Opening weekend for Armond Lara‘s Flying Blue Buffalo installation has arrived! On Thursday, August 16 at 5:30 pm, we’re hosting a preview of the installation. Dr. Estevan Rael-Gálvez, a Santa Fe-based scholar who is writing a book on the topic of Native slavery, will speak in our atrium under the installation. This Friday, August 17 from 5 to 7 pm, Lara will appear at form & concept for the official opening reception of the piece. In addition to the installation, a number of Lara’s artworks are on view in the gallery, along with an exhibition of Native teen artists. The final event of the weekend is an artist talk on Saturday, August 18 from 2 to 3 pm, which will take the form of a conversation between Lara and his collaborator Joseph Riggs.
It’s safe to say that the Brea Foley Art Program is one-of-a-kind. The initiative, by Washington, D.C. and Arizona-based nonprofit Soul of Nations, vaults teens from Southwestern Indigenous communities into the upper echelons of the art world. This year’s program had hundreds of applicants and 15 finalists, all between the ages of 15 and 18. Three winners jetted off to Manhattan for a residency at New York University’s Tisch School of the Arts. Later in the summer, all of the finalists will exhibit together at form & concept gallery in Santa Fe, on the weekend of this year’s SWAIA Santa Fe Indian Market.
The Soul of Nations group exhibition opens with a reception on Friday, August 17, 5 to 7 pm, followed by an artist talk on Saturday, August 18, 1 to 2 pm. Inspired by the theme “Honor the Earth,” the participants offer fresh perspectives on Indigenous identity, contemporary culture and the state of the environment.
“Art is its own language,” says Ernest Hill, cofounder of Soul of Nations. “People might not want to hear what you have to say about your own plight, but you could look at a canvas and that could ignite a discussion.” That was the founding philosophy for Soul of Nations, which Hill dreamed up with his childhood friend Brea Foley. Hill and Foley grew up in Denver but had strong connections to Navajo Nation in the Four Corners region: Foley’s heritage was Navajo, and Hill’s family conducted missionary work on Native reservations when he was young. They were both interested in addressing the extreme poverty divide between Indigenous communities and the rest of the Southwest.
“There was this drastic disconnect between on-reservation life and off-reservation life,” Hill says. “I made a promise to myself that I wouldn’t go back unless I could do something about it.” Foley passed away in 2014 from breast cancer, but Hill carried on their mission and officially incorporated Soul of Nations as a 501(c)3 the following year. The organization has a broad charter, seeking to uplift the vast numbers of displaced Indigenous communities throughout the Americas.
Hill created the Brea Foley Art Program as a tribute to his late collaborator, with the more targeted mission of providing art world opportunities to Native teens from the Southwest. “At the beginning, we had a focus group and asked students, ‘What are you most interested in doing?’” says Hill. “About 80% of the students said that they were really interested in the arts as a career path. We wanted to show them ways to be successful.”
The Brea Foley Art Program has grown and evolved in the three years since its founding. Hill says awareness of the initiative has grown significantly, with 253 applicants for this year’s program. In addition to the residency at Tisch School of the Arts, this year’s winners—Maiyah King of Albuquerque, Bailey Pete of Gallup, and Christine Garcia of Santa Fe—participated in a special reception at the National Museum of the American Indian in New York City. “Last year we did a series of college tours and museum tours, but we wanted to find a school that was dedicated to investing in youth at a larger level,” says Hill. “NYU really stepped up to the plate.”
Hill also wanted to build a bridge to the commercial art world for the program’s participants. That’s how form & concept came into the picture. “It’s a whole new realm for us in terms of education,” says Hill. “We want to teach them how to work with a marketing team, but also how to market yourself in the commercial art scene. Being an artist is like having a sole proprietorship.” All 15 of this year’s finalists will contribute an artwork to the Soul of Nations group exhibition at form & concept. They hail from 11 different tribal communities throughout the Southwest.
Their work will debut at the gallery on the weekend of the SWAIA Santa Fe Indian Market, which attracts over 100,000 visitors to buy art directly from 1,000 artists who represent more than 200 federally recognized tribes from the U.S. and Canada. The show’s opening reception also features the debut of an art installation by Armond Lara, an internationally renowned artist with Navajo heritage.
