Shifting Landscapes: Rena Detrixhe

Rena Detrixhe’s artwork in our Shifting Landscapes show has been a source of wonder and puzzlement since the exhibition opened in late February. Visitors have posited that the rug pattern filling a large swath of the floor in our upper galleries is made from ceramic, leather, silk and even cocoa powder. It’s actually loose dirt from Detrixhe’s current home state of Oklahoma, stamped with old shoe soles to form a trompe l’oeil tapestry. The piece, titled Red Dirt Rug, took the top jury prize in the show. Detrixhe’s work is also receiving accolades across the digital landscape. The popular art blog Colossal just posted about her work:

“This rich red earth is the land of the dust bowl, the end of the Trail of Tears, land runs and pipelines, deep fault-lines and hydraulic fracturing,” said Detrixhe in her artist statement. “There is immense beauty and pride in this place and also profound sorrow. The refining and sifting of the soil and the imprinting of the pattern is a meditation on this past, a gesture of sensitivity, and the desire for understanding. It is a meticulous and solitary act.” By using this fleeting form Detrixhe questions the permanent decisions that have been made to the region’s environment.

Alice Zrebiec, a curatorial consultant based in Santa Fe, also wrote favorably about Detrixhe’s work in a review for the Textile Society of America:

Its rich color has a visceral appeal while the delicate designs evoke textile traditions and traces of human passage. Installed without barriers, as Detrixhe prefers, the mutability and transitory nature inherent to Red Dirt Rug was readily evident.

Detrixhe discusses her work in the video above, and you can see images and read a full interview with the artist below. Shifting Landscapes is a juried show featuring members of the Surface Design Association, and its closing date has been extended to June 10. Make sure to come see Red Dirt Rug and other incredible fiber and fiber-inspired artworks in person!

Tell us about your work in Shifting Landscapes.

I’m here showing a recent work called Red Dirt Rug, which is an intersection of landscape, textiles, and research into the history of Oklahoma, where I’ve been in residence for the past year. 

You’re exploring so many different layers of that history. What has this rich, red dirt come to represent to you and other Oklahomans?

I think that the dirt means a lot of different things to a lot of different people. It’s definitely symbolic of the region, and is related to a lot of these histories. I’m still finding out things all the time that I can bring into my work and talk about. 

I’m still really not sure if it represents all of the many things that I want it to. But it’s a very new body of work for me. I’m interested in furthering my research and continuing my work to see how it grows.

You’ve created several dirt rugs previously. How was the experience of making the rug for Shifting Landscapes new or different?

It was interesting for me to be able to show this work in a different state. When I’ve shown it before, it was in Oklahoma. And in a lot of ways, the work is about Oklahoma, although I think a lot of the things I’m talking about are universal, or deal with the United States and colonialism and a lot of these histories that are very universal for us. 

I think it has an interesting connection to New Mexico as well. This is a place that’s known for its landscapes, and its landscapes in art. And it’s also known for textiles and objects like rugs, and the sale of these objects. So I’m really interested in what it means for a piece like this to be shown here. 

Your work is so ephemeral, as we learned last night at the reception when someone accidentally swept away the corner out of it [to see the smudge, view the video above]. What’s your reaction to moments like that? 

I actually really love that smudge. I’m always aware that things are going to happen throughout the course of the show, because it’s going to be up for months and things will change over time. I love that there’s a little smudge in the corner, because it gives one more visual hint of how fragile and ephemeral the material is. 

In a show called Shifting Landscapes, your work is truly the most shiftable.

It’s pretty literal, yeah.

Did that really resonate with you initially when you first read the title?

It really did. And not just the title, but the description of what the show was trying to be. It’s about different depictions of landscape, and all the different things that can mean. It’s open to literal representations and more conceptual depictions of landscape, and puts that into a contemporary context. It’s so important to talk about these issues and how they relate to the earth. 

