EVOKATIONSEPTEMBER2O22 An EVOKE Contemporary publication art culture inspiration
Our January issue brings many surprises from the gallery, with our winter custom of showcasing group exhibitions featuring bold new talent and fresh ideas to start the new year. Winter activities and our hotlist of events will be revealed. Reflecting on the first anniversary of Evokation, we have found it to be a deeply enriching project that has provided numerous insights and renewed awareness of the profound enchantments of northern New Mexico. From the wondrous beauty of our distinct landscape and glorious skies, to the limitless cultural events, performing and visual arts, and superb culinary experiences, Santa Fe is a mecca for bliss on all levels. It is not a wonder why discriminating travelers and art aficionados repeatedly return to absorb more of this small city’s charms. Gathering the content for this publication has brought us an even stronger connection to this remarkable place.
This fall Evoke Contemporary presents Oil of Joy, a solo exhibition of the acclaimed art of Louisa McElwain, which will be followed by a premiere event featuring paintings by prestigious Canadian landscape painter David T. Alexander. El Día de los Muertos, a show by modern santero Nicholas Herrera opens in October and the unveiling of an exciting new series of by Andrew Shears is the season’s finale at the Wegallery.hope to see you in the coming fall months to savor Santa Fe’s most splendid season of all!
Kathrine Erickson + Elan Varshay Owners and Publishers
A Note from Evoke CONTRIBUTORS
Jana Gottshalk is a curator living in Santa Fe whose work focuses on historic and contemporary art of New Mexico.
Jerry N. Smith, Ph.D., is a museum profes sional who has overseen more than 60 ex hibitions, published widely and is currently Chief Curator and Director of Education at Dayton Art Institute, Dayton, Ohio.
Ashley M. Biggers is an awardwinning freelance journalist and author based in Albuquerque. Mara Christian Harris is a marketing and communications professional who recently retired from the Georgia O’Keeffe Museum. She has been associated with Evoke since its inception.
OUR NEXT ISSUE
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Richard Lehnert is a poet, music critic, and freelance copyeditor who for 40 years has edited arts copy for many New Mexico publications. After 30 years in Santa Fe, he now lives in Ashland, Oregon.
Evokation omitted Peter Briggs from the Contributor list in our last issue. In addi tion to being the husband of artist Alice Leora Briggs, Peter S. Briggs, PhD is the retired Helen DeVitt Jones Curator of Art; founder/director of the Artist Printmaker/ Photographer Research Collection (AP/ RC); and Graduate Faculty, Heritage and Museum Sciences; all at the Museum of Texas Tech University. He is also the retired chief curator of the University of Arizona Museum of Art. We regret the oversight.
1EVOKATION SEPTEMBER 2022 3 Calendar of events 4 Oil of Joy: Louisa McElwain 10 Infinite to Infinitesimal: David Alexander 14 El Día de los Muertos: Nicholas Herrera 18 Artist Spotlight: Kristine Poole 22 El Rancho de Las Golondrinas 26 Goats do Roam: Goatscaping in Santa Fe 28 Curators We Love: Nicole Dial-Kay 30 How to Santa Fe 32 Santa Fe Railyard District CONTENTS EVOKATION is published three times annually by Evoke Contemporary, 550 S. Guadalupe St., Santa Fe, NM 87501. © EVOKE Contemporary. All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. On the cover: Louisa McElwain, Desert Cloudburst (detail), 2007, oil on canvas, 44”x 52”.
CALENDAR OF EVENTS
On display through September 24, 2022. Sep 30 Infinite to Infinitismal | David T. Alexander emerges in Santa Fe with large-scale works from his series Wet—paintings that capture reflective pools, ripples, and reeds, and subtle shifts of light across water. Natural forms are occasionally identifiable, while at other times his radiant colors slip into pure abstraction.
On display through October 22, 2022. Oct 28 El Día de los Muertos | Nicholas Herrera celebrates life and death in this provocative exhibition, contemplating human mortality with the rever ence, humor, and love of lives lost that have long been part of the time-honored tradition of the Day of the Dead.
On display through November 19, 2022.
Aug 26 OilofJoy | Louisa McElwain’s paintings are testimony to this artist’s passionate dialogue with nature; she often described her process as a joyous exploration of the sensuous potential of oil paint.
On display through January 21, 2023.
On display through December 24, 2022. Dec 30 Present | a group art exhibition of works great and small by Evoke Contemporary artists and invited guest artists revealing the immense impact that can be delivered in a small package.
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All events take place at Evoke Contemporary, 550 S. Guadalupe Street, Santa Fe, NM 87501. Visit evokecontemporary.com to sign up for special previews and for further information.
Nov 25 I’ll Get Back to You | Andrew Shears presents imagery taken from memories, dreams and experience; his inscape revealed in subtle, intimately-sized landscape paintings.
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4 EVOKATION SEPTEMBER 2022 Above: Louisa McElwain, Sound the Trumpets, 2012, oil on canvas, 44” x 44”. Opposite: Louisa McElwain painting in Abiquiú, September 2012.
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ne day in 2011, I was walking with artist Louisa McElwain through the galleries of the Phoenix Art Museum. As curator of Amer ican and European art, I had acquired one of her works for the museum’s collection and had just installed an exhibition of contemporary Western art that included four McElwain paintings. We stopped to look at a naturalistic landscape by one of her contemporaries, its highly detailed image quite different from her own loose, painterly style. McElwain looked closely and talked about the precision of the composition. She then scrunched up her brow, squinted, moved one palm up near her face, and with her other hand began to “paint” tiny imaginary marks on her palm, as if she were holding a small canvas.
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“Working like this,” she stated, “this isn’t art. This is a headache.” She then opened her eyes wide. “THIS!” she proclaimed, swinging her arms in big windmill mo tions—“This is art!”
Of course, her statement was about more than making art. It was her pronounce ment of how everything—all of “THIS!”— is connected, and that it all goes into mak ing art and living an artistic life. McElwain’s paintings tie together her love of nature and the outdoors, her religious beliefs and strong political opinions, her appreciation for food and music, and her adoration for the great vistas found in the high desert of New Mexico. Born in 1953 in New Hamp shire, in 1985 she moved to New Mexico, of Joy: Louisa McElwain
Above: Louisa McElwain, Sundown, Ghost Ranch, 1999, oil on canvas, 44” x 72”. Opposite: Louisa McElwain, O Prima Vox, 2007, oil on canvas, 54” x 72”.
