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June 19, 2014
An Interview with Ted Larsen
An Interview with Ted Larsen<BR>
Opednews.com
June 19, 2014
Hiroyuki Hamada


I first became familiar with Ted Larsen's work through art fairs. I am not a big fan of art fairs for many reasons, which I won't get into here, but I have been to some of them. Ted's works at the fairs were not big flashy pieces; they were modestly sized and rather quiet. But they all had very solid presences to stop me and to make me want to ask about the artist. And I had asked about Ted Larsen not once but probably at least three times at different fairs before I solidly registered his name in my head to make me go "oh that's the artist I like" when I see the work. That might sound like I have no brain to memorize or his works are so unmemorable. Of course that is not my intention. The point I'm making is that it is close to impossible for me to come out remembering names or the works by particular people from going through numbers of art fairs that include thousands of art works in less-than-ideal viewing conditions. After a while, many works get categorized and generalized into certain types with generally unflattering connotations in my head. But good works by good artists do stand out repeatedly even if they are rather rare. Ted's work was one of those. The work projects a recognizable atmosphere with its very efficient, smooth and potent visual narratives. Most of them are very brief, economical and most of all very effective.

I became his facebook friend. And I have been fascinated by his process and the works, which are more complex, more diverse in varieties and larger both in the presence and the size than the ones I saw at the fairs. My interest in his work has been growing.

He's agreed to be interviewed here and I am very happy.

Hiroyuki Hamada: So, Ted, how do you define "art" in a few sentences?

Ted Larsen: Limiting my response to what defines art feels like limitations on the definition of art and let me say, I abhor anything which limits art. So let me back up before I begin.

I don't like art fairs either. I understand they have become a necessary venue for dealers, but the art fair itself poses considerable problems to the viewer. To discover the truth in a work of art one must slow down. Before I describe what art may be, let me say that it is often not found by going quickly, in loud environments, and with many people around. Potentially art might exist in other situations, like noisy, fast, crowded circumstances, but art fairs frequently do something else to art; they degrade it. For me the basic problem with art fairs is that they are designed to be fast. The best gallery spaces on the other hand are created to be slow. These are interesting problems for which dealers have to contend; artists don't have to do this work. They have their own work to accomplish. Because most of the artists I know work by themselves and at a slow pace, the work they make must likewise be taken in slowly. (As a caveat, it is possible to become proficient at viewing artwork at art fairs, it would just take time to develop that skill for that environment. Personally, I don't have the time on hand to develop that skill.)

This brings up a second and important other situation for art. The best galleries know how to "own" their spaces. Because they work in them everyday, they have a certain knowledge of how the space works with art. Art fairs don't generally allow for this kind of working relationship.

More importantly, a well developed and mature artist knows how important it is for them to own their "space." What I mean is this type of artist understands how important it is to be informed by their own work. The work becomes the artist's master, giving them directions, requirements, and the terrain it must inhabit. The artist must become a scholar of their work. I am talking about the architecture of the work: its underpinnings, its foundation. This is the conceptual element which must be developed before work can be created successfully. The best art is created with a deep understanding of what it is attempting to accomplish. This gets to the first part of the conversation, what is art?

I believe "art" is something which exits between the viewer and the artwork. It is enigmatic. The artist brings to the work all of their background and life while likewise, the viewer brings their own life and history. Each element in this dance may not know about the other. The commonality is the artwork, which the viewer interprets through their own personal understanding. The more narrowly the artist chooses to focus their work, the more didactic it may become. The opposite holds true as well. By this I mean, if the artist works in a very open-ended and broad fashion, it leaves more room for interpretation. Issues around craftsmanship, skill, narration, form, media, style, genre, theory, and purpose are all focusing lenses. They may or may not add to the interpretation of the artwork. The condition of the viewer may add every bit as much as these lenses do. Great art exists in a timeless way, it lives beyond any one particular condition or state. It speaks to the individual as much as it does to the universal. It is alive and always open to interpretation.

HH: I like your description which brings the art in between the viewer and the art object itself and the addition of the word "enigmatic". I very much agree. And obviously the width and the depth of the description imply the complexly of art and in turn the enormous complexity of the making process.

In one of your previous interviews you talked about setting limits in your making process in order to work more intuitively. Initially, I found it odd to limit the process but I quickly realized that we all put limits by having our own styles, approaches, materials, fields, numbers of components we work with and etc. I found it very instructive that you are conscious about this adjustment process in order to be productive while allowing yourself to grow as an artist. Are there any other things you have in mind to facilitate the complicated process of making?

TL: In the interview with Lynette Haggard (2010) I talked about some strategies of my creative process. I sometimes employ a rules based system in which I create games. These are ways of working. Working as an effect on the worker. While I cannot predict the effect on other people, I wonder what the effect of working will be one me. So I create rules based games for making work. I am interested in what I will discover about my nature in this process. I often work with serialize form and repetitive elements, compounding them to create new, unpredicted outcomes. Working this way means I wind up doing a lot of repetitive work. I create rules for this work to see how doing the work will effect me. Some of the rules might involve long periods of time while others involve significant amounts of unvarying procedures.

