Encompass: (re)conceive - works of reclamation // Exhibition Catalog

ENCoMPaSS (re)conceive: works of reclamation

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ENCOMPASS an all ages art celebration

Harwood Art Center March 9 - April 14, 2022

Curated by Helen Atkins, Jordyn Bernicke and Julia Mandeville

COVER: Robyn Tsinnajinnie (Diné), Myths, Acrylic on canvas, 2021, 24” x 18”

Harwood Art Center is pleased to present Encompass, a unique all ages art celebration that takes place annually. This year Encompass features three gallery exhibitions, hands-on art making projects, live music, food trucks, and activities for all ages. Encompass is both a reflection of and an offering to our community. In 2022 our theme is (re)conceive: works of reclamation and highlights artists that deconstruct and reconstruct notions of social order - particularly investigating norms of domesticity, building spaces of comfort, and redefining what, and who, is home.

Encompass is Harwood’s capstone celebration for the year.

The featured exhibitions are: (re)conceive: works of reclamation: A group exhibition that deconstructs and reconstructs notions of social order - particularly investigating norms of domesticity, building spaces of comfort, and redefining what, and who, is home. Featuring MK, Lindsay Brenner, Jami Porter Lara, Linda Montagnoli, Margarita Paz-Pedro, Kei and Molly Textiles & Robyn Tsinnanjinnie.

Splish Splash: An exhibition born out of a mutual affinity for the quiet stillness shared with oneself in a bath featuring Caitlin Carcerano and Charis Fleshner. There’s a tension with vulnerability in bathtubs; the bather is in a position where they are very exposed, but simultaneously feeling safe, calm, taken care of, and even healed. It is a brave thing to want to address and share this vulnerability. The artists make the private public and invite people into this space.

Dr. Dalyoncar’s Dreamatorium: Dreamed up by the Escuela del Sol Montessori Jr. High, and made

by Escuela Elementary and Jr. High Students, this exhibition welcomes you to Dr. Dalyoncar’s Dreamatorium! In this magical place the doctor will study your dreams, document them, and mount them on his dream wall.

Many thanks to our generous Encompass sponsoring partners: Albuquerque Art Business Association / ARTScrawl, The Albuquerque Community Foundation, McCune Charitable Foundation, New Mexico Arts and National Endowment for the Arts, City of Albuquerque Urban Enhancement Trust Fund, US Bank, and A Good Sign. Special thanks to Nusenda Foundation and Sandia Foundation for support of our Creative Roots program and to Fay Abrams and to Debi & Clint Dodge for support of our exhibiting and commission artists.

Our annual capstone event Encompass is a marker in time. Bringing together the many creators, educators, and culture makers of Harwood Art Center, we harvest the fruits from a year past, and look forward to the blossoms of the future. This year, we celebrate notions of home, rebirth, respite, and reclamation. In many ways these themes express the current condition of Harwood Art Center. As we emerge from two years of immense redirection and change, we look forward- reinvigorating and reclaiming our campus as a place of creation and belonging for our community.

The group exhibition (Re)conceive: Works of Reclamation features seven unique New Mexico based artists and organizations whose work reconstructs notions of social order – particularly investigating norms of domesticity. Kei & Molly Textiles is a staple of our community. The installation of their flour sacks exalt art made for everyday living, breaking boundaries of typical “fine art” practices.Their products and practice show that fine art and commerce can be both accessible and regenerative.

Lindsay Brenner creates her own cocoon of comfort with her sculptural performance piece. As she crochets her own garment with recycled material, she evokes notions of “women’s work,” honoring art forms that are often dismissed. Linda Montigonali reimagines traditional textiles with her vibrant (re)Constructed Rugs. Her decades-long practice feels at home in a contemporary setting, and it is evident that her textile abstractions have been ahead of their time.

Robyn Tsinnajinnie confronts stereotypes at the intersection of her identity with whimsy and clarity.

Her pristine paintings subvert societal misinformation, presenting women in an almost deified strength.

The Function of Functionality by Margarita Paz-Pedro reimagines the confines of a table setting.

