volume XXVII, issue V
volume XXVII, issue IV
volume XXVII, issue III
volume XXVII, issue II
volume XXVII, issue I
volume XXVI, issue X
volume XXVI, issue IX
volume XXVI, issue VIII
volume XXVI, issue VII
volume XXVI, issue VI
Dec '17/Jan '18
volume XXVI, issue V
volume XXVI, issue IV
volume XXVI, issue III
volume XXVI, issue II
volume XXVI, issue I
volume XXV, issue IX
volume XXV, issue VIII
Mark Morris dances are difficult to describe because they are so innovative. The man’s wit is a source of endless creativity, and his work gives the simultaneous impressions of serendipity and contemplation. His dances can...
The Magazine contributor and former director of Central Features Contemporary Art Nancy Zastudil joined the Tamarind Institute as Gallery Director.
In Santa Fe, Bruce Nauman feels to me like an invisible figure. I know he lives near, I know he frequents the same diner I frequent, I question every tall, bald man in my vicinity, but...
Aaron Honyumptewa imbues his katsina carvings with the traditional ethos of the Hopi people combined with an undercurrent of...
A snake rides in the grass. A rat materializes in front of it. There’s not much doubt how this encounter is going to end...
What does it mean to make landscape paintings in 2018? Just this morning I was reading the recently issued UN Climate Change Report about coming food shortages, growing wildfires...
February 1983: a man in coat and scarf stands on a sidewalk among various street vendors at Cooper Square in downtown New York City. At his feet, a collection of perfectly spherical white forms...
At the mural’s center, a brown-skinned woman reaches her arms outward, one hand holding a microscope, the other a volumetric flask. She is the corn goddess—nose broad, lips full, and hair parted in the middle. Her gaze is fixed...
tasting notes with: Christian Waguespack. occupation: Curator of 20th Century Art at the New Mexico Museum of Art. venue: Hervé Wine Bar, Santa Fe.
The Printed Page Series: Thomas Christopher Haag, Look What I Can Do
On a survey taken outside a 1993 exhibit of Pablita Velarde’s work at the Wheelwright Museum, one visitor wrote, in awe: “that a woman of her time would be able to find her creative life...
Objet Fatale, Mona Bozorgi