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Posts Tagged ‘Emerging Artists’

Collaborative Art Santa Fe: Part II

Interference, Wasteland Scene

If you caught Currents 2011, you likely remember the video installation Interference: a  rubble-strewn urban wasteland that shifted to lush forest when intersected with human presence. Interactives were a big draw at the Currents exhibition (I had particular fun playing with John Carpenter’s Dandelion Clock.) With Interference, cooperation yielded a greater payback: the more people clustered together, the more forest could be reclaimed.

That bonus-through-alliance was fitting for a piece that was itself a matrix of logistical, technical and professional harmony. The creation of three artists, Brian Bixby, Charles Buckingham and Mike Root, working cooperatively from three far-flung cities –Berlin, Portland, and Santa Fe—Interference is a monument to concord and methodical cooperation.  How the piece came together was nearly as fascinating to me as the result, so I pummeled Mike Root for answers he happily supplied.

What was your intention?

We wanted to make sure the interaction didn’t feel like a game. A lot of the best interactive work I’ve seen is basically a video game mechanic. I love video games but we didn’t want to create one. So we developed this concept of 3 layers in 3D space and began playing with the idea of allowing the audience to move around inside this augmented space of 3 dimensions. Our intention was to create an experience where the viewer’s presence immediately effected the scene, first mysteriously and abstractly, then as the viewer got closer the interaction became more concrete and a message emerged: “You effect your environment.”

How did you pick the team and choose your roles in the project?

The three of us share interests in similar digital art forms, musicians, film directors. We’ve known each other for about 10 years, in which time we’ve worked on video and music projects together, including collaborative work an online ambient video series (Snowflakes) as well as developing web applications, like the website for SITE Santa Fe’s 2010 Biennial, The Dissolve. To realize our idea for this piece was really a matter of matching what we know of each other’s strengths, both technically and creatively, to the tasks at hand.

Tell me about the mechanics of working together over a distance.  How did you communicate ideas and build the installation?

We held bi-monthly Skype meetings…during [which]…we critiqued each other’s work in the context of the direction of the overall piece. Much of the honing of the idea and execution happened during these exchanges… A great asset was the ability to share huge digital files via a shared server.  “Working” files in After Effects, Photoshop and Jitter were easy to view and “demo” once we each had the source footage and photography on our individual computers.

Who did What?

Charles and videographer Eric Macey shot several days of HD footage in scenic spots around Oregon. Charles also did the sound design, which fades between idyllic natural river sounds and haunting urban soundscapes.

The piece exploits infrared data captured by an Xbox Kinect unit.  Charles spent many hours exploring how to best interpret and utilize this three dimensional data to make the installation react in “human” ways to the viewers. He configured a Mac computer to access and control the Xbox Kinect, then created a Jitter patch which took infrared data from the Kinect and used it to manipulate the audio and video components of the installation.

Brian shot high resolution photography of urban rubble and construction sites in Berlin, which he assembled into large scale seamless panoramas in Photoshop.… Through careful and tedious use of effects he transformed the images into a post-apocalyptic scene, eventually adding animation of smoke and rain along with 3D lighting.

I sorted through the extensive Oregon footage, eventually settling on a panorama of a forest, with river foreground. [I then] stitched together a giant-scale video composite from six high definition camera angles, [and] added 3D lighting to bring out certain areas of the scene. Brian and I collaborated on fine-tuning the rain and lighting of the Berlin rubble heap.

I also coordinated and interfaced with Currents curators Frank Ragano and Mariannah Amster who really “got” the piece and afforded a perfect space within the exhibition for the piece.

How did it feel when you saw the installation on site?

What was most gratifying was seeing the people who attended the Currents exhibition react in unexpectedly profound ways with our piece. We witnessed people go through an experiential envelope from curiosity to puzzlement to elation after spending a few minutes interacting with our piece. The “take away” from this experience was a spark of inspiration to re-envision the polluted decay of urban landscape as something you can affect and reclaim.

People commented on it and interpreted it in very positive and inspiring ways. One of the highlights was watching viewers grab other people nearby and create a human wall, which reclaimed the entire scene from ruins to pure nature.