An example of working over a period of time was the development of the Serial Killer Project (2012). I created an object which I knew precisely how long each one would take to build. It was a serialized form: a ziggurat-shaped, horizontally-stepped structure. Taking this form as a base unit, I decided I would make multiples of this form. It was a highly repetitive process in which making the 27 total pieces took almost 7 months, one each 5 day week (I took the weekends off!). It was kind of like being a factory worker. It was a very blue-collar kind of process where everyday, at the same time each day I would be doing the same thing as other days. I thought it would drive me nuts and at points it nearly did! However, along the way, with the decision making component removed from the work, it became quite meditative and peaceful. It was a confrontation of my nature to play this particular game.

Lately I have been thinking about architecture and real-estate. The ideas, theories, and constructs which the artist builds the artwork upon are critical; think of this as the architecture. Critically they form what will evolve in every step in making the work. This is the content issue. But there is something even below the the architecture: the real-estate. While artists are concerned with creating new architecture, I don't believe enough of them consider the terrain where it exists. It is my belief that artists need to find a way to "own" the entire place where their work resides. This is the context issue. Where the work is seen can alter how the work is seen and what is understood about the work. It can also inform the architecture of the work. They work hand in hand. If we separate them, they feel foreign from one another. There is heavy coding and semiotics in this way of thinking.

HH: That's really eye opening that you put 9-5 schedule in the making process. I thought I became an artist so that I didn't have to do that. Ha ha. I'd be killed many times in the repetitive process. Pretty funny title. I like how playful and free you are. Also, I understand that repetition can sometimes get us into an intuitive mode. It can be a gateway to the unknown as we see it used in religious rituals or music. It allows us to be connected to the selected parts while allowing us to be very sensitive to the special dynamics among the components we work with. Are there any other things you do to stay in that mode?

Also, I hear you about the context. Some artists end up having their own spaces to show to make sure the context is right--Noguchi comes to my mind. Do you have any particular ideas in how to ensure that the work has the right context?

TL: The strange thing about being an artist for me is how it mixes the blue-collar-construction-type-of-worker with the poet/philosopher. I really resonate with how Carl Andre described his status as worker-artist. Most of the artist practices (if you don't mind my calling it that) I admire are fairly labor-intensive, even if they don't appear to have much labor involved in the work. I also like that we call it "work." The 9-5 workday that I developed for the Serial Killer Project was made to reinforce the "work" aspect of making "work." Otherwise and generally I don't really follow that regime!

I find that I am best able to make critical, creative decisions for about 4 hours a day. I have also found I am at my best in the morning. I generally get into the studio sometime near 8am, but I work through the afternoon. Lucky for me, a good bit of my work is labor intensive and doesn't require my full creative attention. There is always wood which needs milling; steel which needs processing; or cleaning the space for a safe environment to work. I make most of the important considerations in the morning while I am fresh and leave the hard labor, (milling, welding, grinding, sanding, processing materials) for the afternoon. Finding that first step into the work can be a slow process. It also takes me many weeks and sometimes months to fully understand the work. I have to live with it in the studio long enough for me to be impartial to it in order to successfully evaluate the work.

"Painting is the practice of applying paint, pigment, or other medium to a surface (support structure)-Wikipedia Quote.

What if the paint/other medium applied is already made (as is normal for 95% or more for most artists). Yesterday I spent time getting my painting materials. 5 hours with a sawzall got me the hood from an early 1980"s school bus, the hood from a 1970"s Ford F-150 Pickup truck, and the tops from two Chevy 70"s Custom 10 pickups. This seems like it is significantly more difficult than going to the store!"

Over my almost 28 years of being an artist I have discovered many things about myself. Some of my insights I accept and some of them I push back against. I don't really try to stay in any particular "mode" as you put it. Maybe I am just always in that mode (which can be problematic!!!) I guess one thing I definitely do is not to overwork. Doing that just makes the whole of my decision-making process muddled and slow. In the middle of the day, I take the dog for a walk. In the early morning during the summer and early fall I often go for long mountain bike rides outside of town. If I don't get out for early AM rides I take one at the end of the day. In the winter, I often take a day away from work to go skiing. For me these activities are like moving meditations. I can find solutions and working strategies in these situations. Like I said, finding the first step into the work can be a slow process, and I may not find it sitting in the studio.

I am searching for something in my work which I find somewhat inexplicable. I choose not to over-evaluate what that discovery may be, and I have also decided not to add words to something which is non-verbal. I am not a fan of the current moment's drive to have the artist articulate all things in their work. I think it is fine to talk about the systems we make to work within, but to describe the nature of the work itself presents problems. That said, part of the joy of being an artist is knowing the long and beautiful history we are apart of; therefore, it is incumbent on all artists to know that history.

