Thursday, October 3, 2019

Through the Lives: Ann Dunbar exhibiting in the Design Studio Gallery

Through the Lives: Ann Dunbar

Exhibiting in the Design Studio Gallery, October 14 - December 7, 2019

Opening Recetpion: Friday, October 18: 5-8pm
First Friday's: November 1 & December 6

Through the Lives: New Work by Ann Dunbar

We are all traveling on our own distinct journey. We are interacting upon our environment and others while being acted upon in return. Ann Dunbar is an Albuquerque based artist whose art practice reflects her varied interests in culture,

Ann Dunbar’s work is like an altar to human existence, looking through the lives of many people through the careful layering of images of food, clothing, history, language and cultures. Dunbar is a lifelong traveler and collector of things. She is intrigued with everyday objects that are elevated to important representations of the past. Seemingly ordinary things can create a nostalgic memory unique to each viewer.

Dunbar’s fascination with the memories her materials illicit starts around drawings of her own Tree of Life design. Carefully drawn in pencil and ink, each tree is composed of abstract components, whimsically spiraling and culminating upwards. An occasional spear penetrates a tree, symbolizing the strike of trouble and hardship. Dunbar’s background in fashion and dress design is evident in her work; building onto her drawings with bits of anything. A few of her favorite materials include found objects, vintage textbooks, magazines, foil, and paint. Paper takes on a variety of highly structured forms: rolled, cut, torn, crumpled, altered and reassembled around the trees. The finished sculptural work is protected and honored inside an austere white shadow box with silver frame. 

Rift Valley: Mary Ann Strandell, Exhibiting in the Main Gallery

Transit Tower with Bonita and Goff
3D Lenticular, 42” x 32”, 2019

Rift Valley: Mary Ann Strandell

Exhibiting in the Main Gallery 
October 14- December 7, 2019

Opening Reception: Friday, October 18th, 5-8pm
First Friday's: November 1 & December 6

April Price Project Gallery is pleased to present Mary Ann Strandell: Rift Valley, the third solo exhibition of her work at the gallery. The installation includes new paintings and 3d lenticular works.

Strandell’s “Rift Valley” is inspired by the artists experience of The Rio Grande Rift that denotes the epic time and place of the earth’s shifting plates. Albuquerque is situated in part of the southern basin of the rift. While volcanic eruptions and deposits are part of the rift topography, it was not until 1987 that Strandell trekked into and painted on the volcanic gorge. While standing on volcanic rock, “I realized that I had tapped into a profound energy of place, an alive and ecstatic place,” said Strandell. She has a similar sense near huge urban construction sites, and, strangely, also when she encountered the Apple Store staircase in Chelsea, New York City. Images of these places are part of “Rift Valley” installation. 

Strandell’s exhibition engages intervals of place that intersect physical and virtual space through her multiple visits there. In October she will create an installation that combines her three-fold studio practice as a container of an expanded field from volcanic rock to the glass spiral stair. The Installation will combine her outdoor-studio oils, architecture paintings, and 3D lenticular prints.

The outdoor studio works are painted on site of the upper Rio Grande Gorge. Her architecture paintings depict structures like Bart Prince’s houses that she experienced as a student in Albuquerque and also the Apple Store staircase, located close to her Manhattan studio. In her multidimensional lenticular prints the thematic locations are used as the backdrop, and layered with symbols of cultural, and virtual references. 

These different practices are adapted and exchanged one to the next, in a playful inventive manner. Her brightly colored outdoor studio paintings meld oil paint and pigment bar, wet into wet. She follows up with a dry brush technique that creates a surface hovering between static and motion. Her architecture paintings use the same technique but are sourced from her own photographs and internet finds. The lenticular optics reveal hand drawn butterflies, Hokusai prints, fruit trees, piƱon trees, a photographic insert of Pueblo Bonito, among other things. They are activated by the physical movement of the viewer, connoting the sense of moving through the landscape, a rift of terrain.
Red River Gorge with Taos Mountains, oil painting, 30" x 40”, 2018

Mary Ann Strandell (b. Watertown, SD) studied Psychology at Syracuse University (NY), received her BFA cum laude, at the University of South Dakota (Vermillion, SD). She was awarded an Internship as a conservator of ethnology at the W. H. Over Museum, (Vermillion, SD) and a Fellowship from Tamarind Institute (Albuquerque, NM). Received her MA and MFA are from the University of New Mexico (Albuquerque, NM).