Drawing from her own experience and identity, her work decolonizes the fine art and domestic practices she references. Jami Porter Lara addresses the nuances of motherly love with her use of the word “Only” in her White Work installation. Her pairing of linguistic and domestic imagery creates a quiet place where viewers can confront the discomforts of home. MK’s installation death parts you and me is radiant with energy that holds space for love and sorrow. The large scale images paired with delicate found objects create a peice that is both intimate and immense, inducing a comfort in the gallery that feels like home.

Caitlin Carcerano and Charis Fleshner share the sacredness of solitude with their exhibition Splish Splash. With the pairing of Carcerano’s illustrative oil paintings and Fleshner’s tactile installation, the two create a space of whimsy and refuge that is both private and welcoming. Across the hall we are transported into another dreamscape imagined by Escuela del Sol Montessori Jr. High, and made in collaboration with Escuela Elementary Students. Dr. Dalyoncar’s Dreamatorium is a magical place where the “doctor” studies dreams, and audience members are able to share their deepest thoughts and hopes.

In the spirit of Encompass our galleries showcase art made from all ages and a wide range of experience and identity. Together they are reflective of our community, and our mission at Harwood Art Center. Art is for everyone, home is for everyone, and creativity is the seed of change.

(re)conceive: works of reclam

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Page 5: (re)conceive installation, (L-R) Jami Porter Lara, Lindsay Brenner, Kei & Molly Textiles, Margarita Paz-Pedro & Linda Montagnoli.

Splish Splash installation, Caitlin Carcerano. Page 6: (re)conceive installation, (L-R) Linda Montagnoli & Robyn Tsinnanjinnie Aziza Murray & Harwood Art Center, All Rights Reserved

mation A group exhibition that deconstructs and reconstructs notions of social order – particularly investigating norms of domesticity, building spaces of comfort, and redefining what, and who, is home. Featuring MK, Lindsay Brenner, Jami Porter Lara, Linda Montagnoli, Margarita Paz-Pedro, Kei and Molly Textiles & Robyn Tsinnanjinnie.

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MK

8 Pages 8 - 11: MK, death parts you and me, installation, 2022 Aziza Murray & Harwood Art Center, All Rights Reserved

mk is an artist living in Albuquerque, New Mexico. In 2017, they received their BFA in Photography and Digital Media from the University of Houston and are completing their MFA in Photography at the University of New Mexico.

They are originally from a small rural town by the name of Sulligent, Alabama. A driving force for the majority of their work, mk has expanded on the concept of home encompassing place, family, and the self. Using found items, stories, and the longing to be back in their small town, mk investigates coping mechanisms through the function of photographic memory. They work in a variety of mediums ranging from photography, printmaking, and sculpture to pursue and question their upbringing, identity, family, and the terms of loss and memory. www.mnkndy.com

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10 Jordan Caldwell, Corner Store, oil on canvas, 48″ x36″, 2020

Jordan Caldwell, Installation, 2021, Aziza Murray and Harwood Art Center, All Rights Reserved

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LINDSAY BRENNER

12 Pages 12-14: Lindsay Brenner, Recylced Fiber Dress, recycled fiber, approximately 5’ 5”, 4’,3”, 2021 Aziza Murray & Harwood Art Center, All Rights Reserved

Lindsay Brenner was born in St.Louis Missouri. She has a bachelor’s degree in studio art from St.Louis University. Throughout her artistic career, she has explored many kinds of media including paint, fiber, recycled items, clay, natural objects, drawing and more.

She has had the opportunity to be exposed to many cultures and ideas, including living in southern Morocco for 27 months as a peace corps volunteer. She has also had the privilege of working with people with developmental disabilities and has recently become an educator. She is currently working to earn my teaching certification credentials to become an elementary/special education teacher.She is fortunate to have had many enriching experiences in her life and hopes artwork can be a reflection of the stories she’s lived. lindsaybrenner.wordpress.com

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“The materials to make this piece have been created by cutting old fabric material from stained or torn garments to recycle into yarn. The garment has been cut into long spirals to create long strips of “ fabric yarn”. I then began to crochet a new, wearable garment- recycling the old garments- into a wearable dress.”

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“For the performance, I wear the dress and continue to crochet it , making it longer, as I’m wearing it.