New direction or never again?  

This piece was the first time for us to work on something interactive as a team, so the resulting work is something new and unexpected for all three of us. We’re applying to other exhibitions with this piece and hope to install it on a larger scale.  We’re curious to see how people in other places respond.


Interference, River Scene

If you missed Currents 2011, or are nostalgic for a revisit, check out this video documentation. It’s no substitute for the full experience, but it’s a great commercial.

Collaborative Art Santa Fe, Pt. I

Michael Rohner/Gwen A.P.: Collaboration in Process

Collaborative Art: What springs to mind?  The Dadaists of Cabaret Voltaire? Andy Warhol’s Factory? Jeff Koon’s Studio? (or any number of less famous examples.) I’m used to the idea of collaboration in the workplace, or in improvisational theater, where good work can become great work when spontaneous sharing reigns and egos take a back seat. But co-production of an art piece opens the door to a crowd of questions: Who owns the work? Who’s the author (of particular concern where one talent has the idea which another talent executes)? Where is the work made?  Your place or mine?  Same time or consecutively?

Mark Dunhill and Tamiko O’Brien reflect thoughtfully on issues central to the process of artistic collaboration in their blog Collaborative Arts: Conversations on Collaborative Arts Practise  And truly, there are no static, definitive answers. There is, however, rich potential.  Two outstanding local examples are Meow Wolf’s Due Return, showing through August 21st at the CCA and Interference: an interactive video environment created by Brian Bixby, Charles Buckingham and Mike Root, featured at Currents 2011 in June. Watch for reviews of both productions in upcoming posts.

Bonnaroo Tree, Michael Rohner/Gwen A.P., On Site Collaboration

This weekend, delight yourself with a first hand look at spontaneous co-creation at the 39th Annual Girl’s Inc. Arts and Crafts Show on The Plaza. Look for Booth G-18, near the intersection of Old Santa Fe Trail and San Francisco. Santa Fe Emerging Artist, Mike Rohner will be painting with Gwen AP, of Pittsburg PA. The pair met in Tennessee, at the Bonnaroo music festival. “Our artistic vibes clicked,” says Michael,”and we began immediately collaborating on paintings, taking turns working at the canvas in front of the main stage and thousands of music fans.” After each went home, they started a long-distance venture, where one of them would begin painting a canvas and the other would finish it up. To the right is a sample of what happened in Tennessee, since sold. Below are the fruits of the pair’s long-distance efforts. You’ll have your chance to pick up a Santa Fe spawned collaboration tomorrow and meet the gracious and ever-amiable Rohner in the bargain.

Calvin Tree, Michael Rohner/Gwen A.P., via long distance collaboration

Changing Gallery Presents “Practical Nonsense”

a Mercantile of the Bizarre and Unusual in the Spirit of Dadaism and Mad Humor

Victorian Skateboard

On April 16th, from 4-8 PM, Changing Gallery hosts the Opening for “Practical Nonsense: a mercantile of the bizarre and unusual.” This solo exhibition by artist Esteban Bojorquez features “assemblage and readymades in the spirit of dadaism and mad humor.” Many pieces were crafted specifically to play off the special character of Changing Gallery’s current venue, The Palace Grocery Store.

Practical Nonsense is a Mom & Pop convenience store in the Twilight Zone, an emporium of delightful oddities and witty wonders. Look for the * Alien Space Helmet and Assorted Ray Guns * The Dutch Disco Shoe * Expired Goods –100% off! * Money Hungry Bank (with teeth!) * Golf Ball on the Moon (a victim of extraterrestrial forces) * The Do-it-Yourself Series, including * “You Can Be a Space Cowboy * the Vampire Kit (complete with mirror, mallet and silver tipped bullets.) * and an unforgettable freezer display, “Joe the Butcher and His Calvacade of Meat.” All this plus, The Frolic Room….


Saturday, April 16th, 4:00-8:00 PM

Sunday, April 17th, 1:00-4:00 PM

Saturdays, April 23rd and April 30th, 1:00-4:00 PM, and By Appointment.

