Search results for ""Site Santa Fe""

Published on the occasion of the long overdue first retrospective of the Icelandic-born, Santa Fe-based New Media art pioneer, Steina, this monograph is one of the only substantial publications to recognize a female artist's contribution to the field. Over the course of her 30-year career, Steina has expanded the boundaries of video technology and electronic imaging through experimentation and play that deftly merge electrical engineering and musical composition into an unprecedented visual aesthetic. This volume, thoughtfully organized by SITE Santa Fe, comes complete with more than 80 color reproductions and a series of critical essays that significantly enhance the scant existing scholarship on this iconic artist. In addition, it includes the first published interview--an instantly classic text for scholars, artists and anyone interested in video and installation art--between Steina and Media Arts theorist Gene Youngblood.

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New Mexico Field Drawings is the outcome of a 2017 residency by New York–based artist Alexis Rockman (born 1962) at SITE Santa Fe, and accompanies a 2017–18 presentation of the work at SITE Santa Fe.

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Renowned for disrupting and reconfiguring space in unexpected ways, Austrian artist Hans Schabus, born in 1970, produces site-specific installations that use spatial displacement to debunk cultural symbols. For his first solo museum exhibition in the United States, Schabus made Deserted Conquest, a 15,000-square-foot installation commissioned by SITE Santa Fe, 2007. Taking the New Mexico landscape as his subject, he created a series of confrontations that dismantle our cultural romanticism of the desert landscape and idealizations of "the West." This consisted of two new videos, sculptures, drawings and a variety of found objects, including a partially reconstructed mobile home and more than 100 tons of dirt. Viewers were encouraged to navigate the terrain freely, their tracks transforming the space over time. As a further conceit orchestrated by the artist, the catalogue's full-color images are photographed along cardinal lines, lending the reader a fresh perspective on the original exhibit.

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In SITE Santa Fe's Eighth International Biennial, held in 2010, curated by Sarah Lewis and Daniel Belasco, emerging and established artists working in many media displayed works that mined techniques of early animation and moving-image technologies to create a hybrid practice of homespun plus high-tech. This exquisitely designed volume arising from the event is titled The Dissolve, a title that points both at this new sensibility emerging from the old and at the two-way nature of the dissolve in moving images as both ephemeral and generative. The Dissolve presents art by Robert Breer, Paul Chan, Martha Colburn, Thomas Demand, Ezra Johnson, Bill T. Jones, William Kentridge, Jennifer and Kevin McCoy, Raymond Pettibon, Rob Pruitt, Robin Rhode and others. Scholars Nancy Mowll Mathews, Sarah Lewis and Daniel Belasco contribute essays on the concept of the hybridization of new media combined with painting, drawing and collage. Also included are a timeline of animation practices and an artists' panel discussion.

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The curatorial premise behind Lucky Number Seven--SITE Santa Fe's seventh international biennial, curated by Lance Fung--is to invite a host of emerging artists, all sponsored by international institutions, to create new commissions that are ephemeral and site-inspired. This two-volume catalogue is the only documentation of these temporary works. The first volume includes essays by Fung and Laura Heon, Director of SITE Santa Fe, as well as documentation of the exhibition from idea to implementation and a discussion by the artists of their work. The second volume includes color images of the final, installed projects. This exhibition features an innovative design by renowned architects Tod Williams and Billie Tsien. The volumes that make up this highly collectable publication fit together magnetically, and both of them have foam covers. Featured artists include Martí Anson, Studio Azzurro, Erick Beltrán, Luchezar Boyadjiev, Michal Budny, Piero Golia, Soun Myung Hong, Rose B. Simpson and Shi Qing, among others.

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Much Wider Than a Line is the second installment in SITElines, a reimagined biennial series with a focus on contemporary art from the Americas. Featuring over 30 artists from 10 countries and five new commissions, SITElines 2016 articulates the interconnectedness of the Americas and various shared experiences such as colonial legacies, the vernacular and relationships to the land. The catalogue includes works by artists Xenobia Bailey, Lina Bo Bardi, Francisca Benitez, Margarita Cabrera, Raven Chacon, Benvenuto Chavajay, Lewis deSoto, Aaron Dysart, Carla Fernández, Pablo Helguera, Graciela Iturbide, Zacharias Kunuk, David Lamelas, Cildo Meireles and Erika Verzutti, plus new commissioned pieces by Jonathas De Andrade, Anna Boghiguian, Sonya Kelliher-Combs, William Cordova, Jorge Gonzáalez and Julia Rometti & Victor Costales.

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During the past decade, Amy Cutler (*1974 in Poughkeepsie, New York) has become internationally known for exquisitely detailed narrative works of art. Set in a richly imagined universe and created through a pastiche of memories, observations, and insights, they are populated mostly by women engaged in enigmatic tasks and impossible situations: tigers are mended and restriped; figures emerge from the rocky crags of a fjord.With faces that are both resolute and introspective, Cutler’s women symbolize the emotional complexities of real life situations. This publication will premiere new paintings, drawings, and prints, including a selection of earlier works and a special section devoted to Alterations, a sculpture installation created for the Museo Nacional Centro de Arte Reina Sofia in Madrid. Exhibition schedule: Site Santa Fe, February 5–May 15, 2011 | University Art Museum, University of California Santa Barbara, July–September 2012

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The Crime of Art looks at San Francisco–based artist Kota Ezawa’s (born 1969) oeuvre using crime as a lens. The book presents photographs and reproductions from Ezawa’s recent exhibitions in Los Angeles, New York and Amherst featuring remakes of paintings stolen from the Isabella Stewart Gardner Museum in Boston. In addition, the book draws connections from his current project to other work from the early 2000s to the present that contemplates crime. Among them are his animated films The Simpson Verdict (2002) and The Unbearable Lightness of Being (2005), as well as his ongoing drawing series The History of Photography Remix, which includes hand-drawn re-creations of historic crime-scene photography. While focusing on a single subject, The Crime of Art brings attention to some of Ezawa’s key projects from the last 15 years, and coincides with a solo exhibition at SITE Santa Fe in 2017.

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