Could you describe your process, from shoveling the dirt all the way to creating the pattern?

I start by gathering buckets of dirt with a shovel, quite literally. Then I bring it back to my studio and process it, which means breaking it down to be fine, soft dust. I do it mortar and pestle style, breaking it down with a hammer and getting out the rocks. And then I sift it through various levels of screen, and then finally sift it through silk. 

Once I have the very fine soil, I spread that out on a fine, flat sheet. The pattern is made by imprinting the pattern with little stamps that are made from isolating the patterns on shoe soles. I work from the center outwards. 

I liken the process to the Tibetan sand mandalas. I think that’s the closest thing I can relate it to, both on a conceptual level of doing this meditative act, and also the time consuming quality of the work. 

When you de-install one of these pieces, do you find that difficult?

Like mentally hard? No.

You’ve learned to let go.

Yeah, it’s kind of fun. This time I won’t be doing it myself, so that will be fun too. But I don’t know, maybe we can record it. 

We did a time lapse when you installed it, and now we’ll do a time lapse of its destruction!

Yeah, and I’m still thinking about what ultimately will happen to the material. At this point, I’m saving the soil because I want to have the opportunity to show this work in different places. 

I’m interested in how the monks, when they’re finished with a mandala, they deconstruct it and take the sand to a river and release it. It’s the end of the cycle. I’d like to do something like that, but I’m still thinking about what that might mean.

Click here to see other posts about Shifting Landscapes on our blog, and browse the whole show here. Come see the exhibition during the opening reception for our new show, Deliberate Acts: SITE Scholar Exhibition 2016/17, on Friday, April 28, 5-7 pm.

Deliberate Acts.

Kristen Roles- SITE Scholars- Form and Concept- Santa Fe New Mexico
Kristen Roles, I Don’t Know a Thing About You (Suddenly You Are All I Ever Knew), Inkjet prints on temporary tattoo paper adhered to and peeled from skin, thread, dimensions variable (tailored to space), 2016

SITE Santa Fe is undergoing a radical transformation this year. Come fall, the contemporary museum space will debut a renovated and expanded building that includes a brand new education wing, extra exhibition space and much more. In the meantime, SITE’s education department has been working on a different type of construction project. Their SITE Scholar program, which is in its 6th year, lays the foundations of art careers for undergraduate and graduate students from across the state.

Each year, SITE asks faculty members from diverse New Mexico institutions to nominate outstanding creative students for the program. The fifteen scholars that are selected gain access to an impressive array of art world resources and opportunities throughout the year. The program culminates in a group exhibition that’s usually held at SITE. In lieu of exhibiting in a construction zone, the 2016/17 scholars will take over form & concept’s ground floor to mount their show. It’s an exciting extension of the program, allowing the participants to gain experience in the gallery world as well as the museum world.

Eric-Paul Riege- SITE Scholars Program- Santa Fe New Mexico
Eric-Paul Riege, mixed media fabrics, fiberfill, turquoise, coral, wax string, wire, rope, 2017.

Deliberate Acts, the 2016/17 SITE Scholar exhibition, opens at form & concept on Friday, April 28, 5-7 pm. It features artwork by students from Santa Fe Community College, St. John’s College, Santa Fe University of Art and Design, Institute of American Indian Arts, University of New Mexico and New Mexico Highlands University. We’re so excited to host this emerging art project, particularly after working with the featured artists for the last few months to prepare for the show. Their passion is infectious, and their artistic voices are highly developed.

Many of the artists are exploring identity in fresh and exciting ways. Eric-Paul Riege, from University of New Mexico, made an enormous Dine’ jacla from mixed media fabrics and other materials. Attached to the sculpture is a turquoise necklace that Riege made, and a jacla that was passed down to him by his mother. Kristen Roles, who’s getting her MFA at UNM, captured the residue of memories by printing photographs and screenshots on temporary tattoo paper. Sarah Canelas of SFUAD created a multimedia installation by tearing pages out of a notebook, covering them in porcelain slip and firing them. The completed video piece shows a field of delicate, crumpled forms with a notebook in the middle that’s covered in confessional scrawls.

