Press Release 2006 :: UNM Gallup | The University of New Mexico

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For Release March 9, 2006

GALLUP--“Bodies in Motion, Bodies at Rest,” the latest show on view at the Ingham Chapman Gallery at the University of New Mexico-Gallup, represents the work of 10 artists now or formerly affiliated with UNM-Main’s graduate art program. The figurative pieces on exhibit (were created in a variety of mediums.)

“We want to acquaint people with work coming out of main campus,” Jeff Beekman, coordinator of the gallery program, said.

“Muley Point,” a large oil painting by Rory Coyne, a graduate of UNM’s Land Arts program, tells the story of an arrival to a camp site above Monument Valley. It is representative of the works that have come from Land Arts, a collaboration between UNM and the University of Texas at Austin. Land Arts requires the students to travel together over a semester, exploring the diversity of the Southwest. Student artists from UNM have traveled from the ruins of Chaco Canyon, to the pueblo of Acoma, Mata Ortiz in Mexico, Spiral Jetty, to the VLA and Lightning Fields. Packing their own materials, they either create the work on site or bring back work to finish in the studio. Often the program requires rigorous physical exertion, hiking to remote sites, and working in solitude for several days. Beekman, for instance, spent some of his time in the program studying with a famous potter from Acoma.

Mary Goodwin, whose work has appeared in Art in America, turned her car into a camera obscura by covering it with a black tarp with a tiny hole cut in it. What is presented here is an image of someone looking in the window, seated outside, as well as mementoes hanging from the rearview mirror, adding to the visual interest and emotional impact of the piece.

Justin Lane, a graduate student at UNM, is known for his studio pieces. The work on view is a color photograph of a largely black and white space, making use of low-tech effects with dramatic lighting. A white-clothed man slips into the blackness of Outer Space, clutching a woman dressed in black who is barely able to hold on herself. This surreal scene, although straightforward, also

Erika Osborne’s “Manti-La Sal Spruce Beetle Detection 1 and 2” and her “Drawing of a Spruce” (tree) are three interrelated pieces whose intentions are best revealed through their interaction. The first two are almost life-sized digital prints of a girl’s figure integrated into a topographical map, showing the annual invasiveness of the spruce beetle. Osborne, an environmentalist, literally adds a human presence to the infestation, which both suggests a compassionate viewing of the crisis and also highlights how climate changes due to human intervention have aided this insect’s devastating march through the Southwest. Carefully integrated into the digital prints are the actual coordinates of the spruce tree illustrated in the accompanying drawing.

“Weightless” by Megan Jacobs, a lithographed Xerox transfer, is a work that illustrates this Georgia Southern University professor’s fascination with the body. Almost Buddhist in approach, this ephemeral, floating work seems to contend that the spiritual and bodily are not as easily divisible as we often pretend. Still, the cropped head and off-center orientation of the figure creates a sense of uneasiness that complicates any easy reading of the work. This piece was done with the help of the prestigious Tamarind Institute– an internationally recognized center for fine art lithography that trains master printers, engages in teaching and research, and houses a professional collaborative studio for invited artists from all over the world. UNM has cultivated a special relationship with Tamarind, where UNM has agreed to house its substantial and impressive archive, and Tamarind allows UNM artists to apply to a special program which allows them to experience what a world class print studio can provide.

Todd Anderson, a printmaking professor at Southern Illinois University, brings a wry sense of humor and a highly refined style of drawing to this exhibit. Though normally a committed printmaker, the works shown are watercolors from this “Desert Survival Series,” and patterned as if they are images from a manual, showing the same figure in various situations of desert survival. This potentially dark subject matter is presented with a humorous edge, as the titles suggest: Traveling When No Help Will Come, Signaling with a Mirror To Call Down Planes, Procuring Water.

