Beautiful Test Sites / Now I am become death
July 13 – August 31, 2018
Opening Reception: Friday, July 13, 2018, 6 – 9 pm
In Beautiful Test Sites / Now I am become death, Mitchell Squire and Nora Wendl make full use of their research-based and architecturally-founded practices to present a series of photographs that meditate upon “beautiful test sites”: spaces and bodies wastelanded by the American techno-utopian imagination of the 20th century. For Squire, this means unearthing a series of inherited mid-20th century photographs taken by an amateur photographer—who at the time served as Executive Secretary of the Iowa Industrial and Defense Commission (1941-45), the first Director of the Iowa Development Commission (1945-53), and State Director of Civil Defense during WWII and again in the 1950s—and whose subjects were both women and nuclear blasts, whose images Squire alters through the strategic use of gilded frames, veils, and glass vases. Nora Wendl presents a series of photographs taken during her recent occupational performance of the all-glass Farnsworth House, designed by Mies van der Rohe for Dr. Edith Farnsworth in the mid-20th century—a house that was conceived the same year as the first American nuclear test. Wendl pairs these with a series of archival photographs of women within this house who have commonly been mistaken as being Dr. Farnsworth, which she heavily annotates with autobiographical and biographical information, thus bringing specificity to women who are otherwise anonymous within the visual discourse of architectural history: researcher and subject alike.
Above Image: Mitchell Squire, all your fears are caused from novel reading, 2018
The mode of operation in viewing visual information today, and particularly photographs, is that even a casual observer must work as a journalist to determine veracity. At the same time, the photograph is a way to arrest beauty, to prolong it, and to catalog even those places and bodies that are wastelanded until a future time when they can be read and named.
Mitchell Squire: Mitchell Squire is an artist and educator whose practice encompasses architecture, visual art, and the study of material culture. His work employs techniques of assemblage and informational strategies of collection and archival presentation, toward understanding the sociopolitical complexity of material and immaterial artifacts. He holds the position of Professor of Architecture at Iowa State University.
Nora Wendl: Nora Wendl is a writer, artist and educator who uses disciplinary strategies drawn equally from literature, visual art, and architecture to amplify overlooked or suppressed narratives within the built and unbuilt environment. She holds the position of Associate Professor of Architecture at the University of New Mexico.
Flight (02) Reconciliation Conversations on Empathy
SATURDAY & SUNDAYS – June 23/4 + June 30/July 10am- 4pm
DROP IN HOURS (Come by any time during these hours)
Additional days/times are welcomed by appointment 401 2nd SW @ the Sanitary Tortilla Factory email: firstname.lastname@example.org
Flight (02) is the second of three events partially sponsored by the Right of Return Fellowship which invests in formerly incarcerated artists to create original works to further criminal justice reform in partnership with advocates and organizers. Sheri Crider is one of the inaugural recipients of this fellowship.
Proceeds benefit local organizations that support community members impacted by these issues including the NM Dream Team, New Mexico Immigrant Law Center & the Santa Fe Dreamers Project.
Sheri Crider is a visual artist, a community builder, a civil rights dreamer, living and working in Albuquerque, New Mexico. The seemingly innate ability to draw and create was the key to recovering from many years of drug addicted, homelessness and incarceration. sheri has a BFA from the University of Arizona, a MFA from the University of New Mexico and is the creative force behind the Sanitary Tortilla Factory.
FOR MORE INFO: CONTACT SHERI CRIDER @ email@example.com or call 505.228.3749
“There are too many projects happening at the same time and none of them are managed in any sensible way. It’s pure greed–everyone
wants to develop as much as they can and make as much money as possible. It’s crazy.” (excerpt from Hollow City/Rebecca Solnit) ** referring to the tech boom in San Francisco nearly 20years ago
The following notes are moments i feel are the mile markers of gentrification. How might we be complicit? How can we support communities and grow our cities in holistic ways? How can we ask ourselves, business owners and developers to ask important questions?
(winter 2016)….. A year before we moved to 2nd & Lead I had started reading about the relationship between artists and gentrification. I had spent the past 8 years on my hands and knees setting tile in local Mcmansions to dump any and all income into creating a sustainable art space. Shortly after moving into the space a neighbor business owner said, “Let’s make this the next Wynwood.” I didn’t mention I had just returned from Miami a few weeks earlier and had stumbled among the remnants of an industrial, working class neighborhood turned art party- Wynwood. You could see where people made things, hopefully made a living, built a business….maybe it’s nostalgia-but I can’t shake the feeling that cities are trading in something meaningful for a veneer of progress. Developers want us to believe in transformation.
(summer 2017) on our street, twice a day- a steady stream of people travel to and from the Albuquerque Rescue Mission for food and additional resources. In my mind, it is a welcome reminder of the deep disparities in our communities. Occasionally, it’s a little more than just passing by, I get to know their name. It was the beginning of June, a young woman we will call “D” started using our bathroom about twice a day. A few, short days later another artist was beyond alarmed by D’s presence. In less than 90 seconds, a self-professed progressive activists engaged in #metoo, #blacklivesmatter had labeled the woman a thief. Being a once homeless female,I was more invested in providing use of the restroom and possibly, a tiny bit of dignity. That summer we hosted our first social practice visiting artist. Christine Wong Yap’s project, Belonging offered a poignant interrogation of the deeply entangled issues that comprise where we all might belong. “The goal of Belonging is to reveal the pivotal experiences that shape one’s sense of belonging and connectedness to a place and country, and how it ultimately defines our authentic selves; and to say, We All Belong Here.http://christinewongyap.com/work/2017/belonging/index.html I wonder how it is that we can compartmentalize the category of “other”?