6 EVOKATION SEPTEMBER 2022 where she lived on a small farm not far from Santa Fe until her sudden death, in 2013, at age 59. For McElwain, all that she did was intertwined—her paintings are only part of the larger whole. I remember that conversation at the Phoenix Art Museum vividly, because the energy and excitement McElwain expressed spoke directly of her approach to art and life. The motions of her arms, though exaggerated in the moment, indicated her actual painting technique, which required not only keen dexterity of hand and mind, but also the engagement of her entire body. Working on site, she would tie large canvases to an apparatus built onto the back of her pickup truck, using the tailgate to hold her palette and paints. Instead of brushes, McElwain used palette knives or carpentry trowels duct-taped to the end of a pole to extend her reach—as she applied heavy layers of paint to her canvas, she looked like a fencer thrusting a saber. She would set out a pool of white paint, then separate out a bit at a time to mix with different colors, which she then added to her canvas. She worked quickly, the actions of her mixing colors and applying paint creating surfaces of thick McElwain’simpasto.paintings express a vibrancy, an almost electric energy. For example, in O Prima Vox (2007) we see storm clouds gathering in the early New Mexican eve ning sky. The setting looks across Abiquiú Lake and the distinctively flat-topped Cerro Pedernal. Earlier, Georgia O’Keeffe had painted Pedernal multiple times, and once declared, “It’s my private mountain. It belongs to me. God told me if I painted it enough, I could have it.” To tackle such an iconic image so closely associated with another artist, one must have faith in one’s own convictions. In McElwain’s rendition, we find a radically different approach to O’Keeffe’s cool, smooth style. McElwain used slashes and smears of color atop color, almost as if attempting to sculpt the landscape with pronounced slabs of Uppigment.close, areas in O Prima Vox appear as abstract designs that would be at home on a nonrepresentational canvas by Willem de Kooning. Colors collide, blend, and bleed through one another. To see the painting as a landscape requires taking a step back from it. The essence of the setting sun is found in the brilliant yellow and orange forming along the distant hills and shining off the upper sections of the cloud forma tions. The lower areas of clouds, however, are dark and slightly ominous.
This sumptuously colorful, awe-inspiring view speaks to the power of nature, and suggests—in sentiment if not in style— American landscapes of the 19th century. We see not just a majestic depiction of God in nature, but an expression that God is nature, the “first voice” of the painting’s title. Every square inch is alive. It recalls the impressive compositions of earlier artists such as Albert Bierstadt, Frederic Edwin Church, and Thomas Cole. With its storm on the left, calmer skies on the right, and a lake that appears more like a meandering river, O Prima Vox brings to mind the Hudson River School. Although separated from that tradition by nearly two centuries, McElwain’s painting is con nected to those past works through the reverence the artists had for the land itself. McElwain’s strong use of color is also de veloped in Sundown, Ghost Ranch (1999), its subject another specific place made famous by O’Keeffe. Undulating forms in varying shades of purple, maroon, green, blue, and yellow make up the foreground. We can see how the paint was applied through a series of quick motions in varying directions. The design is made vibrant by the addition of small curves, squig gles, and dashes of pigment, along with incisions made with the edge of a palette knife that cut through paint layers. Above this are the exposed strata of the rising cliff face of a high mesa. Despite the energetic depiction of the land, the central portion
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Clouds are a prominent subject in McElwain’s work. Both Sage of Worlds (2001) and Desert Cloudburst (2007) belong to a series of paint ings that show various stages of cumulonimbus clouds forming into rainclouds. The clouds seem in motion, at times releasing sheets of rain across an open expanse before darkened mountains. The cloud series are among McElwain’s strongest compositions—one
Top to bottom: Louisa McElwain, Desert Cloudburst, 2007, oil on canvas, 44” x 52”.
of the sun-drenched cliff face and lush wedge of blue sky to the left ultimately comprise a tranquil work that conveys the region’s sublime
Louisa McElwain, Navajo, 2005, oil on canvas, 54” x 62”.
Aboutbeauty.300 miles west of Ghost Ranch is Monument Valley, located within the Navajo Nation along the Arizona-Utah border. The area has visually defined the West in popu lar culture through its use in many motion pictures, including Stagecoach (1939) and Forrest Gump (1994). Nevertheless, it can be challenging for painters to capture its grandeur, as the sandstone buttes are spread across roughly five square miles and require distance to be included in a single vista. In Navajo (2005), McElwain shows us the mon umental formations from many miles away. With a low horizon, attention is instead given to the big sky and large, detached cumulus clouds. The work evokes the repeating and stylized flat-bottomed clouds in Maynard Dixon’s Western landscape painting Cloud World (1925). In Navajo, however, variation within the billowing clouds excites the scene. The high wind currents and rising cool air that produce such clouds are visualized by paint swirls of white and gray created by McElwain’s sweeps of the palette knife. The clouds cast large shadows on the land below, including the foreground, thus placing viewers under a cloud to make us part of the scene.
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Above: Louisa McElwain, Sage of Worlds, 2001, oil on canvas, 56 x 72”. was acquired by the Phoenix Art Muse um—and in looking at these paintings, the viewer experiences the artist’s presence in nature. We can appreciate the energy it took to make Sage of Worlds and Desert Cloudburst: McElwain standing behind her truck, using big arm movements to sweep paint across the canvas with a trowel at the end of a pole as winds gusted, clouds formed, and rain began to fall. Her dance with nature, time, changing light, and the elements often resulted in dirt, twigs, and bugs being embedded in the surfaces of her large paintings. As she would say, they are “extreme paintings.”
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Louisa McElwain was an exceptional artist who beautifully blended the traditions of early landscape art with the bravado of abstract expressionism. Her bold paintings of the American Southwest are grand expressions of an awe-inspiring love of nature. More than a window on the out doors, her works offer visually immersive experiences that reveal her complete engagement with the natural world. Through her art, we glimpse the passion ate individual who created—Jerrythem.N.Smith, PhD
Alexander’s fascination with art was na scent. His grandmother was a painter in France at the turn of the 20th century, and later moved to Alexander’s native Canada. Although she died when he was quite young, Alexander recalls her studio and her practice. His mother was a watercolorist, so the young Vancou verite grew up steeped in art. He was also drawn to the landscape. “When I was young and had my first car, I would think nothing of driving a hundred miles to go drawing,” he remembers. He began painting seriously in high school, and went on to earn under graduate and graduate degrees from,
“Abstraction allows freedom,” he says. “I try to describe not what [a landscape] looks like but how it feels.”