Sarah Canelas- SITE Scholars- Form and Concept- Santa Fe New Mexico
Sarah Canelas, again/how might we, multimedia (video, sound, porcelain), 2017.

Deliberate Acts is imbued with the crackling, contemporary energy of artists who are just starting their aesthetic explorations. Come experience the show at the opening reception on April 28, and join us for an artist talk on Saturday, April 29 from 2-3 pm. Click here to learn more about each of the 2016/17 SITE scholars.

RSVP for the Deliberate Acts opening reception.
RSVP for the artist talk.

Bunny Tobias: Byzantine Collection

Bunny Tobias- Fine Jewelry- Form and Concept- Santa Fe New Mexico
Bunny Tobias, Quercu Necklace, bronze and multistone, $360

The warm winds of spring carry a sense of joyful serendipity. Flowers bloom in spontaneous and stunning arrangements. Dewdrops land on the leaves in gem-like patterns. On mountainsides, silver streams appear in unexpected places. In her new fine jewelry collection, BYZANTINE, Bunny Tobias captures the wonder of spring’s natural formations through her exquisite artistry.

Bunny adorns glowing bronze pendants and earrings with swarovski crystals, aquamarine, serpentine, opal, garnet, tourmaline and mother of pearl. The collection’s light green palette, accented with jewel tones, evokes the new growth that unfolds all around us throughout the season. It’s enchanting to imagine Bunny’s bumblebee earrings flitting between them, carrying golden pollen.

The BYZANTINE collection is named for the Byzantine Empire, a civilization that ruled Eastern Europe from Late Antiquity into the Middle Ages. Byzantine craftspeople carried forward the ornate aesthetic traditions of the Roman Empire. Bunny’s inspired designs remind us of the intricate Byzantine patterns that marked the beauty and sophistication of the culture. Just as the power of these ancient expressions has endured for centuries, we predict that Bunny’s BYZANTINE collection will go down in history!

Click here to browse all of Bunny’s work in the form & concept collection.

Bunny Tobias- Fine Jewelry- Form and Concept- Santa Fe New Mexico
Bunny Tobias, Quadra Earrings, bronze and multistone, $425
Bunny Tobias- Fine Jewelry- Form and Concept- Santa Fe New Mexico
Bunny Tobias, Rosea Earrings, bronze and multistone, $380
Bunny Tobias- Fine Jewelry- Santa Fe New Mexico
Bunny Tobias, Viridi Post Earrings, bronze and multistone, $425
Bunny Tobias- Fine Jewelry- Santa Fe New Mexico
Bunny Tobias, Regiis Earrings, bronze and multistone, $380
Bunny Tobias- Fine Jewelry- Form and Concept- Santa Fe New Mexico
Bunny Tobias, Bronze Bee Necklaces 1, 2, 3, & 4

 

Shifting Landscapes: Regina Benson

Unboxing the artwork for our Shifting Landscapes exhibition was a delightfully surprising process. Jurors Frank Rose and Erika Lynne Hanson digitally sorted through hundreds of submissions from Surface Design Association members who are scattered across the world. Seeing a small image of an artwork on a glowing screen is very different from lifting it out of a crate.

Case in point: Regina Benson‘s artwork for the show, V Restored Legacy, is an art quilt with a sculptural twist. There’s a shadow visible in the image that Regina sent us, but only when the work was on the wall did we fully understand the mesmerizing power of its dimensional qualities. The piece is designed to project from the wall and into the gallery, encouraging visitors to view it at multiple angles.

To create her artwork, the Golden, Colorado artist utilizes her knowledge of painting, drawing, textile surface design, engineering and architecture. Regina was in Santa Fe for the opening reception of Shifting Landscapes in February, and we interviewed her about her work. Scroll down to read our conversation, and click here to view more artwork from Shifting Landscapes.

