The Play Issue | Print Release Party & Fashion Show

Good Mood Studio, formerly known as 1905 Magazine, hosts a release party and fashion show for their winter release, The Play Issue. Directed by Keynan Johnson, the fashion show will echo the varied aesthetics and collaborative energy that has become synonymous with Good Mood Studio.

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Artist Spotlight: Heidi Brandow

 

 

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Heidi Brandow, Margins, mixed media on panel, 18 x 24 in

 

“I knew from an early age that our native identity is so rich that we shouldn’t just hold it to a specific ceremony or spiritual practice,” Heidi Brandow said during a studio visit in 2016. “In my eyes, art is a tool that helps mark history, time, place and memory. Who’s to say pop culture are not equally as important as star sticks?”

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Brandow’s works often feature whimsical monsters and characters against vividly colorful backdrops and paper collages she collects on her international travels.

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Brandow was recently awarded the third Ucross Fellowship for Native American Visual Artists.

“As an artist with an active arts practice, a full-time commitment to the Institute of American Indian Arts, and a family,” says Heidi. “I am grateful for Ucross’ support in granting me the time, space, and resources to enhance my craft and create in such a beautiful setting.”

 

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Low Tide, mixed media painting, 5.5 x 5.5 x 1.5 in

 

To learn more about Heidi, please inquire or call us at (505) 216-1256.

Click here to view more works by Heidi Brandow in our collection.

Scroll below to read excerpts from our 2016 studio interview.

 

Do the monsters have names, or story lines? 

For me personally, they don’t have names, and there’s no story behind any of them. I try not to put too much of my own self into them. I don’t want to over personalize it. These are a nice outlet for me to create work that is lighthearted, that is easy. It’s very fluid. I feel like when people see it, they get it immediately. Whether you like it or you don’t like it, it’s a visceral thing. It’s not too theory-based.

I want my work to reach everyone. I don’t come from a community or people that are heavy academicians. In fact, I would argue that the art world has largely blocked out people of color from participating in art to a large extent.

On the other hand, I think a lot of the work I do is a little heavier. This is a nice outlet, where I can just make work that is more lighthearted and fun.

 

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Floating, mixed-media on panel, 5 x 5 x 3 in

 

How does your own cultural heritage figure into your work? 

I never entered the art scene on the basis of promoting myself or my work as Native art. Not because I was shying away from it, but because my idea of Native art was a lot of very cultural referenced work, such as very specific tribal motifs and designs. The stuff that I was doing wasn’t like that. I never felt weird about it, because I always felt like my Native identity is already in this work, whether or not there’s symbols or direct references to cultural place. The simple fact that I’m Native and that this is the work that I’m making, there’s no way of denying my heritage and my experience, or saying that it’s not implicitly in the work. I don’t believe it has to have direct references to culture and place.

Culturally Native people are so diverse and our experience is so diverse. If you look at someone like myself, being Native Hawaiian and Navajo or Dinè, they’re two entirely different cultures. They’re both Native, but it’s ocean and desert people. That’s only the first difference, right? Of course we have a lot of similar cultural values, but it’s like night and day in a lot of ways.

 

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Fences (diptych) mixed media painting, 5.5 x 11 x 1.5 in

 

Do the monsters have names, or story lines? 

For me personally, they don’t have names, and there’s no story behind any of them. I try not to put too much of my own self into them. I don’t want to over personalize it. These are a nice outlet for me to create work that is lighthearted, that is easy. It’s very fluid. I feel like when people see it, they get it immediately. Whether you like it or you don’t like it, it’s a visceral thing. It’s not too theory-based.

I want my work to reach everyone. I don’t come from a community or people that are heavy academicians. In fact, I would argue that the art world has largely blocked out people of color from participating in art to a large extent.

On the other hand, I think a lot of the work I do is a little heavier. This is a nice outlet, where I can just make work that is more lighthearted and fun.

 

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Altin, mixed-media, 5.5 x 12 x 1 in

Debra Baxter | Elegant Experimentation

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Debra Baxter photographed in her studio by Suzanna Finley.

 

“Even though I am interested in very traditional materials within the history of sculpture, I don’t want to be boring and stuck in that history.” Debra Baxter said in an interview with One 2 Three’s Practice Practice. “I want to mix them in a way that no one has.”

 

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Breastplate (Reveal), bronze and quartz crystal, 18 x 11 x 3 in

 

As a master of material inversion, Debra transforms dense materials into light and flowing sculptures, or fragile mediums into resilient structures.

 

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The end result is elegant – but dangerous – as seen in her Lace Throwing Star, which gives the delicate textile an edge.

 

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Unapologetic Glory 

Debra received her MFA in Sculpture from Bard College. Her wearable sculpture Devil Horns Crystal Brass Knuckles (Lefty) is featured in the permanent collection of the Smithsonian’s Renwick Gallery. She debuted her solo show, Tooth & Nail, at form & concept this past spring.

