Evo Gallery

	Darwin Nix - Narcocultura June 17 - August 30, 2009 Reception June 17

	Miguel Angel Rios: A Dangerous Cartography February 14 - April 20, 2009 Reception February 12 6-8pm Miguel Angel Rios’s video White Suit, 2008 opens with the staccato beat of a flamenco, performed by the film’s protagonist, who is dressed in white and placed before a black background. Drawing on traditional techniques of Argentine cowboys, the dancer swings two boleadoras, metal balls attached to string, which hit the floor with hypnotic precision. The elegant and sophisticated dance takes a surprisingly comic turn as one discovers the boleadoras are made of raw meat; then the dance progresses from absurd to alarming. Stray dogs, snarling and barking viciously, suddenly dominate the split screen; taunted by the meat and the dancer’s provocation, the animals attack. What ensues is a surreal struggle that invites many metaphoric readings as the dancer, attempting to maintain his rhythm, confronts chaos, rabid insanity, and potentially fatal violence. He ultimately overcomes his attackers, and the film concludes with his triumphant dance, but neither he nor his white suit survive unscathed; the meat is long gone, ripped to shreds and devoured by animals. This video, along with two similar works titled Crudo and Matambre, took over a year for the artist to produce, mainly due to the difficulty of finding a dancer who would pit himself against actual street dogs. Choreographed entirely by the artist, White Suit channels the physically arduous yet cathartic performance art of Marina Abramovic in a poetic depiction of the human will’s resistance to adversity—without missing a beat. - Artforum (July 23, 2008)

	Beyond Graphic: Contemporary Drawing and Works on Paper November 15, 2008 - January 31, 2009 Reception November 15 5-7pm Post-war artists have strived to push beyond boundaries and norms, even within the traditional realm of graphic art. Beyond Graphic presents a broad range of drawings and works on paper that vary from traditional to innovative approaches by local, national, and internationally known artists. Minimal and Conceptual pioneer Sol LeWitt is acknowledged with Wall Drawing #89 1b from 1998. Predicated on advanced design over execution, the work removes the central element of traditional drawing – the artist’s hand. This work by LeWitt is a five by five foot square of gloss red paint with a three-foot diameter circle painted in matte red. The emphasis on color interaction and spare geometric design recall the works of Josef Albers, rendered on a large scale, directly on the wall. Gerry Snyder, one of the artists in the show, will execute the drawing. Julian Opie is another innovator, creating elegant line drawings with a hybrid process utilizing photography and hand-rendering with digital manipulation. His schematic figures have the familiarity and impersonality of public signs, yet are simultaneously based on the fundaments of live figure drawing, imbuing the works with individual personality. Santa Fe-based artist Gerry Snyder employs Old Master techniques with surprisingly topical themes. Guns, Gay appears to depict a moment of divine revelation, symbolized with Baroque tenebrist illumination parting the skies in a world inhabited by playfully amorphous creatures. Beyond Graphic also includes works by Lucien Freud, Tony Fitzpatrick, Jean-Michel Basquiat, Jose Bedia, Donald Sultan, and Luke Dorman.

	George Thiewes: Penumbra in White September 5 - October 25, 2008 Reception September 6 5 to 7pm Sculptor George Thiewes has developed a practice of creating elegant, minimal black sculptures that appear to advance and recede with perceptual fluidity. With rare attention to craft, Thiewes cuts, welds, grinds, and paints these works himself. Installation and lighting are critical to the artist, who uses shadow as a central element in his aesthetic vocabulary. For his new show, Thiewes has created a body of white sculptures, painted the same color as the gallery walls. Mounted on or in the wall, the sculptures, as large as ten feet long, appear barely visible as their shadows take on penumbrous form. First coined by Johannes Kepler in his astronomical meditations, penumbra refers to the mysterious degrees of shadows emanating from an illuminated, opaque body, such as the shadows of the moon during an eclipse.