Regina Benson- Fiber Art- Form and Concept- Santa Fe New Mexico
Regina Benson, V Restored Legacy, fiber, 42 x 46 x 3 in.

Tell us about your medium. How did you get into quilting?

I’m working with the concept of layering cloths, canvases, or papers. I can’t say it was a conscious decision. It’s just an outgrowth of the process of working with textiles. Some of my work qualifies as art quilting because of the layering techniques. It’s not always art quilting, because I do a lot of single layering, or different kinds of manipulations of textiles. 

When did you first start working with textiles?

A very long time ago. I worked for a while at the Kansas City Art Institute in the days when Fiber 101 was the only elective. It has gotten very popular now, so it has its own department. I was dissatisfied with the lack of dimension in painting. When artists in the 70’s started ripping the canvases off the frames and draping them, I was elated. And then the thought came, why use canvas in the first place? Why not silk, why not cotton, or linen? 

I also did some weaving. I would decorate, I would surface design, on my own woven cloth. Weaving your own cloth is extremely time consuming and tends to limit you. So I started making larger scale works. That forced me to try and find materials that I would purchase by the bulk and then manipulate. 

Regina Benson- Fiber Art- Form and Concept- Santa Fe New Mexico

Could you talk a little bit about the piece that’s in this show? I know that you’re often exploring both image making and turning these works into sculptures in their own right. Tell us about this piece and how that fits into this larger exploration. 

I was dealing with the concept of the remains of things, shards and remnants that are found and reassembled. I wanted the process of the making to reflect some of that itself, so the work required that I employ rust and oxide and burns. I tortured the textile.

It’s not just about objects, but the landscapes around us. You don’t see landscape as a single dimension, you see it in layers. In a small way, I was trying to convey the layering of the shards that might be discovered.

The reason I like to use Egyptian cotton for this process is that it’s a long staple cotton and it is very finely woven. Really expensive bedding is a thousand counts per inch instead of the two or four hundred thread count. That means it’s very tightly woven and it will be good for deposition of oxides and paint.

And then you actually paint on top of it?

I do. I’m using substances just like a painter would, to make the marks and contain them. I’ll also burn it, and then treat it so that it becomes permanent on the cloth. Otherwise, it would flake away. 

Regina Benson- Fiber Art- Form and Concept- Santa Fe New Mexico

Why remains? Where did that line of thought come from?

I’m Lithuanian, and our language is related to Sanskrit. I have been exploring what is left of our culture. I’m looking at the things I have to gather and assemble to keep and pass on. I try to do that as much as I can, visually. Sometimes it speaks to other people the way I envision it, and sometimes not. But it’s always interesting for me to hear.

It was a nice surprise for us at the gallery, because we had only seen images of it. We didn’t fully understand how big it was, and that it was going to extend from the wall.

It’s actually one of my smaller pieces, so thank you for saying it’s large scale. The shadowing is sometimes critical to the work, because it encourages people to go up and look underneath and look around. 

Regina Benson- Fiber Art- Form and Concept- Santa Fe New Mexico

It definitely does encourage exploration. If you’re really close to it, there’s a topographical quality to it. And then from the side or farther back there’s a different effect. 

It’s a conversation that I hope we get involved with. And obviously, many of the artists in the show are as well. It’s a beautiful show, I’m glad to be part of it.

Click here to see more artwork from Shifting Landscapes, and see the show at form & concept through May 20.

P S I R E N S & Dinos

Paris Mancini- PSIRENS- Matron Records- Santa Fe New Mexico
Image courtesy Paris Mancini.