(spring 2017)“The class is free for everyone living and working in THIS neighborhood!,” from a new Santa Fe non-profit(who is buying tons of distressed properties in Barelas and south Broadway neighborhoods). My first thought, I’m afraid of the the facility who’s teaching course…this is their logo- Do people working and living in Barelas feel unsafe? Do the non-profit’s employees, new to the neighborhood feel unsafe? The flyer says it’s supported by Project Reinvest: Neighborhoods…grant funding to “stabilize and revitalize distressed communities”. The grant appears to be related to real estate foreclosure. A little more research warrants my intuitive fear of the self defense facility, “militant, martial and combat ways”, along with experience in corrections and a shout out to our friends at the NRA. I had done a bit of contracting work with the non profit, they were all very nice folks. I reached out to the CEO to have coffee and talk about gentrification. An initial yes was dropped a few weeks later. Some of the questions I wanted to address were: How can we facilitate/engage the larger, more difficult questions(class/race/displacement)? Why are people’s homes being foreclosed? Who exactly are we trying to make safe?
April 27 – May 11, 2018
OPENING RECEPTION: Friday, April 27 6-9pm
Poetry reading by Beata Tsosie-Peña 7:00pm
CLOSING RECEPTION: May 11, 2018 – 6:00-9:00pm
In Gently Radical Changing, Kaitlin Bryson engages with the legacy of toxic contamination and subsequent trauma in ecologies ridden with histories of environmental injustices. The work presented in the exhibition offers gestures of remediation and healing to these places, through bioremediative sculpture and performance, video, installation, and participatory workshops. In partnership with the Environmental Justice department of Tewa Women’s United, based out of Española, New Mexico, this work synergistically explores how radical environmental and social change can happen through compassionate acts of interspecies collaboration.
The work presented in the exhibition will transform and physically change throughout the duration of the show. Some works will appear and others will disappear. Viewers are encouraged to stop by throughout the exhibition run to observe the living works.
Exceptional Visual Artist Scholar Series
Gently Radical Changing, new works by Kaitlin Bryson is one of two exhibitions in 2018 that is part of Sanitary Tortilla Factory’s Exceptional Visual Artist Scholar Series. The Exceptional Visual Artist Scholar Series offers professional space for the culminating exhibition that defines the student’s launch into their profession as an artist. The series hopes to underscore exceptional artists attending regional institutions while highlighting Albuquerque’s historic connection to contemporary art practice.
About the Artist
Kaitlin Bryson lives and works in the high deserts of New Mexico, and has spent her life working as an artist and organic farmer. Drawing from her experience as a cultivator, her artwork illuminates the processual nature of life through the lens of transformation. Biological materials are embedded into her work so that the “finished” pieces have the potential to play, transform, and live out their own dynamic processes. Her work unfolds as restorative gestures for human and nonhuman audiences, serving as a reminder that mutability and adaptability are the common grounds we all inhabit.
Bryson received a Bachelor of Fine Arts from The University of Nevada, Reno in 2012, and is pursuing a Master of Fine Arts in Art & Ecology from the University of New Mexico. Her work has been included in group exhibitions at The Holland Project in Reno, Nevada, Site Santa Fe, and BioCultura in Santa Fe, New Mexico, and has been performed at The Holocene in Portland, Oregon. In January of 2018 Bryson will participate in the Interface Residency Programme in Gallway, Ireland, supported by funding in part from the Andrew W. Mellon Foundation, and the Lannan Foundation.
April 6 – 21, 2018
OPENING RECEPTION: Friday, April 6, 6-9pm
Artist Talk: Monday, April 9, 4-5 PM, UNM College of Fine Arts, Room 1020
Football is a manifestation of the cultural processes that shape male-identified formations of body. Using a visual vocabulary that hovers between photography and painting, these works on paper explore the aspects of heroism, romance, and idealized gender role play embedded in representations of college football players.
Exceptional Visual Artist Scholar Series
Football is Nick Simko’s UNM MFA Photo thesis exhibition and the first of two exhibitions in 2018 that is part of Sanitary Tortilla Factory’s Exceptional Visual Artist Scholar Series. The Exceptional Visual Artist Scholar Series offers professional space for the culminating exhibition that defines the student’s launch into their profession as an artist. The series hopes to underscore exceptional artists attending regional institutions while highlighting Albuquerque’s historic connection to contemporary art practice.
About the Artist
Nick Simko is an interdisciplinary artist. Simko’s work has been exhibited at museums and galleries throughout the United States including the Walters Art Museum, The University of New Mexico Art Museum, 516 Arts, and Hillyer Arts Space. Simko holds a BFA degree in Art History, Theory & Criticism from the Maryland Institute College of Art and is presently completing an MFA in Photography at the University of New Mexico.