Featured Artists: Mikhail K. Ganadonegro, Quansha J. Abayta, Maiyah King, Bailey Makai Pete, Deanna Lee, Christine Garcia, Naomi Smart, Kyle Begay, Megan Joe, Rikki Begay, Iona Stevens, Naomi Begay, Josiah Whitesinger, Lehlahni Michelle, Kiara Tom
Flying Blue Buffalo Installation
Preview with Dr. Estevan Rael-Gálvez:
Thursday, August 16, 5:30 pm
Opening: Friday, August 17, 5-7 pm
Artist Talk: Saturday, August 18, 2-3 pm
This weekend, when Santa Fe artist Armond Lara sends 77 winged buffalo sculptures into the stratosphere of form & concept’s atrium, he’ll fulfill a long-held dream. The Flying Blue Buffalo installation tells the centuries-long story of enslaved Native American children—including Lara’s grandmother. The Pueblo people called these abducted youths “Lost Bluebirds.” Lara combined this symbol with the buffalo to create the Flying Blue Buffalo, a new icon of Indigenous resilience. Listen to Armond Lara’s interview with Spencer Beckwith on KUNM, and learn more at the links below.
Image: Armond Lara, Flying Blue Buffalo installation.
Soul of Nations
Opening: Friday, August 17, 5-7 pm
Artist Talk: Saturday, August 18, 1-2 pm
Soul of Nations, a Washington, D.C. and Arizona-based nonprofit that works to uplift Indigenous communities throughout the Americas, presents this juried exhibition of Native teen artists from Southwest reservations. Inspired by the theme “Honor the Earth,” the participants offer fresh perspectives on Indigenous identity, contemporary culture and the state of the environment. The 15 featured artists offer boundary-pushing aesthetic statements from a new generation of Indigenous creatives.
Image: Kiara Tom, The Y’ell Night Chants, acrylic on canvas, 24 x 18 in.
Suspended from the ceiling is a herd of blue buffalo, seventy-five of them, flying on wings. The buffalo tell the story of thousands of Native American children who, from the 17th Century through the 19th, were abducted from their families and enslaved on ranches and in homes across the Southwest. The Flying Blue Buffalo installation is the creation of veteran Santa Fe artist Armond Lara, and it’s on view starting August 17 at the Santa Fe gallery, form & concept.
You can listen to two versions of the radio segment on the KUNM website— one that’s 4 minutes and one’s that 7 minutes. Both stories include this gorgeous quote from Armond:
I decided that all I would see was a cloud of blue. I thought it would be a beautiful presentation. That’s the whole philosophy for Navajo people. Walk In Beauty. It has to be in a beautiful way. It doesn’t have to be ugly, even though it is ugly. We can take the pride and the endurance of still being here. Like the buffalo.
Meanwhile, we’re deep in the installation process for Armond’s show. You can see the grid system we’re using in the photo above, which will support all of the sculptures in the piece. Come see it on opening weekend, August 16-18!
Later this month, when Armond Lara sends 75 winged buffalo sculptures into the stratosphere of form & concept’s atrium, he’ll fulfill a long-held dream. Lara has been depicting buffalo in his artwork for years, but more recently they’ve turned blue and sprouted wings. The Flying Blue Buffalo series is a reference to the Santa Fe artist’s family history: his grandmother, who was Navajo, was kidnapped as a small child and forced into servitude by a Mexican family. Across three centuries of Spanish, Mexican and American rule, thousands of Native children were similarly enslaved as household servants or field hands.
The Pueblo people called these abducted youths “Lost Bluebirds,” a symbol that Lara combined with the buffalo to create a new icon of Indigenous resilience. He dreamed up a massive installation of 75 winged buffalo sculptures, which came to fruition through a Kickstarter campaign and 3D printing technology. We’re hosting a preview of the installation on Thursday, August 16, featuring a talk by Dr. Estevan Rael-Gálvez of Santa Fe. The installation opens with a reception on Friday, August 17, and Lara conducts an artist talk on August 18.
“My grandmother didn’t talk much, but if she did talk, you listened,” says Lara. He’s known the story of his grandmother’s abduction for as long as he can remember, but it wasn’t until recently that he learned how common the practice was. “My sister was doing genealogy research on the family, and she found a list of all the Native American kids who had been ‘adopted’ by Mexican families in the Four Corners area,” says Lara. “It dawned on me, whoa, this is really widespread. That’s when I started asking other people about it.” He learned about the kidnapping and enslavement of an enormous number of Native American children over several centuries—from the 1600’s when the Spanish arrived, through the period of Mexican Independence, until the late 1800’s under the government of the United States. A number of Lara’s close friends revealed that they too had ancestors who were taken.
