KNEW NORMAL and OFF THE CHARTS

exhibition catalog

August 29 – October 31, 2015

516 ARTS516 Central Avenue SWDowntown Albuquerque, New Mexicowww.516arts.org

KNEW NORMAL

OFF THE CHARTSCurated by Rhiannon Mercer & Claude Smith

Concurrent exhibitions exploring changing environments

Curated by Nancy Zastudil

KNEW NORMAL

Gala Bent

Magda Biernat

Nick Brown

Mel Chin

Adriane Colburn

Naomi Kizhner

Lee Lee

Wendy Mason

Nina Montenegro

Ryan Pierce

Liliana Porter

Dario Robleto

Miriam Simun

Cedra Wood

Curated by Nancy Zastudil

OFF THE CHARTS

Sandow Birk & Elyse Pignolet

Anne Gilman

Jerry Gretzinger

Mary Iverson

Mitchell Marti

Bethany Johnson

Jane Lackey

Nathalie Miebach

James Sterling Pitt

Ross Racine

Matthew Rangel

Alexander Webb

Curated by Rhiannon Mercer & Claude Smith

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TO bE CONTiNuEd By Nancy Zastudil

“We’ve never been here before” is a sentiment that brings to mind uncharted paths, discovery, excitement, and adventure. We, as a civilization, have never come so far.

But in 2013, when scientists at Mauna Loa Observatory in Hawaii uttered this phrase with respect to the amount of carbon dioxide (CO2) in the atmosphere, it was not in the spirit of accomplishment. We had reached a sobering milestone: levels registered at 400 parts per million — a number, they said, that would continue to grow. The practice of excavating and burning natural resources such as oil, coal and natural gas, has caused excess CO2 to release into the atmosphere at an alarming rate. For years, scientists and academics have con-sidered the rise of some of society’s most gruesome challenges — extreme weather, extinction of species, disease and more — to be the result of this increase of CO2 in Earth’s atmosphere.

This year, a study written by James Hansen, NASA’s former lead climate scientist, and 16 co-authors concludes that glaciers in Greenland and Antarctica will melt 10 times faster than previous consensus estimates, resulting in a global sea level rise of at least 10 feet in as little as 50 years. A rising sea level translates into drowned major economic and agricultural hubs in the U.S. such as New York, Miami and coastal cities of California.

Hansen states, “We conclude that continued high emissions will make multi-meter sea level rise practically unavoidable and likely to occur this century. Social disruption and economic consequences of such large sea level rise could be devastating. It is not difficult to imagine that conflicts arising from forced migrations and economic collapse might make the planet ungovernable, threatening the fabric of civilization.”

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Earth has not been in an environmental situation like this since the geological epoch known as the Pliocene, a time long before humans inhabited the earth when the global average temperature was 2–3 °C higher than today and global sea level was 25 m higher. Never before or since have humans experienced such a climate. Our impact on the world is undeniable. However, the devastating consequences of our negative impact on Earth and the climate are not immediately noticeable. And reading predictions about the impending end of civilization can feel terrifying or seem altogether incomprehensible. The future — whether feast or famine — is oh, so far away. Or is it?

Artists possess skills that I would argue are absolutely necessary for the continuation of human civilization — they make visible, audible, tactile and experiential the aspects of life that fall outside of our daily physical needs of food, water, and shelter. Knew Normal is a selection of recent works from 14 established and emerging contemporary artists who use paintings, drawings, photography, sculpture and wearable art to bear witness to the moments when environments, including the body, become more difficult or awkward to inhabit for reasons generally attributed to climate change.

The artists in Knew Normal depict universally familiar themes of loss and uncertainty, tempered with unmistakable empathy and, at times, humor and hope. Not every artist in the exhibition identifies him or herself strictly as an environmental or ecological artist — instead, each selected artwork tells a story about how our physical and psychological environments are shaped by current climates, whether social, political or environmental. Several of the artists also look to the future, as characters of the existing universe disappear, or to a time when Earth is no more. Is this adaptation at its finest, its fittest, or are we approaching the end? Having never been here before, how can we know for sure?

Mel Chin challenges us to think about viable, if not radical, alternatives for power in physical and symbolic forms. The Potential Project and, more specifically, Bank of the Sun, proposes a Western Saharan currency, backed by solar power, that would help the Sahrawi people achieve economic and political independence while simultaneously combating climate change.

The idea of power is also present in forward-thinking industrial designer Naomi Kizhner’s speculative project Energy Addicts, a collection of parasitic jewelry that harvests energy from the human body, primarily through blood and the circulatory system. Kizhner thinks about possible futures and asks “how far will we go to in order to ‘feed’ our addiction to electricity in a world of declining resources?”

Another provocative wearable artwork designed for human adapt- ation to our uncertain future is Direct Olfactory Stimulation De-

vice (DOSD), created by Miriam Simun, a piece of dining jewelry that inserts direct olfactory stimulation into the eating experience. DOSD is deployed as part of the GhostFood performances and is included in 516 ARTS’ Downtown Block Party during the exhibition. Tinged with a hint of melancholy, this cyborg-esque artwork embodies the power of human imagination, collaboration and adaptation. What is “natural?”

Gala Bent, Nick Brown, Adriane Colburn, Ryan Pierce, and Cedra Wood depict resilient and, at times eerie and tenuous, environments and their inhabitants. To create these real or imagined landscapes, the artists take cues from science fiction, folklore and poetry, laced with a hint of panic for times when and where sustained human habitation is questionable.

Two artists whose works live in the more poetic realm of Knew

Normal are Dario Robleto and Liliana Porter who each embrace the sentimentality of making sense of the world primarily through the complex emotions of relationships. Robleto’s I Wish the Ocean

Sounded More Like Muddy Waters and I Wish the Ocean Sounded

More Like Dusty Springfield not only speak to the power of love,

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Artists possess skills that I would argue are absolutely

necessary for the continuation of human civilization — they

make visible, audible, tactile, and experiential the aspects

of life that fall outside of our daily physical needs of food,

water, and shelter.

but also harness the nostalgia for and dissatisfaction with what we understand relationships to be — whether to each other or the natural world. Similarly, Porter plays with relationships through the staging of small toys, figurines and props, embodying emotional disconnect with an inextricable sense of self that spills over into how we relate to and interact with our surroundings.

Other artists included in Knew Normal take a naturalistic, almost documentary approach, depicting changing landscapes. Lee Lee pre-sents a selection from a series of paintings that depict aspen groves in Colorado suffering from an ailment which caused them to ‘bleed’ a red sap and die largely within three years, a condition which she conveyed by using a shotgun to tear through the plywood surface of her paintings. Recently, these same groves have sprouted new trees, a testament to the constant life cycle of the forest. Magda Biernat pairs photographs of Antarctic icebergs and empty Iñupiat Eskimo hunting cabins, to offer a “restrained commentary” on the parallel effects of global climate change at opposite ends of the earth.