As Changing Gallery, real estate agents Malissa Kullberg and Joshua Maes use their listings, where appropriate, to showcase the art, photography and music of local, independent and emerging creative talents. Artists receive 100% of the proceeds from any sale.

Vampire Kit by Esteban Bojorquez

Check out this short Video of the Show


Creating the Perfect Santa Fe

Solemates, Acrylic on Canvas, by Mark Frossard, 2010

A great deal of ink and shutter snaps have been expended by writers and photographers in their efforts to capture the vivid allure of Santa Fe. The latest effort we ran across was “Celebrate Santa Fe” a piece published in Destinations Travel Magazine.

I’m a bit wary of outsiders’ assessments of Santa Fe, or of any city I know well.  Example: a recent Wall Street Journal piece labeling the Albuquerque area near Gertrude Zachary’s “Castle” –an area which includes the Elements Urban Townhomes, a desirable Green Development– as “Skid Row” and “derelict” is an egregious example of the distorted lens of distance.  But Darlene Perrone’s piece rings true in the main. As she says at the start, “There is no place on earth like Santa Fe….”


A little over a year ago, Zane Fischer, writer for the Santa Fe Reporter (Zane’s World), wrote a column entitled Mirror, Mirror.  In it, he said:

“On the whole, it appears the time is right for Santa Fe to head into the New Year understanding that accolades from travel magazines are nice, but clear-eyed assessments of how to move into the future are nicer. All of us need to consider the short- and long-term paths to maintaining the city’s integrity and character while positioning it as a genuine center for creative innovation.”

Accolades are nice.  We get a lot of them. But what’s more important than plaudits based on surveys and dreamy sketches by swing-through visitors is a healthy self regard.  Santa Fe isn’t perfect, but it is genuinely and deeply creative. Entities such as the Santa Fe Complex, a matrix of interdisciplinary cross-pollination, show this small town’s remarkable reach for innovative action.

On Monday, I read a piece Creating the Perfect City is About Illusions, Such As Shorter Blocks about a grassroots urban planner working to make his city more vibrant and liveable. Anthony Lyons, the planner, and David Green, an urban designer from Perkins+Will, have teamed up “to re-imagine how we address the challenges cities face in the coming decades.”  They started with the simple question, “What kind of city do we want to be?”

So how ’bout it Santa Fe: what kind of city do we want to be? Through Changing Gallery and this blog, I regularly cast my votes in support of emerging and independent artists and musicians.  Joshua Maes and I are also, through lifestyle, affiliations and advocacy, supporters of sustainability and Green initiatives. There’s a hot debate about incentives for the film industry, and bills under consideration covering education, energy, marriage and many other issues core to our civic identity. What do you think?

Polymorphic Polymediac: Artist RosS Hamlin

things i’d love to do: …play kick-the-can with the pharcyde and pooh sticks with tom waits…. –RosS Hamlin on MySpace

When I approached RosS Hamlin, musician, artist and director of Little Wing Performance Space, to ask if he was game for an interview, his response came through Facebook mobile as four vertical quadrangles. I thought it might be an artist thing. Turns out, it was and it wasn’t. RosS wrote “game” upside down which flummoxed my App. But RosS isn’t a vanity artist, posturing obscurity to emphasize originality. Thoughtful, articulate, polite and professional, RosS knows that to get all that wild-minded, perspective-changing creative brilliance before the world, you have to be functional, albeit with a flourish.

“Santa Fe’s newest and most open-minded music and art space,” Little Wing is a bonanza for emerging and independent artists and musicians.  We hear nothing but love for this place and much of that because of the man behind the shows. When I asked RosS how he attracts those who want to use the space, he said, “I don’t have a set criteria. Bands of every genre are welcome here, as are any workshops, clinics or classes that want to rent the space out. If they have the money, they can do whatever they want here,” citing just one incident where he’s turned away a potential renter and speaking with charity about a single workshop that bombed. “We’re all learning.”

