GRANT JOHNSON
Joyce Yamada’s Raven, Raven kicks off this week at Strata Gallery, with a reception for the artist slated for 5-7 pm on Friday, Oct. 18.
David Olivant didn’t just wake up one day and decide to open a gallery—the idea percolated for years, fueled by a frustration he couldn’t shake. Olivant spent nearly three decades shaping young minds as an art professor at Cal State Stanislaus. But it wasn’t his successes there that stuck with him, it was the struggles he witnessed after his students left the cocoon of academia.
Olivant's vision for a gallery was born from a critical observation of systemic barriers in the art world, particularly those facing emerging artists from less privileged backgrounds.
I kept seeing these talented kids—often first-generation college students from working-class backgrounds—absolutely killing it in grad school. But then...nothing.
“I kept seeing these talented kids—often first-generation college students from working-class backgrounds—absolutely killing it in grad school,” Olivant explains. “But then...nothing. No parental safety net, no clear path forward. I was watching great potential go to waste. It was discouraging to find that so many of them had no options after school.”
In 2021, Olivant transformed his frustration into action, founding Strata Gallery, a space that has become known for its innovative approach to artist support and exhibition. Olivant's desire to bridge that gap between academic success and professional viability bore the need for a gallery that would nurture talent while also providing a platform for established artists.
“If I was gonna do it, Olivant says, “I wanted it to be a bit different.”
Strata operates on a unique membership model for which established artists pay monthly dues. This approach not only keeps the lights on but allows the gallery to exhibit work based on artistic merit rather than salability. As Olivant puts it, “It’s liberating. We can show work we believe in, not just what we think will move quickly.”
But where Strata truly shines is in its commitment to emerging artists. Each year, the gallery selects five up-and-comers to foster and showcase from a pool of more than 100 applicants. These artists, typically in their late 20s or early 30s, -often get their first solo show at Strata. But it’s not just about wall space—they get the full VIP treatment.
Jennifer Van, the gallery’s director and a former student of Olivant's, orchestrates the artist support network. Van organizes welcome meetings, plays matchmaker between new and established artists for mentorships and even conducts workshops on the practicalities of the art world. Want to know how to price your work without underselling yourself? Van’s got you covered.
“We cover everything from pricing artwork to securing shows,” Olivant explains, underscoring Strata’s comprehensive approach to development.
Of course, financial sustainability is a crucial aspect of the gallery’s model. After a challenging first year, Strata has achieved stability through a combination of member dues, art sales and grants. The gallery’s fortunes shifted with the acquisition of non-profit status that first year, which opened avenues for funding. That has allowed Strata to set its sights on expansion, with plans to increase the number of emerging artists showcased annually while elevating the caliber of its established roster, all while acknowledging the delicate balance required when funding depends on membership.
Interestingly, Strata’s democratic selection process has led to some unexpected trends. Olivant notes that about 70% of its emerging artists have been women, reflecting a shift he’s observed in art grad schools. The gallery has also featured a high number of artists from underrepresented groups, of which Olivant says he’s quite proud.
“The only thing missing so far,” he says, “is a ‘serious hardcore’ sculptor.”
A gap he’s still hoping to address.
As Strata continues to evolve, the gallery seeks to forge stronger connections with other cultural institutions in Santa Fe and beyond. Recently, Olivant and company have engaged in discussions with the Center for Contemporary Arts about a potential group show that would blend established Texas and New Mexico artists with younger talents. And upcoming shows promise to keep things interesting. Featured artists include Texas-based painter Carlos Canul’s mythic, abstract landscapes in his show A Collection of Pursuits, and Joyce Yamada’s Raven, Raven, featuring paintings that reflect her interest in, “ecology, animals, nature, and the relationship of humans to the natural world,” according to a recent statement.
Through Strata, Olivant isn’t just exhibiting art in our art-fueled city—he’s reimagining established structures and the potential for meaningful change within our cultural sector. As the gallery continues to grow under his guidance, it’s clear his vision for a more supportive, inclusive art world is well on its way to becoming a reality.
Editor's note: An earlier version of this story incorrectly identified David Olivant's surname as Leigh.
