Post by deanna on Mar 7, 2013 10:56:50 GMT -7
UNM Art Museum Closed for
Spring Break
March 11-18, 2013
We will re-open on March 19th.
IN THE WAKE OF JUAREZ:
THE DRAWINGS OF ALICE LEORA BRIGGS
Alice Leora Briggs, Death of a Virgin, 2007-08, Sgraffito on wood panel with acrylic and acrylic ink.
On loan from the collection of Mr. and Mrs. Scott Baker
The La Familia cartel exploded onto the scene in 2006 with the brutal murders of five men in Michoacán. The sign left at the scene said, “La Familia doesn’t kill for money, it doesn’t kill women, it doesn’t kill innocent people — only those who deserve to die. Everyone should know: this is divine justice.”
That a drug cartel thinks its brutal business is a form of divine justice is, to say the least, surreal. But such a contradiction gives us an idea of the kind of atmosphere that Texas artist Alice Leora Briggs aims for in her portrayals of the violence in Juárez. With expressionist bravado and technical cool, Briggs’ remarkable sgraffito (literally “scratch”) drawings capture the Inferno that the city has become. Freely appropriating Renaissance prints and paintings of the Last Judgment, the Crucifixion and other martyrdoms, public executions, tortures, and works by artists from Holbein to van der Weyden, and immersing herself in the literature of Dante and Cormac McCarthy, Briggs merges old world fears with present-day realities to create a disturbing yet compelling picture of the human condition.
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BOUND TOGETHER:
SEEKING PLEASURE IN BOOKS
Enrique Chagoya, Les Aventures des Cannibales Moderniste, 1999, Eight panel accordion fold codex
Lithograph, woodcut, chine collé, edition 18 of 30, Purchased with funds from the Friends of Art
Bound Together: Seeking Pleasure in Books, is an exhibition that celebrates the book, from 19th-century photographic albums to limited edition and unique artist books, illustrated literary works, unusual pop-up books, mediaeval manuscript facsimiles and architectural folios, to name just some of the objects in the exhibition. Though the digital age is very much upon us, carrying with it many publishing casualties, books continue to be produced and cherished as they have for millennia. The dichotomy that books present is that they are simultaneously private objects meant to be held in one’s hands, often read in private, yet are also objects mass produced, available to large audiences, viewed and or read in very public arenas. Some of the works include Henri Matisse’s Le Florilege des Amours, Some Memories of Drawing by Georgia O’Keeffe, a first edition of An Autobiography by Frank Lloyd Wright and The Works of Geoffrey Chaucer, illustrated by Sir Edward Burne-Jones and printed at Kelmscott press by William Morris. Contemporary artists in the exhibition who have used the book as a vehicle of expression include Kara Walker, Ed Ruscha, Barbara de Genevieve, Julie Chen and Enrique Chagoya.
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MARTIN STUPICH:
REMNANTS OF THE FIRST WORLD
Martin Stupich , Bridge over canal, Venice, California, 1974, Pigment inkjet print, Courtesy of the Artist
We build and shape our landscapes and terrains—gardens, bridges, truck stops, quarries, canals and dams—to suit both our physical and emotional desires. Yet this is not without consequences. This exhibition presents a selection of potent images from a larger body of work that Martin Stupich has explored and recorded since the 1970s. These images of some of our most ambitious, often permanent structures are breathtaking to behold yet also pose questions about what it is we are leaving behind as the “remnants” of our culture and time. Stupich clearly works within a historical sphere which harks back to the nineteenth-century and includes some of the great camera artists of that era such as Timothy O’Sullivan, Carleton Watkins and Darius Kinsey.
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Speak to Me:
The Nineteenth Annual Juried Graduate Exhibition
The best works often come from the best spaces—those that are haunted not only by the artist but that which holds her or his complete focus. Paintings of phantom carpets, classic nudes interrupted by contemporary devices, atmospheric and alien abstractions; photographs of empty stages and gathering places, of provocative actions, and of transient performances; prints of mnemonic and imploding landscapes; a single channel video as an ambiguous self-portrait; a series of empty, handcrafted felt notebook pages; a specimen workstation; and the eeriest of objects, but also a sort of revelation, a “ghost detector.” What else could be a more suitable device for me to use in this series of workspaces that, at nearly every turn, left me wanting to know more?
The artworks in Speak to Me are not only those that indeed speak to me; they are more importantly those that make me ask the very question, those that make me want to know more. Wassily Kandinsky stated: “Everything has a secret soul, which is silent more often than it speaks.” While I was unable to speak to the artists, I was keenly aware that the works I chose for the exhibition, even in their silence, speak volumes.
Julie Joyce
Curator of Contemporary Art, Santa Barbara Museum of Art
Juror, Nineteenth Annual Juried Graduate Exhibition
K.B. Jones, Lea, 2012. Oil on linen
--------------------------------------------------------------------------------
The UNM Art Museum is locted on the main campus in the Center fot the Art, adjacent to Popejoy Hall.
Tuesday - Saturday: 10:00 - 4:00, Closed: Sunday & Monday.
FREE Admission, $5.00 suggested donation.