For Lara, this growing web of stories reminded him of his grandmother’s resilience, which has been an enduring source of inspiration. “I looked to my grandparents for guidance. The strongest voice was my grandmother’s voice,” Lara says. “She didn’t talk about it, she just did it. If she needed something, she’d make it. If she needed a robe, she’d weave one. I really admired that quality.” He dreamed up an art installation and storytelling project that might communicate this ethos, and inspire people to learn more about their heritage. A series of five winged blue buffalo marionettes that Lara carved from wood over a number of years became central conceptual elements.
With the help of his frequent collaborator Joseph Riggs, an artist and retired attorney who lives in Santa Fe, Lara pitched the idea to form & concept. The gallery commissioned a digital model and several mock-ups of the buffalo from Albuquerque technology firm 3D Proven Systems, while Lara and Riggs started gathering stories for the project. “We’ve represented Armond’s work for years, and were so excited to help bring his vision into reality,” says Sandy Zane, Owner of Zane Bennett Contemporary Art and form & concept. “For a project at this scale, we turned to 3D printing technology to capture the original carvings in high fidelity.” The gallery mounted a Kickstarter campaign to fund a round of 3D-printed sculptures, which were used to create molds for a final series of 75 cast resin sculptures.
Riggs says the scale of the installation is vital to the project, because it communicates the staggering number of children, families and communities affected by the issue. “I’ve lived in the Southwest my whole life, and I was unfamiliar with the story,” says Riggs. “You can’t find it in history books in New Mexico, but as I learned, there were slave markets all across this region. It became a deep part of the culture of the Southwest.” Each of the 75 buffalo sculptures will represent the story of one “Lost Bluebird,” with oral and written accounts of their fight for survival. “People in New Mexico have been searching for a way to explore this part of their family history,” Riggs says. “They can take pride in the fact that they’re Hispanic, and they’re Native American, and they’re American. There’s so much division in our country. We need to find ways to show our unity, to show how much we’re alike rather than how we’re different. And I think we can do it through this story.”
Dr. Estevan Rael-Gálvez of Santa Fe will speak at a free preview of Armond Lara’s Flying Blue Buffalo installation on Thursday, August 16 at 5:30 pm. With ancestral connections to both Hispanic and Indigenous communities, Dr. Rael-Gálvez was raised working on a farm and ranch stewarded by his family for generations in Costilla, New Mexico. Learn how he found his way to academia in Joseph A. Baca’s excellent article “The Accidental Historian” in the Weekly Alibi. Here’s an excerpt:
The son of a borreguero (sheep herder) in northern Taos County, Estevan Rael-Gálvez says he constantly lost his flock. Life on the farm wasn’t for him. So with his mother’s encouragement, he walked away from his family’s generations-old trade of sheep and farming in Costilla and Questa to answer his calling—academia, and ultimately a much larger world where culture, art and politics converge.
Dr. Rael-Gálvez holds a B.A. from the University of California at Berkeley and an M.A. and Ph.D. from the University of Michigan at Ann Arbor, where he completed an award-winning dissertation, “Identifying Captivity and Capturing Identity: Narratives of American Indian Slavery.” He is currently working on the manuscript The Silence of Slavery.
Formerly the State Historian of New Mexico, Executive Director of the National Hispanic Cultural Center, and Senior Vice President at the National Trust for Historic Preservation, Dr. Rael-Gálvez currently is a writer and the founding principal of Creative Strategies 360°, a consulting firm which supports transformative work within communities and organizations, including his present project, an initiative on “Truth, Racial Healing and Transformation.”
form & concept’s Annual Exhibition 2018 opens tonight from 5-7 pm! The show features work by all ten of our represented artists, including two new pieces from Mark Newport‘s Sweatermen series (above). “The Sweatermen are heroes of my own invention,” he says. “In each of these works I forge a link between childhood experience and my adult exploration of protection, masculinity, and heroism.” Michael Abatemarco of Pasatiempo covered the Annual Exhibition in this week’s Exhibitionism section. Here’s an excerpt:
Each summer in July, Form & Concept presents its Annual Exhibition featuring works by its represented artists including Heidi Brandow, Debra Baxter, and Wesley Anderegg. “From the beginning, we were interested in reimagining what an art gallery could be,” gallery director Frank Rose said. “The natural starting point was asking, ‘What’s been exhibited, and what or who has been excluded?’ ” The gallery’s roster includes artists whose works explore the diaphanous borders between art, craft, and design.
Click here to read more, and we’ll see you at the opening tonight!