We met RosS at a meeting of the After Hours Alliance, “founded in 2010 by a group of music and arts promoters under the mission of connecting the younger people of Santa Fe to meaningful and relevant after-hours events.” (I spoke about AHA in an earlier post, The Care and Feeding of Santa Fe’s Creative Class.) Hamlin’s participation in the all-volunteer organization is emblematic of his generosity. That generosity extends to his financial arrangement with acts who book Little Wing (60/40 split in favor of performers; 70/30 split in favor of gallery artists) and his efforts to make the venue accessible. Indeed, this is a guy spinning with talent –musical, visual and verbal.  He could probably keep the place booked showcasing his own work and personal picks.  But that’s not his way.

Drop in on Hamlin’s website to check out his round robin of abilities, affiliations and inspiration. In addition to arting, composing and music-making, he is also a guitar, electric bass, voice, composition, and music theory teacher through his school, Full Circle Guitar. When he claims that his approach “emphasizes full-brain creativity [and his] style is patient, detailed, innovative and most importantly, fun,” I believe him.  Hamlin’s sincerity and humility are solid and palpable.

Be sure to savor a few tracks on Hamlin’s site on Reverbnation.  I admit to a pedestrian resistant to present day Jazz, which “The Mustache who loved Me” –an engaging fusion of jazz and funk– quickly set straight. Or better yet, treat yourself to an evening’s entertainment at Little Wing Performance Space. Hamlin’s ever-evolving artistic intelligence and expansive inclusivity –a recent event united the potent forces of Meow Wolf and Red Cell’s The Process with out-of-town talent –ensure a bounty of cultural experience that is truly the wellspring of Santa Fe’s “robust art scene,” to quote the New York Times. All Hamlin asks is that you pay your pittance and pull up a chair.

Watch Joshua Maes video of our visit to Little Wing

The Care & Feeding of Santa Fe’s Creative Class

the Reciprocal Value of Supporting the Local Alt/Indie Creative Scene

Places that succeed in attracting and retaining creative class people prosper; those that fail don’t. –Richard Florida, The Rise of the Creative Class

A thriving music and nightlife scene is critical to attracting and retaining the young, brilliant, awesome people that Santa Fe needs. –After Hours Alliance

Musical Expression, Josh Gallegos

Last Wednesday, Joshua and I sat in on a meeting of the After Hours Alliance (AHA), a volunteer consortium of local music and art promoters dedicated to supporting and sustaining a vibrant, dimensional night scene for the younger set in Santa Fe. Even if you’re neither young, nor interested in the city’s nightlife, here are a few things you should know about the group. AHA supports all-ages access to night time events.  It is dedicated to promoting responsible alcohol consumption at the events it sponsors and has concrete ideas as to how to make this happen (read more on this topic at Activate or Deteriorate).

Its backbone support players are hardworking, resourceful actioneers: people like Shannon Murphy, Dan Werwath, and the folks behind High Mayhem, Meow Wolf, Little Wing, Team Everything and The Process, among others.  All are people who consistently make art and music events happen with or without time, money or a dedicated home.

This weekend, help make Santa Fe a friendly incubator of creative young talent by going where you’ve never gone before: get off the Canyon Road/Santa Fe Plaza art circuit and check out a new venue.  See the list below for alt/indie art and music options worth investigating. Good for you; good for them; good for the city.


This Friday evening, from 4-7 PM, head over to the Railyard Arts District for a double axle delight from Axle Contemporary. If you haven’t seen this marvelously creative mobile gallery, make the detour. Axle Contemporary (the shiny, tricked-out van) will showcase ongoing exhibit, Transmissions.  Axle Annex will be featuring  Sun, Flower, Seed a vehicular installation by Matthew Chase-Daniel.  Transmissions will continue to roll its way around Santa Fe through October 14th, but you have just three days to see Sun, Flower Seed.