Ways of life and industry, specifically the pervasiveness of capitalism and commodity, even in the face of extinction, are evident in Nina Montenegro’s DIY project Souvenirs from the Anthropocene. And Wendy Mason’s sculptures embody a powerful matter-of-fact humor that stems from “making do” with limited resources, and a 21st Century perspective on 1980s vanity culture of excess.

Someone whose work is not directly included in the exhibition, but whose voice is inherently present, is writer Zadie Smith and the following selections from her essay Elegy for a Country’s Seasons:

There is the scientific and ideological language for what is hap-pening to the weather, but there are hardly any intimate words. Is that surprising? People in mourning tend to use euphemism; likewise the guilty and ashamed. The most melancholy of all eu-

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I found my mind finally beginning to turn from the elegiac

what have we done to the practical what can we do?

– Zadie Smith

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phemisms: “The new normal.”… Oh, what have we done! It’s a biblical question, and we do not seem able to pull ourselves out of its familiar — essentially religious — cycle of shame, denial, and self-flagellation. This is why (I shall tell my granddaughter) the apocalyptic scenarios did not help — the terrible truth is that we had a profound, historical attraction to apocalypse. In the end, the only thing that could create the necessary traction in our minds was the intimate loss of the things we loved… I found my mind finally beginning to turn from the elegiac what have we done to the practical what can we do?

Knew Normal contains no guaranteed solutions, no proven methods for survival, and no Utopian proposals. Instead, the exhibition recog-nizes the age old traditional (or, compulsion) of art making as a strategy for understanding complex circumstances and emotions. As we come to terms with our “new normal,” and as we brace for the near and distant future, what will we learn from what once was and how might we affect what will be?

Nancy Zastudil is the Founder/Director of Central Features in Downtown Albuquerque, a gallery that promotes environmental stewardship, social pro-gress, and the intrinsic value of creative acts. She serves as Administrative Director of the Frederick Hammersley Foundation and is a monthly visual arts contributor to Arts and Culture Texas magazine. She sits on the Coordinating Council of the Downtown Albuquerque Arts & Cultural District and is the regional coordinator for The Feminist Art Project. She earned a BFA in Painting and Drawing from The Ohio State University and an MA in Curatorial Practice from California College of the Arts.

8 Gala Bent, Ship for Fools, 2009, gouache and graphite on paper, 22 x 30 inches

With an ear to the history of painting and drawing, and its current place in culture, Gala Bent focuses her research upon the categorizations and organizational structures of the natural environment, especially as they relate to scientific quests for knowledge and resulting architectural and knowledge systems. The primary and flexible approach of drawing remains the centering structure to her many and diverse interests. Bent has recently worked on illustrations for a biochemistry text and a printmaking project based on the “Imaginary Astronomies” highlighted in Umberto Eco’s essay by that name. Recent bodies of studio work focus on the possibilities of multiple universes and the difficulties of comprehending prevalent contemporary theories of everything.

Gala BentSeattle, Washington

“Average temperatures in the Arctic and Antarctic are rising twice as fast as they are elsewhere in the world. The rising temperatures are causing more icebergs to break off from glacial floes; polar ice is getting thinner, melting and rupturing. Near the opposite pole in the Arctic, the melting of once-permanent ice is already affecting native flora, fauna and global warming is threatening the cultural identity of native people. Adrift is a series that uses visual language as a means of polar comparison. By pairing photographs of Antarctic icebergs and empty Iñupiat Eskimo hunting huts, whose shapes and volumes echo one another, it offers a commentary on the parallel effects of global climate change at opposite ends of the Earth.”

Magda Biernat, Adrift #5, Antarctica • Adrift #6, Barrow, AK, 2013, archival digital pigment prints, 20 x 20 inches, Edition 1 of 7 & 2 AP, courtesy of the artist & Robert Klein Gallery 9

MaGda Biernat Brooklyn, New York

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niCK BrOWnLos Angeles, California

Nick Brown’s large-scale oil paintings reflect a temporal state of im-permanence. Thinly painted passages build up to areas over an inch thick. Key elements are defined in negative space, suggesting instability. These strategies combine to create an experience of simultaneously beginning and ending without ever coming to form. Standing Dead is from an ongoing series called Ice House, in which Brown paints the remnants of a high mountain community just outside Los Angeles. Stone chimneys act as markers decaying in snow-trapped forests. The chimneys are evidence of man’s determination to establish himself, but also of the transience inherent in all endeavors of civilization. The Red Drawings are pastel monochromes that engage in metaphor. Negative space, energetic and dissipative line work is used to create a fragmented moment reflecting the way dreams are recalled or prophecies received.

Nick Brown, Blooming, 2009, pastel on paper, 11.25 x 15.25 inches

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Mel Chin Houston, Texas

The Potential Project introduces a response to climate change through a model of sustainable economic freedom coming from a people without national status. Chin states, “For forty years Saharawi nomads have lived in refugee camps in their native land under Moroccan occupation, and in Algeria, awaiting a vote for self-determination. Forty years ago, Wallace S. Broecker first postulated ‘global warming’ due to human impact. Now this has become an internationally accepted reality. Devastating storms, decreasing polar ice and rising waters now threaten the world in an unprecedented way. A planned response to both scenarios emerged, after my visit to the Western Saharan refugee camps in 2011, as The Potential Project. The project envisions a Bank of the Sun that could provide the rest of the world with a working economic model as a response to climate change and by extension, a means to amplify the voice of a group of people silenced by isolation and desperation. The Potential Project envisions the first currency of the Saharawi people, utilizing their artistic expressions to guide its design, and to have its value backed by the power of the sun.”

Mel Chin, Bank of the Sun, 2014, mixed media installation

Adriane Colburn, Anaconda Pond, 2012, HD video, mylar12

adriane COlBurnSan Francisco, California

“Anaconda Pond was shot in the Peruvian Amazon from a low raft on a pond inhabited by three anacondas. The sound is the ambient noise of the place: insects, the click of my camera shutter, and the sound of an airplane overhead that was tracking a radio collared jaguar in the vicinity. The video is part of a larger body of work that reflects on how we understand remote landscapes through technology and media, the transformation of nature into an industrial or synthetic landscape, and how landscapes are informed by the language of science and data visualization. The color and structure of this piece is informed by maps that are made from great distances such as satellite, infrared and LIDAR imaging. The inspiration for the work comes from a keen interest in the relationship and perceived separation between man and the natural world, and in the metamorphosis of a primary wilderness into a commodified landscape. In addition, a huge point of departure for me is my own personal panic about an impending climate apocalypse. The Amazon, where most of this project began, is a key regulator of the global climate and is under extreme threat from oil and gas exploration, gold and silver mining, logging and ranching.”