Click here to view more of Debra’s work in our collection. To view pieces from Debra’s jewelry line, db/cb, click here.

To learn more about Debra, please inquire or contact us at 505-216-1256

Tania Larsson: Traditional Meets Contemporary

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Tania Larsson starts with the land. Her materials are harvested from nature, then combined with silver, gold, and precious stones. The combination of traditional craft with a contemporary education results in striking, intricate adornment.

“My heritage is an integral part of who I am and my work,” said Tania Larsson in an interview with UNUM Magazine. “I wanted to present myself as a Gwich’in woman and needed cultural indicators that could be worn anywhere.”

Larsson maintains a studio in Yellowknife, but she hand delivers her jewelry works to our gallery shop. View some of our favorites below.

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Long Muskox Horn and Sterling Silver Earrings
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Long Bison Horn and Sterling Silver Earrings
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Etched Caribou Horn and Sterling Silver Necklace
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Bison Horn and Sterling Silver Necklace
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Triangle Muskox Horn and Sterling Silver Earrings
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Porcupine Claw and Sterling Silver Earrings

 

 

This Friday: Hand/Eye

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Whether they’re gelatin silver prints or daguerreotypes, there’s one thing that most photographs have in common: they’re flat. For a new group exhibition at form & concept, eleven artists from across the United States shatter this convention by applying craft media to photography—and vice versa. Hand/Eye presents images with the texture and volume of sculptures, vaulting a medium that’s often trapped behind glass into the viewer’s sphere. The artworks in the show incorporate a wide array of materials, including fiber, cast glass, micaceous clay and human hair. Call it super-alternative process photography.

Above: David Samuel Stern, Nouri, photographic prints on translucent vellum physically cut and woven together.

 

 

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Cathryn Amidei
Gut Feeling
Fiber
25 x 44 in.

 

 

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Jodi Colella
Sampled Lives series
embroidered found postcards
4 x 6 in. each

 

 

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Elizabeth Claffey
Matrilinear #9
archival pigment print
24 x 18 in.

 

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Jacquelyn Royal
Detroit 3
needlepoint, thread on canvas
11 x 16 in.

 

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Emily Margarit Mason
Yoga Mat and Glass
photograph
36 x 24 in

 

Preview the show on our website.
RSVP on Facebook.

 

Introductions

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We’re excited to announce that Kylee Aragon is our new Administrative Coordinator! Kylee was born and raised in Albuquerque, NM. She received a BFA in Art History from the University of New Mexico. Kylee began her gallery experience at Tamarind Institute, where she developed a deep love for works on paper. While Kylee is not a printmaker she is a self-proclaimed print nerd who enjoys speaking in great detail about process, paper, and the print market. She is excited to bring her passion for art to form & concept.

 

This Saturday: Matthew Mullins Artist Talk

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This Saturday, Matthew Mullins hosts an artist talk for his solo exhibition The Sun In Our Bones. When Mullins began working on the monumental show last year, he was shooting for the stars. “I thought about this spectrum of very earthy and grounded to the cosmos,” says Mullins. “How do you encompass that staggering span, and pull someone all the way through it?” The exhibition is on view through November 17, 2018. Scroll down to see selections from the exhibition, and click here to browse all of the artwork online.

 

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Matthew Mullins, Source of the Rio Nambe, oil on canvas

 

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Matthew Mullins, Dome, 19th century engraving with gold leaf
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Matthew Mullins, Chama River, archival pigment print

Design Spotlights & Introductions!

Lisa Klakulak

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Lisa Klakulak is an avid traveler, and often draws inspiration from far-flung landscapes to create stunning fiber artworks. In the past, she’s crafted wearables that evoke lava flows and glaciers. This fall, Lisa debuts a series that draws from the vernacular of the human body. The new works reflect the soft textures and hues of hair and skin.

“Attracted by its protective and nurturing qualities, I found wool fiber a relevant material to use in my work that’s related to concepts of human vulnerability and security,” Lisa says. “I attribute the sense of contentment and calm that I feel when I’m working in the studio to the constant touch involved in the process, as well as bringing an idea into fruition. You need that idea, that inspiration.”

 

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Lisa Klakulak, Untitled Bracelet, felt mixed media
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Lisa Klakulak, Tail, merino wool, cotton thread, vintage hot roller pins

Oaxacan Ceramics

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Oaxacan Ceramics, Tall Bartolo Vase, ceramic

Made by hand in Oaxaca, these ceramics are as functional as they are elegant. From spice jars to vases, Oaxacan ceramics adapt to contemporary lifestyles while maintaining Mexican traditions.

Introductions!