For me, context is much more than the place where the work is installed. Context is the place where the work "lives." It is the conceptual environment and not just the theories in the work. It is the whole field of what we consider in making the work. We need to "own" it thoroughly. We cannot afford to abdicate any portion of that real-estate when it informs what we make. This is part of the discovery we are involved with in making the work.

That said, context is also the place where the work is installed. Sure, work could be placed in coffee shops, restaurants, very commercially-driven galleries, at street fairs, and many other like-places. Nothing is wrong with any of these places generally, but something might be incorrect with these places specifically. Choices have to be made. (Choosing can be difficult!) Finding an appropriate place to install work sometimes means having to wait to exhibit work, saying no to certain places, and not working with certain people. It is important to remember content and context are always in conversation. They influence one another. A wrong or inappropriate place to install work does contribute information to its content.

HH: Hmm" I've been suspecting that perhaps I might be somewhat lazy and your account seems to make a strong case for it. You are disciplined! My argument against that has always been that it is hard to know when to dive in. But surely you've also pointed out the importance of taking time to examine before you start and the difficulty of it" I'll have to keep in mind what you said about the studio practice.

By the way, I just noticed something interesting. I always find it really special, fun and engaging to talk to artists who's work I enjoy and who's process I can relate to. I've had many such interactions with artists, writers, composers and etc., when I used to attend art residencies a lot. We knew the basic concepts through what we do in our studios and we could start the conversation immediately. As I read your reply, I notice that I am enjoying our differences more than what we have in common. I think that's quite significant when in many social occasions we try to find things we share, and quite often, slight differences we find can antagonize the atmosphere, seemingly without any good reasons.

I guess I brought that up because I'm increasingly aware of what art can do to our societies. Something positive, you know? And understanding each other through art while accepting our differences can be one of the ways, I guess. And that also relate to your notion about the context. Our culture, our community and our various social settings can definitely be parts of our works. What do you wish your work to do in those larger context? Or is that something you think about at all?

TL: The problem, if you could call it that, I have is not finding my creativity, it is harnessing it, directing it, and channelling it. I feel as if I have many more ideas than I have time to realize them. Therefore, it is part of my practice to find clarity and then direct my efforts towards a clear-eyed solution. Otherwise I could just bounce around endlessly. That all said, because I have a challenge in finding my focus (which must be part of my nature), I do allow myself several theoretical systems or threads to develop during one period of time. Because I am suspicious of my work for some period of time after I make it and I generally have several works in process/development at one time, this allows me time to consider different perspectives.

This brings up something I feel is important. Immanuel Kant developed the theory of Pluralism in his seminal text The Critique of Pure Reason, which basically meant that there were multiple modalities of perception. Pluralism was a new way to describe and understand the world; we were allowed to consider the multiple aspects influencing perception that take place, often at once, or as states of conditionality. Pluralism and theories of epistemological relativity (the basic theory that there is only one absolute truth or validity) form an important aspect of my philosophical working position. If there are multiple ways to understand (and see) an issue, and our understanding of the topic is based on our position relative to the problem, it follows that it is important to fully "circumambulate" the matter at hand to fully understand it. This allows me to have multiple genre threads all at once, so long as they all involved in resolving one central meta point.

The work I make is intended to question some of the basic constructs and beliefs of Minimalism as well as High Art practice generally. The work I create is not intended to be merely self-referencial; it points to other aesthetic and social issues as well. If I felt my work was only self-referencial and didn't hold the possibility of illuminating other humanistic topics I wouldn't do it. We live in an important and pivotable period of time. Making work which would merely be pleasing and decorative would be the worst! Art can be a kind of medicine for culture and society.

HH: I agree that coming to contact with the essence of a work is a lot like channeling to a larger reality--or something--than finding a creative machine enclosed in our mind. I find the process to be one of the most essential acts to stay human. I always think that a lack of this deep observation process to connect to this mystic ground can lead to dehumanized aspects of our lives today.

I find it interesting that you are describing having multiple pieces going in your studio as examining different perspectives. Are you always conscious about the central theme of the group? I work on many pieces at once also but I always thought that's because it helps me to be more objective about the pieces--which I am sure you are aware of. But looking back what I've done, your description applies to some of my making process as well. By the way, I hope the readers are as intrigued about your answers as I am.

TL: Let me shift gears for a second. I really admire your work! There are qualities which seem closely related to what I am interested in pursuing. The forms and surfaces of the work are absolutely delicious. There is a sensuousness to it which both allude and misdirect simultaneously. They are very subversive! As much as the work inhabits the world of the senses, it is equally intellectually rigorous. There are hints of Tadao Ando, Constantin Brancusi, Le Corbusier, Brutalist architecture all while resting softly on something which is quite other-worldly. The work contains all kinds of humanness with suggestions of something much more grand, in fact spiritual. The sublime is put forward for consideration in your work.

