Challenges the perceived distinctions between craft, design & art. form & concept challenges the perceived divisions between craft, design and art.
We dispute the historic use of these terms to classify artists and rank material culture. Our programming acts as a conversation between many converging disciplines, harnessing the power of contemporary creative practice to shatter entrenched narratives. We are located in the Santa Fe Railyard Arts District. Our sister collection, Zane Bennett Contemporary Art, exhibits modern and contemporary masterworks on paper.
Tomorrow, July 20, Renwick & MoMA collected artist presents a series of new assemblage works for 2024. Stop by the gallery from 5 to 7 PM to meet the most celebrated artist in the studio jewelry movement and see the vision of an artist who continues reinventing the movement of assemblage art that he helped popularize in the 60s and 70s.
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Photography © form & concept.
Pictured above: "Objects of Curiosity (Scrabble)," Robert Ebendorf. Mixed Media. 8 1/2 x 9 1/8 x 1 3/4 in
⭐️Join us on July 20th from 5–7 PM for the opening reception of "Ebendorf & the Usual Suspects II," a showcase of new work by local legend ⭐️
In "Ebendorf & the Usual Suspects II," Ebendorf bewitches us with the overlooked stories of discarded objects. In "My Eyes Are On You," one sees dice, which evoke the chance encounters that Bob has followed all his life and have led him from small-city America to his distinguished appointment at East Carolina University and beyond—Roll the 🎲 this weekend and stop by the opening reception. You may discover your next favorite work!
This exhibition also marks the Santa Fe launch of "Objects of Affection: Jewelry by Robert Ebendorf," a 112-page hardcover catalog that covers decades of work by Robert Ebendorf and includes exclusive essays and interviews.
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Photography © form & concept.
Pictured: "Objects of Curiosity: My Eyes Are On You," Robert Ebendorf. Mixed media
12 3/8 x 10 1/2 in.
👀On View: ' "My Hair Story: from Brunette to Gray."
Flip through our new installation views to catch a glimpse of Meza-DesPlas' studio experiments 🧪, evolution of technique 🧬, and conceptual headspace via her graciously lent collection of critical texts 📚, which you can feel free to read when you stop in (pictured slide 1).
(Yes, you can sit in the hair chair 👩🦱🪑. No, it's not real hair 😉, just printed fabric)
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Photography © form & concept.
Shop 🗞️! New work by is now available in the gallery shop. Industrial 🏭 yet playful, Rogstad’s wearable work takes its visual cues from the structural fragments of everyday objects.
See the new collection in-person or in our web shop, linked in bio.
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Photography ©️ form & concept.
"Family, State College (Lineage),". Ballpoint on paper. 22.5 x 30 in—
"The 'Lineage' series of ballpoint drawings began in 2003, when I became interested in the relationships that make up who we are, and what can go unexpressed, unknown, and unsaid," says Tsong. "Having grown up in a trilingual household, I found languages to be limiting and suspicious. Reducing language to a simple line, one that marks time and gives evidence of existence, was a way to write into a family history that was mostly mysterious."
Stop by the gallery to see more of Tsong's meticulous line work from their "Lineage" series on the gallery's catwalk.
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Photography © form & concept.
💥Opening tonight, 5–7 PM, "My Hair Story: from Brunette to Gray," by 💥 In this exhibition Meza-DesPlas wields hair as a symbol of identity to reveal the physical and psychological scars women bear as a result of living in a society that fetishizes and idealizes the bodies of women of color.
Excerpt from the series "Good Wife/Bad Wife": "In these works, I recontextualize some seminal pieces of iconic women artists or recognizable elements of their artworks. As this series took shape, a phrase from Marilyn Yalom’s book stayed with me: 'To be a wife may no longer be a badge of honor, but it is far from a badge of woe,'" Meza-DesPlas.
Learn more about Meza-DesPlas' studio practice by coming to the show! She will be in attendance. And don't miss her artist talk at the gallery on 29 June from 1 to 2 PM.
Pictured: "Steady as She Goes," Rosemary Meza-DesPlas. Hand-sewn human hair with watercolor. 63 x 33 in.
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Photography © form & concept.
🚨"My Hair Story: from Brunette to Gray" by opens tomorrow, 28 June from 5 to 7 PM! This exhibition encompasses 22 years of Meza-DesPlas' hair drawing practice that explores Latina identity, the s*xualization of female bodies, and the relationship between women, s*x, & violence in popular media. Read an excerpt from the artist below.
