Potter inspired by traditional techniques, plastic water bottles
10/22/17 - Albuquerque Journal
The charcoal vessel drawings pinned to the studio wall echo memories of petroglyphs and potsherds. But these sketches represent organic forms inspired by 2-liter soda bottles.
Ceramist Jami Porter Lara began sculpting the shapes in clay when a trip to the borderlands between Arizona and Mexico changed her life. After careers in both software design and consumer advocacy, Lara decided to study art at the University of New Mexico at 40. She traveled to northern Mexico and the Coronado National Forest of southern Arizona under UNM’s Art of the American West program to ponder site-specific work.
“We were camped literally a half-mile from the (Mexican) border,” she said. “We were in an area where people were actually passing through."
“It was beautiful. It was mountainous, and there were these giant oak trees and waist-high grasses. I spent a lot time walking around.”
As she hiked the high desert, she discovered artifacts and relics including potsherds, as well as discarded backpacks.
“The main thing I found was 2-liter bottles,” she said. “Sometimes, they were in burlap slings.”
Next the students crossed into Mata Ortiz, Chihuahua, where they watched as the potters demonstrated making their famous coiled pieces. The Mata Ortiz pottery was inspired by the artifacts of Casas Grandes and Mimbres designs.
One of the artists displayed a map of North America without national boundaries.
9/14/17 - Wall Street International
Kenton Nelson was born and raised in Los Angeles, California. He attended Long Beach State University and Otis Parsons Art Institute, and for the last 35 years has had his art studio in Pasadena, California. He has been on the faculty of the Otis Parsons Art Institute in Los Angeles and the Academy of Art in San Francisco. Nelson traces his interest in painting back to his great uncle, Roberto Montenegro, renowned Mexican muralist and Modernist. The style of Nelson’s paintings has their origins in American Scene painting, Regionalism, and Works Progress Administration artists of the 1930′s.
Nelson paints figures, objects, landscape, and interior and exterior architecture bathed in light. The objective in his paintings is to idealize the ordinary with the intention of engagement, using the iconic symbols of his lifetime in a theatrical style to make leading suggestions. Nelson explains, “I am trying to make art for engagement or inspection. Suburban Modernism or Social Idealism, derived from my lifetime of environmental or cultural influences. I am painting what I know, be it man or manmade, trying to deepen or heighten reality, stylistically. I am representing the common as sublime, and inventing a shared or desired, based on my vision. If I may borrow from Mr. Copland, ‘Paintings for the Common Man’, from the common man.”
The Territory of Childhood: Artist Fernando Andrade
9/8/17 - Jennifer Levin for Pasatiempo
Andrade started drawing in high school and found a photorealistic style that came naturally to him, as did the drive to practice his skills in his spare time. He taught himself to draw hair, hands, and other difficult parts of the human body by looking at photos in magazines. At San Antonio College, where he earned an associate’s degree in graphic design, he started thinking more deeply about the content of his drawings while taking twice the number of required drawing classes for his major. “The upper-level professors challenged me to think about drawing as more than an object or a still life. That’s when I started thinking about what I was drawing or painting and why,” he said.
Dream Weavers: Donald and Era Farnsworth
9/8/17 - Michael Abatemarco for Pasatiempo
The word “antiquarian” comes to mind when viewing the works of husband-and-wife artists Donald and Era Farnsworth. They make handmade papers inspired by those of the 16th century, along with tapestries as rich and elaborate as those of the past, if not more so. But the methods they use to convey the vintage imagery that appears in their own work are far from antiquated, particularly in terms of their textiles, which are woven on a digitized Jacquard loom. Many locally represented artists have collaborated with the couple’s fine art print studio, Magnolia Editions, Inc., based in Oakland, California. You may have encountered the fruits of the Farnsworths’ labor while gallery hopping along Canyon Road and Paseo de Peralta, as Kiki Smith presented a series of large-scale tapestries at Peters Projects in 2016, while Deborah Oropallo, Chuck Close, Squeak Carnwath, Alex Katz, and Hung Liu — who are all represented by Santa Fe’s Turner Carroll Gallery — have all created elaborate woven compositions in conjunction with the Farnsworths. John Nava, whose tapestries grace the walls of the Cathedral of Our Lady of the Angels in LA, has also exhibited his Farnsworth-produced textiles on Canyon Road. The Farnsworths’ exhibition I Forget I’m Human opens Friday, Sept. 8, at Peters Projects.