She has held solo exhibitions at Panorama Art (Cologne, DE); The Second Street Gallery (Charlottesville, VA); The North Dakota Museum of Art (Grand Forks, ND); Michael Steinberg Fine Arts (New York, NY); Deborah Colton Fine Arts (Houston, TX); Byron C. Cohen Gallery (Kansas City, MO); and Sherry Leedy Contemporary Art (Kansas CIty, MO). Her work has been included in numerous group exhibitions, including at De Weiger Museum (Deurne, Netherlands); FIAC (Paris, France); The Chelsea Art Museum, (New York, NY); Saint  Louis Contemporary Art Museum (St. Louis, MO); Transfer Gallery, Minnesota Street Projects (San Francisco, CA) among others. Writing on her work has appeared in The New Yorker, The New York Times, The Village Voice, Art Critical, Art Papers, Art Slant, The Kansas City Star, The Albuquerque Tribune, among other publications. Strandell lives and works in the NYC area; she returns annually to New Mexico to work.  Instagram @maryannstrandell

Thursday, August 29, 2019

Gallery Talk for Perspectives: Exhibiting Alan Paine Radebaugh and Robert M. Ellis

Gallery Talk and Stroll

Perspectives: Exhibiting August 2 - October 5

Featuring works by Alan Paine Radebaugh & Robert M. Ellis

Thursday, September 26

Guest Speakers, starting at 6:00pm
  • Albuquerque Museum Director, Andrew Connors
  • Artist, Alan Paine Radebaugh
  • Robert M. Ellis Collection Trustee, Wendy Shannon
Can't join us for this event? Stop by the gallery from 5:00-8:00pm for Frist Fridays.
Open late on September 6 & October 5!

View of the Main Gallery, featuring both Robert M. Ellis and Alan Paine Radebaugh

          An exhibition of contemporary landscapes by Robert M. Ellis on behalf of the Robert M. Ellis Collection Trust and Alan Paine Radebaugh.  Perspectives includes paintings and prints by Ellis and paintings by Radebaugh.

Robert M. Ellis,
Studio Bay with View of Valdez Valley,
                “Perspective” is the filter by which experience binds time and place, creating the impression in which conscious and unconscious emotional value generates memory. “Perspective” as an artistic device is utilized to transfer the memory of three dimensions onto a two-dimensional plane. When exposed to the northern New Mexico landscape of Taos, Ellis admitted he was so awed by the landscape he could not paint it. “Eventually”, Ellis remarked, “the fields became like floorboards—they had that perspective and angle to them.” Like the floorboard receding into a room, Ellis’ two-point perspective landscapes vanish into the corners of geometric canvases and compositions resulting in an architectural approach to landscape painting.  Ellis’ perspective places the audience grounded by the expansive fields while floating in the sky above.

Alan Paine Radebaugh,
Jonson Sixteen, Oil on canvas

              For years as a painter, Alan Paine Radebaugh was challenged by the vastness of landscape. To paint the boldness and hugeness of the mountains and plains of North America, he tightly-framed and intensified his vision of the landscape. He viewed nature in small abstract shapes and painted the geology and flora of the land in fragments.  Overtime, using his familiar brushstrokes, he built these fragments into large abstracted landscapes.  Currently, his landscapes are more representational. Yet, if one views these new paintings up close, one sees that the images are still fragmented and built of Radebaugh’s familiar abstract shapes.  Using one-point perspective and rich painterly surfaces, Radebaugh invites his audience into his landscapes.

Find out more:

Courtesy Parking available, entrance off 3rd Street & Copper, please inquire with questions