Spring 2014 Exhibition Opening Reception, Friday February 7, 6:00-8:00 pm

UNM ART MUSEUM TO OPEN NEW EXHIBITIONS
on February 7th, 6 – 8 pm,
with a blessing by Albert A. Yazzie at 6:30 pm

Members’ preview at 5 pm, members’ previews are open to Sustaining Members and higher of the UNM Art Museum

On view February 8th– May 17thst, 2014
                                                                                                                                                               

Melanie Yazzie: Geographies of Memory
Curated by Lisa Tamiris Becker, Director, UNM Art Museum
On view in the Main Gallery, University of New Mexico Art Museum

The UNM Art Museum announces the launch of a new biennial solo exhibition series, which will feature the work of significant established or emerging contemporary indigenous artists. Melanie Yazzie: Geographies of Memory, will inaugurate the series in Winter/Spring 2014.

Highlighting the art of printmaker and sculptor Melanie Yazzie, whose compelling works of layered images draw upon her rich Navajo/Diné heritage, Melanie Yazzie: Geographies of Memory includes examples of the artist’s monotypes, woodblock prints, lithographs and etchings. A special body of Yazzie’s recent paper-pulp prints with photolithographic elements, as well as selections of her large-scale steel sculptures and smaller works in bronze, will also be featured in the exhibition, along with a body of her recent gouache drawings. Yazzie’s works enigmatically weave together geographic, cultural, and autobiographical images and referents, transporting the viewer into spaces and places of memory and imagination.

                                                                                                                                                            

400 Years of Remembering and Forgetting: The Graphic Art of Floyd Solomon
Curated by Joyce Szabo and Siegfried Halus
On view in the Van Deren Coke Gallery

400 Years of Remembering and Forgetting focuses on the work of Floyd Solomon (1952-2008), an artist of Laguna and Zuni heritage.  Growing up at Laguna Pueblo, Solomon listened to his community’s history as told by elders; these stories filled his life and ultimately his art. Among these stories were those concerning the dark events that came with the arrival of the Spanish in the late sixteenth century.

Solomon undertook a visual recounting of Pueblo history from his own knowledge of the past, an indigenous way of knowing positioned to re-imagine history that is largely based on non-Native records.  This was a personal understanding that grew deeper and more comprehensive through his art.  He effectively moved beyond the stereotypical accounts of the early confrontations with the Spanish, instead providing a more complete record of the destructive days from initial Spanish contact. His series of twenty etchings exploring the arrival of the Spanish, the effects this monumental event had on Pueblo people, and subsequent reactions, was initially titled Crucifixion of a Culture.

                                                                                                                                                               

The Blinding Light of History: Genia Chef, Ilya Kabakov, and Oleg VassilievRussian Paintings and Drawings from the Collection of Wayne F. Yakes, MD
Curated by Lisa Tamiris Becker, Director, UNM Art Museum
On view in the Clinton Adams Gallery

The Blinding Light of History features provocative paintings and drawings by three major artists of the Russian Non-Conformist movement: Genia Chef, Ilya Kabakov, and Oleg Vassiliev. The exhibition includes work produced between the 1960s and 2010s, straddling the Soviet period and the more recent Russian period and highlights the politically and socially charged artwork of three of Russia’s most important contemporary artists. Emerging first as major artists under the Soviet system, and then later again in their respective adopted countries of exile, the exhibition highlights each artist’s mastery of Classical technique and Socialist Realism but also each artist’s conceptual challenge to these traditions and to the political and social culture from which they emerged.

                                                                                                                                                               

Breakthroughs: The Twentieth Annual Juried Graduate Exhibition
Juried by Miranda Lash, Curator of Modern and Contemporary Art at the New Orleans Museum of Art (NOMA)
On view in the Raymond Jonson Gallery

You must do the thing you think you cannot do. -Eleanor Roosevelt

The hope and expectation of graduate school in studio art is that the program will act as an incubation period for new ideas and as a proving ground for articulating one’s voice. Through a crucible of crits and conversations with faculty and peers, students are regularly asked to question and defend what they are about. In my studio visits with some of the students, their eagerness to share and receive feedback reflects an atmosphere of anticipation where artistic breakthroughs are taking place or are on the verge of occurring. For these reasons, I often find visiting graduate students’ studios to be exhilarating, not because the artwork is always fully realized, but because it is like peering through an airplane window into the distant horizon.

Artists in the exhibtion include: Russell Bauer, Logan Bellew, Kristin Calhoun, Marne Elmore, Ray Ewing, Abby Hepner, KB Jones, Bree Lamb, Julia Lambright, Justin Nolan, Staci Page, Natalie Smith, Elizabeth Shores, Sarah Vosmus, Chad Waples and Tamara Wilson.

Juried by Miranda Lash, Curator of Modern and Contemporary Art at the New Orleans Museum of Art (NOMA). At NOMA Lash manages the twentieth and twenty-first century permanent collection and the Sydney and Walda Besthoff Sculpture Garden, as well as temporary exhibitions of contemporary art.

                                                                                                                                                               

Spectacle, Spectator, Specter
Curated by Michele M. Penhall
Curator, Prints and Photographs
On view in the Museum Window

Patrick Manning
(American, b. 1972)

Spectacle, Spectator, Specter

Mallory Square, 2007
Three channel video with audio, 27 min.

Trinity, 2008
Two channel SD video, 13 min.

Fremont Street, 2009
Three channel SD video, 13 minutes

Three separate videos made in Key West, Florida, Las Vegas, Nevada and at Trinity Site, White Sands Missile Range in New Mexico, comprise this series in which Manning explores location, reception and the consequences of spectacle.  About this ongoing project the artist has said:  “…these videos seek to place the viewer both as the spectator and as the ignored.  To create the sense of being seen and ignored in the same moment.”  Yet they also comment on an almost universal obsession to photograph the various ephemeral and often mundane moments which comprise our daily existence.