From the series "Intimacy Between Female Friends": "Feminist writer Rosie Franklin says, 'there are no neologisms for female platonic friendship the way there are for male friendship.' In this series, I am the main character rendered alongside women friends. We are engaged in the human activity of intimacy," Meza-DesPlas.
Learn more about Meza-DesPlas' studio practice by reading her artist statement, linked in our bio. And don't miss her artist talk at the gallery on 29 June from 1 to 2 PM.
Pictured: "One Bourbon, One Scotch, One Beer," Rosemary Meza-DesPlas.
Hand-sewn human hair with thread & watercolor accent on watercolor canvas
25.25 x 31 in (gallery-wrapped).
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Photography © form & concept.
‼️Just two days until ' exhibition, "My Hair Story: from Brunette to Gray" opens. Check out the exhibition 28 June from 5 to 7 PM. And read an excerpt from the forthcoming show below.
"How do the women of today reconcile historical representations of themselves to the contemporary, prescribed societal roles they occupy? In 'Phyllis & Aristotle,' I depict the threatening power of women and recall the biblical stories of Adam & Eve and Samson & Delilah; stories that depict women as ill-intentioned saboteurs who wield unconscionable power over their male counterparts," Meza-DesPlas.
Learn more about Meza-DesPlas' studio practice by reading her artist statement, linked in our bio. And don't miss her artist talk at the gallery on 29 June from 1 to 2 PM.
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Photography © form & concept.
' exhibition opens this Friday, the 28th, 5–7 PM. Stop by the gallery's second floor to experience Meza-DesPlas intricate and impressive human hair artworks.
Pictured, "Time Will Do the Talking," Rosemary Meza-DesPlas. Hand-sewn human hair, stretched watercolor canvas.
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Photography © form & concept.
👉28 June 2024, 5–7 PM: ' retrospective "My Hair Story: from Brunette to Gray" opens. Read an excerpt from the forthcoming show below.
"'Cry, Die or Just Make Pies' presents a n**e woman brandishing a gun and knife with little context, creating a sense of suspense. Is she a predator or prey? Conventionally, nudity connotes vulnerability, yet in this artwork, the woman projects invincibility," .
Learn more about Meza-DesPlas' studio practice by reading her artist statement, linked in our bio. And if you're in town, don't miss her artist talk on 29 June from 1 to 2 PM.
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Photography © form & concept.
"We've Been Gathering Places" is nearing the end of its exhibition arc, but there is still plenty of time to witness the talents of this year's 's graduating cohort! Flip through the images for a preview of some of the smaller-scale works that didn't make it into our exhibition guide (linked in bio), then stop by the gallery to see the work in context before the show closes on June 15th.
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Photography ©️ form & concept.
"Modernist land art works by the likes of Robert Smithson and Michael Heizer have come under increasing scrutiny by contemporary Native American artists who view these heralded art-historical works as unwanted physical impositions on stolen land," says "Working through the visual language of atmospheric ASMR (autonomous sensory meridian response), this work presents a handful of canonical land art pieces as digital tourist simulations, offering viewers and listeners cheap and easy access to these often prohibitively expensive and physically exclusive curated landscapes."
Experience Mekko Harjo's spectacle in "We've Been Gathering Places," on view until June 15th.
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Mekko Harjo’s work centers on the complexities of contemporary Indigenous identity. Through his research-driven arts practice, Harjo examines subcultures, alternative histories, and anti-capitalist temporalities across a range of digital and physical mediums. Inspired by the expanding field of Native aesthetics emerging from the misuse and appropriation of consumer technology, Harjo collages elements of photography, video, and graphic design into visually intricate renderings. Harjo’s practice is a reflection of his life in the present moment; an ongoing reconciliation of his lived experience with the ever-shifting meaning of Indigeneity under late capitalism.
Mekko Harjo is an interdisciplinary artist living in Brooklyn, NY. He holds a BA from Bard College and an MFA from the Institute of American Indian Arts. Harjo is an enrolled member of the Quapaw Tribe of Oklahoma.
Photography © form & concept.
