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

(505) 228-3749
stfsubmissions@gmail.com

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La Eterna Injusticia

La Eterna Injusticia
Martín Wannam
January 6 – January 27, 2023
Reception: Friday, January 6, 5-8:30 pm

Sanitary Tortilla Factory proudly presents La Eterna Injusticia by Martín Wannam.  This exhibition reflects on the power of monuments by questioning the ideologies they can reinforce. The brown silhouettes in each portrait takes the place of the monuments in Guatemala City with violent, oppressive histories, especially in relation to the LGBTQ+ community. Removing the iconography and placing the brown silhouette in its place creates an intervention that asks the viewer to reimagine each monument’s power through a queer lens. By combining a variety of popular culture references and textures in each artwork, a maximalist anti-aesthetic is created. The concept of monumentality is also present in the video installation. Each performer becomes a moving monument and the audience becomes a participant in the work as they partake in the spectacle. The exhibition asks, what would a queer utopia look like? What, or who would be idolized through a monument?


Artist Bio
Martín Wannam (b. 1992, Guatemala) is a visual artist and educator whose work looks critically at the historical, social, and political climate of Central America, specifically examining its impact on the queer individual. He focuses on the intersection of brownness and queer utopia,using the tools of photography, sculpture, and performance. Working from the premise of iconoclasm, he enacts a constant evaluation of systematic structures such as religion, coloniality, folklore, and white supremacy.

He received his MFA in Photography from the University of New Mexico in the Spring 2020, a Diploma in Contemporary photography from La Fototeca (GT) in 2016, and a BA in Graphic Design from the Universidad Rafael Landivar (GT) in 2015. Wannam has exhibited nationally and internationally, including various group and solo shows in Guatemala, The United States, Rotterdam, Netherlands, and Korea. Wannam is the recipient of a Special Mention in the category Series in PHOTO PRIDE 2020, Fulcrum Fund 516 (2020), Coke Newhall Photo Fellowship (2020), MaryAnn Evans Grant (2019), SPE Student Award for Innovations in Imaging (2018), and Site Scholar (2018-2019). Currently, he is an Assistant Professor in Studio Art at UNC Chapel Hill and part of the Fronteristxs Collective.

Happy Time/Doomsday Time

Happy Time/Doomsday Time
Meggan Gould

November 4 – 25, 2022
Opening Reception: Friday, November 4, 5-8 pm

Sanitary Tortilla Factory is proud to present Happy Time/Doomsday Time by Meggan Gould. In the scope of the history of photography, the anthotype (flower print) figures as little more than a footnote, with a metaphorical pat on the head (endearing, though unlikely to mature!). Plant materials form the emulsions for this crude printing method: berries, petals, and leaves are crushed or pulverized to stain paper. Exposed though objects or printed material in a contact printing frame, sunlight slowly bleaches an image into existence on the dyed substrate. 


As a process, this plant-based printing is both impossible to standardize for commercial distribution and unfixable—not one, but two death knells for an industrialized photographic practice. And a third: tedious exposure times make it impractical for most of the medium’s needs, as they have come to be understood. 

As they have come to be understood. Our relationship to photography itself, to both the instantaneity of capture and any presumption of permanence, may need to change as we hover on the precipice of environmental catastrophe. Could the humble anthotype represent our future (gentle, fugitive) experience of photography? Can fading bring joy? 

My current obsession focuses on a clock, mostly stuck at 10:10 – as in all watch/clock advertisement. This form of the hands allows the brand name to be framed, with the optimism of a subtle smile form (affectionately known as “Happy Time”). I am fascinated by the tropes of the photographic medium and the assumptions we make in its practice, the ways our vision is quietly mediated. My quest to push against default printing processes figures into the same conversation, for me, as that of this insidious clock time. The occasional Doomsday Clock image joins the mix, stuck ominously at 100 seconds to midnight.

Artist Bio

Meggan Gould is a photographer living and working in the mountains outside of Albuquerque, New Mexico, where she is an Associate Professor of Art at the University of New Mexico. She is a graduate of the University of North Carolina at Chapel Hill, where she studied anthropology, the SALT Institute for Documentary Studies, where she studied non-fiction writing, and Speos (Paris Photographic Institute), where she finally began her studies in photography. She received an MFA in photography from the University of Massachusetts – Dartmouth. Her photographs have been featured in solo and group exhibitions throughout the United States and internationally.

Across the Room From Each Other

Across the Room From Each Other

We are pleased to present the catalog for hazel batrezchavez and mk’s incredible exhibition Across the Room From Each Other. The catalog features a forward by sheri crider and an essay by Alicia Inez Guzmán. This book was made possible by Sanitary Tortilla Factory’s Exceptional Visual Artist Scholar Award and the Urban Enhancement Trust Fund.

Space Race UNCLASSIFIED

 

Space Race UNCLASSIFIED
Michelle Murphy

September 3 – 25, 2021

Opening Reception: Friday September 3, 2021 at 4-9pm
Performance: Saturday September 4th, 2021 at Noon
Masks Required at all events

Sanitary Tortilla Factory is proud to present Space Race UNCLASSIFIED by Michelle Marie Murphy (M.M.M.). M.M.M. shares artwork + artifacts + opinions after a decade-long contract with NASA. The artist was previously a photo-based propagandist for science + the US Military and now insights with social + body-based practices, research, and provocation, the goal of being & becoming: civil rights & knowledge sharing.

MMM reveals NASA’s Unclassified human history: Operation Paperclip [Nazi Scientists who were given employment and citizenship in America at the end of WWII to work for the US Government], Civil Rights era missteps, and collaborations with Disney.