Infinite to Infinitesimal:
David Alexander L
10 EVOKATION SEPTEMBER 2022 andscape artists often depict their subjects with a grandeur and majesty intended to leave the viewer with a sense of awe. But whether depicting the magnificence of a mountain range or the minutiae of a pond, Canadian painter David Alex ander hopes to instill feelings less of reverence than of presence. His land scapes trip into pure abstraction, and he often applies paint with a gestural hand that captures nature’s force and flow.
Opposite: David T. Alexander, The Staggering Surface Dance at Kaloya, acrylic on canvas, 78” x 96”.
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Alexander has held prestigious artistic residencies with the Morris Graves Foundation, in California, and at Grand Canyon National Park. His works appear in prominent public, private, corporate, and government collections, including the Vancouver Art Gallery; the Muse um of London; the HBC Global Art Collection, in New York; embassies in Berlin, Beijing, and Krakow; and private collections from Dubai to Seoul. In 2018, his accomplishments earned him induction into the Royal Canadian Academy of Arts, an honorary organi zation celebrating the achievement of excellence and innovation by Canadian artists and designers.
Above: David T. Alexander, My Head Remains in the Clouds as the Morning Starts, acrylic on canvas, 78” x 96”. respectively, Notre Dame University, in Nelson, British Columbia, and from the University of Saskatchewan, in Saska Histoon.career has taken him across Canada, the United States, and around the world in search of landscapes untrodden by human feet, including frequent visits to Iceland, Greenland, and the Canadian Arctic. “I’m not a voyeur of the land scape. I’m attempting to understand it,” he says. “Some people have the feeling in the landscape that they must conquer it. But I see how we are at the mercy of the landscape. We are human specks. For 55 years I’ve investigated it, and I still get thrilled by it every day, whether in the studio or the field.”
Still, before painting a subject, he will visit it in the field many times to draw and take reference photographs. Back in the studio, he says, “Memory, photographs, and drawing influence me—but the painting takes over.”
—Ashley M. Biggers
After his more than half-century as an artist, Alexander’s lifestyle is fully interwoven with his identity. “I can’t live without making art,” he says. “When I’m upset, I make art. When I’m happy, I make art. When I’m poor, I make it. When I have money, I make it. It keeps me going and keeps me breathing. I want to make a perfect painting, but I can’t. Yet I try, again and again.”
Above: David T. Alexander in his studio
Opposite, top to bottom: David T. Alexander, The Interface in Summer’s Soup, acrylic on canvas, 78” x 96”. David T. Alexander, Emerald Spring Veins and Embroidered Collateral Skin Deep Water, acrylic on canvas, 78” x 96”.
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Although Alexander is usually described as a landscape artist, waterscapes have also drawn his eye. From September 30 to October 22, 2022, Evoke Contemporary will show large-scale works from his series Wet—paintings that capture reflective pools, ripples and reeds, and subtle shifts of light across water surfaces. Natural forms are occasionally identi fiable, while at other times his radiant colors slip into pure abstraction. His meditations on water are especially poignant as climate change shifts weather patterns across the North American West, flooding his Vancou ver home and leaving New Mexico parched. Working in a 78-by-96-inch format allows Alexander to lean in to capturing essence over identifiable form. “When painting very large, I’m almost out of control,” he says. “I’m swinging from the Althoughshoulders.”hisworks in this show are large, Alexander’s first and perhaps truest love is drawing. “Drawing in the field is endemic. I draw all the time. I get lost in it,” he says. “Drawing is the closest thing to your brain. I get overwhelmed by what’s out there, but when I can bring it into a simple line, that’s marvelous.” And since the start of the pandemic, during which he’s worked out of a small cabin in Lake Country, British Colum bia, drawing has almost been Alexander’s only Alexander’smedium.drawings influence his paintings, which, despite his love of nature, he never creates outdoors. “Plein air is not inter esting to me,” he says. “I’m not interested in describing what a scene looks like. I try to find the essence of it, the feeling of it.”
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El Día de los Muertos:
oday Nicholas Herrera is welding. A man of many talents and skills, he’s best known for his santero work; his carvings and retablos can be seen at Evoke Contemporary, in private collections, and in muse ums. What he’s working on now is a skull formed of found metal objects: horseshoes, metal hooks, bolts, a screw clamp. His yard looks like a sculpture garden, his house encircled by large pieces of metal, including an old truck body that once belonged to his grandfather. It may not sound like an artistic sculpture in process, but the cross cutouts covering the headlights hint at the direction it’s headed in.
Nicholas Herrera
Nicholas Herrera is a descendant of José Inez Herrera, a santero who worked in El Rito in the late 1800s to early 1900s. There’s little information about this artist, now known as the “The Death Cart Santero.” One of his most famous sculptures—of a skeleton in a cart, representing Death—is now exhibited at the Denver Art Museum. Nicholas Herrera’s early work also includ ed much Death Cart imagery. In fact, death is a common theme in his work for several reasons, including a severe, near-death automobile accident he experienced when he was 25, and which set him on the path to becoming a professional artist. Herrera’s current body of work, too, is based on a theme of death: El Día de los Muertos (The Day of the Dead).
Opposite: Nicholas Herrera, La Delta, mixed media, 35” x 49” x 22”. Above: Nicholas Herrera with La Corona. Photo: Beth Wald.
Asked how he felt the COVID-19 pandemic has shown up in his work, Herrera allowed that, considering that he lives in the relatively secluded, remote village of El Rito, 60 miles northwest of Santa Fe, it had little direct effect on his everyday life. But the pandemic did show up in his art: elsewhere in his yard is a giant metal sculpture of Santa Corona. A second-century saint who died a martyr’s death, Corona (also known as St. Stephanie) in some parts of the world is prayed to for help with epidemics and infectious diseases. Historically, Corona (the name means crown in Latin and Spanish) has been a relatively obscure saint, but with the recent pandemic has gained greater prominence. With its sickle and black bird, Herrera’s sculpture of her looks more like Death than a pious saint. Herrera has married the martyr’s story with the virus itself.
José Inez Herrera, Death Cart, 1890-1910, wood, leather, hair, feather, metal, silk, 48” x 21.5”. Photo: Denver Art Museum.