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Jordan Eddy is the new Gallery Director of form & concept and Zane Bennett Contemporary Art! Originally from Oregon, Jordan moved to Santa Fe in 2012 and quickly found himself immersed in the gallery community. He performed marketing and public relations work for galleries and museums in every Santa Fe arts district before landing at form & concept as Marketing Director. After two years in that role, he’s excited to take the helm at both galleries. Jordan also writes for a number of arts publications including The MagazineSanta Fe Reporter, and New Mexico Magazine.

 

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Savannah Sakry is our new Sales Manager at form & concept, while our beloved Sales Manager Clara Holiday will continue to spearhead sales for the Zane Bennett Contemporary Art collection! Originally from Evergreen, CO, Savannah moved to New York City where she received a BFA in Photography from the School of Visual Arts. Relocating to Santa Fe in 2015, she began her experience with fine art sales working for the internationally acclaimed photo bookstore and contemporary photography gallery, photo-eye. While photography is Savannah’s first love she is just as enthusiastic about other mediums, and shares form & concept’s mission to challenge traditional distinctions between art, craft, and design.

Design Spotlight: Kat Cole

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Kat Cole, Red Folded Pendant, steel & enamel

When it comes to inspiration, Kat Cole looks to city skylines. Cole studies the constructed environment of her surroundings and replicates the steel structures at an intimate, wearable scale. Her steel and enamel creations are new arrivals to our gallery shop — in dazzling shades of red, yellow, and blue.

 

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Kat Cole, Red Open Oval Earrings, steel, enamel, & sterling silver
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Kat Cole, Red Dangle Hoop Earrings, steel, enamel, & sterling silver

 

Press Roundup: Matthew Mullins | The Sun In Our Bones

Tonight, Santa Fe artist Matthew Mullins presents his solo exhibition The Sun in Our Bones. Mullins’s work is inspired by the intrinsic links between humans and the natural world. He has a lot of ground to cover, which is why we’ve dedicated our entire ground floor to showcase his paintings, photographs, and sculptures.

We visited Matthew’s studio to talk about his process and inspiration for his show. “I want people to look beyond what’s right in front of us,” says Mullins. “And make them aware of our own cosmic origins.” Check out the video above to learn more about his artistic practice.

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Mullins also gave Megan Bennett of the Albuquerque Journal a tour of his studio. Here’s an excerpt:

Mullins thinks of the patterns as a representation of the human experience of being out there nature.

“If you’re in one of these places or in nature just staring off into the trees, I feel the mind kind of wanders a little bit,” he said. “Like you’re looking at the landscape, but other thoughts come in. You lose it, and then you see the landscape.

“So I like the representational qualities with the landscape, as well as the abstract patterns. The brain can go from experiencing the depth and light of the landscape to the flatness and rhythm of the abstraction. The brain toddles back and forth, and it creates a more dynamic experience that’s kind of uncontrollable.”

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Mullins was also the subject of Emily Van Cleve’s article in the Santa Fe Arts Journal. Check out this quote:

An award-winning professional artist who moved to Santa Fe in 2011, Mullins has been working on the pieces in “The Sun in our Bodies” for the past two years.

“My work draws upon my fascination with visual perception and the forces of nature,” he says. “By integrating human-made constructs with natural environments, I’m composing a relationship that is often deconstructed or forgotten in today’s society.

The press doesn’t stop there! The Santa Fe Reporter brought Mullins in for their 3 Questions Column. Here’s what he had to say about The Sun in Our Bone’s overarching theme:

The theme is trying to make art that can connect the viewer with nature and the cosmos. A lot of pieces in the show are about how the materials in our own body are made of the stars, and how the elements that give us life and the ability to have consciousness come from the stars. I’m really trying to drive that point home. The title of the show, The Sun in Our Bones, comes from a poem by poem by Nayyirah Waheed, and really conveys what I’m trying to do with art.

The Sun in Our Bones opens September 28th at 5 PM and runs through November 17th. Mullins will conduct an Artist Talk on the 20th of October.

 

It’s World Rhino Day!

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Elana Schwartz, Meditation on Impermanence, bronze, 12 x 10.5 x 8.5 in. Available in two patinas.

September 22 is World Rhino Day! Just in time for the holiday, Elana Schwartz has completed a fantastical rhino sculpture in bronze. We’re donating 10% of the proceeds from the artwork’s sale to the International Rhino Foundation. Help save the rhinos, and add this stunning artwork to your collection.

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“The Earth is on the verge of a mass extinction event,” said Schwartz. “Today, plants and animals on earth’s surface are becoming extinct at a faster rate than ever before. The corruption of earth’s shared natural resources informs us that humanity is inseparable from the rest the natural world and leads us the confront and thus act on the untimely impermanence of all existence.”

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At the start of the 20th century, 500,000 rhinos roamed the earth. Today, only 29,500 rhinos survive in the wild. Learn more about the rhino crisis and how you can help here.