Tracy Stuckey’s work takes a dark look at how the body can be commodified, made material, and ultimately consumed. In a previous series he carried out this theme by painting headless and limbless mannequins as marbleized meat, which he then photographed and presented to viewers in poses and settings that directly reference a J Crew catalogue. Here he offers a large oil painting called “Body and Table.” The nude figure lies on his side on what appears to be a metal table. The head is cropped and the body’s position renders it lifeless. The high-contrast colors of the body give it a meat-like aspect, and the composition – which crams the body into the bottom third of the canvas, leaves the top two-thirds a sickly pale, institutional green that seems to weigh down heavily on the figure. Tracy, who along with wife Erika Osborne, runs the Wilderness Studio Program for UNM, seeks to bring artists out of the studio and into the landscape as a subject and site for art making.

Karl Hofmann, a first year graduate student, creates colorful, complicated works that explore perspectives of time, space, and narrative through a combination of painting and drawing. In these images one can find images of geese, ambiguous text, police officers, and geometric blocks of pure color, all coming together to create very dense and interesting compositions. Hofmann’s use of often iconographic imagery, intuitive shapes, and pattern create stimulating visual experiences that unfold for the viewer with careful attention.

The body of Eloisa Guanlao’s canoe is hand-carved from a single piece of wood in the Hawaiian style of building. Guanlao, who is Filipino, decorated the surface of her canoe, with etched and sculpted images that come from multiple sources. Included are dancing Filipino women, a tortoise referencing the Oceanic model of the universe, trilobite fossils, scarabs, Feynman diagrams pulled from quantum physics, and Greek, Hawaiian and artist-created constellations of jeeps and jet fighters. The canoe, which Guanlao has actually used with an outrigger, directly speaks to the current situation in the Philippines, but through its specificity also speaks more broadly to the presence of hybridity throughout the world today. Imbedded in the bow of her canoe, Guanlao has also built a functioning astrolabe.

David Leigh, one of the co-founders of the innovative Donkey Gallery in Albuquerque, the gallery director at the College of Santa Fe, and current solo exhibitor at the prestigious Klaudia Marr Gallery in Santa Fe, has three drawings on view at the Ingham Chapman Gallery. These represent well his drawing skill and showcase his willingness to embrace intuitive processes. Often the term “intuitive” has been used as an excusatory phrase for artists whom are unwilling or unable to discuss how they generate their work, but in Leigh’s case this term is appropriate, as it speaks to the non-discriminatory nature of his process. Absurd, dark, comical – the act of drawing, of laying down lines and images, juxtaposing (for example) a beautifully rendered and faintly drawn Revolutionary War uniform with an overdrawing of a ridiculous string of graphically presented hot dogs, trailing horizontally across the paper, one gets the sense that he is as surprised by this combination as we the viewers are. Though potentially disarming, the goal of his work has nothing to do with shocking the viewer or himself, but rather reflects Leigh’s faith in free association, that this practice can ultimately be self-revelatory.

Larry Bob Phillips, another UNM graduate student, is also a co-founder of Donkey Gallery. His colored pencil and pen drawing in this show present an elaborate network of ideas, seemingly confused and crowded as if the ideas are mutating as the artist works, but yielding organization the more the viewer studies it. One image breaks down and merges into another, all the while leading the viewer to different spaces—an underground area, where monsters seem poised to break forth from the floor and into the mid-ground of plants and cathedral-like arches that push the eye further upward, but that has also been invaded by eyes and noses so that the boundaries between architecture and living matter become unclear. The “psychedelic” work of the ‘60s comes to mind, but the work typically coming out of this genre doesn’t adequately express this drawing’s sophistication.

The show will be on view through April 14. There will be a panel discussion with Megan Jacobs, David Leigh, Tracey Stuckey, and talk by some of the artists on March 16, at 6 p.m. in the gallery, with refreshments provided. The public is welcome to attend.

Gallery hours are Monday, Tuesday, and Friday 9 A.M. – 5 P.M., Wednesday 9 A.M. – 12:30 P.M., and Thursday 9 A.M. – 6 P.M. The gallery is located in Gurley Hall, 200 College Road. Call 863-7774 for more information.

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