Donald Woodman At JFD Gallery

Donald Woodman
Donald Woodman

Donald Woodman’s photographic career spans nearly five decades. As an established large format photographer, Woodman’s unique combination of traditional and digital methods lends his work technical proficiency, formal refinement, and conceptual weight. His diverse subject matter, ranging from portraits and landscapes to probing examination of masculinity and personal identity, remains consistently intimate, characterized by a subversive perspective and eccentric wit.

HORIZONS: Photographs by Donald Woodman
Exhibition Dates: September 15 – November 30, 2018
Opening Reception: Friday, October 5, 2018 from 5pm – 7pm

JFD Gallery at Justin’s Frame Designs
1221 Flagman Way, A2
Santa Fe, New Mexico

Joel-Peter Witkin At El Museo Cultural De Santa Fe Gallery

Harvest, 1984 © Joel-Peter Witkin
Harvest, 1984 © Joel-Peter Witkin

Known for his controversial imagery, Joel-Peter Witkin has been an icon in the art world since the 1980s. Witkin is first and foremost a storyteller, with each of his images evoking a narrative that calls into question the ideals of beauty, exploitation vs. empowerment, and the role of death in contemporary Western culture.

Witkin’s work reaches beyond the fine art world to high fashion including Alexander McQueen’s runway and has inspired imagery for Nine Inch Nails videos. Drawing from a rich body of sources—literature, myth, and Renaissance and Baroque painting—he creates elaborate tableaux that explore perverse, erotic, and religious concerns. He considers morality as central to his work.

The image selection for Splendor and Misery: Photographs by Joel-Peter Witkin will include some of his nearly sold-out works as well as lesser known images that will be on view for this special exhibit in his home state of New Mexico.

SPLENDOR AND MISERY: Exhibition of Photographs by Joel-Peter Witkin
Exhibition Dates: October 5 – November 4, 2018
Opening Reception: October 5, 2018 from 6pm – 8pm

El Museo Cultural De Santa Fe Gallery
555 Camino de la Familia
Santa Fe, NM

Free and Open to public

An Evening with Joel-Peter Witkin

Enjoy an engaging evening with this esteemed artist, as well as the Review Santa Fe photographers, reviewers, and the Santa Fe community. The evening includes a reception, dinner, and talk by the writer, Eugenia Parry, as well as a presentation by Joel-Peter Witkin himself.

WHEN: October 20, 2018 // Reception 7:30pm // Dinner 8:30pm // Presentation 9:30pm
Tickets: $135 non-members; $121 Members and Festival Pass Holders – Purchase

The Drury Plaza Hotel
828 Paseo de Peralta
Santa Fe, NM

Natalie Christensen At Turner Carroll Gallery

Natalie Christensen, Deep Blue Pool, archival pigment print on dibond, ed. 10, 30 x 20 in.
Natalie Christensen, Deep Blue Pool, archival pigment print on dibond, ed. 10, 30 x 20 in.

First trained as a Jungian psychotherapist, Christensen developed a love of photography and the psychological implications contained in “found” visual environments. As she immersed herself in her photographic art, she became keenly aware that the viewer’s perception of a naturally occurring visual vignette is determined by the way the viewer “frames” the vignette in their own mind, in the same manner as a photographer frames a visual vignette with the camera lens.

Thus, Christensen found natural and architectural vignettes in her newly adopted home of Santa Fe. Informed by her training in Jungian psychology, she frames each photograph to compel the viewer to immerse themselves in the psychological space she presents. Christensen’s newest photographs from her series depicting swimming pools and their surroundings are included in the exhibition. Concepts of ritual/spiritual/psychological renewal and rebirth through descent into water—and return to the land on which we humans live—invite the viewer to dive into their own interior perspective, and perhaps emerge renewed and expanded.

This exhibition is concurrent with Natalie Christensen’s exhibition at University of New Mexico and throughout public spaces in Albuquerque.

Christensen is a photographer based in Santa Fe.

Natalie Christensen: Altering Perspective
Exhibition Dates: September 7 – October 1, 2018
Opening: September 7, 2018 5pm – 7pm

Turner Carroll Gallery
725 Canyon Road
Santa Fe, NM

Beth Moon At Photo-Eye Gallery

Beth Moon: Ancient Kingdoms works in platinum
Beth Moon: Ancient Kingdoms works in platinum

Ancient Kingdoms presents a collection of platinum prints by Beth Moon spanning nearly two decades of work and images from four discrete projects. Portraits of Time depicts the grace and endurance of ancient trees, Thy Kingdom Come focuses on totem-like beliefs and practices connecting man to animal, Odin’s Cove celebrates natural beauty and a sense of place through an extended portrait of two ravens, and Augurs and Soothsayers is a series of intimate hen portraits confronting our removed relationship with animals.

While the subject matter varies widely from tree portraits to a spiritual journey, the overarching themes of Moon’s work including humanity’s relationship with nature, a fascination with time, resilience, and survival serve to unify the exhibition. In essence, Moon’s images utilize the history of the plant and animal kingdoms to ask beautiful questions about our relativity to nature while challenging us to respect and acknowledge our place within the greater lifecycle – which both precedes us and will outlast our time on earth. Subtle but triumphant, Moon’s prints often evoke a primal ache, a sense of wistful wonder, and an urge to connect with the wild.