Jami Porter Lara: A Map with No Border
9/1/17 - Jordan Eddy for THE Magazine
To Porter Lara, who spent most of her childhood in New Mexico and lives in Albuquerque, the material culture of the region started to seem like a tightly woven tapestry that easily traversed the border and stretched far into the past. “There was an unbroken chain, from the ceramic vessels up to the water bottles,” she says.
Six years later, Porter Lara is deep into a body of work inspired by that fateful journey. Her series of jet-black ceramic vessels resembling warped two-liter plastic bottles has landed in prestigious museums and galleries from New Mexico to Washington, D.C. On September 8, Porter Lara’s latest sculptures will appear in a solo exhibition at Peters Projects, her first in Santa Fe, titled In Situ. The artist’s experience in the borderlands continues to inform her artistic practice—and her evolving perception of her own identity.
The Contemplative Curiosity of Gustavo Pérez
8/4/17 - Joe Molinaro for Ceramics Monthly
Deftly slicing into the clay with symmetry and precision using a utility knife, Pérez explores surface on forms that otherwise sit quietly awaiting recognition. The patterning established through “the gentle cuts,”1 a reference the author and critic Garth Clark once used to describe Pérez’ process of incising, carry the visual weight often seen in textiles. However, it is the soft pushing outward in select areas of the cuts that transcends simple surface patterns, bringing it into a more sculptural realm of being. While the original clay piece starts as a static form, Pérez has found a way to activate the skin of the pot to create a dance on the surface that is choreographed to allow three-dimensional manipulation to activate a two-dimensional surface. The patterns created through the cuts become background for the careful pushing from the inside, thus creating another layer of repetition that further defines the form as a more sculptural object. These new patterns, while not directly influenced by nature, are ones he saw in his mind and transferred onto the forms.
After meticulous cutting and manipulation of the wet clay, drying, and then bisque firing, glazes are meticulously injected into the sliced openings to further enhance both surface and form. Minimal coloring added to the form via these sliced openings serves as contrast to the background of unglazed clay, creating a tension of surface and color that both unite and enhance the overall form.
6/12/17 - Alicia Inez Guzmán for Santa Fe Reporter
When I first taught the art of Kent Monkman at Santa Fe University of Art and Design, the air in the classroom was thick with discomfort. Cavorting cowboys wearing assless chaps romped across vast Bierstadt-esque landscapes with stereotypical Indians by their sides. It was not what we had seen up until that point: triumphant settlers, roving expeditionaries in the vein of Lewis and Clark, and marauding Indians. This was a “Landscape in the Americas” class, and most of what we’d spoken about and critiqued was the inextricable relationship between envisioning pristine landscapes and the aspirations of Manifest Destiny, the fantasies and projections of imperialism cloaked in the beauty of landscape painting.
6/2/17 - by Michael Abatamarco for Santa Fe New Mexican - Pasatiempo
Ceramic artist Daniel Johnston brings a large-scale pottery installation to Peters Projects where it opens to the public on Friday, June 2, with a 5 p.m. reception. Johnston is at the center of a growing large-pot movement in his home state of North Carolina. His massive pots can each take up to 100 pounds of clay to make and hold 35 to 40 gallons apiece. Johnston picked up techniques from master potters in the Thai village of Phon Bok, where he learned efficient ways of producing large pots and jars using processes that are mostly unknown in the U.S.
3/4/17 - by Jillian Steinhauer for Hyperallergic
The showstopper — of both the section and the entire fair — is Kent Monkman, presented here by Peters Projects. The queer artist of Cree and Irish descent continues to address the very serious subject of historical erasure and representation without barely a hint of self-seriousness. In Monkman’s hands, humor is a real weapon, a means of pointing out the absurdity of the white, colonial, European tradition, and by extension its dangerousness. When he paints an elaborate pastoral scene of homoerotic Native American men riding on horseback near white people who are pouring alcohol onto a flame atop a man’s head (“Baptism by Fire,” 2017), he puts you in a specific position — of having no idea what’s going on. It makes you wonder if everything you’ve ever seen in a history painting is just the invention of someone else’s imagination. A similar phenomenon is at work in his new series, Fate is a Cruel Mistress (2017), which casts Monkman’s alter-ego, Miss Chief Eagle Testickle, as the protagonist in a number of famous Biblical scenes involving women: Judith cutting off Holofernes’s head and others. Decked in headdresses and heels, Miss Chief Eagle Testickle reminds us that we only understand stories as extensions of who tells them.
