September 30, 2016
The Santa Fe Art Project
THE Magazine, October 2016


The Santa Fe Art Project
THE Magazine, October 2016

It’s not news to most Santa Feans that there is a disproportionate amount of artistic output in this town in relation to the opportunities that exist to exhibit and potentially sell that output (and therefore potentially subsist as an artist). The commercial market in Santa Fe is undeniably one that caters to consumers of the regional Southwest aesthetic and repetitive, tourist-bait abstract painting to the exclusion of a lot of other tastes. As long as this commercial reality persists, artwork that challenges and questions remains overlooked, exhibited in so-called alternative spaces, temporary pop-ups, and other corners and shadows that never see the light of a patron’s pocketbook—with the occasional breakthrough to greater visibility. The current dynamic results in the much-begrudged and detrimental truth that the art world at large shrugs its shoulders at Santa Fe, victim of the perception of Santa Fe as an art destination only for tchotchkes and couch-matching canvases, a perception that glosses over the vibrant and thoughtful art on the ground.

David Richard Gallery, long an estimable resource for Postwar genres, including Op Art, Pop, Minimalism, Color Field painting, and other contemporary nonrepresentational work, has taken the initiative in beginning to bring New Mexico’s homegrown, truly contemporary work into focus on a larger scale by dedicating eight weeks of programming to The Santa Fe Art Project. The Project includes three rounds of paired exhibitions featuring some of Santa Fe’s best and brightest, fitting as many mid-career and emerging artists into the quickly rotating shows as seems possible (forty-five at press time).

Each of the three rotations includes an installation curated by gallerists David Eichholtz and Richard Barger alongside a guest-curated exhibition. Basins (September 9-24) was curated by John McKissick of alternate art space Radical Abacus. Currently on view is the five-woman show Women’s Work (September 30-October 15) curated by Santa Fe Collective operatives Jennifer Joseph and Chris Collins. Rounding out the trifecta will be Outer Local (October 21-November 6), curated by SCUBA collective artists Crockett Bodelson and Sandra Wang. The Project is accompanied by multipleartist talks and panel discussions—you can find dates and times in the calendar on page 31 and at While it's an ambitious disruption of the norm, one can only hope that this kind of project graduates from temporary programming to a continuous fixture in Santa Fe’s commercial galleries.

Katherine Lee, Backdrop Study: Splinter, 2016, gouache, black screen print, oil paint on illustration board, 20 x 30 in.
Chris Collins, Sheet 8 and 9, 2016, found object, copper leaf, 32 x 20 x 18 in and 27 x 24 x 12 in.
Lucrecia Troncoso, Not Cut Out For This, 2015, paper towel, glitter, acrylic, 41 x 30 in.

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January 17, 2017
Globalocation: Celebrating 20 Years of Artnauts
J. Willard Marriott Library
The University of Utah, 01/17/2017

The University of Utah’s J. Willard Marriott Library will host the art exhibition Globalocation: Celebrating 20 Years of Artnauts, Jan. 20-March 3.

Artnauts, an art collective formed 20 years ago by George Rivera, professor of art and art history at the University of Colorado, Boulder, consists of 300 global artists who serve as goodwill ambassadors, acknowledging and supporting victims of oppression worldwide. Their creativity has generated over 230 exhibitions across five continents. Five faculty members from the U’s Department of Art and Art History are members of the collective, Sandy Brunvand, Beth Krensky, V. Kim Martinez, Brian Snapp and Xi Zhang.

Globalocation derives from “Globalocational Art” — a concept used by the Artnauts to refer to their exhibitions in international venues. It is the mission of the Artnauts to take art to places of contention, and this anniversary exhibition is a sample of places where they have been and themes they have addressed.

“The Artnauts could not exist without the commitment of the artists in the collective to a common vision of the transformative power of art,” said Rivera. “The Artnauts make their contribution with art that hopefully generates a dialogue with an international community on subjects that are sometimes difficult to raise.”

Krensky, associate department chair of the Art and Art History Department, had the opportunity to travel with Rivera in Chile as part of an Artnauts project, working with mothers who were searching for their children who had mysteriously disappeared during a time of political unrest.

“When I travelled to Chile in 1998, George and I spent an afternoon with the Mothers of the Disappeared, and the meeting changed my life,” said Krensky. “It was from that moment on that I placed a picture of them on my desk to look at every day. I was so moved by what they each had lost — a son, a brother, a father — and yet what remained for them was a deep, deep well of love. They were fierce warriors and stood up to the government to demand the whereabouts and information of the people who had disappeared, but they lived within profound love.”

The 20th anniversary exhibition at the Marriott Library is a retrospective of the traveling works the Artnauts have toured around the globe. The exhibition will be located on level three of the library. The opening reception is open to the public and will be held on Friday, Jan 20, 4-6 p.m. Rivera will speak at 4 p.m.

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