	Jenny Holzer: The Venice Installation, Gallery D June 19 - August 23, 2008 Reception June 19 5 to 7pm EVO Gallery is pleased to offer an iconic installation by Jenny Holzer. Gallery D was included in the United States Pavilion at the 1990 Venice Biennale, for which Holzer was awarded the Leone d’Oro (Golden Lion prize) for best pavilion. She was the first woman artist to be so honored. The Gallery D installation is comprised of alternating red and white Italian marble tiles arranged in a diamond pattern with inscriptions from Holzer’s Truisms, her best known text, carved into the red marble tiles. The text areas are illuminated by pin spotlights. Three marble benches run the length of three walls, with text from Holzer’s Inflammatory Essays carved on the top of each bench. For the global audience attending the Biennale, Holzer created the texts in five languages: German, French, Italian, Spanish and English. Her major themes – sex, death, and war – are explored with unflinching directness in this acclaimed installation. In contrast to Holzer’s well known use of LED signs, Gallery D employs the centuries old art of stone carving to convey the text with a classical austerity that is also brilliant and sensual in the use of materials.

	Jugnet + Clairet: Beau Fixe April 4 - May 24, 2008 Reception April 4 5 - 7pm EVO Gallery is pleased to present the first show with the French couple Jugnet + Clairet. Recent transplants to Santa Fe from Europe, Anne-Marie Jugnet and Alain Clairet work collaboratively in a wide variety of media including painting, sculpture, photography, and neon. Their imagery stems from observation that is mediated and abstracted in varying degrees. For Beau Fixe (fair skies), Jugnet + Clairet will present several related bodies of work inspired by their many trips to the Southwest before relocating to the region. This rich cultural landscape is addressed in a way that responds directly to the best known elements of New Mexico and the Southwest – the desert landscape, brilliant skies, the atomic bomb – while simultaneously negating it. In all of the works, the source material is coolly altered, but never obliterated. Beau Fixe not only translates as the idiomatic “fair skies” but also implies capturing and fixing an ideal beauty.

	Vicky Colombet Vantage Points February 12 - March 29, 2008 Reception February 16 5-7 pm EVO Gallery is pleased to announce the opening of Vicky Colombet: Vantage Points on February 16, 2008. The French-born, New York-based artist has explored the interaction of nature and abstraction for over two decades. Rather than reproducing landscape views, Colombet evokes the textures and processes of change: wind, snow and water carving out mountain crevasses over time. The underlying compositional grid, a frequent starting point in her paintings, seems to be obliterated by erosional forces. Despite these references to nature, Colombet’s works are in dialogue with the minimal paintings of Agnes Martin and Brice Marden. Her more monochromatic pieces operate as pure abstractions, while others appear almost photographic recalling Richter’s intersection of painting and photography.

	Ligia Bouton Six Photographs of People I Don't Know November 6, 2007 - February 2, 2008 Reception November 10 5-7 pm EVO Gallery is pleased to present the latest body of work by installation artist Ligia Bouton. In this exhibition, Bouton appropriates the static imagery of six found photographs in order to evoke the infinite narrative possibilities inherent in each picture, the fissure between viewer and subject matter, and the inevitable manner in which photographs both embody and obscure the narratives of their subjects. Utilizing video, performance, drawing, and sculpture to explore and expose the boundary between fantasy and reality, she constantly reminds us that all of the histories she has created are fictive, and that, despite our desires, these captured figures will inevitably remain anonymous and unknowable.

	Miguel Angel Rios - Aqui August 7 - October 13, 2007 Reception August 11 5-7 pm EVO Gallery is pleased to present AQUI, a five-channel video installation by the acclaimed Argentinean artist Miguel Angel Rios. The stunning video work represents the culmination of a series of dramatic and metaphorically layered black and white videos the artist began over a decade ago. The presentation of AQUI at EVO will also be accompanied by the documentary Fuego Amigo (Friendly Fire) which adds cultural and political context to the work. Rios has exhibited at museums and biennials internationally including MoMA, the Hirshhorn, the Reina Sofia, and the 6th and 7th editions of the Havana Biennale.

	Gerry Snyder - American Idyll June 5 - July 18, 2007 Reception June 23 5 - 7 pm catalog with essay by Larry Rinder excerpts from essay -- The subjects of Snyder's withering gaze are the leading culprits of our current worrisome condition: fundamentalist religion, white supremacist nationalism, and hetero-normative patriarchy. His paintings delicately unmask the hypocrisy underlying extremeist dogma while offering, on occasion, opportunities for hope. While some obvious connections can be drawn -- for example to the chromatically rich figurative paintings of Lisa Yuskavage or to Cindy Sherman's film-based representations -- Snyder's art exudes a feeling of utter idiosyncrasy.