Naomi Kizhner, Energy Addicts, jewelry prototype 13

naOMi Kizhner Tel-Aviv, Israel

Naomi Kizhner’s latest work Energy Addicts is a collection of parasitic jewelry that harvests energy from the human body. While initially part of her graduation project, Energy Addicts itself is mainly conceptual in that she wanted to consider possible futures, or mainly to encourage people/consumers in the modern society to think about their possible future. “I had wanted to provoke a discussion, since in our modern life we are literally addicted to electricity (as I see it anyway). I wanted to provoke the thought about how far will we go in order to ‘feed’ our addiction in the world of declining resources. My work is mainly conceptual although it maintains a grasp for reality, but that is in order to be convincing to the public.”

14 Lee Lee, Bleed, 2012, oil, colored pencil & Sharpie on shotgunned plywood, 24 x 24 inches

lee leeTaos, New Mexico / Denver, Colorado

“Multiple droughts have caused severe deforestation across Colorado. The familial network of aspen suffered from an ailment that caused them to ‘bleed’ an alizarin red sap. Appearing visceral as it oozed down the thin white barked trees, the groves attained a corporeal appearance. Using a shotgun to tear through the plywood conveyed the dramatic and sudden transformation that caused the forests to die. The gashes were painted the same alizarin red that the aspen trees were bleeding. Across the planar surfaces, groves of aspen were layered to echo the glimmer of the quaking light that filters into the memories of summer afternoons in the magical groves of my childhood.”

15Wendy Mason, Fragrance of 2009, 2009, potato, perfume diffuser, dimensions variable

Wendy MasOnLos Angeles, California

Wendy Mason’s sculptural works arise out of a process of digestion and examination of personal experiences which are then translated into form. Emotions evolve into symbols and humor is used as a both a mask and extended invitation to the viewer. Fragrance of 2009 combines a common, affordable food (the potato) with a somewhat dated symbol of excess and luxury (the perfume atomizer) to create a personal tongue-in-cheek reference to the recession that began to take hold in 2008. As finances are stressed and resources run out, how will we fulfill our desire, or need, for things that make life “better”? Bronzed embodies remnants of the sun-tan obsessed culture of 1980s California in light of increasing awareness of 21st century health risks of sunbathing, beach culture, junk food, global warming and drought.”

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nina MOnteneGrOPortland, Oregon

“My art practice is rooted in the belief that art is a transformative tool that can expose injustice, subvert the dominant paradigm, and have emotional resonance. My work calls attention to the fundamental interconnectivity and simultaneous dissonance between humans and the natural world. Through metaphor, satire, celebration and pedagogy, my work challenges the social constructions that deter humans from reverence and reciprocity with nature. I work in many mediums and often in collaborative and participatory ways. City streets, forests, schools and museums have all been venues for my work. My life and art practice are inseparable, and my connection to place leads my projects to be highly localized and place-based. I live and work on an organic farm, growing food and hand-making the things I use as much as possible. I am a wilderness guide for Signal Fire, an organization that provides residencies and expeditions for artists, in order to advocate for the protection of public land. Both of these situations are restorative and remedial. In roles as guide and farmer, I deepen my personal connection to the land as well as foster opportunities for others to cultivate a relationship with the natural world.”

Nina Montenegro, Last Drops of Lake Mead, from Souvenirs from the Anthropocene 2015, installation, dimensions variable

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ryan PierCePortland, Oregon

“I make vivid mixed-media paintings under the premise that climate change is unveiling a strange new version of our known world and that we will experience this mystery with equal parts dread and curiosity. I work in distinct series, contextualize my projects with sculptures and self-published texts, and incorporate participatory methods such as walks or scavenger hunts to exhibit my work in unexpected ways. My style has been called post-surrealist (because wildness and incredulity are still valid responses to unsolvable problems) and my agenda is anti-apocalyptic (because the ‘end’ of the world is a cop-out). The works here are from an ongoing series called Terra Incognita, which looks to the historical links between natural history exploration and conquest to suggest our immediate future.”

Ryan Pierce, Los Angeles, 2013, flashe & ink on canvas over panel, 46 x 34 inches courtesy of the artist & Elizabeth Leach Gallery

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liliana POrterNew York, New York

“In the last years, parallel to photography and video, I have been making works on canvas, prints, drawings, collages and small installations. Many of these pieces depict a cast of characters that are inanimate objects, toys and figurines that I find in flea markets, antique stores, and other odd places. The objects have a double existence. On the one hand they are mere appearance, insubstantial ornaments, but, at the same time, have a gaze that can be animated by the viewer, who, through it, can project the inclination to endow things with an interiority and identity. These ‘theatrical vignettes’ are constructed as visual comments that speak of the human condition. I am interested in the simultaneity of humor and distress, banality and the possibility of meaning.”

Liliana Porter, Black Drips, 2015, acrylic & figurine on wood, 6.25 X 2.75 X 1.25 inches

dariO rOBletOHouston, Texas

Dario Robleto is a conceptual artist perhaps best known for his meditations on loss and absence. Always attracted by frontiers – the deep sea, the brink of the solar system, the edge of death – Robleto is following his practice, and the examples of these polymaths, into his own borderland, where distinctions between art and science, amateur and professional, matter less than the spirit of inquiry and the earnest desire to understand what it means to be human.

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Dario Robleto, I Wish The Ocean Sounded More Like Dusty Springfield, 2010, apple blossom seashells, altered sound of shells, glue, 32 x 49 x 1.75 inches, courtesy of the collection of Nion McEvoy

Miriam Simun, Direct Olfactory Stimulation Device (DOSD), 2013, 3D printed nylon, copper, thermoplastic, metal fixings, 8 x 5 x 2.5 inches

MiriaM siMunNew York, New York

“I make creative disruptions: objects, images and experiences that poke, provoke, and re-imagine current systems. A play on the economic belief in creative destruction, which describes a logic of ‘progress’ under capitalism that requires incessant destruction of old systems in order to create space for new ones, I explore processes of change in a more enmeshed approach to time. Often adapting the role of the fieldworker/participant, I crush my physical body and my social being into my work. At the center of my investigations lies the collision of nature, culture, power and time.

Direct Olfactory Stimulation Device (DOSD) is a piece of dining jewelry that adapts human physiology to enable the taste of unavailable species. Inspired by insect physiology (insects use their antennae to smell and thus navigate their world) and long-standing human traditions of technological extension of the senses, the device inserts direct olfactory stimulation into the eating experience.”

