BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Department of Culture Affairs Media Center - ECPv6.16.4.1//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Department of Culture Affairs Media Center X-ORIGINAL-URL:https://test-dca-mc.nmdca.net X-WR-CALDESC:Events for Department of Culture Affairs Media Center REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Denver BEGIN:DAYLIGHT TZOFFSETFROM:-0700 TZOFFSETTO:-0600 TZNAME:MDT DTSTART:20080309T090000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST DTSTART:20081102T080000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0700 TZOFFSETTO:-0600 TZNAME:MDT DTSTART:20090308T090000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST DTSTART:20091101T080000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0700 TZOFFSETTO:-0600 TZNAME:MDT DTSTART:20100314T090000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST DTSTART:20101107T080000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0700 TZOFFSETTO:-0600 TZNAME:MDT DTSTART:20110313T090000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST DTSTART:20111106T080000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0700 TZOFFSETTO:-0600 TZNAME:MDT DTSTART:20120311T090000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST DTSTART:20121104T080000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0700 TZOFFSETTO:-0600 TZNAME:MDT DTSTART:20130310T090000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST DTSTART:20131103T080000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0700 TZOFFSETTO:-0600 TZNAME:MDT DTSTART:20140309T090000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST DTSTART:20141102T080000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0700 TZOFFSETTO:-0600 TZNAME:MDT DTSTART:20150308T090000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST DTSTART:20151101T080000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0700 TZOFFSETTO:-0600 TZNAME:MDT DTSTART:20160313T090000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST DTSTART:20161106T080000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0700 TZOFFSETTO:-0600 TZNAME:MDT DTSTART:20170312T090000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST DTSTART:20171105T080000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0700 TZOFFSETTO:-0600 TZNAME:MDT DTSTART:20180311T090000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST DTSTART:20181104T080000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0700 TZOFFSETTO:-0600 TZNAME:MDT DTSTART:20190310T090000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST DTSTART:20191103T080000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Denver:20101001T100000 DTEND;TZID=America/Denver:20110123T170000 DTSTAMP:20230614T175232Z CREATED:20200430T044450Z LAST-MODIFIED:20230614T175232Z UID:10001370-1285927200-1295802000@test-dca-mc.nmdca.net SUMMARY:Imagining Mexico: From the Aztec Empire to Colonial New Spain Exploring various views of the Mexican Conquest DESCRIPTION:In 1519\, Hernán Cortés and a small group of Spanish soldiers made first contact with the Aztecs. The stories they sent back to Europe detailing the wealth and sophistication of the Aztec empire astonished their countrymen – and fed 300 years of efforts to write and re-write the story of the Mexican Conquest. \nFrom Oct. 1 through Jan. 23\, 2011\, the History Museum’s Triangle Gallery will present Imagining Mexico: From the Aztec Empire to Colonial New Spain\, an original exhibit featuring books\, prints and maps from the Fray Angélico Chávez History Library’s John Bourne Collection of Meso-Americana\, the Rare Books Collection\, and the Map Collection. Created mainly for people who would never cross the Atlantic but live their adventures vicariously\, the works formed perceptions – fictitious at times – of the land of Cortés\, Moctezuma\, amazing temples and important battles. \nAn opening reception will be held from 5:30-7 pm on Friday\, Oct. 1. The Museum of New Mexico Women’s Board will serve light refreshments in the museum lobby. \n“Beginning shortly after the fall of the Aztec capital Tenochtitlan\, the story of the Conquest of Mexico has been told and retold countless times\, in both word and image\,” said Khristaan D. Villela\, scholar-in-residence at the museum and a curator of Imagining Mexico. “Each version built upon and elaborated those before\, resulting in a range of imaginations of the Conquest and ancient Mexico that are reflections\, and sometimes refractions.” \nThe players in the conquest and European colonization of Mexico had direct ties to what would later be called New Mexico. Juan de Oñate married a woman who was Cortés’ granddaughter and the great-granddaughter of Moctezuma II\, the Aztec emperor. Cortés’ most steadfast allies\, the Tlaxcalans\, are reputed to have accompanied the first colonizers of New Mexico as mercenaries who settled near the San Miguel church in the Barrio of Analco. (In Nahuatl\, Analco means “near the water.”) \nNew Mexico’s history parallels Mexico’s in its cycles of conquest and colonization. Descendents of both Native peoples and colonizers continue to inhabit both places in large numbers\, and we do not agree on our history. The books\, prints\, and maps in this exhibition show that history is in flux\, and that one generation’s image of the Aztecs was\, in the next\, deemed inaccurate and fanciful. \nAmong the items on display: \nImages of the Aztec Templo Mayor. The main shrine in the capital of Tenochtitlan\, the Templo Mayor’s size and appearance was forgotten soon after the last battles of the conquest in 1521. Some of the images show it with twin staircases and shrines; others imagine a vast platform with staircases around its base – a veritable Tower of Babel. The variance between the images epitomizes the range of interpretations about the conquest and Pre-Columbian Mexico. \nEarly maps of New Spain. A 1769 map by Antonio Alzate of Mexico was one of the earliest to use the names Texas and California (though it shows the latter as an island). An 1803 map by Alexander von Humboldt of Germany shows the route of El Camino Real from Mexico City to Santa Fe. \nFour images from Lienzo de Tlaxcala. Originally painted on a large linen sheet in 1550\, the Lienzo tells the story of the conquest from the point of view of the Tlaxcalans\, native Mexicans whose alliance with Cortés was perhaps the deciding factor in his victory over Moctezuma II and the Aztec Empire. Besides the four images\, the complete Lienzo de Tlaxcala Codex will be presented digitally in the exhibit. \nThe first book about the Aztec Calendar Stone. Buried about 1550 by order of the Archbishop of Mexico\, the stone was rediscovered in 1790 in Mexico City. A proposal to turn it into a cathedral step to symbolize the triumph of Christianity over the pagan Aztecs was rejected after authorities became convinced it was an astronomical and mathematical device worthy of preservation. It was\, in fact\, a sacrificial altar commissioned by Moctezuma II\, and remains the best-known Native American artwork of the period. \nThe exhibit also presents the first engraving of the sculpture\, made by a Mexican artist best-known for his images of the Virgin Mary and Catholic saints. \n“These are amazing books with even more amazing prints and fold-out maps hidden between their covers showing Spain’s – and by extension Europe’s – understanding of the new world\,” said Tomas Jaehn\, director of the Chávez History Library. \nBeyond their content\, the books themselves stand as impressive artifacts. \n“The books in this well-preserved collection\, some in their original bindings and some beautifully re-bound\, along with their fine marbled and handmade papers\, are beautiful examples book-making history\,” said Tom Leech\, curator of the Palace Press. \nPart of Imagining Mexico’s run coincides with another History Museum exhibit\, Threads of Memory: Spain and the United States\, featuring nearly 140 rare documents\, maps\, prints and paintings on loan from Spain from Oct. 17-Jan. 9\, 2011. Taken together\, the exhibits portray how European explorers and colonists interpreted what they found here. \nThe Triangle Gallery is on the mezzanine level of the museum\, next to the Auditorium. \nTo download high-resolution images from this exhibit\, click on “Go to Related Images” below. URL:https://test-dca-mc.nmdca.net/dca-event/821-imagining-mexico-from-the-aztec-empire-to-colonial-new-spain-exploring-various-views-of-the-mexican-conquest/ LOCATION:New Mexico History Museum\, 113 Lincoln Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/821_1200.jpg GEO:35.6883465;-105.9381345 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico History Museum 113 Lincoln Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=113 Lincoln Avenue:geo:-105.9381345,35.6883465 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20100813T100000 DTEND;TZID=America/Denver:20100813T100000 DTSTAMP:20230614T175233Z CREATED:20101104T042142Z LAST-MODIFIED:20230614T175233Z UID:10001374-1281693600-1281693600@test-dca-mc.nmdca.net SUMMARY:Drip Tease: John Tinker’s Narrative Sculptures DESCRIPTION:In Drip Tease John Tinker challenges the public with sixteen sculptures that offer droll comments about politics\, survival\, and popular culture. These works focus on the contradictions of the present moment through allusions to liquids that leak\, ooze\, or pool. Materials that melt provide the perfect medium for demonstrating the transitory nature of contemporary life. \n  \n Drip Tease opens at the New Mexico Museum of Art August 13\, 2010 and runs through January 9\, 2011. URL:https://test-dca-mc.nmdca.net/dca-event/868-drip-tease-john-tinkers-narrative-sculptures/ LOCATION:New Mexico Museum of Art- Plaza Building\, 107 West Palace Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition GEO:35.6878097;-105.9381003 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico Museum of Art- Plaza Building 107 West Palace Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=107 West Palace Avenue:geo:-105.9381003,35.6878097 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20100813T100000 DTEND;TZID=America/Denver:20100813T100000 DTSTAMP:20230614T175233Z CREATED:20101104T041816Z LAST-MODIFIED:20230614T175233Z UID:10001373-1281693600-1281693600@test-dca-mc.nmdca.net SUMMARY:Traces: Johnnie Winona Ross DESCRIPTION:Place and process are integral to the works of Arroyo Seco artist Johnnie Winona Ross\, who is known for his reductive and luminous paintings that are comprised of layers upon layers of paint brushed\, dripped\, scraped and burnished to an extraordinary finish. The exhibition opens at the New Mexico Museum of Art August 13\, 2010 and runs through January 10\, 2011 URL:https://test-dca-mc.nmdca.net/dca-event/867-traces-johnnie-winona-ross/ LOCATION:New Mexico Museum of Art- Plaza Building\, 107 West Palace Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition GEO:35.6878097;-105.9381003 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico Museum of Art- Plaza Building 107 West Palace Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=107 West Palace Avenue:geo:-105.9381003,35.6878097 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20100704T100000 DTEND;TZID=America/Denver:20110508T170000 DTSTAMP:20230614T175231Z CREATED:20160318T031242Z LAST-MODIFIED:20230614T175231Z UID:10001368-1278237600-1304874000@test-dca-mc.nmdca.net SUMMARY:Empowering Women: Artisan Cooperatives That Transform Communities DESCRIPTION:Inaugural exhibition opening the Gallery of Conscience\, guest curated by Dr. Suzanne K. Seriff\, Chair of the International Folk Art Market’s Artist Selection Committee. Dr. Marsha Bol\, Director Emeritus of the Museum of International Folk Art explained the concept of the gallery of conscience “As the largest folk art museum in the world\, there is a responsibility to create a forum to discuss current issues that folk artists are facing around the world. This Gallery of Conscience is devoted to the examination of issues that threaten the survival of the traditional arts\, bringing them to the attention of our visitors.” All of the cooperatives featured in the exhibit had artist booths at the 2010 International Folk Art Market| Santa Fe. Exhibition highlights included weaving\, beadwork\, painting\, baskets\, embroidery and other traditional folk arts from Bolivia\, Rwanda\, Peru\, Swaziland\, India\, Kenya\, Laos\, South Africa\, Morocco and Nepal.  The exhibition closed in Santa Fe May 8\, 2011  and then began to travel through Guest Curator URL:https://test-dca-mc.nmdca.net/dca-event/682-empowering-women-artisan-cooperatives-that-transform-communities/ LOCATION:Museum of International Folk Art\, 706 Camino Lejo\, on Museum Hill\, Santa Fe\, NM\, 87504\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/empowering.jpg ORGANIZER;CN="Rebecca Ward":MAILTO:rebecca.ward@state.nm.us GEO:35.6641155;-105.9265695 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Museum of International Folk Art 706 Camino Lejo on Museum Hill Santa Fe NM 87504 United States;X-APPLE-RADIUS=500;X-TITLE=706 Camino Lejo\, on Museum Hill:geo:-105.9265695,35.6641155 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20100606T100000 DTEND;TZID=America/Denver:20110106T170000 DTSTAMP:20230614T175231Z CREATED:20160322T044200Z LAST-MODIFIED:20230614T175231Z UID:10001364-1275818400-1294333200@test-dca-mc.nmdca.net SUMMARY:Silver Seduction: The Art of Mexican Modernist Antonio Pineda The Art of Mexican Modernist Antonio Pineda DESCRIPTION:In the mountain town of Taxco in Mexico’s state of Guerrero\, large-scale mining can be dated to the sixteenth century\, and silver is a way of life. In the years following the Mexican Revolution (1910–20)\, jewelry and other silver objects were crafted there with an entirely innovative approach\, informed by modernism and the creation of a new Mexican national identity. Antonio Pineda was a member of the Taxco School and is recognized as a world-class designer.  