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The New Mexico Museum of Art For more information, contact Laura Addison at 505-476-5118 or laura.addison@state.nm.us The Governor's Gallery is located on the fourth floor of the State Capitol www.nmartmuseum.org Exhibitions Between the Lines: Culture and Cartography on the Road to Statehood Beau Regards from Paris!: Post-Impressionist Views by Donald Beauregard James Drake: Salon of a Thousand Souls Kimono: Karen LaMonte and Prints of the Floating World Earth Now: American Photographers and the Environment How The West is One: The Art of New Mexico
From a Spanish government that never quite knew where to draw its northern colony’s borders to a Mexican government that disagreed with where the lines eventually were drawn to a Texas Republic that wanted to claim the Rio Grande, Santa Fe, and much of eastern New Mexico, the U.S. government eventually managed to carve out the trusty rectangle we now know as New Mexico. Between the Lines: Culture and Cartography on the Road to Statehood in the Governor’s Gallery is part of the state’s 2012 Centennial celebration. The exhibition explores how cartographers interpreted New Mexico’s land, its physical and political boundaries, and the cultural minglings of Native, Spanish, Mexican, and American people. Between the Lines: Culture and Cartography on the Road to Statehood opens Thursday, January 5 and will be on view through May 4, 2012, in the Governor’s Gallery on the fourth floor of the state Capitol. The Women’s Board of the Museum of New Mexico will host a public reception from 4-6 pm on January 5. The gallery is free and open to the public. “This exhibition looks back six centuries tracing New Mexico’s history, culture and politics through its geography,” said Merry Scully, curator of the Governor’s Gallery. “The maps on view are interesting, beautiful and educational. I am happy to open this exhibit as we begin our year-long celebration of statehood. I am sure these maps will be a delight for the many students, visitors and legislators who come from across the state to the Roundhouse during the legislative session.” Drawing on maps from outstanding public and private collections, including the New Mexico History Museum’s Fray Angélico Chávez History Library, the exhibition contains hand-drawn and printed maps from 1564 to the present day. The maps demonstrate both their utility and appeal as art objects. Each map is accompanied by text highlighting its significance. Curated by Dennis Reinhartz, noted historian and Professor Emeritus at the University of Texas at Arlington, and Tomas Jaehn, librarian at the Fray Angélico Chávez History Library, this exhibition represents a collaboration between the New Mexico Museum of Art and the New Mexico History Museum. The maps on exhibit include: An 1847 lithograph of the Territory of New Mexico done by W. H. Emory, a major in the U.S. Corps of Topographical Engineers, who mapped the Southwest from 1844 into the Civil War. The information he included on this particular map proved useful in the Mexican-American War and helped establish New Mexico’s future territorial boundaries. An 1851 lithograph of the Western Territories by E. Gilman, a draftsman for the publisher Duval, that erroneously includes the New Mexican lands east of the Rio Grande as part of Texas (a claim of ownership that Texas would cling to until New Mexico became a state in 1912). A Rand, McNally and Co. lithograph from 1893 showing the arrival of the Atchison, Topeka and Santa Fe Railway—and a few liberties the railway took to attract tourists. A 1936 Standard Oil Map published the M.H. Gousha Co. that celebrates the “Mother Road,” Route 66. Back then, gas-station maps were given away free with tips on recreational activities and points of interest. A 1958 U.S. Forest Service map of the Lincoln National Forest, home of Smokey Bear. A three-dimensional map that encourages visitors to trace the outlines of New Mexico’s mountain ridges and river valleys. Besides charting such land features, cartographers in their own way chronicle our history. They help people define who they are, where they are, and how they move about. The story of New Mexico’s shifting boundaries reveals the places where those interests blended as well as clashed. Download high-resolution images of maps in the exhibit by clicking on "Go to related images" at the bottom of this page.
Opening for Beau Regards from Paris! Post-Impressionist Views by Donald Beauregard at the New Mexico Museum of Art on Friday, November 18, 2011, 5:30-7:30 p.m. The exhibition presents Post-Impressionist paintings by this New Mexico painter who is well known as the designer of the murals in St. Francis Auditorium. These works define a curious aesthetic moment when the intense, clashing colors of Post-Impressionist painting raged in Paris. The workers and peasants of France attracted Beauregard, just as Pueblo subjects captivated Paris-trained academic painters to New Mexico. Unfortunately, Beauregard died from cancer in 1914 before he could combine his newly acquired modernist style with New Mexico subjects. Refreshments provided by the Women's Board. Admission is free for this Free Friday Evening Event.