3/3/17 - by Michael Abatamarco for Santa Fe New Mexican Pasatiempo
In the theory of evolution, fossils or organisms that show the intermediate state between ancestral species and their descendants are known as transitional forms. But they are not necessarily evolutionary mistakes that didn’t quite work out. Every species is potentially a mere link on an evolutionary chain, even our own. Evolution is a liminal state, not a fixed state, and is always in flux.
It isn’t hard to relate evolutionary models to artistic processes, a difference being that in the practice of making art, one has a director, a maker who may or may not know the outcome of a project before he or she begins. There is a transformation that occurs both materially and aesthetically in studio practice. Even the most reductive of artworks often involves a build-up or bringing together of materials, adding something that wasn’t already there that, more often than not, changes the nature of whatever the material was before it became art. One can talk about James Marshall’s monolithic ceramic sculpture, currently on view at Peters Projects, as hybrid forms, but to do so implies a division of equal measure: half this, half that. Rather, each sculpture is singular, whole and complete in itself, the result of a cohesion of forms. “It’s a way to express what I call bringing two into one,” Marshall, whose show is titled Black Interfusion, told Pasatiempo.
2/24/17 - ArtDaily
SANTA FE, NM.- Peters Projects presents Inupiaq artist Sonya Kelliher-Combs and her solo exhibition Remnant running through May 6th 2017.
Peters Projects exhibits Kelliher-Combs' SITE Santa Fe commissioned works entitled Remnant. The series consists of shadow boxes with objects from the natural world, items from Alaskan wildlife, such as bones, organs, and feathers. “Remnant can have multiple meanings, but the idea is that something left behind is maybe found, unearthed, discovered,” she said in an interview with the Santa Fe New Mexican’s Pasatiempo. “I take these pieces of natural material and they’re embedded under this synthetic skin, this membrane that’s containing them, and that’s reminiscent of real skin or hide. It’s a commentary on this Western concept of making things out of synthetic materials because it’s supposed to be better and last longer, but look at what’s happened as a result of that: plastics are around for millennia, choking our oceans and waterways and killing our wildlife. A lot of it is a commentary on how our environment is changing rapidly. Living in a place like this (Alaska), there are complicated issues about wildlife management, sports hunting, subsistence hunting, indigenous rights, access to food, and things like that. I’m thinking about those things alongside the changing environment and the sense of place.” Kelliher-Combs considers humanity equally affected by their self-imposed impact on the Alaskan environment and wildlife. “There’s always this distinction between man and nature, but man is part of nature,” she said.
2/23/17 - by Casey Lesser for Artsy
“It feels like a collaborator,” Porter Lara says of clay. “I rarely end up in the place I think I’m going because the clay has its own ideas. I like the feeling of being led by the material.” She harvests her own clay from a site near Albuquerque, makes her vessels from coils, burnishes them with a stone once the clay dries, and fires the works in a pit in her front yard.
Her latest conceptual works address the threatening ubiquity of plastic bottles, which she sees as contemporary artifacts. Currently featured in a solo show at the National Museum of Women in the Arts in Washington, D.C., this series originated when Porter Lara encountered numerous two-liter bottles along the U.S.-Mexico border. “I wasn’t a ceramist, so in the beginning the vessels were rather ‘organic,’ which led to the question of whether it is possible to locate a dividing line between nature, humans, and technology,” she explains. She’s now working to create these works at a much larger scale for a solo show at Peters Projects in Santa Fe this fall.
2/1/17 - by Alicia Inez Guzmán for THE Magazine
Is it possible for an artist to exhaust the format of the self-portrait? Or are we better off asking the opposite question: are artists’ reflections on their own likeness ever enough to fully describe depth of character, change over time, or one’s psyche? Kukuli Velarde compulsively and almost exclusively makes her own face and form the object of her art. We look at her and then her art only to realize they are one and the same. It is through this doubling that we come to confront the history of colonialism in Velarde’s native Peru. The self-portrait goes beyond likeness to become a profound survey of her own mixed-race body. Like many Latin Americans, she is the sum of indigenous and Spanish bloodlines, a veritable mix of oppressed and oppressor.