This performance is a demonstration of endurance as well as creativity. The performance can invoke multifaceted meanings, depending on the viewer’s interpretation from recycling, humor, ridiculousness, “feminine” work, voyeurism, “cocooning”/nesting/safety/softness, solitude…etc…”

Lindsay Brenner, Crochet dress art performance in Santa Fe at Axle Contemporary Matthew Chase-Daniel of Axle Contemporary

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JAMI PORTER LARA

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Jami Porter Lara, Whitework, 2022

Jami Porter Lara is a conceptual artist who is interested in the ways humans use ideas about what is natural to naturalize human political constructs. Through a broad range of formal approaches such as sculpture, print-making and sign-making, as well as sewing and embroidery, Porter Lara explores the ways in which the fictions of identity create lived reality.

She has exhibited widely, including the National Museum of Women in the Arts in Washington, DC, the New Mexico Museum of Art in Santa Fe, and the Museum of Contemporary Art in Los Angeles. Her work is in numerous public collections, including the Cooper Hewitt and the National Museum of Women in the Arts, and has been featured in Art 21 Magazine, CFile, Hyperallergic, and on PBS. Fellowships include MacDowell, Yaddo, and Tamarind, She is currently represented by Gerald Peters Contemporary in Santa Fe and Simon Breitbard Fine Arts in San Francisco. jamiporterlara.com

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“The embroidery rests on a chair: it is the word ONLY, embroidered with asterisks. I’m interested in how ONLY – part of the language of prohibition – is so often enforced in the name of love and care, and an intrinsic duty of mothering…”Onlies” are sometimes tacit and sometimes overt, but we aren’t accustomed to seeing them as prohibition or policing or boundary work. We often valorize (or at least excuse) prohibitions, “onlies” as the ultimate expression of motherly love and devotion to children.

So much violence is done in the name of love… love of country, love of family… and so I am suspicious of the idea that there is a fundamental opposition between love and hate, or between home and hate.”

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Jami Porter Lara, Whitework, 2022 Aziza Murray & Harwood Art Center, All Rights Reserved

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Linda Montagnoli is an Italian American textile artist living and working in Albuquerque, New Mexico. From a young age she was artistic, creating drawings, paintings and poems daily.

She learned traditional sewing and other textile techniques from her mother, which she has evolved into a fine art practice. Artmaking has been a staple of her life and Linda is prolific in her work. She has been involved with local arts organizations such as ArtStreet of Albuquerque Healthcare for the Homeless and OFFCenter Arts and has exhibited her work in many local galleries.

With her unique style and vision, Linda has built a body of work that is recognizable and collected.

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LINDA MONTAGNOLI

Pages 20-23: Linda Montigonali, (Re)constructed Rugs, Yarn, Lace & Found Objects, Dimensions Vary Aziza Murray & Harwood Art Center, All Rights Reserved

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“I see things in shapes and colors. My (Re)custructed Rugs are sometimes viewed as abstractions, but they begin with a theme and through the creation process they evolve. The time and thought spent creating my pieces is meditative- and I imbue my rugs with prayer. My work is constructed from yarn, and other materials less traditional to rug making like lace, charms and other ornamentation. I am passionate about my artwork, and I have worked hard to legitimize this artform, overcoming opposition from many who have dismissed it. When creating each piece I think of the person who will own it- I love to see people happy when they see my rugs.”

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MARGARITA PAZ-PEDRO

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Pages 24 - 27: Margarita Paz-Pedro,, The Function in Functionality, set of bowls, plates cups and table, 2022 Aziza Murray & Harwood Art Center, All Rights Reserved

O Born in Albuquerque, raised in Las Cruces and with family in Laguna Pueblo, Margarita has ties across NM. Her multi-ethnic background (Mexican-American, Laguna Pueblo & Santa Clara Pueblo) is core to her artmaking. She is a ceramic artist, teacher, organizer and muralist. She received her BFA with an emphasis in Ceramics in 2003 from the University of ColoradoBoulder. Then an MA in Art Education in 2008 at the University of New Mexico. In 2006, while at UNM, she did an apprenticeship abroad in Paris, France with an internationally known ceramicist, Madame Fance Franck for five months. In 2009, she was able to travel to Japan for a ceramics exploration trip as a part of an Arita Porcelain class at UNM. In early 2020, she was an Artist in Residence at Institute of American Indian Arts in Santa Fe, where she is currently in the MFAStudio Arts program. pazpedro.com