"This work participates in a witnessing and a speaking within the ancestral discourse of carving with the weather and the intangible accompanied by contemporary forms of adornment through photographs, film, installation, and poetic expression," says . "Amid the rapidly changing and unbalanced siļa, these discourses, methodologies, and the conceptual framework of Iñupiaq cosmologies are here for their purpose to interact with the injured breath of our land and the intangible being of its presence. Insulation and adornment have always functioned as care and survival in relation to climate and has, and continues to be, one of the most critical for someone Indigenous to places in the North on and above the Arctic circle."
Step into Erin Ggaadimitis Ivalu Gingrich's world in "We've Been Gathering Places," on view until June 15th.
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Erin Ggaadimits Ivalu Gingrich (Koyukon Denaa & Iñupiaq) is a carver, interdisciplinary artist and scholar living, working, and subsisting in the subarctic climate of South-Central Alaska. Ivalu’s work honors her arctic and subarctic ancestral homelands and represents what has tied her and her ancestors to the North. Through carved, painted, and beaded sculpture and mask forms, photography, film, installation, poetics, and design, Ivalu creates representations of the revered wild relatives and homelands that have provided for her, her family, and her ancestors since time immemorial. Ivalu has ancestral ties to the communities of Nulato, Nome, and Utqiagvik. She currently resides between the Dena’ina Homelands of Anchorage and Cohoe, Alaska. She holds a BFA in Native Art from the University of Alaska Fairbanks and an MFA in Studio Arts from the Institute of American Indian Arts.
Photography © form & concept.
"In this body of work, I am experimenting with analog and digital photography as a way to document aspects of my identity through self-portraiture," says "I am documenting my Native and Hispanic heritage through ceremonial objects that hold a significant role in prayer and represent the culture. This includes a Lady of Guadalupe candle representing my Hispanic side; and sage, an eagle feather, and a pollen bag that symbolize my Native American side. I have documented my ceremonial dress from my coming-of-age ceremony, which evokes a pivotal period in my life where I became a woman in my tribe."
View Lozen Haozous' intimate portraits of pivotal moments and precious places in "We've Been Gathering Places," on view until June 15th.
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Lozen Haozous was born and raised in Santa Fe, New Mexico. She is a part of the Fort Sill Apache Tribe of Oklahoma. She is a digital photographer who creates work about her identity as a Native American and Hispanic woman with a speech disability. She enjoys experimental shoots and photographing local models as a part of Street Meet New Mexico, a creative photography community. She holds a BFA in photography and media from the California Institute of the Arts and a MFA in Studio Arts from the Institute of American Indian Arts.
Photography © form & concept.
"My artistic evolution has led me to explore the ephemeral, where the intent of my work is not meant to last forever but rather exists in transient moments and challenges our own perception of time and mortality," says . "In my recent research, I explore the intersections of art, environmental science, and
community engagement, using papermaking as a tool to explore themes of sustainability, cultural identity, and ecological consciousness. This exploration is more than an artistic endeavor; it’s a commitment to deepening our collective understanding of our relationship with the natural world and inspiring action towards its stewardship."
Immerse yourself in Fragua's latest work in "We've Been Gathering Places," on view until June 15th.
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Leah Mata Fragua is an artist, educator, and member of the yak tityu tityu yak tiłhini (Northern Chumash) tribe located on the Central California Coast. As a place-based artist, Leah uses a kincentric approach that seamlessly blends shared iconography with personal imagery, highlighting the impact each visual lexicon has on the other. She uses a diverse range of materials—from found to organic, traditional to modern—to explore the interconnectedness and dependence between land, kinships, and self. Her art reflects her priorities: the protection of traditional materials and the continuation of art forms that are important to her community and that intersect with her individual practice.
Photography © form & concept.
"Shi ma’, or mother earth, has given me some of her earth’s elements from rocks, plants, flowers, trees and water. I use these to create Navajo (Diné) sand paintings in my own way, offering a bigger and closer look at our ancestor’s way of healing and blessings," says "When I mix my colors from these sacred gifts from mother earth, I realize I am also working with the Holy Ones or The Holy People (Diyin Diné). I pray and bless each piece of work I create to protect me and protect those that I love."
Learn more about Kéyah Keenan Henry's painting practice in "We've Been Gathering Places," on view until June 15th.
