Take this apart: “cut down her presence remains comforting me no accusation recrimination just her love.” What are you left with? Syllables, a rhythmic cadence, layers of meaning left to interpretation...
With the opening of his show Tales of the Whirling Log and Auspicious Marks on Canvas, local tattoo artist Guido Baldini hopes to retell the story of the swastika based on its original intentions.
So I’m back at Caldera Gallery, this time for a letter-writing event, in advance of the March 6 elections. I’m sitting across from Houston Johansen, justifying why I’m thinking about abstaining from the vote. Having humored me a conversation on politics as art, he contains his annoyance no more.
Money is a pedestrian way to value art…I mean life…I mean art. I voice this truism Sunday afternoon, walking up Canyon Road with my baby mama. She huffs a laugh, and says, “Duh.” So I’m comp
Moments into a media walk-through of SITE Santa Fe’s exhibition Time-Lapse, I’m mentally preparing to retract comments I made about the absence of active culture in museums [The Curator, Nov. 9, 2011: “Where Culture Happens”], when a SITE employee approaches.
The phrase “to experience art” has its origins in the teachings of John Dewey. He wrote that art could evoke simultaneous intellectual and emotional responses—art is not “seen” like an object on the street, but “felt” and “told.”
In September 1987—frustrated by lengthy negotiations over the preservation of a 17-mile cluster of remarkably conscientious Native American rock paintings on the site of a potential housing development—a wealthy landowner started up his forklift, removed a petroglyph-marked boulder, loaded it into the back of his pickup truck and dumped it onto the Albuquerque courthouse steps—spitting in the face of 7,000 years of spiritual history.