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“The Function in Functionality” is a “set” of functional wares set upon a table that was made in relation with the forms. The set explores table settings, their origin and purpose. Most table settings are identified by Eastern and Western traditions, with not much in between. I wanted to consider the distinct Indigenous ways of eating and serving food, which is not aligned with Western traditions. For this work, I came to it from my own experience of sharing food, from my individual experience as a Pueblo person, thinking about who is at the table, what would be served and the designs that combine to make a whole. Though keeping in mind that to separate the table from the food, separates the function. Therefore, this set also looks at the function of functional work with in contemporary ceramics through an experimentation of display.”

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KEI & MOLLY TEXTILES

28 Kei & Molly Textiles, Sakura, Raspberry, Flour Sack Dish Towel Kei & Molly Textiles, Tree of Life, Indigo Flour Sack Dish Towel

We are Kei Tsuzuki and Molly Luethi, two social entrepreneurs who are using art as an engine for economic development in Albuquerque. Back in 2010 when we opened our doors, we knew that we could use our business as a way to impact the lives of immigrants and refugees in our community. With over 30 combined years working in the non-profit sector in women’s economic development and education, we started our printing studio to show how a business could be sustainable while doing good. Today, our staff consists of trained artisans, immigrants, and refugees from around the world, working together in craft and production, screen-printing each design by hand to service orders from stores nationwide. Their current staff includes: Hanna Bahador, Yenisey Cortes Carabajal, Thaīs Ansell Coy, Patty James-Jaramillo, Chance Kabayonga, Molly Luethi, Sadiqa Muhammad Jan, Gentille Mwiza, Liberata Norora, Rainy Nunnally, Claudia Peña Arras, Shaima Sediqi, Kei Tsuzuki, Jenni Viita and Nazifa Yousofy. keiandmolly.com

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We are Kei Tsuzuki and Molly Luethi, two social entrepreneurs who are using art as an engine for economic development in Albuquerque. Back in 2010 when we opened our doors, we knew that we could use our business as a way to impact the lives of immigrants and refugees in our community. With over 30 combined years working in the non-profit sector in women’s economic development and education, we started our printing studio to show how a business could be sustainable while doing good. Today, our staff consists of trained artisans, immigrants, and refugees from around the world, working together in craft and production, screen-printing each design by hand to service orders from stores nationwide. Their current staff includes: Hanna Bahador, Yenisey Cortes Carabajal, Thaīs Ansell Coy, Patty James-Jaramillo, Chance Kabayonga, Molly Luethi, Sadiqa Muhammad Jan, Gentille Mwiza, Liberata Norora, Rainy Nunnally, Claudia Peña Arras, Shaima Sediqi, Kei Tsuzuki, Jenni Viita and Nazifa Yousofy. keiandmolly.com

Kei & Molly Textiles, Flour Sack Dish Towel Installation, 2022 Aziza Murray and Harwood Art Center, All Rights Reserved

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Robyn is a Navajo artist from a small reservation surrounded by the endless color of the New Mexican desert. Her experiences with school, people, and living situations had forced her to become independent at a young age. Her independence only motivated her to pursue education and self-confidence in her art. Soon, Robyn realized that being Native and a woman is viewed as a disadvantage but learned that it’s the best advantage she can have.

Her passion for painting grew from the ability to create an unlimited amount of color that would captivate herself and others. She enjoys pairing colors next to each other to create different auras and moods that help communicate her ideas and thoughts through the practice of painting.

Most importantly, painting is a therapeutic practice for Robyn to help herself understand herself as an artist and a Native woman. www.instagram.com/sanftmutig_one

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ROBYN TSINNAJINNIE

Robyn Tsinnajinnie (Diné), Installation, 2022 Aziza Murray and Harwood Art Center, All Rights Reserved

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Growing up primarily around women, Robyn would listen to the many stories that they would all share. Soon, she had noticed common fears and experiences that all women tend to share. These shared stories helped Robyn break down what demonstrates power, despite the odds stacked against female figures. She believes people misrepresent women, and what they’ve done throughout history has gone unnoticed for so long.