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Cedra Wood, Blackberries in Raudfjorden, 2014, graphite on paper, 17 x 13 inches

Cedra WOOdAlbuquerque, New Mexico

Cedra Wood’s paintings and drawings address the complexities of human relationships—internal, interpersonal, and environmental — but refrain from offering simple paths through those relationships. Mixing people and events from her own history, and depicting characters, costumes and tools drawn from what she finds around her, she creates plausible but unlikely scenes that touch on ideas of survival, belonging and adaptation.

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GRid diALECT By Rhiannon Mercer & Claude Smith

The things we encounter in our world are inherently processed through our human tendencies toward reasoning and calculation. Yet, without a record, what becomes of this knowledge or information? How do we organize, compose and represent information gathered from external sources? Once gathered, how is it understood? Perhaps more importantly, what does data, information and research look like visually, and how does (or can?) art contribute to bettering our understanding of it?

For the purposes of this exhibition, visualization is key. Coupled with tactility or other sensory experiences, art/visualization can reveal a richer, more poetic means of representation, the content of which can be directly culled from our personal lives — from our shopping habits and social media trends, to our collective movements and impacts upon the planet, or to recorded patterns and phenomena in weather, wealth distribution, social upheaval, and so on. The works in this exhibition suggest particular artistic practices or approaches that in many ways reveal a depth of process, and more importantly a certain degree of research. This content is compiled through observation, collection and interpretation — all integral parts of the larger conversation between art and science and their systems of representation.

The current accumulated wealth of information offered through the sciences — including the formal, physical, life, social, applied and interdisciplinary sciences and all the numerous subcategories — have been co-opted by artists in ways that illustrate patterns, relationships and trends that would otherwise go unseen. Using what Alberto Cairo describes as “visual thinking,”1 artists use drawings, diagrams,

1 Alberto Cairo, The Functional Art: An Introduction to information graphics and visualization. Berkeley: New Riders, 201322

symbols and written language to depict the most elusive phenomena and abstract concepts, such as time or human consciousness. With the help of increasingly sophisticated instruments to aid our imagination, we can now see and describe a myriad of processes once thought invisible or incomprehensible, revealing worlds we never knew existed. This desire to organize and depict information gleaned from everyday life — thoughts, places and events — reveal countless layers of meaning through the often-interconnected fabric of social, political, economic and environmental causation.

Visual structure is given to the invisible working systems of weather phenomenon by Nathalie Miebach, who translates scientific data related to meteorology and ecology into woven sculptures and musical scores, expanding traditional boundaries of science data into both a sensory and tactile experience. In her process of intersecting science and art, the numbers control the form. Every physical element appearing in the work represents a weather element (temperature, wind speed, etc.) but also embedded are human memories and experiences of the specific events. By interpreting the data into 3D space, the artist works to make science more accessible and art more cerebral.

Mitchell Marti similarly collects data gathered from a variety of sources (such as web RSS feeds, satellite weather info, movements of cattle herds on GPS), which is then fed into a computer program governed by rules set by the artist. The visual outcome reveals a process of variation responding to change in the data, forming incredibly detailed and elegant representations of invisible systems, processes and networks at play. Further translation from computer screen to traditional lithograph presents a static snapshot of such processes, a fleeting moment frozen in time.

Taken a step further, the data-heavy digital mapping by architect and designer Alexander Webb investigates the complexities of human connections in our modern, tech-centric lives. Through cutting-edge technology and human players, Webb and his collaborators have designed a program to visually track the relationships of proximity and social media using visitors to the gallery. The project Relational

Fascia reveals the physical and virtual interactions between (often unsuspecting) people in a spatial diagram.

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The painstakingly hand-drawn translations of data by Bethany Johnson are quite intimate by contrast in their laborious and close personal study. She builds striking, often unexpected relationships through her poetic melding of art, science and philosophy ranging from the microscopic to the galactic. Her drawings, or “field notes” as she refers to them, are evocative of early computer graphics or antique engraving techniques. These small, intricate works could be used to describe her efforts to interpret both real and imagined scenarios that exist between the objective and subjective, the cerebral and emotional.

Offering another personal approach, James Sterling Pitt’s work is emblematic of his interest in capturing the passage of time. Having suffered an accident years ago that drastically affected his short-term memory, art making not only became a vital outlet for helping him remember and order his thoughts, but also serve as concrete vestiges that reference and record distinct memories, events or dreams. These “object-based journals” become both a calendar and a map of personal identity, making the ephemeral concrete and marking the memories and experiences in time.

In turn, going to ground with Matthew Rangel presents an alternate sense of intimacy with the geographic landscape. Embarking upon direct experiences in the terrain, the artist creates an observational, emotional and autobiographical embodiment of place using the language of cartography, topographic field research, navigation and ethnographic and historic inquiry. Part narrative and part illustration, Rangel’s resulting works depict a combination of found imagery and personal insight into geography and memory.

Anne Gilman’s mixed media drawings foreground the abstract aesthetics of human thought process via handwriting, dictation and obsessive journaling. Weaving through Spanish and English, the language and manifestation of meaning through words, symbols, descriptions and classifications remain interpretive, yet in these drawings exist wordless areas that become texture and form, welcoming in edits, concealment and ambiguity. This language as an organization of thought is presented by the artist in nonlinear fashion, reflecting chaos with order and analysis with a certain degree of abandonment to mystery.

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Observing from a particular vantage point that is at once distant and embedded, Ross Racine and Mary Iverson offer views of both our common and cherished landscapes that are threatened or infected by the impacts of rampant consumerism. Using a hybrid process combining the language of drawing and computer imaging, Ross Racine’s attention to suburban sprawl, especially in the American West, is manifest by aerial views reminiscent of the ubiquitous satellite imagery that exaggerate existing situations of urban planning and development. Using the vocabulary of diagrams and concentric circles in his virtual dystopia, they offer a whimsical, and at times, ironic subversion of order, rationality and function with regard to design, calling attention to the conflicts between population growth, extensive land occupation, wasteful over-consumption and current environmental predicaments.

Similarly, the paintings by Mary Iverson reveal the real but invisible infrastructure surrounding global commerce and the drive for supply and demand. Referencing the romanticism of the Hudson River School, Iverson leads her viewers to picturesque vistas of our treasured national landscapes only to be jarred by an unexpected intrusion of freight ships and shipping containers, broken and discarded across the natural beauty. The traffic, wreckage and accumulation is traced through a complex web of vanishing perspective (shipping) lines that crisscross the globe.

