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SFRE PORTE R.COM / ARTS
Annexation
BY ALEX DE VORE a l e x @ s f r e p o r t e r. c o m
S
ince the idea of murals, their longevity and the place of public art in Santa Fe has been such a hot button issue in the wake of the upcoming Vladem Contemporary wing of the New Mexico Museum of Art, which will ultimately result in the destruction of the Gilberto Guzman mural, MultiCultural, I’m pleased to report that the new mural from Albuquerque-based artist Nani Chacon at the Coe Center’s massive new project warehouse space on Pacheco Street is a triumph. But let’s go back a bit. The Coe Center (1590 Pacheco St., (505) 983-6372), for those who don’t know, serves as the steward for over 2,000 pieces of Indigenous art across a wide spectrum of styles, tribes, mediums, etc. The idea is that the organization cares for the art, shows it to those who’ll respectfully view it or otherwise become inspired and, when we’re lucky, engages with contemporary creators who want to get a glimpse at the items in the pursuit of their own practices. Still, according to Creative Director and Curator Bess Murphy, the organization has long known it would need more space to properly conduct its mission. Then, last year, the Coe was presented with an opportunity to buy out its current office space, as well as a warehouse next door which had previ-
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FEBRUARY FEBRUARY 9-15, 9-15, 2022 2022 •• SFREPORTER.COM SFREPORTER.COM
COURTESY COE CENTER
With artist Nani Chacon’s new mural complete, Santa Fe’s Coe Center eyes the future of Indigenous arts creation and stewardship
ously housed Consolidated aesthetic changes. Sometimes when you’re ern bent. Time is a great, big circle of rhythms Electrical Distributors. on a tight deadline, you don’t have the free- and immutable circuitousness; what’s past is “We experimented and dom to shift, so having that freedom, having prologue, perhaps, or, at least, we should conconsidered a number of op- an open deadline...even though it was an out- sider where we come from as we evolve. tions over the years, and we door, public piece, it felt more like a studio Chacon’s mural is also a good reminder were renting,” Murphy tells process in how I was able to get to know the that Santa Fe, for all of its arts bravado, can SFR, “but then the owners of our current work, know my intention.” sometimes play host to inaccessible work. building and project space decided they Chacon’s piece is a stunner, too. Two Even in my own lifetime, it feels like public wanted to sell both buildings at the same Indigenous women stand back-to-back, art has become harder to come by—and how time; Consolidated Electrical moved out, and showcasing the process of basketry. Among many pieces wind up locked away in musewe were able to purchase the entire campus.” them, the sun rises and falls in a dazzling dis- ums or hidden in private collections? Thank Immediately, Murphy says, the Coe play of movement, and when the light hits goodness for free museum days for residents, knew it wanted a mural to emblazon the the piece during what we know as the golden or for those who share their collections, like new warehouse, and Chacon’s name was hour, the mural almost glows. According to the Thoma Foundation’s Art Vault or, in this the first uttered amongst the search com- Murphy, Chacon became enamored with a instance, the Coe Center. “It’s remarkable to me that there isn’t mittee. Although Chacon (Diné and Xicana) pair of baskets in the Coe’s collection during works in a variety of mediums (if you missed her planning phase, one crafted by Diné artist a lot of public art in Santa Fe that is solely her presence at the 2019 Que Chola show at Elsie Stone Holiday in the ’90s, another from dedicated to Indigenous people, but I alAlbuquerque’s National Hispanic Cultural an unknown Seneca creator circa 1800-some- ways feel like all murals are ephemeral,” Center you should be bummed), she’s pri- thing. Together, the baskets in Chacon’s mu- Chacon says. “I think our landscapes are marily known as a muralist. This might have ral showcase a mix of traditional geometric ephemeral, our monuments, our institusomething to do with her deep intentions, shapes and patterns alongside a more mod- tions—all of it will, in some way, disappear. My work is always about dialogue, including an emphasis on siteconversations with landscapes specific creation. In other words, and with people. Whatever time Chacon considers the places and [a mural] is able to facilitate that, spaces that will bear her art a litthat was the intent of the work.” tle more deeply than other artists Luckily, though, You can’t take might, and this is how the mural it with you…so give it all away You can’t take it with you…so give it will likely be available to view at all away came to be. This isn’t just the Coe Center for some time to a wall on an old warehouse in Santa come. Murphy says the organizaFe, it’s the exterior of reclaimed tion is already hosting artists in space for Indigenous folks smackthe new annex space: Erica Lord dab in the middle of stolen land. (Athabaskan/Iñupiaq) and SFR It’s free to view for anyone who fave Eliza Naranjo Morse. Even happens by. If that’s not powerful, I Chacon spent time using the waredon’t know what is. house to prep work destined for “They approached me about a SITE Santa Fe. month before Indian Market and “I am happy I was able to create wanted something to launch the that piece and given artistic freespace,” Chacon tells SFR. “I love dom,” Chacon says. “I like that I that the focus of this piece was about was able to center women. It’s been process, too. That was very freeing awhile since I was able to create for me as a muralist—it allowed me Muralist Nani Chacon standing with her new piece, you can’t take it work like it. This felt very freeing, to contemplate the work as it was with you...so give it all away at the Coe Center. and also empowering.” happening, to make adjustments or