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Robyn wants to use the assumptions made on women to her advantage with humor instead of anger. She likes to illustrate women in dominant positions while also placing them in stereotypical environments. Their positions give more power and motivation for other women to address tough realities and help create conversations that need to happen amongst everyone. Ultimately, she wishes to show people how ridiculous stereotypes can be and to allow herself and others to laugh instead of choosing anger.

Robyn Tsinnajinnie (Diné), Rezdusa, acrylic on denim, 2021, 29” x 25” Robyn Tsinnajinnie (Diné), Myths, Acrylic on canvas, 2021, 24” x 18”

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SPLISH SPLASH An exhibition born out of a mutual affinity for the quiet stillness shared with oneself in a bath featuring Caitlin Carcerano and Charis Fleshner.

Splish Splash combines Caitlin’s paintings with Charis’s drop-shaped interactive soft sculptures in a bathtub that viewers are invited to play with. There’s a tension with vulnerability in bathtubs; the bather is in a position where they are very exposed, but simultaneously feeling safe, calm, taken care of, and even healed. It is brave thing to want to address and share this vulnerability. We are making the private public and inviting people into this space. Juxtaposing paintings, with their rich history of non-tactility, against interactive soft sculpture creates another point of tension. We aim to take fine art constructs and break those down by inviting viewers to interact with certain pieces in the show.

Charis Fleshner, Overflow, found objects and soft sculpture, 2022

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Neither Caitlin Carcerano nor Charis Fleshner are afraid of the personal and the tension vulnerability can bring into a public space. Though they work in two different mediums, both Caitlin and Charis embrace softness and a color palette that is unguarded and bright. Viewers are invited to explore their own ability to become vulnerable themselves. Combining painting and interactive soft sculpture creates many different entry points to experience the exhibition from. They also seek to push back against the notion that softness and vulnerability are exclusively feminine characteristics in a patriarchal society.

Caitlin Carcerano, Reclamation, oil and acrylic on canvas, 2020, 24″x30″ Charis Fleshner, Overflow, found objects and soft sculpture, 2022

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CAITLIN CARCERANO

Caitlin Carcerano is a painter who lives and works in Albuquerque, New Mexico.

Her paintings exist as moments in time that are part of a larger, overarching narrative, like a panel in a graphic novel.​In her most recent work, bathtubs serve as a place where she can explore her relationship with vulnerability and the tension between feeling secure and feeling exposed. www.caitlincarcerano.com

Caitlin Carcerano, Tender, oil on canvas, 2021, 34″x52

40Caitlin Carcerano, Pink in the Night, oil and acrylic on canvas, 2020

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CHARIS FLESHNER

Charis Fleshner is a mixed media artist who lives and works in northern Colorado.

Her studio practice centers around play, tactility, and craftivism. Her most recent work involves interactive soft sculpture. Charis has been an art educator for over a decade and her experiences with children influence the way she approaches the gallery space and its historical constructs. She views bringing play and serendipity into the gallery space as a political act. www.charismakesart.com Charis Fleshner, Overflow, found objects and soft sculpture, 2022

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Caitlin Carcerano, Dream House, oil and acrylic on canvas, 2020, 34″x36″ Caitlin Carcerano, Night Shift, oil and acrylic on canvas, 2020, 34″x36″ Charis Fleshner, Overflow, found objects and soft sculpture, 2022

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Dr. Dalyconar’s Dreamatorium Dreamed up by the Escuela del Sol Montessori Jr. High, and made by Escuela Elementary and Jr. High Students, this exhibition welcomes you to Dr. Dalyoncar’s Dreamatorium! In this magical place the doctor will study your dreams, document them, and mount them on his dream wall.

Pages 46 - 53: Escuela Del Sol Montessori Elementary & Jr. High Students, Dr. Dalyoncar’s Dreamatorium Installation, 2022 Aziza Murray and Harwood Art Center, All Rights Reserved

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““We were playing with the idea of doctor office norms, and then finding ways to make them into something special and unique.” - Amelie C, 7th Grade

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Pg 50-51: Ramonda Holiday X Nate Lemuel, Long Lost Family, Digital Photography on Satin Photo Paper, The Dunes, NM (Tewa

52 Pueblo Lands), 34″x48″, 2020; Nate Lemuel, Self Palindrome 21/21/21, Digital Print on Canvas, Bisti Badlands (Diné, Pueblo, and Ute Lands), 24″x24″, 2020

Dr. Dayloncar’s Dreamatorium is a fantastical intersection between modern medicine and pure imagination. The seemingly traditional doctor’s office waiting room gives way to an otherworldly space filled with floating clouds lit from within and occupied by a nest created to be comfy enough for dreaming.