He lived a long and creative life\, passing away at the age of 90 on December 14\, 2009. \n Nearly two hundred examples of Pineda’s acclaimed silver work were displayed in Silver Seduction: The Art of Mexican Modernist Antonio Pineda\, a traveling exhibition opening at the Museum of International Folk Art June 6\, 2010 through January 2\, 2011. \nFrom its inception\, the Taxco movement broke new ground in technical achievement and design. While American- born\, Taxco-based designer William Spratling has been credited with spearheading the contemporary Taxco silver movement\, it was a group of talented Mexican designers who went on to establish independent workshops and develop the distinctive “Taxco School.” Pineda\, internationally renown for his silver work identified himself primarily as a taxqueño\, or Taxco\, silversmith. These designers incorporated numerous aesthetic orientations—Pre-Columbian art\, silverwork\, religious images\, and other artwork from the Mexican Colonial period\, and local popular arts—merging them within the broad spectrum of modernism. \nPineda himself is lauded for his bold designs and ingenious use of gemstones. Silver Seduction traced the evolution of his work from the 1930s–70s\, and included more than a hundred necklaces and bracelets\, as well as numerous rings\, earrings\, and diverse examples of his hollowware and tableware. All of the works feature Pineda’s hard-to-achieve combination of highly refined execution and hand-wrought appeal. \nPineda’s jewelry is especially known for its elegant acknowledgment of the human form. It is often said that a Pineda fits the body perfectly\, that it feels right when it is worn. For example\, a thick geometric necklace that might at first glance seem too weighty or rigid to wear comfortably is\, in fact\, faceted\, hinged\, or hollowed in such a way that it gracefully encircles the neck or drapes seductively down the décolletage. \n In addition\, no other taxqueño jeweler used as many costly semiprecious stones or set them with as much ingenuity\, skill\, and variety as did Pineda. Only the most talented of silversmiths could master the unique challenges posed by setting gemstones in silver at the high temperature necessary to work the metal. Pineda\, however\, managed to set gems with as little metal touching them as possible\, giving them a free or floating look while still holding them firmly in place. In Pineda’s hands\, some stones were embedded; rows of gems were set close together to emphasize the structural lines of a design; or stones were cut to fit irregular shapes in a design. Pineda often used cultured pearls\, large amethyst drops\, and onyx in his designs\, many examples of which are on display in the exhibition. \nThe remarkable creativity of this “Silver Renaissance” era represents a unique moment in the design of Mexican jewelry. Pineda’s and his colleagues’ modernist works lives on today in Taxco with a thriving industry in silver smithing. \nSilver Seduction: The Art of Mexican Modernist Antonio Pineda and its publication are made possible through the generosity of the Donald B. Cordry Memorial Fund and Jill and Barry Kitnick.  The exhibition was developed by the curatorial team of the Fowler Museum with consulting curator Gobi Stromberg. All works presented are either from the collections of Cindy Tietze and Stuart Hodosh or the Fowler Museum at UCLA.  Exhibition images may be found at http://media.museumofnewmexico.org/. \n  URL:https://test-dca-mc.nmdca.net/dca-event/656-silver-seduction-the-art-of-mexican-modernist-antonio-pineda-the-art-of-mexican-modernist-antonio-pineda/ LOCATION:Museum of International Folk Art\, 706 Camino Lejo\, on Museum Hill\, Santa Fe\, NM\, 87504\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/silver-seduction.jpg GEO:35.6641155;-105.9265695 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Museum of International Folk Art 706 Camino Lejo on Museum Hill Santa Fe NM 87504 United States;X-APPLE-RADIUS=500;X-TITLE=706 Camino Lejo\, on Museum Hill:geo:-105.9265695,35.6641155 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20100523T100000 DTEND;TZID=America/Denver:20110508T170000 DTSTAMP:20230614T175231Z CREATED:20200428T050853Z LAST-MODIFIED:20230614T175231Z UID:10001363-1274608800-1304874000@test-dca-mc.nmdca.net SUMMARY:Wild at Heart: Ernest Thompson Seton How One Wolf’s Death Led to a Century of Wildlife Conservation DESCRIPTION:  \n \n  \n \nWild at Heart: Ernest Thompson Seton dedicates itself to telling the often overlooked story of the conservationist\, author\, artist\, lecturer and co-founder of the Boy Scouts of America. Ernest Thompson Seton’s impact on America’s conservation movement was immeasurable but\, today is largely forgotten. Wild at Heart: Ernest Thompson Seton sets out to change that. \nRunning through May 8\, 2011\, this original exhibition replaces Fashioning New Mexico in the museum’s second-floor Albert and Ethel Herzstein Changing Exhibitions Gallery. It’s accompanied by a catalog\, Ernest Thompson Seton\, The Life and Legacy of an Artist and Conservationist (Gibbs Smith\, Publisher\, 2010)\, with a foreword written by Sir David Attenborough. \nCurated by New Mexico art historian David L. Witt\, director of the Seton Legacy Project for the Academy for the Love of Learning in Santa Fe\, Wild at Heart marks the first major exhibition about Seton. Most of the art and artifacts – more than 30 original paintings and drawings by Seton\, books\, personal memorabilia\, and photographs – have been seldom if ever seen. Most of the items on loan to the exhibit come from the Academy for the Love of Learning and from the Philmont Museum and Seton Memorial Library at the Philmont Ranch in Cimarron\, N.M. \nBorn in England in 1860\, Seton moved to Canada with his family when he was six\, and eventually settled in the United States as an adult. As a young man\, he immersed himself in the study of the natural world\, becoming one of the first important experts on animal behavior. Schooled in fine art\, Seton was a prolific writer and illustrator. \nIn 1893\, Seton was sent to Clayton\, N.M.\, by an Easterner who owned the L Cross F in the northeastern part of the state. Seton’s assignment: track and kill marauding wolves. After a brutal encounter with a wild wolf named “Lobo\,” Seton experienced a profound change of heart. He wrote “The King of Currumpaw\, A Wolf Story\,” published to worldwide acclaim in Scribner’s Magazine the following year. Through that story\, Seton invented the genre of the realistic animal story\, portraying animals as they actually live in the wild and changing forever the way Americans looked at nature. \n“Seton is a godfather to today’s environmental movement\, as important to the early development of wildlife conservation as John Muir is to wilderness preservation\,” Witt said. \nIn 1902\, Seton founded an outdoor youth-education program known as “Woodcraft” that provided a model for all subsequent summer camps in the United States. In 1910\, Seton co-founded the Boy Scouts of America. \n“His contributions to the environmental movement and to science\, literature\, art and youth education have enriched the lives of hundreds of millions of boys\, girls and their families for more than a century\,” said Witt\, who himself earned the rank of Eagle Scout in 1967. \nSeton was the most important and technically accomplished wildlife illustrator since Audubon\, and his concepts for bird identification influence the field guides of Roger Tory Peterson and others. In all\, Seton wrote some 40 books and more than 1\,000 magazine articles and short stories\, and drew or painted some 6\,000 works of art. His book Wild Animals I Have Known has been continuously in print since it was first published in 1898. (Rudyard Kipling once wrote to Seton that the book inspired him to write the Jungle Books; in his foreword to the Seton catalog\,  Attenborough recounts receiving a copy of the book at the age of 8: “I still have it. It was the most precious book of my childhood.”) \nMuch of Seton’s understanding of nature came not from Western science\, but from his extensive studies with First Nations peoples in Canada. Seton was a vocal supporter of Native people’s political rights and a passionate advocate for the study of their culture\, ethics and history. \nIn 1930\, Seton moved to a 2\,500-acre ranch in the foothills of the Sangre de Cristo Mountains outside of Santa Fe\, founding the Seton Village neighborhood\, where he lived until his death in 1946. He designed Seton Castle as his residence on the property\, which included a museum\, library\, art gallery and library/lecture hall for the Seton Village community that developed as friends and colleagues settled on the original property. It was there that Seton established his final educational project\, the College of Indian Wisdom (later\, the Seton Institute). Classes focused on the arts\, crafts and ethics of Native peoples. \nThe Academy undertook the Seton Legacy Project after acquiring Seton’s house and remaining art collections in 2003. In 2005\, a fire devastated the castle\, leaving only a shell. But the Academy has continued its work\, and as part of Wild at Heart will host tours of the castle and village from 10 am to 1 pm Aug. 14\, Oct. 9\, 2010\, and April 9\, 2011. A one-day workshop\, “The Wilderness in Your Heart\,” will be held from 10 am to 4 pm on Sept. 18\, 2010\, and March 5\, 2011. For details\, go to www.aloveoflearning.org. \nThis fall\, the Academy will unveil the Seton Castle Contemplative Gardens\, the Ernest Thompson Seton Gallery\, and the new Center\, a LEED-registered\, environmentally responsible facility. \nParticipants in the Seton Legacy Project include Seton family members\, historians and others\, including Witt\, a naturalist\, writer\, historian and museum curator who has studied the Seton legacy for more than 35 years. He assisted on the BBC/PBS Nature television series feature called Lobo\, The Wolf That Changed America\, which premiered in both the U.S. and the U.K. in 2008. \nFunding for the exhibit was made possible by the New Mexico Department of Cultural Affairs; Academy for the Love of Learning; National Park Service/Save Our Treasures Grant Program; Museum of New Mexico Foundation; New Mexico History Museum Opening Gala Committee; Phyllis and Edward Gladden Endowment Fund; Herzstein Family Endowment Fund; and the Palace Guard. \nWild at Heart lectures and workshops: \nSaturday\, May 22\, 2010\, noon to 2 pm: Meet the winged and four-footed envoys from The Wildlife Center in Espanola\, one of the largest and most successful rehabilitation services of its kind in New Mexico. (Sneak peek of the Wild at Heart exhibit 12-5 pm.) Free admission to the museum. \nSunday\, May 23\, 2010: \n12-4 pm: First anniversary celebration in the Palace of the Governors Courtyard. Wild Spirit Wolf Sanctuary will bring wolf ambassadors\, with a program at 1:30 pm. Free. \n2-4 pm: Opening reception hosted by the Women’s Board of the Museum of New Mexico; booksigning of Ernest Thompson Seton: The Life and Legacy of an Artist and Conservationist with author and guest curator David L. Witt. Free admission to the museum. \nSaturday\, July 10\, 2010: 10 am – 1 pm: Nature journaling workshop for children 10-14 with Margy O’Brien. Call 505-476-5106 for reservations and materials; free with museum admission. \nSaturday\, July 17\, 2010\, 10 am – 5 pm: Nature journaling workshop for adults with Margy O’Brien. Call 505-476-5106 for reservations and materials; free with museum admission. \nSaturday\, Aug. 14\, 2010\, 10 am – 1 pm:  Celebrate Seton’s 150th birthday with tours of the ruins of his castle and campfire tales. Join guest curator David L. Witt and Academy for the Love of Learning staff in Seton Village. Call 505-995-1860 for reservations; free. \nSaturday\, Oct. 9\, 2010\, 10 am – 1 pm: Seton Castle tours. Join guest curator David L. Witt and learn how the Academy for the Love of Learning is carrying on the Seton legacy in Seton Village. Call 505-995-1860 for reservations; free. \nSaturday\, Oct. 9\, 2010\, 1 – 2 pm: Zoo to You. Albuquerque’s Rio Grande Zoo brings its interactive educational program about wildlife conservation to the museum classroom with animal bones\, pelts\, feathers and more. Free with museum admission. \nSaturday\, Nov. 13\, 2010\, 10:30 am: Storyteller Joe Hayes brings his talents to the Wild at Heart exhibit area. Nationally recognized for his stories about American Indian\, Hispanic and Anglo cultures\, Hayes is a bilingual author and storyteller. Free with museum admission. \nSaturday\, Dec. 18\, 2010\, 10:30 am: Storyteller Sunny Dooley tells American Indian Din’e stories in the Wild at Heart exhibit space. Free with museum admission. \nSaturday\, Jan. 15\, 2011\, 10:30 am: Storyteller Nasario Garcia shares stories of yesteryear — “Tales of My Childhood: Rattling Chains\, Flying Goats and Talking Lizards” — in the Wild at Heart exhibit space. Free with museum admission. \nSaturday\, April 9\, 2011\, 9 am: Urban Bird Hike in downtown Santa Fe with the Randall Davey Audubon Center. Call 505-476- 5106 for reservations; free. \nSaturday\, April 9\, 2011\, 10 am – 1 pm: Seton Castle tours. Join guest curator David L. Witt and learn how the Academy for the Love of Learning staff is carrying on the Seton legacy in Seton Village. Call 505-995-1860 for reservations; free. \nFriday\, April 29\, 2011\, 6 pm: William deBuys on “Growing Up with Uncle Ernest’s Wildlife Stories\,” a lecture in the History Museum Auditorium. Free with museum admission (Sundays free to NM residents). \nSunday\, May 1\, 2011\, 2 pm: Guest curator David L. Witt on “Woodmythe & Fable: A Look Back at an Artist-Naturalist\,” a lecture in the History Museum Auditorium. Free with museum admission (Sundays free to NM residents). \n  \n  \n  \n  URL:https://test-dca-mc.nmdca.net/dca-event/644-wild-at-heart-ernest-thompson-seton-how-one-wolfs-death-led-to-a-century-of-wildlife-conservation/ LOCATION:New Mexico History Museum\, 113 Lincoln Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/644_1200.jpg GEO:35.6883465;-105.9381345 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico History Museum 113 Lincoln Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=113 Lincoln Avenue:geo:-105.9381345,35.6883465 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20100515 DTEND;VALUE=DATE:20101018 DTSTAMP:20230614T175136Z CREATED:20101209T013640Z LAST-MODIFIED:20230614T175136Z UID:10001077-1273881600-1287359999@test-dca-mc.nmdca.net SUMMARY:Sole Mates: Cowboy Boots and Art DESCRIPTION:Sole Mates: Cowboy Boots and Art celebrates the art of the West and views cowboy boots as important symbols of western life.  The exhibition includes paintings\, drawings\, postcards\, advertisements\, sculptures\, video imagery\, and of course boots.  The images define changing aspects of the West\, from 1880 to the present.  The exhibition includes more than 130 objects and pairs of boots that investigate freedom\, loneliness\, gender\, fashion\, allure and contemporary art.  The exhibition opens at the New Mexico Museum of Art at noon\, on Saturday\, May 15\, 2010\, and runs through October 17\, 2010. \nJoseph Traugott\, Ph.D.\, summarized the goal of the exhibition by stating that “Sole Mates broadens our understanding of the West and western art\, and encourages discussions between western artists and the general public.”  He is curator of twentieth century art at the New Mexico Museum of Art in Santa Fe\, New Mexico\, and the organizer of Sole Mates. \nEach section of the exhibition is titled with a line from a well known western song. The introduction— I See by your Outfit that You Are a Cowboy—sets the tone for the exhibition which is simultaneously stimulating\, educational\, and fun.  Western songs will play in the background of the exhibition. \nThe historic section of the exhibition includes works by Frederic Remington\, Charles M. Russell\, and Herbert “Buck” Dunton.  These artists defined and then promoted a view of cowboy life that is descriptive\, inspiring\, and romantic.  This section also describes the construction of boots through the work of Deana McGuffin\, a third generation bootmaker from Albuquerque\, New Mexico. \n  \nConceptual sections of the exhibition allude to western attitudes that are infused into boots and art.  These sections incorporate popular culture images that help to expand the notion of western art beyond the restrictive stereotype of ranch workers as men on horseback riding with a herd of cattle.  