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Sanitary Tortilla Factory
401-403 2nd St SW
Albuquerque, NM 87102

(505) 228-3749
stfsubmissions@gmail.com

POLYCEPHALY

View Exhibition

AUGUST 7 – 28

ALICIA LISA BROWN, WILL GABALDON, LUCIA LOVE, BABETTE RITTENBERG, RHIAN PRITCHARD, SARAH SARCHIN

Sanitary Tortilla Factory is excited to present Polycephaly, a group show of painters and multimedia artists that features human heads in some form. From traditional portraits, to the wild, raucous distortions of surreal cartoon figures- Polycephaly, is the condition in which a creature, human or animal, has multiple heads. The work in the exhibition shares a superficial theme of figuration, while simultaneously being deeply divergent in thought and approach. In conjunction with the show, there will be a scheduled series of online artist conversations that aims to facilitate inter art community dialogue.  All of the presented artists are based in cities around the country and will discuss their work with a local Albuquerque based artist. The video talks will explore various themes, subject matter, and processes, as well as observations on the impact of the current historical climate on their local arts communities.  Albuquerque video participants include: Frank Blazquez, Jodie Herrera, Jessamyn Lovell, Earl McBride, Helen Atkins and Nancy Zastudil. Polycephaly is curated by Hannah Bluhm.

Artist Talks Release Schedule:

8/07/20 “Polycephaly: Jessamyn Lovell & Alicia Lisa Brown”  

8/13/20 “Polycephaly:  Will Gabaldon & Helen Atkins”

8/14/20 “Polycephaly:  Lucia Love & Earl McBride”

8/20/20 “Polycephaly:  Frank Blazquez & Babette Rittenberg” 

8/21/20 “Polycephaly: Jodie Herrera & Rhian Pritchard” 

8/27/20 “Polycephaly: Sarah Sarchin & Nancy Zastudil”

Family Resemblance

Family Resemblance
Sallie Scheufler

March 6 – March 27, 2020
First Friday: March 6, 6-8 pm
Closing Reception: March 27, 6-8 pm 

In Family Resemblance, Sallie Scheufler presents text, videos and photographs of herself and the women in her family. Taking a critical look at her personal history, Scheufler uses time-based media to explore how relationships within her family affect her sense of self, performed and inherited. Staged portraits utilize tools found in the beauty industry to draw attention to physical features, alike and unlike. She dresses in drag to become her older sister. She and her mom get matching hairdos. Her little sister applies her make-up as she does to herself. Text throughout the exhibition recounts stories of superficial desires and the ways that the women in her family perform gender. Family Resemblance addresses beauty standards, wanting what we don’t have, and growing up in makeover culture.

Sallie Scheufler is an interdisciplinary artist currently living in Albuquerque, NM. Scheufler uses her personal history as artistic fodder, in context of feminist theory and familial relationships through performative video and sound installations, live participatory performance, photography, and sculptural installation. Scheufler has exhibited work in museums and galleries nationally including the Center for Contemporary Art, Northlight Gallery, 516 ARTS, and the University of New Mexico Art Museum. Scheufler has been awarded a Beaumont Newhall Fellowship and a Robert Heinecken scholarship, among others. She received her MFA in studio art from the University of New Mexico and her BFA from Arizona State University. When she is not in the studio, Scheufler works as part-time faculty in photography at the University of New Mexico and is the Assistant Director at Richard Levy Gallery.

Image Caption: Sallie Scheufler, Mom and Me, 2020, Inkjet print, 24 x 30 inches

A SOFT EYE, A MIRROR-EYE

A SOFT EYE, A MIRROR-EYE
Cedra Wood
 
January 24 – February 28, 2020
Opening Reception: February 7, 6-8 pm
 
In A Soft Eye, A Mirror-Eye, Cedra Wood presents to-scale drawings of two species: the camel and the turkey vulture. Drawn to both of these groups because of their hardihood, resilience, and elegance, Wood creates intimate portraits, attempting to depict each animal in a way that defies both description and stereotype.
 