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Kéyah Keenan Henry is a Diné a multi-media artist from Mariano Lake, NM. He is salt born for Toweringhouse clan, and his parents are Jennie DeGroat and Kenneth Bill Henry. For twenty years he worked as an auto body tech and still continues to work on his own vehicles. He is primarily a painter and has developed his practice to include earth pigments, using the elements from the lands he has visited and gathered. He holds a BFA in Studio Arts from Northern Arizona University & an MFA from the Institute of American Indian Arts.
Photography © form & concept.
"The buffalo are our relatives. We lived with them for millennia. We made a covenant with them and because of their sacrifice for our survival, we promised to honor them in ceremony, song, and prayer. They were our shelter, food, clothing, and spiritual conduit," says . "They were almost decimated in the 1800s due to the impacts of colonization; we survived, but were traumatized by their removal from this continent. We mourned their loss—our familial connection disrupted and severed. We never had the convenience of time to cry because our ancestors were promptly imprisoned in the residential institutions. We wept in silence, but we remained hopeful that the buffalo would return."
Step into Joely BigEagle-Kequahtooway's "Buffalo Utopia/ Human Dystopia" in "We've Been Gathering Places," on view until June 15th.
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Joely BigEagle-Kequahtooway is an interdisciplinary land-based buffalo artist. She is a fashion and textile designer, visual artist, beader, storyteller and co-founder of the Buffalo People Arts Institute. She is Nakota/Cree/Saulteaux from the White Bear First Nations, signatory to Treaty 4. She loves to incorporate mathematics and geometry in her artwork and is inspired by the perfect symmetry in nature. Her mantra envelops everything Tatanga (Buffalo) as it connects her to ancestral memories and the land; it is the manifestational glue that keeps her world together. BigEagle-Kequahtooway holds a degree in Civil Engineering from the University of Calgary, Mathematics from the First Nations University of Canada, and an MFA from the Institute of American Indian Arts in Santa Fe, NM.
Photography © form & concept.
"The Way the World Works Around Me, is Like the Dense Fog in a Prairie. You Have to See Things Up Close to Comprehend It, to Experience It, and Behold It. It is Like the Meaning of Wastemna, a Beautiful Perfume Smelling Flower That Also Means Death," .
"Wowicake, meaning 'truth,' 'reality,' and 'fact,' and odowan iyapi, meaning 'song talking' or poetry, were the principles behind these creations," says Graci Horne. "I have taken great delight in serving my community on the reservation and city as a community-oriented artist. I have never before used art as a vehicle for asserting my identity and sharing my narrative. Making these works that revolved around my identity as a Dakota woman was challenging. My experiences of bravery, pain, love, and loss are reflected in the artworks on display in 'We've Been Gathering Places.'"
Experience Horne's installation in "We've Been Gathering Places," on view until June 15th.
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Graci Horne was born and raised in Mnisota (Minnesota). Her Dakota and Lakota bands are Sisseton Wahpeton, Hunkpapa, and Wahpekute. She is a multidisciplinary artist, specializing in painting, printmaking, paper cut-outs, puppetry, film, installation and poetry. Horne’s work incorporates subtle references to Dakota pop culture, Dakota feminism, Indigenous futurism, environmental justice, and social and political issues. Working as a community-oriented artist full-time, Horne teaches workshops to people ranging in age from five to one hundred. She is also an independent curator, lecturer and performer.
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Photography © form & concept.
"'The birds above me place me on the ground' is a multi-sensory installation that tells a nonlinear, personal story of wondrous inquiry," says .tm, "The light play, elements that appear to breathe, and delicate sounds create a dimension of mystery and solace. Each chamber or room indicates weather and time, waking nostalgia in the viewer and placing them within the story. The story is anchored by the presence of birds throughout the installation. Patterns, sequences, and duality are speculated as a common language between the viewer and the birds."
See "The birds above me place me on the ground" in "We've Been Gathering Places," on view until June 15th.
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Daisy Trudell-Mills is a q***r multidisciplinary artist of Xicana, Jewish and Dakota descent working in installation, textiles, found materials, and illustrations on fabric and paper. Daisy’s work explores personal, place, and material-based narratives. They hold an MFA in studio art with a concentration in interdisciplinary practice from the Institute of American Indian Arts and a BFA with a concentration in sculpture from New Mexico Highlands University.
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Photography ©️form & concept.
