As a long time documentarian Melinda Frame collects people’s accounts of their experiences during the COVID-19 outbreak to serve as a historical record of our times. Melinda focused this series on Albuquerque’s artist community. Melinda talked with many artists not only about how the pandemic is impacting their lives and art practice, but also explore with them how it may influence their artistic process as the pandemic continues to evolve. This series was created in partnership with the City of Albuquerque’s DIY Media COVID19 Creative Economy relief program.
“my grandmother is here tonight
she writes like this
highlighter on lineless paper
she pins them onto her mirror
so her survival tactics are reflected back at me
In The Waiting Room
where i am standing just as i am here now
surrounded by whiteness to my right and left
i don’t run here anymore, because there is no where to go ”
– excerpt from In the Waiting Room Poem by hazel batrezchavez
In the Waiting Room, is an exhibition that bears witness to the places where
individuals are asked to perform their identity, in highlighting the microaggressions
faced by someone who is racialized in crossing borders, inverting practices of authority
and focusing on the historical violence of language. In the Waiting Room, draws
parallels between the southern border and the institution as systems of oppression that
take up space and silence certain humans. The work is built as a reaction to the
current cultural landscape the artist navigates and moves freely between the written word,
large scale sculpture, textiles, performance, and video installation.
Sheri Crider in conjunction with New Mexico Craft Responders worked with volunteers: Andrea Deleon, Earl McBride, Amanda Dannáe Romero and Kristen Angerbauer with UNM Architecture to produce intubation boxes for healthcare providers. Intubation Boxes are reusable acrylic protective devices, originally designed by Dr. Hsien Yung Lai in Taiwan, that sit over the head and shoulders of COVID-19 patients. The box acts as a protective shield between the patient and medical provider, with the intent of reducing the healthcare provider’s exposure to COVID-19. After each intubation, the box can be easily cleaned with a bleach or alcohol solution.
“Sheri took her first box to Lovelace Health System here in Albuquerque where doctors used it and immediately ordered 12 more. Since the first batch, she and a crew of volunteers…have made more that have gone everywhere from Roswell to Zuni.”
USE Makerspace Steps Up to Help Make/Distribute PPE for Frontline Healthcare Workers | CNM
Link to article: https://www.cnm.edu/news/fuse-makerspace-steps-up-to-help-make-distribute-personal-protective-equipment-for-frontline-healthcare-workers
The Sanitary Tortilla will be hosting an artist in residence for a six-week project during the summer of 2020.
The artist will be provided housing, studio space, access to the fabrication shop, travel funds ($500), and a stipend ($1800) for the residency. The studio space is STF’s 1100sf exhibition space. STF’s fabrication workspace contains a basic woodworking shop (table saw, band saw, miter saw, sanders), hand-held power tools, and a light metal shop including a TIG welder, chop saw, and grinders (this is a studio-wide used space). FUSE a maker space is less than a half-mile. FUSE has most any tool needed- screen printing, large format printers, full metal/wood shops, 3D printers (basic knowledge is assessed via a nominal fee class).
Candice Hopkins is a writer, a curator and a citizen of Carcross/Tagish First Nation. Her practice explores the intersections of history, contemporary art and indigeneity. Hopkins is senior curator for the 2019 and 2021 editions of the Toronto Biennial of Art and was a part of the curatorial team of the Canadian Pavilion of the 58th Venice Biennale in 2019, featuring the work of the media art collective Isuma. She is co-curator of notable exhibitions including Art For a New Understanding: Native Voices, 1950s to Now; the 2018 SITE Santa Fe biennial, Casa Tomada; documenta 14 in Athens, Greece and Kassel, Germany; Sakahàn: International Indigenous Art; Close Encounters: The Next 500 Years; and the 2014 SITElines biennial, Unsettled Landscapes. Her writing is published widely and recent essays and presentations include “The Gilded Gaze: Wealth and Economies on the Colonial Frontier,” for the documenta 14 Reader, “Outlawed Social Life” for South as a State of Mind and Sounding the Margins: A Choir of Minor Voices at Small Projects, Tromsø, Norway. She has lectured internationally including at the Witte de With, Tate Modern, Dak’Art Biennale, Artists Space, Tate Britain, Yale University, Cornell University, and the University of British Columbia.
Raven Chacon is a composer, performer and installation artist from Fort Defiance, Navajo Nation. As a solo artist, collaborator, or with Postcommodity, Chacon has exhibited or performed at Whitney Biennial, documenta 14, REDCAT, Musée d’art Contemporain de Montréal, San Francisco Electronic Music Festival, Chaco Canyon, Ende Tymes Festival, 18th Biennale of Sydney, and The Kennedy Center. Every year, he teaches 20 students to write string quartets for the Native American Composer Apprenticeship Project (NACAP). He is the recipient of the United States Artists fellowship in Music, The Creative Capital award in Visual Arts, The Native Arts and Cultures Foundation artist fellowship, and the American Academy’s Berlin Prize for Music Composition. He lives in Albuquerque, NM
Curated by Hannah Bluhm
feat. Babette Rittenberg, Jas Knight, Lucia Love, Will Galbadon,
We are Longing
feat. Kaitlin Bryson, Eric-Paul Riege, Madeline Cass, Matea Friend
Women of Color
Curated by Jodi Herrera