Despite snowy days in Santa Fe earlier this week, the Railyard Arts District is launching straight into spring with the Last Friday Art Walk on March 31st. The event unfolds from 5-7 pm in diverse contemporary art spaces throughout the neighborhood. At form & concept, we’ve invited P S I R E N S of Matron Records to perform in our atrium. P S I R E N S is the solo project of vocalist and musician Paris Mancini, who splits her time between Santa Fe and New York City. This week, Alex De Vore of Santa Fe Reporter described her ethereal, looping sound in a preview of the performance:

Mancini brings a hefty dose of earnestness to her performances. It’s actually quite hard to explain, but it’s like an eerie blend of art project and Bjork weirdness with the challenging musicality (or sometimes lack thereof) of a band like Oakland’s Clipd Beaks—though there absolutely is a more cohesive vision in Mancini’s work.

Read the rest of the piece here, and click over to the Matron Records website to watch some P S I R E N S music videos. Our leg of the art walk will also feature the debut of new porcelain dinosaurs by Brett Kern. Scroll down to see charming new work by the West Virginia ceramicist, and mark your calendar to meet the dinos in person this Friday. RSVP to the event on Facebook for updates.

Brett Kern Ceramics- Form and Concept- Santa Fe New Mexico
Brett Kern, Large Blue T-Rex, porcelain, 15 x 9 x 14 in.
Brett Kern Ceramics- Form and Concept- Santa Fe New Mexico
Brett Kern, Red Corythosaurus, porcelain, 14 x 5 x 11 in.
Brett Kern Ceramics- Form and Concept- Santa Fe New Mexico
Brett Kern, Small Green Carnotaurus, porcelain, 6.5 x 5 x 8 in.
Brett Kern Ceramics- Form and Concept- Santa Fe New Mexico
Brett Kern, Small Blue T-Rex, porcelain, 7 x 5.5 x 8 in.
Brett Kern Ceramics- Form and Concept- Santa Fe New Mexico
Brett Kern, Small Red Parasaurolophus, porcelain, 7.5 x 8 x 4.5 in.

 

Ionescu Design: Portable Worlds

Ionescu Design- Santa Fean Magazine- Form and Concept
Ionescu Design, courtesy Santa Fean Magazine.

Fine jewelry should do more than catch the eye, or even make a statement. Ion and Laila Ionescu distill complete mythologies into their wearable artworks. “Designing jewelry gives us freedom to create our own portable worlds,” Ion told the New York Times in 1991. “We rekindle the delicious memory of opening Grandmother’s jewelry case and pretending it’s pirate treasure.” The first fairy tale, of course, is their own.

Ion and Laila met in Manhattan in their 30’s, and their life stories were already precisely aligned. Both had left their native land of Romania decades earlier to pursue jewelry design. They’d each found success in New York, and their good fortune only compounded as they started collaborating as Ionescu Design. Laila is a master wax carver who creates porcelain and bronze sculptures as well as jewelry. Her depictions of animals both real and fantastical evoke rich allegories. Ion selects opulent materials such as sapphire, ebony and Peruvian opal, and unifies them in designs that flow like organic formations.

Visitors to the form & concept shop never fail to gravitate to our Ionescu Design manta ray cuff bracelet crafted from Tahitian pearl, diamond and gold. It’s the centerpiece of our display of stunning works by the award-winning design duo. Discover highlights from our collection below, and visit the Ionescu Design page of the new form & concept shop website to browse all of their work.Ionescu Design- Fine Jewelry- Santa Fe New Mexico

Ionescu Design- Fine Jewelry- Santa Fe New Mexico
Ionescu Design, Sapphire Ebony Wood Diamond Gold Ring Pendant.
Ionescu Design- Fine Jewelry- Santa Fe New Mexico
Ionescu Design, Multi-Stone Necklace with Sapphires Tourmaline and Diamonds set in Gold Clasp.
Ionescu Design- Fine Jewelry- Santa Fe New Mexico
Ionescu Design, Diamond, Pink Pearl, Rhodocrosite, and Platinum Earrings.
Ionescu Design- Fine Jewelry- Santa Fe New Mexico
Ionescu Design, White and Purple Diamond Gold Ring.
Ionescu Design- Fine Jewelry- Santa Fe New Mexico
Ionescu Design, Diamond Sapphire Black Tahitian Pearl Gold Necklace.
Ionescu Design- Fine Jewelry- Santa Fe New Mexico
Ionescu Design, Chalcedony Pearl Emerald Moonstone Onyx Gold Two Birds Earrings.

