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May 13, 2014
Gloria Graham: A Certain Slant of Light
Gloria Graham: A Certain Slant of Light<BR>
New Mexico Mercury
May 12, 2014
William Petersen

“There’s a certain slant of light,” Emily Dickenson wrote, which can strongly affect us, stealing into consciousness “on winter afternoons” in particular. When we are struck by it, she continues:

           Heavenly hurt it gives us,
           We can find no scar
           But internal difference
           Where the meanings are.

It’s an odd sensation of separateness and earthly abandonment, delivered by an apprehension of light. Dickenson says it is beyond our capacity for learning or instruction and sealed with “despair.” She calls it “an imperial affliction / Sent us of the air.”

           When it comes the landscape listens,
           Shadows hold their breath,
           When it goes ’tis like the distance
           On the look of death.

I thought of Dickenson’s intuition, an intimation of mortality drawn from an experience of light, while looking at Gloria Graham’s recent photographic works. Dickenson felt oppressed by the angled light, saying it was “like the weight of cathedral tunes.” But Graham discovers in such slanting light something more akin to “the unbearable lightness of being.”

One photograph in particular sets the mood and serves as a reference point. A piece of paper has been folded and set down in the raking light, casting a long rectangular shadow across the image. Near the fold, and just inside the shadow, we can make out some (upside down) handwriting on the paper: The Passage of Time.

Apparently Graham has been photographing some of her old drawings, crumpled and torn, just before she ultimately destroys them, burning them in a kind of private studio ritual of purging the past. According to a gallery statement, she photographed the drawings outdoors at 3:00 pm in the brilliant afternoon sunlight of New Mexico. This anecdotal information, however, isn’t really necessary to respond to the haunting beauty of these images or to be intrigued by the mystery of their content. But it sheds light on them and gives them a certain slant. We recognize that the photographs contain a memorial purpose, and that they are a record of transience.

They are digital photographs, printed with pigmented ink on paper that is then stretched onto 12-inch square boards. So they are like memorial plaques or trophies, mounted on the wall. Going outdoors to photograph, Graham places a discarded drawing on a bright white sheet in the intense sunlight, where it casts a strange and irregular shadow. The light bleaches away any sense of ground, and both the crumpled drawing and its luminous shadow appear to float against the dematerializing whiteness. The shadow rakes in the slanting light, spreading in often unpredictable counterpoint to the crimped drawing paper and creating unexpected shapes, especially if any part of the drawing has been folded or torn>

In the camera’s interpretation, the shadows also take on a breathtaking range of subtle colors and tones. They become like thinly brushed washes of color, suffused with an internal light of their own. Instead of indicating light’s absence, the shadows seem to transmit light. They can even appear to be delicately translucent, like a memory of the celluloid that had once been the basis of photography. (Remember all of those 35 mm. slides and their projection, which once mediated our experience of art as thoroughly as the internet and our monitoring screens do nowadays?)

Because they record a moment of actuality, of course, all photographs serve a memorial function. But memory is also a purpose of drawing; and the drawings that Graham photographs are crude and rudimentary “aides memoir,” jotted down as ideas came and went. However, since the drawings were made as plans for future projects that she was considering, the drawings actually looked forward in time. Looking closely, we can see a blocky sketch of a table with its legs roughed in; and in another drawing, a loopy scrawl that she calls a “cloud.” We see a cartoony wind-up key (A skate key? Or a can opener?). In several drawings there is an outlined box that she refers to as a “pencil box.”

But if a photograph is a means of holding onto an aspect of the past, of retaining a memory of what is slipping away, there’s also a poignant element of loss in these photographs and in the damaged drawings they hold, which are about to be disposed of and lost forever. The drawings feel all the more fleeting as the white light eats away at their edges. In the light’s glare, the drawing paper is transformed into a semitransparent and ghostly substance, like the shed skin of a cicada. And if, like the shell of a cicada, the photograph is the exact counterpart of the original, the drawings seem equally comparable to a shed cicada shell—having served their function, they’ve been discarded. Arrested before our eyes, they are abandoned ruins.

One of the proposed projects that Graham drew on these discarded pages evidently involved matches, since outline sketches of matchsticks occur frequently among these images. In one case, the drawn matches coincide with tiny burn spots, where actual matches were apparently dropped onto the original paper and left little scorch marks as their flames extinguished.