Let me answer your question regarding my awareness of any central themes in my work. You know how it goes; we develop belief systems which define who we are; they become the lens through which we see our choices, and therefore, define what we do. While I am continually redefining my sense of self and what I believe to some extent, I don't actively think about philosophy daily. I live both a structured life and one which allows a fair bit of freedom of my time. Sometimes when I go into the studio I know exactly what needs to be done and other times are much more experimental. (I am in the latter mode right now.) I value the results of my time in the studio, and I value the process of working every bit as much. I spend considerably more time engaged with the working aspects of my practice then living with the results (I wish I could say I collect my work, but the simple truth is I cannot afford my work!). My life with the work after completion is generally limited while the process is continual. Because the process is always happening, my ways of working are always developing.

HH: Did I make you talk too much about the indescribable field of the making process? I get frustrated when people do that. Ha ha ha. There are areas where words just fail"at least my words. And I often try not to define things too much in those places in order not to limit anything in the pool of possibilities. And quite often, the essential parts are not even visible to our conscious mind at that stage. They are buried in the obvious impressions"

And thank you for your beautiful descriptions about my work. I feel that one thing we make sure in the making process is that the work actually engages the viewers at the deeper levels. We actually want to move the viewers at the cores of their beings as opposed to just laying down instructions of how the viewers should be reacting or why. And I believe the delicate making process we discussed above is extremely important in what we are trying to do.

Could you talk a little bit about your latest works?

TL: I have included two working exhibition statements. The first formulates my thoughts regarding two dividing phenomenological aspects of perception.

Most of the phenomenological artwork you encounter in the art world is pristinely made, where craft sort of disappears because it is so perfect. However, there is another kind of phenomenal aesthetic as well. It is not built on the premise of craftsmanship disappearing. It is much more crude. In either case, perception is central to what is seen; and what is seen is based on a kind of visual trickery. In either case, it is necessary to see beyond what is actually seen. That is the trick involved in both aesthetics. If there is trickery involved in making a work of art, it lays in the architecture (both physical object and the theory with which it is made) of the work. The trick is how it is perceived and how the underlying architecture (both its physical presence and the ideas which make it) is understood.

There are two opposites which divid phenomenological perception; one is the pristine and the other is the rickety. These differences point toward something bigger; the differences between something clean and something rickety is really what defines the difference between something spiritual and the supernatural. In this definition, the spiritual is the realm of god, where nature is pure while the supernatural is the domain of magic, the artifice where perception is based on illusion. The clean is spiritual; the dirty is supernatural; the light is spiritual, the dark is supernatural; the rich is spiritual; the poor is supernatural. At this point, the logic begins to fray. There is heavy coding and semiotics in all of these distinctions between the spiritual and the supernatural.

My work draws on the idiom of minimalism, with all of its possible connotations, yet heavily draws on the architecture of the supernatural, where craft is drawn into question, resolutions seem uncertain, and visual perception as well as value judgements (good taste versus bad taste or high brow versus low brow aesthetics) are questioned.

The second involves my interests in the connections between drawing and painting (sculpture too!) and the objectness of these concerns.

Acclaimed Naturalist and author Peter Matthiessen makes the statement, "it is the responsibility of the writer to speak for those who cannot speak for themselves." It is a true enough statement and holds tangency to other forms of communication: in this case, visual art. Therefore, it could be said that it is the responsibility of the conceptual artist to visually show the semiotics of art with all of its associated meaning-making images (analogy, metaphor, symbolism, signification, and communication) and the minimal artist to distill form and create a literal, objective approach to the subject. While I don't consider my work to fit neatly into any particular category, I do feel deep affiliations to both conceptual and minimal principles. As a contemporary artist, it is my responsibility to re-evaluate historic art movements and their contexts.

While working primarily with alternative and salvage materials, I am creating work which signifies the connection between drawing and painting. In some of these works I used my old drawing table in conjunction with colorful salvage steel. Because I have a heavy drawing hand, I chose to show that hand metaphorically. I used a router which allowed me to create deep recessed lines which I then inset with salvage steel. The subsequent geometric patterns refer to drawn images. In others works I used pre-painted materials over the top of physically dimensional structures to create perceptual links between drawing and specific conceptual theories behind drawing, namely that drawing can infer the idea of space. In a series of shaped painting-like structures I overlaid brightly colored materials to draw out the historical references within both the Conceptual and Minimal High Art practices. The titles of the work often allude to their meanings as well as offer insight into their material natures. These works blend both my mark-making with mass produced, now-salvage materials in which I had no hand in making, but considerable effort in altering. All of the work is made to question the basic underlaying principles of what constitutes drawing or painting and the value we place on how these practices are historically described.