With help from Art Studio guide, Christy Cook, students began exploring the significance of dreaming. They began researching the history of dreams, the significance of dreaming in different cultures, and they even attempted lucid dreaming. A lucid dreamer has awareness of being in the dream itself, and has the ability to change the dream as they progress through it.

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HArWood ArT CENTEr 2022 eXHIbITioN cALeNdAr

JANUARY 18 - FEBRUARY 24 The Artists of ArtStreet, Albuquerque Health Care for the Homeless ArtStreet, an outreach program of Albuquerque Health Care for the Homeless, presents: ArtStreet Unmasked, a collection of work that asks the question “what does it mean to be unmasked?”.

MARCH 7 - APRIL 14 ENCOMPASS: A Multi-Generational Art Event Featuring two indoor exhibitions, Splish Splash featuring Caitlin Carcerano & Charis Fleshner and re)conceive - works of reclamation an exhibition that deconstructs and reconstructs notions of social order featuring Lindsey Brenner, Jami Porter Lara, MK, Linda Montagnoli, Kei and Molly Textiles, Margarita Paz-Pedro & Robyn Tsinnanjinnie.

Encompass is Harwood’s annual event that is both a reflection of and an offering to our community.

APRIL 25 - JUNE 2 Divination of self: Robyn A. Frank A collection of work seeking to imagine, to divine without assuming an outcome, rather — to perform as a meditation on the interconnectedness of self and surrounding.

Bodies of Evidence: Toni Gentilli In Bodies of Evidence, artist Toni Gentilli renders visible the entanglement of human and environmental health, specifically the disproportionate impacts of autoimmunity on women and other chronic conditions linked to ecosystem degradation, and invokes healing through a compendium of naturally dyed textiles, weavings, paintings, sculptures, chlorophyll prints and botanical hydrosols.

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(Top to Bottom): Robyn A. Frank, Dreaming, lucid and otherwise, acrylic paint on wood panel, May 2021; Toni Gentilli, Fruiting Bodies, pigments made from cottonwood catkins with mold, graphite, ochre, and charcoal on cotton rag paper, 2021; Caitlin Carcerano, Tender, oil on canvas, 2021; XuanNhan, Lions Portal, acrylic, 2021

JUNE 13 - JULY 28 SURFACE: Emerging Artists of New Mexico Harwood Art Center’s annual juried exhibition, professional development and endowed cash awards program honors emerging artists currently living and working in New Mexico.

Childlike Behavior: Thomas Bowers Solo Exhibition Winner of our 2021 SURFACE: Emerging Artists of New Mexico.

AUGUST 8 - SEPTEMBER 15 UFO Daydream: Adrian Pijoan A UFO crashes in the desert, is retrieved, and brought to Harwood.

Holy Land: Diego Medina Diego will explore mythologies surrounding the theme of the Holy Land and create maps that transform New Mexico history into cartographic always fantasies that highlight some of the major paralleled between other historical lands and the sacred land of his home state of New Mexico.

SEPTEMBER 26 - NOVEMBER 3 Residency for Art & Social Justice Harwood’s Residency for Art & Social Justice is dedicated to feature and support artists working at the intersections of creative expression and social justice.

For the occasion of Harwood’s 30th Anniversary, we are offering and formally establishing our first official seven month residency program.

DECEMBER 3 12x12 Fundraising Exhibitions Harwood’s annual fundraising exhibitions featuring established, emerging and youth artists from New Mexico. This event includes 150 works that remain anonymous until sold – for the flat rates of $144 (12”x12”) or $36 (6”x6”) and an Artwork Preview before the original works go on sale. Prelude prices vary.

Harwood staff curate four exhibitions annually, ENCOMPASS: A Multi-Generational Art Event, SURFACE: Emerging Artists of New Mexico, and BRIDGE: Art & Social Justice.

