Join Ginger Dunnill, curator of the Broken Boxes group exhibition at form & concept, for an interactive walk-through on the show’s final weekend. Broken Boxes features the art and ideas of over 40 visual artists, filmmakers, sound artists, activists, performance artists and community organizers from around the world who are effecting change through their work. The show is co-curated by Ginger Dunnill and Cannupa Hanska Luger, and all invited artists have participated in an interview on Dunnill’s Broken Boxes Podcast over the past 2 years. The walk-through takes place on Saturday, October 21 from 1-3 pm. The Broken Boxes catalog, launched at an event this September, will be available for sale.
It’s easy to forget that the world is experiencing a crisis in biodiversity, one that some scientists have called a “sixth extinction.” Humanity has grown ever more isolated from the rest of the animal kingdom, hiding away in climate controlled boxes and behind glowing screens. In his new solo exhibition at form & concept, Korean ceramicist Wookjae Maeng ushers animals out of the wild and into the spotlight. His detailed porcelain sculptures of deer, rhinos, lions, bighorn sheep and other creatures bring viewers back in touch with beings that are often pushed to the margins. Wookjae Maeng: BALANCE opens on Friday, October 27 from 5-7 pm. Make sure to RSVP for the reception on Facebook, and scroll down to preview more works from the show.
“The theme of my work is to represent the complex, ambiguous and uncomfortable relationship between man and animal,” says Maeng. “The human is on the top of the ecological pyramid now and can manage all kinds of fellow creatures. However, the environmental situation continues to worsen and that tension is what I wish to explore.” Maeng’s animal portraits often bear evidence of human intervention. Some are presented like hunting trophies, with their disembodied heads mounted on wooden boards. Other sculptures highlight the invisibility of the animal world to the human eye, camouflaging the creatures on patterned panels. All of Maeng’s animals have one thing in common: golden eyes that confront the viewer with an unblinking ferocity.
Maeng lives in Seoul, South Korea, where he received his PhD in ceramic design from Kookmin University in 2015. He has lived in Sweden, and traveled extensively through Europe and North America. His encounters with animals in the United States and Canada helped inspire his artistic explorations of the natural world, a fixation that’s visible in his earliest work as a BFA student in Korea. The artist has exhibited in Santa Fe once before, in a 2015 group show at Peters Projects titled Trophies & Prey: A Contemporary Bestiary.
Though Maeng’s work often highlights humanity’s negative impact on the animal kingdom, he seeks to inspire a new awareness in his viewers. “In order to thrive, [humanity’s relationship with animals] demands careful coexistence and balance between the urban and the natural… and empathy for less visible creatures,” Maeng says. “In my work I hope to provide an opportunity—however brief—for modern man to consider the realities of the environment in which he exists, even as he continues his daily existence indifferent to it.”
Our Broken Boxes group exhibition has had quite a few returning visitors, and there’s a good reason for that. Curator Ginger Dunnill worked with 40 activist artists who’ve appeared on her podcast to fill our upstairs galleries with over 50 artworks. A number of the pieces are interactive, and all of them feature intricate storytelling that takes time to fully absorb. One visitor spent a solid two hours poring over each and every piece, while others have worked their way through at events over the course of show’s run.
Broken Boxes comes to a close on Sunday, but there’s one last chance to take it all in. Stop by form & concept this Saturday, October 21 from 1-3 pm for an interactive walk-through with Dunnill. She’ll talk about the process of putting the show together, and answer questions about the artists and their work. The Broken Boxes catalog, launched at an event last month, will be available for sale.
Among the show’s recurring guests was Alicia Inez Guzmán, who wrote a great review of Broken Boxes in this month’s issue of THE Magazine. Here’s an excerpt:
I felt as if the space had been successfully engaged; there were intimate works that pulled me in but also art that cascaded from the ceiling, attached itself to walls like barnacles, settled into the corners, brought the outside in, and celebrated the booty in grand scale. It was as if the envelope of the gallery (another kind of box) was slowly being pulled apart, at least stretched to bear the voices of those compelled to break the box.
Guzmán’s piece inspired the form & concept staff to sound off on some of our favorite artworks from the exhibition. Scroll down for meditations on several pieces that you need to see before the show closes on Sunday.