For example\, David Politzer’s video self portrait\, Rio Macho\, shows the artist dressed as a middle-aged dude-ranch cowboy bemoaning his lost youth and his failure to become a working cowboy. \n  \nThe contemporary art in the exhibition presents the West in a complex\, provocative manner.  The nationally known contemporary western artists in this section include James Drake\, Betty Hahn\, Martin Cary Horowitz\, Luis Jiménez\, Bruce Nauman\, Patrick Oliphant\, Bill Schenck\, Lisa Sorrell\, and Donald Woodman.  The contemporary artists’ point of view can be summarized by Horowitz’s sculpture Baby Bomb that references Coyote and Roadrunner cartoons\, but also presents a powerful antiwar commentary. \n  \nOklahoma artist Lisa Sorrell’s leather sculptures\, such as Butterflies and Bluebirds\, are included in the exhibition.  In addition\, this sculpture just happens to be a pair of cowboy boots.  Butterflies and Bluebirds captures the essence and irony of the West— while the sculpture can worn\, it may never hit a dance floor.  \n  \nJames Drake’s waterless lithograph Valley of the World relates to his Tony Lama boots with inserts of red snake skin that are also in the exhibition.  The print shows a bridge over the Rio Grande  connecting Juarez\, Mexico\, and  El Paso\, Texas.  A rectangle of snake skin attached to the print can be understood as both a symbol of the economic ties bridging the two countries\, as well as a reference to El Paso—the cowboy boot center of the universe. \n  \nOf course\, these categories often overlap.  Carol Sarkisian’s Maurice’s Boots\, Galisteo\, NM . Sarkisian transformed tin-artist Maurice Dixon’s worn out boots into jewel-like sculptures\, encrusted with glass beads.  This work combines sculpture\, popular culture\, jewelry\, and western philosophy into a seductive form. \n  \nExhibition images may be found on the media center at http://media.museumofnewmexico.org/. Just log in with a user name and password which you create. \n  \nThe content of the exhibition is further explained in Sole Mates: Cowboy Boots and Art\, published by the Museum of New Mexico Press:  http://www.mnmpress.org/    The publication includes 130 full-color illustrations with narratives by Traugott that further explain the concepts underpinning the exhibition.  The book is designed by David Skolkin\, the press’s award-winning designer. \n  \nSole Mates: Cowboy Boots and Art was organized by the New Mexico Museum of Art\, Department of Cultural Affairs\, Santa Fe\, New Mexico.  \n  \nMedia Contacts: \nJoseph Traugott\, Curator of Twentieth Century Art \n505-476-5062 \njoe.traugott@state.nm.us. \n  \nSteve Cantrell\, PR Manager \n505-476-1144 \n505-310-3539 – cell \nsteve.cantrell@state.nm.us \n  \n### \n  \n  \nThe New Mexico Museum of Art celebrates the diversity of the visual arts and the legacy of New Mexico as a cultural crossroads. The Museum was founded in 1917 as the Art Gallery of the Museum of New Mexico. For more than 90  years\, the Museum has collected and exhibited work by leading artists from New Mexico and elsewhere. The New Mexico Museum of Art brings the art of New Mexico to the world and the art of the world to New Mexico. The New Mexico Museum of Art is a division of the New Mexico Department of Cultural Affairs. \n  \nInformation for the Public  \n  \nLocation: The New Mexico Museum of Art is located on Santa Fe’s Plaza at \n107 W. Palace Avenue. \n  \nInformation:  505-476-5072 or www.nmartmuseum.org. \n  \nHours: Tue – Sun\, 10:00 a.m. – 5:00 p.m.\, Free Fri 5:00 – 8 :00 p.m. \nBetween Memorial and Labor Day the Museum is also open on Mon. \n  \n  URL:https://test-dca-mc.nmdca.net/dca-event/sole-mates-cowboy-boots-and-art-2/ LOCATION:New Mexico Museum of Art- Plaza Building\, 107 West Palace Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/660_thumb.jpg GEO:35.6878097;-105.9381003 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico Museum of Art- Plaza Building 107 West Palace Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=107 West Palace Avenue:geo:-105.9381003,35.6878097 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20100515 DTEND;VALUE=DATE:20101018 DTSTAMP:20230614T175231Z CREATED:20100515T060000Z LAST-MODIFIED:20230614T175231Z UID:10001365-1273881600-1287359999@test-dca-mc.nmdca.net SUMMARY:660 -- Sole Mates: Cowboy Boots and Art DESCRIPTION: URL:https://test-dca-mc.nmdca.net/dca-event/660-sole-mates-cowboy-boots-and-art/ LOCATION:New Mexico Museum of Art- Plaza Building\, 107 West Palace Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition GEO:35.6878097;-105.9381003 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico Museum of Art- Plaza Building 107 West Palace Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=107 West Palace Avenue:geo:-105.9381003,35.6878097 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20100416T173000 DTEND;TZID=America/Denver:20100801T170000 DTSTAMP:20230614T175231Z CREATED:20100331T030911Z LAST-MODIFIED:20230614T175231Z UID:10001366-1271439000-1280682000@test-dca-mc.nmdca.net SUMMARY:Art on the Edge 2010 Art on the edge of a new decade DESCRIPTION:Art on the Edge presents the work of seven contemporary artists selected by Nicholas Baume for this biennial juried show organized by Friends of Contemporary Art (FOCA) in partnership with NMMoA. \nThe exhibition opens Friday\, April 16\, 2010 and runs through August 1\, 2010 \nSublime horizons\, water sculptures\, stitched excerpts from Neruda\, and adolescents in suburbia await the viewer in this show that wonders aloud\, what gives art "edge"? The exhibition features Eric Tillinghast\, Deborah Hamon\, Erika Blumenfeld\, Michael Rogers\, Kate Beck\, Jessica Loughlin\, and Ryan Bush. This year's show marks the second edition of Art on the Edge. It was curated by Nicholas Baume\, chief curator and director of the New York Public Art Fund. \nThe Museum will host a free public lecture by Nicholas Baume at 6:00 p.m. in St. Francis Auditorium during the opening. The Women’s Board of the Museum of New Mexico will host an opening from 5:30 to 7:30 p.m. \nHoning the "Edge" \nThe critical success of Friends of Contemporary Art's first Art on the Edge exhibition in 2008 led to the establishment of the new biennial. In keeping with the spirit of the first Art on the Edge\, the new juried show will have a tight focus allowing each of the seven artists the opportunity to showcase the best examples of their work. Art on the Edge was open to both FOCA members and non-members\, and submissions were received from as far as Italy\, the Netherlands\, and Australia. The seven artists chosen by Nicholas Baume represent Australia\, both US coasts\, and the American Southwest. \nThe judging\, done exclusively by Baume\, was based on entries submitted by artists to Slideroom.com\, a web-based service that allows entrants to upload images\, videos\, and documents for consideration. "Slideroom made the logistics of accepting the work\, organizing it\, and notifying artists much simpler than in previous years\," said Steering Committee member and FOCA Co-chair Michael Abatemarco. "We received a lot of positive feedback from submitters who found the online process to be very user friendly. We plan to engage with this or a similar service for the next juried show." \nBaume considered up to twenty works by each of over 120 artists. “Friends of Contemporary Art is looking forward to the exhibition curated by our juror\,” said Steering Committee member and FOCA Co-chair Romi Sloboda. “Art on the Edge 2010 will present both well-known and lesser established artists’ work at the Museum\, with a wide range of mediums and materials represented in the show. Nicholas Baume’s vision as the sole juror provides an interesting and engaging selection of artists. And we’re also delighted that Baume will be coming to Santa Fe for the opening reception in April and will be giving a talk at the Museum.” \nThe Artists \nThe work of these seven artists is united in the clean simplicity of elemental form as it relates to the natural and man-made world. Eric Tillinghast\, formerly based in Santa Fe but now residing in Northern California\, works directly with the element of water in work that becomes interactive due to the need for replenishing the evaporative substance. The properties of the water\, as it pools and beads on surfaces\, become an object of fascination. Tillinghast is a former recipient of the Pollock-Krasner Foundation grant. \nErika Blumenfeld and Jessica Loughlin both work with the horizon line\, employing photography and kiln-formed glass respectively\, to suggest the contrast of earth/sky\, day/night\, light/darkness. Blumenfeld\, also a former Santa Fe resident\, lives and works in Marfa\, Texas. In January of 2009 she spent four weeks working in Queen Maud Land\, Antarctica. The results of that venture will be included in Art on the Edge. Loughlin is from Australia and references that landscape in her work. In 2001 she won the Outstanding New Artist in Glass award from UrbanGlass. \nThe inclusion of mica in the oil and graphite work of Kate Beck\, who hails from Maine\, brings material from the natural world into two-dimensional art that reflects a purity of line\, which becomes itself the subject. The spatial relationships of repetitive lines add to the tonal quality of her work. Deborah Hamon\, a recipient of the West Prize Acquisition Award\, also works out of Northern California. She creates digital c-prints that deal with human interaction with negotiated landscapes\, placing her posed human subjects in environments that seem familiar and unfamiliar\, almost dreamlike. \nFor photographer Ryan Bush\, originally from Michigan and now in the Bay Area\, the focus is on patterns created by the countless telephone wires that criss-cross the landscape from coast to coast. Each image reduces the connections formed by these carriers of information into elegantly simple abstractions. Michael Rogers\, who lived and worked in Japan for 11 years and is now a full professor at the Rochester Institute of Technology in New York\, takes the work of Chilean poet Pablo Neruda and abstracts it by sewing text onto draped strands of cotton strung between shells of cast glass\, reducing the literary form itself even as it is united with new mediums. \nAbout the guest curator \nNicholas Baume is chief curator and director of the Public Art Fund in the city of New York. He came to the United States in 1998 from Sydney\, Australia\, to become the curator of contemporary art at the Wadsworth Atheneum in Hartford\, Connecticut. Among his projects at the Atheneum were About Face: Andy Warhol Portraits and Sol LeWitt: Incomplete Open Cubes\, as well as the Matrix series of exhibitions\, which included first American museum shows by Francis Alÿs\, Sam Durant\, Thomas Eggerer\, Christian Jankowski\, Catherine Sullivan and Fiona Tan. In 2003 Baume was appointed chief curator of the Institute of Contemporary Art (ICA) in Boston. Baume established a permanent contemporary collection for the ICA during his tenure. While at the ICA\, he curated exhibitions of the work of Kai Althoff\, Kader Attia\, Carol Bove\, Gerard Byrne\, Tara Donovan (with Jen Mergel)\, Thomas Hirschhorn (with Ralph Rugoff)\, Anish Kapoor and Lucy McKenzie. \n  \nContacts:          Steve Cantrell\, PR Manager \n                        505-476-1144  /  steve.cantrell@state.nm.us \n  \n                        Laura Addison\, Curator of Contemporary Art \n                        505-476-5118  /  laura.addison@state.nm.us \n  \n                        Michael Abatemarco\, Friends of Contemporary Art Co-chair \n                        505-699-2309  /  michael.abatemarco@state.nm.us \n  \n                        Romi Sloboda\, Friends of Contemporary Art Co-chair                                                  505-988-1841  /  romi_sloboda@hotmail.com \n  \n  \n  \n### \n  \nFriends of Contemporary Art (FOCA)  works actively as an advocate for contemporary art by supporting exhibitions at the New Mexico Museum of Art and partnering with the Museum to build its contemporary art collection through active fundraising\, public education\, and special events. \n  \n  \nThe New Mexico Museum of Art celebrates the diversity of the visual arts and the legacy of New Mexico as a cultural crossroads. The Museum was founded in 1917 as the Art Gallery of the Museum of New Mexico. For more than 90  years\, the Museum has collected and exhibited work by leading artists from New Mexico and elsewhere. The New Mexico Museum of Art brings the art of New Mexico to the world and the art of the world to New Mexico. The New Mexico Museum of Art is a division of the New Mexico Department of Cultural Affairs. \n  \nInformation for the Public  \n  \nLocation: The New Mexico Museum of Art is located on Santa Fe’s Plaza at \n107 W. Palace Avenue. \n  \nInformation:  505-476-5072 or www.nmartmuseum.org. \n  \nHours/Days: Tuesday through Sunday\, 10:00 a.m.-5:00 p.m.  Open Free on Fridays\, \n5:00-8:00 p.m.\, with the exception of major exhibition openings. \nAdmission: School groups free. Children 16 and under free. New Mexico residents with ID free on Sundays. New Mexico resident Senior Citizens (age 60+) with ID free Wednesdays. Museum Foundation members free. Students with ID $1 discount. Single visit to one museum: $9.00 for non-state residents\, $6.00 for New Mexico residents.  Four-day pass to five museums including state-run museums in Santa Fe plus The Museum of Spanish Colonial Art $20.00. One-day pass for two museums $15.00. Group rate for ten or more people: single visit $6.00\, four day pass $18.00. \n  \n  \n  \n  URL:https://test-dca-mc.nmdca.net/dca-event/666-art-on-the-edge-2010-art-on-the-edge-of-a-new-decade/ LOCATION:New Mexico Museum of Art- Plaza Building\, 107 West Palace Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/666_thumb.jpg GEO:35.6878097;-105.9381003 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico Museum of Art- Plaza Building 107 West Palace Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=107 West Palace Avenue:geo:-105.9381003,35.6878097 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20100411T100000 DTEND;TZID=America/Denver:20120212T050000 DTSTAMP:20230614T175230Z CREATED:20100922T213821Z LAST-MODIFIED:20230614T175230Z UID:10001360-1270980000-1329022800@test-dca-mc.nmdca.net SUMMARY:Huichol Art and Culture: Balancing the World DESCRIPTION:For the first time\, the Museum of Indian Arts and Culture/Laboratory of Anthropology presents a significant collection of Huichol art from the early part of the last century in Huichol Art and Culture: Balancing the World. The exhibition opens at the Museum of Indian Arts and Culture April 11\, 2010 and has now been extended to run through February 12\, 2012. \nThere are important ties between Huichol work and Native American\, prehispanic\, and Hispanic art histories and cultures. Known today for colorful\, decorative yarn paintings\, the origins of modern Huichol art are found in the earlier Huichol religious arts of the Robert M. Zingg ethnographic collection at the Museum of Indian Arts and Culture. \nHuichol Art and Culture: Balancing the World focuses on the Huichol\, a Native American people of western Mexico who for many centuries have retained their unique culture and prehispanic religious beliefs. Their remote location in the rugged Sierra Madre Occidental mountains primarily in the states of Jalisco and Nayarit has allowed for greater resistance than any other indigenous group to the forces of Christianization and acculturation. The Huichol people today continue to create traditional art and practice ancient rituals that predate the time of Spanish contact. \nFrom 1934-1935\, Dr. Robert Mowry Zingg (1900–1957) was the first American anthropologist to conduct extended ethnographic fieldwork among the Huichol in the community of Tuxpan de Bolaños. Zingg lived with Huichol families and participated in everyday life\, while studying their mythology and ceremonialism. Huichol Art and Culture: Balancing the World presents the collection of Huichol artifacts which Zingg collected on behalf of the Laboratory of Anthropology during the earliest years of its history as an institution.  \nIn the past and today\, Huichol art is made to communicate with a pantheon of ancestors and gods. When Zingg arrived in Tuxpan\, he found that most Huichol adults were occupied with making art. As he observed\, the Huichol constantly create offerings which serve as visual prayers to the gods. As part of the ceremonial cycle\, the Huichol make pilgrimages to leave offerings at sacred sites. \nCeremonial offerings to the gods are the precursors to the art of modern Huichol yarn painting. Early Huichol votive art evolved into art produced for sale beginning in the 1950s\, when artists adapted traditional techniques\, designs\, and materials to “paint” in yarn. Sophisticated and vibrant Huichol yarn paintings have now become renowned in the global art market.   \nAmong the highlights of the Zingg collection are outstanding examples of ancient\, symbolic textile designs that were intricately woven on backstrap looms by Huichol women. The collection features prayer arrows\, richly decorated votive gourd bowls\, and other offerings for the gods. Oversized shamans’ chairs and diminutive gods’ chairs are unique to Huichol ceremonies. Colorful macaw feathers\, beaded jewelry\, deerskin quivers\, embroidered clothing\, and hats adorned with feathers\, squirrel tails\, and ribbons all attest to a time and a culture where art objects were made for everyday and ceremonial use\, not tourist consumption. \nThe concept of balance is central to Huichol art and culture. The balancing of opposites\, such as the wet and dry seasons\, or darkness and light\, is a prevalent theme in Huichol art. Huichol ceremonies are performed and offerings are made to keep the world in balance\, ensuring successful crops and hunting\, fertility\, and health. Today\, the Huichol say that they continue to make art and perform the centuries-old rituals not just for their own people\, but for the benefit of everyone in the world. \nThe concept of balancing opposites\, so central to Huichol culture\, is also basic to the Pueblo worldview and is seen in Pueblo architecture\, government\, and ceremony. A further connection to Pueblo culture can be found in the Uto-Aztecan language of the Huichol. It is related to the language of the ancient Aztecs of central Mexico\, to the Cora\, to the Tohono O’odham and Hopi of Arizona\, and to the Tanoan languages of the Northern Rio Grande region of New Mexico. \nZingg\, who spent his youth in northern New Mexico\, noted a similarity in “the richness of the ceremonial life of both the Huichols and the Pueblos.” He and other scholars have drawn parallels between the two cultures\, including the importance of the cardinal directions and elaborate religious symbolism in art and decoration involving the deer\, fire\, rain\, corn\, and concepts of growth and fertility. \n  URL:https://test-dca-mc.nmdca.net/dca-event/497-huichol-art-and-culture-balancing-the-world/ LOCATION:Museum of Indian Arts and Culture\, 708-710 Camino Lejo\, Santa Fe\, NM\, 87557\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/497_thumb.jpg GEO:35.664337;-105.9252387 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Museum of Indian Arts and Culture 708-710 Camino Lejo Santa Fe NM 87557 United States;X-APPLE-RADIUS=500;X-TITLE=708-710 Camino Lejo:geo:-105.9252387,35.664337 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20100214T010000 DTEND;TZID=America/Denver:20110102T170000 DTSTAMP:20230614T175230Z CREATED:20100410T034139Z LAST-MODIFIED:20230614T175230Z UID:10001362-1266109200-1293987600@test-dca-mc.nmdca.net SUMMARY:Harry Fonseca: In the Silence of Dusk DESCRIPTION:The exhibition Harry Fonseca: In the Silence of Dusk  focuses on four series of paintings that explore the transformative and mythic forces that Fonseca perceived in himself and the world around him. The painting series include In the Silence of Dusk\, Stone Poems\, St. Francis of Assisi; and Seasons. While not a retrospective\, the exhibition explores Fonseca’s body of work as it changes focus from stylized but representational studies based on his Native American heritage to more abstract explorations of his world to non-objective compositions celebrating color. All of the works in the exhibition are courtesy of the Harry Fonseca Trust. The exhibition opens at the Museum of Indian Arts and Culture on Sunday\, February 14\, 2010\, 1:00-4:00 p.m. and runs through January 2\, 2011. \nHarry Fonseca was raised in California but moved to in Santa Fe in 1990 and lived here until his death in 2006.  His father of Portuguese descent was a janitor\, and his mother\, of Hawaiian and Maidu Indian descent\, was a traditional housewife and mother. Fonseca learned little of his cultural legacy growing up. Essential to his understanding of being Maidu (a central California Indian tribe) were three men he met as an adult: Frank LaPena\, a Wintu artist teaching at California State University Sacramento; his uncle\, Henry Azbill\, a Concow Maidu\, who was a significant figure in efforts to reestablish and preserve Maidu traditions in California and with whom Fonseca recorded the Maidu creation stories; and Concow Maidu painter Frank Day who was central to creating the Maidu Dancers and Traditionalists\, of which Fonseca was a member. \nAs Fonseca told Larry Abbott in 1991–92\, \n“I found out more about my Native American background\, and became involved with the dances and the whole traditional base. That really gave me a foundation\, not only for me but for my art work as well. It’s still here. It’s still very\, very strong. It has a great deal of meaning to me\, even when I am not doing a petroglyph\, or a coyote or something\, there’s still something there.” \n  \nFonseca’s introduction to Coyote—the trickster and mythical figure who would become the subject of his most renowned work—occurred during his participation in a traditional dance. One of the figures was dressed as a Coyote and his part in the ceremony was both as jester and guide. Coyote was Fonseca’s alter-ego and throughout his career he painted the trials and tribulations of Coyote as he comes up against an Anglo/Euro-American world. \nIn this exhibition\, we put Coyote aside to explore Fonseca’s other artistic inspirations. Both the In the Silence of Dusk and Stone Poems series were inspired by Native American rock art most notably that of the Coso Range in California and rock panels throughout the American Southwest. Fonseca greatly admired the passion and determination of rock artists for the time and effort they took to carve images out of solid rock.  While they are anchored in rock art\, the In the Silence of Dusk series’ central figures allude to transformation and existence in a surreal space\, and Fonseca instills them with a sense of the mystery and the intuitive. \n  \nHarry Fonseca also created a series of works based on the person St. Francis of Assisi and the figure of Icarus that explored spirituality and mythology outside of his Native culture.  In the St. Francis of Assisi series Fonseca steps outside his Native American heritage to create works that are meditations on the life of a man he greatly admired for his trueness to self through his rejection of wealth and privilege\, his strong commitment to the poor\, and his celebration of all forms of life. \n  \nAt the end of his career Fonseca began working on abstract works\, including the spontaneous drip paintings he titled “Seasons.” These paintings which mark another stylistic shift reflect the artist’s love of the outdoors\, a physical and mental release\, a sense of freedom\, and a future ripe with new possibilities. He completed his last Seasons painting in 2006. \n  \nFonseca was recognized in 2004 with the Alan Houser Memorial Award by New Mexico Governor Bill Richardson. In 2005 the Eiteljorg Museum in Indianapolis\, Indiana\, \nawarded Fonseca the prestigious Eiteljorg Fellowship for Native American Fine Art. \n  \nHarry Fonseca: In the Silence of Dusk opens Sunday\, February 14\, 2010\, 1:00-4:00 p.m.\, in the Lloyd Kiva New Gallery at the Museum of Indian Arts and Culture with a reception in celebration of Lloyd Kiva New’s birthday. Refreshments will be provided from 2:00 – 3:00 p.m. by Aysen New. \n  \nMargaret Archuleta (Tewa/Nuevo Mexicana) will speak on Fonseca’s career in the O’Keefe Theater\, 2 – 3 p.m. Seating is limited. Archuleta is a Ph.D. student in Art History at the University of New Mexico and a former director of the Institute of American Indian Art Museum\, Santa Fe. \n  \n  URL:https://test-dca-mc.nmdca.net/dca-event/620-harry-fonseca-in-the-silence-of-dusk/ LOCATION:Museum of Indian Arts and Culture\, 708-710 Camino Lejo\, Santa Fe\, NM\, 87557\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/620_thumb.jpg ORGANIZER;CN="Daniel Zillmann":MAILTO:daniel.zillmann@state.nm.us GEO:35.664337;-105.9252387 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Museum of Indian Arts and Culture 708-710 Camino Lejo Santa Fe NM 87557 United States;X-APPLE-RADIUS=500;X-TITLE=708-710 Camino Lejo:geo:-105.9252387,35.664337 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20100129 DTEND;VALUE=DATE:20100419 DTSTAMP:20230614T175230Z CREATED:20100129T070000Z LAST-MODIFIED:20230614T175230Z UID:10001361-1264723200-1271635199@test-dca-mc.nmdca.net SUMMARY:554 -- Museums in the 21st Century: Concepts\, Projects\, Buildings DESCRIPTION: URL:https://test-dca-mc.nmdca.net/dca-event/554-museums-in-the-21st-century-concepts-projects-buildings/ LOCATION:New Mexico Museum of Art- Plaza Building\, 107 West Palace Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition ORGANIZER;CN="Chris Nail":MAILTO:chris.nail@state.nm.us GEO:35.6878097;-105.9381003 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico Museum of Art- Plaza Building 107 West Palace Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=107 West Palace Avenue:geo:-105.9381003,35.6878097 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20100129 DTEND;VALUE=DATE:20100419 DTSTAMP:20230614T175135Z CREATED:20091121T053522Z LAST-MODIFIED:20230614T175135Z UID:10001076-1264723200-1271635199@test-dca-mc.nmdca.net SUMMARY:Museums in the 21st Century: Concepts\, Projects\, Buildings DESCRIPTION:Frank Gehry\, Renzo Piano\, Daniel Libeskind\, Tadao Ando\, Spacelab’s (Peter Cook/Colin Fournier)\, Rafael Viñoly\, and Yoshio Taniguchi are members of a pantheon of architects regarded for their original\, innovative\, and groundbreaking designs. In common\, they were all commissioned between 2000 and 2010 to design museums – some realized\, others in progress\, and a few indefinitely on hold. \n The first ten years of the 21st century witnessed the apex internationally for the commissioning of museum buildings by star architects\, such as these. The many new museum buildings\, renovations\, and/or expansions taking place all over the world interested the director of the Art Centre Basel\, Suzanne Greub\, who then developed the exhibition Museums of the 21st Century\, opening at the New Mexico Museum of Art on Friday\, January 29\, 2010. \nThe installation of the Museums in the 21st Century: Concepts\, Projects\, Buildings at the New Mexico Museum of Art will conclude the exhibition’s successful national and international tour. Museum curator Merry Scully has selected more than a dozen museum building projects from the original exhibition for inclusion in the installation in Santa Fe. \n Among the architectural projects featured in Museums in the 21st Century are Frank Gehry’s unrealized design for the Corcoran Gallery of Art\, Washington\, D.C.; Renzo Piano’s lyrical Zentrum Paul Klee in Bern\, Switzerland; Daniel Libeskind’s controversial extension of the Denver Art Museum; Tadao Ando’s dramatic design for the partially recessed Chichi Art Museum\, Naoshima\, Japan; Spacelab’s (Peter Cook/Colin Fournier) “friendly alien” the Kunsthaus Graz\, Austria; Rafael Viñoly’s design of The Nasher Museum\, Duke University\, Durham\, North Carolina; and Yoshio Taniguchi’s expansion and renovation of the Museum of Modern Art\, New York. \n Greub considered the new architecture in terms of the look and function of the structures and how the new architecture would interplay with each particular museum’s history\, geography\, holdings\, and programming. Art Centre Basel and the represented architects collaborated on the design of each project with fully realized architectural models\, selected sketches\, computer renderings\, and animations of the various museum projects. \n Art Centre Basel has produced a catalog in several languages with images of the represented projects and critical essays by acclaimed experts. The catalog is available for sale in the New Mexico Museum of Art shop. \nMuseums in the 21st Century: Concepts\, Projects\, Buildings is an Art Centre Basel exhibition (www.artcentralbasel.com). Idea and concept Suzanne Greub and Thierry Greub\, Art Center Basel; Realization: Christine Gisi\, Art Centre Basel. \n The exhibition opens on Friday\, January 29\, 2010 5:30 – 7:30 with a reception hosted by the Women’s Board of the Museum of New Mexico and will run through April 18\, 2010. \n This exhibition has been made possible in part through the generous support of The Burnett Foundation and Thornburg Investment Management. \n High resolution exhibition images may be downloaded from the Media Center at http://media.museumofnewmexico.org/. URL:https://test-dca-mc.nmdca.net/dca-event/museums-in-the-21st-century-concepts-projects-buildings-2/ LOCATION:New Mexico Museum of Art- Plaza Building\, 107 West Palace Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/554_thumb.jpg ORGANIZER;CN="Chris Nail":MAILTO:chris.nail@state.nm.us GEO:35.6878097;-105.9381003 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico Museum of Art- Plaza Building 107 West Palace Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=107 West Palace Avenue:geo:-105.9381003,35.6878097 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20091220T100000 DTEND;TZID=America/Denver:20110807T170000 DTSTAMP:20230614T175230Z CREATED:20160318T031414Z LAST-MODIFIED:20230614T175230Z UID:10001357-1261303200-1312736400@test-dca-mc.nmdca.net SUMMARY:Material World: Textiles and Dress from the Collection DESCRIPTION:The exhibition was accompanied by a richly illustrated catalogue authored by exhibition curator Bobbie Sumberg. The catalog divides the textile and costume collection into two categories\, textiles and dress\, and into several subcategories: textiles for the bed; for the dwelling; for the church\, temple\, or ceremony; and\, decorative pieces such as samplers. Dress is divided into headwear\, outerwear\, footwear\, accessories\, ceremonial\, and complete ensembles. \nFormer Curator Bobbie Sumberg said\, “Making and embellishing textiles can be a powerful tool of socialization and a reflection of cultural values. By looking at the production and use of textiles\, numerous aspects of history and culture become illuminated. For example\, gender roles within a family and within a society or culture are usually played out when cloth is made and worn. \nThe exhibition was in the Cotsen Gallery of the Neutrogena Wing from December 20\, 2009 through August 7\, 2011. URL:https://test-dca-mc.nmdca.net/dca-event/478-material-world-textiles-and-dress-from-the-collection/ LOCATION:Museum of International Folk Art\, 706 Camino Lejo\, on Museum Hill\, Santa Fe\, NM\, 87504\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/material.jpg GEO:35.6641155;-105.9265695 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Museum of International Folk Art 706 Camino Lejo on Museum Hill Santa Fe NM 87504 United States;X-APPLE-RADIUS=500;X-TITLE=706 Camino Lejo\, on Museum Hill:geo:-105.9265695,35.6641155 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20091120T100000 DTEND;TZID=America/Denver:20180801T170000 DTSTAMP:20230614T175229Z CREATED:20200430T084917Z LAST-MODIFIED:20230614T175229Z UID:10001353-1258711200-1533142800@test-dca-mc.nmdca.net SUMMARY:Santa Fe Found: Fragments of Time The archaeological and historic roots of America’s oldest capital city DESCRIPTION:Now 400 years old\, Santa Fe was once an infant city on the remote frontier.  