 

Artist Interview: Mark Newport

Mark Newport is based in Michigan, but he flew to Santa Fe for the opening of his form & concept solo exhibition, Mending. The show features torn muslin cloths that Newport patched back together using intricate embroidery techniques. The painstaking task was an opportunity to meditate on the vulnerabilities of the human body, and the miraculous process of scarring. In our previous interview, Mark discussed his inspiration for the Mending series. While he was visiting Santa Fe, we sat down for a second conversation about his career, the fiber art community, and how his bodies of work link together.

Could you tell us a little bit about your background in art-making?

I did my Bachelor of Fine Arts work at the Kansas City Art Institute, and took a few years off and then I went to the School of The Art Institute of Chicago for my graduate education. I graduated in 1991. Since then, I’ve lived in several different cities and made work in all of them. 

What are you up to now?

Currently I live and work in Bloomfield Hills, Michigan where I am the head of the Fiber Department and Artist in Residence at the Cranbrook Academy of Art, which is a graduate program for people studying in my department. I maintain my studio practice there. 

Mark Newport Fiber Art- Form and Concept- Santa Fe New Mexico
Mark Newport, Mend VII (detail), embroidery on muslin, 20″ x 15″

What do you mean by ‘Artist in Residence’?

The term Artist in Residence at Cranbrook is kind of equivalent to an assistant or associate professor at the university. It denotes that we’re teachers, but also that we’re mentors. So, Artists in Residence is meant to assert that I’m an artist, and I work there teaching. Cranbrook is kind of based on the old mentorship-guild way artists were trained in Europe in the pre-modern era.

What inspires you about the contemporary fiber art community right now?

I think what’s interesting about fiber right now is that it’s hard to identify what fiber is in some ways. If I take for example some of my students, there’s people doing video work that looks performative, there are people doing fashion work, there are people that are weaving and quilting. And, obviously, with the weaving and quilting you recognize that it’s coming from fiber and textiles. But, as has been the case for many years, there’s this sort of expanded idea of what that can be.  And it becomes much more about the concepts and the ideas. And of course technology plays into that. You could be weaving with a Jacquard loom that is basically running from a computer program. Or doing digital work in video or doing something that’s completely digital and doesn’t have a physical presence but it relates to either the manufacture of or the history of textiles and what that means in the world right now. 

Mark Newport Fiber Art- Form and Concept- Santa Fe New Mexico
Mark Newport, Mend VIII (detail), embroidery on muslin, 20″ x 15″

In your work, you tend to chew on the same question or themes for years. Could you talk about your different bodies of work?

This year when I had to start school and give a lecture about my work, I jokingly said that I’ve worked on the same ideas for 25 years. That’s true in the sense that I’m interested in gender and how that relates to how we as individuals get to operate in the world or understand the world. I’m also interested in how the body relates to those ideas. The body can project a certain kind of idea about, say, masculinity or femininity or the continuum in between those two poles. The body is also not just a symbol but a kind of tool for recording experience. Our sense of touch and the way our skin works… records information through scars or wrinkles as we age. With the superhero costumes, I was using the idea of the pumped-up body deflated through the knitting, and relating it to an idea of gender in the body. With the new work, it’s this idea of scars.

Does your fascination with the body translate into scientific studies of the body? Are you on WebMD looking up skin conditions?