Valentina Gonzalez, Free Time – 10 Years of Paint, acrylic, latex and spray paint epoxy, aluminum screws, brass cabinet pull, 10 x 2.5 x 2.5 in. (right)
Frank Rose, our director, writes:
It’s hard to choose, but I love Valentina Gonzalez’ Free Time – 10 Years of Paint. I’m a big fan of what I call “material inversions”: using materials in a way that masks their true nature creating a moment of surprise for the viewer. The way Gonzalez has taken a wall slathered with 10 years of paint and turned it into a spray can is delightful.
Nanibah ‘Nani’ Chacon, Between a Black Cloud and a White Cloud He Found Her, broken boxes, black and white charcoal, paint. (center)
Clara Holiday, our sales manager, writes:
Nanibah ‘Nani’ Chacon’s work really resonates with me. The expression is at the same time fierce and strong and yet it is also joyous and irreverent. There is a beautiful resilience to the piece.
Chip Thomas, Meditation on a Cloth Signifier, inkjet print/regular bond paper with wallpaper paste, inkjet print on cotton/silk voil. (center)
Jonathan Meade, our sales associate, writes:
There’s a sweet and sinister element to this work. It’s the innocent expression of the child on the side of the bead shack, the tattered American flag the child gazes upon, and the dust-filled and desolate canyon landscape where the shop sits. The way these elements express a hope-filled aspiration amidst deprivation, feelings all too common to indigenous populations across the country – under-served and oftentimes overlooked by the colonial patriotic government that perpetrated these impoverished conditions upon the native people, and yet has been apathetic to respond to their needs or to come to a resolution for the injustices endured in their survival. We’re left contemplating what the future of this country means staring in the eyes of the little child who searches for meaning in that tattered American flag, where we to find ourselves wondering what end it serves…
Kate Martin, our sales & marketing assistant, writes:
My favorite work in Broken Boxes is Meditation on a Cloth Signifier by Chip Thomas. Every time I look at Meditation I feel like I’m seeing it for the first time. There are so many details to stop and consider. I could spend hours looking at it.
Maria Hupfield, In Case of Emergency, found objects and industrial felt, 11.75 x 18.5 x 3.25 in. (left)
Jordan Eddy, our marketing manager, writes:
Maria Hupfield compiles a survival kit for the modern protester, complete with a Sharpie paint pen, a silver emergency blanket and bandages made from grey felt. It’s a neatly organized reminder of a messy, never-ending struggle for justice. This is one of just a few intact boxes in the show, but it was made to be broken. Brilliant!
Click here to learn more about Broken Boxes, and make sure to RSVP on Facebook for Ginger Dunnill’s final walk-through on Saturday.
Madrid, New Mexico might be known for its appearance in the film Easy Rider, but a much weirder chapter of cinematic history unfolded there in the mid-1970’s. Early in David Bowie’s The Man Who Fell to Earth, the singer descends a hill that’s just south of the historic coal mining village. In fact, the majority of the movie was filmed on location in New Mexico. Four decades later, the Santa Fe Institute has launched an initiative with the opposite trajectory. The InterPlanetary Project challenges scientists, artists, writers and the public to imagine what it would take to explore and populate worlds outside of our solar system.
Santa Fe Institute partnered with Creative Santa Fe to launch the project in July. They join forces again this Sunday to host the InterPlanetary Ziggy Stardust Costume Party. For one wild evening, the InterPlanetary Project rides David Bowie’s star-dusted coattails at this weird and wonderful soiree. The free, RSVP-only event features a cash bar by Santa Fe Spirits and interstellar hors d’oeuvres by form & concept. Guests who wear David Bowie-themed costumes will be entered into a raffle for fun prizes. The party lands at form & concept on Sunday, October 15 from 5-7 pm, on the weekend of InterPlanetary’s fall event series.
The Interplanetary Project debuted in July 2017, with a panel discussion between science fiction authors, scientists, explorers, and artists at the Lensic Theater in downtown Santa Fe. It continues this fall with a city-wide event series running October 13-17 and featuring screenings of science fiction films at the Jean Cocteau and Violet Crown Cinemas, a performance by Jeffrey Ernstoff and a panel discussion led by Santa Fe Institute External Professor Manfred Laubichler.
There was one key ingredient missing from the weekend of InterPlanetary events. Who better to join us on an interstellar journey than David Bowie? Looks from any era of Bowie’s colorful and daringly varied fashion legacy are welcome at the InterPlanetary Ziggy Stardust Party. Spacesuit up, Santa Fe!