Axle Art's Gallery on Wheels

Also on Friday the 24th, from 6-9 PM, for ONE night only, view Conglomerate Perception, at popup gallery, Symphonic Soul, located at 1012 Marquez Place, Unit #108B in Santa Fe (next to Valdez Glass.)  Show features the work of emerging and independent artists Josh Gallegos, Cotton Miller, Mike Rohner, David Hyams, Anne Kelly, Carolyn Wright and Michael Webb. Swing by for food, music and a chance to meet and mingle with artists.

Wish Santa Fe had a better music scene? Then show your support for still young performance and educational space, Little Wing, with a weekend lineup that spans a variety of tastes.

Tomorrow night, check out THE NEXT REVOLUTION Hip Hop Art/Music show presented by TNR Crew with Casuno, DJ Meshak, Galley Cat, DJ Shakedown, Perish and more TBA :::6:30-9pm :::cost TBA

And on Sunday the 26th, don’t miss Pillars & Tongues, Aaron Martin, Secret Spells presented by Red Cell’s, The Process :::8pm $5

Little Wing is located next to the CandyMan, at 851 St. Michael’s Drive. 505.983.5906.


If your musical taste runs avant garde, don’t miss Saturday’s full banquet concert at High Mayhem, 2811 Siler Lane, 505.501.3333  Get an advance-rundown on the show at The Santa Fe Reporter

** Congratulations to Axle Contemporary for today’s write up in the culture section of the New York Times.  “We’re blending the high and the low, the exclusive and the democratic, and taking those boundaries and crossing them,” says Axle’s co-founder Matthew Chase-Daniel of the old Hostess delivery truck — refashioned with track lighting, plastered walls and skylights — that serves as his gallery. Read the full article at Let It Roll: Santa Fe’s Art A Go-Go

I loved hearing the NYT refer to Santa Fe’s art scene as “robust,” referencing last year’s piece, The Art of Being Santa Fe.  There are certainly many working to make the Santa Fe art world ever more broad and vigorous.

Past as Presence: Joanne Lefrak at Box Gallery

Joanne Lefrak is lovely and charming, with a warmth and gentle spontaneity that disarms.

Given the potent mystique of the brooding artist, you might think niceness would be an occupational detriment, or at the least, irrelevant.  But if you’re in the business of brokering relationships and gathering stories, it helps to be the sort of person who invites engagement the way a puppy invites touch.

Surely that effulgent loveliness serves her work at SITE Santa Fe, where she works as education and catalogue manager and runs the Young Curator’s Program. It also enabled her to entice ghost town raconteurs to unfurl the old family stories she pairs with the delicate drawings in her show, Past as Presence, currently on display at Box Gallery.

Like any good works of art, Lefrak’s pieces unveil in layers. The fact that she scratched her drawings onto plexiglass is an immediately appreciable neat trick, especially for anyone who has ever tried NOT to scratch plexi and knows just how touchy a medium it is.  And it’s also quite cool that wall-mounting and front-lighting these scratched plexi panels reveals pallid but precise images in shadow. What follows is what you feel: the haunting resonance of powerful times past–at the Trinity Site, testing ground for atomic bombs, and in the faint, memory-bent remnants of a vigorous family life echoed in a present day ghost town.

Head down to Box Gallery, downtown in the Santa Fe Railyard, and spend a half an hour absorbing these etheric wonders.  Slip on a set of headphones, and listen to the words of the ranchers Lefrak befriended. Share the fresh, direct sense of something not there made real and present by the humble, receptivity of this gentle artist.

Exhibition runs August 27 – October 2, 2010 at Box Gallery “[one of] a dozen galleries … that the serious collector and the discerning tourist would not want to miss.” — Mimi Avins, Los Angeles Times, Travel

Box Gallery is located at 1611-A Paseo de Peralta, across from SITE Santa Fe. Open Tuesday – Saturday 10 – 5; Tel: 505.989.4897


Real estate agents Malissa Kullberg and Joshua Maes, AKA Changing Gallery, use their listings, where appropriate, to showcase the art, photography, sculpture and other creations of emerging and independent artistic and musical talents.