The fascination with the body means that I look at old anatomy texts. I love those old illustrations. I’ve done a lot of reading about how ideas of gender relate to how people depicted images of the body. At one point, scientists described the male and female genitals as the inverse of each other, even though they cut open bodies and saw that that was not the case at all. I love the idea that how we conceive of something isn’t always what we’re actually looking at, and how there’s slippage and contradictions there. I don’t go to WebMD, but I look at all sorts of videos about how surgeries happen and stuff like that, just to see what it is and figure out how things could be more informed in the work. 

Mark Newport Fiber Art- Form and Concept- Santa Fe New Mexico
Mark Newport, Mend IX (detail), embroidery on muslin, 20″ x 15″

How do some of your more grotesque interests translate into this really subtle, gorgeous, detailed work?

The work’s not grotesque but the inspiration is, and I think that’s largely because I like to work with metaphor in this body of work. I like the idea that the muslin I start with is like my skin, but different. It holds things, it wrinkles, it gets torn, it needs to be fixed just like my body. And so, I’m using the tools that I’m trained to use to make something, and I don’t necessarily want it to be grotesque. I kind of like the idea that the reference to the wound on the body gets made kind of seductive and beautiful. People have the opportunity to process that idea in a different way. 

Is there still a sense of wonder for you that wounds on the human body embroider themselves back together through scarring?

It’s absolutely fascinating. And to think about that in terms not so much of me, but my son who’s kind of accident prone, and watching that and how something heals. The body’s frustrating and amazing all at the same time. 

You’ve been meditating on your own body and aging lately. Does that relate to your current body of work?

I don’t think that it’s an accident that this body of work is happening now. And after the costumes, I think I’m sensitive to the fact that being in my 50s makes me more aware of healing and of tending or taking care of myself and trying to last a little bit longer. I’m wondering how much can you tend, or fix, or repair, and how much you just have to accept and deal with. And I don’t think I would’ve thought that when I was making the other work, just because of how old I am now. 

Mark Newport’s Mending is on view at form & concept through May 20, 2017. Click here to view the full exhibition on our website.

Mark Newport Fiber Art- Form and Concept- Santa Fe New Mexico
Mark Newport, From Within II (detail), embroidery on muslin, 33″ x 66″

Introducing Tania Larsson

Tania Larsson Jewelry- Form and Concept- Santa Fe New Mexico
Tania Larsson, ‘Dentalium Shell & Coral Earrings,’ $90

We’re excited to introduce Tania Larsson, form & concept’s newest jeweler. Tania is of Gwich’in and Swedish descent and she was born and raised in France. At the age of fifteen, she moved to Canada with her family with the goal of reconnecting to her culture and her land. She is currently pursuing her Bachelor of Fine Arts with a focus in digital arts and jewelry at the Institute of American Indian Arts.

Tania is a founding member of Dene Nahjo, a non-profit organization that focuses on cultural revitalization projects. She constantly seeks out opportunities to learn traditional practices such as tanning hides on the land, making tools and sewing. To create her intricate jewelry works, she combines her traditional skills and contemporary arts education. Click here to view more of Tania’s work on the form & concept website.

Tania Larsson- Form and Concept- Santa Fe New Mexico
Tania Larsson, ‘Dentalium Shell, Muskox Horn, & Sterling Silver Necklace,’ $105

 

Tania Larsson- Form and Concept- Santa Fe New Mexico
Tania Larsson, ‘Muskox Horn & Sterling Silver Dangles,’ $75
Tania Larsson Jewelry- Form and Concept- Santa Fe New Mexico
Tania Larsson, ‘Two-Tiered Dentalium Shell & Sterling Silver Earrings (Brushed Finish),’ $120
Tania Larsson- Form and Concept- Santa Fe New Mexico
Tania Larsson, ‘Dentalium Shell, Gold, & Diamond Earrings,’ $220
Tania Larsson Jewelry- Form and Concept- Santa Fe New Mexico
Tania Larsson, ‘Muskox Horn Studs,’ $45

Ask Judy Chicago.