Guns to Art Benefit Show
Submission Deadline: Monday, October 9, 2017, 11:59 pm
Submit To: firstname.lastname@example.org
Click here to download the submission form.
form & concept gallery in Santa Fe, New Mexico collaborates with Santa Fe Community College (SFCC) and the non-partisan 501(c)3 organization New Mexicans to Prevent Gun Violence (NMPGV) for this special exhibition. Silent and live auctions at the reception will feature artwork made from decommissioned firearms by faculty and students of SFCC’s Art Department, along with works reflecting on gun violence prevention by artists and jewelers from across the United States. Proceeds will benefit art and welding scholarships at SFCC, NMPGV and the participating artists. The Guns to Art Benefit Show will be on view from November 7 to 17, 2017, with a reception and live auction on Friday, November 17, 2017 from 4-7 pm. An online and in-gallery silent auction featuring a selection of the works will run for the duration of the exhibition, and end on the evening of the reception.
Artists are invited to enter up to three works, the submission form and a 250-word artist statement describing how each submission reflects on gun violence prevention. Please provide a high resolution image of each work. Entries can be artworks or jewelry of any size or medium, and don’t need to incorporate decommissioned gun parts to be considered. The submission deadline is October 9, after which a jury selected by form & concept will choose the works and notify the artists by October 20. Upon notification, the artists will receive a contract that they must sign, scan and email back to form & concept (email@example.com) before shipping their work. Selected artists are expected to cover the costs of shipping their work to the gallery, and to enclose a return shipping label from FedEx or UPS in the case of a work not selling.
The works will appear in an online and in-gallery silent auction that begins November 7 ends at the conclusion of the Guns to Art Benefit Show on November 17. Works that do not appear in the silent auction will be on the block in a live auction at the event. Participating artists will be notified before the Guns to Art Benefit Show opens whether their work will be in the silent or live auctions. 50% of each sale will go to the participating artist, 25% will go to NMPGV and the SFCC Art Department’s scholarship program, and 25% will go to form & concept gallery.
-Deadline for submissions is Monday, October 9 at 11:59 pm.
-Submissions should be sent to firstname.lastname@example.org.
-Artists must fill out the official submission form in order to be considered.
-Artists are invited to submit up to three works of art or jewelry. Please provide a high resolution image of each work. File size should be no larger than 6 MB per file, JPGs preferred.
-Entries can be artworks or jewelry of any size or medium, and do NOT need to incorporate decommissioned gun parts to be considered.
-Submissions should reflect on gun violence prevention. A 250-word artist statement must accompany the work(s), describing how the work(s) fit with the theme. Please provide only one artist statement, even if you submit multiple works.
-Artists will be notified if their work is selected by the jury by October 20, and will be expected to sign and return form & concept’s contract (email@example.com) before shipping the artwork.
-Artists are expected to cover the shipping costs of their work, and provide a FedEx or UPS shipping label for return shipping in case of an unsold work. Selected artworks may be hand-delivered to the gallery.
-50% of each sale will go to the artist, 25% will go to New Mexicans to Prevent Gun Violence and the Santa Fe Community College Art Department’s scholarship program, and 25% will go to form & concept gallery.
-Work should arrive at form & concept gallery by no later than November 3 at 5:00 pm.
-The Guns to Art Benefit Show will be on view from November 7 to 17, 2017, with a reception and live auction on November 17, 2017 from 4-7 pm.
-An online and in-gallery silent auction featuring a display of selected works will run for the duration of the exhibition, and end on the evening of the reception.
Submission Deadline: Monday, October 9, 2017, 11:59 pm
Selected Artists Notified: Friday, October 20, 2017
Artwork Arrival Deadline: Friday, November 3, 2017, 5:00 pm
Exhibition Dates: November 7-17, 2017
Reception & Live Auction: Friday, November 17, 2017, 4-7 pm
Broken Boxes features the art and ideas of over 40 visual artists, filmmakers, sound artists, activists, performance artists and community organizers from around the world who are effecting change through their work. The show is co-curated by Ginger Dunnill and Cannupa Hanska Luger, and all invited artists have participated in an interview on Dunnill’s Broken Boxes Podcast over the past 2 years. Now the project is taking another turn, as Dunnill works with form & concept to turn Broken Boxes into a catalog featuring artwork, installation views and writings from the show. The book will debut at a release party on Friday, September 29 from 5-7 pm. Broken Boxes is open through October 21, 2017.