There’s also a pair of matches in a photograph of the cool blue shadow of Graham’s hand, which hovers over a simple line drawing of a box. In the center of the drawing is the smudge of a scorch mark and two (actual) unlit matches rest atop it, meeting at the point where the middle fingers join the palm in the hand’s shadow. Immediately the sensation of pain is invoked. It seems that somebody is about to get burned. We might think of a child playing dangerously with matches—or perhaps of Kirk Douglas’s fiercely melodramatic Vincent van Gogh, holding his hand over a candle flame to prove his desperate need of love and his imperviousness to the cost of his determined devotion. In any case, we cannot fail to respond to that conjunction of a hand and the potential of fire. (And does it matter that the two matches that it will take to make a flame are boxed in and about to flare at the point of the ring finger? Is a marital conflagration implied?) With such simple economy of means, Graham produces extravagant visual poetry.

A memory of fire—as an ethereal smoky residue—was a longtime feature of Graham’s ceramic art. In the 1970s and 1980s Graham was one of the premier ceramic artists of New Mexico. Along with their grace and refinement, her ceramic pots and other clay forms often featured blackened, charcoal-like smudges where bits of copper wire or small metal plates had been affixed to the clay surfaces and were vaporized in the fiery heat of the kiln, leaving only a ghostlike burn mark in their place. These darkened discolorations were a reminder of the object’s subjection to fire in the kiln. But they also enhanced the archeological character of her ceramics, lending them a quality of having survived the damage of time, as if they had come down to us from some distant culture of the past. Was it a culture that perished under the torch of an invader, or was it scorched and buried by a volcanic eruption? The origins of Graham’s ceramic objects seemed, in any case, obscure and inconceivably remote. But they provoked a profound meditation on the nature of time and endurance, which continues in her recent photographic works.

During the years when she was working at ceramics, from the late 1960s through the 1980s, Gloria and her husband Allan Graham lived in an old motel complex on North Fourth Street, which dated back to the days when Route 66 doglegged up in that direction. They transformed the old adobe units of the motor court into a series of living spaces, studios, and exhibition spaces, and rented out some of these to other artists. They also ran the Motel Gallery in one of the units. It was there, in the early 1970s, that I first saw the work of Terry Conway, Richard Hogan, Dick and Bill Masterson, and Bruce Lowney—artists who became leading figures on the contemporary art scene of New Mexico.

Ducks and beautiful guinea hens wandered the premises and a koi pond with its serenely jewel-like fish graced one courtyard. At some point, Allan and their son Jess dug a kiva for meditation and retreat on the property. As the local toads also found it a convenient place to chill out, the kiva came to be called the Toadhouse. Allan would later take the name Toadhouse for a certain aspect of his art, somewhat in the spirit of the ancient Chinese poets, like Han Shan or Cold Mountain, or in the manner of Duchamp’s Rrose Selavy.

Poetry, art, and music had the run of the place. I remember that it was there that I first heard a recording of Einstein on the Beach, long before Koyaniska’atsi, and before very many people in New Mexico had even heard of Philip Glass. The Grahams continued to push artistic boundaries in their art. They went on to become significant players on the international art scene, with Count Guiseppi Panza and Emily Fischer Landau among their devoted collectors. They also moved from the Albuquerque motel complex to a remote area of Northern New Mexico, reached only by a boulder-strewn dirt road. But they would continue to maintain ties to Santa Fe, both having been featured at SITE, and showing over the years with Linda Durham, and then James Kelly, and now with the David Richard Gallery.

Many years ago, in an attempt to address the mysterious effect of time in Graham’s ceramic works, I called on the words of the great art historian, George Kubler (1912 – 1996), found in his masterpiece, The Shape of Time. It was a question of the difficult existential realization of one’s entrapment in time, a feeling of isolation that Dickenson caught to her dismay in the slant of light—a “heavenly hurt” that left “no scar / but internal difference / where the meanings are.” “Why should actuality forever escape our grasp?” Kubler asked:

           “The moment of actuality slips too fast by the slow, coarse net of our senses. The
           galaxy whose light I see now may have ceased to exist millennia ago, and by the
           same token men cannot fully sense any event until after it has happened, until it is
           history, until it is the dust and ash of that cosmic storm which we call the present, and
           which perpetually rages throughout creation.”


Kubler was a Yale scholar who published his dissertation on The Religious Architecture of New Mexico in 1940 and went on to become not only a leading historian of Spanish Colonial art and architecture, but also one of the first great scholars of Pre-Columbian art. It was within his study of early Native American civilizations, where there was no written language to serve as a guide, that Kubler grappled with the problem of time in human affairs and developed his theories about tracing its patterns. He discovered the “shape of time” in the transformation of art forms from generation to generation and in the borrowings between neighboring cultural traditions as objects were traded, copied, and modified during their dissemination.