In one of the two series, Wood showcases the individuality of nine camels she worked with on a ranch in Texas, affectionately presenting the animals’ disparate personalities and physiognomies. The work stands as a testament to the distinctive character of each of these “ships of the desert.” The second body of drawings comprises five portraits of a single turkey vulture, a resident of the New Mexico Wildlife Center. Humans often react to vultures either with revulsion, fear, or superstition, which Wood hopes to counterpoint by presenting Sol’s physical features precisely and reverently, letting his remarkable qualities speak for themselves.
 
Banner Image: Portrait of SOL 1, 20″x26″, graphite on paper, 2019

Fish in Persian Gardens

Fish in Persian Gardens
Extracts of Poetry and Literature as Revolt

Illustrations by Zahra Marwan

December 6, 2019 – December 25, 2019

OPENING RECEPTION: December 6, from 6 – 8 pm
With Performances at 7 by Cory McBride, Amir Raeisi, and Al Shammari.

 

Arabs have complacently considered themselves to be a people of poets, indeed, the people of poets. Poetry was the record of their lofty deeds, their claim to glory, their secret garden, their diwan.

 

Abdelfattah Kilito – Arabs and the Art of Storytelling

 

Sometimes when listening to a modern song from the Middle East, it turns out to be a 7th-century poem. There is a long tradition and pride in literature and poetry amongst the Arabs, Persians, Bedouins, Andalusians and cultural groups in between and through their expansions. Often attracting mass audiences from rural villages to sophisticated capital cities. Even in modern times, they continue to have an impact on popular culture. Where visuals come to life from language and text. It is a longstanding platform for people to openly critique or lament, to feel pride. There is also despotism and nationalism in the use of this tradition.

 

These illustrative works of poems are a reflection of the subversive ways in which people express their grief, nostalgia, love, and breaks in community s. Perhaps not explicitly for revolt, but irregularities and abstractions of it. The content of these illustrations stems directly from the language expressed. Whether they were exiled, killed, or appreciated for being headstrong, these pieces are also reflections of the fatigue associated with their fight.

<i>Subjectivity and Objectivity </i>

Subjectivity and Objectivity

Subjectivity and Objectivity
Fatemeh Baigmoradi

November 1 – 29,  2019

OPENING RECEPTION: November 1, from 6 – 8 pm

 

Aura is a quality integral to an artwork that cannot be communicated through mechanical reproduction – such as photography. The term was used by Walter Benjamin in his essay “The Work of Art in the Age of Mechanical Reproduction”. Photography, constantly, has been used to record the special and ordinary moments of

our life. Time has an aura. Each second is unique and non-repeatable. On the other hand, the way that our minds recall our past (memories) is like capturing them as a copy of the reality that doesn’t have the aura of reality.

I’ve been living with my parents in the very first house that I know for the first 18 years of my life. Then I moved to the other city but I’d used any chance to go back to see my parents and the house. Between 2008 and 2011, I had captured several photos of that space and my childhood trophies in that house. The house held a unique place in my

childhood, much as my mother and my father did. Objects and locations, which carry the weight of their histories, have aura for me. Now in the Age of digital photography and reproduction, I find my old negative and photos as an object, which contain history. They are objects from my past and the subject of these photos is so personal for me. Reality is not changeable but our memories can get unclear and defaced through the time. That’s how after years, two individuals may have the same memories from an event with different or even conflicted details. It seems our memories look like photographs that passage of time can affect them.

As a toddler, I was a devoted daydreamer. I took these photos around 10 years ago to attempt to revitalize my old cozy daydreaming atmosphere. After some specific stages in my life, my obsession with my past reduced somehow. Those moments are so far and untouchable as much as my favorite fiction books that I placed them under my bed in my parents’ house in Iran.