1/6/17- Art Daily
SANTA FE, NM.- Peters Projects is presenting Philadelphia artist Doug Herren in his first exhibition in Santa Fe titled Infra-Structure: Vessels, Sculptures, Tables December 16, 2016 – February 11, 2017.
Herren is known for his brightly painted large-scale ceramic sculptures that are hybrids of industrial equipment and traditional wheel-thrown pottery. Many of the sculptures appear to be constructed from machine parts or iron works that have been reconfigured with bolts or rivets and repainted to look anew.
The refurbished objects seem functional but their scale, antique steampunk character, and disjointedness deem otherwise. In addition to their eye-catching colors, they have other playful characteristics. The totemic structures create a sense that many of the parts are moveable – elements could potentially spin or be re-stacked and re-assembled.
12/30/2016 by Jackie Jadrnak for Albuquerque Journal North
SANTA FE, N.M. — Some of the influences on Will Wilson’s series AIR (Auto Immune Response) are apparent: the hogans from his Navajo heritage coupled with today’s technology and the environmental degradation that has taken place over the centuries of European intrusion.
But at least one might come as a surprise: “The Omega Man,” a 1971 movie in which Charlton Heston plays the only survivor with immunity to the biological warfare that occurred between the U.S. and Russia.
“He was the only guy in L.A.,” said Wilson. “I had a lot of influence from … the post-apocalyptic movies I grew up with.”
So the AIR series, now on exhibit at Peters Projects through Feb. 18, grew from him thinking about how a lone survivor would make it in the world – but also about how Native Americans suffer disproportionately from certain diseases such as diabetes, which results from dietary and economic changes, he said. “We’re like the canaries in a coal mine,” Wilson said.
Christine Nofchissey McHorse
9/18/2016 by Jon Carver for Art Ltd. Magazine
Continuing through November 5, 2016
Christine Nofchissey McHorse works with earth in concert with her Dine and Tewa ancestry. She uses thin coil-built walls based upon unchanged, centuries-old techniques that her ancestors, the original Minimalists, employed to ensure the long stability of Tewa culture. McHorse brings tradition forward through elegant, blackened, micaceous clay vessels that curl, flute, and spiral as naturally as nautili. They are the imaginary love children of a merger between Maria “Pots” Martinez and the florid Francesco Borromini.
Fans of tradition will recognize radical variations on established forms like the double-spouted wedding vase, while those in search of rarified contemporaneity will feel like they’ve encountered a new Noguchi, a bolder Brancusi, or a subtly distilled Bourgeois. McHorse walks a fine line between formalist sensuality and eroticism, a hallmark of Bourgeois’ oeuvre. The sense of fecundity among this group of works is overwhelming, but tempered by a rigorous attention to abstract sculptural substance and space. The rich exploration of the vase as both a fixed and flowing form, as both container, and the active space around which the container accretes, demonstrates a formidable, multi-dimensional, and monumentally abstract imagination at play.
Ligia Bouton: "The Cage Went in Search of a Bird" at Peters Projects
09/01/2016 by Jordan Eddy for Art Ltd. Magazine
Bouton's first solo show at Peters Projects hangs one foyer away from Kiki Smith's display of monumental tapestries, "Woven Tales." Smith collaborated with Magnolia Editions to digitally recreate collaged images as gigantic cotton Jacquard hangings. Bouton's show could slide right into Smith's rigorously woven oeuvre. Diverse materials mingle in novel ways to form a narrative that treads the line between history and fantasy. In "The Cage Went in Search of a Bird," Bouton employs fabric, collage, blown and kiln-formed glass, photographs, videos and other media, to tell a tale of two writers, the fictions that surrounded them, and the hard realities they faced. Literary giants Charlotte Bronte and Franz Kafka are the show's protagonists. Bronte died in 1855 and Kafka was born in 1883, but Bouton twists their timelines together with a shared biographical detail: both were diagnosed with tuberculosis. The widespread disease had cast a dark enchantment over the 19th-century psyche. Doctors dreamed up bizarre remedies designed to cleanse the body and soul, and artists and writers were often misdiagnosed due to their eccentric habits. Both Bronte and Kafka died young (at 38 and 40, respectively), and the former likely succumbed to typhus or dehydration rather than tuberculosis. Bouton imagines the two as pen pals who could share in their writerly passion as well as their physical suffering. Inkjet prints on aluminum pair excerpts from their letters, and a video installation calls visitors to exhale into a glass plate shaped like a ghostly face to activate clips of actors reciting the writers' words. "One suffers in silence as long as one has strength to," writes Bronte. "And when that strength fails one speaks without measuring one's words too much."