***rart
Opening this Friday, May 10, 5–7 PM, "We've Been Gathering Places," the 2024 Thesis Exhibition. Catch a sneak peek of the install in the slides, then visit us Friday to celebrate the achievements of this year's graduating cohort! 👩🎓📚
For the past week, the 2024 IAIA MFA in Studio Arts cohort has been hard at work stealthily installing their pieces in our gallery. Comprised of suspended installations, large-scale wall sculptures, paintings, photographs, multichannel new media works, and interactive displays, this exhibition has turned form & concept's 10,000 square-foot exhibition space into eight discrete articulations of lived experience—We've kept this one under tight wraps, so be the first to experience these immersive works this Friday!
Featured artists: Joely BigEagle-Kequahtooway, Leah Mata, Erin Ggaadimits Ivalu Gingrich, Lozen Haozous, Mekko Harjo, Kéyah Henry, Hapistinna (Graci) Horne, & Daisy Trudell-Mills
IMPORTANT NOTE
Our galleries will be closed to the public Wednesday, May 8th & Thursday, May 9th for a private event. The gallery reopens Friday, May 10th.
"Playing the Daff," . Hand-built ceramic. DM or email us at [email protected] for more information and pricing details.
Balcıoğlu hand builds ceramics the same way ancient potters of Turkey 🇹🇷did tens of thousands of years ago. Unlike throwing, hand-building embraces the unique contours that come from a ceramicist's tactile intuition.
Hand-built works are consistent only in their irregularity, but Balcıoğlu's work manages to achieve a different kind of regularity by balancing incongruous aesthetic inspirations—The work is built using ancient techniques but finished with modern glazing processes; It features classical motifs from the vast visual culture of Eurasia but carries the modern flare of Balcioğlu's line work—
Much like the artist's native Turkey, Balcıoğlu's ceramics bridge cultures, blending the earthy vibe of traditional ceramic techniques from the cradle of life with the slick finish of the candy-painted lowriders that crawl Santa Fe's historic plaza 🚗🍭.
See more of Balcıoğlu's work in "Querencia," now on view in our shop.
Join us tomorrow Friday, April 26th from 4–7 PM for the conclusion of what many are calling their favorite iteration of our exhibition space.
Starting at 4 PM, local artists , .marie.day, , & will walk patrons through their respective exhibitions to discuss inspiration and process. As the talks conclude, patrons are invited to tour the exhibitions at their leisure. A ceremonial candle lighting around Day's banquet table marks the denouement of the reception, which ends at 7 PM—Flip through the slides to see the faces behind the work and get a glimpse of some of the pieces on view.
Don't miss this opportunity to engage with some of the artists that make the Santa Fe art scene & community what it is! We'll see you there!
"Natural Dyes - #2," . Warp ikat with natural dyes (cochineal, coffee, indigo, madder, osage orange); handwoven lampas pickup weave. DM 📲 or email 📧 us at [email protected] for more information and pricing details.
“Diamonds appear in textiles from every society,” says Ziek. “But I found a personal reason to do it.”
Towards the end of her life, Ziek’s mother spoke of the diamond as a symbol of their intersecting lives: as her daughter’s life opened up, her life was coming to a close. “It’s fairly interesting now that I’m 77,” Ziek says. “I am at a point where it’s closing in. That’s why this retrospective is so important for me. I’m astonished at how much work I have to show.”
See "Natural Dyes - #2" alongside 50 plus years of textile craft in Ziek's retrospective "A Tenuous Thread," on view until April 26th. Final in-gallery weaving demonstration on 4/25/24 from 1 to 4 PM. Closing reception and artist talk on 4/26/24, 4 PM—Don't miss it!
‼️Exciting news‼️ has elected to include their 2022 acquisition of 's vessel "LDS-MHB-SRMR-1219CE-02" in their latest exhibition, "Acquired!, Shaping the National Design Collection," on view through 2 September 2024. (Collected piece pictured in slide 1)
But that's not all the good news: has included a 2017 acquisition by Porter Lara, "LDS-MHB-WVBR-0118CE-12," in "Object Lessons," (through October 2025) an online exhibition that simultaneously honors historical craft traditions and highlights how contemporary artists are pushing the boundaries of "traditional" materials including clay, reeds, and silver (Artwork similar to collected piece pictured in slide 2)—
These exhibitions' inclusion of Porter Lara's works is yet another demonstration of the artist's indelible mark on contemporary art—aesthetically, conceptually, and socially.
