX9F52IZ7U8EFSU1GO/IceCliffs.jpg ICE-STATION QUELLETTE / LAUREN OLIVER - VIEW OF THE WHISTLING MARTYR GHOST CLIFFS 2015. Landscape photograph on mylar. Limited edition. WEB SITE: ISQ.IO THE Magazine Review https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1435862642125-C6EX9F52IZ7U8EFSU1GO/IceCliffs.jpg ICE-STATION QUELLETTE / LAUREN OLIVER - VIEW OF THE WHISTLING MARTYR GHOST CLIFFS 2015. Landscape photograph on mylar. Limited edition. WEB SITE: ISQ.IO THE Magazine Review https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1435942072685-HFEUEBAFZJG4EUE9YDHT/20x10%2Bcopy.jpg ICE-STATION QUELLETTE / LAUREN OLIVER - THE GRAND ICE TOMB 2015. Mylar print. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1435942073441-4JO2JB8SVVU4Y7L9RAN0/1435770451482.jpeg ICE-STATION QUELLETTE / LAUREN OLIVER - THE INVISIBLE WILD 2015. 20" x 10" Landscape photograph on mylar. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1435862633969-0MEHKS2WAOR8KMKS5JKY/moorhawk%2Bcopy.jpg ICE-STATION QUELLETTE / LAUREN OLIVER - The Wreck of the SS Moorhawk in the Great Brandishment of ’98 2015. 28" x 16". Archival digital print. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1435942069136-7VN7Q1JXLRN3MLM6X6KS/14x18-cave.jpg ICE-STATION QUELLETTE / LAUREN OLIVER - The science team enters the terrifying ice cave for the first time 2015. 14" x 18". Archival digital print. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1435862613859-9AMGIZYGTTHBJRNFFIMS/Moorchalk%2Bcopy.jpg ICE-STATION QUELLETTE / LAUREN OLIVER - The wreck of the SS Moorhawk, as though in a chalkstorm 2015. 4' x 4'.Acrylic and chalk painting on canvas https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1435942069759-4WKYE8DNOVZUYZIRL50C/12x12%2Bdiatom%2Bstereogram%2Bcopy.jpg ICE-STATION QUELLETTE / LAUREN OLIVER - Diatom op-art experiment 2015. 12" x 12" Diatom Stereogram — if you relax your eyes until you see two images, some of the images should pop into 3D mode. Archival digital print https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1435862586899-BNPOPHKT604HBGK5D4ZZ/12x12%2Borange%2Bdiatom%2Bpattern%2Bcopy.jpg ICE-STATION QUELLETTE / LAUREN OLIVER - Diatoms, arranged the style of a 19th Century Euro-Florida Matron 2015. 12" x 12". Archival digital print https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1435862575143-K3HQ3416O74CCYUQ7XKJ/SPACE%2BOWL%2Bcopy.jpg ICE-STATION QUELLETTE / LAUREN OLIVER - The Space Owl 2015. 7’ x 3’ Vintage ink on paper https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1435942067929-I1FHQ7REYD6FZD305XIY/7%2Bowlandpenguin.jpg ICE-STATION QUELLETTE / LAUREN OLIVER - Life-sized Space Owl and Emperor Penguin 2015. Featuring a SPACE OWL, PENGUIN and EGGS https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1435862553861-MAI0GRNA4CO18PWNQTZW/6%2BTYVEKmural-final.jpg ICE-STATION QUELLETTE / LAUREN OLIVER - The intricate, interconnected polar web, depicted in bright happy colors to dissuade one from concluding that the world is crumbling as we carry on, laughing 2015. 60” x 180” as one piece. Five 3’ x 5’ pieces. Digital print on Tyvek https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1435942067734-LB5AQ203L5KZGDNNS1J7/2%2Bowltable.jpg ICE-STATION QUELLETTE / LAUREN OLIVER https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1435942070189-3QQPBGYHGWGIQEKGWMNQ/18x18%2B1%2Bcopy.jpg ICE-STATION QUELLETTE / LAUREN OLIVER - Ice Aerial No. 46 2015. 18” x 18”, digital print on mylar https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1435942071209-4Y8GV9M40IZMD4NE2P91/18x18%2B2%2Bcopy.jpg ICE-STATION QUELLETTE / LAUREN OLIVER - Ice Aerial No. 71 2015. 18” x 18”, digital print on mylar https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1435862606800-LIXQGUMZU2TJTVTK35OD/DETAIL1.jpg ICE-STATION QUELLETTE / LAUREN OLIVER - [Detail] 2015. Acrylic on matte board https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1435942074521-USXDVD5IXYV39P1ALB8V/aurora.jpg ICE-STATION QUELLETTE / LAUREN OLIVER - Aurora, captured during night flight 2015. 25” x 7”. Archival digital print https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1435942075116-422L6JAQBA8JOSROHRX1/PENGUIN%2Bcopy.JPG ICE-STATION QUELLETTE / LAUREN OLIVER - The elusive Aptenodytes Fiori flies the Coop 2015. 32” x 42”. Archival digital print https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1435085910809-HCVCFY207SYTPIEIFIB1/A+Mysterious+Appearance+at+ISQ%2C+2015.+8%E2%80%9D+x+4%E2%80%9D+Archival+digital+print.jpg ICE-STATION QUELLETTE / LAUREN OLIVER - Space owl landscape 1 2015. 12" x 6" archival digital print, mounted on matte board http://www.philspacesantafe.com/at-last daily 0.75 2015-06-20 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1434136305323-HLJHKLEY0D43CF70L0BN/Rose.jpg AT LAST / CISSIE LUDLOW - AT LAST Photographs by Cissie Ludlow Opening Reception Tuesday, June 16th 5-8pm Show runs through Saturday, June 20th Website Born June 16, 1945, in Easton Maryland, Cissie studied painting at the Maryland Institute College of Art. Painter and friend, Susan Lowe, introduced John Waters to Cissie, Vincent Peranio and other artists living in a store front row house, known as The Hollywood Bakery located in Fells Point, Baltimore. Beginning with Multiple Maniacs, Peranio has been the art director for all of Waters' films, including Desperate Living and Hairspray. Cissie was a member of the staff of the Baltimore Museum of Art until the fall of 1969 when she moved to London, England. Cissie came to Santa Fe in 1972 while traveling and living in a school bus. Her study of photography began in1976 at the Center of the Eye in the basement of the Armory for the Arts, in Santa Fe. Three years later, she moved to Maine to continue intensive instruction at the Maine Photographic Workshops. Cissie moved to Tucson in 1980. During this time, she created the Garden Series. She joined the staff at the Center for Creative Photography where she organized and catalogued the Wynn Bullock archive and co-authored "Wynn Bullock Archive" guide. Returning to Santa Fe in 1981, Cissie was an active participant in the arts and the photographic community. She was represented by the Scheinbaum and Russek Gallery of Photography and a member of the Artists' Cooperative Gallery. She created a talk show on a local radio station to interview film-makers and photographers. She was the administrative coordinator for the Santa Fe Center of Photography and the photo critique for the Santa Fe Reporter. Cissie taught black and white photography at the New Mexico School for the Deaf, the Brunn School, and the Santa Fe Community College. Cissie created the DeVargas Hotel Series, the Trashique Series, the Trashique Barbie Series and met photographer Nancy Sutor during this decade. In 1993, Cissie earned a Masters Degree in Social Work from New Mexico Highlands University. While providing case management and parenting education for pregnant and parenting students attending Santa Fe High School, she introduced students and their children to the art of photography. Cissie used a 35mm Nikon film camera to make all the images in AT LAST. Under the skillful hand of Peter Ellzey, individual negatives and color transparancies were converted to digital format then printed with archival ink on Moab Entrada paper. The images have not been cropped or altered to make the prints. Cissie's photographs are in private collections, the collections of the New Mexico History Museum and New Mexico State University.   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1434136305323-HLJHKLEY0D43CF70L0BN/Rose.jpg AT LAST / CISSIE LUDLOW - AT LAST Photographs by Cissie Ludlow Opening Reception Tuesday, June 16th 5-8pm Show runs through Saturday, June 20th Website Born June 16, 1945, in Easton Maryland, Cissie studied painting at the Maryland Institute College of Art. Painter and friend, Susan Lowe, introduced John Waters to Cissie, Vincent Peranio and other artists living in a store front row house, known as The Hollywood Bakery located in Fells Point, Baltimore. Beginning with Multiple Maniacs, Peranio has been the art director for all of Waters' films, including Desperate Living and Hairspray. Cissie was a member of the staff of the Baltimore Museum of Art until the fall of 1969 when she moved to London, England. Cissie came to Santa Fe in 1972 while traveling and living in a school bus. Her study of photography began in1976 at the Center of the Eye in the basement of the Armory for the Arts, in Santa Fe. Three years later, she moved to Maine to continue intensive instruction at the Maine Photographic Workshops. Cissie moved to Tucson in 1980. During this time, she created the Garden Series. She joined the staff at the Center for Creative Photography where she organized and catalogued the Wynn Bullock archive and co-authored "Wynn Bullock Archive" guide. Returning to Santa Fe in 1981, Cissie was an active participant in the arts and the photographic community. She was represented by the Scheinbaum and Russek Gallery of Photography and a member of the Artists' Cooperative Gallery. She created a talk show on a local radio station to interview film-makers and photographers. She was the administrative coordinator for the Santa Fe Center of Photography and the photo critique for the Santa Fe Reporter. Cissie taught black and white photography at the New Mexico School for the Deaf, the Brunn School, and the Santa Fe Community College. Cissie created the DeVargas Hotel Series, the Trashique Series, the Trashique Barbie Series and met photographer Nancy Sutor during this decade. In 1993, Cissie earned a Masters Degree in Social Work from New Mexico Highlands University. While providing case management and parenting education for pregnant and parenting students attending Santa Fe High School, she introduced students and their children to the art of photography. Cissie used a 35mm Nikon film camera to make all the images in AT LAST. Under the skillful hand of Peter Ellzey, individual negatives and color transparancies were converted to digital format then printed with archival ink on Moab Entrada paper. The images have not been cropped or altered to make the prints. Cissie's photographs are in private collections, the collections of the New Mexico History Museum and New Mexico State University.   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1434136374096-EQVHTOE85N6TGCSLU89A/Chair.jpg AT LAST / CISSIE LUDLOW - Tucson Garden Chair Garden Series b/w negative 1980 archival pigment print 201 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1434136353905-X3KYIHHTS9RKIHJ5BAIQ/CLudlow_cigarettehotel.jpg AT LAST / CISSIE LUDLOW - Tucson Hotel: Hand with Cigarette b/w negative 1980 archival pigment print https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1434136555663-JL2S23EP2JZFNHQ2UNER/DeVargas+Negs+Frontdoor.jpg AT LAST / CISSIE LUDLOW - Front Entrance on Don Gaspar Street DeVargas Hotel Series b/w negative 1984 archival pigment print 2015 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1434817176101-PNWWRSNRG666V6BR8XQB/DeVargas+Negs.jpg AT LAST / CISSIE LUDLOW - Bed with Patterned Spread next to Open Windows DeVargas Hotel Series b/w negative 1984 archival pigment print 2013 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1434136465124-PJPHPCFPI1GVAMIL1JOF/Ludlow+%28Room+333%2C+De+Vargas+Hotel+Series%29+Archival+Pigment+Ink+Print.12+x+16.jpg AT LAST / CISSIE LUDLOW - Room 333 with Sink Next to Bed DeVargas Hotel Series color transparency 1984 archival pigment print 2015 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1434136482894-U2GJQKLDC3H4KHXRFFVT/Ludlow+%28Beauty+Chair%2C+De+Vargas+Hotel+Series%29+Archival+Pigment+Ink+Print.12+x+16.jpeg AT LAST / CISSIE LUDLOW - Beauty Shop DeVargas Hotel Series color transparency 1984 archival pigment print 2015 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1434136517422-Z3U6CJT1ZKZ44935VXKL/Devargas131.jpg AT LAST / CISSIE LUDLOW - Red Bedroom DeVargas Hotel Series color transparency 1984 archival pigment print 2015 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1434136535526-RM1X5VZPG6DJT0MJIVVB/Desperate+Living25cc.jpg AT LAST / CISSIE LUDLOW - Blue Couch With Mirror Set Hairspray color transparency 1987 archival pigment print 201 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1434817196087-SHRB3HQTSCH1PE3ROPU4/TrashiqueA.jpg AT LAST / CISSIE LUDLOW - Runway Model with Turquoise Light and Red Hose Trashique Series color transparency 1985 archival pigment print 201 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1434817562622-S5N2HVTUDLW5UMRJ4L4I/Barbie+copy.jpg AT LAST / CISSIE LUDLOW - Punk Dancer in Purple Sunglasses with a Yellow Bag Background Trashique Barbie Series color transparency 1985 archival pigment print 2015 http://www.philspacesantafe.com/means-to-an-end daily 0.75 2015-04-14 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1426006993039-ND5UH7X87CHSKEC1703P/Collins+%28Untitled%29+2015.+3%2522x3%2522x4%2522+23k+goldleaf+on+sardine+can.JPG MEANS TO AN END / CHRIS COLLINS - MEANS TO AN END New Works by Chris Collins Opening Reception Friday, March 13th from 5-8pm Show runs through Saturday, April 11th 2015 Means to an End is a body of work that explores what we leave behind in the endless quest for energy. The objects presented range from gasoline cans with gold gilded interiors to aging tree stumps whitewashed in lime. These objects serve as placeholders of exhausted resources. An appetite for energy resources has defined the colonial history of the desert southwest. Along with westward settlement came a need for wood for heat and shelter, coal for railroad and steel, and oil and gas for power and transportation. While villages and towns may boom and bust, the evidence of them remains. This work started with the collection of found materials all originating in the Caja del Rio, a desert region West of Santa Fe, New Mexico. This land has been utilized over many centuries for its energy resources from food to fuel. Over the past few hundred years, this area has been over harvested of lumber, and over grazed by cattle ranching. Once much more densely forested, now large areas of desert grassland remain, with a sporadic stump and perhaps a beverage or sardine can from the individual who felled the tree. The stumps collected range from pinion cut in the last decade, to cedars cut with an axe before the era of chainsaws. These are coated in whitewash, which consists of lime, a product of limestone. Whitewash is used to preserve wood from deterioration. To whitewash is meant to obscure an underlying dirty truth. To be whitewashed could also refer to assimilation to a dominant white culture. Whitewash in all of its contexts applies in this instance. Removed from the earth, the whitewashed stumps take on a skeletal and ghostly appearance. Once into a grid, they also begin to reference gravestones. An assortment of food and beverage cans, buckets, and gas containers are also used in this work. Some have been sacrificed to years of target practice, and others left carelessly after a hard day of labor. The interiors of these rusty objects have been gilded in precious metals. While it is obvious that these containers themselves are of little value, it is what these objects contained which was of use. The means to an end is the next food or drink from the container to enable another day of labor, or the fuel to drive engines further into the wilderness in search of wood for winter heat. This work re-presents objects of our use on our quest for energy. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1426006993039-ND5UH7X87CHSKEC1703P/Collins+%28Untitled%29+2015.+3%2522x3%2522x4%2522+23k+goldleaf+on+sardine+can.JPG MEANS TO AN END / CHRIS COLLINS - MEANS TO AN END New Works by Chris Collins Opening Reception Friday, March 13th from 5-8pm Show runs through Saturday, April 11th 2015 Means to an End is a body of work that explores what we leave behind in the endless quest for energy. The objects presented range from gasoline cans with gold gilded interiors to aging tree stumps whitewashed in lime. These objects serve as placeholders of exhausted resources. An appetite for energy resources has defined the colonial history of the desert southwest. Along with westward settlement came a need for wood for heat and shelter, coal for railroad and steel, and oil and gas for power and transportation. While villages and towns may boom and bust, the evidence of them remains. This work started with the collection of found materials all originating in the Caja del Rio, a desert region West of Santa Fe, New Mexico. This land has been utilized over many centuries for its energy resources from food to fuel. Over the past few hundred years, this area has been over harvested of lumber, and over grazed by cattle ranching. Once much more densely forested, now large areas of desert grassland remain, with a sporadic stump and perhaps a beverage or sardine can from the individual who felled the tree. The stumps collected range from pinion cut in the last decade, to cedars cut with an axe before the era of chainsaws. These are coated in whitewash, which consists of lime, a product of limestone. Whitewash is used to preserve wood from deterioration. To whitewash is meant to obscure an underlying dirty truth. To be whitewashed could also refer to assimilation to a dominant white culture. Whitewash in all of its contexts applies in this instance. Removed from the earth, the whitewashed stumps take on a skeletal and ghostly appearance. Once into a grid, they also begin to reference gravestones. An assortment of food and beverage cans, buckets, and gas containers are also used in this work. Some have been sacrificed to years of target practice, and others left carelessly after a hard day of labor. The interiors of these rusty objects have been gilded in precious metals. While it is obvious that these containers themselves are of little value, it is what these objects contained which was of use. The means to an end is the next food or drink from the container to enable another day of labor, or the fuel to drive engines further into the wilderness in search of wood for winter heat. This work re-presents objects of our use on our quest for energy. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1426007075486-FKC3TWDVLBGWLQDTA9W4/IMG_2113.JPG MEANS TO AN END / CHRIS COLLINS - PLANK (Detail) 2015. 4" x 14.25" x .5." Cast aluminum. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1426617226766-1KF60T9B1HQ14Y08H0N2/11017067_554363811372662_5004141054404055171_o.jpg MEANS TO AN END / CHRIS COLLINS - EMANATE 2015. Dimensions vary. Found objects, 23k gold leaf, silver leaf. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1426007345198-UNCWTTAUJ8TFTUCY987C/collins.23k+gold+propane+small.jpg MEANS TO AN END / CHRIS COLLINS - EMANATE (Detail) 2015. Dimensions vary. Found objects, 23k gold leaf, silver leaf. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1426268063319-F1GZ9E7FDGAS3CBWXF54/unnamed-1.jpg MEANS TO AN END / CHRIS COLLINS - FRAGMENTS 2015. Dimensions vary. Whitewashed wood. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1426007590172-63JSWPD8DOMRR9FL60V6/collins.silver+can.jpg MEANS TO AN END / CHRIS COLLINS - DISCHARGE 2015. 4.5" x 2.75" x 2.75." Found object, silver leaf. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1426616608889-JEZ40GB8SPOFV5C54UVH/1899863_554379021371141_2773985484940188468_o.jpg MEANS TO AN END / CHRIS COLLINS - REMNANT 2015. Dimensions vary. Whitewashed tree stumps, 25 pieces. http://www.philspacesantafe.com/kansas daily 0.75 2015-05-28 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1429028066015-G9WA6CM0QRNRY1AQAH7R/KS.jpg KANSAS / SCOTT ANDERSON & DAVID LEIGH - KANSAS Paintings by Scott Anderson & David Leigh Opening Reception Friday, April 17th 5-8 PM Show runs through Saturday, May 16th 2015   Kansas is nothing and everything at the same time. Both Scott Anderson and David Leigh spent formative years of their lives there, and the work in this exhibition filters and balances those memories against a backdrop of contemporary image making. Anderson’s works are made from found photographs of mall interiors from the late 1980s and early 1990s. An adolescent living in the Kansas suburbs of Kansas City at this time, he spent a fare share of hours in malls; they were social sites as much as commercial ones for kids his age. Anderson writes, “I have complicated feelings about these spaces and this time of my life in general. I can't help but associate the aesthetics of suburban sprawl with positive memories of my teenage years, despite my opinions of how such aesthetics also signify commodity fetish, unsustainable land-use, and architectural homogeny. I'm at once critical and nostalgic.” There is a similar paradox in his painting practice. He has a soft spot for the romantic mythology that surrounds the history of painting, particularly modernism, though he’s well aware of its temporal station and problematic histories. He is at once earnestly interested in the romantic gesture and totally self-conscious of it. Leigh’s images are compressed between Ronald Reagan and the Challenger explosion in 1986. Having grown up in the hack streets and yards of military housing, Kansas required imagination to navigate the tumult of first everything; first love, violence, and authority became containers for later imagery. Kansas at that time was an elision of the 1960s and MTV—atomic bomb drills and Michael Jackson. “It was a specific type of existence, a living space generally protected by the government from predators and danger, that slowed down time, so to speak. We had the illusion of safety from previous generations, and we were able to experience everything unchallenged, mostly because no one was really around to stop us.” Everything mattered a little bit, everything was raw, but everything could be leveled by a tornado or Soviet missile at any moment. Kansas was a space where all was possible; a fitting analog to the potential of painting and drawing. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1429028066015-G9WA6CM0QRNRY1AQAH7R/KS.jpg KANSAS / SCOTT ANDERSON & DAVID LEIGH - KANSAS Paintings by Scott Anderson & David Leigh Opening Reception Friday, April 17th 5-8 PM Show runs through Saturday, May 16th 2015   Kansas is nothing and everything at the same time. Both Scott Anderson and David Leigh spent formative years of their lives there, and the work in this exhibition filters and balances those memories against a backdrop of contemporary image making. Anderson’s works are made from found photographs of mall interiors from the late 1980s and early 1990s. An adolescent living in the Kansas suburbs of Kansas City at this time, he spent a fare share of hours in malls; they were social sites as much as commercial ones for kids his age. Anderson writes, “I have complicated feelings about these spaces and this time of my life in general. I can't help but associate the aesthetics of suburban sprawl with positive memories of my teenage years, despite my opinions of how such aesthetics also signify commodity fetish, unsustainable land-use, and architectural homogeny. I'm at once critical and nostalgic.” There is a similar paradox in his painting practice. He has a soft spot for the romantic mythology that surrounds the history of painting, particularly modernism, though he’s well aware of its temporal station and problematic histories. He is at once earnestly interested in the romantic gesture and totally self-conscious of it. Leigh’s images are compressed between Ronald Reagan and the Challenger explosion in 1986. Having grown up in the hack streets and yards of military housing, Kansas required imagination to navigate the tumult of first everything; first love, violence, and authority became containers for later imagery. Kansas at that time was an elision of the 1960s and MTV—atomic bomb drills and Michael Jackson. “It was a specific type of existence, a living space generally protected by the government from predators and danger, that slowed down time, so to speak. We had the illusion of safety from previous generations, and we were able to experience everything unchallenged, mostly because no one was really around to stop us.” Everything mattered a little bit, everything was raw, but everything could be leveled by a tornado or Soviet missile at any moment. Kansas was a space where all was possible; a fitting analog to the potential of painting and drawing. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1429203333568-UJ4J4TGJADSMXAJGRKM1/_DSC1627+72dpi.jpg KANSAS / SCOTT ANDERSON & DAVID LEIGH - MALL HUFFERS (SOCIAL STUDIES) SCOTT ANDERSON 2015. 60" X 48" Oil, oil crayon and graphite on canvas. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1429211904297-F023DRBJJR470RM3N4F5/_DSC1672+300dpi.jpg KANSAS / SCOTT ANDERSON & DAVID LEIGH - MALL HUFFERS (NIGHT-SCHOOL) SCOTT ANDERSON 2015. 40" x 32" Acrylic, oil and oil crayon on canvas. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1429203224058-1NKHABAR1FH93CKX4L77/_DSC1623+300dpi.jpg KANSAS / SCOTT ANDERSON & DAVID LEIGH - MALL HUFFERS (BAGGY SWEATSHIRT) SCOTT ANDERSON 2015. 66" x 60" Acrylic, oil and oil crayon on canvas.     https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1429203604452-NRDJUKMTT0SQV9IR3WH0/_DSC1654+300dpi.jpg KANSAS / SCOTT ANDERSON & DAVID LEIGH - UNTITLED SCOTT ANDERSON 2015. 10" x 8" Colored pencil and graphite on paper. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1429212021278-MQ1HIVXJASE8KAE5PL5H/_DSC1647+300dpi.jpg KANSAS / SCOTT ANDERSON & DAVID LEIGH - UNTITLED SCOTT ANDERSON 2015. 10" x 8" Colored pencil and graphite on paper. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1429203679841-FTL3XVBI00WDYT9HHS6N/_DSC1649+300dpi.jpg KANSAS / SCOTT ANDERSON & DAVID LEIGH - UNTITLED SCOTT ANDERSON 2015. 10" x 8" Colored pencil and graphite on paper. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1429203545806-RS4E35SWQJUPJGC4UGKH/_DSC1645+300dpi.jpg KANSAS / SCOTT ANDERSON & DAVID LEIGH - UNTITLED SCOTT ANDERSON 2015. 10" x 8" Colored pencil and graphite on paper. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1429212162895-6YVGKZADZGVAT8E0K2AH/_DSC1651+300dpi.jpg KANSAS / SCOTT ANDERSON & DAVID LEIGH - UNTITLED SCOTT ANDERSON 2015. 10" x 8" Colored pencil and graphite on paper. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1429206444650-B68OARNZAGG5AOZNLR84/_DSC1635+300dpi.jpg KANSAS / SCOTT ANDERSON & DAVID LEIGH - DEBRIS BALLS DAVID LEIGH 2015. 42" x 52" Acrylic and crayon on canvas.   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1429204291619-3OQGIF13614U94U3MOMB/_DSC1634+300dpi.jpg KANSAS / SCOTT ANDERSON & DAVID LEIGH - SENTIMENTAL PAINTING DAVID LEIGH 2015. 42" X 52" Acrylic and crayon on canvas.       https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1429204253186-RUQXFPRRX7WXN2WH5HPK/_DSC1631+300dpi.jpg KANSAS / SCOTT ANDERSON & DAVID LEIGH - F.B.'S BREAD DAVID LEIGH 2015. 42" X 52" Acrylic on canvas.     https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1429204056534-E7DASADMFJH4KO26PT2T/_DSC1629+300dpi.jpg KANSAS / SCOTT ANDERSON & DAVID LEIGH - URSULA'S CUP (NINJA MOTORCYCLE ACCIDENT 1984) DAVID LEIGH 2015. 42" X 52" Acrylic, ink and crayon on canvas.       https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1429204344664-OO4XW9LNE3W0VFW8ZY5Z/_DSC1659+300dpi.jpg KANSAS / SCOTT ANDERSON & DAVID LEIGH - FIRST TATTOO (NUCLEAR WAR) DAVID LEIGH 2015. 12" x 9" Ink on paper.       https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1429204403717-A63XO6AXSJMRCBGU0ZR2/_DSC1661+300dpi.jpg KANSAS / SCOTT ANDERSON & DAVID LEIGH - CELLAR DAVID LEIGH 2015. 12" x 9" Ink and colored pencil on paper.     https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1429204450547-E7PO8RZJQRI748ASJRIM/_DSC1665+300dpi.jpg KANSAS / SCOTT ANDERSON & DAVID LEIGH - THE MIDDLE OF THE NIGHT DAVID LEIGH 2015. 9" X 12" Ink on paper.       https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1429204432762-5NTSUF3M60QERPULTSS3/_DSC1663+300dpi.jpg KANSAS / SCOTT ANDERSON & DAVID LEIGH - CHURCH ON FIRE DAVID LEIGH 2015. 12" x 9" Ink and colored pencil on paper.     http://www.philspacesantafe.com/calendar-of-events daily 0.75 2025-01-29 http://www.philspacesantafe.com/calendar-of-events/2025/5/1/dear-virginia-wait-for-me-book-launch-with-marcia-butler-in-conversation-with-gil-gross monthly 0.5 2025-01-29 http://www.philspacesantafe.com/calendar-of-events/2024/5/10/vaudephil monthly 0.5 2024-04-01 http://www.philspacesantafe.com/calendar-of-events/2023/12/8/who-what-really monthly 0.5 2023-11-28 http://www.philspacesantafe.com/calendar-of-events/theworkoftonyprice monthly 0.5 2018-06-28 http://www.philspacesantafe.com/calendar-of-events/2018/2/28/shelley-horton-trippe-high-brow-low-ride monthly 0.5 2018-02-28 http://www.philspacesantafe.com/calendar-of-events/2018/2/3/maki-maki-presents-threads-by-gabriela-galup monthly 0.5 2018-02-28 http://www.philspacesantafe.com/calendar-of-events/2017/12/16/guy-cross-holy-misery-book-release monthly 0.5 2017-10-31 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1509475509005-QFIIHC0LGVAMXQRFENTZ/Guy+Cross+Book+.jpg CALENDAR OF EVENTS - GUY CROSS - HOLY MISERY BOOK RELEASE http://www.philspacesantafe.com/calendar-of-events/2017/12/8/claire-dunne-a-benefit-for-wildearth-guardians monthly 0.5 2018-02-28 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1509567762054-L29APOLHUEB4CSVK3WKG/ClareDunneOwl.jpg CALENDAR OF EVENTS - CLAIRE DUNNE - A BENEFIT FOR WILDEARTH GUARDIANS http://www.philspacesantafe.com/calendar-of-events/2017/2/17/fresh-oil-crazy-quilts-word-pictures-works-by-patrick-mcfarlin monthly 0.5 2017-01-24 http://www.philspacesantafe.com/calendar-of-events/2016/11/11/aristocrats-among-industrial-ruins-francisco-benitez monthly 0.5 2016-10-25 http://www.philspacesantafe.com/calendar-of-events/2016/10/27/twice-through-the-maze-out-loud monthly 0.5 2016-10-25 http://www.philspacesantafe.com/calendar-of-events/2016/10/14/twice-through-the-maze monthly 0.5 2016-09-13 http://www.philspacesantafe.com/calendar-of-events/2016/9/2/the-world-is-flat-not-round monthly 0.5 2016-07-28 http://www.philspacesantafe.com/calendar-of-events/2016/9/16/everglades-times-discipline-photographs-by-mary-peck monthly 0.5 2016-06-16 http://www.philspacesantafe.com/calendar-of-events/2016/8/5/past-present-bruce-hamilton-susanna-carlisle monthly 0.5 2016-06-16 http://www.philspacesantafe.com/calendar-of-events/2016/7/1/shop-drop-new-works-by-james-holmes monthly 0.5 2016-06-16 http://www.philspacesantafe.com/calendar-of-events/2016/6/17/katy-kidd-pimping-paradise-jerry-wellman-synaptic-press monthly 0.5 2016-06-16 http://www.philspacesantafe.com/calendar-of-events/2016/5/20/anne-staveley-dana-waldon-photographs monthly 0.5 2016-03-24 http://www.philspacesantafe.com/calendar-of-events/2016/3/10/j7xkc52idrcz8wsdo51tov2iqcir1i monthly 0.5 2016-03-10 http://www.philspacesantafe.com/calendar-of-events/2016/2/12/christopher-lanz monthly 0.5 2016-01-21 http://www.philspacesantafe.com/calendar-of-events/2015/12/18/aaron-rhodes-eye-candy monthly 0.5 2015-12-10 http://www.philspacesantafe.com/calendar-of-events/2015/11/12/donald-rubinstein monthly 0.5 2015-10-06 http://www.philspacesantafe.com/calendar-of-events/2015/larry-bob-phillips monthly 0.5 2015-09-01 http://www.philspacesantafe.com/calendar-of-events/2015/8/7/woody-valsulka monthly 0.5 2015-07-17 http://www.philspacesantafe.com/calendar-of-events/artist-talk-jerry-west monthly 0.5 2015-05-28 http://www.philspacesantafe.com/calendar-of-events/2015/5/5/scott-anderson-david-leigh-in-conversation-with-erin-elder monthly 0.5 2015-05-01 http://www.philspacesantafe.com/calendar-of-events/2015/4/7/at-last-photographs-by-cissie-ludlow monthly 0.5 2015-04-07 http://www.philspacesantafe.com/calendar-of-events/2015/4/7/artist-talk-with-chris-collins monthly 0.5 2015-03-26 http://www.philspacesantafe.com/calendar-of-events/2015/3/26/ice-station-quellette monthly 0.5 2015-03-26 http://www.philspacesantafe.com/calendar-of-events/2015/5/22/the-memory-of-alchemy monthly 0.5 2015-05-28 http://www.philspacesantafe.com/calendar-of-events/play-with-the-space-between monthly 0.5 2015-03-26 http://www.philspacesantafe.com/calendar-of-events/kansas monthly 0.5 2015-03-26 http://www.philspacesantafe.com/calendar-of-events/means-to-an-end monthly 0.5 2015-03-26 http://www.philspacesantafe.com/calendar-of-events/2015/3/20/scottcadenasso-phil-space monthly 0.5 2015-03-24 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1426009197663-BX568Q7QUZGPHS3F8R4O/%C2%A9-Anne-Staveley-2010-Scott-Cadenasso-17.jpg CALENDAR OF EVENTS - SCOTT CADENASSO @ PHIL SPACE Photo by Anne Staveley, 2010 http://www.philspacesantafe.com/calendar-of-events/greggturner monthly 0.5 2015-03-10 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1421778921471-TLYR2MO51UK4O3L4NYJG/_DSC8252.jpg CALENDAR OF EVENTS - GREGG TURNER @ PHIL SPACE http://www.philspacesantafe.com/music-fieldsenergy-lines-sketches-of-invention daily 0.75 2015-12-29 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1445540011671-9C4EITUWU1E25GH1TFFY/Donald+Rubinstein%2C+%28Installation+Study%29+2015.jpg MUSIC FIELDS/ENERGY LINES (SKETCHES OF INVENTION) /DONALD RUBINSTEIN MUSIC FIELDS / ENERGY LINES (Sketches of Invention) A work in progress by Donald Rubinstein, explores the intersection between music and the visual arts. The exhibition presents works on paper drawn from musical sources including: sketches of invention, based on instrument parts and excerpts from Rubinstein’s original scores (some fantastical and some to be physically rendered for future presentation); a visual exploration of the energy which connects performer and audience, viewer and visual artist, and the works themselves. DONALD RUBINSTEIN | is an interdisciplinary artist whose work includes music composition, visual art, performance, text and film. He has recorded 26 CDs of original music; composed numerous film and television scores; multimedia performance works premiering in both NY and L.A.; and written over 300 songs. Donald has been exhibited at The Museum of Modern Art, The Whitney Museum of American Art and in multiple one-person gallery exhibitions. He was awarded a fellowship and residency via nomination by The Robert Rauschenberg Foundation in 2014 and has written five books of poetry. His latest short film, The Race, will premiere at The Dallas Video Fest in October 2015. Donald Rubinstein made his musical debut at age 25, composing the score to George Romero’s cult classic film Martin. It was named one of the 'Top 100 Coolest Soundtracks of All Time' by Mojo magazine in 2002. Fingers, from his duet CD with guitarist Bill Frisell, was included in the Jazziz Magazine’s CD “A Celebration of the Modern Era." In addition, Donald has collaborated with artists as varied as Terry Allen, Ed Harris and Kiki Smith. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1445540011671-9C4EITUWU1E25GH1TFFY/Donald+Rubinstein%2C+%28Installation+Study%29+2015.jpg MUSIC FIELDS/ENERGY LINES (SKETCHES OF INVENTION) /DONALD RUBINSTEIN MUSIC FIELDS / ENERGY LINES (Sketches of Invention) A work in progress by Donald Rubinstein, explores the intersection between music and the visual arts. The exhibition presents works on paper drawn from musical sources including: sketches of invention, based on instrument parts and excerpts from Rubinstein’s original scores (some fantastical and some to be physically rendered for future presentation); a visual exploration of the energy which connects performer and audience, viewer and visual artist, and the works themselves. DONALD RUBINSTEIN | is an interdisciplinary artist whose work includes music composition, visual art, performance, text and film. He has recorded 26 CDs of original music; composed numerous film and television scores; multimedia performance works premiering in both NY and L.A.; and written over 300 songs. Donald has been exhibited at The Museum of Modern Art, The Whitney Museum of American Art and in multiple one-person gallery exhibitions. He was awarded a fellowship and residency via nomination by The Robert Rauschenberg Foundation in 2014 and has written five books of poetry. His latest short film, The Race, will premiere at The Dallas Video Fest in October 2015. Donald Rubinstein made his musical debut at age 25, composing the score to George Romero’s cult classic film Martin. It was named one of the 'Top 100 Coolest Soundtracks of All Time' by Mojo magazine in 2002. Fingers, from his duet CD with guitarist Bill Frisell, was included in the Jazziz Magazine’s CD “A Celebration of the Modern Era." In addition, Donald has collaborated with artists as varied as Terry Allen, Ed Harris and Kiki Smith. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1448397722852-QNMAIS26ZBMIW5K332KV/IMG_0161+%282%29.jpg MUSIC FIELDS/ENERGY LINES (SKETCHES OF INVENTION) /DONALD RUBINSTEIN https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1448397720165-B5E7ASZU50IL0QYR5YT7/9.+Diary%2C+Donald+Rubinstein++++jpg.jpg MUSIC FIELDS/ENERGY LINES (SKETCHES OF INVENTION) /DONALD RUBINSTEIN https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1445540037690-KVVQ3DOCH572ZNUBB5R1/Donald+Rubinstein%28Flying+Drum+Machine+1%292015.19%2522x20%2522_Mixed+media+archival+pigment+print%2C+2015+.jpg MUSIC FIELDS/ENERGY LINES (SKETCHES OF INVENTION) /DONALD RUBINSTEIN https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1445540003203-AYT3DBI0LLF9TJ58HTBG/Donald+Rubinstein+%28The+Possibllitator%2C+phase+2%29+2015.+mixed+media+print+and+pen+on+paper%2C12%2522X18%2522%2C+2015.jpg MUSIC FIELDS/ENERGY LINES (SKETCHES OF INVENTION) /DONALD RUBINSTEIN https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1445540032085-J2ZDO6KP5O7Z3GSVMH7Y/Donald+Rubinstein%28The+Possiblitator%292015.mixed+media+archival+pigment+print+with+text%2C+digital+coloring%2Chand+coloring+%26+pen.+2015.JPG MUSIC FIELDS/ENERGY LINES (SKETCHES OF INVENTION) /DONALD RUBINSTEIN https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1445540013177-F09C0WCJ3RY8VUIBLH8B/Donald+Rubinstein%2C+Gene+Pitney+and+Zorro+Might+Have+Been+One%2C+2015%2C+18%2522x19%2522.jpg MUSIC FIELDS/ENERGY LINES (SKETCHES OF INVENTION) /DONALD RUBINSTEIN https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1445540005298-JFLG5JXFNJTZJ3TN9ARC/Donald+Rubinstein+%28The+Song+Feeder+1%29+2015.+Mixed+media+on+paper.20%2522+x+10.5%2522.jpeg MUSIC FIELDS/ENERGY LINES (SKETCHES OF INVENTION) /DONALD RUBINSTEIN https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1445540004437-TUEIQI12038DAJ44SSOG/Donald+Rubinstein+%28Night+Song%29+2015.+ARchival+Pigment+Print.png MUSIC FIELDS/ENERGY LINES (SKETCHES OF INVENTION) /DONALD RUBINSTEIN http://www.philspacesantafe.com/eye-candy daily 0.75 2016-10-26 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1450202119534-I8MG9XA9HS2FQCNPG1ZH/Aaron+Rhodes+%28Bald+Igby%29+2015.+11%2522x15%2522.+Pencil+on+Aluminum+.jpg EYE CANDY / AARON RHODES - AARON RHODES: EYE CANDY Aaron Rhodes, Bald Igby. 2015. 11"x15". Ink, pencil and watercolor on paper. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1450202119534-I8MG9XA9HS2FQCNPG1ZH/Aaron+Rhodes+%28Bald+Igby%29+2015.+11%2522x15%2522.+Pencil+on+Aluminum+.jpg EYE CANDY / AARON RHODES - AARON RHODES: EYE CANDY Aaron Rhodes, Bald Igby. 2015. 11"x15". Ink, pencil and watercolor on paper. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1450202136413-8GEA8PJ9AHHEZKWQ1W5A/Aaron+Rhodes+%28Blueberry+Warrior%29+2015.+11%2522x15%2522.Pencil+on+Aluminum.jpg EYE CANDY / AARON RHODES Aaron Rhodes, Blueberry Warrior. 2015. 11"x15". Ink, pencil and watercolor on paper. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1450202147601-ZNZRMFBORLEJL2KCJFK4/Aaron+Rhodes+%28Mouse%29+2015.+11%2522x15%2522.Pencil+on+Aluminum.jpg EYE CANDY / AARON RHODES Aaron Rhodes, Mouse. 2015. 11"x15". Ink, pencil and watercolor on paper. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1450202149647-Q8PWXZB751B68U2L4WU6/Aaron+Rhodes+%28Pretty+Girl%29+2015.+11%2522x15%2522.Pencil+on+Aluminum.jpg EYE CANDY / AARON RHODES Aaron Rhodes, Pretty Girl. 2015. 11"x15". Ink, pencil and watercolor on paper. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1451412948155-2TFYZWLV2ISH40T9GDRO/Art+10.jpg EYE CANDY / AARON RHODES Aaron Rhodes, Mimi in the Canopy. 2015. 11"x15". Ink, pencil and watercolor on paper. http://www.philspacesantafe.com/paintings-of-the-electric-night daily 0.75 2016-10-26 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1444758067984-VEH982SB16UIN2VW8FY0/Larry+Bob+Phillips+%28Brainbow%29+2015.+Ink+on+paper.+40%2522+x+60%2522.jpg PAINTINGS OF THE ELECTRIC NIGHT / LARRY BOB PHILLIPS - LARRY BOB PHILLIPS Brainbow, 2015. Ink on paper. 40" x 60" The goal in my recent work has been to create a form that has plasticity and transformation as its overt focus, allowing the viewer to participate in the conscious construction of the image. Although the graphic strategies vary from one body of work to the next they usually take the form of optically vibrating lines, messy half-tone screensor large color cartoons. They attempt to challenge and poeticize the technical aspects of how we view and represent our world. I believe that the full history of graphic developments within printmaking’s history provide visual artists of all media an open source-book for analogous ways of seeing our world. These veilsof marks and matrices become powerful metaphors for the unseen layers of political force, psychic atmosphere and the withheld promise of other dimensions. The value of the work is in the smaller moments where strains of the psychedelic meet attentive draftsmanship to weave a picture that has rhythm, phenomenology and inner light. Over time, minute details offer viewers unexpected rewards. These rare culminations when they finally come are the product of long hours drawing and attentive study of nature and the masterworks of art history. LARRY BOB PHILLIPS | Born in Canyon, Texas, Phillips lives and works in Albuquerque,New Mexico. He received his Bachelor of Fine Arts at the Kansas City Art Institute (1996) and his Master of Fine Arts at theUniversity of New Mexico (2006).Recent select solo exhibitions include Murals at the Albuquerque Museum (2013) Center for Contemporary Art,(collaboration with David Leigh) Santa Fe (2013), Houston Arts League (2012), Recess Projects, NYC (2011), Roswell Museum of Art (2010) Entrance Gallery, Prague (2006). Recent Select group shows include Albuquerque Now! at the Albuquerque Museum, Albuquerque, NM(2009), Snap, Crackle, Pow! at 516 Arts, Albuquerque, NM (2008), Phillips co-founded the Donkey Gallery inAlbuquerque, NM, (2003) and was awarded the Raymond Jonson Prize in 2007, and the Florence Henriprize in 2006. He has completed residencies at the Djerrasi Residency, Santa Cruz, CA (2008), and theRoswell Artist Residency, Roswell, NM, (2009). He is currently an Adjunct Instructor at the Central NewMexico Community College where he teaches studio classes as well as Art of the Southwest. http://www.larrybobphillips.com     https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1443726361095-STZ0KMLCSYL8HP4DTX26/Larry+Bob+Phillips+%28Night+Tree%29+2015.