Native Identity in the Contemporary World
09/01/2016 by Western Art & Architecture
Peters Projects, a Santa Fe gallery offering current contemporary artwork, is pleased to present Earth: Untitled, a solo exhibition of new paintings by Patrick Dean Hubbell. The show will run from August 5 to 27.
There will be an opening reception August 12 from 5 to 7 p.m. and on August 13 Hubbell and director of Southwestern Association for Indian Affairs, Dallin Maybee, will hold a Q&A at 11 a.m. Additionally, Hubbell will be at Peters Projects on August 19 from 10 a.m. to 5 p.m. for a special meet and greet.
Hubbell is a Diné (Navajo) painter of the Tóahani (Near to Water Clan). He was born for Dibe'lizhini (Black Sheep), and his maternal grandfather is Kinyaa'aani (Towering House People) and paternal grandfather is Hona'ghaahnii (One Who Walks Around Clan). He is originally from Navajo, New Mexico, located near the Northeast region of the Arizona/New Mexico border of the Navajo nation. Hubbell attended Arizona State University where he received his Bachelors of Fine Art in Painting and Drawing and also minored in American Indian Studies.
6/27/16 by Chelsea Weathers for Artfourm
In a talk she gave at the gallery on May 14, Kiki Smith cited the medieval French Apocalypse Tapestry and the weavings of the “hippie movement” as examples of the long tradition to which the eleven tapestries in this show belong. “Woven Tales” displays a mythical world wherein human and animal forms entwine with natural phenomena: A woman floats in the heavens among the stars; a man sinks below the earth amid tree roots, fossils, and ants. Smith made each tapestry in collaboration with Magnolia Editions, a studio that specializes in producing textiles with contemporary artists. To produce these works, a computer scanned Smith’s large mixed-media collages to scale (each tapestry is more than nine feet tall) and then a digitally programmed jacquard loom wove a draft of each composition. Some tapestries underwent a dozen or more iterations before Smith declared the works finished. As she became more adept at the process, her designs became more delicate and subtle. For instance, Earth, 2012, is a rather stiffly framed composition with bright and contrasting colors, while Sojourn, 2015, features a carefully rendered depth of field and soft, naturalistic colors.
Ultimately, each tapestry is otherworldly in its own way: A pair of eagles flies across a violent lightning storm; rays of light (or energy) connect a female form to a congregation of animals; and human eyes emerge from tree trunks as the viewer takes time to look closely. Using a marriage of digital and analog techniques, Smith has created a body of work that follows but modernizes the tradition of textile production—a practice that spans almost the entire history of humanity.
05/01/16 by Jon Carver for Art Ltd.
Internationally renowned sculptor and conceptualist Kiki Smith returns to Santa Fe via Peters Projects’ new curatorial program under director Eileen Braziel. Her exhibition consists of nine Jaquard loom weavings fabricated to the artist’s designs by Magnolia Editions, an Oakland, CA based fine art printmaking studio, limited edition book publisher, and probably the nation’s premier source for connecting artists to digitized industrial looms. The list of significant artists who have worked with Magnolia is staggering, and includes figures like Chuck Close, Joan Brown, Alex Katz, Hung Liu, Ed Moses, Nancy Spero and Leon Golub. Kiki Smith’s weavings sees the artist seduced by the color and imagemaking capacities of the medium to produce mystical, Blake-ian images that don’t shy away from beauty. Smith’s messages in these pieces are no less poignant or pointed than those of her sculptural work and they continue to envelop concepts of shamanism, animism and the human body. But the weavings foreground elegance and sincerity, thereby softening the shock values. Oddly enough, it is perhaps in these tapestries that Smith’s skills as a draftswoman-painter-printmaker come through the most. Like great cards in a 21st-century environmentalist’s Tarot, these woven pictures warm the walls and reward study with symbols and stories from a world where the personal is political indeed, but it is also the pastoral. “Woven Tales” at Peters Projects opens May 13, 2016.