The world is under a different kind of scrutiny with husband and wife team Sandow Birk and Elyse Pignolet, who offer two companion maps of the same geographical scene that are remarkable in their comparison. Illustrated through the lens of either a “conservative” or “liberal” world view, each map, both comically and ironically, depicts a representation of the structure and organization of each perception respectively for all corners of the planet. Each is closely aligned to

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The current accumulated wealth of information offered

through the sciences... have been co-opted by artists in ways

that illustrate patterns, relationships and trends that would

otherwise go unseen.

policies or views one might encounter through media outlets like Fox News or conversely, National Public Radio. Such comparisons suggest the kind of influence public view and opinion has in shaping and reinforcing our worldview.

And what if only imagining a new world is not enough? New land begs for a new map, and what began for Jerry Gretzinger in 1963 as a small doodle of an imaginary city, has grown over fifty years later into a gargantuan undertaking of complexity that is Jerry’s

Map. His creative practice in the continual evolution of the map itself is governed by a self-established set of rules that are randomly deployed through play from a deck of cards. This highly internalized game of chance determines where and how fictitious cities and farms grow, develop and are overtaken by rules dictated — and strictly followed — by the artist himself. Though present in the abstract, the awareness of humanity in Jerry’s Map is an implied but distant concept, one easy to dismiss when looking down upon the formal arrangement of order from chaos. That is, unless you are as intimately familiar with every bit of minutia as the artist is, looking onto this quiet and complex world leaves one with a strong sense of its creator rather than the potential inhabitants.

Jane Lackey’s attention to such intimate minutiae in her mixed media works lend a variable amount of uncertainty to the world we are witnessing. Slow-worked and methodical, the circuitry of connection from one part to the next suggests mysterious but working systems. At once schematic, architectural and map-like, there is both a familiar and unfamiliar shift in perspective from micro to macro (are these circuit boards, unidentified networks, site plans or area maps?) leaving one to contemplate an endless possibility of position.

Using the vocabulary of diagrams and concentric circles in

his virtual dystopia,... they [call] attention to the conflicts

between population growth, extensive land occupation,

wasteful over-consumption and current environmental

predicaments.

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For centuries, artists have often demonstrated and possessed an uncanny ability to imagine the world in unique ways, parsing the indecipherable or seemingly mysterious events that shape our lives. Gathering details and specifics around them and transforming this information into a visual structure, the results of such efforts may offer understanding at best, or at least an entry point into an insightful or even illuminating perspective on invisible or difficult concepts. Off the Charts features a group of thirteen contemporary artists and their approaches in documenting, processing, mapping and manipulating a better understanding of the ever-evolving world we inhabit. These artists weave together a fascinating narrative — one dedicated to our inquisitive nature to look closer, and to know.

Rhiannon Mercer is the Associate Director at 516 ARTS and a visual artist. Also a former wildland firefighter, search and rescue volunteer and backcountry trail crew person, these experiences, along with growing up in high profile nuclear areas in the West, have fed her imagination and aesthetic. She holds an MFA in Painting and Drawing from the University of New Mexico and a BA in Painting from the University of Nevada, Reno. Since 2006 she has been involved in every aspect of Albuquerque’s leading contemporary arts organization, including coordinating and curating several exhibitions.

Claude Smith is the Education and Exhibitions Manager at 516 ARTS. He received undergraduate degrees in both Biology and Art History from the University of New Mexico in 2007. He has curated and organized exhibitions at 516 ARTS, Inpost Artspace and the Tamarind Institute and the New Mexico Museum of Natural History among others, and is a contributing writer to New American Paintings online.

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Sandow Birk & Elyse Pignolet, A Conservative Map of the World, 2011, 6-color lithograph, 34 x 46 inches, courtesy Tamarind Institute, collaborating printer Bill Lagattuta, edition of 20

sandOW BirK & elyse PiGnOlet

Los Angeles, California

Los Angeles artists Sandow Birk and Elyse Pignolet have collaborated in the creation of two world maps that manage to skewer both right wing and left wing political views simultaneously. As artists in residence at the Montalvo Art Center in Los Gatos, CA, in the winter of 2011, the artists – who often collaborate on various projects from huge public murals to small, intimate drawings – attempted to put into perspective the two different worlds that seemed to be emanating out of their radios and newspapers. The two resulting large-scale prints mimic the style, colors, and format of old elementary school pull-down maps. As Art In Print magazine writes, “...[A]rtists Sandow Birk and Elyse Pignolet have cleverly given us two maps for one world; together they illustrate how it is that we can use the same words…and yet be talking about completely different things.”

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Anne Gilman, Random Occurrences, 2013, pencil, ink, paint, charcoal, matte medium on paper, 39.5 x 27.5 inches

anne GilMan Brooklyn, New York

“Language and ways of communicating are central themes in my work. I use text and charting to organize information around ideas such as time, balance, brain function, word usage, deception, illusion, and what can and cannot be controlled. The writing is in Spanish and English and occurs extemporaneously as I draw with definitions of words forming a part of the data that is incorporated into larger themes.”

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Jerry Gretzinger, Jerry’s Map (detail of panel n1w16), 1963 - present, mixed media on paper, size variable

Jerry GretzinGer Maple City, Michigan

“In 1963 I began drawing a map of an imaginary city. It started as a doodle done in spare time. I continued to add to that map for years until 1983, when I set it aside. My son, Henry, found it one day rummaging through the attic of our home in Cold Spring, New York. It triggered me to continue the project. It now comprises over 3200 individual 8x10 inch panels. Its execution, in acrylic, marker, colored pencil, ink, collage, and inkjet print on heavy paper, is dictated by the interplay between an elaborate set of rules and randomly generated instructions.”

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Mary Iverson, Shipbreaking, Mount Rainier, 2013, oil on canvas, 48 x 60 inches

Mary iversOnSeattle, Washington

“These works consider the act of shipbreaking, the end of life dismantling of container ships. Shipbreaking is done largely on beaches in third world countries. Hulls are pulled apart using ropes and pullies, welding torches and crowbars, without adequate protection for workers and with no concern for the environment. This process enables the cheap recycling of ships for parts and materials, but it is done at a human cost and an environmental cost. Most Americans are not aware of the shipbreaking process but it is worked into the low cost of the goods we enjoy purchasing at a bargain. My paintings suggest that if shipbreaking were to be done on our pristine lands, we might feel differently about the price of things.”

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Bethany Johnson, Apollo Stacks (detail), 2014, ink on paper, 11 x 8.5 inches courtesy Moody Gallery, Houston

Bethany JOhnsOn Austin, Texas

“My work revolves around the study of systems and the visual representation of information. I investigate and collapse the various methods of science, cartography, philosophy, poetry and visual art, all of which propose different systems of interpreting and recording phenomena. Between science and poetry, this is where I intend my work to operate: at once methodical and impulsive, objective and subjective, cerebral and emotional. In my most recent work, this has manifested in the painstaking but reverent production of drawings from sources ranging from subterranean seismic data through photographs taken by the Mars Curiosity rover.”