+Ink+on+paper.+40%2522+x+60%2522.jpg PAINTINGS OF THE ELECTRIC NIGHT / LARRY BOB PHILLIPS https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1444758067984-VEH982SB16UIN2VW8FY0/Larry+Bob+Phillips+%28Brainbow%29+2015.+Ink+on+paper.+40%2522+x+60%2522.jpg PAINTINGS OF THE ELECTRIC NIGHT / LARRY BOB PHILLIPS - LARRY BOB PHILLIPS Brainbow, 2015. Ink on paper. 40" x 60" The goal in my recent work has been to create a form that has plasticity and transformation as its overt focus, allowing the viewer to participate in the conscious construction of the image. Although the graphic strategies vary from one body of work to the next they usually take the form of optically vibrating lines, messy half-tone screensor large color cartoons. They attempt to challenge and poeticize the technical aspects of how we view and represent our world. I believe that the full history of graphic developments within printmaking’s history provide visual artists of all media an open source-book for analogous ways of seeing our world. These veilsof marks and matrices become powerful metaphors for the unseen layers of political force, psychic atmosphere and the withheld promise of other dimensions. The value of the work is in the smaller moments where strains of the psychedelic meet attentive draftsmanship to weave a picture that has rhythm, phenomenology and inner light. Over time, minute details offer viewers unexpected rewards. These rare culminations when they finally come are the product of long hours drawing and attentive study of nature and the masterworks of art history. LARRY BOB PHILLIPS | Born in Canyon, Texas, Phillips lives and works in Albuquerque,New Mexico. He received his Bachelor of Fine Arts at the Kansas City Art Institute (1996) and his Master of Fine Arts at theUniversity of New Mexico (2006).Recent select solo exhibitions include Murals at the Albuquerque Museum (2013) Center for Contemporary Art,(collaboration with David Leigh) Santa Fe (2013), Houston Arts League (2012), Recess Projects, NYC (2011), Roswell Museum of Art (2010) Entrance Gallery, Prague (2006). Recent Select group shows include Albuquerque Now! at the Albuquerque Museum, Albuquerque, NM(2009), Snap, Crackle, Pow! at 516 Arts, Albuquerque, NM (2008), Phillips co-founded the Donkey Gallery inAlbuquerque, NM, (2003) and was awarded the Raymond Jonson Prize in 2007, and the Florence Henriprize in 2006. He has completed residencies at the Djerrasi Residency, Santa Cruz, CA (2008), and theRoswell Artist Residency, Roswell, NM, (2009). He is currently an Adjunct Instructor at the Central NewMexico Community College where he teaches studio classes as well as Art of the Southwest. http://www.larrybobphillips.com     https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1444414034683-DQEV3HPVVHCL4TRLPIIR/_DSC8706.jpg PAINTINGS OF THE ELECTRIC NIGHT / LARRY BOB PHILLIPS Bathing Couple, 2015. Ink on paper. 43" x 54" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1444414017705-1GO4QBWFD5M5L7N9V39L/_DSC8684.jpg PAINTINGS OF THE ELECTRIC NIGHT / LARRY BOB PHILLIPS Bathing Bather (small), 2015. Ink on paper. 30" x 22" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1444414016213-N2YIMUMVYJYG039ZUXIQ/_DSC8680.jpg PAINTINGS OF THE ELECTRIC NIGHT / LARRY BOB PHILLIPS Looking Glass, 2015. Ink on paper. 30" x 22" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1444414020392-B83ADE8W7M969KQVMV20/_DSC8688.jpg PAINTINGS OF THE ELECTRIC NIGHT / LARRY BOB PHILLIPS Caduceus, 2015. Ink on paper. 28" x 20" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1444414756872-BQNAFX7YQIO4UTPOUXBE/_DSC8690.jpg PAINTINGS OF THE ELECTRIC NIGHT / LARRY BOB PHILLIPS Shimmering Bather, 2015. Ink on paper. 15" x 11" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1444414028166-CHP7Y3HNV7URV2F3CWSS/_DSC8697.jpg PAINTINGS OF THE ELECTRIC NIGHT / LARRY BOB PHILLIPS Drinking Bather, 2015. Ink on paper. 68" x 42" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1444414023382-A2YC6I3GOD9BE2OQ5RQT/_DSC8692.jpg PAINTINGS OF THE ELECTRIC NIGHT / LARRY BOB PHILLIPS Line Lovers, 2015. Ink on paper. 11" x 12" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1444414029225-8T5Z7XGV38PHAHEGTL4J/_DSC8700.jpg PAINTINGS OF THE ELECTRIC NIGHT / LARRY BOB PHILLIPS Smoking Bather, 2015. Ink on paper. 59" x 42" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1444414034518-FQMNDYQ773W0R8OH1KQX/_DSC8702.jpg PAINTINGS OF THE ELECTRIC NIGHT / LARRY BOB PHILLIPS Night Tree, 2015. Ink on paper. 43" x 59" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1444758084286-D538KOCRH9OVTI60EC8B/_DSC8769+72dpi.jpg PAINTINGS OF THE ELECTRIC NIGHT / LARRY BOB PHILLIPS Sunday Drivers, 2015. Ink on paper. 22" x 30" http://www.philspacesantafe.com/clare-dunne daily 0.75 2014-12-30 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419285013350-OCE3HF2LZKAPWLN8IP0M/_DSC6558+copy.JPG FEATHERS AND FUR / CLARE DUNNE - CLARE DUNNE FEATHERS AND FUR May 16 - June 13, 2014 Opening Reception, Friday, May 16, 5-8pm Ms. Dunne's drawings are simple studies of animals and birds, which were originally inspired by the cave paintings of Lascaux and Chauvet, and are modern interpretations of an ancient and continuous human tradition of creating images of the creatures with which we share our world. The use of the oldest medium of pigmentation and picture-making, burnt wood, keeps the images close to the world they portray. They are less about ideas and more about the practice of seeing, drawing attention to the incredible complexity of nature - the intricacy of a vulture's outstretched wings, the dappled feathers of an ordinary goose or the ruffled fur of a stray dog.   Born and brought up in England, Clare Dunne graduated from Edinburgh University in Scotland with an MA in History. Whilst living in New Mexico over the past fifteen years she has studied art in the NMSU Art Department and the Santa Fe Community College, developing her own unique style of charcoal drawing.       https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419285013350-OCE3HF2LZKAPWLN8IP0M/_DSC6558+copy.JPG FEATHERS AND FUR / CLARE DUNNE - CLARE DUNNE FEATHERS AND FUR May 16 - June 13, 2014 Opening Reception, Friday, May 16, 5-8pm Ms. Dunne's drawings are simple studies of animals and birds, which were originally inspired by the cave paintings of Lascaux and Chauvet, and are modern interpretations of an ancient and continuous human tradition of creating images of the creatures with which we share our world. The use of the oldest medium of pigmentation and picture-making, burnt wood, keeps the images close to the world they portray. They are less about ideas and more about the practice of seeing, drawing attention to the incredible complexity of nature - the intricacy of a vulture's outstretched wings, the dappled feathers of an ordinary goose or the ruffled fur of a stray dog.   Born and brought up in England, Clare Dunne graduated from Edinburgh University in Scotland with an MA in History. Whilst living in New Mexico over the past fifteen years she has studied art in the NMSU Art Department and the Santa Fe Community College, developing her own unique style of charcoal drawing.       https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419285047370-ILOI81HM8NCBAVO3MYRT/clare+dunne_+pit+bull+mix+300dpi.jpg FEATHERS AND FUR / CLARE DUNNE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419285069272-OZX7HXHHK5K5JP092FLC/clare+dunne_goose+300dpi.jpg FEATHERS AND FUR / CLARE DUNNE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419285108842-JGTTBIMOIL02EM1A5WHA/clare+dunne_hummingbird+300dpi.jpg FEATHERS AND FUR / CLARE DUNNE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419285150215-K1A5HYRZUROS833ZW8XD/clare+dunne_hummingbirds+300dpi.jpg FEATHERS AND FUR / CLARE DUNNE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419285227040-L1LCFBP9OJDRHIZD6IVF/clare+dunne_Taos+Pueblo+dog+300dpi.jpg FEATHERS AND FUR / CLARE DUNNE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419285257978-C2T2S1YISJY40UQZJCLZ/clare+dunne_whippet++300dpi.jpg FEATHERS AND FUR / CLARE DUNNE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419285279909-NLH0EZSQ8T08RBVHPKQ9/clare+dunne_wolf+300dpi.jpg FEATHERS AND FUR / CLARE DUNNE http://www.philspacesantafe.com/eugene-newmann/john-connell daily 0.75 2015-01-22 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1421952273766-EN4EL0BQ1VPKEOZMXV9I/_DSC9337.jpg DRAWING ROOM / EUGENE NEWMANN & JOHN CONNELL - EUGENE NEWMANN/JOHN CONNELL DRAWING ROOM: WORKS ON PAPER BY EUGENE NEWMANN AND JOHN CONNELL THE Magazine Review   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1421952273766-EN4EL0BQ1VPKEOZMXV9I/_DSC9337.jpg DRAWING ROOM / EUGENE NEWMANN & JOHN CONNELL - EUGENE NEWMANN/JOHN CONNELL DRAWING ROOM: WORKS ON PAPER BY EUGENE NEWMANN AND JOHN CONNELL THE Magazine Review   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1421952321521-5ARD8I4TOM90T7A4WX4O/_DSC9338.jpg DRAWING ROOM / EUGENE NEWMANN & JOHN CONNELL https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1421952399595-2G1JETRMKM3UJ9HHQHYL/_DSC9341.jpg DRAWING ROOM / EUGENE NEWMANN & JOHN CONNELL https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1421952344637-7A7RKZZL7FS3UIWUYPCR/_DSC9339.jpg DRAWING ROOM / EUGENE NEWMANN & JOHN CONNELL https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1421952438303-T1YUGQGN5MQP6ZQD6W2D/_DSC9342.jpg DRAWING ROOM / EUGENE NEWMANN & JOHN CONNELL https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1421952465969-PW3S2ZCE4JWBZ4AOQURW/_DSC9343.jpg DRAWING ROOM / EUGENE NEWMANN & JOHN CONNELL http://www.philspacesantafe.com/jerry-west daily 0.75 2015-01-22 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419964318165-3Q6KS6X76ZXHYMD85C2I/Jerry+23+Brain+Over+Cerrillos.jpg A ROSWELL SOJOURN, A PRAIRIE RETURN / JERRY R. WEST - JERRY WEST A ROSWELL SOJOURN, A PRAIRIE RETURN November 15- December 31, 2013 Albuquerque Journal Review https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419964318165-3Q6KS6X76ZXHYMD85C2I/Jerry+23+Brain+Over+Cerrillos.jpg A ROSWELL SOJOURN, A PRAIRIE RETURN / JERRY R. WEST - JERRY WEST A ROSWELL SOJOURN, A PRAIRIE RETURN November 15- December 31, 2013 Albuquerque Journal Review https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419964383616-CG54M8K2RUMG4RLKTSSP/jw20.jpg A ROSWELL SOJOURN, A PRAIRIE RETURN / JERRY R. WEST https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419964402821-BRQZRUDGCW4W39E52HSO/west_jerry_04.jpg A ROSWELL SOJOURN, A PRAIRIE RETURN / JERRY R. WEST https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419964421180-NYSKUTRBILKSY0K22P3L/west_jerry_06.jpg A ROSWELL SOJOURN, A PRAIRIE RETURN / JERRY R. WEST https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419964432816-OG50UBNH6WRABGHFT8Y9/west_jerry_08.jpg A ROSWELL SOJOURN, A PRAIRIE RETURN / JERRY R. WEST https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419964448259-9JORHU07B94N29MY0VJW/west_jerry_09.jpg A ROSWELL SOJOURN, A PRAIRIE RETURN / JERRY R. WEST https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419964830367-OCQ2QRJ7QOKJCT77WX7Z/west_jerry_05.jpg A ROSWELL SOJOURN, A PRAIRIE RETURN / JERRY R. WEST https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419964891621-MWOHF1E0GI4VEIRPEIQU/Flight+over+Juarez+adj+5+20+09.jpg A ROSWELL SOJOURN, A PRAIRIE RETURN / JERRY R. WEST https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419964907995-QL3EH2L7XWMJFHKUS9AE/_DSC4303-001.jpg A ROSWELL SOJOURN, A PRAIRIE RETURN / JERRY R. WEST https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419964947384-GR2JKFNX0LOBY2ANB9ZZ/west_jerry_10.jpg A ROSWELL SOJOURN, A PRAIRIE RETURN / JERRY R. WEST http://www.philspacesantafe.com/dana-newmann daily 0.75 2015-01-22 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419284103414-AHRSC3I3E9490DKGQIXI/72dpi+dana+newmann_memento+mori+wonder+cabinet_6000.00.jpg IN THE REALM OF SURREALISM / DANA NEWMANN - DANA NEWMANN IN THE REALM OF SURREALISM, Works from 1969 to 2014 July 11 - August 8, 2014 Opening reception: Friday, July 11, from 5 to 8pm THE Magazine Review   Dana Newman has often made work that rescues and re-formalizes the fragile remains of the American record. Her interest in the history of art has led, among other work, to a page by page reworking of ‘Un Semaine de Bonte’, Max Ernst’s surrealist novel - and to the construction of numerous Curiosity Cabinets and collages.           https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419284103414-AHRSC3I3E9490DKGQIXI/72dpi+dana+newmann_memento+mori+wonder+cabinet_6000.00.jpg IN THE REALM OF SURREALISM / DANA NEWMANN - DANA NEWMANN IN THE REALM OF SURREALISM, Works from 1969 to 2014 July 11 - August 8, 2014 Opening reception: Friday, July 11, from 5 to 8pm THE Magazine Review   Dana Newman has often made work that rescues and re-formalizes the fragile remains of the American record. Her interest in the history of art has led, among other work, to a page by page reworking of ‘Un Semaine de Bonte’, Max Ernst’s surrealist novel - and to the construction of numerous Curiosity Cabinets and collages.           https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419283983333-CIR135G3ZO9Z9T8QS7QV/72dpi+dana+newman-dialogue+%28detail%29.jpg IN THE REALM OF SURREALISM / DANA NEWMANN - DIALOGUE (detail) https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419967122896-CD25QTF4CM2AD78VNN8R/72dpi+dana+newman-dialogue-2000.00+ea.jpg IN THE REALM OF SURREALISM / DANA NEWMANN - DIALOGUE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419966499176-LYZKRYTNLKEDZD5VD24D/Dana+Newmann_%2522Fire%2522_12x9%2522_Collage_1982.jpg IN THE REALM OF SURREALISM / DANA NEWMANN - FIRE 1982, Collage; 12" x 9" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419284019469-18L3D71SV219S4XANCLD/72dpi+dana+newmann-a+matter+of+physics-2000.00.jpg IN THE REALM OF SURREALISM / DANA NEWMANN - A MATTER OF PHYSICS Collage; 12" x 9" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419284047914-XDVALCW05OBCME65O0OD/_DSC1379.jpg IN THE REALM OF SURREALISM / DANA NEWMANN - PORTRAIT OF VAN GOGH Collage; 12" x 9" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419284074856-M0NOUG4JXY4C1UPHZ64N/_DSC1381.jpg IN THE REALM OF SURREALISM / DANA NEWMANN - BOTANICAL STUDY 1969, Collage; 27" x 23.5" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419284094121-36JD1IN0K7AI2MGE8EXM/72dpi+dana+newmann_cabinet+of+dangerous+possibilities_6000.00.jpg IN THE REALM OF SURREALISM / DANA NEWMANN - CABINET OF DANGEROUS POSSIBILITIES https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419284112955-ZH9U9C2Y81B85QSGFPVL/72dpi+dana+newmann_surrealist%27s+wondercabinet_2008_10%2C000.00.jpg IN THE REALM OF SURREALISM / DANA NEWMANN - THE SURREALIST'S CABINET OF WONDERS 2008, Various Objects (81 total); 22" x 17" x 27.5"   http://www.philspacesantafe.com/frank-ettenberg daily 0.75 2014-12-30 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419966130500-86GL3G3DL9U5N8N1G4ZE/10687356_691474230934390_8163875673730414598_o.jpg VIENNA/SANTA FE / FRANK ETTENBERG - FRANK ETTENBERG VIENNA/SANTA FE Paintings from 2003 to the present September 12, 2014 Frank Ettenberg works spontaneously, allowing images and moods to arise through the act of painting, and for many years he has remained true to this automatic style. “In elementary school, I used to get into trouble because I had problems with my ‘self control’. I recall how I felt : I had strong feelings and pictures coming up from nowhere and it was natural to draw fantastic things and to make noises while I drew. It’s still basically the same story now that I’m 69 yrs old. I still have lots of ideas and love to go exploring and making noises in the realm of art, whether I’m storytelling or not.”   -- Frank Ettenberg https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419966130500-86GL3G3DL9U5N8N1G4ZE/10687356_691474230934390_8163875673730414598_o.jpg VIENNA/SANTA FE / FRANK ETTENBERG - FRANK ETTENBERG VIENNA/SANTA FE Paintings from 2003 to the present September 12, 2014 Frank Ettenberg works spontaneously, allowing images and moods to arise through the act of painting, and for many years he has remained true to this automatic style. “In elementary school, I used to get into trouble because I had problems with my ‘self control’. I recall how I felt : I had strong feelings and pictures coming up from nowhere and it was natural to draw fantastic things and to make noises while I drew. It’s still basically the same story now that I’m 69 yrs old. I still have lots of ideas and love to go exploring and making noises in the realm of art, whether I’m storytelling or not.”   -- Frank Ettenberg https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419284213301-1D413OCGXAELH5BCHUZD/%27Antic+Antique%27%2C+2011-14%2C+24+x+25%2C+AWooden+Panel.jpg VIENNA/SANTA FE / FRANK ETTENBERG - ANTIC ANTIQUE 2011-14, Acrylic on Wooden Panel; 24' x 25' https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419284217014-4BPCZE9RIOU5AJ9IR1MK/%27Mythologue%27+%2708-%2714%2C+14.5x37%2C+amasonite.jpg VIENNA/SANTA FE / FRANK ETTENBERG - MYTHOLOGUE 2008-14, Acrylic on Masonite; 16.75' x 38.45'     https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419284226798-TJ0RHHDT3WELOYCUKZFI/Honeycomb+2011%2Cca+36x46%2C+AC.jpg VIENNA/SANTA FE / FRANK ETTENBERG - HONEYCOMB 2011, Acrylicon Canvas; 36' x46' https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419284243570-Z13VOJUO5FUWISJ40DP2/Painter%27s+Movie+2010-14+ca+46+x+36%2C+AC%2C+.jpg VIENNA/SANTA FE / FRANK ETTENBERG - PAINTER'S MOVIE 2010, Acrylic on Canvas; 45' x 35.25'     https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419284251598-0T5CC89U4I5HQHZF82WV/Spot+on+the+Blue%2C+2001%2C2014%2C+42+x+36%2C+AC.jpg VIENNA/SANTA FE / FRANK ETTENBERG - SPOT ON THE BLUE 2001-14, Acrylic on Canvas; 42' x 36' https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419284386327-KCAH2IQH9NDR3ULNQDIU/Tale+with+no+Name+2008+ca+36x46%2C+AC.jpg VIENNA/SANTA FE / FRANK ETTENBERG - TALE WITH NO NAME 2008, Acrylic on Canvas; 36' x 46' http://www.philspacesantafe.com/hannah-hughes daily 0.75 2015-01-22 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1421530743737-VY0X1NG74LAWTXZJ1F69/_DSC5611.JPG KAWASHOKACHAKRABOOM / HANNAH HUGHES - HANNAH HUGHES KAWASHOKACHAKRABOOM/COMPENSATORY DECORATIVE EXHILARATION/FOR ELLA March 2014 Adobe Airstream Review Kawashokachakraboom / Compensatory Decorative Exhilaration / For Ella was conceived as a “tableau vivant” with sculptural elements, video/audio and live performers. Simply put, the work has to do with the risk and balance required in the pursuit of ultimate freedom, understood from a yoga perspective to be freedom from fear of death. Whether the activity is motorcycle riding, yoga, japanese flower arranging or any form of art, the practitioner who achieves grace must negotiate risk and find balance. A question central to the piece concerns the confusion around glamour which enchants through surface in contrast with the poise of a unified or integrated person. Uncanniness results from the ambiguity of surface and depth, living and dead, and body and image, heightened in the piece due to the stillness of the performers. The “boom” of the title refers not only to colloquial expressions of approval, “boomshakalaka” or “vavoom,” but to Susan Sontag's “cogito ergo boom,” her summary phrase for all the brilliant western thinking that nonetheless results in “our sense of standing in the ruins of thought and on the verge of the ruins of history and of man himself.” Kawashokachakraboom plays with the tension between the extreme though elegant self-torture of western thinking about thinking in the writing of E.M. Cioran with Eastern practices of embodied wisdom and harmony with nature. The phrase “compensatory decorative exhilaration” was used by Frederic Jameson in writing about the aesthetics of late capitalism, with its waning of affect and fragmentation of the subject, yet full of new possibilities. The sculpture-event is composed formally as a shoka floral offering with its pared down tertiary structure, reflecting harmony between heaven, earth and human. Three female yoginis are posing with three motorcycles. One of them is on the floor in a “corpse” pose. A tire vase holds tall living bamboo. An attendant paints the nails of the yoginis, and paparazzi circulate taking photographs of the assemblage. The live reading of Cioran and audio/video of roaring motorcycles racing around a track also undercut the quiet. It becomes an even greater challenge for the yoginis to maintain concentration in a spectacle environment that is intentionally unstable, noisy at times, and exposed to the public. The contrast between stillness and movement, inner and outer, chaos and order is part of the work. Finally, it is not about a complex or perfected choreographed performance but rather the tension of a practice in real time. The failure /perfection paradigm becomes irrelevant, subsumed in the flow of time, sometimes chaotic.       