Judy Chicago appeared at form & concept on February 10 for a presentation on her work by Chad Alligood, curator of Crystal Bridges Museum of American Art. The event was sponsored by the Women’s International Study Center and their Fellowship Program, which brought Alligood to Santa Fe to work on an essay about Chicago’s life for a forthcoming monograph from the National Museum of Women in the Arts.

After Alligood’s engaging talk, Chicago ascended the stage for a Q&A session featuring written questions from the audience. Check out the Youtube playlist above to hear her answers to each question, and scroll down for her most quotable moments from the evening.

On responding to criticism.

I simply never have, I just kept working. I got interviewed with Eleanor Antin […] and she was telling this story about how when she got bad reviews she would write these long missives, or call up the critics and yell at him. It was usually a him. I was speechless. ‘Really? It never crossed my mind!’ I just kept working.

On art fairs.

John Baldessari said, ‘For an artist, going to art fairs is like watching your parents have sex.’ […] It sounds like a great quote, but then I was reading Seven Days in the Art World by Sarah Thornton, and every art fair she went to John Baldessari was there. So I guess he didn’t take his own advice, but I took it. I’ve only been to one or two art fairs, but we walked through Frieze that year, and I was just horrified by the work. I mean derivative, boring. It was a lot of young work. So I really changed my attitude. […] If I were young now, I think I would stay out of the market until I had found my own voice.

On changing her name to Judy Chicago.

My favorite was when somebody said I changed my name to Judy Chicago so my initials would be J.C. But my maiden name was Judy Cohen, so I don’t see quite how that worked.

On the next steps for the feminist movement.

Why shouldn’t little boys study women’s history the way girls have to study men’s history? Why do we have to have the ghetto classes? Similarly in museums, why can’t I see Alice Neel next to Lucien Freud. That institutional change hasn’t happened yet. […] We have to see, after having the thrill of being with all these like-minded people in public space, if young people now being the hard work of making change.

Thanks to the Women’s International Study Center for collaborating with us on this wonderful event! Click here to learn more about the presentation.

Uncommon Threads

Sarita Westrup Artwork- Form and Concept- Santa Fe New Mexico
Sarita Westrup, Piel de Canela, chicken wire, spices, plastic, screen mesh, safety pins, 32″ x 20″ x 2″

“Art is the best weapon against cynicism,” Frank Rose told Richard Eeds on KSVF 101.5 earlier this week. That’s our rallying cry for spring, as we open two new exhibitions that feature fiber artists from around the world. Come to tonight’s reception for Shifting Landscapes (presented in conjunction with Surface Design Association) and Mark Newport: Mending, and Saturday’s gallery talk featuring organizers, jurors and artists from both shows. Danielle Kelly, Executive Director of Surface Design Association, will appear at tomorrow’s event. For a preview, listen to her conversation  about Shifting Landscapes with Spencer Beckwith on KUNM.

Michael Abatemarco of Pasatiempo featured Shifting Landscapes in a lovely piece called “Uncommon Threads” today. Here’s an excerpt:

“The border region is a place shaped by limitations and separation, which generates a unique experience for its inhabitants,” writes artist Sarita Westrup, who lives on the Texas-Mexico border, in a statement about her recent practice. “Cultural geography, Mexican-American identity, spiritual icons, belonging, and landscape are ideas that I investigate and that visually inform my work.” She describes her relief wall-hangings, composed of found and recycled materials including paper clips, metal fencing, and rocks, as forming a nonrepresentational portrait of border identity. Westrup’s reliefs are included in Form & Concept’s juried exhibition Shifting Landscapes, which explores the notion of place in the work of textile and fiber artists and designers.

Click here to read the rest of Michael’s piece, and click over to the form & concept Facebook page to RSVP for both events. Local blog Santa Fe Arts Journal also featured these exhibitions on their homepage, so make sure to check it out.