volume XXVIII, issue I
volume XXVII, issue X
volume XXVII, issue IX
volume XXVII, issue VIII
volume XXVII, issue VII
volume XXVII, issue VI
December 18-January 19
“What exactly is a record label’s future in a music industry climate seemingly hellbent on conditioning audiences to pay next to nothing for music?” Eliza Lutz, founder of the pioneering Santa Fe–based Matron Records label, thinks the only path forward is to embrace the inevitable and adapt accordingly...
Thirty miles north of Ciudad Juárez, at an immigrant detention center in Chaparral, New Mexico, Johana Medina Leon, transgendered and from El Salvador, complains of chest pains. Days later, and a day after James Drake’s opening, Que Linda La Brisa, Leon dies on a hospital bed at Del Sol Medical Center in El Paso, Texas.
Visiting Stuart Arends’s studio was no quick jaunt. We drove one and a half hours from Santa Fe to Willard, New Mexico, past the town, further down the highway, and just before a specified mile marker where we were to rendez-vous with the artist at an unmarked wire gate...
Summer in northern New Mexico can be overwhelming. Any day of the week there is some activity calling for our attention: artist talks, studio tours, performances, openings, fairs, festivals, markets, music, and, of course, beautiful weather beckoning us outdoors. To help us make sense of it all, I asked two of our regular contributors, Maggie Grimason and Rachel Preston Prinz, to give us a selection of their “must-sees” for the summer season...
This summer, Patina Gallery presents works by more than ten European jewelry artists in a group exhibition opening on July 12, marking their debut in the American Southwest. Below, we highlight three of these artists whose works share modern sensibilities, minimalist shapes, and purity of materials...
The Dream Life of Objects is a big show. A selection of work that spans decades and media fills the entirety of the CCA Tank Garage Gallery. This solo show is described by the artist, Judy Tuwaletstiwa, as a “visual poem,” where pieces are asked and allowed to interact with and inform one another. Tuwaletstiwa invites us to experience her work as an “introspective” instead of a retrospective...
The question is not merely why Shakespeare, but why make any art at all? Who is art for, and at what cost? In Guards at the Taj, answers to the first question accumulate as if without effort: we make art to create objects of resplendent beauty and experiences of wonder; to revel in the joy of creation; to invent worlds beyond this one; to compete with God; to fail. It’s the second question that’s difficult—brutally so...
When I asked Jaune Quick-to-See Smith (Salish member of the Confederated Salish and Kootenai Nation, Montana) how she came to call herself a cultural arts worker, her reply began with a short history of her tribe’s trading practices. “I come from a long line of Indian traders, not merchants who house goods but traders who pass resources from one place to another.”
A Tented Sky and Milk, Kristen Hatgi Sink