One-person exhibition at the New Mexico Museum of Art Throughout his career, James Drake has examined the theme of humanity in all of its triumphs, failures, and follies—including war; love and desire; greed, gluttony, and vanity; and the realities of life along the U.S.-Mexico border. The New Mexico Museum of Art exhibition James Drake: Salon of a Thousand Souls includes 19 sculptures and works on paper by the Santa Fe-based artist spanning nearly 25 years. The exhibition opens with a free reception on Friday, October 28, 2011. It remains on view through April 22, 2012. The contrast of baroque embellishment and hard-edge geometry characterizes Drake’s work as a whole in the exhibition, whose title suggests a meeting place where ideas and images are gathered for discussion. Salon of a Thousand Souls highlights the recurrent use of guns, mirrors, and vehicles of industry to explore modernity’s impact on human civilization. It also includes examples of Drake’s use of appropriation and allegory as strategies to underscore the cyclical nature of history. Among the works to be shown are a never-before-exhibited 21-foot red pastel drawing and a wall drawing executed by the artist in the museum specifically for this exhibition. James Drake has dedicated much of his creative life to a critique of social, political and economic issues faced by American society. In doing so, he has positioned art as a catalyst for social change. This is true for much of the most powerful art through the ages: Goya’s condemnation of war in the 1810s, Daumier’s lambast of political folly in the mid-1800s, Picasso’s lamentation of the destruction of the Spanish Civil War in 1937. “Drake’s work has a sense of gravitas in terms of subject matter; it could be described as epic in its scope,” says exhibition curator Laura Addison. “Salon of a Thousand Souls analyzes how art can be a vehicle to address inequities that remain, unfortunately, timeless. Through his masterful handling of steel, charcoal, pastel, and collage, he brings beauty to rawness and gives voice to the marginalized.” Drake’s earliest works in the exhibition are of steel and charcoal, and were a response to the tensions along the U.S.-Mexico border, which have only intensified in recent years. Living in El Paso at the time, Drake interpreted the border issues as just one chapter of the larger human story. He continues to view the world through this same lens, universalizing war, industry, and progress as narratives of the human condition that repeat endlessly. Since moving to Santa Fe, Drake’s work has been primarily large-scale charcoal drawings, as well as cut-paper works and red-pastel drawings. The source material for his imagery is not only particular news reports, but also mythology and the personal struggles and stories of family, friends and strangers. Salon of a Thousand Souls brings together all of these narratives and draws a picture of James Drake as a humanist telling cautionary tales. ABOUT JAMES DRAKE James Drake: Salon of a Thousand Souls One-person exhibition at the New Mexico Museum of Art Throughout his career, James Drake has examined the theme of humanity in all of its triumphs, failures, and follies-including war; love and desire; greed, gluttony, and vanity; and the realities of life along the U.S.-Mexico border. The New Mexico Museum of Art exhibition James Drake: Salon of a Thousand Souls includes 19 sculptures and works on paper by the Santa Fe-based artist spanning nearly 25 years. The exhibition opens with a free reception on Friday, October 28, 2011. The contrast of baroque embellishment and hard-edge geometry characterizes Drake's work as a whole in the exhibition, whose title suggests a meeting place where ideas and images are gathered for discussion. Salon of a Thousand Souls highlights the recurrent use of guns, mirrors, and vehicles of industry to explore modernity's impact on human civilization. It also includes examples of Drake's use of appropriation and allegory as strategies to underscore the cyclical nature of history. Among the works to be shown are a never-before-exhibited 21-foot red pastel drawing and a wall drawing executed by the artist in the museum specifically for this exhibition. James Drake has dedicated much of his creative life to a critique of social, political and economic issues faced by American society. In doing so, he has positioned art as a catalyst for social change. This is true for much of the most powerful art through the ages: Goya's condemnation of war in the 1810s, Daumier's lambast of political folly in the mid-1800s, Picasso's lamentation of the destruction of the Spanish Civil War in 1937. "Drake's work has a sense of gravitas in terms of subject matter; it could be described as epic in its scope," says exhibition curator Laura Addison. "Salon of a Thousand Souls analyzes how art can be a vehicle to address inequities that remain, unfortunately, timeless. Through his masterful handling of steel, charcoal, pastel, and collage, he brings beauty to rawness and gives voice to the marginalized." Drake's earliest works in the exhibition are of steel and charcoal, and were a response to the tensions along the U.S.-Mexico border, which have only intensified in recent years. Living in El Paso at the time, Drake interpreted the border issues as just one chapter of the larger human story. He continues to view the world through this same lens, universalizing war, industry, and progress as narratives of the human condition that repeat endlessly. Since moving to Santa Fe, Drake's work has been primarily large-scale charcoal drawings, as well as cut-paper works and red-pastel drawings. The source material for his imagery is not only particular news reports, but also mythology and the personal struggles and stories of family, friends and strangers. Salon of a Thousand Souls brings together all of these narratives and draws a picture of James Drake as a humanist telling cautionary tales. ABOUT JAMES DRAKE
Baumann: Born in Germany in 1881, Baumann eventually settled down in Santa Fe, taking inspiration from the New Mexican countryside for many of his woodblock prints. In 1931, he began carving his “little people”—marionettes that he toured around the state for many years. Baumann’s legacy lives on today through replicas of his loveable little people, who entertain young and old alike at the Museum of Art's annual Christmas festivity.
How the West Is One views New Mexico art as a holistic tradition that has been produced by important interactions between aesthetic perspectives. Over the last few decades, historians have emphasized the fracturing of New Mexico art into competing ethnic, aesthetic, and conceptual groupings. This fractured history promoted the idea of three separate cultures in New Mexico, and implied that little interaction had occurred between these differing aesthetic perspectives. The one-ness of New Mexico art is the unique, unpredictable, often contradictory unity that developed from cultural interactions among people from various ethnic backgrounds living in New Mexico. Tours for Groups and Schools: Schools and other groups may schedule a tour of the museum that is designed for them and that can include a docent guide. There is no charge for school group visits to the museum (including all chaperones). Please remember that our tour guides are volunteers who come in to the museum specifically to guide your group. If you need to cancel a tour, just call 505-476-5075. Docent Tours for the General Public: Tours are offered daily at 10:30 a.m. and 2:00 p.m. for all exhibits. The museum offers art walking tours of Santa Fe April - November (weather permitting). Guided by one of our docents, the tours highlight the art and architectural history of downtown Santa Fe. Tours leave at 10:00 a.m., Mondays from the museum gift shop steps. Also, June-August, Fridays 10:00 a.m. Cost: $10 per person, children 18 and under free. Proceeds support education programs at the New Mexico Museum of Art. For more information or to schedule a school or group visit, contact Ellen Zieselman, Curator of Education, phone 505-476-5075 or by email ellen.zieselman@state.nm.us |
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