Santa Fe Found: Fragments of Time\, on long-term exhibit in the Palace of the Governors\, explores the archaeological evidence and historical documentation of the City Different before the Spanish arrived\, as well as at the settling of the first colony in San Gabriel del Yungue\, the founding of Santa Fe and its first 100 years as New Mexico’s first capital. \nCo-curated by Josef Diaz of the New Mexico History Museum/Palace of the Governors and Stephen Post of the DCA/Office of Archaeological Studies\, Santa Fe Found collects more than 160 artifacts from four historic sites\, along with maps\, documents\, household goods\, weaponry and religious objects. Together\, they tell the story of cultural encounters between early colonists and the Native Americans who had long called this place home. \n“This exhibition gives visitors a broad perspective of the settling of Santa Fe and the web of cultural influences the Spanish brought with them\,” Diaz said. “The founding of Santa Fe is a big and complex story to tell\, and this show offers a glimpse of different aspects of Spanish colonial life\, from the domestic to the economic to the political and religious.” \nSanta Fe Found serves as living proof of how the lives of the founders were lived\, including who they married\, the hardships they faced\, the tools they used and the foods they ate. (Hint: Carne Adovada was generations away; turkey\, deer and rabbit were often the dish of the day.) \nPrior to the construction of the New Mexico History Museum\, which opened in May 2009\, Post and his fellow archaeologists conducted a two-year dig to investigate the archaeology of the site at 113 Lincoln Ave.\, just off the Santa Fe Plaza. More than 90\,000 artifacts were unearthed from the 17th-century\, revealing tales of life as it once was. \n“Surprising to some and not to others\, the New Mexico History Museum was complex and rich in the information it yielded on 300 years of people living and working behind the Palace of the Governors\,” Post said. “Combined with Dedie Snow’s 1974-1975 excavations within the Palace\, our work gives a unique inside-outside look at a central place in New Mexico history.” \nOther featured archaeological sites add to the story. The Baca-Garvisu site was the home of a prominent Santa Fe family in the 1700s\, located where the Santa Fe Community Convention Center now stands. The Sanchez Site\, an early Spanish estancia\, or rural settlement\, was partly excavated in the 1980s and is now managed by El Rancho de los Golondrinas. Also prominent in the exhibition is San Gabriel del Yungue at the Pueblo of Ohkay Owingeh\, where the first Spanish colonists briefly set their roots. \nSpain’s far northern colony of Santa Fe was reached by a six-month journey up El Camino Real\, a barely mapped and uncertain route that held only hazy promises of water and shelter. Holding together a caravan of 700 people – soldiers\, friars\, men and a few women and children – and the tools and livestock it would take to build a new colony tested the explorers’ abilities and\, sometimes\, their humanity. \nSome of the artifacts show that\, despite the frontier conditions\, fine goods had managed to travel up El Camino Real to homes and missions in the colony. A sampling of the pottery that was found on the digs includes Spanish majolica\, blue-and-white Mexican pottery modeled on examples from the Ming Dynasty in China\, colorful Mexican pottery and Pueblo pottery. Also found were tobacco pipes\, gold earrings\, gunflints and arrowheads. \nA few sherds of the pottery found by archaeologists speak to a monumental expedition. Centuries past\, they were parts of delicate Ming vases loaded onto a Spanish galleon at a Chinese port for an ocean journey then a bumpy trip up El Camino Real to the young colony. \n“Considering the Chinese pottery traveled across the ocean and then 1\,600 miles up the Camino Real\, it’s not surprising – and it’s even amazing – that we found only one or two pieces of these vessels\,” Post said. \n \nFrom these roots grew La Villa Real de Santa Fe\, the Royal City of Santa Fe. What do the historical accounts say of the homes they built and the crops they grew? What has the soil yielded of their lives\, the fragile beginnings of a young Spanish colony? \nCome to the exhibit to find out. \nFunding for the Santa Fe Found exhibition and lecture series was made possible by the Palace Guard\, a support group of the Museum of New Mexico Foundation; the Gala Opening Committee; Friends of Archaeology\, a support group of the Museum of New Mexico Foundation; the Santa Fe 400th; and the Museum of New Mexico Foundation. \n  \n  URL:https://test-dca-mc.nmdca.net/dca-event/436-santa-fe-found-fragments-of-time-the-archaeological-and-historic-roots-of-americas-oldest-capital-city/ LOCATION:New Mexico History Museum\, 113 Lincoln Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/436_1200.jpg GEO:35.6883465;-105.9381345 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico History Museum 113 Lincoln Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=113 Lincoln Avenue:geo:-105.9381345,35.6883465 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20091009 DTEND;VALUE=DATE:20100111 DTSTAMP:20230627T201358Z CREATED:20091009T060000Z LAST-MODIFIED:20230627T201358Z UID:10001358-1255046400-1263167999@test-dca-mc.nmdca.net SUMMARY:Manmade: Notions of Landscape From the Lannan Foundation DESCRIPTION: URL:https://test-dca-mc.nmdca.net/dca-event/manmade-notions-of-landscape-from-the-lannan-foundation/ LOCATION:New Mexico Museum of Art- Plaza Building\, 107 West Palace Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition GEO:35.6878097;-105.9381003 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico Museum of Art- Plaza Building 107 West Palace Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=107 West Palace Avenue:geo:-105.9381003,35.6878097 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20091009 DTEND;VALUE=DATE:20100111 DTSTAMP:20230614T175135Z CREATED:20091008T222042Z LAST-MODIFIED:20230614T175135Z UID:10001074-1255046400-1263167999@test-dca-mc.nmdca.net SUMMARY:Manmade: Notions of Landscape From the Lannan Foundation DESCRIPTION:The work of nine artists will be featured in Manmade: Notions of Landscape from the Lannan Collection. Landscape is often thought of as a pristine wilderness\, uninhabited and unmarred by human presence\, despite the fact that for many decades now landscape has in practice been represented as incontrovertibly interconnected with mankind and the land itself has been the very material of artmaking. \nManmade: Notions of Landscape from the Lannan Collection\, an exhibition primarily of photography including two significant installations\, one by James Turrell and the other by Robert Smithson. The exhibition will be on display at the New Mexico Museum of Art October 9\, 2009\, through January 10\, 2010. \nOne of the threads that runs through the Santa Fe-based Lannan Foundation collection is an exploration of man and the landscape—not landscape in its most literal sense\, but landscape as a construction of meanings and relationships that are always morphing\, growing\, decaying\, and exploding. These various facets of landscape include the natural\, the cultural\, the social\, and the political. Everywhere human presence\, for good or bad\, is evident and our relationship to our environment is always under negotiation. \nThe Lannan Foundation works related to landscape are never of the sort that is a celebration purely of a sublime or pristine nature; rather they are of the terrain inscribed with all manner of human interaction\, including manmade creations meant to guide our way through the oceans\, earthworks\, human-aided natural disaster\, and the theatre of war. \n“For over 20 years\, Lannan Foundation has supported the creation and maintenance of important land art projects such as James Turrell’s Roden Crater\, Robert Smithson’s Spiral Jetty\, Michael Heizer’s City Complex\, and Walter de Maria’s Lightning Fields\,” states Lannan Foundation Program Director for Art Christie Mazuera Davis. “Our collection\, which numbers over 800 works of art\, features a significant amount of photography\, much of which focuses on the land or manmade environments. While the Foundation has not established a specific criterion to collect landscape-oriented artwork\, it is this medium that has perhaps best captured the many-faceted relationship between man and the environment in recent decades.” \nThe photo-based works that will be on view in Manmade: Notions of Landscape from the Lannan Collection includes post-Katrina photographs of a ravaged landscape by Debbie Fleming Caffery; images of the meeting of land and sea that have been witness to historic moments by Thomas Joshua Cooper; a typological grid of lighthouse photographs by Olafur Eliasson; the confessional water images of Roni Horn; nighttime photographs of wars acted out in the desert by An-My Le; “portraits” of explosions in the landscape by Sarah Pickering; and photographs of the contemporary industrial landscape by Victoria Sambunaris. \nTwo well-known Earthwork artists are also represented in the exhibition. The Lannan Collection has rich holdings of James Turrell’s work\, including hand-worked aerial views of Roden Crater\, an extinct volcano outside of Flagstaff\, Arizona\, that the artist has been “sculpting” into a monumental earthwork since 1979. Also on view in the New Mexico Museum of Art’s galleries will be Robert Smithson’s 1969 sculptural masterwork Map of Broken Glass (Atlantis)\, an example both of his early work with earth and glass or mirrors and of his reconsideration of the nature of sculpture. \n“This is the museum’s first exhibition of works from the Lannan Foundation collection\,” states Curator of Contemporary Art Laura Addison. “There is a tremendous consistency of vision between the Lannan Foundation’s collecting interests and their broader mission. The works in Manmade may take landscape tradition as its point of departure\, but there is nothing ordinary about the artists’ approach to their subject matter. These are not simply pretty pictures of the environment. There is a strong sense of purpose that underlies the photographs\, in keeping with the Lannan Foundation’s ethos of social responsibility and critical engagement. Each of the artists in Manmade single-mindedly pursues a particular question or problem with respect to the man/land relationship or in terms of art historical paradigms from Minimalism to New Topographics. In some instances that pursuit will take an artist to the ends of the earth\, literally.” \n  URL:https://test-dca-mc.nmdca.net/dca-event/manmade-notions-of-landscape-from-the-lannan-foundation-2/ LOCATION:New Mexico Museum of Art- Plaza Building\, 107 West Palace Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/486_thumb.jpg GEO:35.6878097;-105.9381003 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico Museum of Art- Plaza Building 107 West Palace Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=107 West Palace Avenue:geo:-105.9381003,35.6878097 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20090927T100000 DTEND;TZID=America/Denver:20110131T170000 DTSTAMP:20230614T175227Z CREATED:20160322T044033Z LAST-MODIFIED:20230614T175227Z UID:10001345-1254045600-1296493200@test-dca-mc.nmdca.net SUMMARY:A Century of Masters: The NEA Heritage Fellows of New Mexico DESCRIPTION:New Mexico residents are well-represented in this distinguished group of talented artists\, especially given the size of the state’s population. The Museum of International Folk Art holds examples of the works of all the Fellows from New Mexico in its collections\, from weavings\, colcha embroidery and silversmithing\, to pottery\, tinwork\, straw appliqué\, hide painting\, retablos\, and woodcarving. \n“The quality and range of artworks created by New Mexico’s National Heritage Fellows is impressive. The exhibit will stand as testimony to the dedication and skill of these talented artists;” said Dr. Joyce Ice\, former Director of the Museum of International Folk Art. \nA Century of Masters opened September 27\, 2009 and closed January\, 2011\,  and celebrated the Museum of New Mexico’s 100th Anniversary. National Heritage Fellowship Artists from New Mexico featured in this exhibition: \nGeorge López (artist\, woodcarver\, deceased) 1982 \nMargaret Tafoya (Santa Clara potter\, deceased) 1984 \nCleofes Vigil (storyteller\, singer\, deceased) 1984 \nHelen Cordero (Cochiti potter\, deceased) 1986 \nEmilio & Senaida Romero (artists\, tinwork and colcha embroidery\, deceased) 1987 \nFrances Varos Graves (colcha embroiderer\, deceased)1994 \n Ramón José López(artist\, santero and silversmith) 1997 \nRoberto & Lorenzo Martinez (musicians) 2003 \nCharles M. Carrillo (artist\, santero) 2006 \nEsther Martinez (San Juan storyteller\, deceased) 2006 \nEliseo & Paula Rodriguez (artists\, straw appliqué) 2004 \nIrvin Trujillo (Rio Grande weaver) 2007. The exhibition closed January 31\, 2011 URL:https://test-dca-mc.nmdca.net/dca-event/228-a-century-of-masters-the-nea-heritage-fellows-of-new-mexico/ LOCATION:Museum of International Folk Art\, 706 Camino Lejo\, on Museum Hill\, Santa Fe\, NM\, 87504\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/century.jpg ORGANIZER;CN="Carrie Hertz":MAILTO:carrie.hertz@state.nm.us GEO:35.6641155;-105.9265695 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Museum of International Folk Art 706 Camino Lejo on Museum Hill Santa Fe NM 87504 United States;X-APPLE-RADIUS=500;X-TITLE=706 Camino Lejo\, on Museum Hill:geo:-105.9265695,35.6641155 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20090925 DTEND;VALUE=DATE:20100201 DTSTAMP:20230627T202015Z CREATED:20090925T060000Z LAST-MODIFIED:20230627T202015Z UID:10001359-1253836800-1264982399@test-dca-mc.nmdca.net SUMMARY:The Surreal Life: Gerry Snyder and Marco Rosichelli DESCRIPTION:The Surreal Life sets up a dialogue between the work of two artists\, Gerry Snyder and Marco Rosichelli\, who share a desire to create alternative universes both familiar and strange. A Surreal Life opens at the New Mexico Museum of Art on September 25\, 2009. \nSnyder and Rosichelli present in their art extremely well known elements – Snyder’s beautifully crafted paintings with their Renaissance inspired backdrops and Rosichelli’s finely crafted playground toys. However\, they juxtapose these artistic elements with surreal content\, Snyder with amorphous balloon-like cartoon shapes and Rosichelli with fetus-like forms. \nRosichelli’s sculptures evoke common objects reminiscent of childhood icons and toys. He says\, “…the viewers are enticed to interact with the work.” \nThe figures in Snyder’s paintings have an unruly organic quality that suggest Darwinian principles run amok; they can’t stop growing extra breasts yet lack basic necessities like arms or mouths. \nWe are asked to consider the anthropomorphic forms represented in both artists’ work\, either through our subconscious dream-fueled mind or as literal symbols. Is the Rosichelli sculpture in the exhibition\, “Spring Fetus 2\,” the realization of some dream gone bad or more literally a hobby horse common to children’s playgrounds? Is Snyder asking us to look at the forms in his paintings as if through a window or is the canvas a mirror? \nExhibition curator Tim Rodgers\, Ph.D.