What did it feel like to become irrationally attracted to the Moon, the pulse of our tides, the reflection of our life star, ONLY to discover that 12 square white American men have gone? MMM sold telescopes and STEM toys at the downtown mall in Cleveland from 1998-2003. MMM went to Adult Space Camp as “Lady Apollo” in 2003 on a credit card and found their-self 2 years later in a full term contract with the government as a NASA Photographer. They then left this “lifelong” career because eventually they knew exactly how their work contributes to weapons in war. MMM is a pacifist, an artist, a scholar that was swept into a brilliant sparkling whirlpool of DREAMS (and Power) and lost sight of the point. To love. To work together. To dream together. To die together. To live together. They are imperfect and tired (sometimes) but “light up” with every person they are privileged enough to speak with. MMM will be here for part of the duration of the exhibition. They would love to meet you, to listen, to share insights, to speak about space and the future, to see.

From photographic archive digs to solo stunts at White Sands National Park & Missile Range, MMM’s work is a series of art, actions, and revision notes. They combat supremacy through site visits, conversations, education, and embodied practices. MMM finds the truth and responds to American amnesia, and the pervasive culture of “Explorers” that continue to “dream” and traverse without human and eco care. The Artist reveals human-based histories (oppressive and lesser-known) and inspires new culture-in-the-making.

Bio

Michelle Murphy (they/them/theirs) is a visual and performance artist based in Chicago, Illinois. Their work and research orbits around lesser-known sites and histories of the American Space Program.

Murphy earned a MFA from the School of the Art Institute of Chicago (SAIC) as a New Artist’s Society Fellow and a BFA from the Cleveland Institute of Art. Murphy has participated in several artist’s residencies including: Mana Contemporary Miami, SITELAB at the School of the Art Institute of Chicago, and Elsewhere (Greensboro, NC). Murphy’s interdisciplinary work has been exhibited in NYC, Paris, Switzerland, Guatemala City, Chicago, Miami, San Francisco, Albuquerque, Detroit, and Cleveland. Murphy co-curates the art and culture publication MAKE8ELIEVE with Swiss Artist + Designer named Cetusss. From 2013-2015 Murphy was Director and Founder of an Artist’s Residency Program and Gallery, Micro Art Space, in Cleveland Ohio which provided solo exhibitions, support, documentation, and mentorship for 18 Artists over 3 years. Murphy has lectured at SAIC, University of New Mexico, University of Chicago, Ithaca College, University of Utah, Loyola University, Cleveland Institute of Art, Cleveland State University, and Cuyahoga Community College.

http://www.michellemariemurphy.com/

Artist in Residence: Mitchell Squire

 

EXHIBITION OPENING: Friday, August 13, 5-7pm

Sanitary Tortilla Factory is proud to announce our Summer 2021 Artist in Residence Mitchell Squire will be joining us July-August, 2021. Squire is a multidisciplinary artist, educator, and curator whose practice encompasses architecture, visual art, and the study of material culture. He has mounted solo exhibitions at CUE Art Foundation (NY), White Cube (London), Bemis Center for Contemporary Art (Omaha), and the Des Moines Art Center, and has had work included in signature group exhibitions across the United States such as Richard Gray Gallery (Chicago), Everson Museum of Art (Syracuse), and Minneapolis Institute of Art. His work is in the permanent collections of the Des Moines Art Center and the Minneapolis Institute of Art as well as major private collections worldwide. He has completed residencies at Skowhegan School of Painting and Sculpture, Ox-Bow School of Art and Artists’ Residency, and Banff Centre for Arts and Creativity, and has been an invited participant in educational programs at Museum of Modern Art (NY), New Museum (NY), and Pérez Art Museum Miami. Squire currently holds the position of Professor of Architecture at Iowa State University where he took both undergraduate and graduate degrees, and has been visiting professor at Bernard & Ann Spitzer School of Architecture at City College New York (2020/21), University of Tennessee (2020), University of California Berkeley (2012 and 2015), University of Michigan (2009), and University of Minnesota (2000), and has taught abroad in Rome, Italy (2004, 2007). He has received awards from the Association of Collegiate Schools of Architecture (ACSA) for New Faculty Teaching (2005) and Creative Achievement (2009).

In 2020, Squire co-curated the exhibition “Black Stories” at the Des Moines Art Center, which was his first major curatorial effort, and founded the Gateway Fund, a self-sustained, self-funded public art project that distributes micro grants to emerging BIPOC artists, designers, activist, and public intellectuals living and working in Iowa. He also initiated the Black Chapel project, an on-going site-specific installation that is his largest sculpture to date. The project is a creative emplacement within a 3-story antique corn-sheller located at Black’s Heritage Farm in Ames, Iowa, about 1.5 miles south of Hwy 30. Built in 1965/66, Squire intends the site be used for explorations in Black spatial practice, specifically Black performance and sound art, in addition to a sculptural repository for antique jewelry.

Another on-going project, which Squire began in 2020 under the annoyingly academic title “Self Portraits on the Socio-Sexual Effects of Extractive Economies and the Material Geophysics of Race” but which he has since coined “the sexuality of the thicket”, he plans to pursue during residency at Sanitary Tortilla Factory through drawing, photography, and performance. This project marks Squire’s formal return to self-portraiture which he began in the 90s, through which he hopes to assert a set of ever-shifting imaginaries of sexualities of the ‘field’, in the materiality of a ‘wilding’ Blackness, in the Black Outdoors. Examples of this work will be featured in the upcoming Issue #15 of Aint-Bad, an independent publisher of contemporary art.

https://mitchellsquire.com