Events Calendar

Tamarind Exhibitions: Danielle Orchard: Tender Observer
Works from 2019-2022 on view in the Tamarind Gallery, August 23-December 20
Opening reception: Friday, August 23 from 5-7 p.m.
Gallery hours: Tuesday-Friday from 10 a.m.-5 p.m.

Danielle Orchard: Tender Observer showcases work made by the artist at Tamarind Institute from 2019 to 2022. Each collaboration is marked by subtle shifts in color and nuanced approaches to mark making, reflecting Orchard’s deepening engagement with the medium. During her most recent residency at Tamarind, Orchard’s studio practice focused on using “a variety of lithographic rubbing crayons and pencils,” which emulates the quality of a richly worked charcoal drawing, painting with liquid tusche, as well as “making reductive marks by scratching back into the drawing material” (Tamarind documentation sheet). The absence of color allowed the artist to concentrate on volume and light, employing the sharp contours of cubism while challenging classical notions of the muse. As far back as 1990, Joann Moser notes in her article A Living Tradition: Black-and-White Prints in an Age of Color, Tamarind Paper (Vol. 13), “many artists have consciously resisted the temptation to make prints in color. Instead they have chosen to make prints in black and white, continuing to explore the creative possibilities and expressive subtleties which have distinguished the graphic tradition during many centuries.” It is this kind of exploration that is a hallmark of collaborative printmaking at Tamarind and which is thoughtfully guided by Master Printer/Workshop Manager Valpuri Remling.
Throughout her work, Orchard complicates traditional portrayals of women as passive objects of desire. Her sculpturally-formed figures are often depicted from unexpected angles, unposed and unguarded. Her scenes, domestic and languorous in tone, depict women in repose and continually evoke questions about viewership, voyeurism, and the artistic ownership of the female form. By repositioning the female figure as a contemporary entity, detached from the constraints of the male gaze, Orchard breathes fresh life into the portrayal of women in art.
Orchard holds an MFA from Hunter College and is represented by Perrotin. Recent exhibitions include You Are a Serpent Who’ll Return to the Ocean, Perrotin; Page Turner at Perrotin, A Face for Every Season at Gallery Half Gallery, At the Seams at Perrotin, Pack den Badeanzug ein at Galerie Kornfeld, A Little Louder, Love at Jack Hanley Gallery, Embodiment at D.C. Moore Gallery, and Fauve at Geoffrey Young Gallery. More information about the artist can be found here.
Tamarind Institute, a division of the College of Fine Arts at The University of New Mexico, is a workshop, a gallery, and a center for collaborative printmaking. Tamarind faculty and staff conduct research, train collaborative printers, and produce and publish original artworks with emerging and established artists from a plethora of disciplines. Tamarind Institute’s lithography process represents the alchemy of art, craft, material and synergy between artist and printer, resulting in exquisite hand-pulled impressions.

Trombone faculty Dr. Christopher Buckholz in concert, with Dr. Natasha Stojanovska on piano.

Chris Buckholz is a virtuoso crossover artist in both classical music and jazz. He is Associate Professor of Trombone at the University of New Mexico, where he also directs UNM Jazz I. Buckholz has three solo CDs to his credit: the 2015 classical/jazz double album Versatility, A la Albéniz from 2012 and the 2006 jazz release Muse. He is the first trombonist to have released both a classical and a jazz solo CD. From 1997 to 2005, Buckholz was the lead trombonist for the Army Jazz Ambassadors in Washington, D.C. and performed with the Pittsburgh, National and Baltimore Symphonies, and the Boston and Cincinnati Pops. He has performed alongside many jazz greats, including Carl Fontana, Bobby Shew, Bill Watrous, Conrad Herwig, Matt Wilson, Phil Woods, Kevin Mahogany, Wayne Bergeron, Dick Oatts, Kenny Werner, Slide Hampton, Christian McBride, Jim Pugh, Louie Bellson, Jeff Coffin, and Greg Gisbert. Buckholz is a co-founder of the Southwest Trombone Conference. He has given masterclasses at universities and conferences throughout North and South America. He holds degrees from Wake Forest University, Yale University and the University of Michigan. His teachers include John Swallow, H. Dennis Smith, Arnold Jacobs, Curtis Fuller, Conrad Herwig, Steve Davis and Steve Turré.

Tickets on sale starting August 16 at unmtickets.com. This concert is included with the Faculty Concert Series pass. ($15 general admission, $10 seniors and UNM employees, $5 students (18 must show student ID)

Harris Smith, Dean of the College of Fine Arts at The University of New Mexico, announces the third annual ARTSSPLASH event on Wednesday, Sept. 25, from 11AM to 2PM. ARTSSSPLASH 2024 will celebrate Fine Arts at UNM and raise awareness about the various programs within the college. The event will take place on the east side of the Student Union Building, on the Cornell Mall from 11AM to 2PM, with live performances from the Department of Theatre & Dance and Department of Music from 12pm to 1:00pm. Activities include department booths, prizes, food trucks, and a chance to earn an ARTSSPLASH 2024 t-shirt.

Gale Memorial Lecture Series: Triton Mobley
5:30pm Thursday 9/26 @ ARTSLab
131 Pine St. NE (artslab.unm.edu)
Free & Open to the Public

About Triton Mobley

Triton Mobley is a new media artist and researcher, and professor of graphic computation design whose interventionist works, and guerrilla performances have been exhibited at CURRENTS Virtual Festival, Geidai Games Online at Tokyo University of the Arts, Art Basel Miami and staged in New York, Boston, Providence, and across Japan. Triton’s praxis culls together critical making methodologies across performative installations, programmable fabrications and speculative industrial design—fashioning polemical art object assemblages that engender public reexamination. Triton holds an MFA in Digital Media from the Rhode Island School of Design and earned his PhD in Media Arts Practice—as an Annenberg Fellow—from the University of Southern California. Triton’s doctoral research and praxis has been presented at the African American History, Culture & Digital Humanities’ conference Intentionally Digital, Intentionally Black in Maryland, Art Machines: International Symposium on Computational Media Art at City University of Hong Kong, the (IM)POSSIBILITY conference at Harvard, and most recently at the Taboo – Transgression – Transcendence conference in Vienna. His essay Volumetric Black: Post-Cinematic Blackness is available in the anthology Materializing Digital Futures: Touch, Movement, Vision and Sound by Bloomsbury Press. His anthology series of installations titled Keloid Archives debuted in a solo exhibition at Soloway Gallery in Brooklyn in fall 2022. Triton was part of a group exhibition, Crisis of Image at the Museum of Contemporary Art – Arlington in spring 2023, and his latest body of work, Coloured.Aesthetica. debuted in a solo show in February 2024 at the Chazan Gallery in Providence. Triton has two forthcoming essays this fall. The essay Infrastructural Architectures: Land [Dis]Trust will be published in Techniques Journal and the Pratt Institute’s Pounds Per Inch photo journal will publish the essay Deep.Fake.Blackness. Triton recently concluded a Surf Point residency in Maine developing his latest practice-based research project on the remaking of urban topographies via 20th century federal highway expansion creating in its wake, Architectural Voids.

About Gale Memorial Lecture Series

Gale Memorial Lecture Series was established in memory of Dr. David his wife Sylvia whose generosity made the series possible. This is event co-sponsored by the Department Art and ARTSLab. All Gale Memorial Lectures are free and open to public.