	George Thiewes - Points of Perspective April 10 - May 26, 2007 Reception April 14 5 - 7 pm EVO Gallery is pleased to present the first gallery show of sculptural work by Arizona artist George Thiewes. Although his hard-edged, minimalist sculptures appear to be industrially fabricated, they are in fact crafted by the artist’s hand who emphasizes elegance of line and spatial dynamism. Points of Perspective was conceived of specifically for EVO’s new space in the Railyard Galleries.

	David Maisel - Oblivion / Abby Leigh Inner Circle February 13 - March 31, 2007 Reception February 17 5 - 7 pm

	Hervé di Rosa - Made In Miami, with Luke Dorman November 21, 2006 - January 20, 2007 Reception December 2 5-7 pm Hervé di Rosa's Made in Miami highlights a recent body of work that explores Miami's visual and popular culture. In this series of paintings and sculptures, di Rosa explores a reductive approach to emphasizing the brilliant color and light of the Miami landscape. This provocative series brings the vibrant and unique city of Miami to near abstraction, creating shapes and dazzling color that silently provide social commentary. The subject matter of the paintings are often familiar scenes of the Miami landscape, with its distinctive architecture even among the storefronts housing the most ordinary purveyors, including drug stores, repair shops, fast food chains, and quirky motels. Made in Miami travels to EVO Gallery following its premiere at the Bass Museum of Art, to coincide with di Rosa’s outdoor sculpture installation on view at the Bass Museum during Art Basel-Miami Beach. In EVO Gallery’s project room, Luke Dorman will create a temporary environment, entirely transforming the space. Expanding the detailed draftsmanship that he is so known for in his smaller works, he intends to encompass and surround the viewer.

	Topographies: Burtynsky, Colombet, Maisel July 6 - October 28, 2006 Reception July 6 5-7 pm This exhibition offers an unfaltering look at our own landscapes, both imagined or abstracted, as well as the actual. From the perspective of three artists, we experience landscapes that are familiar and those that are other-worldly. Oddly, it is often the more surreal landscapes that are those photographed from above us, while those that seem most familiar are the fictional space. Topographies is complemented with a concurrent exhibition of Spheres, an installation by Steina Vasulka, which superimposes a variety of video imagery onto the full-motion, artist’s rendering of the spherical form.

	R E L O C A T I O N ! June 20 - 30, 2006 Reception July 6 5-7 pm EVO Gallery is relocating to expanded space at the new railyard district across from SITE Santa Fe. Our grand opening date of Thursday evening July 6th will coincide with the exhibition "Topographies", with Edward Burtynsky, Vicky Colombet and David Maisel and "Spheres" by Steina Vasulka. Both exhibitions will run through September 30.

	Bernar Venet October 20, 2005 - May 27, 2006 Reception October 22 5-7 pm French artist Bernar Venet's work explores many media, materials and forms of expression. From the early sixties, Venet's utilization of industrial drawings and mathematical diagrams in painting has been a major contribution to Conceptual Art. Venet has lived in New York for many years, and practices as an artist around the world. For Venet, being an artist means not only painting or sculpting, but also to speculate--in art, science, philosophy, mathematics, geometry, and music. He is an internationally recognized painter, sculptor, and composer of concrete music (technologically manipulated sound), and his main interest in art is to raise questions, to push his work further and further, and to search for new approaches. Venet has been the recipient of many awards, prizes, and honors for his career as an artist of merit. Among these are a grant from the National Endowment of the Arts, the Grand Prix des Arts de la Ville de Paris, and Chevalier de la Legion d'Honneur, France's highest decoration. Venet has been a featured artist at the Venice Biennale, and been written about by such art critics as Thomas McEvilley and Donald Kuspit. Venet's exhibition at EVO Gallery will include his large Indeterminate Lines sculptures and paper pieces, as well as other conceptual works.

	Zachariah Rieke September 15 - October 15, 2005 Reception September 17 5-7 pm Zachariah Rieke builds his canvases from such objects of daily life as tea bags, ashes, roofing tar, and pages of historical texts to create meditations on the past and present, progression and stillness. His works journey into a lush sensibility while maintaining a sincerity and restraint that serve as his signature. As MaLin Wilson-Powell wrote in her review of his exhibition at the Museum of Fine Arts (1999), “Zachariah’s art is an art blissfully at a loss for words. Through our surprised silence it makes itself amply heard.” Rieke’s work has been collected by the Museum of Fine Arts (Santa Fe, New Mexico), the University of Florida, the Warner Brothers collection, Mountain Bell, the Princess Evangaline Zalstem-Zalesky Collection, and the Albuquerque Museum.

