Saturday, April 13, 2013
The Big Push: Mounting our exhibition and readying our documentary screening at the Santa Fe Art Insitute
In foreground Irvin and Lisa Trujillo, Katie Avery from SFAI and Fran Hardy
In background Mark and Linda Winter with Lani mounting Toadlena Trading Post's Navajo weavings of the Two Grey Hills Region
Opening Reception/ Screening of the Documentary at the Santa Fe Art Institute April 15th at 6pm
For directions and more details go to http://sfaiblog.org/2013/03/14/earth-chronicles-project-the-artists-process-new-mexico/ or http://www.sfai.org
If you can't make it to the opening and screening on April 15th the show will be at SFAI April 15-May 17th 9am-5pm Monday through Friday with a small viewing room in the exhibition space to watch the documentary and also a video installation done by Bob Demboski.
Works being installed by Stacey Neff, Fran Hardy and the navajo weavers of the Two Grey Hills region from Toadlena Trading Post
The big push starts on Tuesday April 9th as we begin mounting our "Earth Chronicles Project, The Artist's Process: New Mexico" at the Santa Fe Art Institute. Bob is still also very busy getting the documentary in progress ready for screening at our opening reception.
Tuesday is very hectic with many of the artists coming to deliver their work at the same time while we work on arranging all of the work. This is a group effort. At NMHU Bob and I and the staff did most of the hanging but in this case many of the artists are glad to hang their own work, with our guidance on placement, since Santa Fe is accessible for many of them. Mark and Linda Winter drove all of the way from Toadlena Trading Post to work their magic on their portion of the exhibition and Irvin and Lisa Trujillo came in from Chimayo to hang their weavings.
The Santa Fe Art Institute mounts very important exhibitions but are glad to have the help as they operate with six full time employees who have to coordinate all of the work that goes into running this multi-faceted arts institute.
By the end of the day with so much going on and so much input from so many people Bob and I leave not sure whether the placement of the art thus far works for us, but coming in the next day with fresh eyes we are very pleased.
Thinking hard about placement and organizing all of the work, Mark Winter in the foreground with Lani and Fran in the background looking over our floor plan developed for the show, Stacey Neff's sculptures from recycled glass in the foreground also
Stacey Neff's sculptures and Fran Hardy's ancient trees and native plants of New Mexico mounted
Irvin and Lisa Trujillo of Centinela Traditional Arts mounting their Rio Grande/Chimayo weavings
More of Irvin and Lisa Trujillo's weavings with Mark Winter in the background mounting Toadlena's installation
The dynamic duo, Mark and Linda Winter of Toadlena Trading Post
We got into a spoof about the covered cases being called vitrines which Mark thought sounded an awful lot like latrine so he said he was going to the vitrine when he went off to the men's room.
Anyone know why they are called 'vitrines'?
Sounds French to me......
Katie Avery from SFAI, who is the one woman show mounting machine so I think she was very glad to have our help with the diversity and complexity of this exhibition. She is in front of some of my ancient trees being arranged for hanging,
My co-producer and partner Bob Demboski with his 'weapon' of choice for mounting work, the screw gun. We could never get all of this accomplished without collaborating on all of the aspects of this multi-faceted project.
David Camp installing Lauren Camp's work
David Camp mounting Lauren Camp's work with Bill Gilbert's Constellation series hung in the background. Bill Gilbert came in on Monday to hang his work taking time out from his very busy schedule as Lannan Endowed Chair of the Land Arts of the American West at UNM. Bill talks about this program that he founded at UNM in our documentary.
Bob 'surveying the situation'
It takes an incredible amount of planning and work to bring these projects together. These days of mounting the exhibition are only a small facet of what we have to do to bring all of this together for the "Earth Chronicles Project, The Artist's Process: New Mexico"
To see the work of the artists featured in the show:
http://www.franhardy.com Fran Hardy, environmental artist, filmmaker, curator
http://www.gcvmproductions.com/ Bob Demboski filmmaker, co-producer of the Earth Chronicles Project
http://www.laurencamp.com Lauren Camp poet, fiber artist
http://www.chimayoweavers.com/ Irvin and Lisa Trujillo Chimayo/Rio Grande weavers
http://www.toadlenatradingpost.com/ Navajo weavers of the Two Grey Hills region
http://www.unm.edu/~wgilbert/ Bill Gilbert environmental artist, Lannan Endowed Chair of the Land Arts of the American West at UNM
rourkemcdermott.com Rourke McDermott landscape architect at Valles Caldera National Preserve, photographer
http://staceyneff.com/sculpture.php Stacey Neff artist, founder and Executive Director of the New Mexico Experimental Glass Workshop
http://cargocollective.com/landwork/Catherine-Page-Harris Catherine Page Harris landscape architect, environmental artist, faculty of the Art and Ecology Program at UNM
I have had six solo museum exhibitions of my work across the country but through these projects I get the experience of 'being on the other side of the fence' as curator and co-producer selecting which artists will be featured in our film and exhibitions, that meet the criterion of art from the region we are covering which addresses the issues of art, ecological sustainability and cultural preservation. It is great being able to chose the art of passionate individuals that I find inspirational. I also curate the other individuals, groups and places that we feature in our documentary.
A curator (from Latin: curare meaning "take care") is a manager or overseer. Traditionally, a curator or keeper of a cultural heritage institution (e.g., gallery, museum, library or archive) is a content specialist responsible for an institution's collections and involved with the interpretationof heritage material. The object of a traditional curator's concern necessarily involves tangible objects of some sort, whether it be artwork, collectibles, historic items or scientific collections. More recently, new kinds of curators are emerging: curators of digital data objects andbiocurators.
In smaller organizations, a curator may have sole responsibility for the acquisition and care of objects. The curator will make decisions regarding what objects to take, oversee their potential and documentations, conduct research based on the collection and history that provides propered packaging of art for transportation, and share that research with the public and polymath community through exhibitions and publications. In very small volunteer-based museums, such as local historical societies, a curator may be the only paid staff member.
In larger institutions, the curator's primary function is as a subject specialist, with the expectation that he or she will conduct original research on objects and guide the organization in its collecting. Such institutions can have multiple curators, each assigned to a specific collecting area (e.g. Curator of Ancient Art, Curator of Prints and Drawings, etc.) and often operating under the direction of a head curator. In such organizations, the physical care of the collection may be overseen by museum collections managers or museum conservators, and documentation and administrative matters (such as insurance and loans) are handled by a museum registrar.