12x12 is our annual fundraiser; all proceeds support our free community arts education, outreach and professional development.

(Top to Bottom): Diego Medina, all of this beauty was beloved into being, colored pencil on vintage map, 2021; Thomas Bowers, Crazy House, ink on paper, 2020; Adrian Pijoan, Still from Visions of Homeworld, single channel video, 5:10, 2020; MK, To see you again, archival inkjet print, lace & cotton blend table cloth, 2019

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ABOUT HARWOOD ART CENTER & ESCUELA DEL SOL MONTESSORI HARWOOD ART CENTER’S GALLERIES

is dedicated to providing exhibition, audience expansion and professional development opportunities to artists working in any media and from diverse creative fields. Our gallery program is curated and managed by our Chief Programs Officer and Associate Directors of Opportunity and Engagement. Artists are invited to exhibit during three of our annual capstone events, Encompass, Residency for Art & Social Justice & 12x12, the rest of our exhibitions are awarded to individuals and groups through a competitive application process. Most of our applications are free to apply, any collected fees allocated to replenishing Harwood’s endowed cash awards for the program. Each featured exhibition is a supportive process, we work with the artists from concept development to installation in the galleries. For our 2021 exhibiting artists, we have developed a hybrid offering of both in person and virtual programming. For each exhibition we create comprehensive outreach and digital materials including exhibition catalogs, virtual galleries and artist talks to support the unique visions and voices of our gallery artists.

Seeded in 1991, Harwood Art Center blooms the philosophy of our parent organization Escuela del Sol Montessori, with recognition that learning and expression offer the most resilient pathways to global citizenship, justice and peace. Harwood engages the arts as a catalyst for lifelong learning, cultural enrichment and social change, with programming for every age, background and income level. We believe that equitable access to the arts and opportunities for creative expression are integral to healthy individuals and thriving communities. In all of our work, we cultivate inclusive, reflective environments where everyone feels cared for. We nurture long-term, multi-faceted relationships with participants, building programs with and for diverse communities of Albuquerque. We integrate the arts with social justice, professional and economic growth, and education to cultivate a higher collective quality of life in New Mexico.

For 50 years, Escuela del Sol, an independent Montessori school, has nurtured selfdiscovery, social responsibility and passion for learning in our students. Each day Escuela supports students from ages 18 months to 13 years on their real-world quests to excel academically and to develop the skills they need for meaningful, happy and successful futures.

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HARWOOD ART CENTER’S OFFICIAL GALLERY & EXHIBITION PHOTOGRAPHER We are so thrilled to have an official Harwood Photographer for our galleries program this year! We are able to present the SURFACE Emerging Artists of NM Award and Microgrant of $250 to each of this year’s artists thanks to the Urban Enhancement Trust Fund, New Mexico Arts, National Endowment for the Arts, and the McCune Foundation.

Aziza Murray is a New Mexico based artist working primarily in photography. In 2015 she graduated with an MFA from the University of New Mexico where she also worked as a pictorial archiving fellow for the Center for Southwest Research. Since then, Aziza has worked in different capacities in the film industry in Santa Fe and Albuquerque, further piquing her interest in cinematography. Much of her work stems from a well of nostalgia for objects and moments, the materiality of photography, and her personal history—from experiencing tragic loss at an early age, to her multilayered experiences as a biracial person growing up in Washington, DC. She has shown her work in DC at Connersmith and the Corcoran Gallery of Art, in Albuquerque at the Harwood Art Center, the UNM Art Museum and the National Hispanic Cultural Center and, at MASS Gallery in Austin, TX. azizamurray.com azizamurray@gmail.com

MANY THANkS TO OUR geneROUS paRTnERS. Albuquerque Art Business Association / ARTScrawl, The Albuquerque Community Foundation, McCune Charitable Foundation, New Mexico Arts and National Endowment for the Arts, City of Albuquerque Urban Enhancement Trust Fund, US Bank, and A Good Sign. Special thanks to Nusenda Foundation and Sandia Foundation for support of our Creative Roots program and to Fay Abrams and to Debi & Clint Dodge for support of our exhibiting and commission artists.

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WWW.HARWOODARTCENTER.ORG · 505.242.6367 · 1114 7th NW, ALBUQUERQUE, NM 87102