	A Deconstructed Place - Richard Ehrlich July 7 - August 6, 2005 Reception July 9 5-7 pm Rick Ehrlich’s photo images range from the mundane to the heroic: most recently, scenes of displacement and abandonment from the historic Cook County Hospital (Chicago); and, from earlier this year, a series of amazing psychedelic swirls within an architecture that has been reclaimed, as it were, by an urban tribe of Los Angeles graffiti artists. Ehrlich spent time photographing within the abandoned structure that comprised Cook County’s historic hospital until it was relocated to its new accommodations in late 2002. The sense of lives hanging in the balance is strangely at odds with these images of a sudden yet complete disruption of the procedures of health care. One can imagine the bustle of a busy emergency department, the repetition of endless administrative tasks, and the pain and fear of all those who were in great need during their visits to the hospital. What at the time seemed an absolute—the physical presence of the place and its staff—is now abandoned and utterly useless. The graffiti images are tremendously compelling; stemming as they do from a sense of reclaimed and lost public space. Taken in the soon-to-be demolished yard that housed the old trolley cars of downtown Los Angeles, these pictures reveal a fierce sense of identity claimed through place: the yard became a stunning graffiti park as well as an impromptu soccer field for the community. Unfortunately, developers bought the property and began destroying the tunnel and storage facilities before the community could react. Ehrlich made clandestine visits to photograph the yard before it was completely razed, and his images may be the final records of a place that was successfully returned to its community through a truly public art, then lost again to a developer’s financial concerns.

	Bred in the Bones... new works by Darrin Hallowell June 9 - July 3, 2005 Reception June 11 5-7 pm Hallowell's installation of works at EVO Gallery include his trademark high-fire ceramic over steel armature figures, hand-hammered lead torsos, and a self-portrait series of cast hands. Drawing from such diverse art historical references as the wrapped figures of Christo and Manuel Neri to the body-as-site works by Ana Mendieta, Hallowell's sculptural installations are hauntingly beautiful. Hallowell is as interested in the negative spaces his figures imply as he is in their physicality, and the viewer becomes involved in a process of rediscovery of both personal and communal space.

	Subversion and Censure - Gerry Snyder, Ligia Bouton & Mark Shetabi May 5 - 28, 2005 Reception May 7 5-7 pm Public censure is rarely practiced as an overt action of official disapproval-we are more likely to experience a raised eyebrow, the absence of acknowledgment, an awkward silence. Generally, we are expected to monitor our own behavior and behave circumspectly. Certainly, prudence and consideration of others is important for social concordance; it is when our behavior is overly limited that a society's norms become repressive. All three artists in the exhibition Subversion & Censure, Gerry Snyder, Ligia Bouton and Mark Shetabi, address aspects of censure and its subversion, within the vehicles of mythology, identity, and public space.

	Nightlight - David Marshall April 7 - May 1, 2005 Reception April 9 5-7 pm David Marshall's C-print photographs take advantage of the cover of night as a navigational tool that informs a course through uninhabited space. The desolation of nighttime is revelatory in Marshall's prints, exposing an absence that suggests oncoming daylight-and its brightness, which somehow obscures certain truths that can only function in the semi-dark. There is a loneliness, and at the same time, a freedom in these mundane scenes that would not be possible were the images made in the light of day. Marshall's photographs invoke memory and the past-wistfully, tenderly, yet with the slightly acerbic vision of an outsider. The artist actually wanders through deserted sites in the evening hours, searching for those places that are beehives of activity during the day. Emptied of human hustle, these places-the neighborhood car wash, your bank's parking lot, a hulking factory-take on new meaning. They become somehow vulnerable, no longer the sites of doing but settings for contemplation and simple being, silent companions to the nomad's journey.

	Cotton Puffs, Q-tips and Bathroom Mirrors, with Coke Wisdom O'Neal February 2 - March 3, 2005 Reception February 5 5-7 pm Inspired by the title of the Whitney Museum’s retrospective of drawings by American artist Ed Ruscha, the exhibition currently at EVO Gallery, Cotton Balls, Q-tips ® and Bathroom Mirrors, gives the viewer an opportunity to peek unashamedly into the contents of strangers’ medicine cabinets. The photographer, Coke Wisdom O’Neal, thus propels his audience into a voyeuristic role. Sandra Valenzuela’s crisp vision of the aesthetic value of our bathroom storage items rearranges the everyday-ness of typical objects into a stunning sense of form and content.