In describing this process of change, Kubler’s words feel particularly relevant to the way that Graham’s photographs of her fated drawings can carry meaning for us:

“Now and in the past, most of the time the majority of people live by borrowed ideas and upon traditional accumulations, yet at every moment the fabric is being undone and a new one is woven to replace the old, while from time to time the whole pattern shakes and quivers, settling into new shapes and figures. These processes of change are all mysterious uncharted regions where the traveler soon loses directions and stumbles into darkness. The clues to guide us are very few indeed: perhaps the jottings and sketches of architects and artists, put down in the heat of imagining a form, or the manuscript brouillons [scratchpads] of poets and musicians, crisscrossed with erasures and corrections, are the hazy coastlines of this dark continent of the ‘now,’ where the impress of the future is received by the past.”

Gloria Graham’s photographs are currently on view through May 24 at the David Richard Gallery in Santa Fe’s Railyard District. A sampling of the artwork can also be found on the gallery’s website at www.davidrichardgallery.com. Another source with an in-depth look at Graham’s work in a variety of media is her studio website: www.gloriagraham.info.

Source Link:    More information

Associated Artists

*  Gloria Graham

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Associated Exhibitions

*  GLORIA GRAHAM
April 18 - May 24 2014
MORE INFO

 

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November 15, 2013
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Richard Anuszkiewicz featrured in the exhibition "Optic Nerve" at the Tacoma Art Museum.
October 18, 2013
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Does Art Matter?
October 16, 2013
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Toadhouse aka Allan Graham aka Skip
October 15, 2013
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Decipher with Difficulty: Toadhouse (aka. Allan Graham) at David Richard Gallery
October 08, 2013
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Ted Larsen
NMPBS
Colores
September 23, 2013
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Celebrated Detroit Artist Beverly Fishman Opens Her Exhibition at the Broad MSU
September 18, 2013
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ArtPrize 2013 Exhibition Center review: Meijer Gardens focuses on use of glass in contemporary art
Michigan Live
Joseph Becherer
September 18, 2013
September 15, 2013
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OPENING: Michigan sculpture park exhibits the diversity of contemporary glass art
Glass Quarterly
Paulina Switniewska
September 2013
September 14, 2013
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Strange sightings: Works by Allan & Gloria Graham
Pasatiempo
Michael Abatemarco
September 13, 2013
September 12, 2013
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Casting a spell - Artist, poet Allan Graham uses words, wordplay as a visual language
Albuquerque Journal
Kate McGraw
September 13, 2013
September 12, 2013
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Lightspeed: Trygve Faste at Ruth Bachofner Gallery
NY ARTS
Beth Russell
September 12, 2013
September 12, 2013
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Shattered: Contemporary Sculpture in Glass is ArtPrize at Meijer Gardens
September 12, 2013
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The Circle of Time
August 26, 2013
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New Betty Gold Sculpture to be Installed on Campus
Mary Baldwin College
August 26, 2013
Liesel Crosier
August 23, 2013
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IS TED LARSEN THE LOVE CHILD OF CONSTRUCTIVISM AND MAX ERNST?
THE Magazine
August 23, 2013
June 24, 2013
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TOP 10 ART AND ARCHITECTURE SIGHTS IN SANTA FE, NEW MEXICO
The Guardian
June, 24, 2013
June 18, 2013
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CAROL BROWN GOLDBERG, PHILLIS IDEAL, and TOM MATINELLI EXHIBITION
Huffington Post
June 17, 2013
Peter Frank
June 01, 2013
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June 2013: Salvatore Emblema @ The Italian Cultural Institute, Los Angeles
Whitehot Magazine
June 2013
Megan Abrahams