https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1421530743737-VY0X1NG74LAWTXZJ1F69/_DSC5611.JPG KAWASHOKACHAKRABOOM / HANNAH HUGHES - HANNAH HUGHES KAWASHOKACHAKRABOOM/COMPENSATORY DECORATIVE EXHILARATION/FOR ELLA March 2014 Adobe Airstream Review Kawashokachakraboom / Compensatory Decorative Exhilaration / For Ella was conceived as a “tableau vivant” with sculptural elements, video/audio and live performers. Simply put, the work has to do with the risk and balance required in the pursuit of ultimate freedom, understood from a yoga perspective to be freedom from fear of death. Whether the activity is motorcycle riding, yoga, japanese flower arranging or any form of art, the practitioner who achieves grace must negotiate risk and find balance. A question central to the piece concerns the confusion around glamour which enchants through surface in contrast with the poise of a unified or integrated person. Uncanniness results from the ambiguity of surface and depth, living and dead, and body and image, heightened in the piece due to the stillness of the performers. The “boom” of the title refers not only to colloquial expressions of approval, “boomshakalaka” or “vavoom,” but to Susan Sontag's “cogito ergo boom,” her summary phrase for all the brilliant western thinking that nonetheless results in “our sense of standing in the ruins of thought and on the verge of the ruins of history and of man himself.” Kawashokachakraboom plays with the tension between the extreme though elegant self-torture of western thinking about thinking in the writing of E.M. Cioran with Eastern practices of embodied wisdom and harmony with nature. The phrase “compensatory decorative exhilaration” was used by Frederic Jameson in writing about the aesthetics of late capitalism, with its waning of affect and fragmentation of the subject, yet full of new possibilities. The sculpture-event is composed formally as a shoka floral offering with its pared down tertiary structure, reflecting harmony between heaven, earth and human. Three female yoginis are posing with three motorcycles. One of them is on the floor in a “corpse” pose. A tire vase holds tall living bamboo. An attendant paints the nails of the yoginis, and paparazzi circulate taking photographs of the assemblage. The live reading of Cioran and audio/video of roaring motorcycles racing around a track also undercut the quiet. It becomes an even greater challenge for the yoginis to maintain concentration in a spectacle environment that is intentionally unstable, noisy at times, and exposed to the public. The contrast between stillness and movement, inner and outer, chaos and order is part of the work. Finally, it is not about a complex or perfected choreographed performance but rather the tension of a practice in real time. The failure /perfection paradigm becomes irrelevant, subsumed in the flow of time, sometimes chaotic.       https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1419976643776-0AW29YMZB5SRD2L00OD7/_DSC5620.JPG KAWASHOKACHAKRABOOM / HANNAH HUGHES https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1421530897709-P8REI9FDXFBVT8N6U1KY/_DSC5627.JPG KAWASHOKACHAKRABOOM / HANNAH HUGHES https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1421530968351-GEPP4HOC7HRS7X103RAV/_DSC5629.JPG KAWASHOKACHAKRABOOM / HANNAH HUGHES http://www.philspacesantafe.com/eugene-newmann daily 0.75 2016-04-26 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1461699854854-27278J5ICUL719X4QKEF/NEWMANN+WEB.jpg EUGENE NEWMANN https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1461699854854-27278J5ICUL719X4QKEF/NEWMANN+WEB.jpg EUGENE NEWMANN https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1450206591703-V3F9KEHYTT5AY7BVF9JI/_DSC7894+72dpi.jpg EUGENE NEWMANN - NOTINGS (894) No Date. Watercolor on paper. 8.75" x 11.5"   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1450206590838-6DTU4F5SA96ECEPFVJ6V/_DSC7895+72dpi.jpg EUGENE NEWMANN - NOTINGS (895) No Date. Watercolor on paper. 9" x 12"   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1450206595001-OQBG734TLIOGQZBDUV6S/_DSC7896+72dpi.jpg EUGENE NEWMANN - NOTINGS (896) 2010. Watercolor on paper. 12" x 9"   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1450206596749-4ICSBJUM8JIJZD2AYGGJ/_DSC7897+72dpi.jpg EUGENE NEWMANN - NOTINGS (897) 2010. Watercolor on paper. 11" x 14.5"   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1450206599461-7MTQOU381Z10KRPY69GW/_DSC7898+72dpi.jpg EUGENE NEWMANN - NOTINGS (898) 2011. Watercolor on paper. 11" x 14.5"   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1450206606939-8D6IS72ZE4Y2HC2AIUUI/_DSC7901+72dpi.jpg EUGENE NEWMANN - NOTINGS (899) 2011. Watercoloron paper. 14.5" x 11"   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1450206602872-1H6SRLFYQGB5K107D3HH/_DSC7899+72dpi.jpg EUGENE NEWMANN - NOTINGS (900) 2010. Watercolor on paper. 11" x 14.5"   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1450206603862-YBHILDPYMV7FQAOGTJII/_DSC7900+72dpi.jpg EUGENE NEWMANN - NOTINGS (901) 2010. Watercolor on paper. 10.25" x 13.75"   http://www.philspacesantafe.com/john-connell daily 0.75 2018-02-28 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1461699303446-GF8UEOPA2Q7GDKMB0OGJ/CONNELL+WEB.jpg JOHN CONNELL https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1461699303446-GF8UEOPA2Q7GDKMB0OGJ/CONNELL+WEB.jpg JOHN CONNELL https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1451419869202-S831GAZWRZ3VL7H18AN9/_DSC8735+72dpi.jpg JOHN CONNELL - PIN-UPS OF NORTH AMERICA (1) Circa early 1980. Ink on paper. 17” x 14”.   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1451419705435-6GXC4T64LAMIED9ARSA7/_DSC8716+72dpi.jpg JOHN CONNELL - IDEA FOR THIN-CAST BUDDHAS ON FLAT SLAB Circa 1990. Ink on paper. 17” x 14”   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1451419727202-GG9Y3LU8N9JZYQDTLB13/_DSC8719+72dpi.jpg JOHN CONNELL - BEGINNING OF SUMMER- GILA WILDERNESS Circa 1993. Ink on paper. 17” x 14”.   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1451419789083-YDYE55CXFL9U9AJU4XUA/_DSC8731+72dpi.jpg JOHN CONNELL - BODHISATTVAS 1990. Ink on paper. 17” x 14”.   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1451419777410-YPNKVP5HM29MQ35IR5HI/_DSC8729+72dpi.jpg JOHN CONNELL - CHICORY STEM FLOWERS Chicory Stem Flowers / Buffalo Gourd Flower Bud / Wild Summer Flower / Summer. Circa late 1990. Ink on paper. 17” x 14”   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1451419849383-F6J7SSC4R6XQOEXOAUR1/_DSC8733+72dpi.jpg JOHN CONNELL - BIRDS ON A BRANCH 1990. Ink on paper. 17” x 14”.   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1451419962079-923ZKOJRK54ZLX3BYS00/_DSC8746+72dpi.jpg JOHN CONNELL Ink on paper. 16.75” x 14”.   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1452032560323-FFSZO8818Y59TKWGUUD5/_DSC8709+72dpi.jpg JOHN CONNELL - KUAN YIN WITH LOTUS 2006. Ink on paper. 17” x 14”.   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1452032619617-5H4E6E74FYYI8XRYO3P9/_DSC8711+72dpi.jpg JOHN CONNELL - WINTER Circa 2000. Ink on paper. 17” x 14”.   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1452032704177-XS1LBYWS5EMBT23GM6PH/_DSC8713+72dpi.jpg JOHN CONNELL - IDEA FOR METAL CASTING/REACHING FISH/ MENDICANT BUDDHA Circa 1990. Ink on paper. 16.75” x 14”.   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1452032855780-MTDTPXZ0D601XYBIID67/_DSC8717+72dpi.jpg JOHN CONNELL - TWO EROTIC IMAGES Circa 1994. Ink on paper. 16.75” x 14”.   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1452032952865-JYL3XX2JF6DFBLN8MERX/_DSC8721+72dpi.jpg JOHN CONNELL - BUDDHA TEACHING THE DHARMA Circa 1990. Ink on paper. 16.75” x 14”.   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1452033022658-6R9M0XZ617JNBIKF2P3F/_DSC8723+72dpi.jpg JOHN CONNELL - ALBERT EINSTEIN AND SMALL BIRD Circa 1980-81. Ink on paper. 16.75” x 14”.   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1452033075261-U584KXD28KLRRODX4FIH/_DSC8725+72dpi.jpg JOHN CONNELL - MAN CHOPPING WOOD Circa 2000. Ink on paper. 16.75” x 14”.   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1452033168653-TBKSX3WDLZJ8O0CTV0BK/_DSC8727+72dpi.jpg JOHN CONNELL - YUCCA PODS/THISTLE BUD/NIGHT SHADE FRUITS Circa late 1990. Ink on paper. 17” x 14”.   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1452033236734-6TCNKVL34NQ6IHLUMJEL/_DSC8738+72dpi.jpg JOHN CONNELL - PIN-UPS OF NORTH AMERICA (2) Circa 1980. Ink on paper. 17” x 14”.   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1452033329645-M5NZUH9QH0SBB0D0B69U/_DSC8741+72dpi.jpg JOHN CONNELL - UNTITLED (TEACHER) Ink on paper. 16.75” x 14”. PLEASE CALL FOR PRICING https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1452033403698-VFP4SO6RLPMQW2O5IMNJ/_DSC8742+72dpi.jpg JOHN CONNELL - UNTITLED (FOUR FIGURES) Ink on paper. 16.75” x 14”. PLEASE CALL FOR PRICING https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1452033555813-V641JPT61E3HOYQTDEEJ/_DSC8744+72dpi.jpg JOHN CONNELL - UNTITLED Ink on paper. 16.75” x 14”. PLEASE CALL FOR PRICING https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1452033634952-ZUXVHJFCSFFDR4LTDC5H/_DSC8748+72dpi.jpg JOHN CONNELL - FOUR PHEASANTS Ink on paper. 16.75” x 14”. PLEASE CALL FOR PRICING http://www.philspacesantafe.com/jennifer-joseph daily 0.75 2015-02-04 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1418164413111-ZQUE3KVW1YRO2WGYYWB7/jen+jo+instal+laddercopy.jpg LEFTOVERS: COOL TRASH FOR FUTURE GENERATIONS / JENNIFER JOSEPH - JENNIFER JOSEPH LEFTOVERS: Cool Trash for Future Generations Opening reception: Friday, December 12, 2014 6 - 9pm Through January 27, 2015 Adobe Airstream Review   This new body of work asks the question: What is the space between physicality and non-physicality? Everything is passing into and out of existence all the time. All of the pieces in this exhibition will eventually break down and become trash—will there be art institutions in 20,000 years? Who knows? I doubt it. Given that perspective, one’s creative expression is the unique detritus of a particular point in time. This work is mostly sourced from materials, objects and older works that have been lying around the studio for several years. I’ve taken what would have become trash and repurposed it as newer, cooler trash for the generations of the future. Which brings me to the next question: what about life before birth and what lies beyond the veil of human perception--if consciousness is eternal, and we incarnate, what does the entry into the third dimension look like? These new installations, objects and paintings envision possible portals into the earthly experience as grids, clusters, and ripples, with the implication being that a consciousness becomes incarnate only by passing through some sort of cosmic structure. I’m looking at the space where things pass into and out of 3D existence, and this work is the result of that process. I guess there is some irony in making new objects from old objects, to describe the non-physical. It’s the only way to do it here apparently. Jennifer Joseph 2014 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1418163999470-5IFGCA3L1HLQIDLRXFUV/IMG_1963.JPG LEFTOVERS: COOL TRASH FOR FUTURE GENERATIONS / JENNIFER JOSEPH - VIRGO CONSTELLATION (ROUGH SKETCH) (detail) 2014, Freshwater Pearls and Wire; approximately 8' x 12'     https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1418164042028-29N9PPE6SWYOWUJATNSR/joseph+03+72.jpg LEFTOVERS: COOL TRASH FOR FUTURE GENERATIONS / JENNIFER JOSEPH - BUBBLECHAMBER (MOVING TARGET) 2010-2014 Mixed Media, variable dimensions   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1418074709984-BQ5RS3SDMO1FF3PBJ2AS/joseph+01+72.jpg LEFTOVERS: COOL TRASH FOR FUTURE GENERATIONS / JENNIFER JOSEPH - FOLDED ENTRY 2010 - 2014. Mixed media 6" x 6" x4" SOLD https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1418161482333-P1IVQBAPOBJ3FFI68VZC/joseph+04+72dpi.jpg LEFTOVERS: COOL TRASH FOR FUTURE GENERATIONS / JENNIFER JOSEPH - HOLDING PATTERN (VERSION 9.2) 2012 - 2014. Mixed media 10" x 10" x 14" SOLD https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1418074509866-XXBH3JMUFI9GKV1FALV6/joseph+04+72dpi.jpg LEFTOVERS: COOL TRASH FOR FUTURE GENERATIONS / JENNIFER JOSEPH http://www.philspacesantafe.com/christopher-lantz daily 0.75 2016-03-10 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1454437627192-HDRRX6AYN2MQYV2AJH56/Lantz+%28Family+Life%29+2015.+15.5%2522x18%2522+Acrylic%2C+charcoal%2C+ink.jpg CHRISTOPHER LANTZ Untitled, 2015. Acrylic, Charcoal, ink on paper. 14.5" x 17" WEBSITE   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1454437627192-HDRRX6AYN2MQYV2AJH56/Lantz+%28Family+Life%29+2015.+15.5%2522x18%2522+Acrylic%2C+charcoal%2C+ink.jpg CHRISTOPHER LANTZ Untitled, 2015. Acrylic, Charcoal, ink on paper. 14.5" x 17" WEBSITE   https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1456259766606-0VGSZF1ACGJFU4PMMY86/_DSC1538+300dpi.jpg CHRISTOPHER LANTZ Untitled, 2015. Acrylic, charcoal, ink on paper. 10.5" x 12" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1456259760533-0P8OOT51MZ0AWA9AH8LZ/_DSC1539+300dpi.jpg CHRISTOPHER LANTZ Untitled, 2015. Acrylic, charcoal, ink on paper. 20" x 16" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1456259765900-U4LWMOJGLGPA8DWD83SK/_DSC3155+72dpi.jpg CHRISTOPHER LANTZ Untitled, 2015. Acrylic, charcoal, ink on paper. 14.5" x 17" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1456259788624-LEFD69GGNEBZVZBQTEA5/_DSC1545+300dpi.jpg CHRISTOPHER LANTZ Untitled, 2015. Acrylic, charcoal, ink on paper. 16" x 12.25" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1456259770983-Q4K4Z2130KWQPG015EXX/_DSC3159+72dpi.jpg CHRISTOPHER LANTZ Untitled, 2015. Acrylic, charcoal, ink on paper. 13.5" x 20.5" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1456259776120-2G56UZIKS4FDLYBRINAH/_DSC3169+72dpi.jpg CHRISTOPHER LANTZ Untitled, 2015. Acrylic, charcoal, ink on paper. 22" x 14.25" http://www.philspacesantafe.com/philip-c-hart daily 0.75 2016-04-26 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1461699740657-SDHZ9B6IY3YFC2Q0L4UD/PHILIP+WEB.jpg PHILIP C. HART WEBSITE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1461699740657-SDHZ9B6IY3YFC2Q0L4UD/PHILIP+WEB.jpg PHILIP C. HART WEBSITE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1458845784115-E7W4WWFPAUMYAM7KPKKE/Birdie+01.JPG PHILIP C. HART - BIRDIE 2014. Copper, wire, fishing line, paint. 13"w x 15" h (stand) https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1461691600808-G40OXPZV0HEJBRJ04XWA/Hart+%28Plunge%29+2014.+21%2522w+x+9%2522h.+Aluminum%2C+wire%2C+fishing+line%2C+paint.jpg PHILIP C. HART - PLUNGE 2014. 21"w x 9"h. Aluminum, wire, fishing line, paint. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1461691648987-SYEC4UMS6K3ZZJYB4IMR/Hart+%28Russet+Bird%29+2014.+9%2522w+x+9%2522h.+Aluminum%2C+wire%2C+fishing+line%2C+paint.jpg PHILIP C. HART - RUSSET BIRD 2014. 9"w x 9"h. Aluminum, wire, fishing line, paint. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1461692613531-ASFUDW313RQSUUBP279Y/image-asset.jpeg PHILIP C. HART - CHIASMUS 1 2016. 18"w x18"h. Wire, beads, fishing line, paint. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1461692378023-TQ2A7J2SYEB92LPW9OKC/image-asset.jpeg PHILIP C. HART - CHIASMUS 2 2016. 18"w x 18"h. Aluminum, wire, fishing line, paint. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1461692704829-PIBRLZA3VDPCFBWDZOEU/image-asset.jpeg PHILIP C. HART - RED DOT 2016. 42"w x14"h. Aluminum, wire, fishing line, paint. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1461693249753-NHO81CDW6JDWHVB2K5GK/image-asset.jpeg PHILIP C. HART - FLOE 2015. 34"w x36"h. Aluminum, brass rod, fishing line, paint. http://www.philspacesantafe.com/art-muscle- daily 0.75 2016-04-12 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1460481613299-XZU0RI4BF9F5Z4FALQG0/Larry+Ogan+%28Formation+I%29+1985.+Acrylic+on+canvas.+42%2522x+39%2522.jpg ART MUSCLE | A LIFE IN ART / LARRY OGAN - LARRY OGAN: ART MUSCLE | A LIFE IN ART Formation 1, 1985. Acrylic on canvas. 42" x 39" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1460481613299-XZU0RI4BF9F5Z4FALQG0/Larry+Ogan+%28Formation+I%29+1985.+Acrylic+on+canvas.+42%2522x+39%2522.jpg ART MUSCLE | A LIFE IN ART / LARRY OGAN - LARRY OGAN: ART MUSCLE | A LIFE IN ART Formation 1, 1985. Acrylic on canvas. 42" x 39" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1460481672130-MZBGO115S32GIQ5I8VNH/Larry+Ogan+%28Cochiti+Tent+Rocks%29+2010.+Oil+on+panel.+14%2522x18%2522.jpg ART MUSCLE | A LIFE IN ART / LARRY OGAN Cochiti Tent Rocks, 2010. Oil on panel. 14" x 18" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1460481628212-G1L39IDVJCND4HJMLF8E/Larry+Ogan+%28Untitled%29+2011.+Oil+on+panel.+12%2522x12%2522.jpg ART MUSCLE | A LIFE IN ART / LARRY OGAN Untitled, 2011. Oil on panel. 12" x 12" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1460481667104-DY9R3NB7C1CXE1KAIBH7/Larry+Ogan+%28The+Red+Egg%29+2014.+Oil+on+panel.+12%2522+x+9%2522.jpg ART MUSCLE | A LIFE IN ART / LARRY OGAN The Red Egg, 2014. Oil on panel. 12" x 9" http://www.philspacesantafe.com/the-show daily 0.75 2016-05-15 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1463340721510-Q64H704VPZX9IHBMDVA1/Dana+Waldon+%28Paul+Sarkisian%29+Archival+digital+print+13%2522+x+19%2522.jpeg THE SHOW / ANNE STAVELEY & DANA WALDON - THE SHOW: PHOTOGRAPHS BY ANNE STAVELEY & DANA WALDON Paul Sarkisian by Dana Waldon. Archival digital print. 13" x 19"   Anne Staveley and Dana Waldon were staff photographers for THE Magazine over a timespan of ten years, allowing readers access into the studios of hundreds of New Mexico artists. While both photographers roam in all directions documenting people, places and things, THE Show is a true celebration of Santa Fe artists, and throughout New Mexico, showcasing their distinct and dynamic vision in a collection of over 200 photographs.   Over 60 covers from the archives of THE Magazine will also be on display https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1463340721510-Q64H704VPZX9IHBMDVA1/Dana+Waldon+%28Paul+Sarkisian%29+Archival+digital+print+13%2522+x+19%2522.jpeg THE SHOW / ANNE STAVELEY & DANA WALDON - THE SHOW: PHOTOGRAPHS BY ANNE STAVELEY & DANA WALDON Paul Sarkisian by Dana Waldon. Archival digital print. 13" x 19"   Anne Staveley and Dana Waldon were staff photographers for THE Magazine over a timespan of ten years, allowing readers access into the studios of hundreds of New Mexico artists. While both photographers roam in all directions documenting people, places and things, THE Show is a true celebration of Santa Fe artists, and throughout New Mexico, showcasing their distinct and dynamic vision in a collection of over 200 photographs.   Over 60 covers from the archives of THE Magazine will also be on display https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1463341249564-3HN9AKRC6VUSWG44R8GZ/Dana+Waldon+%28Peter+Ogilvie%29+Archival+digital+print.+13%2522+x+19%2522.jpg THE SHOW / ANNE STAVELEY & DANA WALDON Peter Ogilvie by Dana Waldon. Archival digital print. 13" x 19" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1463341236663-CA41D4K6CTPZYKNUR3XU/Anne+Staveley+%28Nicolas+Herrera%29+Archival+digital+print.+13%2522+x+19%2522.jpg THE SHOW / ANNE STAVELEY & DANA WALDON Nicholas Herrera by Anne Staveley. Archival digital print. 13" x 19" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1463341254670-LQE7Z62U31UACHOOOF3U/Dana+Waldon+%28Roseta+Santiago%29+Archival+digital+print.+13%2522+x+19%2522.jpg THE SHOW / ANNE STAVELEY & DANA WALDON Roseta Santiago by Dana Waldon. Archival digital print. 13" x 19" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1463341238669-TETV0VE1QXEU5AKL7LQN/Anne+Staveley+%28Zoe+Zimmerman+%29+Archival+digital+print.+13%2522+x+19%2522.jpg THE SHOW / ANNE STAVELEY & DANA WALDON Zoe Zimmerman by Anne Staveley. Archival digital print. 13" x 19" http://www.philspacesantafe.com/pimpingparadise-synapticpress daily 0.75 2016-06-15 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1466021973006-EWCP04G9Z43W62RCPSL4/Katy+Kidd+%281983%29+2016.+Oil+on+birch+panel.+49%2522+x+48%2522.jpg PIMPING PARADISE / KATY KIDD & SYNAPTIC PRESS / JERRY WELLMAN - PIMPING PARADISE Katy Kidd, 1983. 2016. Oil on birch panel. 