The Broken Boxes catalog release event will feature public engagement by participating artists Demian DinéYazhi’ and JESS X SNOW, a film screening of AFTER EARTH directed by JESS X SNOW and a performance of 1000 Tiny Mirrors, a collaborative experimental trans*/queer rock project presented by Frexy.
Broken Boxes Events
Opening Reception | Friday, August 18, 5-8 pm |
Artist Celebration | Saturday, August 19, 2-5 pm
Gallery Talk | Sunday, August 20, 3-5 pm
Catalog Release Party | Friday, September 29, 5-7 pm | RSVP on Facebook.
form & concept’s Broken Boxes exhibition, curated by Ginger Dunnill and Cannupa Hanska Luger and featuring 40 activist artists, has received some stellar press in the past few weeks. Look below for quotes and links, and make sure to attend tomorrow evening’s Broken Boxes Catalog Release Event (9/29, 5-7 pm). The evening includes public engagement by participating artists Demian DinéYazhi’ and JESS X SNOW, a film screening of AFTER EARTH directed by JESS X SNOW, and a performance of 1000 Tiny Mirrors, a collaborative experimental trans*/queer rock project presented by Frexy.
“When it comes to art and activism, finding the necessary questions can be as difficult—and as messy—as searching for answers. This exhibition asks visitors to take time to engage in that messy work alongside the artists.”
–Stacy Pratt, First American Art Magazine
“I believe that everything you do in your artistic practice should integrate a form of giving back, and that is powerful activism.”
–Ginger Dunnill talks to Hello Giggles
“Dunnill says the catalogs are gorgeous, but extremely limited (there will only be about 50 copies available when all is said and done), and, at just $20, they’re a steal.”
–Alex De Vore, Santa Fe Reporter’s “Pick of the Week”
“Whenever I’ve made a weird jump or breakthrough in my work, I have to turn off the part of me that’s like, ‘Why are you doing this? You don’t make jewelry,’” Debra Baxter told us during a studio visit last winter. “You just have to start doing it and ignore that voice.” Baxter first experimented with creating wearable sculptures back in 2009. An epic pair of brass knuckles, made from bronze and quartz crystals, was a creative breakthrough that landed her in the permanent collection of the Smithsonian’s Renwick Gallery. Since then, Baxter has maintained parallel sculpture and jewelry design practices. Her db/cb jewelry line, featuring gemstone and mineral laden pendants that resemble the Superman insignia, is all about accessing your hidden powers. “I like that when people buy them, they feel empowered by the stone that’s in them,” Baxter says. “They’re like mini shields.” Browse Baxter’s latest wearable artwork below, and click here to browse the db/cb collection.
“We can put ourselves out there and try our hardest, and work really, really passionately about the things that we love and care about. But […] the minute we start to latch onto what that might turn into, I think that’s when we start to lose the potency.”
Broken Boxes, an exhibition curated by Ginger Dunnill and Cannupa Hanska Luger, features Miyuki Baker and 40 other creators from around the world who are effecting change in their work. All of the participants have appeared on Dunnill’s Broken Boxes Podcast.
This summer, Rebecca Rutstein mounted a solo exhibition at form & concept called Fault Lines. The smallest paintings in the show measured 36 x 36 inches, and the largest canvas was 7.5 feet tall and 5 feet wide. In a series of paintings and prints that just arrived at the gallery, the Philadelphia artist works in a more intimate scale. Many of the pieces are no taller than 10 inches. However, her subject matter—and vivid color palette—remains as vast as an ocean or mountain range.
In Rutstein’s case, we mean this quite literally. A series of long, narrow images reflects the undulating topography of the Pacific Ocean floor, drawn from her recent residencies at sea. Other works evoke rivers, volcanoes or continents, markers of the artist’s far-flung travels that have inspired her to envision geologic forms and phenomena as a highly personal symbol system. The work’s titles hint at events in her personal life that metaphorically align with the natural forces she studies. “The stories I tell about geology are always interwoven with my own personal psychology,” she tells us. “I’m [also] exploring formal abstract ideas.” Scroll down to browse Rutstein’s work, and check out our studio visit blog post for a video, interview and more.
Click here to view all of Rebecca Rutstein’s artwork in the form & concept collection.