Art is alive and can critically reflect the moment in which it is created. Artists often attempt to make judgements about historical artworks and the movements which effected them. Challenging established meanings is different from changing these meanings. We are in the midst of a total re-evaluation of our entire society, from our aesthetics to our politics, our distribution of wealth to our natural environment. Likewise, this body of work offers its own re-evaluation and re-contextualization of Minimalism and Conceptualism and offers new outcomes to old solutions.

The reason I am including these in my response to your question is to illustrate my interest in establishing working paradigms, limits, parameters to what I am developing in the studio. Sometimes these are written before I begin work, often during the work, and at other times towards the end of a new body of work. I almost never write at the end of a project. Most of the writing involves quick notes while working which later get modified into these kind of statements. I like taking notes and keeping track of my thinking.

I have not written anything yet for the beginning of this new project. I have several threads I am considering. One involves patterned relationships to other patterns; think of pattern on pattern on pattern and you will get the general idea. One is based on component parts in association to other component parts; think of looking into the engine bay of your car and how all of the components are assembled in relation to each other. While both threads have a certain kind of connection to each other (formal or functional relationships), they are very different visually. They also resolve physically in quite divergent manners. In this way working, one of these routes will show itself more clearly to me and I will follow that path. As of yet, I don't know. I kind of like not knowing.

The final thing I would like to respond to is about the issue around control. As I said earlier, I have no idea what the viewer brings to seeing and therefore I can't predict, solicit, or guarantee any particular outcome whatsoever. I'm not a magician! In fact, it really is none of my business what they experience from my work. I'm sure that sounds strange, but it's the truth for me. Don't get me wrong, I "need" people to resonate strongly with the work; that's how I pay my mortgage, send my kids to school, and eat! However, if my endeavor is to get people to resonate with the work, that feels salacious and not truthful to the work for me. So I try to leave that out of the creative process.

HH: Oh, yes, certainly. You don't want to be manipulated by other people's perceptions in the process. Although, I have found that sometimes people can shift artists' perspectives in looking at the work, helping them to gain understanding of the essence. And as you indicated, there is certainly an aspect to "speak for those who cannot speak for themselves". But the process, I believe, is ultimately rooted in our own perception and the practice of gaining access to the deeper reality. It is not a straight forward process and I feel that you strive and struggle to make your own path with passion and honesty.

And I very much agree that we have a great need to reevaluate the values and norms today. And the fact that the quality, which usually is associated with words like rickety, dirty and poor, becomes a part of the building blocks of the solid presence in your work does make me wonder about some aspects of the minimalism or high art, which are often expressed as flawless, as if they are the logical conclusions proven to be sound and correct, but ONLY as long as we are sticking within the norms and values of the accepted standards. There is something limiting and authoritative about the realm of the high art and that can easily be translated into the issues we face today in the real world. I think those are very thought provoking statements.

Thank you so much for taking time in answering my questions, Ted. I have a lot to digest.

I have one last question. Could you name some artists you are interested in today?

TL: Allison Miller, Joseph Ferriso, Joe Fyfe, Chris Johanson, Colby Bird, Alexander Goilizki, Carroll Dunham, Katherine Bernhardt, Matt Connors, Daniel Cummings, Tony Feher, Fergus Feehily, Sergej Jensen, Jonas Wood, Chuck Webster, Jered Sprecher, Anne Seidman, Stanley Whitney, Mary Heilmann, Thomas Nozkowski, Mark Grotjahn, Richard Tuttle, Andrew Masullo, and the late great Paul Klee just to name a few. But there are many other artists whose work I admire and think have contributed significantly to today's aesthetic dialogue.

Interesting that most of the people I mentioned are primarily known for their paintings. While dimensional space interests me intensely, it is really painting which informs me most. That said, the other day I was reading a lovely transcribed passage by Phyllida Barlow where she talked about how sculpture vanishes. Her take on it was quite fascinating. When you circumambulate a sculpture, the view you see from one perspective is gone when you arrive at another position. She noted how different this quality is from painting, where no matter where you stand, it appears the same. I liked that a lot. I am going to have to consider her words carefully.

Thank you Hiroyuki for this conversation. It was quite enjoyable.

HH: Wow, what a list. Thank YOU, Ted. I feel that I need to come back to you someday and continue our conversation"

