May 10, 2012
Art LTD, May 2012
Michael Abatemarco

Art LTD, May 2012
Michael Abatemarco

Few galleries in Santa Fe match the strength of David Richard Contemporary’s exhibitions as consistently, and “Tom Holland: Paintings Past and Present” is no exception. David Richard knows the strength of an art exhibit is in visual presentation. Holland, an unconventional painter, largely due to his choice of painting surfaces, is a bold antiminimalist. Beyond the largely non-objective painting style itself, the constructs he builds change the vernacular of Abstract Expressionism. In the mid-1960s, when Holland began breaking out of that mold, perhaps the time was right for amove away fromthe traditional canvas.

The scope of the exhibition is, as always, ambitious, especially in light of its short run, covering a span of 40 years in Holland’s career. Throughout that time, Holland, an accomplished painter with a great eye for compelling compositions, moved from canvas to aluminum to fiberglass surfaces but the results never seem like painted sculpture. Even his Untitled (Lizard) from 1963 retains the spirit of a painting, meant to hang on an interior wall. David Richard positions it as a centerpiece of the exhibition. In a way, it epitomizes Holland’s work. The surface itself is representational but the painting, less so. More recent paintings hark back to modernist abstractions, like those of Andrew Dasburg. The protruding elements of these works,made within the past decade, rise off the flat fiberglass planes but not always in such dramatic fashion as in Lizard. Span, from 2002, is a good example: the dialogue between the flat plane and three-dimensional components is subtle and consistent. This isn’t painting with collage, although there is a sense of assemblage on a large scale. The materials Holland paints on are as integral to the works’ appearance as color, form, composition and other painterly considerations. One cannot say the same of the traditional canvas.

The result is that the viewer gets an opportunity to trace a history through what is presented, as Holland transitions through several bodies of work. David Richard mounts exhibits that place artists in a historical contexts and pairs them with contemporary work that reflect, directly or indirectly, the spread of a movement or an artist’s influence or legacy. That’s a feather in their cap. This is a hard-working gallery that doesn’t trade on a name. Rather, it’s all about the art.

Art LTD, May 2012
Michael Abatemarco

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January 17, 2017
Globalocation: Celebrating 20 Years of Artnauts
J. Willard Marriott Library
The University of Utah, 01/17/2017

The University of Utah’s J. Willard Marriott Library will host the art exhibition Globalocation: Celebrating 20 Years of Artnauts, Jan. 20-March 3.

Artnauts, an art collective formed 20 years ago by George Rivera, professor of art and art history at the University of Colorado, Boulder, consists of 300 global artists who serve as goodwill ambassadors, acknowledging and supporting victims of oppression worldwide. Their creativity has generated over 230 exhibitions across five continents. Five faculty members from the U’s Department of Art and Art History are members of the collective, Sandy Brunvand, Beth Krensky, V. Kim Martinez, Brian Snapp and Xi Zhang.

Globalocation derives from “Globalocational Art” — a concept used by the Artnauts to refer to their exhibitions in international venues. It is the mission of the Artnauts to take art to places of contention, and this anniversary exhibition is a sample of places where they have been and themes they have addressed.

“The Artnauts could not exist without the commitment of the artists in the collective to a common vision of the transformative power of art,” said Rivera. “The Artnauts make their contribution with art that hopefully generates a dialogue with an international community on subjects that are sometimes difficult to raise.”

Krensky, associate department chair of the Art and Art History Department, had the opportunity to travel with Rivera in Chile as part of an Artnauts project, working with mothers who were searching for their children who had mysteriously disappeared during a time of political unrest.

“When I travelled to Chile in 1998, George and I spent an afternoon with the Mothers of the Disappeared, and the meeting changed my life,” said Krensky. “It was from that moment on that I placed a picture of them on my desk to look at every day. I was so moved by what they each had lost — a son, a brother, a father — and yet what remained for them was a deep, deep well of love. They were fierce warriors and stood up to the government to demand the whereabouts and information of the people who had disappeared, but they lived within profound love.”

The 20th anniversary exhibition at the Marriott Library is a retrospective of the traveling works the Artnauts have toured around the globe. The exhibition will be located on level three of the library. The opening reception is open to the public and will be held on Friday, Jan 20, 4-6 p.m. Rivera will speak at 4 p.m.

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