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A retablo in Herrera’s studio that contains images of skeletons at first glance seems very Día de los Muertos— but the skeletons wear Spanish-style flat-brimmed hats, and the decorative borders bring into focus something traditionally New Mexican: the lines in the border are reminiscent of the fa mous Laguna Pueblo altar screen by the anonymous artist known as the Laguna Santero, one of the most famous New Mexican artists of the late 18th and early 19th centuries.
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El Día de los Muertos is primarily cele brated in Mexico, but its roots go back as far as the Aztecs and Christianity’s All Souls’ Day. Like so many celebra tions and rituals, this one took on a new image and meaning as the cultures of the Old and New Worlds clashed and combined. Today, El Día de los Muertos is a holiday for the living and the dead. In the weeks before the holiday, many homes build altars for ofrendas, offerings honoring family members who have died. The holiday is mostly known for its skull imagery, which is becoming more popular throughout the United States. Though less widely celebrated in New Mexico than in Mexico, Day of the Dead imagery is ever-present. Like the tradition of the Day of the Dead, Herrera’s work is a celebration of both life and death, and his skulland-death imagery always includes a bit of humor. What at first seems to be a large, ornate metal cross topped with skulls contains, when examined more closely, much more: a bike chain, wrenches, multiple pairs of scissors, and two doorknobs, all welded together.
Top to bottom: Nicholas Herrera, Cruzando La Frontera, acrylic on panel, 24” x 48.25”. Nicholas Herrera, El Santero del Rito, handcarved wood with acrylic and wire, 10” x 20” x 13”. Photo: Beth Wald.
Ultimately, there’s no mistaking Nich olas Herrera’s work as anything but New Mexican. Early artwork dealing with death was made for the Penitente Brotherhood, who often commis sioned art that many considered a bit gruesome for the general public. In fact, the emphasis on the suffering of life and of Jesus, on the traditions of the Death Cart and Saint Sebas tian (who was tied up and shot with multiple arrows before being beaten to death), stems from the Penitentes’ solemn Good Friday traditions. Herrera makes an interesting jump to the more celebratory Day of the Dead—two sentiments that could not be more different, suffering vs. celebration. It’s hard to say which Herrera leans more heavily on, or whether it matters. In some ways, it seems that putting a label on his art is always done with a Inwink.this pocket of northern New Mexi co, the lines between art, culture, and religion are often dim, even invisible. His new work introduces a slightly new spin for Herrera, who says he celebrates the Day of the Dead every day. His work often hints at mortality, a theme ever-present for him. Para mount in Herrera’s mind now is the recent fire near El Rito, which burned a portion of his family land, held for many generations, in the nearby moun tains. As it has for many New Mex icans, the fire threatened Herrera’s family history and culture. He feels this right now, and is sure those feelings will soon be reflected in his —Janawork.Gottshalk
17EVOKATION SEPTEMBER 2022 Nicholas Herrera, Inferno, acrylic on panel, 48” x 23.25”.
ody language is universally powerful. It communicates across cultures, often impacting us with a visceral intensity we find hard to explain. Verbal and written communications, on the other hand, can express subtle nuances of thought and ideas. In skilled hands, words can shift perspec tives, re-create realities, and change the course of Throughcivilizations.my work I have long explored these com pelling ways in which we communicate, often juxta posing body language with text to create layers of meaning. Epic, my first word-works series, combined contemplative poses with words that highlighted stories and events from my own life journey. The pandemic lockdown was a unique event in our time—much of the world endured experiences of isolation from their local communities that were, if not identical, then certainly parallel. For many people, this time seems to have been a combination of facing inward and reaching outward: of introspec tion, cocooning, and re-evaluation of life choices— and, at the same time, of sharing aspects of our lives in ways generally not seen before the pandemic.
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Kristine Poole, Beauty Will Blossom Again, fired clay, 21” x 15” x 20”.
We invited artist Kristine Poole to talk about her process, inspiration, and current body of work in her own words.
Artist Spotlight: Kristine Poole B
Some of the imagery is based specifically in allegory, incorporating body lan guage and symbols that hint at stories for the viewer to imagine. Other works integrate figures with text that high lights the inherent narrative qualities of the human form. In creating the sculptures with words, moving beyond relying solely on my own stories, I reach out to people around the world via social-media channels. I provide a cue or an image of the work and ask for responses. Theirs are the words and stories I inscribe on these sculptures. The result is a worldwide collaboration that chronicles the di verse yet related experiences of our time. The contributions of those others provide moments of insight into as pects of our collective human nature. Archetype invites viewers to see facets of themselves and their own lives at the heart of these sculptural metaphors.
Above: Kristine Poole, Beauty Will Blossom Again, fired clay, 21” x 15” x 20”. Beauty Will Blossom Again For the text on this piece, I asked people online to respond to the cue “2021.” People from around the world contributed their stories and thoughts— their languages include English, Italian, Dutch, French, Spanish, Finnish, Portu guese, and Swedish. Many wrote of the struggles they’d experienced over the last couple of years, but just as many spoke of hope and regeneration in the face of challenging times.
Professional lives necessarily over lapped into private realms. Honestly, in all those virtual meetings, who didn’t check out the books on the other per son’s shelves, or what they’d chosen as the background for that meeting? We all got peeks at ourselves through the eyes of others, perhaps because, for the first time, our personal spaces were being broadcast to people outside the circle of our closest family and friends. Often online, personal connections came in the form of simple empathy— such as the frustrating but undeniably funny moments when a cat wandered across a keyboard during an important meeting, providing a brief respite from the tragedies happening outside our doors. More frequently, the technolo gy, and the time on our hands, provided opportunities for us to connect to the larger world community that we were physically sequestered from. Seeing people from so many different places grappling with similar matters brought to the fore the richness and depth of the experiential human paradigm we all Theseshare. impressions and conversations steered me to my current series. Ar chetype is a stylistic extension and ex pansion of my Epic series, and a quest into the undercurrents that define us. Reaching beyond my personal sphere, Archetype speaks to our collective ex istence, evoking fundamental human experiences that are at once profoundly personal and inherently universal.
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This sculpture offers a physical metaphor of an experience most are familiar with, but perhaps provides more of a question than a statement—is the figure overcoming, or being overcome? The pattern of the words represents how our circumstances, experiences, thoughts, choices, and words might hobble us for a time, but ultimately offers the hope that we are always able to get back up again.
Kristine Poole, Overcome
, fired clay, 24” x 44” x 16”.