\, said that he hopes the viewer will\, “…find such art inspiring in that it opens up new possibilities and alternative worlds.” \nSnyder earned his BFA from the University of Oregon and his MA\, Art and Media\, at New York University. Snyder lives in New Mexico. His work has been exhibited internationally and is in the Whitney and DeYoung Museums’ permanent collections. Rosichelli received his BFA in sculpture and design from Southern Oregon University in Ashland\, Oregon. He recently earned an MFA in sculpture from Arizona State University\, in Tempe\, Arizona. He was recently the recipient of a public art commission through the Scottsdale Public Arts Commission\, in Scottsdale\, Arizona. Rosichelli currently lives in Arizona. Rosichelli has mostly shown in Arizona and Oregon and The Surreal Life is a good opportunity to see an emerging and more established artists’ take on this topic. \nThe Surreal Life: Gerry Snyder and Marco Rosichelli opens Friday\, September 25\, 2009 with a reception hosted by the Women’s Board of the Museum of New Mexico from 5:30 p.m. to 7:30 p.m. Admission is free. The exhibition will run through January 31\, 2010. URL:https://test-dca-mc.nmdca.net/dca-event/the-surreal-life-gerry-snyder-and-marco-rosichelli/ LOCATION:New Mexico Museum of Art- Plaza Building\, 107 West Palace Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition GEO:35.6878097;-105.9381003 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico Museum of Art- Plaza Building 107 West Palace Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=107 West Palace Avenue:geo:-105.9381003,35.6878097 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20090925 DTEND;VALUE=DATE:20100201 DTSTAMP:20230614T175135Z CREATED:20090804T033201Z LAST-MODIFIED:20230614T175135Z UID:10001075-1253836800-1264982399@test-dca-mc.nmdca.net SUMMARY:The Surreal Life: Gerry Snyder and Marco Rosichelli DESCRIPTION:The Surreal Life sets up a dialogue between the work of two artists\, Gerry Snyder and Marco Rosichelli\, who share a desire to create alternative universes both familiar and strange. A Surreal Life opens at the New Mexico Museum of Art on September 25\, 2009. \n  \nSnyder and Rosichelli present in their art extremely well known elements – Snyder’s beautifully crafted paintings with their Renaissance inspired backdrops and Rosichelli’s finely crafted playground toys. However\, they juxtapose these artistic elements with surreal content\, Snyder with amorphous balloon-like cartoon shapes and Rosichelli with fetus-like forms. \n  \nRosichelli’s sculptures evoke common objects reminiscent of childhood icons and toys. He says\, “…the viewers are enticed to interact with the work.” \n  \nThe figures in Snyder’s paintings have an unruly organic quality that suggest Darwinian principles run amok; they can’t stop growing extra breasts yet lack basic necessities like arms or mouths. \n  \nWe are asked to consider the anthropomorphic forms represented in both artists’ work\, either through our subconscious dream-fueled mind or as literal symbols. Is the Rosichelli sculpture in the exhibition\, “Spring Fetus 2\,” the realization of some dream gone bad or more literally a hobby horse common to children’s playgrounds? Is Snyder asking us to look at the forms in his paintings as if through a window or is the canvas a mirror? \n  \nExhibition curator Tim Rodgers\, Ph.D.\, said that he hopes the viewer will\, “…find such art inspiring in that it opens up new possibilities and alternative worlds.” \n  \nSnyder earned his BFA from the University of Oregon and his MA\, Art and Media\, at New York University. Snyder lives in New Mexico. His work has been exhibited internationally and is in the Whitney and DeYoung Museums’ permanent collections. Rosichelli received his BFA in sculpture and design from Southern Oregon University in Ashland\, Oregon. He recently earned an MFA in sculpture from Arizona State University\, in Tempe\, Arizona. He was recently the recipient of a public art commission through the Scottsdale Public Arts Commission\, in Scottsdale\, Arizona. Rosichelli currently lives in Arizona. Rosichelli has mostly shown in Arizona and Oregon and The Surreal Life is a good opportunity to see an emerging and more established artists’ take on this topic. \n  \nThe Surreal Life: Gerry Snyder and Marco Rosichelli opens Friday\, September 25\, 2009 with a reception hosted by the Women’s Board of the Museum of New Mexico from 5:30 p.m. to 7:30 p.m. Admission is free. The exhibition will run through January 31\, 2010. \n  URL:https://test-dca-mc.nmdca.net/dca-event/the-surreal-life-gerry-snyder-and-marco-rosichelli-2/ LOCATION:New Mexico Museum of Art- Plaza Building\, 107 West Palace Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/491_thumb.jpg GEO:35.6878097;-105.9381003 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico Museum of Art- Plaza Building 107 West Palace Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=107 West Palace Avenue:geo:-105.9381003,35.6878097 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20090830 DTEND;VALUE=DATE:20100222 DTSTAMP:20230614T175134Z CREATED:20100127T231637Z LAST-MODIFIED:20230614T175134Z UID:10001073-1251590400-1266796799@test-dca-mc.nmdca.net SUMMARY:Native Couture II: Innovation and Style Native American fashion design—mainstream acceptance DESCRIPTION:Santa Fe\, NM —Native American couturiers and the international fashion world knew that Native design had truly arrived on the scene when in February 2009\, Native designers Dorothy Grant\, Patricia Michaels\, and Virgil Ortiz showed during New York Fashion Week\, a historic first for Native American designers. It took decades for the work of Native designers to achieve full acceptance in their own communities and more so in the mainstream fashion world. Staying true to their cultural heritage\, pushing traditional boundaries\, and building upon the work of pioneers like Lloyd Kiva New\, today’s generation of Native designers creates extraordinary work challenging long-held stereotypes. \nNative Couture II: Innovation and Style opens at the Museum of Indian Arts and Culture on Sunday\, August 30\, 2009. This exhibition explores the history of Native fashion from hand-made clothing and accessories of the 1880s that influenced the development of a Santa Fe Style\, to today’s contemporary Native couturiers. At its root\, Indian art is the quintessential original American art. This centuries-long influence of Native American art requires the buyer\, or wearer\, and the American public in general to ponder the origins of a truly unique American style. \nTraditional Native American garments and accessories translate easily to the mainstream couture world – both are personalized and highly embellished. After contact with Europeans\, the change in Native American clothing materials and styles had a profound effect on Euro-American clothing. One example of this is “Santa Fe Style\,” the subject of one section of this exhibition. Santa Fe style can be seen on individuals throughout the world today thanks to internationally known contemporary designers as Ralph Lauren. New Mexico Native couturiers Pilar Agoyo (Ohkay Owingeh/Cochiti/Santo Domingo)\, Patricia Michaels (Taos)\, Virgil Ortiz (Cochiti)\, and Penny Singer (Diné) take their fashion designs beyond Santa Fe Style and have created a unique style of Native Couture. \nThe fashion designers in Native Couture II: Innovation and Style come from a variety of cultural and educational backgrounds. Native American art often straddles two worlds: traditional and contemporary\, yet pushes the design palette into the contemporary sphere. Cutting edge Native American fashion\, accessories\, and jewelry strongly relate to the lived experience of today’s artists. Many contemporary Native designers are multi-vocal\, drawing inspiration from unquestionably “Native” elements – pottery symbols or beadwork patterns – from the eclectic to the cutting edge. All of the artists in this exhibition take advantage of this creative license still referencing their cultural roots. There are the classic purses by Dorothy Grant (Haida) and Virgil Ortiz\, the freer more eclectic concepts as seen in the work of Penny Singer’s blending of a contemporary handbag with a pictorial past\, Teri Greeves’ (Kiowa) beaded high tops or Pilar Agoyo’s metallic vinyl bag with familiar Pueblo motifs. Reaching for the cutting edge are accessories less likely to be worn by the cautious collector\, such as Wayne Nez Gaussoin’s license plate bracelet or Rose B. Simpson’s (Santa Clara) take on a “hoodie.” \nToday’s mainstream acceptance builds on a history of Native couturiers who have designed clothing for regional and national markets since the 1940s. The creation of Indian wearable art for the mainstream marketplace at this time was a reaffirmation of tribal identity in the face of increasing pressures for acculturation. This was one of many endeavors undertaken to communicate the continued existence and distinct values of Native America to the world at large. In 1946\, Lloyd Kiva New (Cherokee/Scottish/Irish) opened a boutique in Scottsdale\, AZ. He started designing handbags based on traditional Indian tribal pouches and design motifs and within ten years he had expanded to couture. A striking purple and yellow wool cape in the exhibit is a fine example of New’s Scottish heritage while his shirt and fabric samples illustrate his collaborations with two Hopi artists\, Charles Loloma and Manfred Susenkewa. \nThis movement toward greater awareness of cultural traditions became more pronounced in the 1960s. The Civil Rights era saw Native Americans advocating for their rights and cultural autonomy. Finally\, in 1962 a school co-founded by New was opened in Santa Fe for Native American students to learn traditional art and design – the Institute of American Indian Arts (IAIA). This institution provided the cultural foundation leading some to experimentation. Many of today’s well-known designers\, such as Pilar Agoyo and Patricia Michaels\, trained under Kimberley “Wendy” Ponca (Osage) at IAIA and benefited from this art movement. \nPonca encouraged her students to experiment with different fabrics and designs\, some of which are part of the exhibition. Agoyo’s black and silver vinyl jacket and skirt reflect her Pueblo heritage while making a fabric not usually found in mainstream clothing both comfortable to wear and aesthetically pleasing. Michael’s two piece titled Pueblo Chanel\, is an example of her unique style with a hand painted silk feather skirt topped with a Chanel-cut transparent top of burnt velvet revealing a woven design that is open in the front and back. A center piece of Native Couture is the two piece pleated metallic silver and black skirt that is topped by the Modern Feather Boa by David\, Wayne and Tazbah Gaussoin. \nFashion designs do not necessarily stand alone and jewelry is used to accent and compliment the design. It goes without saying that Kenneth Begay (Diné) and Charles Loloma were the pioneers of modern Native American jewelry design. Begay’s work dating to the early 1940s could almost be mistaken for work by Spratling\, the famous Mexican silversmith. Loloma’s greatest legacy as a jeweler was his sense of color and his use of exotic stones. Both Begay and Loloma broke with the traditional pairing of silver and turquoise and conceptually opened the door to contemporary Southwest Indian jewelry design. \nThe next generation of Native American jewelry designers took the art to a higher level of refinement. Two artists who introduced new design concepts into contemporary Southwest Indian jewelry are Gail Bird (Laguna/Santo Domingo) and Yazzie Johnson (Diné). Some of the others who are part of this generation represented in the exhibition include Michael Kabotie (Hopi)\, Duane Maktima (Hopi/Laguna)\, and Jesse Monogya (Diné/Hopi). \nToday’s generation of contemporary jewelers including\, David and Wayne Gaussoin (Picuris/Diné/French)\, Cody Sanderson (Diné/Hopi/Pima/Nambe)\, Pat Pruitt (Laguna)\, Rebecca\, Begay (Diné)\, Dylan Poblano ( Zuni)\, Maria Samora (Taos)\, Tammy Garcia (Santa Clara)\, and Lee Yazzie (Diné)\, have fewer restrictions on their work and are free to explore new techniques and create innovative designs. \nNative Couture II features a range of Native American fashion design and jewelry that has been created over the past half century. Even the most avant-garde designs are created by hand using the timeless traditions and techniques of handcrafting wearable art that is authentically Native American. All this can be seen in the new exhibition at the Museum of Indian Arts and Culture. \nNative Couture II: Innovation and Style opens to the public on Sunday\, August 20\, 2009 at 1.30 p.m. with a reception hosted by the Women’s Board of the Museum of New Mexico. \n Media Contacts \nShelby Tisdale\, Director \n505-476-1251 \nshelby.tisdale@state.nm.us \n  \nSteve Cantrell\, PR Manager \n505-476-1144 \n505-310-3539 – cell \nsteve.cantrell@state.nm.us \n  \n### \nLocated on Museum Hill™\, the Museum of Indian Arts and Culture shares the beautiful Milner Plaza with the Museum of International Folk Art. Here\, Now and Always\, a major permanent exhibition at the Museum of Indian Arts and Culture\, combines the voices of living Native Americans with ancient and contemporary artifacts and interactive multimedia to tell the complex stories of the Southwest. The Buchsbaum Gallery displays ceramics from the region’s pueblos. Five changing galleries present exhibits on subjects ranging from archaeological excavations to contemporary art. In addition\, an outdoor sculpture garden offers rotating exhibits of works by Native American sculptors. \nThe Museum of Indian Arts and Culture is a division of the Department of Cultural Affairs. \n  \nInformation for the Public \nLocation: The Museum of Indian Arts and Culture is located on Museum Hill™\, Camino Lejo off Old Santa Fe Trail. \nInformation: 505-476-1269 or visit www.indianartsandculture.org \nDays/Times: Monday through Sunday\, 10:00 a.m.