49" x 48" The ubiquitous jerry can, religious statues, slums, the jet set, plastic chairs, fire, old cars, and flora & fauna are all subjects that Katy Kidd paints in attempt to explore social and environmental issues, and to inspire the viewer to think outside of themselves. She is fascinated with the common thread of those with means and those without, such as how we use objects, what we worship, how we live, the debris of man made objects and the resilience of the plant and animal world. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1466021973006-EWCP04G9Z43W62RCPSL4/Katy+Kidd+%281983%29+2016.+Oil+on+birch+panel.+49%2522+x+48%2522.jpg PIMPING PARADISE / KATY KIDD & SYNAPTIC PRESS / JERRY WELLMAN - PIMPING PARADISE Katy Kidd, 1983. 2016. Oil on birch panel. 49" x 48" The ubiquitous jerry can, religious statues, slums, the jet set, plastic chairs, fire, old cars, and flora & fauna are all subjects that Katy Kidd paints in attempt to explore social and environmental issues, and to inspire the viewer to think outside of themselves. She is fascinated with the common thread of those with means and those without, such as how we use objects, what we worship, how we live, the debris of man made objects and the resilience of the plant and animal world. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1466019128603-05MUGEZU55DEY71VOJR4/Katy+Kidd+%281983%29+2016.+Oil+on+birch+panel.+49%2522+x+48%2522.jpg PIMPING PARADISE / KATY KIDD & SYNAPTIC PRESS / JERRY WELLMAN - PIMPING PARADISE Katy Kidd, 1983. 2016. Oil on birch panel. 49" x 48" The ubiquitous jerry can, religious statues, slums, the jet set, plastic chairs, fire, old cars, and flora & fauna are all subjects that Katy Kidd paints in attempt to explore social and environmental issues, and to inspire the viewer to think outside of themselves. She is fascinated with the common thread of those with means and those without, such as how we use objects, what we worship, how we live, the debris of man made objects and the resilience of the plant and animal world. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1466019153647-EFB3H4U2EWMK93THR12R/Katy+Kidd+%28Smoking+Buddha%29+2016.+Oil+%26+spray+paint+on+birch+panel.+24%2522+x+24%2522.jpg PIMPING PARADISE / KATY KIDD & SYNAPTIC PRESS / JERRY WELLMAN Katy Kidd, Smoking Buddha. 2016. Oil & spray paint on birch panel. 24" x 24" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1466021024436-9W2HLA350JJ1KYDN3O21/_DSC0891-2.jpg PIMPING PARADISE / KATY KIDD & SYNAPTIC PRESS / JERRY WELLMAN Katy Kidd, Fire on the Lawn. 2015. Oil on birch panel. 12" x 12" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1466021073966-ZXMBG74OYU3C2HQFGRZE/_DSC1521+300dpi.jpg PIMPING PARADISE / KATY KIDD & SYNAPTIC PRESS / JERRY WELLMAN Katy Kidd, Young Grasshopper, 2016. Oil on birch panel. 8" x 8" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1466019122038-Q803H38NHGUPUWGO1Q2U/Katy+Kidd+%28Jerry+Can%29+2016.+Infill%2C+screen+print+ink+%26+spray+paint+on+fabric.+19%2522+x+14%2522+x+7%2522.jpg PIMPING PARADISE / KATY KIDD & SYNAPTIC PRESS / JERRY WELLMAN Katy Kidd, Jerry Can. 2016. Infill, screen print ink and spray paint on fabric. 19" x 14" x 7" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1466019087763-FDQFXSZSFOT9JWW9CITJ/Jerry+Wellman+%28Emanations+from+one+continuum%29+Acrylic+and+india+ink.+19.5%2522+x+25%2522+.jpg PIMPING PARADISE / KATY KIDD & SYNAPTIC PRESS / JERRY WELLMAN - SYNAPTIC PRESS Jerry Wellman, Emanations from one continuum. Acrylic and india ink. 19.5" x 25" Jerry Wellman presents a collection of drawings, images from published books, and books he anticipates, someday, will be published. Throughout his work, regardless of the subject that drives his investigation, there abides a sense of wonder. Shadows, written over 20 years ago, withe the help of funding from the pre-eviscerated NEA, is a playful poetic examination into how we make meaning. What To Do With a Dead Pinon, written during the bark beetle infestation, contains reveries about tree worship, ecology, and the self-organizing principle. Wellman's most recent book, Emblems of Hidden Durations, explores concepts of death and deathlessness. An ongoing project since the passing of his brother, almost 35 years ago, the book is inspired by his investigations of Eastern thought, funerary architecture, poetry, and philosophy. The publication of the book was accompanied by an installation in the Axle Contemporary step van. Also featured in this exhibition are new works from the book he is currently working on tentatively titled, There Must Be Something. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1466021003076-KW92MY27INRXSMAZDCMA/angels+all+over+sm.jpg PIMPING PARADISE / KATY KIDD & SYNAPTIC PRESS / JERRY WELLMAN Jerry Wellma, Angels All Over. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1466021010086-YWXOQDM6BH3QSD8QJ717/monument+sm.jpg PIMPING PARADISE / KATY KIDD & SYNAPTIC PRESS / JERRY WELLMAN Jerry Wellman, Monument. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1466021016329-0W5EC1YJU99TJPXZC9LO/on+fire+sm.jpg PIMPING PARADISE / KATY KIDD & SYNAPTIC PRESS / JERRY WELLMAN Jerry Wellman, On Fire. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1466021092709-WS0TDEIYHX7HDMDPH0BM/thaouhts+are+things+sm.jpg PIMPING PARADISE / KATY KIDD & SYNAPTIC PRESS / JERRY WELLMAN Jerry Wellman, Thoughts Are Things. http://www.philspacesantafe.com/shop-drop daily 0.75 2016-10-26 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1467323628306-ABYFH2ITEUK4VBA7YXY4/James+Holmes+%28Trout+Shadow%29+2014.+Wood%2C+lead%2C+linoleum%2C+copper%2C+plastic%2C+antler%2C+photographs.+11%2522+x+31%2522+x+11%2522.jpg SHOP DROP / JAMES HOLMES - SHOP DROP: NEW WORKS BY JAMES HOLMES James Holmes, Trout Shadow. 2014. Wood, lead, linoleum, copper, plastic, antler, photographs. 11" x 31" x 11"   PHIL SPACE is pleased to present SHOP DROP: New Work by James Holmes. The surreal constructions and vivid artworks of James Holmes defy easy categorization. They range all over the artistic map from sculpture to furniture to fantastical architecture based on the home. He is similarly uninhibited in his use and combination of everyday materials such as wood, lead, vintage linoleum, brass, and glass. These are mostly materials of the building world and of the domestic sphere. His overall body of work has a deep connection to the house and to the dreams and actions contained within its box-like form. These ideas are similarly played out in the objects that he keeps returning to such as suitcases, keepsake boxes of different sorts, monuments, and plinths. As an artist who avidly draws from his own life and the resources that surround him, his artwork is never one-dimensional. His sculptures are beautiful and elegant in their construction and interplay of surfaces while being humorous, serious, and incisive at the same time. -Lisa Hatchadoorian, Curator at the Nicolaysen Art Museum https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1467323628306-ABYFH2ITEUK4VBA7YXY4/James+Holmes+%28Trout+Shadow%29+2014.+Wood%2C+lead%2C+linoleum%2C+copper%2C+plastic%2C+antler%2C+photographs.+11%2522+x+31%2522+x+11%2522.jpg SHOP DROP / JAMES HOLMES - SHOP DROP: NEW WORKS BY JAMES HOLMES James Holmes, Trout Shadow. 2014. Wood, lead, linoleum, copper, plastic, antler, photographs. 11" x 31" x 11"   PHIL SPACE is pleased to present SHOP DROP: New Work by James Holmes. The surreal constructions and vivid artworks of James Holmes defy easy categorization. They range all over the artistic map from sculpture to furniture to fantastical architecture based on the home. He is similarly uninhibited in his use and combination of everyday materials such as wood, lead, vintage linoleum, brass, and glass. These are mostly materials of the building world and of the domestic sphere. His overall body of work has a deep connection to the house and to the dreams and actions contained within its box-like form. These ideas are similarly played out in the objects that he keeps returning to such as suitcases, keepsake boxes of different sorts, monuments, and plinths. As an artist who avidly draws from his own life and the resources that surround him, his artwork is never one-dimensional. His sculptures are beautiful and elegant in their construction and interplay of surfaces while being humorous, serious, and incisive at the same time. -Lisa Hatchadoorian, Curator at the Nicolaysen Art Museum https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1467748344280-SK66DF32UPX8LJ08B5FM/James+Holmes_Facebook+cover+B_Event.jpg SHOP DROP / JAMES HOLMES James Holmes, Trout Shadow (Detail). 2014. Wood, lead, linoleum, copper, plastic, antler, photographs. 11" x 31" x 11" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1467744051392-EMDV35I89KUZOG73H110/13585217_10208629064017466_978701225901411673_o.jpg SHOP DROP / JAMES HOLMES James Holmes, Brick Sarcophagus. 2012. Fir, walnut, pine, brick, sand, brass. 8 × 14 × 9 inches. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1467744054219-751XCHZKW8O0L4TT0M7G/13580656_10208629065177495_418118059778742397_o.jpg SHOP DROP / JAMES HOLMES James Holmes, Brick Sarcophagus. 2012. Fir, walnut, pine, brick, sand, brass. 8 × 14 × 9 inches. (Inside view) https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1467744150669-Y6FEK7XMBT80C1YNKOF7/James+Holmes+%28Skyline%29+2013.+Wood%2C+linoleum%2C+copper%2C+lead%2C+plastic%2C+rubber.+18%2522+x+17%2522+x+16.5%2522.jpg SHOP DROP / JAMES HOLMES James Holmes, Skyline. 2013. Wood, linoleum, copper, lead, plastic, rubber. 18" x 17" x 16.5" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1468341001566-T23S63Q28KUU58GKCSGR/_DSC8572+150dpi.jpg SHOP DROP / JAMES HOLMES James Holmes, Conquistador Dunce Cap. 2011. Pine, lead, steel, copper, brass. 27.5" x 9.5" x 9.5" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1467747797448-N0TBEQ60L0QK1M18NMDD/13528084_10208628995215746_7720460699432346799_o.jpg SHOP DROP / JAMES HOLMES James Holmes, Four Phases of the Moon. 2013. Pine, lead, copper, brass, steel. 11 × 48 × 2 ½ inches. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1467743769426-VVNRDN0EIPF756AFJQDM/13584762_10208629033696708_9201619297425036975_o.jpg SHOP DROP / JAMES HOLMES James Holmes, House in House. 2015. Pine, copper, linoleum, steel. 7 ¼ × 9 ½ × 2 ¼ inches. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1468341006095-UL6PLKT2HF1RK8HDG7WS/_DSC8575+150dpi.jpg SHOP DROP / JAMES HOLMES James Holmes, New Mexico Panorama. 2010. Aspen, pine, fir, lead, copper, steel, plastic. 26.5" x 35.25" x 8" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1468341018575-FD74XLP5RUR1JA4IWCA9/_DSC8591+150dpi.jpg SHOP DROP / JAMES HOLMES James Holmes, New World Order. 2002. Steel, white oak, redwood, pine, brass, copper, linoleum, glass. 16.5" x 11" x 11" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1468341012147-7GRSPGM7KHVD0JB6XCEW/_DSC8582+150dpi.jpg SHOP DROP / JAMES HOLMES James Holmes, Fin House. 2011. Pine, lead, linoleum, copper, porcelain. 10.25" x 12.25" x 3.25" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1468341012162-RXLQORNQ9ZCL9JWXBULZ/_DSC8579+150dpi.jpg SHOP DROP / JAMES HOLMES James Holmes, Antler Quotation. 2016. Pine, walnut, tin. 19.25" x 13" x 7" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1468341018453-BA4CVZYG02043UXHJ3XF/_DSC8595+150dpi.jpg SHOP DROP / JAMES HOLMES James Holmes, Untitled. 2000. Pine, linoleum, metal. 19.75" x 40.5" x 6.75" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1468341026571-LAZ57DL2I0ZVYRAU5OWZ/_DSC8600+150dpo.jpg SHOP DROP / JAMES HOLMES James Holmes, Mystery Twins, St. Joe, Missouri. 2014. Pine, lead, copper, steel, photographs. 6.5" x 15" x 1" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1468341028577-HS8PM328GNRND7BJ7NVK/_DSC8606+150dpi.jpg SHOP DROP / JAMES HOLMES James Holmes, Scale. 2009. Pine, lead, linoleum, plastic, white metal, copper, brass, chain, bird nest. 21.75" x 20" x 8.5" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1469728204015-YDHQYOS3JXV5OMN4ILQS/_DSC3430.jpg SHOP DROP / JAMES HOLMES James Holmes, Gold King. 2015. Pine, lead, copper, steel, faux gold leaf. 6.5" x 13.25" x 5.5" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1468346984552-QZ7ZWXU1X4RJ1DCMMGJ0/_DSC3453.jpg SHOP DROP / JAMES HOLMES James Holmes, July 18, 1969. 2015. Redwood, pine, steel, lead, linoleum, plastic, leather, paper. 12.25" x 15.25" x 7.375" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1468347836842-0V5TO8N771M4ZQSPPMRU/_DSC6263.jpg SHOP DROP / JAMES HOLMES James Holmes, Missouri Riverboat. 2016. Pine, walnut, branches, tin, copper, lead, brass, linoleum, chain. 23" x 36" x 10.5" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1468348048970-XBZVZS6569B72IES7A2A/_DSC6287.jpg SHOP DROP / JAMES HOLMES James Holmes, Ship of the Evening. 2016. Pine, copper, lead, linoleum, walnut, steel. 15.25" x 24.75" 4.5" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1468348356701-YO3M9ULCOBUEDX51F5MY/_DSC7525+72dpi.jpg SHOP DROP / JAMES HOLMES Holmes, Pi Hammer. 2016. Pine, linoleum, ink, lead. 14" x 14.25" x 12.25" http://www.philspacesantafe.com/past-present daily 0.75 2016-10-26 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1470156771871-P252CSGCH09Q6OVF20M3/10+Metamorphosis+III.jpg PAST PRESENT / SUSANNA CARLISLE & BRUCE HAMILTON - PAST PRESENT: SUSANNA CARLISLE & BRUCE HAMILTON Metamorphosis III. Acrylic, brass and cable. 6”H x 20”W x 26”D SUSANNA CARLISLE & BRUCE HAMILTON will present works from more than three decades of collaboration. They combine backgrounds in visual art, architecture, computer technology and video to design and build sculpture and installations. Constructed from a variety of materials that are high-tech, organic, recycled or discarded, their work often places moving images into sculptural environments. Their early sculptures were conceived with the help of a computer. Bruce wrote programs to manipulate geometric forms in space and then the duo created patterns with which to build and realize these pieces. Ever since Susanna fell down the rabbit hole into video, they have been creating sculptures and installations that take the moving image into the third dimension. Stretching awareness beyond the looking glass of everyday attention, their works suggest the complex relationship of the man-made and natural worlds with immediacy and motion. They have explored mathematical relationships and addressed many environmental and cultural concerns. Their installations have revealed the impact of wind and water on sandstone canyons and coastal cities. The desecration of the natural world — its inhabitants and habitats — was the subject of an installation addressing non-native invasive plant species. Some other works have responded to the 1980 riot at the NM Penitentiary, the beliefs and symbology of Native American culture, the aftermath of the Berlin Wall, and the relevance of street art on the urban landscape. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1470156771871-P252CSGCH09Q6OVF20M3/10+Metamorphosis+III.jpg PAST PRESENT / SUSANNA CARLISLE & BRUCE HAMILTON - PAST PRESENT: SUSANNA CARLISLE & BRUCE HAMILTON Metamorphosis III. Acrylic, brass and cable. 6”H x 20”W x 26”D SUSANNA CARLISLE & BRUCE HAMILTON will present works from more than three decades of collaboration. They combine backgrounds in visual art, architecture, computer technology and video to design and build sculpture and installations. Constructed from a variety of materials that are high-tech, organic, recycled or discarded, their work often places moving images into sculptural environments. Their early sculptures were conceived with the help of a computer. Bruce wrote programs to manipulate geometric forms in space and then the duo created patterns with which to build and realize these pieces. Ever since Susanna fell down the rabbit hole into video, they have been creating sculptures and installations that take the moving image into the third dimension. Stretching awareness beyond the looking glass of everyday attention, their works suggest the complex relationship of the man-made and natural worlds with immediacy and motion. They have explored mathematical relationships and addressed many environmental and cultural concerns. Their installations have revealed the impact of wind and water on sandstone canyons and coastal cities. The desecration of the natural world — its inhabitants and habitats — was the subject of an installation addressing non-native invasive plant species. Some other works have responded to the 1980 riot at the NM Penitentiary, the beliefs and symbology of Native American culture, the aftermath of the Berlin Wall, and the relevance of street art on the urban landscape. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1470156565626-NNK5LKC8MKVKVD37C03T/Carlisle+%26+Hamilton+%28Alary%29+1989.+22.5%2522H+x+23%2522W+x+3%2522D.jpg PAST PRESENT / SUSANNA CARLISLE & BRUCE HAMILTON Alary, 1989. Mixed media. 22.5”H x 23”W x 3”D https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1470156613010-ZCEK7CA7YC1IJPPPF0CM/01+Berlin+Wall+B.jpg PAST PRESENT / SUSANNA CARLISLE & BRUCE HAMILTON Berlin Wall, 2014. Video projection, serrated steel slats, walnut. 56”H x 33”W x 3/4”D https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1470156650648-XCB3TP1LU8N80YSKLGWL/Carlisle+%26+Hamilton+%28Mother+and+Child%29+1985-2016.+Ink+on+paper.+16.5%2522+x+20%2522.jpg PAST PRESENT / SUSANNA CARLISLE & BRUCE HAMILTON Mother and Child, 1985-2016. Ink on paper. 16.5”H x 20”W https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1470156192017-XNREX1J9RHWNWZHH7W6B/Carlisle+%26+Hamilton+%28Floating+Dragon%29+1988.+Wood%2C+acrylic%2C+brass+and+cable.+7%2522H+x+15%2522W+x+58%2522D.jpg PAST PRESENT / SUSANNA CARLISLE & BRUCE HAMILTON Floating Dragon, 1988. Wood, acrylic, brass and cable. 7”H x 15”W x 58”D https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1470157494578-DD6S4TTXAO18HZT7F9GR/01+Fallen+Leaves.jpg PAST PRESENT / SUSANNA CARLISLE & BRUCE HAMILTON Fallen Leaves Revisited: A tribute to Menache Kadishman in memory of victims of war, terror, torure and injustice, 2016. Video projection, rusted steel plate. 20” H x 25” W https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1470156658437-WOKF3A30DK7DJ2PU68WV/Carlisle+%26+Hamilton+%28Floating+Worlds%29+2016.+Video+projection+and+suspended+leaves.jpg PAST PRESENT / SUSANNA CARLISLE & BRUCE HAMILTON Fallen Leaves Revisited: A tribute to Menache Kadishman in memory of victims of war, terror, torure and injustice (Detail), 2016. Video projection, rusted steel plate. 20” H x 25” W https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1470157487021-RP5RBO7OQYUKUQZ2ESCR/06+Medusa+drawing.jpg PAST PRESENT / SUSANNA CARLISLE & BRUCE HAMILTON Medusa, 1985. Ink, acrylic on paper. 19”H x 26”W https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1470157575762-ZBCRIETUCHI16GDV4FHO/03+Tetrad.jpg PAST PRESENT / SUSANNA CARLISLE & BRUCE HAMILTON Tetrad, 1984. Laminated wood. 16”h x 27”w x 23”D http://www.philspacesantafe.com/the-world-is-flat-not-round daily 0.75 2016-08-30 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1472577704242-90L4VAQ239T8H21PRPFI/Jeff+Kahm+%28Proximity%29+2016.+Acrylic+on+canvas.+70%2522+x+60%2522.+Courtesy+of+Chiaroscuro.jpg THE WORLD IS FLAT NOT ROUND / GROUP SHOW - JEFF KAHM Proximity, 2016. Acrylic on canvas. 70" x 60". Courtesy of Chiaroscuro PHIL SPACE is pleased to present a group show of abstract paintings curated by Tim Jag. Like“The World Is Round Not Flat,” a groundbreaker for the Middle ages…. “The World Is Flat Not Round” title references Post War Abstractions alternate take on the Western Art Canon, a theoretical battleground to find purpose and justification for non- representational art. In essence, non-objective art movements such as, Constructivism, Neo-Plasticism, Abstract Expressionism, and Minimalism brought us the pictorial politics of flatness. If early forms of abstract painting like cubism pushed the function of narrative figuration from 3-D illusion to a nearly flat space, what would come next is the obvious - completely flat, non-figurative, non-objective art, or art for arts sake.   The significance and value of “Flat” painting reflects a stable and ongoing theoretical of thought and expression as artist continue to explore and build upon past non-objective pictorial forms. Likewise, this exhibit attempts to show significant and important “Flat” art being produced here locally, in New Mexico. “The World Is Flat Not Round” highlights a variety of local artist working in various forms who reflect a personal searching and expression toward “Flatness.”   Featuring: Jamie Brunson Erin Elder Jeff Kahm Jamie Hart Tim Jag Ted Laredo Jen Pack Heidi Pollard https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1472577704242-90L4VAQ239T8H21PRPFI/Jeff+Kahm+%28Proximity%29+2016.+Acrylic+on+canvas.+70%2522+x+60%2522.+Courtesy+of+Chiaroscuro.jpg THE WORLD IS FLAT NOT ROUND / GROUP SHOW - JEFF KAHM Proximity, 2016. Acrylic on canvas. 