Overcome
The texts were collected from people all over the world. Online, I asked people to respond to what the sculpture made them feel or think, and included their contributions in English, French, Swedish, Finnish, Spanish, and other languages, including this example in Portuguese, from Rafael Mifano: “Quanto mais fundo caio, mais forte me levan to”—The deeper I fall, the stronger I rise.
—Kristine Poole
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l Rancho de las Golondrinas marks its golden anniversary.
The Story Keepers: El Ranchos de Las Golondrinas
Photos: Richard Gonzales
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At the Ranch, three dozen points of interest interpreting 300 years of New Mexico’s
The mudded cup of a swallows’ nest perches on a viga (ceiling rafter) inside a thick-walled adobe that is among the significant buildings visible today at El Rancho de las Golondrinas (The Ranch of the Swallows). The swallows completed their new home only recently, when a window was left open, but these enterprising songbirds have been residents of La Cienega for centuries. They’re not alone. Human residents have long made their homes in the marshlands south of Santa Fe, where history flows as fluidly as the waters of the 1739 acequia madre (mother ditch) that still feeds fields of corn, beans, squash, and chile here.
As a living-history museum, El Rancho de las Golondrinas prides itself on taking history out of locked cases and placing it in visitors’ hands. This mission becomes daily reality as volunteer docents pass objects to visitors to hold, touch, and manipulate—something unheard of at other museums and preserva tion-oriented institutions.
“There’s a very romantic view of New Mex ico,” says director Daniel Goodman. “It’s important that people see the reality of this cultural landscape for themselves. I hope people gain a better understanding of history and cultures that are underrepresented on the national scale.”
cultural landscape sprawl over 200 acres open to guests. This year, the living-history museum marks a half-cen tury of preservation with a lineup of events, including the Fiesta de los Ni nos (September 3–4) and the Santa Fe Harvest Festival (October 1–2). Guests who’ve ducked through these low doorways once may think they know the place, but Goodman says there’s always something new to discover.
The first mention of the Ranch of the Swallows was on a 1740 will. The Rancho became an enterprise as its in habitants harvested and milled wheat, built new homes, and raised churro sheep for wool to weave into cloth. Its location along El Camino Real de Tierra Adentro (The Royal Road of the Interior Land), a trade and migration route that stretched from Mexico City to Santa Fe, made it an official paraje (rest stop or camping ground).
Although these are the most cited and recited points on the El Rancho time line, the landscape had been home to indigenous peoples long before the Spanish arrived. “There are thousands of years of Ancestral Puebloan history here,” Goodman says. “Although we have focused on Spanish Colonial history, you can’t tell one story without
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El Rancho de las Golondrinas dates to the Spanish Colonial period. Although early Spanish arrivals established a rancho in the area before the Pueblo Revolt of 1680, when indigenous peoples drove the Spanish out of New Mexico, permanent Spanish settle ments didn’t take root until the 1690s.
Photos: Richard Gonzales
In addition to opening its doors to more voices, El Rancho wants to welcome visitors of all ability levels. Goodman says the staff and board used the Ranch’s closure during the pandemic to update its facilities master plan. Over the next few years it will follow through on these plans by creating American Disabilities
Act–compliant paths to make more of the property accessible, and add inter pretive signage.
When Goodman arrived, a decade ago, ropes kept visitors from interacting with most of the displays. Today, if they wish, visitors can run their fingers across the strings of calabacitas (squash), chile, garlic, and apples drying on the mantel of the Baca House. They can enjoy a moment of reflection in the pews of the Capilla y Sala de Fundadores (Chapel and Founders Hall), an 18th-century stone-walled structure that’s the oldest building on the property. They can feel the warp and weft of weavings on the loom. “We want to offer an immersive environment,” Goodman says. “We want to give people the freedom to interact, and trust that they will treat it well.”
El Rancho’s hundred-strong volunteer force is vital to helping visitors interact with the history on display. During festi vals, the property buzzes as volunteers mill sorghum, forge iron tools and imple ments in the blacksmith shop, tan hides at a large ramada overlooking the fields, bake in los hornos (the ovens), and dye, spin, and weave fiber from El Rancho’s resident flock of churro sheep. Most days of the week, in some capacity, volunteers also carry on traditional lifeways. At El Rancho, however, they offer third-person interpretation rather than adopt personas for reenactments, as at some East Coast living-history museums.
24 EVOKATION SEPTEMBER 2022 the other.” He says that El Rancho is working to incorporate more and diverse voices, and has already done so with hoop dances from the Lightning Boy Foundation, demonstrations of making yucca cordage, and talks from represen tatives from Albuquerque’s Indian Pueblo Cultural Center.
Immerse yourself in the living history of El Rancho: learn how to make a traditional red-chile ristra, stomp grapes, make corn-husk crafts, visit with the resident animals, and shop handmade goods made by talented local craftspeople.
19th Annual Santa Fe Fiesta de los Niños
This living, breathing environment is a vision re alized for the museum’s founder, Leonora Curtin Paloheimo (1903–1999), a preservationist who was integral in the establishment of what is now Santa Fe Indian Market. Curtin and her mother purchased the ranch property in 1932. Later, after she married, she and her Finnish husband, Yrjö Alfred (Y.A.) Paloheimo, envisioned the Ranch as the site of a living-history museum. It began welcoming visitors in 1972. El Rancho is celebrating its golden anniversary with a slate of lectures and festivals, many of which have already taken place. The planned 50th Anniversary Fiesta Matanza will be a gala in El Rancho de las Golondrinas style. The evening will begin with Pueblo dancers, and will go on to include live Latin-fusion music from one of Santa Fe’s favorite bands, Nosotros. Steven Otero will serve food in the style of a matanza, a New Mexican harvest tradition that involves butchering and roasting a pig. While the butch ering itself will take place elsewhere, guests will enjoy the resulting seasonal bounty. This event, also a fundraiser, will help secure the future of El Rancho de las Golondrinas. Daniel Goodman’s goal for that future is simple but profound: to keep the stories—Ashleyalive.M.
History comes hands-on alive with games and activities for all ages, food trucks, live entertainment, and local artisans. Meet the resident goats, churro sheep, and burros!
Biggers
Step back in time to the Kingdom of Golondrinas and meet knights and ladies, and fairies in their enchanted villages; eat tur key legs and other fare; dance to medieval music; and enjoy the festive atmosphere of New Mexico’s premier renaissance fair.