Spring Break
March 11-18, 2013
We will re-open on March 19th.
IN THE WAKE OF JUAREZ:
THE DRAWINGS OF ALICE LEORA BRIGGS
Alice Leora Briggs, Death of a Virgin, 2007-08, Sgraffito on wood panel with acrylic and acrylic ink.
On loan from the collection of Mr. and Mrs. Scott Baker
The La Familia cartel exploded onto the scene in 2006 with the brutal murders of five men in Michoacán. The sign left at the scene said, “La Familia doesn’t kill for money, it doesn’t kill women, it doesn’t kill innocent people — only those who deserve to die. Everyone should know: this is divine justice.”
That a drug cartel thinks its brutal business is a form of divine justice is, to say the least, surreal. But such a contradiction gives us an idea of the kind of atmosphere that Texas artist Alice Leora Briggs aims for in her portrayals of the violence in Juárez. With expressionist bravado and technical cool, Briggs’ remarkable sgraffito (literally “scratch”) drawings capture the Inferno that the city has become. Freely appropriating Renaissance prints and paintings of the Last Judgment, the Crucifixion and other martyrdoms, public executions, tortures, and works by artists from Holbein to van der Weyden, and immersing herself in the literature of Dante and Cormac McCarthy, Briggs merges old world fears with present-day realities to create a disturbing yet compelling picture of the human condition.
--------------------------------------------------------------------------------
BOUND TOGETHER:
SEEKING PLEASURE IN BOOKS
Enrique Chagoya, Les Aventures des Cannibales Moderniste, 1999, Eight panel accordion fold codex
Lithograph, woodcut, chine collé, edition 18 of 30, Purchased with funds from the Friends of Art
Bound Together: Seeking Pleasure in Books, is an exhibition that celebrates the book, from 19th-century photographic albums to limited edition and unique artist books, illustrated literary works, unusual pop-up books, mediaeval manuscript facsimiles and architectural folios, to name just some of the objects in the exhibition. Though the digital age is very much upon us, carrying with it many publishing casualties, books continue to be produced and cherished as they have for millennia. The dichotomy that books present is that they are simultaneously private objects meant to be held in one’s hands, often read in private, yet are also objects mass produced, available to large audiences, viewed and or read in very public arenas. Some of the works include Henri Matisse’s Le Florilege des Amours, Some Memories of Drawing by Georgia O’Keeffe, a first edition of An Autobiography by Frank Lloyd Wright and The Works of Geoffrey Chaucer, illustrated by Sir Edward Burne-Jones and printed at Kelmscott press by William Morris. Contemporary artists in the exhibition who have used the book as a vehicle of expression include Kara Walker, Ed Ruscha, Barbara de Genevieve, Julie Chen and Enrique Chagoya.
--------------------------------------------------------------------------------
MARTIN STUPICH:
REMNANTS OF THE FIRST WORLD
Martin Stupich , Bridge over canal, Venice, California, 1974, Pigment inkjet print, Courtesy of the Artist
We build and shape our landscapes and terrains—gardens, bridges, truck stops, quarries, canals and dams—to suit both our physical and emotional desires. Yet this is not without consequences. This exhibition presents a selection of potent images from a larger body of work that Martin Stupich has explored and recorded since the 1970s. These images of some of our most ambitious, often permanent structures are breathtaking to behold yet also pose questions about what it is we are leaving behind as the “remnants” of our culture and time. Stupich clearly works within a historical sphere which harks back to the nineteenth-century and includes some of the great camera artists of that era such as Timothy O’Sullivan, Carleton Watkins and Darius Kinsey.
--------------------------------------------------------------------------------
Speak to Me:
The Nineteenth Annual Juried Graduate Exhibition
The best works often come from the best spaces—those that are haunted not only by the artist but that which holds her or his complete focus. Paintings of phantom carpets, classic nudes interrupted by contemporary devices, atmospheric and alien abstractions; photographs of empty stages and gathering places, of provocative actions, and of transient performances; prints of mnemonic and imploding landscapes; a single channel video as an ambiguous self-portrait; a series of empty, handcrafted felt notebook pages; a specimen workstation; and the eeriest of objects, but also a sort of revelation, a “ghost detector.” What else could be a more suitable device for me to use in this series of workspaces that, at nearly every turn, left me wanting to know more?
The artworks in Speak to Me are not only those that indeed speak to me; they are more importantly those that make me ask the very question, those that make me want to know more. Wassily Kandinsky stated: “Everything has a secret soul, which is silent more often than it speaks.” While I was unable to speak to the artists, I was keenly aware that the works I chose for the exhibition, even in their silence, speak volumes.
Julie Joyce
Curator of Contemporary Art, Santa Barbara Museum of Art
Juror, Nineteenth Annual Juried Graduate Exhibition
K.B. Jones, Lea, 2012. Oil on linen
--------------------------------------------------------------------------------
The UNM Art Museum is locted on the main campus in the Center fot the Art, adjacent to Popejoy Hall.
Tuesday - Saturday: 10:00 - 4:00, Closed: Sunday & Monday.
FREE Admission, $5.00 suggested donation.