70" x 60". Courtesy of Chiaroscuro PHIL SPACE is pleased to present a group show of abstract paintings curated by Tim Jag. Like“The World Is Round Not Flat,” a groundbreaker for the Middle ages…. “The World Is Flat Not Round” title references Post War Abstractions alternate take on the Western Art Canon, a theoretical battleground to find purpose and justification for non- representational art. In essence, non-objective art movements such as, Constructivism, Neo-Plasticism, Abstract Expressionism, and Minimalism brought us the pictorial politics of flatness. If early forms of abstract painting like cubism pushed the function of narrative figuration from 3-D illusion to a nearly flat space, what would come next is the obvious - completely flat, non-figurative, non-objective art, or art for arts sake.   The significance and value of “Flat” painting reflects a stable and ongoing theoretical of thought and expression as artist continue to explore and build upon past non-objective pictorial forms. Likewise, this exhibit attempts to show significant and important “Flat” art being produced here locally, in New Mexico. “The World Is Flat Not Round” highlights a variety of local artist working in various forms who reflect a personal searching and expression toward “Flatness.”   Featuring: Jamie Brunson Erin Elder Jeff Kahm Jamie Hart Tim Jag Ted Laredo Jen Pack Heidi Pollard https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1472577685178-EHV19QFQ5EFBRF64NORK/Jamie+Brunson+%28Cleave%29+2016.+Oil+and+alkyd+on+polyester+over+panel.14%2522+x+14%2522.jpeg THE WORLD IS FLAT NOT ROUND / GROUP SHOW - JAMIE BRUNSON Cleave, 2016. Oil and alkyd on polyester over panel. 14" x 14" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1472577686986-5TO53CLMYWORH4F3VXEI/Heidi+Pollard+%28Face%29+2005.+OIl+on+canvas.+10%2522+x+8%2522.jpg THE WORLD IS FLAT NOT ROUND / GROUP SHOW - HEIDI POLLARD Face, 2005. OIl on canvas. 10" x 8" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1472577706738-DYUUJQKCHOPVAE9B8QU0/Erin+Elder+%28Transmission%29+2015.+Ink+on+paper.14%2522+x+11%2522.jpg THE WORLD IS FLAT NOT ROUND / GROUP SHOW - ERIN ELDER Transmission, 2015. Ink on paper. 14" x 11" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1472578022091-H67ODVQYJZSZTNMQF29I/Jen+Pack+%28An+Unlikely+Partnership%29+2012.+Fabric%2C+thread%2C+wood.+25.5%2522+x+29.5%2522+x+3.5%2522.jpg THE WORLD IS FLAT NOT ROUND / GROUP SHOW - JEN PACK An Unlikely Partnership, 2012. Fabric, thread, wood. 25.5" x 29.5" x 3.5" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1472578118931-8YCTIDH6L7WQRIDB3NSH/ted+laredo_blue+to+green+%28study%29_2015_acrylic+and+glass+micro+beads+on+canvas_6x8x.25+inches_TLID254_cropped.jpg THE WORLD IS FLAT NOT ROUND / GROUP SHOW - TED LAREDO Blue to Green (Study). 2015. Acrylic and glass micro beads on canvas. 6" x 8" x .25" http://www.philspacesantafe.com/everglades-times-discipline daily 0.75 2016-10-26 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1473613920533-G5C71FLDLDGS538GX0Q7/unnamed-1.jpg EVERGLADES: TIME'S DISCIPLINE / MARY PECK - EVERGLADES: PHOTOGRAPHS BY MARY PECK Snake Bight, Everglades. Circa 1986. Archival pigment print. 24" x 64" PHIL SPACE is pleased to present the photographs of Mary Peck in conjunction with the launch of her book, Everglades: Time’s Discipline, featuring an essay by William deBuys. The photographs were made thirty years ago when the Everglades were already profoundly altered by surrounding development and water contamination. DeBuys political and environmental history brings us to the present and the realities of climate change. Combined with Peck’s photographs the book makes clear the pronounced tension between the everyday beauty that exists in the world and the undeniable loss we face. Over the past forty years Mary Peck has traveled to various parts of the world to photograph natural and at times enigmatic landscapes, observing the signs of geological processes, the cycles of weather, and the traces of human activity. In the series Temples of Greece, Peck's black and white photographs on a Mediterranean island depict dramatic and seemingly uninhabited places that are punctuated by the timeworn forms of ancient ruins, such as the remnants of a stone wall or a few standing pillars on the edge of a cliff. Peck completed the series in 1979, four years after she graduated from Utah State University, placing it among her early work. But these photographs share with her later photographs an expansive sense of space and a rich tonal range that convey the grandeur and beauty of these settings. In more recent years Peck has photographed in locations such as Bhutan, Chaco Canyon in New Mexico, and Washington State's Olympic Peninsula, where she currently lives. (Bio from Museum of Contemporary Photography) https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1473613920533-G5C71FLDLDGS538GX0Q7/unnamed-1.jpg EVERGLADES: TIME'S DISCIPLINE / MARY PECK - EVERGLADES: PHOTOGRAPHS BY MARY PECK Snake Bight, Everglades. Circa 1986. Archival pigment print. 24" x 64" PHIL SPACE is pleased to present the photographs of Mary Peck in conjunction with the launch of her book, Everglades: Time’s Discipline, featuring an essay by William deBuys. The photographs were made thirty years ago when the Everglades were already profoundly altered by surrounding development and water contamination. DeBuys political and environmental history brings us to the present and the realities of climate change. Combined with Peck’s photographs the book makes clear the pronounced tension between the everyday beauty that exists in the world and the undeniable loss we face. Over the past forty years Mary Peck has traveled to various parts of the world to photograph natural and at times enigmatic landscapes, observing the signs of geological processes, the cycles of weather, and the traces of human activity. In the series Temples of Greece, Peck's black and white photographs on a Mediterranean island depict dramatic and seemingly uninhabited places that are punctuated by the timeworn forms of ancient ruins, such as the remnants of a stone wall or a few standing pillars on the edge of a cliff. Peck completed the series in 1979, four years after she graduated from Utah State University, placing it among her early work. But these photographs share with her later photographs an expansive sense of space and a rich tonal range that convey the grandeur and beauty of these settings. In more recent years Peck has photographed in locations such as Bhutan, Chaco Canyon in New Mexico, and Washington State's Olympic Peninsula, where she currently lives. (Bio from Museum of Contemporary Photography) https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1473613917848-V60QODS0MLADU7E96IZA/unnamed.jpg EVERGLADES: TIME'S DISCIPLINE / MARY PECK - Mahogany Hammock, Everglades Circa 1984. Archival pigment print. 24" x 64" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1473613917763-M5JRIXDE6R0KJX63HB2Y/unnamed-2.jpg EVERGLADES: TIME'S DISCIPLINE / MARY PECK https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1473613919922-JZOVW4G958TRQW39HLHV/unnamed-3.jpg EVERGLADES: TIME'S DISCIPLINE / MARY PECK http://www.philspacesantafe.com/larry-bob-phillips daily 0.75 2018-02-28 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1472156019539-6XFM0HUN826FQHKYPOA8/Screen+Shot+2016-08-25+at+2.12.49+PM.png LARRY BOB PHILLIPS https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1472154529489-GUVWPI4JULLBOK93Z9LB/Larry+Bob+Phillips+%28Time+Frame%29+2016.+Ink+on+paper.+42%2522+x+38%2522.jpg LARRY BOB PHILLIPS - TIME FRAME 2016. Ink on paper. 42" x 38" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1519839915245-LHIWO7IMK224F9JE8M99/Larry+Bob+Phillips+%28Brainbow%29+2015.+Ink+on+paper.+40%2522+x+60%2522.jpg LARRY BOB PHILLIPS https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1519839916392-8XMNH16WLXQHW79JT2LA/Larry+Bob+Phillips+%28Night+Tree%29+2015.+Ink+on+paper.+40%2522+x+60%2522.jpg LARRY BOB PHILLIPS https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1519839920623-SX99MS4MWCCK3ZPQ1YAU/Larry+Bob+Phillips+%28Smoking+Bather%29+2015.+Ink+on+paper.+44%2522+x+67%2522.jpg LARRY BOB PHILLIPS http://www.philspacesantafe.com/twice-through-the-maze daily 0.75 2016-10-26 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1476202136078-251B4T3GMFRPU2TC9J71/Burning+Books+%28The+Defector+with+the+Sphinx%29+Archival+pigment+print.+8.8%2522+x+12.5%2522.jpg TWICE THROUGH THE MAZE / BURNING BOOKS - TWICE THROUGH THE MAZE: Photoworks & Words by Burning Books The Defector with the Sphinx. Archival pigment print. 8.53" x 12.8" TWICE THROUGH THE MAZE is a mythic tale revealed in Michael Sumner’s photoworks and Melody Sumner Carnahan’s synopsis sending the viewer on parallel journeys through an ever-expanding maze. The characters have both “street level” personas and Greek god/goddess counterparts. The exhibition includes related works by guest artists Serena Rieke, Orlando Leibovitz, and James Hart, with music by Max Neutra. “Twice Through the Maze leads us into, but not quite out of, a labyrinth of beguiling narrative possibility. This journey through a brain-teasing maze is an amusing one, yet it’s utterly serious in its haunting overtones.” —Diane Armitage, THE Magazine “Twice Through the Maze, [is] a time-bending book ... with hauntingly beautiful imagery ... always engaging as it provides endless possibilities that will continually intrigue.” —Raina Wellman, “Generation Next,” Santa Fe New Mexican BURNING BOOKS, based in Santa Fe, is a self-described “artist-run, weirdness-driven organization dedicated to the production and publication of unmuzzled literature, music, and art.” It was founded in 1979 in Oakland, California, by writer / editor Melody Sumner Carnahan and artist / designer Michael Sumner who moved to New Mexico in 1989 where Burning Books continues to produce art in “obsolete delivery systems”—books, posters, pamphlets, postcards, and Seven Sins Soup. The pair has produced books in collaboration with other artists, including John Cage, Yoko Ono, Laurie Anderson, and Steina and Woody Vasulka. Burning Books has published 33 books and numerous audioworks, and has produced many books for museums including the Guggenheim Museum and the San Francisco Museum of Modern Art. Michael Sumner’s work includes prints, film, and photographs, and has been shown at the Ann Arbor Film Festival, the San Francisco Cinematheque, and in a Smithsonian Traveling Exhibition. Melody Sumner Carnahan is an award-winning author with twelve books in print. She received an MFA from Mills College where she began collaborating with composers, performers, and artists to present her writing “off the page.” A 56-page book, Twice Through the Maze, is available at Phil Space during the exhibition. Please visit http://burningbooks.org/about https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1476202136078-251B4T3GMFRPU2TC9J71/Burning+Books+%28The+Defector+with+the+Sphinx%29+Archival+pigment+print.+8.8%2522+x+12.5%2522.jpg TWICE THROUGH THE MAZE / BURNING BOOKS - TWICE THROUGH THE MAZE: Photoworks & Words by Burning Books The Defector with the Sphinx. Archival pigment print. 8.53" x 12.8" TWICE THROUGH THE MAZE is a mythic tale revealed in Michael Sumner’s photoworks and Melody Sumner Carnahan’s synopsis sending the viewer on parallel journeys through an ever-expanding maze. The characters have both “street level” personas and Greek god/goddess counterparts. The exhibition includes related works by guest artists Serena Rieke, Orlando Leibovitz, and James Hart, with music by Max Neutra. “Twice Through the Maze leads us into, but not quite out of, a labyrinth of beguiling narrative possibility. This journey through a brain-teasing maze is an amusing one, yet it’s utterly serious in its haunting overtones.” —Diane Armitage, THE Magazine “Twice Through the Maze, [is] a time-bending book ... with hauntingly beautiful imagery ... always engaging as it provides endless possibilities that will continually intrigue.” —Raina Wellman, “Generation Next,” Santa Fe New Mexican BURNING BOOKS, based in Santa Fe, is a self-described “artist-run, weirdness-driven organization dedicated to the production and publication of unmuzzled literature, music, and art.” It was founded in 1979 in Oakland, California, by writer / editor Melody Sumner Carnahan and artist / designer Michael Sumner who moved to New Mexico in 1989 where Burning Books continues to produce art in “obsolete delivery systems”—books, posters, pamphlets, postcards, and Seven Sins Soup. The pair has produced books in collaboration with other artists, including John Cage, Yoko Ono, Laurie Anderson, and Steina and Woody Vasulka. Burning Books has published 33 books and numerous audioworks, and has produced many books for museums including the Guggenheim Museum and the San Francisco Museum of Modern Art. Michael Sumner’s work includes prints, film, and photographs, and has been shown at the Ann Arbor Film Festival, the San Francisco Cinematheque, and in a Smithsonian Traveling Exhibition. Melody Sumner Carnahan is an award-winning author with twelve books in print. She received an MFA from Mills College where she began collaborating with composers, performers, and artists to present her writing “off the page.” A 56-page book, Twice Through the Maze, is available at Phil Space during the exhibition. Please visit http://burningbooks.org/about https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1476202137327-B3NPOH1PPFQO6IPYHC6S/Burning+Books+%28The+Investigator+in+Japan%29+Archival+pigment+print.+11.5%2522+x+15%2522.jpg TWICE THROUGH THE MAZE / BURNING BOOKS The Investigator in Japan. Archival pigment print. 11.4" x 15.2" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1476202145526-EROPV5FVXFKHR0I0P6NC/Burning+Books+%28The+Minister%E2%80%99s+Illegitimate+Daughter%29+Archival+pigment+print.+11.5%2522+x+15%2522.jpg TWICE THROUGH THE MAZE / BURNING BOOKS The Minister’s Illegitimate Daughter. Archival pigment print. 11.4" x 15.2" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1476202150377-WS50YUSYSF1H183FHT6N/Burning+Books+%28The+Minister%29+Archival+pigment+print.+8.8%2522+x+12.5%2522.jpg TWICE THROUGH THE MAZE / BURNING BOOKS The Minister. Archival pigment print. 8.53" x 12.8" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1476202151422-65ZLU4ZDSHVXGKA1OVY3/Burning+Books+%28The+Unreliable+Witness%29+Archival+pigment+print.+8.8%2522+x+12.5%2522.jpg TWICE THROUGH THE MAZE / BURNING BOOKS The Unreliable Witness. Archival pigment print. 8.8" x 12.5" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1477425787058-F4CA3L8C48DDGQJ8KK98/daughter_%26_defector.jpg TWICE THROUGH THE MAZE / BURNING BOOKS The Minister's Illegitimate Daughter and the Defector. Archival pigment print. 11.4" x 15.2"" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1477425787385-YUBSTATGEXC79Y6LGF73/defector_%26_magistrate.jpg TWICE THROUGH THE MAZE / BURNING BOOKS The Defector and the Magistrate in the Dream. Archival pigment print. 11.4" x 15.2" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1477425789825-46AHO9C6Z033YEX05TGP/dreamer.jpg TWICE THROUGH THE MAZE / BURNING BOOKS The Dreamer. Archival pigment print. 11.4" x 15.2" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1477425789386-HTADNMIJJ9TP17T3ESDB/heartthrob_at_theater.jpg TWICE THROUGH THE MAZE / BURNING BOOKS The Heartthrob Outside the Theater. Archival pigment print. 11.4" x 15.2" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1477425791275-T27TXJCO0CTA2T7DOO9A/heartthrob_signs.jpg TWICE THROUGH THE MAZE / BURNING BOOKS The Heartthrob Follows the Signs. Archival pigment print. 8.53" x 12.8" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1477425791412-WVCH1FGY6F3OTKM7374W/heartthrob_with_box.jpg TWICE THROUGH THE MAZE / BURNING BOOKS The Heartthrob and the Box of Light. Archival pigment print. 8.53" x 12.8" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1477425793100-UU1JXBZVX4SUZB15T5TP/japanese+daughter.jpg TWICE THROUGH THE MAZE / BURNING BOOKS The Minister's Japanese Daughter. Archival pigment print. 11.4" x 15.2" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1477425793568-M1W89OUAC8UIIPMOACSR/minister_in_exile.jpg TWICE THROUGH THE MAZE / BURNING BOOKS The Minister in Exile. Archival pigment print. 8.53" x 12.8" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1477425794316-7GLSQS7SU7PXE1EG31AS/sweatheart_%26_heartthrob.jpg TWICE THROUGH THE MAZE / BURNING BOOKS The Sweetheart and the Heartthrob. Archival pigment print. 8.53" x 12.8" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1477425795409-DKXKZ5030RDMW8979S9U/the+party.jpg TWICE THROUGH THE MAZE / BURNING BOOKS The People Who Stayed at the Party. Archival pigment print. 8.53" x 12.8" http://www.philspacesantafe.com/aristocrats-among-industrial-ruins-francisco-benitez daily 0.75 2016-11-08 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1478636222374-53GR3VTBR52CGO95H4UT/Francisco+Benitez+%28Je+Survole+le+Monde%29+Oil+on+canvas%2C+48%2522+x+60%2522+.jpg ARISTOCRATS AMONG INDUSTRIAL RUINS / FRANCISCO BENITEZ - ARISTOCRATS AMONG INDUSTRIAL RUINS Je Survole le Monde, 2016. Oil on canvas. 48" x 60" SANTA FE artist Francisco Benitez paints contemporary women in the garb of Greco-Roman goddesses or decadent rococo aristocrats, immersed in post-industrial environments or “mind- soups” with floating “thought bubbles” and factories with billowing smoke or women creating bombs and planes during WW2. Bridging the work of two series, the Metaphysical and Doña Inés Lost Her Slipper projects, Benitez highlights the disjuncture between our aspirations as a society embodied in female ideals of beauty, with its subsequent industrial and environmental aftermath. Benitez’ women are contemporary, real, living women who are subjects of portraiture in a traditional sense, but all the while their identity flows into society’s identification with abstracted ideals, such as the Aphrodite Pandamos (Aphrodite of the People), or a decadent aristocrat who has a wall full of Leonardo drawings and billowing factories behind her. Francisco Benitez is a recipient of this years Mayor’s Award for Excellence in the Arts. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1478636222374-53GR3VTBR52CGO95H4UT/Francisco+Benitez+%28Je+Survole+le+Monde%29+Oil+on+canvas%2C+48%2522+x+60%2522+.jpg ARISTOCRATS AMONG INDUSTRIAL RUINS / FRANCISCO BENITEZ - ARISTOCRATS AMONG INDUSTRIAL RUINS Je Survole le Monde, 2016. Oil on canvas. 48" x 60" SANTA FE artist Francisco Benitez paints contemporary women in the garb of Greco-Roman goddesses or decadent rococo aristocrats, immersed in post-industrial environments or “mind- soups” with floating “thought bubbles” and factories with billowing smoke or women creating bombs and planes during WW2. Bridging the work of two series, the Metaphysical and Doña Inés Lost Her Slipper projects, Benitez highlights the disjuncture between our aspirations as a society embodied in female ideals of beauty, with its subsequent industrial and environmental aftermath. Benitez’ women are contemporary, real, living women who are subjects of portraiture in a traditional sense, but all the while their identity flows into society’s identification with abstracted ideals, such as the Aphrodite Pandamos (Aphrodite of the People), or a decadent aristocrat who has a wall full of Leonardo drawings and billowing factories behind her. Francisco Benitez is a recipient of this years Mayor’s Award for Excellence in the Arts. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1478636223865-49NWVI86QYA1JM5NDBOG/Francisco+Benitez+%28Aphrodite+Pandemos%29+2010.+Encaustic+on+canvas+over+panel.+83%2522+x+49%2522.jpg ARISTOCRATS AMONG INDUSTRIAL RUINS / FRANCISCO BENITEZ Aphrodite Pandemos, 2010. Encaustic on canvas over panel. 83" x 49" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1478636995721-3IMM0GOROL82VST3896K/Do%C3%B1a+In%C3%A9s+Among+Strange+Fruit%2C+2014%2C++oil+on+canvas+71+x+81%2522+.jpg ARISTOCRATS AMONG INDUSTRIAL RUINS / FRANCISCO BENITEZ Doña Inés Among Strange Fruit, 2014, oil on canvas 71 x 81" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1478636238623-RFC93R7PSVUURN97WTGP/Francisco+Benitez+%28La+Comtesse%29+Oil+on+canvas%2C+54%2522+x+38%2522+.jpg ARISTOCRATS AMONG INDUSTRIAL RUINS / FRANCISCO BENITEZ La Comtesse, 2016. Oil on canvas, 54" x 38" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1478637984195-LK5IVBMCGJPOVVZ7Q59W/Muse+of+Spheres%2C+2015%2C+Oil+on+panel%2C+24+x+36%2522.jpg ARISTOCRATS AMONG INDUSTRIAL RUINS / FRANCISCO BENITEZ Muse of Spheres, 2015. Oil on panel, 24" x 36" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1478636692998-BKFMDUBPSXNTQF62B3RW/Venus+of+Rains+%2C+2016%2C+oil+on+canvas%2C+48+x+36+inches.jpg ARISTOCRATS AMONG INDUSTRIAL RUINS / FRANCISCO BENITEZ Venus of Rains, 2016. Oil on canvas. 48" x 36" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1478636674862-UCEMJ5DK7045DBIVGPX5/The+Countess+%28Face%29++2016+Ceracolor+and+encaustic+on+panel%2C+44+x+62+inches.jpg ARISTOCRATS AMONG INDUSTRIAL RUINS / FRANCISCO BENITEZ The Countess (Face), 2016. Ceracolor and encaustic on panel. 44" x 62" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1478638075320-L57MTS4YR2F2QFXUL62E/The+Forest+of+My+Thoughts%2C+2013%2C++oil+on+canvas%2C+48+x+30+inches.jpg ARISTOCRATS AMONG INDUSTRIAL RUINS / FRANCISCO BENITEZ The Forest of My Thoughts, 2013. Oil on canvas, 48" x 30" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1478636834080-KOY58JQ9LJYUXTRL9HKF/Flight+in+Winter+%2C+2013%2C+Oil+on+canvas%2C+74+x+48+inches.jpg ARISTOCRATS AMONG INDUSTRIAL RUINS / FRANCISCO BENITEZ Flight in Winter, 2013. Oil on canvas. 