“From the beginning, we were interested in reimagining what an art gallery could be,” says Frank Rose, Director of form & concept gallery. “The natural starting point was asking, ‘What’s been exhibited, and what or who has been excluded?’” The gallery, located in Santa Fe’s Railyard Arts District, celebrated its second anniversary in May—but its most definitive curatorial statement emerges each summer. The latest entry in form & concept’s Annual Exhibition series launches in late July, and includes new artwork from all ten of the gallery’s represented artists. Each show brings together local and far-flung creative voices in a conversation about art, craft and design.
“By looking at the cultural lines we’ve drawn between these broad categories, we start to better understand ways that people have been divided,” says Rose. “What we call art, craft or design has a lot to do with gender, race and class.” form & concept Annual Exhibition 2018 opens on Friday, July 27 from 5 to 7 pm, and a number of the featured artists will conduct a gallery talk on Saturday, August 25 from 2 to 3 pm.
Above: Thais Mather.
Click here to browse the complete form & concept collection.
Readers of Santa Fe Reporter voted us “Best Gallery” in the publication’s annual Best of Santa Fe contest! Thanks to everyone who helped boost form & concept from last year’s #2 slot, all the way to #1. Here’s what SFR had to say about the gallery:
Paintings? Check. Music? Check. Video, sculpture, dance and pretty much any kind of contemporary awesomeness you can imagine in the Railyard Arts District? Check, check, check and check.
Click here to read more, and come celebrate with us at the form & concept Annual Exhibition 2018, opening this Friday, July 27 from 5 to 7 pm. The reception overlaps with SFR‘s annual block party, which is a short walk away in (and around) the Railyard Market Pavilion from 5 to 9 pm.
“Canyon Road is in flux right now—more than locals might realize,” says Sandy Zane. “It’s on the cusp of a contemporary revolution.” As owner of form & concept and Zane Bennett Contemporary Art, Zane has worked for years to foster a strong contemporary arts scene in the city’s Railyard District. Now she’s opening a dynamic new business on Canyon Road, and is determined to help turn the tide in the notoriously traditional gallery district. Canyon Road Creatives, located at 826 Canyon Road, is a national hub for highly unconventional arts workshops. Zane brings together instructors for the first round of workshops at a free open house event on Saturday, July 21 from noon to 5 pm.
“We’ve been doing these spectacular artist demonstrations at form & concept, and wanted a way to present more of those dynamic moments where an artistic process is revealed,” Zane says. form & concept, which opened in the Railyard in May 2016, blends art, craft and design disciplines in a boundary-shattering exhibition and event program. As Zane conceptualized Canyon Road Creatives with local artist Bunny Tobias, they were guided by this resolutely mixed-media philosophy. “In short, things have gotten weird, which is just how we like it,” Tobias explains. “These workshops are designed to spark powerful contemporary dialogues. You’ll leave with new skills and artwork, but also with a head full of fresh ideas.”
Since the soft opening of Canyon Road Creatives in early June, the space has hosted a number of innovative workshops. Renata Gaul and Francesca Rodriguez Sawaya taught weaving and coding in a class presented by the Currents New Media Festival. Solange Roberdeau introduced students to the process of gilding on fabric, paper and wood. Pat Chapman shared her expertise in sculpting with a papier mâché-clay hybrid, and Tobias presided over an epic, multi-round game of exquisite corpse.
Upcoming Canyon Road Creatives workshops are just as varied, as is the slate of instructors. Some of the teachers are represented artists at form & concept, while others hail from across the nation and the world. “There’s essentially no limit to what we can do,” says Zane. “The space is versatile, the artists we’re working with are enormously talented, and the demand for programming like this is strong.”
Canyon Road Creatives is located at 826 Canyon Road, a historic adobe home that’s a few doors up from El Farol Restaurant and across from The Teahouse. Zane owns the building, and previously provided it to Santa Fe Community College’s student-run Red Dot Gallery. When SFCC closed the art space, Zane knew she wanted to keep its educational mission alive in some way. It’s well-suited for workshops, with multiple rooms for classes, a living room with a vast library of art periodicals, and a full kitchen. Zane and Tobias have even bigger plans for the space: they’re working on the plans for an artist residency and exhibition schedule.
Zane sees her new workshop venue as part of a larger wave of new, game-changing art spaces and projects on Canyon Road. Just next door is the Beals & Co. Showroom, a space that’s directed by Bobby Beals and exhibits experimental work by local, emerging artists. Farther up Canyon Road, Pilar Law’s Edition One Gallery presents one-off prints by early-to-late-career photographers. At the base of Canyon Road, galleries such as OTA Contemporary and Peters Projects have resolutely contemporary exhibition programs. “There’s a new contingent forming,” says Zane. “Over the coming months and years, it’s bound to coalesce into something that profoundly shifts the culture of Santa Fe.”