Beth Moon is a Connecticut-based photographer who has exhibited widely nationally and internationally,

Beth Moon: Ancient Kingdoms works in platinum
Exhibition Dates: September 28 – November 24, 2018
Opening Reception & Book Signing: Friday, September 28, 5pm – 7pm

PHOTO-EYE GALLERY
541 SOUTH GUADALUPE ST
SANTA FE, NM 87501

Wanxin Zhang And Raphaëlle Goethals At Turner Carroll Gallery

Raphaelle Goethals, Alfa Blue, encaustic on panel, 38 x 40"
Raphaelle Goethals, Alfa Blue, encaustic on panel, 38 x 40″

Wanxin Zhang and Raphaëlle Goethals may have very different mediums with which they express themselves as artists, but they share the profound influence of a dual sense of cultural identity. Straddling divergent cultures and continents, each artist responds with work that presents the unique interpretation and resulting expression of feeling concurrently grounded and unsettled. While Zhang’s work uses “humor, confusion, anxiety, and sarcasm;” Goethals work is meditative, revealing a focus on light and space. While Goethals’ works have what appears to be infinite visual depth contained in mere inches of encaustic; Zhang works in greater 3D, crafting sculptures informed by past and present.

With her life cleft between two spaces—primarily New Mexico and Belgium—Raphaëlle Goethals describes herself as a bicultural artist and her paintings as a physical response to how we are often “bombarded with information and increasingly used to a simultaneity of experiences.” Goethals often regards her works as contemporary adaptations to landscape paintings; rather than mapping a specific geographical region, Goethals delves into the human psyche and renders an exploration of the human mind, thought, and ways of understanding. Landscapes are often associated with a sense of national identity and Goethals indicates her lack of identification with a single space by alluding to a dynamic concept of belonging rather than the static qualities of a distinct scene.

She describes how “the seductively patient layering of material is extravagant, yet takes us to the essence, stripped away of any distractions and aiming for a clarity of thought.” Her subtle use of grids within her pieces also functions to ground viewers through a more linear construct and “anchors us in present time.”

Goethals works are produced using wax and resin; her cloudy surfaces are a product of placing a single layer and then additional ones over it, often using subtractive as well as additive processes by scraping away top layers to reveal a physical and metaphorical past below. In this way, Goethals reflects her fascination with the history of painting and process, which transcends both time and conventional understandings of language. This allows her to “establish her own vocabulary in the form of distinctive groups of paintings which evolve concurrently” and “through repetition of process and the sheer physical effort of applying countless layers in her work, she aims for a deep level of emotional resonance which can only be achieved once subject matter and narrative are out of the way.”

Much like Goethals, Wanxin Zhang’s parallel experience after moving to the United States from China in 1992 to pursue higher education and develop his work in San Francisco had a deep impact on his future body of work. Within his sculptural works, Zhang juxtaposes several tensions, playing on the differences between east and west and past and present—a product of living in two environments that differ in regard to culture, physical landscape, and methods of government. Zhang’s work also functions as a political tool against the oppressive regime of dictator Chairman Mao, something that Zhang sees as having existed in other areas of Chinese History. He describes, “when I visited the Terra Cotta Warriors of the Qin excavations, I immediately realized the feudalism and oppression from the Qin dynasty have never quite left the country”.

Many of Zhang’s pieces thus challenge aspects of Chinese history and the government—seen from the perspective of an individual afforded greater critical liberty after having moved away from the reaches of Chinese censorship. Of the works displayed in the Turner Carroll Exhibition, Zhang focuses on the human body, casting the full form or segments of faces and busts in a way that takes traditional elements of sculpted portraiture or references to the Terra Cotta Warriors and manipulates them to make them his own. The figures are often rendered in color or covered with bright drips, suggesting some form of struggle and narrative achieved through layering pigment.

Raphaëlle Goethals was born and raised in Belgium, where she received her Bachelor of Fine Art from the Atelier 75 in Brussels in 1980 and moved to Los Angeles in 1981 to pursue greater education at the Otis Art Institute.

Wanxin Zhang’s work is informed by his bicultural identity, after having been born in China but moving to the United States with his family in 1992. Zhang sculptural works serve as a medium for questioning both his sense of self identity and the cultural and governmental climate in China seen within both a contemporary and historical context.

Wanxin Zhang, Selfie, fired clay with glaze, 22 x 12 x 10"
Wanxin Zhang, Selfie, fired clay with glaze, 22 x 12 x 10″

Raphaëlle Goethals and Wanxin Zhang: Biculturalism in Contemporary Art
Sponsored by McManis-Wigh China Foundation
An exhibition of two artists from divergent backgrounds and their personal explorations of intersectionality in cultural identities.

Exhibition Dates: Through September 18, 2018

Turner Carroll Gallery
725 Canyon Rd.
Santa Fe, NM 87501