74" x 48" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1478636333758-RC6NUFSZKP1KR1T46TEJ/Francisco+Benitez+%28Child+in+Flight%29+2009.+Encaustic+on+panel.+60%2522+x+48%2522.jpg ARISTOCRATS AMONG INDUSTRIAL RUINS / FRANCISCO BENITEZ Child in Flight, 2009. Encaustic on panel. 60" x 48" http://www.philspacesantafe.com/people-are-terrific-anthony-hassett daily 0.75 2016-11-29 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1480449701089-2EFV0ERPG02V4LV0GT8I/Hassett2.jpg PEOPLE ARE TERRIFIC / ANTHONY HASSETT - ANTHONY HASSETT: PEOPLE ARE TERRIFIC From: The Western Lands, 2014. Chinese ink and acrylic glaze. 5" x 8" AS AN “ANGEL-HEADED” adolescent, Hassett was among the last disciples of the Beats: the mid-century writers and artists whose work shared themes of spirituality, environmental awareness, and political dissidence. He left Venice Beach at the age of fifteen with his thumb pointing skyward. By the time he reached the classrooms of William S. Burroughs and Allen Ginsberg at Naropa Institute in Boulder, Hassett’s early life was already one of uncompromised nonconformity, intentional obscurity, and above all, radiant poetry. His life continues to embody Marcuse’ “Great Refusal”, and has found him variously in jail cells with infamous political dissidents; in the salons of Nepalese poets and photographers; deported from Morocco; arrested in Athens; in detention by British military in caves beneath the Rock of Gibraltar; at dinner tables with famed writers and filmmakers in Rome, Paris, Istanbul, NY, and LA; and on the sofas of Sandinistas, Chavistas, Panthers, and Weather Underground; at a porn theatre on Christmas Eve in New Jersey; in Copacabana, Bolivia on the Day of the Dead; in riots in Chile; at Marxist-Lacanian conferences in Berlin; in confinement in Frankfurt during the Chernobyl meltdown; in Beijing and Stockholm with Kung-Fu masters; at tango parlors in Buenos Aires; at temples in India; in Tahrir Square with a million Egyptians… Hassett’s life has been an unceasing and courageous half-century of philosophical inquiry, civil disobedience, defiance of existing socio-political structures, flagrant rebellion, and pursuit of the Real, of which his many ink, marker, and glaze drawings, that combine Hassett’s powerful poetic voice with his equally powerful renderer’s hand, reflect. -Erin Currier ANTHONY HASSETT is a published poet and art critic; and has exhibited his visual art in Berlin, Buenos Aires, Los Angeles, New York City, Santa Fe, and Taos. He lives and works in Santa Fe, New Mexico. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1480449701089-2EFV0ERPG02V4LV0GT8I/Hassett2.jpg PEOPLE ARE TERRIFIC / ANTHONY HASSETT - ANTHONY HASSETT: PEOPLE ARE TERRIFIC From: The Western Lands, 2014. Chinese ink and acrylic glaze. 5" x 8" AS AN “ANGEL-HEADED” adolescent, Hassett was among the last disciples of the Beats: the mid-century writers and artists whose work shared themes of spirituality, environmental awareness, and political dissidence. He left Venice Beach at the age of fifteen with his thumb pointing skyward. By the time he reached the classrooms of William S. Burroughs and Allen Ginsberg at Naropa Institute in Boulder, Hassett’s early life was already one of uncompromised nonconformity, intentional obscurity, and above all, radiant poetry. His life continues to embody Marcuse’ “Great Refusal”, and has found him variously in jail cells with infamous political dissidents; in the salons of Nepalese poets and photographers; deported from Morocco; arrested in Athens; in detention by British military in caves beneath the Rock of Gibraltar; at dinner tables with famed writers and filmmakers in Rome, Paris, Istanbul, NY, and LA; and on the sofas of Sandinistas, Chavistas, Panthers, and Weather Underground; at a porn theatre on Christmas Eve in New Jersey; in Copacabana, Bolivia on the Day of the Dead; in riots in Chile; at Marxist-Lacanian conferences in Berlin; in confinement in Frankfurt during the Chernobyl meltdown; in Beijing and Stockholm with Kung-Fu masters; at tango parlors in Buenos Aires; at temples in India; in Tahrir Square with a million Egyptians… Hassett’s life has been an unceasing and courageous half-century of philosophical inquiry, civil disobedience, defiance of existing socio-political structures, flagrant rebellion, and pursuit of the Real, of which his many ink, marker, and glaze drawings, that combine Hassett’s powerful poetic voice with his equally powerful renderer’s hand, reflect. -Erin Currier ANTHONY HASSETT is a published poet and art critic; and has exhibited his visual art in Berlin, Buenos Aires, Los Angeles, New York City, Santa Fe, and Taos. He lives and works in Santa Fe, New Mexico. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1480449700968-IO0HK6B62KF664HJO0EJ/Hasset1.jpg PEOPLE ARE TERRIFIC / ANTHONY HASSETT From: The Western Lands, 2014. Chinese ink and acrylic glaze. 5" x 8" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1480449707173-J0S6L08TI88X2JPDRR93/Hassett3.jpg PEOPLE ARE TERRIFIC / ANTHONY HASSETT From: The Western Lands, 2014. Chinese ink and acrylic glaze. 5" x 8" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1480449706135-8GBQV7U8C1WE1XWUB2Y3/Hassett4.jpg PEOPLE ARE TERRIFIC / ANTHONY HASSETT From: The Western Lands, 2014. Chinese ink and acrylic glaze. 5" x 8" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1480449708884-62RI2FSOTOQWXJKCHXDL/Hassett5.jpg PEOPLE ARE TERRIFIC / ANTHONY HASSETT From: The Western Lands, 2014. Chinese ink and acrylic glaze. 5" x 8" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1480449741206-B19EMIVODRTCMHZ9YQ9X/unnamed-1.jpg PEOPLE ARE TERRIFIC / ANTHONY HASSETT https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1480449741151-GSXB7T1V9SX2MW286M4L/unnamed-2.jpg PEOPLE ARE TERRIFIC / ANTHONY HASSETT https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1480449741328-I3KXRD65UJ41ZQ8T1AMC/unnamed.jpg PEOPLE ARE TERRIFIC / ANTHONY HASSETT http://www.philspacesantafe.com/fresh-oilcrazy-quiltsword-picturespatrick-mcfarlin daily 0.75 2017-02-08 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1486584764814-YSSEJ45H0G0160LC8R2G/unnamed.jpg FRESH OIL / CRAZY QUILTS / WORD PICTURES / PATRICK McFARLIN - Annual Report IN HIS FIRST SHOW SINCE THE GOLDFINCH VARIATIONS, PATRICK McFARLIN SOLOS AT PHILSPACE The title of McFarlin’s exhibition FRESH OIL, CRAZY QUILT PAINTINGS and WORD PICTURES gives us a clue to the shows subjects. FRESH OIL refers to the newest work—large paintings on unstretched cotton dropcloths such as Annual Report (a kind of three-ring circus where the actors are a clown, a jester, animated paint tubes and the soberly rendered McFarlin). The CRAZY QUILT PAINTINGS were originally conceived as designs for actual quilts, although none have been produced as quilts at this time. A bit smaller than a double-bed quilt, these works on paper take on the gun issue (Sleep Tight), the agony of splintered personality (Too Many Bad Ideas) and shades of grey (Fifty). McFarlin’s WORD PICTURES use passages from great books as the armature for his color. He also refers to this work as his Great Books Foundation. Paragraphs from Kerouac, McCullers, Proust, Faulkner, Orwell and others are pictured.     https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1486584764814-YSSEJ45H0G0160LC8R2G/unnamed.jpg FRESH OIL / CRAZY QUILTS / WORD PICTURES / PATRICK McFARLIN - Annual Report IN HIS FIRST SHOW SINCE THE GOLDFINCH VARIATIONS, PATRICK McFARLIN SOLOS AT PHILSPACE The title of McFarlin’s exhibition FRESH OIL, CRAZY QUILT PAINTINGS and WORD PICTURES gives us a clue to the shows subjects. FRESH OIL refers to the newest work—large paintings on unstretched cotton dropcloths such as Annual Report (a kind of three-ring circus where the actors are a clown, a jester, animated paint tubes and the soberly rendered McFarlin). The CRAZY QUILT PAINTINGS were originally conceived as designs for actual quilts, although none have been produced as quilts at this time. A bit smaller than a double-bed quilt, these works on paper take on the gun issue (Sleep Tight), the agony of splintered personality (Too Many Bad Ideas) and shades of grey (Fifty). McFarlin’s WORD PICTURES use passages from great books as the armature for his color. He also refers to this work as his Great Books Foundation. Paragraphs from Kerouac, McCullers, Proust, Faulkner, Orwell and others are pictured.     https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1486243111887-XA0Q40U06UEYIKIDWGDO/unnamed.jpg FRESH OIL / CRAZY QUILTS / WORD PICTURES / PATRICK McFARLIN https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1486583504599-LSZ7J1AP76SS7GPP2H46/2.+It+happened+on+the+day.lo.jpg FRESH OIL / CRAZY QUILTS / WORD PICTURES / PATRICK McFARLIN - It Happened One Day https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1486583529753-CAJGJY3RBWNH4RVZMO4A/3.+Too+Many+Bad+Ideas.lo.jpg FRESH OIL / CRAZY QUILTS / WORD PICTURES / PATRICK McFARLIN - Too Many Bad Ideas https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1486583541669-7OGZNRFW7T81DO66WJFS/4.+Sleep+Tight.lo.jpg FRESH OIL / CRAZY QUILTS / WORD PICTURES / PATRICK McFARLIN - Sleep Tight https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1486583553356-8GN7VNGRQVBBAHVGG2PQ/5.+Art.in.Arizona.lo.jpg FRESH OIL / CRAZY QUILTS / WORD PICTURES / PATRICK McFARLIN - Art In Arizona https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1486583563651-TAG0JNVFBMRD8CG6I0HL/6.PleinAirMakesAComback.lo.jpg FRESH OIL / CRAZY QUILTS / WORD PICTURES / PATRICK McFARLIN - Plein Air Makes A Comeback http://www.philspacesantafe.com/high-brow-low-ride-shelley-horton-trippe daily 0.75 2018-02-28 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1519834840500-J080XU091ORPVI3XWP1U/_DSC8215+300dpi.jpg HIGH BROW LOW RIDE / SHELLEY HORTON TRIPPE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1519834974761-RX5ZGOAMAF5YGOQDHOLN/_DSC8215+300dpi.jpg HIGH BROW LOW RIDE / SHELLEY HORTON TRIPPE - SHEERAH, WARRIOR PRINCESS 60 x 48" / Oil & Mixed Media on Canvas THE SUMMER AFTER TRUMP'S ELECTION, Horton Trippe visited the non-profit Santa Fe YouthWorks and met a confident, elegant woman leaning against her low-rider in the parking lot. She was the President of the Española Low Rider Club, "a young woman with foot high hair and eyeliner winged to the moon” who, with a pocketful of wrenches, was dismantling the patriarchy bolt by bolt. This woman became the impetus for a body of new work — an exploration of command in the feminine — and provided a colorful palette for Horton-Trippe's own celebratory cry of No More to the suppression of women in our culture. On huge canvasses, in colors and gestures that celebrate the reunification of nature and power, Horton-Trippe creates fertile territory in which big hair, hot pink, and shiny surfaces are elevated to an aesthetic of honor. A portion of the sale of these works will be donated to Santa Fe Youthworks. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1519835037741-74HILXH972MQ5YZ5YAQ5/_DSC8224+300dpi.jpg HIGH BROW LOW RIDE / SHELLEY HORTON TRIPPE - NASHVILLE SKYLINE 24 x 18" / Mixed Media on Canvas https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1519835086739-XHSK8WKKZE4NY0JAH77O/_DSC8227+300dpi.jpg HIGH BROW LOW RIDE / SHELLEY HORTON TRIPPE - WORK/SLEEVE 20 x 16" / Oil and Mixed Media on Canvas https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1519835084487-QR4DNO9BDTIAUK90R225/_DSC8230.+300dpitif.jpg HIGH BROW LOW RIDE / SHELLEY HORTON TRIPPE - BUDDHA BABY 12 x 9" / Mixed Media on Wood https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1519834972910-W143FFBZ1JNF282I5QEX/_DSC8212+300dpi.jpg HIGH BROW LOW RIDE / SHELLEY HORTON TRIPPE - MATERIA MUNDI 72 x 60" / Acrylic on Canvas https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1519835779453-W31OXHJ1CZ6WMZKVPKE9/_DSC8207+300dpi.jpg HIGH BROW LOW RIDE / SHELLEY HORTON TRIPPE - PRETENSE OF HAPPINESS 72 x 60" / Acrylic on Canvas https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1519835124964-6LD76G0WQLCI15RWPUTA/_DSC8233+300dpi.jpg HIGH BROW LOW RIDE / SHELLEY HORTON TRIPPE - TENNIS BRACELET 12 x 9" / Mixed Media on Wood https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1519834920057-KZ3S4Y5IYDCQTDAYM1C6/_DSC8202+300dpi.jpg HIGH BROW LOW RIDE / SHELLEY HORTON TRIPPE - THE PURE AND THE IMPURE (COLLETTE) 72 x 60" / Acrylic on Canvas https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1519841732966-F6R3C8GEIY02EK61YSOY/Horton-Trippe_Shelly_05.jpg HIGH BROW LOW RIDE / SHELLEY HORTON TRIPPE - IF ONLY TOP HATS 45 x 48" / Mixed Media on Canvas http://www.philspacesantafe.com/events-at-phil-space daily 0.75 2018-02-28 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1519834180594-2YPBQXXEVGCP0NISA6BV/threadsoneup.jpg EVENTS AT PHIL SPACE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1519834180594-2YPBQXXEVGCP0NISA6BV/threadsoneup.jpg EVENTS AT PHIL SPACE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1519833975911-NAKJP92OWOUTM6QBDEWB/THE+ad+Guy+Cross+quarter+page2.jpg EVENTS AT PHIL SPACE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1519833843518-M7Q1XRGSP5WLXTH3HJ3Z/DUNNEmailingJPEG.jpg EVENTS AT PHIL SPACE http://www.philspacesantafe.com/the-work-of-tony-price daily 0.75 2023-02-09 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1531765230431-SR6QJ79OA22Z31NM4ODZ/tony+at+yucca+flats+300dpi.jpg THE WORK OF TONY PRICE - THE WORK OF TONY PRICE TONY PRICE’S works of transformed nuclear detritus are celebrated and collected worldwide. PRICE was horrified by the bomb’s potential to thoroughly alter lives by its mere existence, and to end all life by its actual use. He began to create sculptures, and his most famous works are a group of DEITY-INSPIRED MASKS CREATED OUT OF MILITARY-INDUSTRIAL “JUNK” metal, representing the faces of Spirit as seen by traditional cultures from around the world. Read the HYPERALLERGIC article Photo by Elliot McDowell https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1531765230431-SR6QJ79OA22Z31NM4ODZ/tony+at+yucca+flats+300dpi.jpg THE WORK OF TONY PRICE - THE WORK OF TONY PRICE TONY PRICE’S works of transformed nuclear detritus are celebrated and collected worldwide. PRICE was horrified by the bomb’s potential to thoroughly alter lives by its mere existence, and to end all life by its actual use. He began to create sculptures, and his most famous works are a group of DEITY-INSPIRED MASKS CREATED OUT OF MILITARY-INDUSTRIAL “JUNK” metal, representing the faces of Spirit as seen by traditional cultures from around the world. Read the HYPERALLERGIC article Photo by Elliot McDowell https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1675279896280-W4UYYXS1AL8ZZCGI1RW4/philspace+tony+price.jpg THE WORK OF TONY PRICE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1675279547960-R3I3AQO4HWTIO834RDTH/IMG_1454+300dpi.jpg THE WORK OF TONY PRICE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1675279870114-X9KVPYBS2S29SM3A5IQU/nuclear+warrior++300dpi+copy.jpg THE WORK OF TONY PRICE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1675279880013-EPWUADY2B4SMD9F56640/philspace+group+008.jpg THE WORK OF TONY PRICE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1675280739779-E1H07PHN7GU98QJ6IKCW/first+mutant+man+born+without+an+asshole+300dpi+copy.jpg THE WORK OF TONY PRICE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1675279945621-PSH92GM8SKLN63NUX5H6/pacifer+300dpi.jpg THE WORK OF TONY PRICE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1675279929971-PZ29ZY8E0KGOZOFHUIBB/_DSC0446+300dpi.jpg THE WORK OF TONY PRICE https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1675279962224-NPV998JJZ86EWTIO6IWQ/flat+farther+view+print.jpg THE WORK OF TONY PRICE http://www.philspacesantafe.com/woody-valsulka daily 0.75 2023-02-09 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1675967523445-MJ281PN7OLTTXYO9LABW/Woody+at+Phil+Space+6+8.18.15.jpg WOODY VALSULKA / SYNTACTIC RECOLLECTIONS WOODY VASULKA | SYNTACTIC RECOLLECTIONS | PHIL SPACE presents the exhibition, “Syntactic Recollections,” a perspective honoring of the work of Woody Vasulka. WOODY VASULKA | Woody (Bohuslav) Vasulka was born in Brno, CZ in 1937 and died in Santa Fe, NM in 2019. Valsulka studied in Prague, where he met and married Steina Bjarnadottir, from Iceland, and together they emigrated to the U.S. in 1965. Individually and together, the Vasulkas have been at the international forefront of video and electronic media arts since 1969. In 1971, they founded The Kitchen in New York City, the first international center for video and new music arts presentations. Woody Vasulka’s early creative works pioneered the investigation of ‘signal’ as syntactic visual language, experimenting with most electronic imaging and sound synthesis/processing systems, leading from analog to digital to photonic tool applications and transcendent artistry. Woody’s theatrical installations using robotics and software-controlled interactive components to explore new forms of techno-spatial narrative, have been presented internationally since the 1980s. The Vasulkas were not only active artists and inventors of new technologies for over a quarter-century, but founders in 1971 of The Kitchen in New York City, the first international center for video and new music arts presentations. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1675967523445-MJ281PN7OLTTXYO9LABW/Woody+at+Phil+Space+6+8.18.15.jpg WOODY VALSULKA / SYNTACTIC RECOLLECTIONS WOODY VASULKA | SYNTACTIC RECOLLECTIONS | PHIL SPACE presents the exhibition, “Syntactic Recollections,” a perspective honoring of the work of Woody Vasulka. WOODY VASULKA | Woody (Bohuslav) Vasulka was born in Brno, CZ in 1937 and died in Santa Fe, NM in 2019. Valsulka studied in Prague, where he met and married Steina Bjarnadottir, from Iceland, and together they emigrated to the U.S. in 1965. Individually and together, the Vasulkas have been at the international forefront of video and electronic media arts since 1969. In 1971, they founded The Kitchen in New York City, the first international center for video and new music arts presentations. Woody Vasulka’s early creative works pioneered the investigation of ‘signal’ as syntactic visual language, experimenting with most electronic imaging and sound synthesis/processing systems, leading from analog to digital to photonic tool applications and transcendent artistry. Woody’s theatrical installations using robotics and software-controlled interactive components to explore new forms of techno-spatial narrative, have been presented internationally since the 1980s. The Vasulkas were not only active artists and inventors of new technologies for over a quarter-century, but founders in 1971 of The Kitchen in New York City, the first international center for video and new music arts presentations. http://www.philspacesantafe.com/who-what-really-carl-johansen daily 0.75 2024-04-01 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1701197166385-C18OTPP7D3QREXLXH9DN/_DSC0929+72dpi.jpg WHO? WHAT? REALLY? / CARL JOHANSEN - MEN TODAY Acrylic Ink, 27” x 33” Interview from ARTLines, 1981 MOST of the time, we go about our lives not recognizing how absurd, perhaps even shocking, our actions and daily habits might seem to an outside observer. But should we find disgust in the idiosyncrasies of our neighbors — their sexual kinks, eating habits, private internet history, bathroom routines, and role play — and look upon them without reflection, empathy, or understanding, we’d only be looking at them through a clouded mirror. But take a closer look at Carl Johansen’s paintings, sculptures, and works on paper. If you don’t see normal people doing normal things, then are you really looking? Yes, there’s blood, amputees, disembodied heads, references to fellatio, cunnilingus, sex dolls, and BDSM. Is this longtime resident of New Mexico merely poking fun at polite society by us showing its underbelly? It's the world we live in, sure. But cynics don’t make art. The impassioned do. And Johansen recognizes that the society we’ve created has a shadow, which goes unloved and unrecognized. To understand the absurdity of Johansen’s imagery at all, first get to its humanity. Then, it all makes a little more sense. A man can be a dog, bound up, down on his knees, his snout at crotch level to his mistress, which is just the way a figure is depicted in one of Johansen’s paintings. This is a metaphor. But there’s truth in metaphor; a man can be a dog. There’s a wicked humor in the reference to BDSM master and slave in this and similar works by Johansen, but there’s no judgment in them. Comedy yes. But comic foils are like sages. We need them. In another painting, young man rises from the sea holding a head on a pike, as if it was some perverse representation of the ultimate “selfie” stick and shouts out “fuck you” — a rejection of all the folly that surrounds him, a folly of which he’s an inherent part, because Johansen drew him that way. It’s funny, but it’s painful too, because we all feel that way sometimes, like we’re a part of some crazy nightmare, and we’re drowning in it. We can’t wake up, and we don’t know what to do. Born at Camp Lejeune, North Carolina to a father in the Marines, Johansen grew up emulating cartoonists like Ed “Big Daddy” Roth (creator of the hot rod icon Rat Fink), Robert Crumb, and S. Clay Wilson, among others, but especially Crumb. “I think he’s a genius,” he told ARTlines magazine in 1981. Crumb is a satirist of American life and founder of the underground publication Zap Comix, which provided a critical voice to artists of the 1960s counterculture. The influence of such satirical cartoonists is present in Johansen’s work to this very day. It’s evoked with the simplicity of a rough outline or sketch and caricature-like nature of his figures. Johansen’s works might inspire laughter, then unease, because he’s shining the light on us. But they’re open-ended in the narrative sense, reflecting the roles we play in our interpersonal relationships and the nightmare scenarios that are self-created. He never crosses the line into gratuitous depictions of sex or violence. Discomfort isn’t the point. Truth is. Rather than a glorification of the perverse, his work indicates acceptance of it, or at least a willingness to understand. The disembodied head of a blow-up doll, its O-shaped mouth ready to receive, is a recurring motif. But it seems to be there, more or less, when a man can’t see beyond his unrealistic ideals, when he can’t see that the doll is a poor substitute for a human lover or that a human lover is no doll, but a being with a will of her own. But does he deserve scorn over his relationship failures? The floating head tells him “You were always a loser.” Is it comedy or tragedy? In Johansen’s work, there really is no difference. — Michael Abatemarco PLEASE BE ADVISED: Due to the nature of sexual content / violence / smoking ; Much of this show contains material that is not suitable for children. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1701197166385-C18OTPP7D3QREXLXH9DN/_DSC0929+72dpi.jpg WHO? WHAT? REALLY? / CARL JOHANSEN - MEN TODAY Acrylic Ink, 27” x 33” Interview from ARTLines, 1981 MOST of the time, we go about our lives not recognizing how absurd, perhaps even shocking, our actions and daily habits might seem to an outside observer. But should we find disgust in the idiosyncrasies of our neighbors — their sexual kinks, eating habits, private internet history, bathroom routines, and role play — and look upon them without reflection, empathy, or understanding, we’d only be looking at them through a clouded mirror. But take a closer look at Carl Johansen’s paintings, sculptures, and works on paper. If you don’t see normal people doing normal things, then are you really looking? Yes, there’s blood, amputees, disembodied heads, references to fellatio, cunnilingus, sex dolls, and BDSM. Is this longtime resident of New Mexico merely poking fun at polite society by us showing its underbelly? It's the world we live in, sure. But cynics don’t make art. The impassioned do. And Johansen recognizes that the society we’ve created has a shadow, which goes unloved and unrecognized. To understand the absurdity of Johansen’s imagery at all, first get to its humanity. Then, it all makes a little more sense. A man can be a dog, bound up, down on his knees, his snout at crotch level to his mistress, which is just the way a figure is depicted in one of Johansen’s paintings. This is a metaphor. But there’s truth in metaphor; a man can be a dog. There’s a wicked humor in the reference to BDSM master and slave in this and similar works by Johansen, but there’s no judgment in them. Comedy yes. But comic foils are like sages. We need them. In another painting, young man rises from the sea holding a head on a pike, as if it was some perverse representation of the ultimate “selfie” stick and shouts out “fuck you” — a rejection of all the folly that surrounds him, a folly of which he’s an inherent part, because Johansen drew him that way. It’s funny, but it’s painful too, because we all feel that way sometimes, like we’re a part of some crazy nightmare, and we’re drowning in it. We can’t wake up, and we don’t know what to do. Born at Camp Lejeune, North Carolina to a father in the Marines, Johansen grew up emulating cartoonists like Ed “Big Daddy” Roth (creator of the hot rod icon Rat Fink), Robert Crumb, and S. Clay Wilson, among others, but especially Crumb. “I think he’s a genius,” he told ARTlines magazine in 1981. Crumb is a satirist of American life and founder of the underground publication Zap Comix, which provided a critical voice to artists of the 1960s counterculture. The influence of such satirical cartoonists is present in Johansen’s work to this very day. It’s evoked with the simplicity of a rough outline or sketch and caricature-like nature of his figures. Johansen’s works might inspire laughter, then unease, because he’s shining the light on us. But they’re open-ended in the narrative sense, reflecting the roles we play in our interpersonal relationships and the nightmare scenarios that are self-created. He never crosses the line into gratuitous depictions of sex or violence. Discomfort isn’t the point. Truth is. Rather than a glorification of the perverse, his work indicates acceptance of it, or at least a willingness to understand. The disembodied head of a blow-up doll, its O-shaped mouth ready to receive, is a recurring motif. But it seems to be there, more or less, when a man can’t see beyond his unrealistic ideals, when he can’t see that the doll is a poor substitute for a human lover or that a human lover is no doll, but a being with a will of her own. But does he deserve scorn over his relationship failures? The floating head tells him “You were always a loser.” Is it comedy or tragedy? In Johansen’s work, there really is no difference. — Michael Abatemarco PLEASE BE ADVISED: Due to the nature of sexual content / violence / smoking ; Much of this show contains material that is not suitable for children. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1701465560599-XQ4IYN6YOTC7M9AAAZD8/_DSC1109+72dpi.jpg WHO? WHAT? REALLY? / CARL JOHANSEN - IS YOUR VAGINA CONTRIBUTING TO GLOBAL WARMING Pencil, 19” x 24” https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1701028979779-WUJSIBCR53J6AMTUE8BJ/_DSC7643+72dpi.jpg WHO? WHAT? REALLY? / CARL JOHANSEN - Love Hurts Acrylic, 27” x 33” https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1701465565224-UEWI185ZLYTUWK8DPL1R/_DSC1133+72dpi.jpg WHO? WHAT? REALLY? / CARL JOHANSEN - NO SMOKING Pencil, 19” x 23” https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1701465944874-O0EC3VQI6VU0XUWICKPI/_DSC7749+72dpi.jpg WHO? WHAT? REALLY? / CARL JOHANSEN - NANCY REAGAN Pencil, 31” x 41” https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1701197475304-A3V8B6I0GJCGJ1ZAVGU3/_DSC4457+72dpi.jpg WHO? WHAT? REALLY? / CARL JOHANSEN - SURF SERIES #5 Pencil, 15” x 18” https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1701028658560-EV4HIF3HJYRL423HDMNP/_DSC4478+72dpi.jpg WHO? WHAT? REALLY? / CARL JOHANSEN - Surf Series #6 Pencil, 15” x 18” https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1701197524798-IHDL9KAYVUDZH91PNEWE/_DSC4469+72dpi.jpg WHO? WHAT? REALLY? / CARL JOHANSEN - SURF SERIES #16 Pencil, 15” x 18” https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1701028636992-R7UZ3IWTHBSUJVNWRXWH/_DSC4518+72dpi.jpg WHO? WHAT? REALLY? / CARL JOHANSEN - Goodbye, Good Luck, and Fuck You Mixed Media, 12” x 14” x 4” https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1701197644943-9R843NXDTH4PXUGBYLTX/_DSC5604+72dpi.jpg WHO? WHAT? REALLY? / CARL JOHANSEN - IN MEMORY Mixed Media https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1701028666733-5LKISGG1CGQUV4I7ZLDZ/_DSC5508+72dpi.jpg WHO? WHAT? REALLY? / CARL JOHANSEN - PERSONALITY Mixed Media https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1701197385529-4G5VCTLBAKU1V56N9SY0/_DSC1468+72dpi.jpg WHO? WHAT? REALLY? / CARL JOHANSEN - USSA Mixed Media https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1701465654168-RFR7SK545UUSO2EWC9GC/_DSC1146+72dpi.jpg WHO? WHAT? REALLY? / CARL JOHANSEN - GEORGIA Mixed Media http://www.philspacesantafe.com/ufo-sightings-visions-and-the-unexplained daily 0.75 2024-05-01 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1714590415919-ZSGGIHRU6M5QWCIJI17S/IMG_5113.jpg UFO : SIGHTINGS, VISIONS, AND THE UNEXPLAINED OPENING FRIDAY MAY 3rd from 6-10pm In (UFO) SIGHTINGS, VISIONS, AND THE UNEXPLAINED, more than 50 participants explore the phenomena that has yet to be explained by empirical observation through the mediums of painting, mixed media, installation art, photography, printmaking, film, video, performance, sound, and eye-witness testimony. The exhibition was co-curated by Tim Jag and Mike Abatemarco. The show runs through June 14th. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1714590415919-ZSGGIHRU6M5QWCIJI17S/IMG_5113.jpg UFO : SIGHTINGS, VISIONS, AND THE UNEXPLAINED OPENING FRIDAY MAY 3rd from 6-10pm In (UFO) SIGHTINGS, VISIONS, AND THE UNEXPLAINED, more than 50 participants explore the phenomena that has yet to be explained by empirical observation through the mediums of painting, mixed media, installation art, photography, printmaking, film, video, performance, sound, and eye-witness testimony. The exhibition was co-curated by Tim Jag and Mike Abatemarco. The show runs through June 14th. http://www.philspacesantafe.com/death-wish-cov-jordan daily 0.75 2024-08-26 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1724449378096-133FU4S09CYSGX7F960F/IMG_3731.jpg DEATH WISH / COV JORDAN COV JORDAN "DEATH WISH" PHIL SPACE, is pleased to announce a solo exhibition by painter Cov Jordan, titled “Death Wish”. The show title and several of the included works pay homage to personal losses over the last year, as well as the dual meaning of the term itself. These beautiful and emotionally challenging paintings continue Jordan’s exploration of materials, in an ongoing search for what best conveys the idea behind the work. The show runs through September 28th. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1724449378096-133FU4S09CYSGX7F960F/IMG_3731.jpg DEATH WISH / COV JORDAN COV JORDAN "DEATH WISH" PHIL SPACE, is pleased to announce a solo exhibition by painter Cov Jordan, titled “Death Wish”. The show title and several of the included works pay homage to personal losses over the last year, as well as the dual meaning of the term itself. These beautiful and emotionally challenging paintings continue Jordan’s exploration of materials, in an ongoing search for what best conveys the idea behind the work. The show runs through September 28th. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1724449325472-87TOFCMM0CLHF62MMS11/IMG_2764.jpg DEATH WISH / COV JORDAN - MANTRA Mixed media on canvas, 71" x 40" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1724449348005-6K92R13Q0U8W2O02BMTX/IMG_2834.jpg DEATH WISH / COV JORDAN - FATES Mixed media on canvas, 36" x 36" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1724449351976-HNZ6RZGSPGLXBIFIZM09/IMG_3151.jpg DEATH WISH / COV JORDAN - RITE OF SPRING Mixed media on canvas, 60" x 60" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1724449357067-XYFGYSU9KP5GSY24PJ9W/IMG_3777.jpg DEATH WISH / COV JORDAN - EVENING STAR Mixed media on wood, 12" x 12" https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1724706260638-5S89SHFPV9J6TGJVXTNE/IMG_3161.jpg DEATH WISH / COV JORDAN - ATTIS (BEAST FOR THEE) Mixed media on canvas, 36" x 36" http://www.philspacesantafe.com/signs-of-protest-tom-mcgrath daily 0.75 2024-10-01 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1727819659923-7DLNN1GPNQWZO40S8JN9/_DSC7674%2B72dpi%2Bcopy.jpg SIGNS OF PROTEST / TOM MCGRATH TOM MCGRATH "SIGNS OF PROTEST" PHIL SPACE is proud to host a two day open house event showcasing "Signs of Protest," paintings by the artist Tom McGrath. Born 93 years ago, Tom grew up in, and came out of the Great Depression, and for all of his life has been a man whose hopes and aspirations for fairness and social equality has been his inspiration. His artwork pulls no punches, and is a result of the way he sees the state of the world today. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1727819659923-7DLNN1GPNQWZO40S8JN9/_DSC7674%2B72dpi%2Bcopy.jpg SIGNS OF PROTEST / TOM MCGRATH TOM MCGRATH "SIGNS OF PROTEST" PHIL SPACE is proud to host a two day open house event showcasing "Signs of Protest," paintings by the artist Tom McGrath. Born 93 years ago, Tom grew up in, and came out of the Great Depression, and for all of his life has been a man whose hopes and aspirations for fairness and social equality has been his inspiration. His artwork pulls no punches, and is a result of the way he sees the state of the world today. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1727819091084-OOW3WPP2N5CPW8VY9UDR/1-5.jpeg SIGNS OF PROTEST / TOM MCGRATH https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1727819089598-T5PWDK1XBIO5L07MTEC3/1-1.jpeg SIGNS OF PROTEST / TOM MCGRATH https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1727819091537-Y7FBSHR99A5ELKQMDMCI/1-6.jpeg SIGNS OF PROTEST / TOM MCGRATH https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1727819092376-DADI1EPMJBXKXHKHG75G/McGrath+1.jpeg SIGNS OF PROTEST / TOM MCGRATH https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1727819089646-N2U1SC8XYS31IKZZBFV4/1-2.jpeg SIGNS OF PROTEST / TOM MCGRATH https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1727819090363-H088TAU1YI9919EXH9YW/1-3.jpeg SIGNS OF PROTEST / TOM MCGRATH https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1727819090636-CZ3HDWATI6BH23PUO7AZ/1-4.jpeg SIGNS OF PROTEST / TOM MCGRATH https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1727819091847-CS9C78UCYRJ8C97A0D8Q/1.jpeg SIGNS OF PROTEST / TOM MCGRATH https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1727819093154-VMPAWLLG0I774O1RMHE3/McGrath+3.jpeg SIGNS OF PROTEST / TOM MCGRATH http://www.philspacesantafe.com/altered-states-part-eight-hills-snyder daily 0.75 2025-01-29 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1729102499471-036DGOY3JXAKYLI32BMU/Bonanza_CO3.jpg ALTERED STATES (PART EIGHT) / HILLS SNYDER HILLS SNYDER “ALTERED STATES (PART EIGHT)” A string of destinations, selected according to the evocative power of their names, were visited in search of some kind of profile of the American character. Utopian ideals, idealized pasts, mythical futures, downers, reckonings, false hopes, every day aspirations, states less defined—a spectrum of conditions and emotions float in a country of association. Beginning in Nowhere, Oklahoma, the artist plotted his route through Happy, Texas; Bonanza, Colorado, and Lost Springs, Wyoming to get to a residency at the Ucross Foundation where the first fifty drawings were produced. There were side trips to Recluse, Wyoming; Keystone, South Dakota, and Opportunity, Montana. At the end of the residency, the project continued through Diamondville, Wyoming; Eden, Utah; Eureka, Nevada; Bummerville, California; Nothing, Arizona; Truth or Consequences, New Mexico; Eldorado, Texas; Waterloo, Kansas; Lost Nation, Iowa; Downer, Minnesota; Donnybrook, North Dakota, and Funk, Nebraska. From thousands of photographs taken along the route, two hundred drawings have been made. An eight-part serial narrative has appeared in Glasstire. In the stories there is a correspondence between a pencil drawing a line and a needle playing a record, a sort of alchemical connection to field recording. The linear nature of following unknown roads also figures into the way the story is wound into the search. The drawings exist somewhere between representation, quantum fantasy, and sheer love of drawing. There are sometimes events in the drawings that signal some sort of grapple with depiction, but what they may reveal lies outside the base locations except maybe as a quantum fantasy. Quantum because it can’t be seen, fantasy because Snyder is pretending it can. The focus is always on the peripheral, the abandoned, the overlooked. Unimportance is foregrounded within simple acts of focus, sensing the center of the world anywhere. This show runs through February 21st, 2025 Image title : Bonanza, CO. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1729102499471-036DGOY3JXAKYLI32BMU/Bonanza_CO3.jpg ALTERED STATES (PART EIGHT) / HILLS SNYDER HILLS SNYDER “ALTERED STATES (PART EIGHT)” A string of destinations, selected according to the evocative power of their names, were visited in search of some kind of profile of the American character. Utopian ideals, idealized pasts, mythical futures, downers, reckonings, false hopes, every day aspirations, states less defined—a spectrum of conditions and emotions float in a country of association. Beginning in Nowhere, Oklahoma, the artist plotted his route through Happy, Texas; Bonanza, Colorado, and Lost Springs, Wyoming to get to a residency at the Ucross Foundation where the first fifty drawings were produced. There were side trips to Recluse, Wyoming; Keystone, South Dakota, and Opportunity, Montana. At the end of the residency, the project continued through Diamondville, Wyoming; Eden, Utah; Eureka, Nevada; Bummerville, California; Nothing, Arizona; Truth or Consequences, New Mexico; Eldorado, Texas; Waterloo, Kansas; Lost Nation, Iowa; Downer, Minnesota; Donnybrook, North Dakota, and Funk, Nebraska. From thousands of photographs taken along the route, two hundred drawings have been made. An eight-part serial narrative has appeared in Glasstire. In the stories there is a correspondence between a pencil drawing a line and a needle playing a record, a sort of alchemical connection to field recording. The linear nature of following unknown roads also figures into the way the story is wound into the search. The drawings exist somewhere between representation, quantum fantasy, and sheer love of drawing. There are sometimes events in the drawings that signal some sort of grapple with depiction, but what they may reveal lies outside the base locations except maybe as a quantum fantasy. Quantum because it can’t be seen, fantasy because Snyder is pretending it can. The focus is always on the peripheral, the abandoned, the overlooked. Unimportance is foregrounded within simple acts of focus, sensing the center of the world anywhere. This show runs through February 21st, 2025 Image title : Bonanza, CO. https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1729102500257-I2NDCEFK5YUGOJK2UPZY/Bummerville_CA3.jpg ALTERED STATES (PART EIGHT) / HILLS SNYDER - BUMMERVILLE, CA https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1729102503177-AIFVK1G5WKU53AYD18GZ/Diamondville_WY1.jpg ALTERED STATES (PART EIGHT) / HILLS SNYDER - DIAMONDVILLE, WY https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1729102513772-8P54C8CLKWN6Z8KUXQL0/Donnybrook_ND4.jpg ALTERED STATES (PART EIGHT) / HILLS SNYDER - DONNYBROOK, ND https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1729102516193-ZAQ8T0T1Y3VTZF6BT8GZ/Downer_MN1.jpg ALTERED STATES (PART EIGHT) / HILLS SNYDER - DOWNER, MN https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1729102517026-PSRJURKZKWKJRAZ4VFOZ/Eden_UT3.jpg ALTERED STATES (PART EIGHT) / HILLS SNYDER - EDEN, UT https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1729102520183-1U04WKCDDQD4WON4ZEH1/ElDorado_TX5.jpg ALTERED STATES (PART EIGHT) / HILLS SNYDER - EL DORADO, TX https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1729102561486-7M6K5S2VNQCAR3L0S1NP/Nothing_AZ2.jpg ALTERED STATES (PART EIGHT) / HILLS SNYDER - NOTHING, AZ https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1729102520952-BMHKL9KBRCXEYZW1IDZG/Eureka_NV3.jpg ALTERED STATES (PART EIGHT) / HILLS SNYDER - EUREKA, NV https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1729102562278-DT3KF1A92ZUY872QZRB0/Nowhere_OK2.jpg ALTERED STATES (PART EIGHT) / HILLS SNYDER - NOWHERE, OK https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1729102531093-GYVD364VFZS3G6KD00XZ/Funk_NB2.jpg ALTERED STATES (PART EIGHT) / HILLS SNYDER - FUNK, NB https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1729102563840-BY9SVML432KD44OL43LT/Opportunity_MT6.jpg ALTERED STATES (PART EIGHT) / HILLS SNYDER - OPPORTUNITY, MT http://www.philspacesantafe.com/welcome daily 1.0 2024-10-16 http://www.philspacesantafe.com/about daily 0.75 2022-08-26 https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1531766605888-CN7I10VILWX9OBHZM2N4/_DSC4021+300dpi.jpg ABOUT https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1531766657685-ASM942DD7M133HNBL3OY/_DSC8125+300dpi.jpg ABOUT https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1531766610545-PPEIC0V1PBFHL70C5BPS/bio+photo.jpg ABOUT https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1519836928459-V6LCDD1JMBQH3NMCW73I/_DSC8212+300dpi.jpg ABOUT https://images.squarespace-cdn.com/content/v1/546293a5e4b0ccac6b5f1379/1509469835248-NYT4U1DUP77SIC2Z6UO5/LTL_19.JPG ABOUT - 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