May 24, 2013
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MATTHEW KLUBER
Film Society Lincoln Center
May 2013
May 01, 2013
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PHILLIS IDEAL
THE Magazine
May 2013
Lauren Tresp
April 30, 2013
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JULIAN STANCZAK
COLOR WONDER
Cleveland Magazine
May 2013
April 14, 2013
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COLOR VISIONS: THE SANFORD WURMFELD EXPERIENCE
Hyperallergic
April 14, 2013
John Yau
April 10, 2013
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The Bay Lights, Leo Villareal’s monumental LED sculpture
MutualArt.com
April 10, 2013
April 08, 2013
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AKRON ART MUSEUM
Line Color Illusion: 40 Years of Julian Stanczak
Apr 13, 2013 - Nov 3, 2013
April 06, 2013
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CAROL BROWN GOLDBERG
Visual Art Source
April 6, 2013
Iris McLister
April 01, 2013
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THE HARD-EDGE SIGN
Art In America
April 2013
Stephen Westfall
March 11, 2013
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JUNE WAYNE: THE TAPESTRIES — FORCES OF NATURE AND BEYOND
Pasatiempo
Michael Abatemarco
March 11, 2013
March 01, 2013
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WOMEN'S HISTORY MONTH ARTISTS: CELEBRATING WHM WITH JUDY CHICAGO AS THE KING OF HEARTS
Huffington Post
March 1, 2013
February 28, 2013
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DAVID RICHARD GALLERY HAPPENINGS
February 16, 2013
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DAVID RICHARD GALLERY NEWSLETTER
Newsletter Vol. 4, No. 2
February, 2013
February 16, 2013
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JUDY CHICAGO
Woven and Stitched
February 15 – March 23, 2013

Gallery Lectures and Discussions on Tapestries and Textiles:
Saturday, February 23, 2:00—4:00pm
February 15, 2013
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UNDER THE INFLUENCE: INTERVIEW WITH RICHARD ROTH
Huffington Post
Ridley Howard
February 15, 2013
January 25, 2013
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MICHAEL SCHULTHEIS painting on cover of Luxe Magazine
LUXE Magazine
January 2013
January 18, 2013
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Curiosity Is Key Interview with Toots Zynsky by Jessica Shaykett

Toots Zynsky is a creative force: Over the past 40 years, she has exhibited in museums and galleries the world over, helped establish the Pilchuck Glass School, lived on several continents, raised a family, and invented an entirely new method of forming glass.
January 16, 2013
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DAVID RICHARD GALLERY NEWSLETTER
Newsletter Vol. 4, No. 1
January, 2013
January 16, 2013
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ERIC ZAMMITT
Visual Art Source
January 2013
Iris McLister
January 01, 2013
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Susan Woodruff
Making the World
Huffington Post
2013
Shana Nys Damboryt
January 01, 2013
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Suzan Woodruff - Echo Maker
Huffington Post
2013
Anthony Miller
December 18, 2012
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NEW AMERICAN PAINTINGS #103
November 30, 2012
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FRED EVERSLEY at David Richard Gallery
ARTnews
December 2012
Ann Landi
October 16, 2012
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THE MARKET'S HOTTEST ARTISTS
Bloomberg.com
October 16, 2012
Ben Steverman
October 15, 2012
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BEVERLY FISHMAN NONFUNCTIONAL FRAGILITY
September 29, 2012
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THE DAVID RICHARD GALLERY EXHIBITS BILLY AL BENGSTON
Art Media Agency
September 29, 2012
September 26, 2012
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FOURTH FRIDAYS FOR FRIENDS
September 01, 2012
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DEBORAH REMINGTON / JUDY CHICAGO
Huffington Post
Peter Frank
September 1, 2012
August 31, 2012
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DIA GETS DOSE OF BIG PHARMA
Huffpost Detroit
John Corso
August 31, 2012
August 30, 2012
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PUSSYRIOT: WOMEN STILL A POTENT FORCE, SAYS FEMINIST ART FOUNDER JUDY CHICAGO
International Business Times
Gianluca Mezzofiore
August 30, 2012
August 20, 2012
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A SERIES OF JUDY CHICAGO EXHIBITIONS AND EVENTS IN THE UK FOR THE FIRST TIME SINCE 1985
ArtDaily.org
August 20, 2012

August 08, 2012
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DEBORAH REMINGTON: SELECTED WORKS FROM 1964 to 1975
Pasatiempo
Michael Abatemarco
July 20, 2012
August 08, 2012
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Judy Chicago: Reviewing Powerplay

