swimming in it
The University of New Mexico Department of Arts
31st Annual Juried Graduate Show
The Graduate Art Association would like to thank everyone at the University of New Mexico Art Museum who helped make this show possible: Arif Kahn, Mary Stazer, Steven Hurley, Joseph McKee, Susan Holmes, and Devin Geraci.
Thank you also to our advisors, Meggan Gould and Amanda Curreri, for their continued support.
And finally, a huge thank you to the graduate art and art history community. What is gathered here is not indivdual thoughts, ideas, and feelings, but rather a small piece of the collective ‘work’ this community is engaged in.
Rachel Bordeleau
Riverside 2023
earth, water, bin, and digital projection
4 in x 28 in x 24 in
kenton bueche
mom reteaching dad how to dance 2023
color positive film strip hand processed with exhausted chemistry, led strip light, wood
3.5 in x 36 in x 3.5 in
kindergarten rodeo 2023
color positive film strip hand processed with exhausted chemistry, led strip light, wood
3.5 in x 36 in x 3.5 in
Nancy Dewhurst
Without an end or beginning 2023
digital video projection, foam core
36 in x 64 in x 1/2 in
Chloe Dichter
Spoon-Fed #1 2023
silver gelatin print on spoon
7 in x 1.75 in x 1 in
Spoon-Fed #3 2023
silver gelatin print on spoon
7 in x 1.75 in x 1 in
Taylor Engel
Rock Bottom 2023
Blankets, pillows, inkjet photographs, paint, wire, paper clay
30 in x 20 in x 20 in
We Don’t Quit 2023
Chairs, paper clay, towels, saw horse clamps, paint, wood, plastic
70 in x 50 in x 25 in
Zoë Gleitsman
Abberation
2023
Turmeric anthotype & colored pencil 20 in x 30 in
claudia hermano
claudia 2023
analog photograph, archival pigment print
Jess Lanham
Fragments
2024
Video projection on wildfire ash & medical guaze
Diptych, each 12 in x 12 in
Crows
2024
Video projection on wildfire ash
18 in x 24 in
billy von raven
precarity of labor 2023
hand crank music box, music paper, tape, twine, holes, & light
48 in x 60 in (varies)
Emma Ressel
Shifting Baseline Syndrome
2023
archival pigment print 24 in x 30 in
Anna Rotty
Search
2023
archival pigment print 24 in x 36 in
Francis Reynolds
Envelop me (Siringo Road) 2023
archival pigment print
42 in x 31.5 in
Worn and revealed (Roma Avenue) 2023
archival pigment print 11 in x 8.75 in
Unbutton (Brotherhood of Carpenters Training Center) 2023
archival pigment print
11 in x 8.75 in
Lana Scholtz
heavenly nitrile 2023 oil on linen
62 in x 48 in x 2 in
Christopher Schuldt
Release the Doves, But It’s Bats
2023 oil on canvas
90 in x 114 in x 1.75 in
Adelaide Theriault
Portrait of the Mattox Sculpture Center
2023
archival pigment print from digital scan; found dust bunny (insects, hair, skin cells, connton thread, plant matter, other matter)
44 in x 64 in
Maja Ruznic,
Juror
Maja Ruznic (b. Bosnia and Herzegovina, 1983) fuses personal narrative, psychoanalysis, mythology, and esoteric thought into vivid paintings that hybridize figuration and abstraction. Painting variably with oils and gouache on immense and small scales alike, she extracts order from layers of diluted pigment. Ruznic’s practice is informed by her studies, from Slavic shamanism and alchemy to Jungian psychoanalysis and sacred geometry. Imbued with a discordant beauty, her compositions emerge without a premeditated outcome. Ruznic’s introspective, mystical approach places her into a lineage of visionary painters including Paul Klee and Hilma af Klint. Ruznic lives in Placitas, New Mexico.
Recent solo exhibitions include those held at Karma, Los Angeles (2023); Tamarind Institute,
Albuquerque (2022); Karma, New York (2022); and Harwood Museum of Art, Taos, New Mexico (2021).
Ruznic’s work is held in the collections of the Crocker Art Museum, Sacramento, California; Dallas Art Museum; EMMA – Espoo Museum of Modern Art, Espoo, Finland; Harwood Museum of Art, Taos, New Mexico; Jiménez–Colón Collection, Puerto Rico; Portland Art Museum, Oregon; Rachofsky House, Dallas; and San Francisco Museum of Modern Art.
Ruznic’s work will be included in the Whitney Biennial 2024: Even Better Than the Real Thing at the Whitney Museum of American Art in New York.
Joshua Hagler, Juror
Joshua Hagler (b. 1979, Mountain Home AFB, Idaho) is a first-generation graduate with a graphic design degree from The University of Arizona. A 2018 grant recipient of the Roswell Artist in Residence Program, Hagler has since made New Mexico his permanent home. Currently, he lives with his wife and daughter at the foot of the Sandia Mountains.
In recent years, his practice has been guided by an approach he calls Nihil, a set of nine self-imposed principles that have grown out of solitary excursions throughout the state. These principles determine all aspects of the work from its imagery and process, to the media and objects comprising it. Concept and meaning, as such, naturally unfold out of synchronistic experiences occurring over time.
Recent exhibitions include:
Nihil I | I Would Not Speak of the Mountain, Nicodim, Los Angeles (2023, solo); The Descendants, K11 Musea, Hong Kong (2023); MATERNITY LEAVE: NONE OF WOMEN BORN, Nicodim in collaboration with the Green Family Foundation, Dallas (2023); Joshua Hagler, Devin B. Johnson, Nicola Samorì, Hugo Wilson, Nicodim, Los Angeles (2023); DISEMBODIED, Nicodim, New York (2023); Unmatter, Secci, Milan (2022); The Living Circle Us, Unit, London (2021, solo); Witness or Pretend, Bode Projects, Berlin (2021); Drawing in the Dark, Cris Worley Fine Arts, Dallas (2021, solo); Figure as Form, Hollis Taggart Gallery, New York (2020); Love Letters to the Poorly Regarded, Roswell Museum and Art Center (2018, solo), and The River Lethe, Brand Library and Art Center, Los Angeles (2018, solo).