10 AM–4 PM 14th Annual Santa Fe Renaissance Faire
Saturday and Sunday, September 17 and 18, 2022
Saturday and Sunday, September 3 and 4, 2022
10 AM–5 PM 50th Annual Harvest Festival
Saturday and Sunday, October 1 and 2, 2022
El Rancho de las Golondrinas’s 50th-anniversary celebrations conclude with a traditional matanza, or pig-roast dinner, by chef Steve Otero, followed by dancing to the rhythms of Nosotros. Dress is ranch chic: denim and diamonds, boots and turquoise.
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Saturday, October 8, 2022 6–10 PM Fifth Annual Santa Fe Spirits of New Mexico Hear spooky (but not too spooky) stories about the ghosts of the past, told by the light of lanterns and campfires, in a fami ly-friendly Halloween atmosphere.
10 AM–4 PM 50th Anniversary Fiesta Matanza
Saturday, October 22, 2022 5–9 PM El Rancho de las Golondrinas 334 Los Pinos Road, Santa Fe Tickets and information for all events at golondrinas.org.
eet Muenster and her twin sister, Mozzarella. Over there are their kids—Parmesan, Provolo ne, and Pepper Jack—and Feta’s kid, Pecorino Romano. You could also get acquainted with Apples, Flower Ears, or Onyx. They might ignore you, though— hired for the annual cleanup of the Santa Fe Railyard, they’re busy munching weeds and grasses. They’re mem bers of the 65-goat crew belonging to Horned Locust GoatScaping, which for 17 years has been using goats to clear commercial and residential landscapes in the Santa Fe Theirarea.owner, Amanita Thorp, grew up with goats on her family’s homestead in Santa Fe County. Her small herd of a few dozen dairy goats grew to about 250 goats when a large Army Corp of Engineers remediation project to remove tamarisks on the Galisteo Dam began, in 2006. When that project ended, in 2010, they began working for the Eldorado Community Improvement Association to graze back thriving, monsoon-nourished weeds as a defense against wildfires. Today, the herd comprises some 150 goats and sheep; the main herd that commutes daily is 65–75 strong, depending on the scope of the job. The goats arrive at the job site in a livestock trailer, then do their job of eating weeds inside a traveling electric fence. On day trips, they’re accompanied by a herding dog and a companion dog; for longer jobs, Thorp, her husband Tom Berto, and their young daughter camp on-site and bring along the entire herd, the dogs, and a horse or two.
Fe 26 EVOKATION SEPTEMBER 2022 ON MAY 2022 M Photos: © Esha Chiocchio.
Goats do
Goats are extremely versatile eaters, and the Horned Locust herd has learned to consume a variety of plants throughout the year. A free-range diet of vegetation is supplemented with hay and minerals to meet their basic nutritional needs, after which they can eat as much as they like from a smorgasbord of weeds, shrubs, grasses, and seeds. They especially appreciate prickly-pear fruit, and yucca pods and blossoms—what becomes clear in talking with Amanita Thorp is that each goat has individual preferences and a distinctive personality. GoatscapingRoam:inSanta
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About those names—Thorp keeps track of her individual goats by using alphabetically coded names and themed families, using as a naming convention the dairy industry’s system of tattooed letters in the goats’ ears. This year the letters were O and P, with a num ber of kids born into the “cheese” family—hence the charming cheese platter mentioned above. A good monsoon season usually means lots of weeds. However, because the dry periods our region experiences create occasional slow times for the herd, Thorp and her husband also wrangle animals for New Mexico’s robust and apparently evergreen film industry. Still, they prefer the quality of life afforded by goatscaping together as a family. They clear private yards, city parks, farmland, HOA land, utilities, and solar farms. The results are multifold: regenerated soil, and land opened to reduce fire fuel and create more defensible spaces in fire season—as well as reduced cover for rodents and noxious or invasive weeds, and the promotion of seed germination. It all makes the land more fertile and resilient without using machines or pesticides. More than anything, Thorp and Berto see the importance of children watching animals inter act with the environment. The antics and personalities of their herd of goats make the process of education for everyone that much easier.
—Mara Christian Harris Horned Locust GoatScaping NM Film Animals LLC nmfilmanimals@gmail.com505.470.8741
into St. Louis, where we would go to the free Metro politan Zoological Park and Museum District, which includes the Saint Louis Art Museum. I remember going through the halls and being awed at how much beauty is in that building. Having that open access was literally life-changing for me. When I design exhibi tions, I think a lot about what I, as I kid, would have thought, and what my parents would have thought, about anything I do. Would I feel welcome? Would they feel represented? That’s always in the back of my mind.
Evokation: When you arrived here, what was your introduction to Taos arts like? I was in my office for two weeks—and then the whole world shut down [due to the COVID-19 pandemic].
Nicole Dial-Kay may be the curator of exhibitions and collections at the Harwood Museum of Art, but she considers herself to be primarily a facilitator.
Nicole Dial-Kay
Evokation: How would you describe your curatorial philosophy? Where I came from is really important. I came from a small farming community in Illinois. My family didn’t have a lot of money, so my parents would drive us
28 EVOKATION SEPTEMBER 2022
“Supporting artists and helping their ideas come to life, that’s where I’m best,” she says. She joined the Taos institution in February 2020, just days before the pandemic fell, bringing with her 15 years of museum programming experience. Her previous leadership roles included stints at the Saint Louis Art Museum, in Missouri; the Pratt Museum, in Homer, Alaska; and Breckenridge Creative Arts, in Breckenridge, Colo rado. Hailing from a small town in Illinois, Dial-Kay is most at home traveling in her 1978 VW bus with her husband and two dogs. When in the office, however, she’s curating fall exhibitions exploring narratives and counter-narratives of cowboys, and planning the Harwood’s 2023 centennial celebration.
The first project I curated was Contemporary Art / Taos 2020, a survey the Harwood does every couple of decades. We received 330 applications from our open call—Taos is full of incredible work. I spent my time going through application packets and doing studio visits over Zoom. We selected 28 artists—in cluding Lynnette Haozous and Izumi Yokoyama, who did site-specific installations—and spent a month doing an installation in a museum closed to visitors. That’s how my relationship with the contemporary artists in Taos began.
Evokation: How did the museum pivot during the pandemic? We rewrote the strategic plan. It allowed us to consider what we should be putting our resources toward, and what’s getting us closer to where we want to be as a museum. We had a lot of conversations about how well we were representing the community. We’re completing a multiyear diversity, equity, and inclusion training. It’s important work that has to be done by museums, which have a problematic colonial history that doesn’t make everyone feel welcomed and included.
