Friday, September 7th, 2018
Jeremy Adonis Carlson, sheri crider and Gary Sanchez will lead public participation notating the walls of the gallery with the collateral impacts of maligned policies of criminal justice on our local communities (focused on felony convictions- eviction from public housing, ineligibility for federal education loans and grants, and a ban from food stamp programs).Live screen printing by DRY MTN, poetry by Manuel Gonzalez and daughter . Large scale building projection & 200 free tacos (El Paisa Express)
Informed by SMART JUSTICE Campaign (ACLU) participants hope to shift criminal justice policy and build meaningful narratives that move criminal justice reform.
Project is a part of Our Town an Albuquerque City Wide project sponsored by the NEA.
Sunday, August 26th, 2018
Sanitary Tortilla Factory proudly presents an experimental concert featuring new media artist duo Ariadne and a trio project from
Stue Tory, Christian Newman, and Raven Chacon.
ARIADNE is an experimental sacred music and new media art duo whose work explores the intersection of mysticism, dream analysis and the failure of digital systems through a synthesis of music performance, digital and interactive art, poetry and dramatic experience. Much of ARIADNE’s output consists of interactive a/v performances which employ custom-built hardware and software, real-time 3D animation, and machine learning to create immersive and captivating experiences. ARIADNE’s body of work includes feature-length audio/visual albums, web-based virtual reality, and a/v installations.
ARIADNE’s work has been presented at National Sawdust Summer Labs Residency, Brooklyn; Carnegie Museum of Art, Pittsburgh; Ende Tymes Festival, Brooklyn; Lafayette Electronic Arts Festival, Colorado; Garner Arts Autumn Electronic Festival, Garnerville; Made in NY Media Center by IFP, Brooklyn; CURRENTS New Media Festival, Sante Fe; MIT List Visual Arts Center, Cambridge; Elastic Arts, Chicago; Gamut Gallery, Minneapolis; Big Pictures Los Angeles; Harvestworks, New York; Reverse Gallery, New York; Superchief Gallery, Brooklyn; among others. Visiting Artist experience includes School of the Art Institute of Chicago; University of Utah College of Fine Arts; University of Denver Emergent Digital Practices; Prichard Art Gallery – University of Idaho.
Suggested $10 donation
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 and feel like they are good intentioned. 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?
(summer 2018) bodies on the sidewalk or graffiti? In the past few months, occasionally there will be a visibly large tag somewhere on the property. The first time it happened, I must have received at least five phone calls before lunch from neighbors and the city Graffiti Task Force. I compare this seemingly codified sense of alarm to the disregard to a body lying on the sidewalk. A few weeks back I was walking over to an opening of community based exhibition. On the approach to the building, a handful of folks were ahead of me headed to the front door. Like a miraculous parting of the Red Sea, each person and group approaching the door side stepped the body of a young man on the ground. ….to be cont.
(late summer 2018) First Fridays have long been an industry staple. I have had mixed feelings about these events. Early on, in our first location I had been invited to participate in what’s called Artscrawl. I could never afford the hefty, I think 1200 annual fee to be officially included in the widely publicized event. Back then, as I do now- word of mouth and building solid reputations with artists is my primary means of advertising. Fifteen years forward, I don’t know that Artscrawl still exists. I do know that multiple businesses employ the first Friday to generate crowds. In the last year, our block and downtown in general has multiple venues ……..to be continued