A Hundred Cups of Coffee by Miriam Sagan is a finalist in the cover design category! An excellent read for quarantine, copies can be purchased from Small Press Distribution.
The new Axle Contemporary show is live! Feminist Art in the Trump Era, curated by Lucy Lippard. All the work can be seen online and will also be showcased at Axle.
I’m very pleased to be a part of this upcoming show at Axle Contemporary in Santa Fe!
Feminist Art in the Trump Era
juried by Lucy R. Lippard
September 11 – November 3
Feminist Art in the Trump Era is an exhibition of works by 27 New Mexico based artists that explore various feminist realities and rants. Works chosen for this exhibition from an open call to New Mexico based artists resonate with the hopefully soon- to-be-extinct Trump era. The exhibition will take place on the occasion of the 100 year anniversary of the 19th Amendment to the US Constitution and the 10 year anniversary of the founding of the Axle Contemporary mobile artspace.
In this time of social distancing, we’ve done several interviews! First is a Cline’s Corner interview with Miriam Sagan where she discusses our new fairy house installation, and second Miriam and Isabel were interviewed by Creative at the Wheel on feminism and their artistic collaboration. We hope you enjoy listening!
The second sculpture of the summer is completed! A companion piece to Scratch– TIAMAT, ancient Near Eastern goddess of primordial creation, goddess of where fresh water meets salt. Brought to you by the Maternal Mitochondria creative team.
the drawn outline
30,000 years ago
trees sketched by fire
you change your name
as I change my clothes
In 2017, the Maternal Mitochondria creative team went to Japan. There we saw so many kinds of spirit houses—from Shinto shrines to municipal pagodas to small portable altars. When we came home to New Mexico, we wanted to build our own.
The initial three fairy houses are open! (We hope to create a total of nine). Each is made of recycled metal. And each houses a poem that tells the tale of its denizens—the supernatural creatures who work and party in each.
The Cabin is lit up from within by the fire of the earth’s core. Brownie miners descend to seek riches in the earth.
The Cantina is a way station where fire foxes—messengers of the divine—can take a break from their delivery rounds and have a drink.
The Mushroom is a landing pad for winged pixies, even as it is part of the natural cycle of birth and decay.
View original post 441 more words
This photocollage series is part of an ongoing investigation into the body as self. Two of the three photographs were in gallery shows themed on the topics of women & gender, Art as Advocacy: Promoting Equity and Social Justice for Women (Illinois) and enGENDERing Change (Colorado).
This project addresses certain existential questions about the female
body, ranging from using the “selfie” format to photographing dementia.
Simone de Beauvoir speaks of “the strange ambiguity of existence made
body,” so this exploration hopes to address that ambiguity by exploring
the relationship between the viewer and the viewed, between the face and
the camera lens, the audience and the photograph. Each person who was
photographed was also struggling with an invisible disability. Issues of
the body and the self are compounded when that body is seen as a
betrayal, through the lens of body dysphoria, or as antagonistic to the
spirit. What is hidden v. what is shown is a theme that runs throughout
the work. What does it mean to be who you were before you were born?
What does it mean to have a female body? A disabled body? A body with a
familial lineage, within a societal context? We hope to address these
questions while remaining open-ended.