This Week on Santa Fe’s Creative Scene, August 20th

“I make things to find out what the ideas in my head look like in the physical world.” –David McPherson

Friday and Saturday night, from 5-9 PM, stop by 1800 Hopewell Street, at the corner of Hopewell and 2nd, to lay your eyes on the AV installation event Reflection Contraption: the brainchild of Meow Wolf member, David McPherson. If you don’t know the unique and scrappy genius of the Meow Wolf Creative Collective, you’re missing some of the freshest, most playful art in action.  Poke around their Facebook page and website for a foretaste of the group’s inventive imagination.

“It’s kind of a vintage garage sale where a bomb went off.” (from the Bobby Levin video documentary on Geodecadent)

Bobby Levin (Bobby XI) documents the elements and ideas of last year’s installation, Geodecadent, in a video worth viewing, but it’s a bit like seeing the Alvin Ailey American Dance Theater in still photos with voiceover.  Nothing can do justice to the experience of visiting a Meow Wolf piece itself.


RSVP for the David Solomon’s Works on Paper Show, or just show up on Friday, from 5-8 PM, at the Jay Etkin Gallery, located in the Artyard behind Warehouse 21: 703 Camino de la Familia, #3103. The installation featured on his Facebook page had nice rhythm. Get a feel for David’s style on his website.


Sam Haozous will be displaying his photographic work at the Open House Meet & Greet at Standing Buffalo Indian Art Gallery & Gifts on 1422 Second Street. Sam’s a down-to-earth genial guy from a renowned art family. We liked his work at the “Generations” exhibition held downtown at the Santa Fe Community Convention Center back in January of 2009 and look forward to seeing more.


From 7-8 PM on Friday, head over to Little Wing at the Candyman Strings and Things, 851 St. Michael’s, for Invitational Exhibition Opening to see the work of some of Santa Fe’s finest emerging artists as selected by the SITE Santa Fe Young Curators. Artists include Jesse Salazar, Megan Toon, Kassie Marshall, Olivia Bonfiglio and Spencer Byrne-Seres.

Activate or Deteriorate: Avoiding ‘Spectrum Syndrome’ in Santa Fe

Activationism Indoors is practiced at the New Central Nightclub in Provincetown, 1948

About six weeks ago, I found myself in a time trough between appointments, looking for shade and coffee in a part of town not known for its cafes. I stumbled upon Spectrum which won me over with its excellent coffee and commitment to community.  While doing a final fact check last week prior to giving them a plug in my blog, I called their number. Disconnected. Like some crazed EMT-wannabe doing CPR on a cold corpse, I redialed four times. Finally, I called neighboring Pizzeria Espiritu and learned from the friendly voice on the line that, in fact, the cafe had closed the day before.

I shouldn’t have been shocked.  When we spoke to Shalene Dailey, who co-owned Spectrum with her husband Nathan, we detected the ozone of exhaustion, centered on the challenge of finding professionally-minded staff.  But what heartened me was to hear Shalene frame this challenge as a big picture service to community.  She wanted her employees to learn life skills they could later apply to their own passions and to model the same for her own kids. She wanted the cafe to serve as a locus of community.


Last week, at the urging of Red Cell, we met with Dan Werwath and Shannon Murphy who were collecting info for the next MIX Santa Fe from locals-in-the-know about Santa Fe nightlife. I’m hardly one to tap on that subject, but Changing Gallery–our endeavor to support emerging and independent artists–has made occasional contributions to the downtown night scene. So we talked about common ambitions and perennial problems. If you haven’t heard, MIX Santa Fe “is a public/private collaboration that [uses] creative micro-stimulus initiatives, job resources and regular networking to [attract] new ideas, business growth and energy to Santa Fe.” That’s the short version. Visit the Mix website for the full bio on this local effort to make Santa Fe a better, more economically-friendly home for the city’s young professionals. MIX even caught the camera-eye of CNN.

Every month, MIX poses a question with a prize for the winner. May’s “Mix Pays Revenge of a Question” was, “What, besides money, do you need to launch an entrepreneurial idea or business?”  The responses pointed up both the sandpits and fairways of launching new venture, including a rant about how the city is controlled by a small cabal of status quo players with longstanding ties (here termed a “gerontocracy.”) Positive suggestions included assembling a group of taste makers to vet and bless new ventures, and providing a gathering place for entrepreneurial folk to share ideas.

