CCA will host two projects from CENTER‘s internationally renowned grants and awards program during the flagship event, Review Santa Fe. The Project Grants are awarded to outstanding fine art or documentary projects on the brink of wider acclaim; this year’s winners are David Favrod from Switzerland and Ignacio Evangelista from Spain.

In conjunction with Currents 2013, Albuquerque-based artist Conor Peterson presents Vector Field, a mysterious sound-and-light sculptural installation invokes the darker secrets of the universe. Equal parts science fiction and science fact, the room-sized sculpture is a meditation on the fluid interplay between familiar surroundings and the cosmic sublime. In the context of Currents, Peterson sees Vector Field as an opportunity to question the interactive nature of technology-driven art. For the fourth year, Currents will bring together the work of established, unrecognized and emerging New Media artists, from New Mexico, the US and the world, for events showcasing interactive and fine art video installations, multimedia performances and web based art forms. For more information on Currents: www.currentsnewmedia.org

David Richard Gallery will present “Projected,” a new media exhibition featuring digital and video artwork by Teri Yarbrow, Max Almy, Matthew Kluber and Susan Herdman. The exhibition will be presented from May 31-June 30, 2013 with an artist reception on Friday, May 31 from 5:00-7:00 PM at the gallery located on 544 South Guadalupe Street, Santa Fe, New Mexico 87501, phone 505-983-9555 in the Santa Fe Railyard Arts District.
 
Teri Yarbrow and Max Almy are Emmy, AFI and NEA award winning internationally exhibited video and installation artists known for pushing the boundaries of art and technology. Their complex installations seamlessly combine video, constructed surfaces, painting, digital imagery, flat screens and video projection to create dramatic, mesmerizing artworks. The newest creations are mandala-like multi-media pieces that incorporate flat screens behind large water jet-cut, patinated copper circles, on to which moving digital images are projected that spill on to the wall and span a diameter of 72 inches. Their works have been featured in major museums, festivals, screenings and collections throughout the world including: Museum of Modern Art, New York; New Museum, New York; Whitney Museum, New York; The Geffen Contemporary at MOCA, Los Angeles; Ars Electronica, Austria; SIGGRAPH; Stedelijk Museum, Amsterdam, Holland; Centre Georges Pompidou, Paris, France; among others.
 
Projecting computer-generated digital images of translucent color on stationary geometric paintings on aluminum panels, Matthew Kluber’s new media constructions create a hyper color field space at the intersection of the virtual world and the physical world. His still imagery—based on the horizontal lines of collapsed digital data that result from a computer crash—is painted on the metal support with fluorescent colors to mimic the luminosity of the computer monitor. The projected images range from beams of light and geometric patterns to colorful looping patters that provide an ever-changing kaleidoscope of color and fantasy that transforms a space. Kluber has exhibited his paintings/projections, films and drawings internationally, including: the Museum of Contemporary Art Shanghai, China; FOCUS09/Art Basel, Switzerland; Casoria Contemporary Art Museum, Italy; Micro Museum, Brooklyn and Portland Museum of Art, Oregon among others.
 
“The Berlin That I Have Seen,” by Susan Herdman is based upon photographs of Berlin that have been collaged based on formal relationships of color, form and texture, then projected in a continuous stream in a large format video. The juxtaposition of the images goes beyond the formal qualities and comments on the vestiges of violence and chaos of war that remain in the city and that have become a canvas for young street artists who incorporate the ravages of their city’s history into their art. Herdman’s artwork has been presented in many exhibitions and is included in public and museum collections, including: The Jewish Museum, Berlin, Germany; Brooklyn Art Library, Brooklyn, NY; Heard Museum Library & Archives, Phoenix, AZ; Eiteljorg Museum of Native American and Western Art, Indianapolis, IN; Museum Of Anthropology, University of California, Chico, CA and American Indian Center, Chicago, IL among others.
 
David Richard Gallery specializes in post-war abstract art including Abstract Expressionism, Color Field, geometric and hard-edge painting, Op, Pop, Minimalism, Feminism and conceptualism in a variety of media. Featuring both historic and contemporary artwork, the gallery represents many established artists who were part of important art historical movements and tendencies that occurred during the 1950s through the 1980s on both the east and west coasts. The gallery also represents artist estates, emerging artists and offers secondary market works.

Creation (Megaplex) is the completion of a trilogy of 3D video collages that began with Civilization (Megaplex) (2008) and Evolution (Megaplex) (2010). Creation (Megaplex) presents a spectacle of over 500 clips from a vast archive of iconic Hollywood and international films. Set within the form of a giant DNA double-helix, Brambilla takes the viewer on a spiraling trajectory that begins with a big bang and continues through embryonic inception, idyllic Eden-like bliss and decadence, and culminates in annihilation—only to then interminably re-invent itself. Brambilla creates a hyper-realistic landscape of meadows and burning cityscapes against which this cycle of human endeavor unfolds. Creation (Megaplex) is the most technologically complex work in the triptych. According to Christopher Eamon, “Brambilla’s working method is unique. Not content to merely montage clips together one after the other as in the now-familiar ‘collage film’ genre where appropriated films are sequenced to create something new, Brambilla’s approach crops and isolates figures and bits of action... collaging them together across space—as in a painting—as well as in time, as the piece unfolds temporally.”

Balancing Signal to Noise is a small group exhibition featuring works by Zoe Blackwell, Brandon Soder and Betsy Emil, who each approach line, orientation and space in two dimensions. Guest curated by Winston Riley, this collection of drawings and photographs evidences a place lost, a thought nearly manifest, a dream turned memory. Illusive yet speculative, abstracted but familiar, Balancing Signal to Noise speaks to the limits of orientation.