For more information about Jami Porter Lara, or to see available works, DM or email us at [email protected].
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Photo credits: Slide 1, "LDS-MHB-SRMR-1219CE-02" vessel from the Border Crossing Series (Albuquerque, New Mexico, USA), 2019. Designed and made by Jami Porter Lara (American, born 1969). Pit-fired foraged clay. Museum purchase from Charles E. Sampson Memorial Fund, 2022-32-1. Photo: Matt Flynn (c) Smithsonian Institution.
Slide 2: Slide 2, "LDS-MHB-WVBR-0917CE-11," Jami Porter Lara. Photography by Byron Flesher.
Assorted works from "Needs More Wonder (Every Tether Has Two Ends)" series ✨ & "A Feast to Remember" (installation views) 🍽. Check out the show's exhibition guide (linked in bio) for more wonderful objects and creatures 🐌.
From Day's artist statement: "A Feast to Remember" investigates climate change with humor and caution. Central to the exhibition is a ruined dinner party on an elongated pink dining table and several large paintings. Acrylic on canvas paintings portray habitats in turmoil, animals leaping in cautionary celebration. Visitors explore a chaotic version of The Last Supper, all ceramic and mixed media sculpture, whimsical and raucous. Surreal chandeliers and ceramic pendent lights are suspended from the ceiling at multiple heights. They are adorned with animals and dripping with beads.
The exhibition is celebratory in its joyful chaos—a final party abandoned, subsumed by biophilia, a cautionary disaster in the making. The installation examines our need for myth while incapsulating our relationship to land and the exploitation of the environment. The work is not just coping with the world but refashioning it. Toxic hues, broken objects and the remnants of a dinner party disturbed by chaos are a reflection of an external world gone awry. Anarchy amidst a kingdom in peril."
For even more wonder, check out Day's available works at !
"Chakras," Bhakti Ziek (front and back detail) from her retrospective, "A Tenuous Thread," now on view. For more exclusive images and artist and curator writings from the show, check out the exhibition guide, linked in our bio.
Ziek and her husband, the painter Mark Goodwin, spent 16 months on the road from 1982 to 83. They were in India for half of that time, an experience that inspired Ziek to depict chakras, the energy points in Hinduism. “I was reading about chakras, but then I asked myself, ‘Do I really feel them?’” Ziek says. “Weaving is a focusing for me, so I thought, ‘I’ll understand it through weaving.’”
Ziek first executed warp paintings in 1979 at the University of Kansas. “I was so ignorant that I thought I had invented it (and ironically, my teachers thought so too),” she writes. “But of course the more I learned the more I saw it has been done in many cultures in many ways. In the beginning I would thread my loom with a long warp, then pull the warp I wanted to paint out front onto a table, and paint it with fiber-reactive dyes.”
She continues, “By leaving the warp wet for 24-48 hours (now people call this ‘cold batching’) the reaction between dye and thread would happen so the color is permanent. Then I would use many buckets of water and wash the warp (if not washed, the dust from the dye is unhealthy) and let it dry. Because the threads were already aligned through heddles and reed, they kept the shapes I would paint.”