Ted Larsen (b. 1964, USA) is a nationally exhibiting artist and Pollock-Krasner Foundation recipient with a BA from Northern Arizona University. The work he creates supply commentary on minimalist belief systems and the ultimate importance of High Art practice. Since 2001, Larsen has used alternative and salvage materials in his studio exercises. Ted Larsen's work has been exhibited widely in museums in the US, including the New Mexico Museum of Art in Santa Fe, The Albuquerque Museum, The Amarillo Museum of Art, The Spiva Center for the Arts in Joplin, Missouri, and the Philadelphia Museum of Art as well as in over eighty gallery exhibitions. He has received grants from the Surdna Foundation and the Pollock Krasner Foundation, as well as residencies with the Edward F. Albee Foundation and Asilah Arts Festival in Morocco, where he was the selected to be the USA representative. He has guest lectured at The South Carolina Governor's School for the Arts in Greenville, South Carolina; University of Art and Design in Santa Fe, New Mexico; The Palm Springs Art Museum, Palm Springs, California; The New Mexico Museum of Art, Santa Fe, New Mexico; Site Santa Fe, Santa Fe, New Mexico; Texas Society of Architects, Dallas, Texas. Larsen has been featured in Art in American, ArtNews, SouthWest Art, Mountain Living, Architectural Digest, Sculpture Magazine, and Art Gallery International magazines. He has had reviews in The New York Times, The Philadelphia Inquirer, The Denver Post, and The Dallas Morning News amongst others. Larsen's work appears in the books Art On The Edge, Biennial Southwest, The Curtain of Trees, New American Paintings, and Millennium Collection. Public Broadcasting Service (PBS) produced an interview with Larsen. Ted Larsen is included in the collections of The New Mexico Museum of Art, The New Mexico Department of Cultural Affairs, The Edward F. Albee Foundation, Proctor & Gamble, The Bolivian Consulate, Reader's Digest, PepsiCo, The University of Miami, Krasel Art Center, Dreyfus Funds, JP Morgan Chase, Forbes and Pioneer Hi-Bred, Inc.

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October 21, 2016
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A City’s Art Pride
World Sculpture News
Summer 2016

September 30, 2016
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The Santa Fe Art Project
September 21, 2016
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City Hall Live - September 21, 2016
September 11, 2016
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John Feins and David Eichholtz on Weekly Edition with Pat Allen
September 09, 2016
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David Richard Gallery providing exposure for contemporary artists
Albuquerque Journal
September 9, 2016
Jackie Jadrnak / Journal North Reporter
September 09, 2016
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Mining The Youth, The Santa Fe Art Project
Santa Fe New Mexican Pasatiempo
September 9, 2016
Michael Abatemarco
September 08, 2016
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Kathryn M. Davis of ArtBeat interviews David Eichholtz, curator of The Santa Fe Art Project as well as Kade Twist, artist and Jennifer Joseph, curator "Women's Work" and Sydney Cooper, artist
August 11, 2016
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Color: Stained, Brushed and Poured
Trendland.com
Cyril Foiret
August 10, 2016
July 08, 2016
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Antique Elegance
The Mammoth Cameras of Luther Gerlach
Santa Fe New Mexican Pasatiempo
July 8, 2016
Paul Weideman
July 08, 2016
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The Narrative Figure
Art Ltd
July / August 2016
Jordan Eddy
July 01, 2016
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New Mexico: “PhotoSummer: CENTER-ed on Photography”
ART LTD
July 2016
Jon Carver
June 30, 2016
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FIVE ARTISTS, FIVE TAKES ON NARRATIVE FIGURATION EMERGE FROM EACH ARTIST’S ABILITY
June 07, 2016
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“Plugged In”
David Richard Gallery, Santa Fe, New Mexico
Visual Art Source
Recommendation by Jordan Eddy
June 04, 2016
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¡Colores! featuring Chris Collins
May 27, 2016
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Highlights from the Sharpe-Walentas Open Studios
Blouin Art Info Blogs
May 25, 2016
Taylor Dafoe
May 27, 2016
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Getting acquainted with Strangers Collective
Santa Fe New Mexican Pasatiempo
May 27, 2016
Michael Abatemarco
May 20, 2016
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In Galleries: Focus on photography at PhotoSummer 2016 in Santa Fe and Albuquerque
Dallas Morning News
May 20, 2016
Guy Reynolds
May 20, 2016
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"Under the Radar", featuring Phillis Ideal
April 21, 2016
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Art + World | Dallas Art Fair
Pin + Stripe
April 21, 2016
Christi
April 01, 2016
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Seismic Change in Santa Fe
THE Magazine
April 1, 2016
Kathryn M. Davis