05/13/16 by Michael Abatemarco for Santa Fe New Mexico - Pasatiempo
New York-based Kiki Smith saw the Apocalypse Tapestry, a set of late-14th-century French tapestries depicting scenes from the Book of Revelation, as a young adult on a formative visit to Angers. Medieval tapestries like the Apocalypse Tapestry are hung unframed but contain borders, delineating compositions that conflate moments from myth or history into a single, cohesive scene. The narrative and allegorical imagery of these historic textiles inspired a set of contemporary tapestries by Smith, an artist with an international reputation, particularly renowned for her sculpture. Her exhibit Woven Tales opens at Peters Projects on Friday, May 13. She took an approach similar to artists of the past in her own work, filling it with emblematic imagery and referencing the compositional components of historic weavings. “A lot of tapestries have these decorative and architectural borders,” Smith told Pasatiempo. “If you look at a large-scale tapestry, it’s not just a picture. There is, quite often, this decorative space. It’s rare that you don’t see it. It works as a framing device. I try to keep some of the allegorical elements, narrative elements, and decorative elements.”
01/22/16 by Jackie Jadrnak for Albuquerque Journal North
When she helped coordinate a project of Chinese dissident Ai Wei-Wei with Navajo artist Bert Benally in a remote canyon in western New Mexico in 2014, Eileen Braziel became increasingly fascinated by land art, and by what happens when the worldviews of Native and non-Native artists come together.
Now, after coming to Peters Projects not quite two months ago as director and curator, Braziel is bringing a series of exhibitions to the gallery from artists who will be coming to the state to collaborate with Native individuals for new art that will be inspired by, or actually be installed on, New Mexico lands.
The year-long thematic program, which opened last weekend with an exhibition of works by Canadian artist Kent Monkman (Cree/Irish), is titled “Outside-In.” The title could be interpreted as non-Native artists looking in on Native cultures, non-mainstream Native artists being incorporated into the established art world, or even arts projects and objects from the outdoors being brought inside the gallery doors.
“We’re trying to be as open as possible to what comes out of this,” Braziel said. With cross-cultural sharing, the result can be a brand new type of communication, even something that could challenge art critiques of the future, she said.
01/15/16 by Michael Abatemarco for Santa Fe New Mexico - Pasatiempo
Visitors to SITE Santa Fe during the contemporary art space’s last biennial, Unsettled Landscapes,may recall Cree Nation artist Kent Monkman’s Bête Noire, a full-scale diorama depicting an Indian chief wearing a headdress, sitting astride a motorcycle beside a flattened, Cubist depiction of a slaughtered bison. The incongruous image conflates modernism and 19th-century depictions of indigenous peoples. The bison itself was based on the work of Pablo Picasso, whose Cubist imagery finds its way into several of Monkman’s paintings as well as his installation art. But Monkman is critical of the artist who had a reputation as a womanizer and struck a macho attitude. Monkman uses Picasso as a counterpoint to his own performance-art alter ego Miss Chief Eagle Testickle, an indigenous drag queen Monkman created to explore themes of cultural exchange, appropriation, and gender. “I wanted to talk in my work about colonized sexuality,” Monkman told Pasatiempo. “I call it colonized sexuality because we had men that lived as women in our cultures and the Europeans, when they came, they didn’t understand that. There was just a male-female binary. They couldn’t comprehend that there could be gender fluidity and an acceptance of that in indigenous cultures.”
Monkman’s show Failure of Modernity, opening Friday, Jan. 15, at Peters Projects, includes the flattened bison from the SITE installation but not the full diorama. Monkman’s take on modernism is that much in European art was lost during the modernist period, but far more was lost to indigenous cultures. “My perspective is that it was a failure for indigenous people because, in some cases, we’re losing our languages, we were put into boarding schools. It’s been a failure for the rest of the world, too, because when you lose indigenous cultures, you lose a lot of knowledge: traditional knowledge about how to live off the land, traditional plants, that sort of stuff. Once these things disappear, they’re gone forever.”