LOVEWECURATORS
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Photo: Andrew Yates Evokation
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What else arose from those conversations?
We have William Herbert “Buck” Dunton: A Mainer Goes West (October 29–May 21, 2023), which celebrates the legacy of the Taos Society of Artists’ (TSA) resident “cowboy painter.” This traditional show will be paired with Outriders: Legacy of the Black Cowboy (October 15–May 7, 2023), which will look at Wild West history outside the dominant narrative. This exhibition will have historic photographs from the late 1800s to early 1900s that will provide the foundational history; the other half is contemporary responses by seven artists from today, such as New York–based painter Alexander Harrison, who incorporates Black culture into his works; Ghana-born Otis Kwame Kye Quaicoe, who depicts cowboy culture; and Texas-born Praise Fuller, who specializes in horses, cows, and ranchland imagery in her cyanotypes.
Evokation: What’s ahead at the Harwood? I’ve spent two years in the archives preparing for the Harwood’s 100th anniversary next year. The celebration will kick off in June 2023. It will include a full museum exhibition, a PBS documen tary, a Museum of New Mexico Press publication, and a full year of programming. There’s so much to tell—from the story of Lucy Harwood establishing the Harwood Foundation, to the property serving as Taos’s WPA headquarters and its first public library, to the many periods of Taos’s art. For the exhibition, the biggest room will focus on the people of the Harwood, from the volunteers to the artists. It will include loans of important works by Georgia O’Keeffe, Elaine de Kooning, and Margaret Bourke-White. To be part of the museum’s legacy is overwhelming— I’m honored to be part of the history of this ongoing source of inspiration.—Ashley M. Biggers
What’s coming up for fall?
We’re focusing on four seasonal exhibitions a year. Our overarching goals are to 1) celebrate Taos’s art history, 2) support emerging artists, 3) bring in artists from outside the community who are doing great work nationally and internationally to inspire creative community, and 4) reflect the diverse voices of our community. We’re looking at the makeup of the collection and asking, “Who’s not represented here?” Then we’re accessioning works by those voices that aren’t as represented as they should be.
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1352 Rufina tickets.meowwolf.comCircle
PHOTO: MARA CHRISTIAN HARRIS
Thursday–Sunday, September 22–25, 2022
For more than 30 years, the Santa Fe Wine and Chile Fiesta has celebrated the culinary landscape of Santa Fe and beyond. Sample wines from more than 90 wineries and dishes from 50 Santa Fe restaurants during the Grand Tasting, the Fiesta’s signature event, which takes place on the grass field of Fort Marcy Park near downtown on Saturday, September 24. Or sign up for wine tastings, winery and chef dinners, and/or cooking demonstra tions throughout the event’s five-day run. Multiple locations in Santa Fe santafewineandchile.org
5:30–8 PM Santa Fe Farmers’ Market Pavilion 1607 Paseo de Peralta visitcenter.org
Friday, November 18, 2022
THE ADULTIVERSE AT MEOW WOLF
REVIEW SANTA FE PORTFOLIO WALK AND PHOTOGRAPHY BOOK FAIR
For New Mexicans, nothing signals the beginning of fall as does the scent of roasting green chiles. Starting in August, that telltale aroma, both woody and fruity, can stop aficionados in their tracks. Per haps it’s the association with shorter days and cooler evenings. Later, as the season progresses, the aromatic scents of piñon, juniper, and cedar smoke fill the air—an other heart-quickening experience for dev otees. The pace of activities slows down only a little—while perhaps not quite as chock-full of events as July and August, fall brings its own signature activities.
HOW TO SANTA FE 30 EVOKATION SEPTEMBER 2022
PHOTO: G. MARKS
THE BURNING OF ZOZOBRA Friday, September 2, 2022, 4–11:45 PM Santa Fe has its own Burning Man in the form of Zozobra, a 60-foot-tall mario nette who each year since 1924 has con tained the city’s gloom until he goes up in flames in Fort Marcy Park in front of some 20,000 people, all shouting “Burn him!” Fort Marcy burnzozobra.comPark
Part of the annual Center Photo Sympo sium, held November 17–20, the Portfolio Walk and Book Fair brings together a juried portfolio show of world-class lens-based artists, as well as representatives from museums, publications, publishers, and media outlets, to view a broad range of photographic projects and recently published photography books. This public event is the highlight of a weekend full of lectures and workshops presented by Cen ter, a Santa Fe–based nonprofit dedicated to promoting socially and environmentally engaged lens-based projects through education, partnerships, and events.
First Thursday of each month through December 1, 2022, 8 PM–12 AM Adults can free-range through the weird and wonderful immersive art installation of the House of Eternal Return—with cocktails! A 21-and-over event.
SANTA FE WINE AND CHILE FIESTA
4401Balloonpurchase.FiestaParkAlamedaBoulevard NE balloonfiesta.com
When the arias end, the rock’n’roll begins! Buddy Guy with John Hiatt and the Gon ers, featuring Sonny Landreth Wednesday, September 14, 2022, 7:30 PM Wilco: The Cruel Country Tour
The (very) early-morning Dawn Patrols and Mass Ascensions are spectacular; our favorite events are the evening Glowdeos (stationary balloons are inflated and lit by gas flames from within at dusk) and the Special Shape Rodeo (morning mass ascension) and Glowdeo—think balloons in the shapes of a family of bees, or Darth Vader, or Elsie the Cow, and dozens of favorite childhood characters.. The Amer ica’s Challenge Gas Balloon Race, live en tertainment, a midway, food booths, and an AfterGlow Fireworks display round out the list of activities. Convenient remote shuttle parking is available with advance ticket
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Various desertchorale.org/concerts-events/winter/locations
MUSIC IN SANTA FE CONCERTS AT
SANTA FE DESERT CHORALE: A CEREMONY OF CAROLS
Holidays are magical in Santa Fe. Winter activities include concerts, markets, snow sports, and sitting in front of a roaring fire. Check out santafe.org for a calendar of events, including . . .
The skies above Albuquerque fill with balloons in early October as the city wel comes the 50th annual International Balloon Fiesta. It’s hard to overestimate how spectacular this event is. Viewed from afar, the Mass Ascension each morning looks like a cloud of colorful bubbles popping up into the air; from the ground on the field of Balloon Fiesta Park, you can wander among the wicker gondolas and envelopes (the balloons themselves) as balloonists inflate them with air heated by propane burners.