March 29, 2016
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Society: Art, science team up at Taubman Institute
March 28, 2016
The Detroit News
Chuck Bennett
March 25, 2016
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From The Nymph's Perspective
Santa Fe New Mexican Pasatiempo
March 25, 2016
Michael Abatemarco
March 15, 2016
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Digital meets analog: New drawings made on the iPhone by Phillis Ideal presented at David Richard Gallery
March 14, 2016
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Michael Dixon: A Discussion About Race, Representation, and Biracial Identity
Or Does It Explode
March 14, 2016
Tasha Matthews
February 22, 2016
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Identidad Desaparecida at Museo del Vetro di Murano
February 19, 2016
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Getting Ready for Meow Wolf
Santa Fe New Mexican
February 18, 2016
February 04, 2016
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Border Crossing
THE Magazine
February/March 2016
Diane Armitage
January 08, 2016
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Tech Art steals the show at Miami Art Week 2015
Cartwheel Art
January 8, 2016
Michelle Berc
December 16, 2015
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Julian Stanczak Op Art paintings smash local price ceiling and rocket nationally
December 04, 2015
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13 Best finds at Art Basel - Christian Haub
December 01, 2015
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Sally Anderson: New Mexico Painter Makes an Extraordinary Shift into Ceramics
November 18, 2015
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Logan Lecture: Beverly Fishman
November 07, 2015
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Karma Funk Farm - Polly Apfelbaum & Stephen Westfall
November 01, 2015
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Fred Eversley - Reinstallation of Parabolic Flight at the Entrance of the Miami International Airport
October 28, 2015
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Stephen Hayes: Unpredictable Landscapes
October 22, 2015
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Islip Exhibition Explores How Science Influences Art
October 20, 2015
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Angela Fraleigh: Lost in the Light
October 20, 2015
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THE Magazine asked a clinical psychologist and two people who love art for their take on this 2015 oil-on-linen painting entitled "Happy Hour" by Martin Mull as seen at David Richard Gallery.