ArtInfo.com
August 8, 2012
August 01, 2012
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JUDY CHICAGO: REVIEWING POWERPLAY
THE Magazine
Susan Wilder
August 1, 2012
July 12, 2012
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Interrogating Heroic-Ness – and Judy Chicago’s Cultural Powers
Adobe Airstream
July 12, 2012
Ellen Berkovitch
June 30, 2012
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A TAOS MODERNIST EXHIBITION CELEBRATES BEATRICE MANDELMAN, FOUNDER OF THE TAOS VALLEY ART SCHOOL
Albuquerque Journal/Journal Santa Fe/Journal North
Kathleen Roberts
June 29,2012
May 31, 2012
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Pod Cast
May 18, 2012
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FIVE FROM FIVE "A SAMPLING OF PAINTING IN NEW YORK CITY
dArt Internatioanl
John Mendelsohn
Summer 2012
May 14, 2012
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ROBERT SWAIN "COLOR AFFECT" AT DAVID RICHARD GALLERY
Eyes In
May 14, 2012

May 10, 2012
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TOM HOLLAND: “PAINTINGS PAST AND PRESENT” AT DAVID RICHARD CONTEMPORARY
Art LTD
Michael Abatemarco
May 2012

May 04, 2012
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“A PAINTING SURVEY”, MICHAEL WRIGHT AT THE DAVID RICHARD CONTEMPORARY
Art Media Agency
May 4, 2012

May 01, 2012
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An Interview with Artist Julian Stanczak
GeoForm
May 2012
Julie Karabenick
May 01, 2012
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An Interview with Artist Julian Stanczak
GeoForm
May 2012
Julie Karabenick
April 23, 2012
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DANIELLE SHELLEY AT DAVID RICHARD CONTEMPORARY
Art Media Agency
April 23, 2012

March 30, 2012
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DAVID RICHARD TO MOVE TO SANTA FE RAILYARD
Adobe Airstream
March 30, 2012

March 03, 2012
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THE CROCKER ART MUSEUM OPENS A SURVEY OF GROUNDBREAKING ARTIST JUDY CHICAGO
Art Knowledge News
March 3, 2012

February 29, 2012
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WARD JACKSON
Huffington Post
Peter Frank
February 29, 2012

February 26, 2012
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DAVID RICHARD CONTEMPORARY - PALM SPRINGS FINE ART FAIR - 2012
Argot & Ochre
February 26, 2012

February 24, 2012
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30 ARTISTS TO WATCH IN 2012
NYArts Magazine
February 24, 2012

February 23, 2012
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THE INAUGURAL PALM SPRINGS FINE ART FAIR FEATURES MORE THAN 2,000 POST-WAR & CONTEMPORARY WORKS
Art Knowledge News
February 15, 2012

January 25, 2012
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DAVID SOLOMON AT DAVID RICHARD CONTEMPORARY
Art In America
February 2012
Jan Ernst Adlmann

January 06, 2012
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SANTA FE GALLERY PLANS MANDELMAN EXHIBITION
The Taos News
December 29, 2011

January 05, 2012
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TOM HOLLAND AT SANCHEZ ART CENTER

January 03, 2012
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Beverly Fishman
DECEPTIVE PLEASURES
by Donald Kuspit on ArtNet

December 30, 2011
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HOLLAND'S WORK WILL BE PRESENTED BY DAVID RICHARD CONTEMPORARY FROM SANTA FE, NM

December 24, 2011
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ART LTD REVIEW OF DAVID SOLOMON AT DAVID RICHARD CONTEMPORARY
Art LTD
Jon Carver
December 24, 2011

December 17, 2011
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BAY AREA ABSTRACTION: 1945 - 1965
Visual Art Source
December 17, 2011

December 17, 2011
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THE BAY WINDOW - SAN FRANCISCO'S INFLUENCE CAN BE SEEN THROUGH ARTISTS' WORKS
Albuquerque Journal / Journal Santa Fe / Journal North
Harmony Hammond
December 16, 2011

December 13, 2011
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DON MORRIS: THE ART OF DECONSTRUCTION
Artweek.LA
December 21, 2011

December 13, 2011
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JULIAN STANCZAK: GREAT COLORIST OF THE 20TH CENTURY
Cleveland Institute of Art
December 13, 2011

December 12, 2011
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JUDY CHICAGO TO RECEIVE THE PALM SPRINGS FINE ART FAIR'S LIFETIME ACHIEVEMENT AWARD
Visual Art Source
December 12, 2011

December 12, 2011
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DEMYSTIFYING PROCESS
Studio Spoken
December 12, 2011

November 30, 2011
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BAY AREA ABSTRACTION 1945 - 1965
THE Magazine
November 30, 2011

November 25, 2011
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DAVID SOLOMON AT DAVID RICHARD CONTEMPORARY
New Mexican's Pasatiempo
Michael Abatemarco
November 25, 2011