-5:00 p.m. Between Memorial Day and Labor Day the Museum is also open on Monday. \nAdmission: \nSundays: New Mexico residents with ID are admitted FREE. Wednesdays: New Mexico resident seniors (60+) with ID are free. Adult single-museum admission is $6 for New Mexico residents\, $9 for nonresidents; OR $15 one- day\, two museums of your choice (Museum of Indian Arts and Culture\, Museum of International Folk Art\, New Mexico Museum of Art\, and New Mexico History Museum) OR $20 four-day pass to five museums (includes all 4 listed above and the Museum of Spanish Colonial Art) Students with ID receive a one-dollar discount. Youth 16 and under\, New Mexico Veterans with 50% or more disability\, and Museum of New Mexico Foundation Members always free. Field Trips: There is no charge for educational groups attending the museum with their instructor and/or adult chaperones. Contact the Tours office by phone at (505) 476-1140 or (505) 476-1211 to arrange class/group visits to the Museum. \nDirect flights between Santa Fe and Dallas/Fort Worth are now available on American Eagle. URL:https://test-dca-mc.nmdca.net/dca-event/native-couture-ii-innovation-and-style-native-american-fashion-design-mainstream-acceptance-2/ LOCATION:Museum of Indian Arts and Culture\, 708-710 Camino Lejo\, Santa Fe\, NM\, 87557\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/476_thumb.jpg GEO:35.664337;-105.9252387 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Museum of Indian Arts and Culture 708-710 Camino Lejo Santa Fe NM 87557 United States;X-APPLE-RADIUS=500;X-TITLE=708-710 Camino Lejo:geo:-105.9252387,35.664337 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20090830 DTEND;VALUE=DATE:20100222 DTSTAMP:20230627T202450Z CREATED:20090830T060000Z LAST-MODIFIED:20230627T202450Z UID:10001356-1251590400-1266796799@test-dca-mc.nmdca.net SUMMARY:Native Couture II: Innovation and Style Native American fashion design—mainstream acceptance DESCRIPTION:Santa Fe\, NM —Native American couturiers and the international fashion world knew that Native design had truly arrived on the scene when in February 2009\, Native designers Dorothy Grant\, Patricia Michaels\, and Virgil Ortiz showed during New York Fashion Week\, a historic first for Native American designers. It took decades for the work of Native designers to achieve full acceptance in their own communities and more so in the mainstream fashion world. Staying true to their cultural heritage\, pushing traditional boundaries\, and building upon the work of pioneers like Lloyd Kiva New\, today’s generation of Native designers creates extraordinary work challenging long-held stereotypes. \nNative Couture II: Innovation and Style opens at the Museum of Indian Arts and Culture on Sunday\, August 30\, 2009. This exhibition explores the history of Native fashion from hand-made clothing and accessories of the 1880s that influenced the development of a Santa Fe Style\, to today’s contemporary Native couturiers. At its root\, Indian art is the quintessential original American art. This centuries-long influence of Native American art requires the buyer\, or wearer\, and the American public in general to ponder the origins of a truly unique American style. \nTraditional Native American garments and accessories translate easily to the mainstream couture world – both are personalized and highly embellished. After contact with Europeans\, the change in Native American clothing materials and styles had a profound effect on Euro-American clothing. One example of this is “Santa Fe Style\,” the subject of one section of this exhibition. Santa Fe style can be seen on individuals throughout the world today thanks to internationally known contemporary designers as Ralph Lauren. New Mexico Native couturiers Pilar Agoyo (Ohkay Owingeh/Cochiti/Santo Domingo)\, Patricia Michaels (Taos)\, Virgil Ortiz (Cochiti)\, and Penny Singer (Diné) take their fashion designs beyond Santa Fe Style and have created a unique style of Native Couture. \nThe fashion designers in Native Couture II: Innovation and Style come from a variety of cultural and educational backgrounds. Native American art often straddles two worlds: traditional and contemporary\, yet pushes the design palette into the contemporary sphere. Cutting edge Native American fashion\, accessories\, and jewelry strongly relate to the lived experience of today’s artists. Many contemporary Native designers are multi-vocal\, drawing inspiration from unquestionably “Native” elements – pottery symbols or beadwork patterns – from the eclectic to the cutting edge. All of the artists in this exhibition take advantage of this creative license still referencing their cultural roots. There are the classic purses by Dorothy Grant (Haida) and Virgil Ortiz\, the freer more eclectic concepts as seen in the work of Penny Singer’s blending of a contemporary handbag with a pictorial past\, Teri Greeves’ (Kiowa) beaded high tops or Pilar Agoyo’s metallic vinyl bag with familiar Pueblo motifs. Reaching for the cutting edge are accessories less likely to be worn by the cautious collector\, such as Wayne Nez Gaussoin’s license plate bracelet or Rose B. Simpson’s (Santa Clara) take on a “hoodie.” \nToday’s mainstream acceptance builds on a history of Native couturiers who have designed clothing for regional and national markets since the 1940s. The creation of Indian wearable art for the mainstream marketplace at this time was a reaffirmation of tribal identity in the face of increasing pressures for acculturation. This was one of many endeavors undertaken to communicate the continued existence and distinct values of Native America to the world at large. In 1946\, Lloyd Kiva New (Cherokee/Scottish/Irish) opened a boutique in Scottsdale\, AZ. He started designing handbags based on traditional Indian tribal pouches and design motifs and within ten years he had expanded to couture. A striking purple and yellow wool cape in the exhibit is a fine example of New’s Scottish heritage while his shirt and fabric samples illustrate his collaborations with two Hopi artists\, Charles Loloma and Manfred Susenkewa. \nThis movement toward greater awareness of cultural traditions became more pronounced in the 1960s. The Civil Rights era saw Native Americans advocating for their rights and cultural autonomy. Finally\, in 1962 a school co-founded by New was opened in Santa Fe for Native American students to learn traditional art and design – the Institute of American Indian Arts (IAIA). This institution provided the cultural foundation leading some to experimentation. Many of today’s well-known designers\, such as Pilar Agoyo and Patricia Michaels\, trained under Kimberley “Wendy” Ponca (Osage) at IAIA and benefited from this art movement. \nPonca encouraged her students to experiment with different fabrics and designs\, some of which are part of the exhibition. Agoyo’s black and silver vinyl jacket and skirt reflect her Pueblo heritage while making a fabric not usually found in mainstream clothing both comfortable to wear and aesthetically pleasing. Michael’s two piece titled Pueblo Chanel\, is an example of her unique style with a hand painted silk feather skirt topped with a Chanel-cut transparent top of burnt velvet revealing a woven design that is open in the front and back. A center piece of Native Couture is the two piece pleated metallic silver and black skirt that is topped by the Modern Feather Boa by David\, Wayne and Tazbah Gaussoin. \nFashion designs do not necessarily stand alone and jewelry is used to accent and compliment the design. It goes without saying that Kenneth Begay (Diné) and Charles Loloma were the pioneers of modern Native American jewelry design. Begay’s work dating to the early 1940s could almost be mistaken for work by Spratling\, the famous Mexican silversmith. Loloma’s greatest legacy as a jeweler was his sense of color and his use of exotic stones. Both Begay and Loloma broke with the traditional pairing of silver and turquoise and conceptually opened the door to contemporary Southwest Indian jewelry design. \nThe next generation of Native American jewelry designers took the art to a higher level of refinement. Two artists who introduced new design concepts into contemporary Southwest Indian jewelry are Gail Bird (Laguna/Santo Domingo) and Yazzie Johnson (Diné). Some of the others who are part of this generation represented in the exhibition include Michael Kabotie (Hopi)\, Duane Maktima (Hopi/Laguna)\, and Jesse Monogya (Diné/Hopi). \nToday’s generation of contemporary jewelers including\, David and Wayne Gaussoin (Picuris/Diné/French)\, Cody Sanderson (Diné/Hopi/Pima/Nambe)\, Pat Pruitt (Laguna)\, Rebecca\, Begay (Diné)\, Dylan Poblano ( Zuni)\, Maria Samora (Taos)\, Tammy Garcia (Santa Clara)\, and Lee Yazzie (Diné)\, have fewer restrictions on their work and are free to explore new techniques and create innovative designs. \nNative Couture II features a range of Native American fashion design and jewelry that has been created over the past half century. Even the most avant-garde designs are created by hand using the timeless traditions and techniques of handcrafting wearable art that is authentically Native American. All this can be seen in the new exhibition at the Museum of Indian Arts and Culture. \nNative Couture II: Innovation and Style opens to the public on Sunday\, August 20\, 2009 at 1.30 p.m. with a reception hosted by the Women’s Board of the Museum of New Mexico. URL:https://test-dca-mc.nmdca.net/dca-event/native-couture-ii-innovation-and-style-native-american-fashion-design-mainstream-acceptance/ LOCATION:Museum of Indian Arts and Culture\, 708-710 Camino Lejo\, Santa Fe\, NM\, 87557\, United States CATEGORIES:Exhibition GEO:35.664337;-105.9252387 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Museum of Indian Arts and Culture 708-710 Camino Lejo Santa Fe NM 87557 United States;X-APPLE-RADIUS=500;X-TITLE=708-710 Camino Lejo:geo:-105.9252387,35.664337 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20090605 DTEND;VALUE=DATE:20090914 DTSTAMP:20230627T203138Z CREATED:20090605T060000Z LAST-MODIFIED:20230627T203138Z UID:10001350-1244160000-1252886399@test-dca-mc.nmdca.net SUMMARY:American Impressionism: Paintings From the Phillips Collection DESCRIPTION:Seeing in a New Way – Shocking and rebellious\, the Impressionists painted out in the open air\, and used their paints in new ways to show nuances of changing light. Explore at the Museum more than 65 Impressionist works (ca. 1880-1920) from the renowned Phillips Collection\, as it tours the country. \nCelebrated American artists including John Henry Twatchman\, J. Alden Weir\, Childe Hassam\, Theodore Robinson and William Lathrop\, Maurice Prendergast\, Gifford Beal\, and Helen Turner applied the brighter palette and broken brushwork of French impressionism to the American landscape\, focusing on views of parks and beaches as well as urban views and charming interiors. Reflecting the seasons\, changing light and optical effects\, these works also relate emotional and spiritual character of the landscape. \nThis exhibition has been organized by The Phillips Collection\, Washington\, D.C. The exhibition and national tour are supported by the National Endowment for the Arts as part of the American Masterpieces program. URL:https://test-dca-mc.nmdca.net/dca-event/american-impressionism-paintings-from-the-phillips-collection/ LOCATION:New Mexico Museum of Art- Plaza Building\, 107 West Palace Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition GEO:35.6878097;-105.9381003 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico Museum of Art- Plaza Building 107 West Palace Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=107 West Palace Avenue:geo:-105.9381003,35.6878097 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20090605 DTEND;VALUE=DATE:20090914 DTSTAMP:20230614T175134Z CREATED:20090527T025518Z LAST-MODIFIED:20230614T175134Z UID:10001072-1244160000-1252886399@test-dca-mc.nmdca.net SUMMARY:American Impressionism: Paintings From the Phillips Collection DESCRIPTION:Seeing in a New Way – Shocking and rebellious\, the Impressionists painted out in the open air\, and used their paints in new ways to show nuances of changing light. Explore at the Museum more than 65 Impressionist works (ca. 1880-1920) from the renowned Phillips Collection\, as it tours the country. \nCelebrated American artists including John Henry Twatchman\, J. Alden Weir\, Childe Hassam\, Theodore Robinson and William Lathrop\, Maurice Prendergast\, Gifford Beal\, and Helen Turner applied the brighter palette and broken brushwork of French impressionism to the American landscape\, focusing on views of parks and beaches as well as urban views and charming interiors. Reflecting the seasons\, changing light and optical effects\, these works also relate emotional and spiritual character of the landscape. \nThis exhibition has been organized by The Phillips Collection\, Washington\, D.C. The exhibition and national tour are supported by the National Endowment for the Arts as part of the American Masterpieces program. URL:https://test-dca-mc.nmdca.net/dca-event/american-impressionism-paintings-from-the-phillips-collection-2/ LOCATION:New Mexico Museum of Art- Plaza Building\, 107 West Palace Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/305_thumb.jpg GEO:35.6878097;-105.9381003 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico Museum of Art- Plaza Building 107 West Palace Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=107 West Palace Avenue:geo:-105.9381003,35.6878097 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20090524T100000 DTEND;TZID=America/Denver:20100411T170000 DTSTAMP:20230614T175229Z CREATED:20200430T230143Z LAST-MODIFIED:20230614T175229Z UID:10001352-1243159200-1271005200@test-dca-mc.nmdca.net SUMMARY:Fashioning New Mexico What We Wore to Mark Life’s Passages DESCRIPTION:  \n \n  \n \nLife’s passages carry layers of meaning and memory – the foods we eat\, the songs we sing\, the clothes we wear. The ways in which our predecessors chose to clothe themselves – for a baptism\, a prom\, a war\, or an opera opening – have been collected by the New Mexico History Museum for 100 years. As part of the Museum’s grand opening May 24\, many of those outfits are\, shall we say\, coming out of the closet. \nFashioning New Mexico\, the premiere exhibition in the Museum’s Changing Gallery\, explores what our clothes say about us and what they mean to us. Some of the celebratory events depicted in it are singular to New Mexico\, such as fiestas and Native American ceremonies. Others are the classic passages that form the basis of our lives and of the tales we have told since the earliest campfire was lit: a child’s birth\, coming of age\, marriage\, anniversaries\, ascents to power and going to war. \nThe Museum’s