11/15 by Lauren Tresp for THE Magazine
The understanding of the word "artwork" is that work was done by an artist, and the art exists as a result of that work. In case of Eric Garduño's solo exhibition at Peters Projects, Gravity's Delta (through December 26), the pieces are doing work of their own. In constant dialogue with space, these works are also in continuous dialogue with one another, and project their presence beyond their discrete contours. The seven piece's reflect strong formal considerations: a particular study of the unique geometry of the triangle, and an investment in space and gravity. Stripped down to essential outlines and shapes, but comprised of a variety of media and materials, the exhibition invites viewers to indulge in a fascination with clean linearity, a minimalist metier, and a repetitious definition and redefinition of form and shape.
11/15 by Jon Carver for Art Ltd.
In "Trophies and Prey: A Contemporary Bestiary," at Peters Projects, noted ceramics dealers and curators Garth Clark and Mark Del Vecchio (now based in Santa Fe) present mixed media and ceramic works by eleven artists from a diversity of global settings. Highlights include the incredibly virtuosic stoneware sculptures of Beth Cavener, which encapsulate psychological states of tension through beautifully realized animal forms, full of movement and struggle as they resist traps and tethers. Psychological fables of human cruelty are currently the center of her exquisite explorations, which render analogies and allegories as true and as timely (read terror and torture) as any of Aesop's.
Alessandro Gallo, born in Genoa, Italy, but now based in Helena, Montana maps similar territory, blurring the lines between human and animal psyches, yet set in more mundane predicaments. Recalling Maurizio Cattelan's taxidermy series of socially outcast squirrels in both pathos and humor, Gallo presents freestanding ceramic and mixed-media figurines along with largish Photoshopped black-and-white images of animal-headed humans in various amusing settings. In Magician, a goat-headed guy with a great matrix of curling horns sits in a spare room concentrating on a lone, bent spoon before him. In Kate MacDowell's magically detailed white porcelain Nursemaid 1, 2 and 3 (all 2015), hybridism between the humananimal and animal-animal worlds is more haunting than hilarious, as a small monkey carries and protectively suckles a human infant, the ghostliness of the porcelain contributing to their dreamlike surrealism.
09/17/15 By Nanette Wong for Design Milk
Jason Middlebrook is a mixed media artist that creates amazing artworks with wood. Using discarded and salvaged wood in Hudson, NY, Jason creates colorful, geometric compositions that provide a sharp contrast to the rough-hewn wood. What intrigues him most about using wood is how it acts as records of history and creates distinct conversations with their surrounding environment. Taking inspiration from artists like Frank Stella and Ellsworth Kelly, Jason juxtaposes aged, natural materials with contemporary patterns and colors. His installation, Gold Rush, is currently on display at Peters Projects.
09/26/15 by Jordan Eddy for Visual Art Source
If starting in a garage remains a classic origin story for a band or a business, growing up in a junkyard must be the parallel for a sculptor. Leonardo Drew spent his childhood playing in a dump near his family's home in Bridgeport, Connecticut, and created his first found object sculptures there. As a young artist in 1990's New York, Drew learned to polish — or rather, patina — flotsam and jetsam into sharp political weapons that cut to the heart of America's history and enduring struggles with race relations. New York Times critic Roberta Smith called Drew's densely textured installations featuring scrap metal and animal carcasses "an endless catastrophe seen from above."
Drew's latest contribution to this growing legacy is on view at Site Santa Fe right now, as part of their “Unsuspected Possibilities” exhibition, and this concurrent show “Leonardo Drew: Paper” possesses all the physical grit but none of the exposition. Despite their glistening, deliciously fungal layers, these works on paper have neat labels: “11P,” “13P,” “38P.” Drew deploys a wide array of paper-making techniques, building up textures by embossing and casting cotton paper pulp, and applying earthy pigments by hand. It's disorienting at first to witness Drew's orchestrated chaos removed from its message, like being stabbed by a knife to discover, to one’s relief, that it's a stage prop. Here are all of the tools of a powerful artist-activist, built from mush instead of rusty steel. When the initial shock subsides, process comes to the forefront. A watercolor can give birth to an oil painting and a piece of cast paper that practically congeals from the wall is a suitable study for a sculpture made with sharper edges. This is some very fine rubbish.