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A benefit concert celebrating the 30th anniversary of Kitchen Angels Friday, September 23, 2022, 7:30 PM Rodrigo y Gabriela Saturday, September 24, 2022, 7:30 PM
ROAD BALLOONALBUQUERQUETRIPINTERNATIONALFIESTA
Thursday, September 15, 2022, 7:30 PM Emmylou Harris and the Red Dirt Boys
Saturday–Thursday, December 10–22, 2022
The 24 professional voices of the Santa Fe Desert Chorale perform Benjamin Brit ten’s iconic work A Ceremony of Carols in several churches in Santa Fe and Albu querque, along with other choral treasures celebrating this season’s holidays. These concerts conclude the Chorale’s celebra tion of its 40th anniversary.
PHOTO: MARA CHRISTIAN HARRIS
THE SANTA FE OPERA
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The Santa Fe Opera 301 Opera ampconcerts.orgDrive
Saturday–Sunday, October 1–9, 2022
PHOTO: MARA CHRISTIAN HARRIS
The Santa Fe Railyard continues to be the City Different’s new hub of culture and activities. It includes the Farmers’ Market, a premium movie theater, shopping, restaurants, the museums and galleries of the Railyard Arts District, and a beautiful 20-acre urban park.
Jeffrey Gibson: The Body Electric Don’t miss this provocative solo exhibi tion spanning Jeffrey Gibson’s multi-de cade practice. His mergings of artistic styles create vibrant, multilayered works of art that express the complexities and relationships among injustice, marginal ization, and personal identity.
PHOTO: THOMA FOUNDATION ART VAULT SANTA
PHOTO: SITE
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540 S. Guadalupe artvault.thomafoundation.orgStreet VLADEM CONTEMPORARY
Saturdays year-round, and Tuesdays through November 22, 8 AM–1 PM 1607 Paseo de santafefarmersmarket.comPeralta
Part of the Railyard Santa Fe, the Railyard Arts District is the city’s contemporary-art destination. With eight contemporary art galleries and two—soon to be three—museums, all within walking distance of each other, the Railyard Arts District is an art lover’s paradise. The final Friday of each month is the District’s Art Walk, with galleries open late with featured exhibitions. Visit santaferailyardartsdistrict.com for a complete list of galleries and events.
The south end of the Railyard Arts District is anchored by SITE Santa Fe, a noncollecting museum of contempo rary art.
The Railyard Arts District will wel come its newest member, the Vladem Contemporary, part of the New Mexico Museum of Art, in spring 2023. To get up-to-date information about the Vladem, and to be included in the gala opening celebrations, become a mem ber of the Museum of New Mexico Foundation at museumfoundation.org/ 404join. Montezuma nmartmuseum.org/vladem-contemporaryAvenue
ARTSRAILYARDDISTRICT
NOTABLE EXHIBITIONS AND EVENTS IN THE RAILYARD SITE SANTA FE
SANTA FE FARMERS’ MARKET
FE
The Farmers’ Market is open yearround, but our favorite season is fall. Stroll through the market with a cup of coffee and maybe a fleece vest to ward off the morning chill, and experience the aroma of roasting green chiles and the final burst of produce before the season winds down.
THOMA FOUNDATION ART VAULT All Art Is Virtual Through April 15, 2023 Cutting-edge creative technologies are showcased in this yearlong exhibition of video and LED sculpture, digital murals, interactive video and sculpture, inter net-driven animation, and much more.
Through September 11 Rebecca Ward: distance to venus This solo exhibition by Brooklyn-based artist Rebecca Ward employs banded, sewn, and deconstructed canvases to explore the boundaries between paint ing and Septembersculpture.2–November 6, 2022 SITE Santa Fe 1606 Paseo de Peralta sitesantafe.org
SEED THE FUTURE 20TH ANDCOMMUNITYANNIVERSARYCELEBRATIONFUNDRAISER Thursday, October 13, 2022 6–8:30 PM This evening of dinner and entertain ment in the Market Pavilion bene fits the Santa Fe Farmers’ Market Institute, which in turn supports the Santa Fe Farmers’ Market’s efforts to make healthy, locally grown food easily accessible to the community. Farm-fresh, locally produced foods prepared by chef Estevan Garcia, jazz by the Bert Dalton Trio, and awards will celebrate our local farm ing help/attend-an-event/farmersmarketinstitute.org/you-can-1607community.PaseodePeralta
Outdoors will be a beer garden and community space with grass and an outdoor stage for movies, collaborative events, and live enter tainment, with a pedestrian-scaled zone that blends with the existing businesses and the Farmers’ Market.
Early in the last century, what we now know as the Railyard was an indus trial area with warehouses, railroad tracks, and commercial buildings. Among the last was the Nuckolls Packing Co., a meat-processing plant headquartered in Pueblo, Colorado. Their building, along with the rest of the area, had fallen into disrepair when the Santa Fe Railyard Com munity Corporation developed existing and new buildings along with an urban park, all of which opened in 2008. The 100-year-old Nuckolls building, one of the last to be restored and repurposed, will reopen in fall 2022 as the Nuckolls Brewing Co. With 64 New Mexico beers on tap, a 3,000-square-foot wraparound deck, a kitchen with a full menu, and a three-vat brewery on site, the venue is a much-anticipated addi tion to the Railyard’s mix of entertainment, galleries, and restaurants.
IMAGE: NUCKOLLS BREWING CO
NEW ON THE SCENE NUCKOLLS BREWING CO.
Nuckolls Lamy Railyard is already open in the historic train depot in Lamy, and features New Mexico craft beer, a full menu, and live entertainment. A 15-mile drive southwest of Santa Fe, Lamy is also accessible via Sky Railway and their lineup of excursions.
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Nuckolls Railyard 430 W. Manhattan Ave. Nuckolls Lamy Railyard 152 Old Lamy nuckollsbrewing.comTrail
W. Herbert “Buck” Dunton, Ginger, c. 1932, oil on canvas, 50 13/16 x 33 7/8 in. (129 x 86 cm). Gift of Vivian Dunton, Harwood Museum of Art of the University of New Mexico. harwoodmuseum.org Oct. 15, 2022 — May 7, 2023 Ivan B. McClellan, Kortnee Solomon, Hempstead, Texas, n.d., photographic print, 38 x 29 in. Courtesy of Ivan B. McClellan. OCT. 29, 2022 MAY 21, 2023