collection of nearly 4\,000 costumes and accessories\, with many pieces dating from the 1830s to the 1970s\, has long lacked the space it takes for a proper exhibit. The opening of the Museum’s second-floor\, 5\,700-square-foot Changing Gallery finally makes it possible. \nTo senior curator Louise Stiver\, it’s both a celebration and a swan song\, as she unveils her final exhibition. \n“This is the first time for the Museum to focus on our collection of costumes and accessories\,” she said. “A number of the items in the collection represent celebrations that occurred here in New Mexico – from weddings to going to the opera to entering military service. There’s a little bit of everything for people to see.” \nBut\, she cautions\, “this is not a fashion show.” \n“Rather\, it will focus on how people fashioned their lives. Some clothing might stand alone\, while others will be part of a vignette that might include furniture\, portraits\, weaponry\, accessories\, historical documents and other props to tell the story.” \nOther features include a high-seated “penny farthing” bicycle\, and interactive features where a visitor can practice tying a corset\, using the secret language of fans or virtually “trying on” some of the outfits in the exhibit. Student-interns from New Mexico Highlands University are preparing a station that uses computerized images on a mirror that let visitors virtually “try on” some of the outfits in the exhibition. \nWhat’s coming out of the closet? Plenty – about 350 items\, including a dozen 19th- and 20th-century wedding gowns\, flapper dresses\, flamenco outfits\, WWI uniforms\, inaugural ballgowns and an assortment of underwear through the centuries. Thirty of the Museum’s classic fans will reveal a time when delicate painting and embroidery turned a utilitarian item into art. \nDonors through the years have included the heirs of the Harroun\, Manderfield and Armijo families of Santa Fe\, the McMillans of Socorro\, the Jaramillos from northern New Mexico\, and the McDonalds of Carrizozo\, to name a few. \nThe pieces cover modern history as well\, including a turquoise outfit recalling the grandeur of Dangerous Liaisons-era France. The outfit\, worn by Santa Fe artist Paul Stephen Valdez to the Equality New Mexico Gala in 2008\, was loaned by him for this special exhibition. \nConservator Rebecca Tinkham has worked on every costume in the exhibition\, painstakingly repairing the rips and frays of time\, a task that prior to now also made displaying the items problematic. With the Museum’s climate-controlled galleries\, fragile fabrics can withstand the rigors of exhibition. \nBesides mending seams\, Tinkham has found herself working on corsets\, hoops\, bustles\, pantaloons and petticoats. \n“These days\, the clothes fit the body\,” she said. “But for a good part of history\, the body was made to fit the clothes with bustles\, hoops\, metal bust improvers.” \nOne of the things that most impressed her about the collection was how well New Mexicans dressed. \n“A lot of the clothes are just so pretty to look at\,” Tinkham said. “There were a lot of people in New Mexico who did dress to style. They were definitely stylish for the period.” \nThose period-specific styles are also revealed in the Museum’s archival photos accompanying the exhibit\, which buttress the notion of these being the clothes New Mexicans lived\, worked and played in. \nAs they have for the last century\, the collection of artifacts and photographs detailing our stylish ways would have continued. But without the new exhibition gallery\, the wait to see them would have been even longer. \n“The New Mexico History Museum opens a new chapter in the life of the Palace of the Governors\,” Stiver said. “This new gallery allows us to expand our Museum’s mission and display exceptional examples from the Palace’s collections never before seen by the public.” URL:https://test-dca-mc.nmdca.net/dca-event/407-fashioning-new-mexico-what-we-wore-to-mark-lifes-passages/ LOCATION:New Mexico History Museum\, 113 Lincoln Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/407_1200.jpg GEO:35.6883465;-105.9381345 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico History Museum 113 Lincoln Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=113 Lincoln Avenue:geo:-105.9381345,35.6883465 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20090515T100000 DTEND;TZID=America/Denver:20090816T170000 DTSTAMP:20230614T175227Z CREATED:20200714T021327Z LAST-MODIFIED:20230614T175227Z UID:10001341-1242381600-1250442000@test-dca-mc.nmdca.net SUMMARY:Writing With Thread: Traditional Textiles of Southwest Chinese Minorities Traveling exhibition DESCRIPTION:More than 500 objects in Writing with Thread: Traditional Textiles of Southwest Chinese Minorities\, represented 15 ethnic groups and nearly 100 subgroups in China. \nThis exhibition was curated by Angela Sheng\, Assistant Professor of Chinese Art History at McMaster University in Hamilton\, Ontario\, Canada from the collection of the Evergrand Museum\, Taoyuan\, Taiwan. The exhibition closed in Santa Fe on August 16\, 2009. URL:https://test-dca-mc.nmdca.net/dca-event/183-writing-with-thread-traditional-textiles-of-southwest-chinese-minorities-traveling-exhibition/ LOCATION:Museum of International Folk Art\, 706 Camino Lejo\, on Museum Hill\, Santa Fe\, NM\, 87504\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/183_1200.jpg GEO:35.6641155;-105.9265695 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Museum of International Folk Art 706 Camino Lejo on Museum Hill Santa Fe NM 87504 United States;X-APPLE-RADIUS=500;X-TITLE=706 Camino Lejo\, on Museum Hill:geo:-105.9265695,35.6641155 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20090424 DTEND;VALUE=DATE:20090907 DTSTAMP:20230627T204932Z CREATED:20090424T060000Z LAST-MODIFIED:20230627T204932Z UID:10001347-1240531200-1252281599@test-dca-mc.nmdca.net SUMMARY:Intertwined: Contemporary Baskets from the Sara and David Lieberman Collection DESCRIPTION: URL:https://test-dca-mc.nmdca.net/dca-event/intertwined-contemporary-baskets-from-the-sara-and-david-lieberman-collection/ LOCATION:New Mexico Museum of Art- Plaza Building\, 107 West Palace Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition GEO:35.6878097;-105.9381003 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico Museum of Art- Plaza Building 107 West Palace Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=107 West Palace Avenue:geo:-105.9381003,35.6878097 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20090424 DTEND;VALUE=DATE:20090907 DTSTAMP:20230614T175134Z CREATED:20081119T045831Z LAST-MODIFIED:20230614T175134Z UID:10001070-1240531200-1252281599@test-dca-mc.nmdca.net SUMMARY:Intertwined: Contemporary Baskets from the Sara and David Lieberman Collection DESCRIPTION:Intertwined: Contemporary Baskets from the Sara and David Lieberman Collection opens at the New Mexico Museum of Art on April 24\, 2009 and runs through September 6\, 2009. The Women’s Board of the Museum of New Mexico will host an opening reception on the Free Friday Evening\, April 24\, 2009 from 5:30 p.m. to 7:30p.m. \n  \nIntertwined and its accompanying catalog will provide an international look at contemporary basket making and its current level of innovation and experimentation. The baskets in their collection utilize a range of materials and techniques from traditional organic to commercial and often surprising media.  Represented artists include the well-known international to the regional—four from Santa Fe—and they work in both functional containers as well as closed\, sculptural forms.  \n  \nIntertwined will include more than 70 traditional and non-traditional baskets\, including works by some of the major figures in contemporary basket making:  Ed Rossbach\, Katherine Westphal\, Sally Black\, Kiyomi Iwata\, Kazuaki Honma\, Dorothy Gill Barnes\, Carol Eckert John McQueen\, Elsie Holiday\, Ferne Jacobs\, Norma Minkowitz\, Fran Reed\, Lisa Telford\, John Garrett\, Kay Kahn\, and many more. Both Garrett and Kahn are New Mexico artists. \n  \n“This exhibition demonstrates how basketry has been redefined during the past four decades\,” says Laura Addison\, Curator of Contemporary Art at the New Mexico Museum of Art and local curator for this exhibition. She goes on to say\,  “Many of the works in Intertwined are unrecognizable as baskets; rather they are sculptures that employ traditional\, and nontraditional\, basketmaking techniques and materials. The Liebermans’ collection is exceptional in its quality and breadth. Included are works primarily from the United States\, including Native American basketry\, but also from Japan and Great Britain.” \n  \nThe contemporary baskets of Intertwined are another sub-category of “crafts” that the Museum has been showing in recent years\, including this summer’s exhibition Flux: Reflections on Contemporary Glass and several exhibitions on ceramics over the past decade. \n  \nIntertwined is curated by Heather Sealy Lineberry\, Senior Curator\, ASU Art Museum. Jane Sauer\, nationally known basket maker and scholar\, consulted on the selection process. The 48-page color catalog includes an essay by nationally-known curator and scholar Kenneth R. Trapp\, and a short piece by artist Ferne Jacobs. \n  \nIntertwined: Contemporary Baskets from the Sara and David Lieberman Collection is organized by the Arizona State University Art\, Tempe\, Arizona. \nThe ASU Art Museum is part of the Herberger College of Fine Arts at Arizona State University.  URL:https://test-dca-mc.nmdca.net/dca-event/intertwined-contemporary-baskets-from-the-sara-and-david-lieberman-collection-2/ LOCATION:New Mexico Museum of Art- Plaza Building\, 107 West Palace Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/259_thumb.jpg GEO:35.6878097;-105.9381003 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico Museum of Art- Plaza Building 107 West Palace Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=107 West Palace Avenue:geo:-105.9381003,35.6878097 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20090403T100000 DTEND;TZID=America/Denver:20090614T170000 DTSTAMP:20230614T175229Z CREATED:20090221T005308Z LAST-MODIFIED:20230614T175229Z UID:10001351-1238752800-1244998800@test-dca-mc.nmdca.net SUMMARY:Canvassing the Neighborhood: New Mexico Artists’ Views of Neighborhood Life DESCRIPTION:Many Santa Feans knew Teal McKibben as part of the Canyon Road community of artists and shopkeepers. But few of her customers knew her as an artist. McKibben specialized in the region’s indigenous arts that also filled her apartment behind the store. This private\, solitary artist wove figurative textiles and drew large pastels of her collections. However\, McKibben rarely revealed her spellbinding works to outsiders. \nTim Prythero constructs his own neighborhoods of diners\, trailers\, taco wagons\, service stations\, and auto parts stores. This hyper-real sculptor revels in the patina of well worn objects from a fleeting past\, and skillfully recreates the illusion of those surfaces. \nCarlotta Boettcher salvages automobile hoods and transforms them into metal “canvases” for her paintings. These works present an eclectic mix of imagery that ranges from memories of Cuba to geometric abstraction. \nAnd from another perspective\, Alex Harris offers an over-the-hood view of life in Northern New Mexico. Many of his color photographs present New Mexico as it is often seen – through the windshield of a car or truck. \nCanvassing the Neighborhood confirms that unexpected works of art always turn up in the neighborhoods of New Mexico. \nFor more information\, contact Joseph Traugott at 505-476-5062 or joseph.traugott@state.nm.us URL:https://test-dca-mc.nmdca.net/dca-event/374-canvassing-the-neighborhood-new-mexico-artists-views-of-neighborhood-life/ LOCATION:New Mexico Museum of Art- Plaza Building\, 107 West Palace Avenue\, Santa Fe\, NM\, 87501\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/374_thumb.jpg GEO:35.6878097;-105.9381003 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Mexico Museum of Art- Plaza Building 107 West Palace Avenue Santa Fe NM 87501 United States;X-APPLE-RADIUS=500;X-TITLE=107 West Palace Avenue:geo:-105.9381003,35.6878097 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20090308T100000 DTEND;TZID=America/Denver:20100314T170000 DTSTAMP:20230614T175227Z CREATED:20160318T031528Z LAST-MODIFIED:20230614T175227Z UID:10001344-1236506400-1268586000@test-dca-mc.nmdca.net SUMMARY:Dancing Shadows\, Epic Tales: Wayang Kulit of Indonesia Epic Tales: Wayang Kulit of Indonesia DESCRIPTION:Dancing Shadows\, Epic Tales: Wayang Kulit of Indonesia introduced the distinct form of wayang kulit found in Central Java. Various aspects of this performance art were explored\, including gamelan\, artistic techniques involved in making shadow puppets\, the cast of characters\, and regional variations of wayang. A puppet workshop\, where Visitors of all ages made and played with shadow puppets was complemented by computer kiosks to learn more about Gamelan instruments and Shadow puppets. \nThis highly refined and complex art form may be performed to commemorate important rites-of-passage (such as circumcisions and weddings)\, holidays\, national events (such as political elections)\, and personal accomplishments. \nPerformances are usually based on classical literature such as the Indian epics\, Mahabharata and Ramayana with contemporary issues incorporated into particular scenes. In fact\, the Museum of International Folk Art houses George Bush and Saddam Hussein shadow puppets. Important moral\, ethical\, and philosophical ideas are taught in every show\, while entertaining the audience at times with roaring humor and special action-packed scenes. \nThe exhibit’s highlight was a 3.5 meter\, double sided screen. Much like audiences in Central Java\, museum visitors can watch dancing and battling shadows (on video) on one side of the screen and walk around the stage to watch (a video of) the shadow master at work from “behind the scenes.” \nThis award winning exhibit featured a full gamelan ensemble and the Museum’s own extraordinary collection of wayang kulit— a full set of over 200 gold and bronze-leafed Surakarta-style\, court-based shadow puppets acquired from some of Java’s prominent puppeteers. The puppets flank the screen to the left and right creating the typical yet stunning arrangement that can be seen at actual performances in Central Java. Dancing Shadows\, Epic Tales: Wayang Kulit of Indonesia opened March 8\, 2009 and closed March 14\, 2010 and is available on-line URL:https://test-dca-mc.nmdca.net/dca-event/223-dancing-shadows-epic-tales-wayang-kulit-of-indonesia-epic-tales-wayang-kulit-of-indonesia/ LOCATION:Museum of International Folk Art\, 706 Camino Lejo\, on Museum Hill\, Santa Fe\, NM\, 87504\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://test-dca-mc.nmdca.net/wp-content/uploads/2023/05/dancing-shadows.jpg ORGANIZER;CN="Rebecca Ward":MAILTO:rebecca.ward@state.nm.us GEO:35.6641155;-105.9265695 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Museum of International Folk Art 706 Camino Lejo on Museum Hill Santa Fe NM 87504 United States;X-APPLE-RADIUS=500;X-TITLE=706 Camino Lejo\, on Museum Hill:geo:-105.9265695,35.6641155 END:VEVENT END:VCALENDAR