08/07/15 by Iris McLister for Santa Fe New Mexican - Pasatiempo
In late July, news broke of the death of Cecil the lion, a beloved thirteen-year-old lion killed by American dentist Walter Palmer on a bow-hunting trip in Zimbabwe. Palmer’s safari — coupled with the controversy surrounding Idaho hunter Sabrina Corgatelli’s pictures of her kills from a South African trip, which she triumphantly posted on social media — has sparked widespread outrage, prompting many to question the value of big game and sport hunting. In light of this news, Peters Projects’ Trophies and Prey: A Contemporary Bestiaryseems especially timely. Together, the show’s eleven artists — Jeremy Brooks, Undine Brod, John Byrd, Beth Cavener, Michelle Erickson, Alessandro Gallo, Jan Huling, Jeff Irwin, Wookjae Maeng, Kate McDowell, and Adelaide Paul — present an engaging survey of multimedia, animal-themed artworks rife with suggestion and symbolism.
Curators Garth Clark and Mark Del Vecchio are professional and personal partners who ran galleries in Los Angeles and New York City for decades before moving to Santa Fe in 2008. Self-proclaimed “ceramophiles,” Clark pointed out that ceramic artwork was “looked upon as craft — and then when that label was removed, there was a frenzy to show the work.”
06/25/15 by Nicole Walsh for the Creator's Project
You can wander through a mystical robotic garden accompanied by its very own fluttering butterflies and leaves, thanks to Ryan Wolfe’s newest contemporary art installation, Branching Systems. Currently on view at Peters Projects in conjunction with the 2015 CURRENTS New Media Festival in Santa Fe, the piece is comprised of masses of robotic leaves which flutter like butterflies creating a space filled with movement. An interactive installation, Branching Systems observes viewers' physical movements are the catalysts that trigger the swift-paced and divergent movement in Wolfe’s artwork.
Wolfe, an accomplished designer, creative director and media artist, utilizes his pieces to study group behaviour. Branching, a modular installation consisting of a series of vines whose leaves respond to input by the viewer and in turn respond to other leaves, is a very literal presentation of Lorenz's "butterfly effect."
03/27/15 by Anna Furman for Artsy
Gerald Peters Gallery and Peters Projects have joined forces with New Mexico’s Spatiotemporal Modeling Center (STMC) and Los Alamos National Laboratory to present “Inventory of Light,” a group exhibition that integrates works in a variety of media with microscopic, scientific images. Art and science—two disciplines more often viewed separately than in direct relation to one another—intermingle in this exhibition, in the form of a synchronistic look at infinite space and phenomenology.
A brilliant work by light and space artist Lita Albuquerque, entitled Beekeeper (2006), uses computer generative software to create a luminous image of a solitary figure against an all-black background. Albuquerque has said that her inspiration was,“to present the visual similarity between a beekeeper and an astronaut,” which she approached by “[creating] a narrative around which the beekeeper’s aim is to help maintain biological life on the planet and the astronaut became the starkeeper maintaining life in the cosmos.” Unlike with her earlier works, where she explored scale and the representation of celestial landscapes through pigments, here, Albuquerque worked collaboratively with Chandler McWilliams and Jon Beasley to create animated digital pixels that would expand and condense, deconstructing and reforming the images over time. This fluid metamorphosis allows the figure to take on multiple identities—a beekeeper, an astronaut, or an ambiguous, celestial being.
07/14/15 via ArtDaily
Peters Projects presents Temporal Domain, work by six acclaimed contemporary artists who were influenced by living and working in the Santa Fe area. The exhibition includes work by Lynda Benglis, James Lee Byars, Harmony Hammond, Agnes Martin, John McCracken, and Roxy Paine in the contemporary galleries of the Gerald Peters Gallery, Santa Fe, NM.
New Mexico began developing as a unique art destination even before it became a state in 1913. When grain service arrived in 1980, it brought visual artists from the cities of the East Coast and Mid-West to live and create their art. The spectacular landscape, limitless sky, and varied cultures were just a few of the reasons why northern New Mexico became an artists' sanctuary.
The six artists whose work is represented in Temporal Domain possess uniquely divergent concerns in their practices. However, each of these artists has been described as having a sense of spirituality permeating their works. This singular commonality links them together and to Santa Fe as both a physical place and a metaphysical concept.