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Jane Lackey, trans-scape 1 (detail), 2012, paint, tape, thread on kozo paper, 24 x 108 inches

Jane laCKeySanta Fe, New Mexico

“Reductive conceptual thinking, body-based systems and sensory expression merge in my drawings to pinpoint intersections of human interaction and communication. trans-scape 1 and 2 mitigate qualities of containment and movement. Over several years, I have developed a relatively simple, intuitive process of drawing on translucent paper using sticky materials such as tape and labels with paint and stitched thread to lock and unlock relationships. Within a fluid process of placing labels, applying paint and removing labels, abstract schema of architecture and landscape are suggested through the juxtaposition of enclosed space and intervals of passage. The sheerness of surface projects a shifting atmosphere as you see through the paper to thread ends that float behind. The drawings have the familiarity of a place remembered, imagined or enacted on a micro-level beneath the skin. Map-like, the delicate scale of materials demand close intimate viewing and the time it takes to trace and follow the complex surface of marks over a long horizontal format.”

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Mitchell Marti, Full Empty, 2012, lithograph, 29 x 22 inches

MitChell MartiSanta Fe, New Mexico

“These prints are snapshots of a process. They are select stills pulled from the early preliminary animation sketches for a larger generative animation (Condition, 2012). The structural variation from one image to the next is a response in changes to streaming data, triggering the speed, scale and other variables. The animations are designed to live streaming broadcasts without any recording to media, however, on occasion, certain variations were saved, recorded and printed as lithographs.”

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Nathalie Miebach, The Fifteen Ships of Georges Banks, 2015, reed, wood, rope, data, 20 x 20 x 20 inches, courtesy of the artist & Miller Yezerski Gallery

nathalie MieBaCh Boston, Massachusetts

Nathalie Miebach explores the intersection of art and science by translating scientific data related to meteorology, ecology and oceanography into woven sculptures and musical scores/performances. Her main method of data translation is that of basket weaving, which functions as a simple, tactile grid through which to interpret data into 3D space. Central to this work is her desire to explore the role visual and musical aesthetics play in the translation and understanding of complex scientific systems, such as weather. By utilizing artistic processes and everyday materials, she is questioning and expanding the traditional boundaries through which science data has been visually translated (ex: graphs, diagrams), while at the same time provoking expectations of what kind of visual vocabulary is considered to be in the domain of ‘science’ or ‘art’. The pieces in this show are functional sculptural musical scores that are built entirely out of weather data related to specific meteorological events. Embedded in how the numerical information is visually translated, are human memories and experiences of the actual events. The juxtaposition of objective data and more nuanced, subjective readings of weather, lead to a musical/sculptural translation that explores how human emotions and experiences influence the perception of weather.

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James Sterling Pitt, Untitled (Flashes/Field), 2015, acrylic on wood, 20.5” x 16.25” x 2.5 inches, courtesy of the artist & Anglim Gilbert Gallery

JaMes sterlinG Pitt Oakland, California

James Sterling Pitt’s sculptures are carved and assembled from sheets of wood, each subtly colorful piece is a concrete rendering of a chosen moment in the life of the artist. Pitt’s process first records his experience of a time and place in a drawn sketch, sometimes created on-site. The resulting wood constructions are realized within a very personal system whose format allows subjectivity and impressions to meld with elements (weather, time of day), sensations (scents and music) and associations of the intellect (literature or historical figures.)

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rOss raCineMontreal, Québec

“Drawn freehand directly on a computer and printed with an inkjet printer, my drawings do not contain photographs or scanned material. The subjects of my work may be interpreted equally as models for planned communities or as aerial views of fictional suburbs. At the intersection of two approaches, the drawings use a perpendicular viewpoint to combine the abstract qualities of maps with the descriptive powers of landscape art. Encouraging a reflective attitude by its distant viewpoint, the aerial view is used here to comment on society’s transformation of the natural landscape. Beyond the suburban example, these digital drawings are a way of thinking about design, the city and society as a whole.”

Ross Racine, The Oaks, 2012, digital drawing, inkjet print, 23.75 x 31.5 inches, edition of 5 37

MattheW ranGellAlbuquerque, New Mexico

“My work consists of creative inquiry of how human constructs of land shape my embodiment of place. Framed by the graphically encoded language of cartography, my traditional and digital printmaking explorations begin with adventurous topographic field research involving a variety of different disciplines including extended cross-country navigation, observation-based drawing, photography, ecological, ethnographic and historic inquiry.”

Matthew Rangel, Laliderer Wande, 2014, lithograph, 22 x 28.5 inches38

Alexander Webb, Relational Fascia (detail), 2015, multi-media installation, dimensions variable

alexander WeBBAlbuquerque, New Mexico

“A digital mapping of human connections, Relational Fascia describes the relationships of proximity and social media using the visitors in the space. The connections of physical and virtual interaction are shown with a similar weight, denoting the multiplicities of relationships between people – often unknown to themselves. Relational Fascia illuminates the relational tissue between us, and presents these relationships in a spacial diagram.”

Relational Fascia was created with the help of Kameron Baumgardner and David Beining.

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artists’ BiOGraPhies

KNEW NoRMAL

GALA BENt received a BFA from Ball State University and an MFA from State University of New York (SUNY) at Buffalo and currently teaches at Cornish College of the Arts in Seattle. She is represented by G. Gibson Gallery in Seattle, and has shown nationally and internationally. Her illustration work includes clients like Asthmatic Kitty Records, The Polyphonic Spree and Elsevier Publishers. Her work is in collections including the Jordan Schnitzer Print Collection and Microsoft Art Collection.

A native of Poland currently based in New York City, MAGDA BIERNAt is a contemporary art photographer specializing in architecture and interiors and is the former photo editor of Metropolis Magazine. She received her MFA in New Media from Transart Institute in Berlin and New York. Her photographs have been widely published and her personal work has been exhibited both nationally and internationally. She has been the recipient of several awards, and her recent project from Antarctica to Alaska has been featured monthly on The New Yorker’s photo blog.

NICK BRoWN was born in 1973 in Wolverhampton, England. He received his MFA from the School of the Art Institute of Chicago in 2000. He currently resides in Los Angeles and teaches in the Department of the Arts at the UCLA Extension program. His work has been exhibited at numerous galleries and museums nationwide, such as the Museum of Contemporary Art in Chicago (2002), PS 122 in New York (2005), and the Torrance Art Museum (2014).

MEL ChIN was born in Houston in 1951. He is known for the broad range of approaches in his art, including works that require multi-disciplinary, collaborative teamwork and works that conjoin cross-cultural aesthetics with complex ideas. Chin has received numerous awards and grants from organizations such as the National Endowment for the Arts, New York State Council for the Arts, Art Matters, Creative Capital, and the Penny McCall, Pollock/ Krasner, Joan Mitchell, Rockefeller and Louis Comfort Tiffany Foundations, among others.