Member of an old Boston Family... expresses Activationist Joy

Whatever it doesn’t have, Santa Fe has no lack of talent.  The challenge is how to interlock that talent to make it go further.  I was going to propose that the wished for groups of tastemakers and entrepreneurs make Spectrum their meeting place, and that Spectrum tap the pool of young professionals for ideas and action to create a full scale entrepreneurial “factory,” but Spectrum didn’t make it.

So what HAVE we got? Changing Gallery uses on-market real estate to showcase the work of emerging and independent artists.  Sure, I’d love a large warehouse with walls into which Jennifer Joseph could hammer her gorgeous installations, where a day cafe could make way for a nighttime performance space for indie musicians.  But what I have are listings and artwork–both of which need to be seen in order to be sold. Through intersecting needs, everyone wins.

Last month’s Mix Pays winner was Rob DeWalt, who suggested “extending the Santa Fe Trails bus service to 3 a.m. on limited routes on the weekends for a 3-month trial period…. “In order for it to work, though, people will have to put their money where their mouth is and actually use this new public transportation option during the trial period.” (italics mine) “We’d like to try to put Rob’s idea in motion but we need your feedback…,” said Mix. “What would it take to get you and your friends to ride it? What routes would be most important? Leave it in the comments or show up at the next MIX event (every third Thursday) to tell us in person.”

As of this writing, there wasn’t a comment in the box.  This is what I’m calling “The Spectrum Syndrome”: the passive belief that somebody will give feedback; somebody will set up the program; that if it’s a good idea, it’ll happen. I know I’m guilty of this; Spectrum’s my witness. Are you?  Here’s hoping that those whom the talented creatives behind Mix are seeking to serve will offer what they can easily spare–opinions and support for a good idea–lest the fine potential that is Santa Fe Mix become just another case of Spectrum Syndrome.

**Answer August’s $200 MixPays Survey on the issue of public transportation in Santa Fe and earn a ticket toward a free drink and a chance to win $200 if your answer smokes the competition.

This Week on Santa Fe’s Creative Scene–8/13/10

I’m the luckiest kid, I get to do what I love to do everyday. – Phillip

Phillip’s been counting: Ten days, four days and now one. On Saturday, August 14th, Phillip Vigil will have the Opening at Shiprock Santa Fe that he, and we, have been looking forward to since he was invited to join the gallery last October. We met once emerging artist Phillip in the Spring of ’09, when he reached out to us (and a thousand others) via Facebook.  We gave him space in several of the Changing Gallery group shows, (described in the posts Sights and Sounds and See and Be Scene) because we were impressed by his knowledge of art history, his huge curiosity and his hunger to grow. We also got to know his generosity of heart–a generosity in evidence when he suggested I use a piece by Matthew Chase-Daniel as the visual for the blogpost. “Matthew Chase-Daniel is Amazing!” he wrote. And a few minutes later, “Use the profile photo!”

Matthew Chase-Daniel’s photo-assemblage portraits “[draw] on the traditions of photography, painting and cinematography to capture the dynamic activity [of seeing.]”

“I do not photograph only one moment in time, but rather a group of moments, selecting the most essential details of a place.”

In the photo to the left, he effectively captures a fleeting bit of Phillip: the focus, the intensity, the polygamy of culture, color, medium and technique. We know who and what we know in the aggregate of our acquaintance, as a moving point of moments, experiences, pictures. As artists do, Chase-Daniel helps us to see what we fail to notice.

Shiprock Gallery is located on the Plaza, at 53 Old Santa Fe Trail, 2nd floor,  in downtown Santa Fe, New Mexico. Tel: 982.8478 The opening for Phillip’s Exhibition will run from 6:00-8:30, Saturday, August 14th.

Malissa Kullberg and Joshua Maes, AKA Changing Gallery, use their real estate listings, where appropriate, to showcase the work of emerging and independent artists. Check out our website at

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