October 20, 2015
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The Santa Fe Photo Rodeo
October 06, 2015
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Capsule Concern at the Chrysler Museum
October 05, 2015
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Robert Swain - Color is Prime
October 04, 2015
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Compendium, October 4 through December 27, 2015, Islip Art Museum
October 01, 2015
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Gabriel Evertz - Breaking Pattern
September 27, 2015
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Stephen Westfall "Stand" at Potential Fields at Clermont State Park
September 12, 2015
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Stars and Candy Wrappers, Artist-in-Residence: Stephen Westfall
September 10, 2015
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Beverly Fishman - 3 contemporary artists inaugurate redone CCAD space
September 08, 2015
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(Em)Power Dynamics : Exploring the Modes of Female Empowerment and Representation in America
September 04, 2015
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A Santa Fe Group Show Reveals the Abstractions Within Figuration
September 02, 2015
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Albuquerque vs. Santa Fe: It depends what you want
August 29, 2015
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(Un)Real
August 01, 2015
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Bryan Whitney - Doorway to Nubia on Governors Island at the Center for the Holographic Arts
July 24, 2015
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Stephen Westfall - The Holy Forest
July 16, 2015
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Beverly Fishman
July 13, 2015
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Robert Swain Color Energy
July 01, 2015
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Artist Profile Meridel Rubenstein
June 26, 2015
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And Cain went out... and dwelt in nod, the land East of Eden.
June 03, 2015
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Pills, Protest, and Piracy
May 28, 2015
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Giant video to light up Ingersoll building
May 15, 2015
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Paul Huxley at the Azerbaijan Pavilion — Venice Biennale: Vita Vitale
May 15, 2015
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Venice Biennale: Vita Vitale — Paul Huxley at the Azerbaijan Pavilion
May 12, 2015
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Fine Art Exhibition of Work from the 1960s Opens in New York
May 09, 2015
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Beloved D.C. Artist Tom Green and his Surrealistic, Graphic Vocabulary
May 06, 2015
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Art Miami New York Highlights
April 24, 2015
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These Murano glassmakers have turned the craft into art
April 17, 2015
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What You See Is What You Think You See?
April 10, 2015
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Santa Fe's Art Now: A Mix of Show and Sell
April 01, 2015
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POST-OP: The Responsive Eye - Fifty Years After
March 28, 2015
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Silvia Levenson - The Jüdische Kulturbund Project
March 20, 2015
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'Post-Op' On View At David Richard
March 04, 2015
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Responding to “The Responsive Eye”: A Santa Fe Gallery Showcases Op Art’s Thriving Legacy
February 28, 2015
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Beer with a Painter: Gregory Botts
February 27, 2015
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Optical Art 50 years later at David Richard
February 25, 2015
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Op Art pioneer Richard Anuszkiewicz’s dancing colors are like Red Bull for your retinas
February 24, 2015
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Persistence of Vision
February 19, 2015
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Two Artists but one
February 16, 2015
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Harwood Museum in Taos unveils a series of 'firsts'
February 09, 2015
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Stephen Davis’s Whimsical Interiors Play with Line, Shape, and Color
January 29, 2015
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Color Color' evokes harmony between two disparate mediums
January 16, 2015
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Betty Gold
December 23, 2014
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National Museum of Women in the Arts Wins Simone de Beauvoir Prize for Women’s Freedom
December 20, 2014
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Suzan Woodruff and Tom Martinelli
December 15, 2014
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'Color Color' at the Cincinnati Art Museum showcases digital prints and poetry
December 04, 2014
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Eugene Newmann: Selections: Then and Now
December 01, 2014
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Judy Chicago Dialogue Portal Part 2 launched Dec. 1
October 30, 2014
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History Was Impetus, But It's Future Work That Drives Judy Chicago
October 29, 2014
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Salvatore Emblema’s Textile Color Fields Combine Burlap, Stitching, and Oil Paint
October 26, 2014
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Invitations on the Journey: Wisdom from Elders
October 23, 2014
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"Judy Chicago" at Denver's RedLine honors great American troublemaker
October 22, 2014
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Charles Hinman Creates a Limited-Edition Print for Ghostly International
October 18, 2014
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Eugene Newmann
October 17, 2014
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The apprenticeships of Eugene Newmann: An artist ponders living and learning
October 09, 2014
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Editorial: Gift of Taos Modernists’ art a major addition for UNM
September 30, 2014
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Angular artist Ted Larsen wrestles with scene + planes + higher bar
September 29, 2014
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Paul Pascarella's mixed-media abstractions blend Native and Asian influences
September 06, 2014
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Gregory Botts: The Madrid Group
August 29, 2014
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The more the merrier in the art world?
August 26, 2014
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Meridel Rubenstein: Eden Turned On Its Side: Selections from Photosynthesis
August 01, 2014
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Back to the garden: Eden turned on its side
July 24, 2014
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Santa Fe Retreat: Judy Chicago
July 17, 2014
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PMCA offers a glimpse of the many talents of artist June Wayne
July 07, 2014
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Heads Up! New Works by Judy Chicago
July 01, 2014
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“June Wayne: Paintings, Prints, and Tapestries”
June 28, 2014
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John Connell: A Mind To Obey Nature
June 13, 2014
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Currents 2014 — Blue Tara & White Tara: Max Almy & Teri Yarbrow
June 06, 2014
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At Bergamot Station: Great paintingsfor every taste
June 06, 2014
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Robert Swain presents "Color as a Transfer of Energy
June 01, 2014
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Paul Pascarella
May 24, 2014
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Trygve Faste: Illusive Structures
May 22, 2014
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Judy Chicago: Early Work at the Brooklyn Museum
May 22, 2014
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It’s June all summer at Pasadena Museum of California Art
May 22, 2014
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Culture Watch: Looking forward
May 20, 2014
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June Wayne: The Printmaker Who Started a Renaissance
May 18, 2014
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Santa Monica Art Events. The Form of Color by Robert Swain (45 Years of Research!!)
May 13, 2014
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Artnet News: The Best and Worst of Downtown Art Fair.
May 13, 2014
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Gloria Graham: A Certain Slant of Light
May 12, 2014
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Highlights from Downtown Fair 2014
May 09, 2014
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Framed: The Stuff of Life Looks Like an Angel of Death in 'Col Noir'
May 02, 2014
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June Wayne retrospective celebrates an artist who loved science
April 30, 2014
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Michael Scott: FOUND
April 30, 2014
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Paul Pascarella: New Moon West
April 23, 2014
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Judy Chicago Proves She's About More Than Vagina Plates at Brooklyn Museum Show
April 23, 2014
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Judy Chicago at the Brooklyn Museum and Environs
April 21, 2014
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Preview - Found: mixed-media paintings on steel by Michael Scott
April 10, 2014
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The Breakfast That Preceded ‘The Dinner Party’ ‘Chicago in L.A.’ Focuses on Judy Chicago’s Early Work
April 04, 2014
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David Eichholtz, of David Richard Gallery, selected as one of 40 volunteers from the community to serve on Mayor Javier Gonzales' transition team
April 01, 2014
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Contemporary Masters
March 28, 2014
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Judy Chicago
March 28, 2014
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Judy Chicago Celebrates 75th Birthday
March 26, 2014
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Gesture Then and Now: The Legacy of Abstract Expressionism
March 19, 2014
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Oli Sihvonen: In Motion
March 06, 2014
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Chicago on Chicago
March 04, 2014
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Leon Berkowitz - Review
March 01, 2014
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Oli Sihvonen
February 23, 2014
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1969 Cleveland Arts Prize for Visual Arts
February 15, 2014
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Surfaced Forms
January 30, 2014
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Rhythmic and optical paintings by Oli Sihvonen from 1988 to 1991 presented at David Richard Gallery
January 23, 2014
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Dreamy disquiet in Matthew Penkala's colorful paintings
January 18, 2014
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Can Judy Chicago make D.C. her sister city?
January 10, 2014
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Rediscovering Salvatore Emblema
January 08, 2014
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Stephen Knapp's work featured in "New Light" exhibition at Polk Museum of Art
January 01, 2014
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Suzan Woodruff: "Echo Maker"
December 13, 2013
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Subtle and misty transitions: Leon Berkowitz’s ‘Unity’ paintings
December 07, 2013
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'The Circle of Time' expands abstraction
December 05, 2013
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Salvatore Emblema and ‘Transparency’
November 25, 2013
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Trygve Faste recognized as UO Sony Scholar for outstanding work
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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