435 S Guadalupe Street
Santa Fe, NM
87501
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“Salt Pillars defiantly asserts the wisdom of looking back, despite the risk of devastation or even desolation,” says Gallery Director Jordan Eddy. “It’s imagery often abstracts the human figure or peripherally explores human presence, tracing the salty residue of sweat and tears that we leave on the world and each other.” Salt Pillars on View 17 November 2023 - 20 January 2024🧂💫
“Parkinson’s Disease, typically thought of as a disease of old men, is a neurodegenerative brain disorder. There is no cure. It is a long, slow descent into an unseen, isolating disease. They say PD is not genetic. My own mother suffered with it for nearly 20 years before I was diagnosed. The good news is, I know what’s coming. The bad news is, I know what’s coming. This limited edition artist book is an ‘exquisite corpse’ structure celebrating 26 ‘Exquisite Warrior’ women battling this terrifying disease. On the recto pages, the book features photos of women in their best power pose, submitted by my new network of friends with PD.” – Laura Russell (@laurarussell23) ⏰ Tomorrow, 2pm (MT): Tune in here for the live announcement of UNSEEN’s Audience Choice Award! Haven’t cast your vote yet? Check the link in our bio to choose a favorite and email [email protected] your top pick! Shown: Laura Russell, Anything Helps, 2021, Archival digital prints in an exquisite corpse structure with spiral binding inside a case-style cover, printed on Domtar Lynx Paper, presented in a clamshell box, 60 pages, 6.5 x 9.9 x 1 in (closed), Edition of 25 @23sandygallery @brokencloudpress @laurarussell23 #23sandygallery #bookarts #bookartist #artistbook #limitededition #formandconcept #santafe #UNSEEN
The Amichai Windows, a limited edition of 18 poems by renown Israeli poet Yehuda Amichai, opens a window onto love, war, and being Jewish today. “I have strived to create an intimate, haptic experience,” says award-winning book artist Rick Black. I want people to experience the work not only by reading the poems but by lifting a curtain, handling the triptychs, and discovering hidden blind embossments.” ⏰ This Saturday, 2pm (MT): Tune in here for the live announcement of UNSEEN’s Audience Choice Award! Haven’t cast your vote yet? Check the link in our bio to choose a favorite and email [email protected] your top pick! Shown: Rick Black, The Amichai Windows, 2017, Handmade paper, gold leaf, various tipped-on papers, clockhands and botanicals, double-drop-down enclosures of rough dried abaca/cotton blend, olive green Asahi silk book cloth, lace curtains, 18 x 2 x 15 in, Limited Edition Artist Book @turtlelightpress @23sandygallery @brokencloudpress @laurarussell23 #23sandygallery #bookarts #bookartist #artistbook #limitededition #formandconcept #santafe #UNSEEN
Repost from @quitecontrarypress • take a look at my unique artist’s book Here: Metadata Mining, now on view in UNSEEN @formandconcept in Santa Fe. A wonderful group show of artist’s books juried by Barbara Tetenbaum and Erin Mickelson of @23sandygallery This is one of two prototypes for an editioned book in progress. #uniqueartistsbook #herehear #fauxliagecelltower #photopolymerintaglio #letterpress #collage #tyvekspine #unseen #hiddeninplainsight #metadatamining #maryvmarsh @californiasocietyofprintmakers @sfaialumni @handbookbindersofca #formandconcept #23sandygallery #santafe
Director Jordan Eddy and artists Tigre Bailando :: Arte Vida and Pascal Emmer join Beata Tsosie-Peña (Tewa Women United) and Kaitlin Bryson (UCLA ArtSci Center) for a conversation on their vital work with “Many Hands." Symbionts are organisms of different species living together in a symbiotic relationship. Fungi offer many provocative examples of interspecies co-adaptation and mutual aid, one of which is mycoremediation: a process resonant with Indigenous ways of knowing for healing damaged ecologies with mushrooms. In a time of global-scale climate catastrophe and social injustice, what can we learn from mycoremediation about becoming symbionts with the human- and more-than-human world? “Many Hands" is a multifaceted project led by Tewa Women United (Environmental Health and Justice Program), Beata Tsosie-Peña, Kaitlin Bryson and Cheyenne Antonio. What initially started out as a bio/mycoremediation installation and awareness campaign related to NMOCD Incident # NCS1905249442 and on-going environmental injustices in Dinéh Tah stemming from fracking and the oil and gas industry, has evolved into a larger project seeking to bring justice, healing and political advocacy to this land and its peoples. The project has three phases ranging from free educational outreach and hands-on workshops, to bio/mycoremediation installations and policy reform.
form & concept challenges the perceived distinctions between art, craft, and design. We dispute the historic use of these terms to divide artists and rank material culture. Our programming acts as a conversation between many converging disciplines, harnessing the power of contemporary creative practice to shatter entrenched narratives. form & concept mounts exhibitions of regional and international art. We engage the community through educational initiatives including workshops, lectures, and artist residencies.
The gallery is located at 435 S. Guadalupe St. in the Santa Fe Railyard Arts District. We share our headquarters with Zane Bennett Contemporary Art, which exhibits investment-quality works on paper by modern and contemporary masters. The full Zane Bennett Contemporary collection is available to browse online, and selections appear on our second floor.
Teresa Neptune Studio/ Gallery
Canyon Road