ADRIANE CoLBuRN’s recent work has been exhibited throughout the United States and internationally. A penchant for research and direct experience has led her to participate in scientific expeditions in the Arctic, the Amazon and at sea. She has been an artist in residence at the Headlands Center for the Arts, the Macdowell Colony, the Kala Institute and The Blue Mountain Center. Colburn is currently on the faculty at Bard College and is based in San Francisco and New England.

NAoMI KIzhNER is a mixed media, industrial designer. Born in Ukraine and raised in Israel, she earned her Bachelor of Design from the Inclusive Industrial Design

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department of Hadassah College in Jerusalem, Israel (2014) and also attended a BA program of Political Science & History at the Hebrew University of Jerusalem (2008). Her Energy Addicts project has been featured in numerous design and technology publications and been exhibited internationally.

LEE LEE has developed a process-oriented practice that conveys emotional textures within communities facing environmental disruption based on direct experience in over 50 countries. Integrating a figurative tradition into the emergent fields of social engagement, as well as research and mobilities practices, her projects address global issues on a hyper local level by collaborating with grassroots organizations.

WENDy MASoN is a multi-discipline, Los Angeles based artist. Her work has been exhibited nationally and internationally. She was co-founder of the curatorial projects Mule (2003-2004) and Slab (2008-2009), and has been published in X-tra magazine for her review of A Rose has no teeth: Bruce Nauman in the 1960s, University of California, Berkeley Art Museum. She has an MFA from CalArts and a BFA from The School of The Art Institute of Chicago.

NINA MoNtENEGRo’s projects have been exhibited both locally and internationally and have been printed in publications such as Orion Magazine, Art in America, and Grist. She has designed and made work for organizations such as Greenpeace, Depave, Sightline Institute, 350.org, and more. In 2015 she was awarded a Regional Arts and Culture Council grant and is a wilderness guide for Signal Fire, living and working on an organic farm outside of Portland.

RyAN PIERCE’s work has been exhibited internationally and has been recognized by grants from the Joan Mitchell and San Francisco Foundations as well as by reviews in Art in America, Art Papers, and The Oregonian. Pierce has been an artist in residence at the Ucross Foundation, Caldera, and Lademoen Kunstnerverksteder in Norway, and a fellowship at the Jordan Schnitzer Printmaking Residency at Sitka Center for Art & Ecology. He is represented by Elizabeth Leach Gallery and is the co-founder of Signal Fire.

LILIANA PoRtER’s work has been featured in many significant solo and group exhibitions across the world and is in many public and private collections. Her work is represented by galleries in Europe, Latin America and the United States. She is a co-founder of the New York Graphic Workshop, and was recognized with a 1980 Guggenheim Fellowship, three New York Foundation for the Arts Fellowships (1985, 1996, 1999), the Mid Atlantic/NEA Regional Fellowship (1994), and seven PSC-CUNY research awards (from 1994 to 2004). She was a professor at Queens College, CUNY until 2007.

DARIo RoBLEto received his BFA from the University of Texas at San Antonio and has had over 30 solo exhibitions since 1997. Robleto has been visiting artist and

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lecturer at many colleges and universities. His awards have included the International Association of Art Critics Award in 2004 for best exhibition in a commercial gallery at the national level and recipient of both the 2007 Joan Mitchell Foundation Grant and the 2009 USA Rasmuson Fellowship. In 2011 he was a Smithsonian Artist Research Fellow.

MIRIAM SIMuN’s work is based in scientific, historical and ethnographic research and has been presented internationally. Her work has been supported by Creative Capital, Robert Rauschenberg Foundation, Joan Mitchell Foundation and the Foundation for Contemporary Arts, and recognized internationally in publications including the BBC, New York Times, CBC, MTV, The New Yorker, Forbes, Art21 and ARTNews.

CEDRA WooD makes that create narrative metaphors for humanity’s relationships with the environment. She received a BA from Austin College and an MFA from the University of New Mexico. She was a research fellow at the Center for Art + Environment at the Nevada Museum of Art and has participated in residencies in the American West, Australia and the Arctic. She currently lives and works in New Mexico.

off thE ChARtS

Los Angeles artist SANDoW BIRK is a graduate of the Otis/Parson’s Art Institute. He is the recipient of many awards including a Guggenheim Fellowship and a Fulbright scholarship to Brazil. Recent projects have dealt with the war in Iraq, the Constitution of the United States and the Holy Qur’an. He is represented by the Koplin del Rio Gallery in Los Angeles, Catharine Clark Gallery in San Francisco and P.P.O.W Gallery in New York City.

ELySE PIGNoLEt is of American with Filipino heritage based in Los Angeles. Working primarily in ceramics, her work has been inspired by numerous social issues and urban themes. She has completed several public art projects including three large murals at the SFJAZZ Center in San Francisco and often collaborates with Sandow Birk on large and small projects.

ANNE GILMAN is a Brooklyn-based artist whose work has been included in exhibitions throughout the United States, Latin America and Europe. She was a recipient of a Fellowship from the Edward Albee Foundation and MacDowell Colony. Her work was featured in Bomb Magazine, Guernica, Publishing Perspectives, Prattfolio and the Spanish-language magazine Literal. In April 2015, her work was the subject of a solo exhibition at Instituto Cervantes in New York.

JERRy GREtzINGER studied architecture and liberal arts at the Universities of Michigan and California. He joined the Peace Corps in 1966 and spent two years in Tunisia, returning in 1968 as an architect with an archeological team to catalog the Roman mosaics there. He returned to the United States in 1973 and started a handbag design

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company in New York. In the early 1980s he was joined by his wife in the design and manufacture of women’s clothing. He retired to Maple City, Michigan in 2004.

MARy IvERSoN’s paintings focus on the shipping industry and its influence on culture and the environment. This year her work has been extensively profiled in both print and online magazines, including Juxtapoz Magazine, art ltd., Colossal and Grist.org. She is represented by G. Gibson Gallery in Seattle and also by galleries in Los Angeles, San Francisco, Germany and Singapore. Mary teaches Drawing and Painting at Skagit Valley College in Mount Vernon, Washington where she is a tenured faculty member.

BEthANy JohNSoN lives and works in Austin, Texas. She received her MFA in 2011 from the University of Texas at Austin. She has exhibited nationally with McKinney Avenue Contemporary, Austin Museum of Art, Galveston Art Center and Champion Gallery, among others. Her work has been featured in New American Paintings, The Huffington Post, Hyperallergic, the Austin American Statesman and the Austin Chronicle. She is currently represented by Moody Gallery in Houston, Texas.