November 11, 2011
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'BAY AREA ABSTRACTION: 1945-1965' AT DAVID RICHARD CONTEMPORARY'
Antiques and The Arts Weekly
November 11, 2011

November 06, 2011
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Cleveland Institute of Art touts its own history in shows on Robert Mangold, Julian Stanczak and Ed Mieczkowski
Cleveland.com
November 6, 2011
Steven Litt
October 30, 2011
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Q&A: JUDY CHICAGO
Los Angeles Times
Jori Finkel
October 30, 2011

October 26, 2011
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JUDY CHICAGO'S UPCOMING DISAPPEARING ENVIRONMENTS: HOW DO YOU MAKE ART OUT OF GIGANTIC PYRAMIDS OF DRY ICE? LA Weekly
October 26, 2011

October 06, 2011
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ART PLATFORM L.A.
ArtNet
October 6, 2011

September 26, 2011
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MICHAEL COOK: VENETIAN
THE Magazine
Diane Armitage
October 2011

September 23, 2011
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JUDY CHICAGO: WHAT I LEARNED FROM MALE CHAUVINISTS
LA Weekly
September 23, 2011

September 21, 2011
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CLEVELAND MUSEUM OF ART OPTICAL ART EXHIBIT A TEST FOR THE EYES
WEWS
September 21, 2011

September 18, 2011
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Charles Hinman exhibition at The Butler Institute of American Art
August 27, 2011
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MICHAEL COOK
Visual Art Source
August 27, 2011
August 16, 2011
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PILL SPILL OFFERS LATE-SUMMER THRILL AT TMA
Toledo Free Press
August 16, 2011

August 11, 2011
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WTVG-TV'S INTERVIEW WITH AMY GILMAN ABOUT PILL SPILL
WTVG-TV
August 11, 2011

August 09, 2011
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JOURNEY IN A LIFE BOAT
Santa Fe Reporter
August 09, 2011

July 15, 2011
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CALIFORNIA STATE OF MIND
Albuquerque Journal / Journal North
July 15, 2011

July 06, 2011
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ARTISTS OF THE MONTH: PHILIP BALDWIN AND MONICA GUGGISBERG
Art Alliance for Contemporary Glass
July 2011

June 30, 2011
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TOOTS ZYNSKY ON COVER OF GLASS ART MAGAZINE
Glass Art
July/August 2011

June 20, 2011
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JUDY CHICAGO

June 17, 2011
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WOMAN'S HOUR - JUDY CHICAGO
BBC Radio
June 17, 2011

March 11, 2011
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A.K.A. ZEN
Visual Art Source
March 3, 2011

March 10, 2011
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OVERGROWN ZEN GARDEN
Santa Fe Reporter
March 10, 2011

February 28, 2011
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JEAN WELLS "RE-POP"
Glass
Spring 2011

December 23, 2010
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PAINT BY THE NUMBERS
Santa Fe Reporter
December 23, 2010

November 05, 2010
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ART REVIEW: 1960S REVISITED (IN SANTA FE)
Adobe Airstream
November 5, 2010

November 01, 2010
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The New Criterion review of "Julian Stanczak: Color - Grid"
Gallery Chronicle
James Panero
Published November 2010
July 01, 2010
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THE ART OF GLASS: TRANSCENDING FROM CRAFT TO ART
Uploaded Magazine
July 01, 2010

June 28, 2010
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FAIR CITY - SANTA FE GEARS UP FOR SUMMER
Art & Antiques
July 2010

June 28, 2010
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TRADITION AND TRANSGRESSION - IN SANTA FE, CONTEMPORARY ART MOVES FORWARD IN CONVERSATION WITH THE PAST.
Art & Antiques
June 2010

June 14, 2010
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FORMER OPERA THEATRE OF ST. LOUIS DIRECTOR OPENS ART GALLERY IN SANTA FE
STL Today
June 14, 2010

June 13, 2010
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SANTA FE TURNS 400
Art In America
June/July 2010

June 12, 2010
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PAUL HENRY RAMIREZ - PRESS RELEASE

June 12, 2010
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BEVERLY FISHMAN "FUTURE NATURAL"

May 19, 2010
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SOFA WEST: SANTA FE 2010

February 01, 2010
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Terri Roland
Art In America
February 2010
Harmony Hammond
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David Richard Gallery, LLC | 1570 Pacheco Street, A1, Santa Fe, NM 87505 | p (505) 983-9555 | f (505) 983-1284


10:00 a.m. - 5:00 p.m. Tuesday - Saturday, or by appointment


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