Santa Fe-based artist JANE LACKEy’s work has been shown in solo and group exhibitions nationally and internationally. In 2011, she was awarded a Creative Artist Exchange Fellowship from the NEA/Japan Friendship Commission during which she spent five months in Kyoto and surrounding areas. Other residencies include La Napoule Foundation (1989) and the Camargo Foundation Fellowship (2005). She has been the recipient of individual artist’s grants from the National Endowment of the Arts, the Illinois Arts Council and Artist Trust, Seattle.

MItChELL MARtI is printer and publisher living in Santa Fe, New Mexico. He is currently concentrating on publishing fine press books and ephemera under the imprint Interbang Press. He was featured in the recent traveling exhibition and publication Pressing the Limits: Four Contemporary American Printmakers (Vertex Editions, 2015). He received an MFA from the University of New Mexico where he studied Electronic Arts.

NAthALIE MIEBACh is the recipient of numerous awards and residencies, including a recent nomination for the World Technology Award, Brother Thomas Award and the Women to Watch Smithsonian Award. She completed her undergraduate studies in Chinese and Political Science at Oberlin College and received an MFA in sculpture and an MSAE in Art Education from Massachusetts College of Art. Her work has been shown in the United States, Europe and Australia and has been reviewed by publications spanning fine arts, craft, design, science and technology.

JAMES StERLING PItt received a BFA from the University of New Mexico and an MFA from Mills College. He has had numerous solo and group exhibitions both nationally and internationally. Most recently he has had solo exhibitions with Gallery Paule Anglim, San Francisco and Steven Zevitas Gallery, Boston. In 2014, his work was the

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focus of an exhibition at the University Galleries at Texas State University and included in the exhibition Color Shift at the Berkeley Art Museum.

Montreal-based artist RoSS RACINE’s prints have been shown in solo and group exhibitions in the United States, Canada and Europe. His work is in numerous public and private collections, including the New York Public Library Print Collection, the Des Moines Art Center, the Johnson & Johnson Collection and the Hunterdon Museum of Art. He is the recipient of several grants and awards, notably the Biennial Prize at the Biennale Internationale de Gravure Contemporaine in Liège, Belgium and several grants from the Canada Council.

MAtthEW RANGEL received an MFA in Printmaking from the University of Alberta and a BFA in Drawing, Painting and Printmaking from California State University Long Beach. His work has been featured in international publications as well as in national and international exhibitions, and is included in collections such as the White House in Washington DC, the Urban Land Institute and Mount Tai National Park in China. He is currently an Assistant Professor of Printmaking at the University of New Mexico.

ALExANDER WEBB is the Assistant Professor of Emergent Technology at the University of New Mexico, and a PhD candidate in Digital Design at the European Graduate School. He holds an MA in Architecture from the Southern California Institute of Architecture, a BFA from Colorado College, and has also studied Architecture and Design at the Berlage Institute and Columbia University. Webb lives and works in Albuquerque where he is a licensed architect and a LEED Associated Professional.

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516 ARTS is an independent, nonprofit contemporary arts organization, operating

a museum-style gallery in Downtown Albuquerque. We offer programs that

inspire curiosity, dialogue, risk-taking and creative experimentation, showcasing

a mix of established, emerging, local, national and international artists from a

variety of cultural backgrounds. Our mission is to forge connections between art

and audiences, and our vision is to be an active partner in developing the cultural

landscape of Albuquerque and New Mexico. Our values are inquiry, diversity,

collaboration and accessibility.

ADvISoRy BoARD

Hakim Bellamy

Michael Berman

Sherri Brueggemann

Christopher Burmeister

David Campbell

Andrew Connors

Debi Dodge

Lisa Gill

Idris Goodwin

Tom Guralnick

Deborah Jojola

Jane Kennedy

Arif Khan

Elsa Menéndez

Henry Rael

Mary Anne Redding

Rick Rennie

Augustine Romero

Rob Strell

Laurie Tarbell

Randy Trask

Marta Weber

Will K. Wilkins

Robert Wilson

BoARD of DIRECtoRS

Nancy Salem, Chair

Suzanne Sbarge, President/Founder

Clint Wells, Vice President

Juan Abeyta, Treasurer

Jenny McMath, Secretary

Diane Burke

Danny Lopez

Kymberly Pinder

Arturo Sandoval

Paula Smith-Hawkins

© 2015, 516 ARTSCatalog published by 516 ARTS, 516 Central Ave. SW, Albuquerque, NM, 87102tel. 505-242-1445, www.516arts.orgDesign: Suzanne Sbarge • Printing: Don Mickey Designs

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GRANt fuNDERS

The Andy Warhol Foundation

for the Visual Arts

Bernalillo County

City of Albuquerque

Mayor Richard J. Berry & City Council

Cultural Services Department

Urban Enhancement Trust Fund

The FUNd

of Albuquerque Community Foundation

McCune Charitable Foundation

NPN/Visual Arts Network

New Mexico Arts, a division of the Office

of Cultural Affairs, with the National

Endowment for the Arts

SPoNSoRS

Bank of America/Merrill Lynch

Goodman Realty Group

Hotel Andaluz

Juntos/Conservation Voters New Mexico

Mid-Region Council of Governments

Levitated Toy Factory

Positive Energy Solar

Union of Concerned Scientists

University of New Mexico

College of Fine Arts

School of Engineering

Office of the Provost/Research Office

DoNoRS

Diane Burke

Geltmore, LLC

Nion McEvoy

New Mexico Orthopaedics

Rick Rennie & Sandy Hill

Nancy Salem

Strell Design

Randy Trask

David Vogel & Marietta Patricia Leis

Clint Wells

StAff & CoNSuLtANtS

Suzanne Sbarge

Executive Director

Rhiannon Mercer

Associate Director

Teresa Buscemi

Programs & New Media Manager

Claude Smith

Education & Exhibitions Manager

JoDee Chavez

AmeriCorps VISTA STEAM Coordinator

Jane Kennedy

Development Associate

Janice Fowler

Bookkeeper

Kathy Garrett

Numbercrunchers, Accountant

Melody Mock

Website Designer

SPECIAL thANKS

Albuquerque Art Business Association

ABQ Convention & Visitors Bureau

Bella Roma B&B

Café Caribe ABQ

Dent Fine Art Services

Heritage Hotels & Resorts

Historic District Improvement Company

Hyatt Regency Albuquerque

KUNM Radio 89.9 FM

Don Mickey Designs

Pyragraph

Screen Images, Inc.

Stubblefield Screenprint Company

MEDIA PARtNERS

Albuquerque Journal, Lead Media Partner

KUNM Radio 89.9 FM

Pyragraph

Weekly Alibi

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