A Soft Eye, A Mirror-Eye
Jan 24 – Feb 28, 2020
Sanitary Tortilla Factory
401-403 2nd St SW, Albuquerque, NM
In A Soft Eye, A Mirror-Eye, Cedra Wood presents to-scale drawings of two species: the camel and the turkey vulture. Drawn to both of these groups because of their hardihood, resilience, and elegance, Wood creates intimate portraits, attempting to depict each animal in a way that defies both description and stereotype.
In one of the two series, Wood showcases the individuality of nine camels she worked with on a ranch in Texas, affectionately presenting the animals’ disparate personalities and physiognomies. The work stands as a testament to the distinctive character of each of these “ships of the desert.” The second body of drawings comprises five portraits of a single turkey vulture, a resident of the New Mexico Wildlife Center. Humans often react to vultures either with revulsion, fear, or superstition, which Wood hopes to counterpoint by presenting Sol’s physical features precisely and reverently, letting his remarkable qualities speak for themselves.
CURRENTLY ON VIEW:
The Water Waxes Deeper Still
Nov 23, 2019 – Jan 12, 2020
Marshall and Winston Gallery, Roswell Museum and Art Center
1011 N. Richardson Ave, Roswell, NM
Roswell Artist-In-Residence Cedra Wood has long been in the grip of an obsession: the eerie, visceral, and unsettling tales found in ancient Scottish and English ballads. For her exhibition at RMAC, she presents paintings inspired by this fixation. Ranging from darkly funny to moody and morbid, the miniature works depict transmuted snakes, prophetic selkies, wax babies, and other elements meant to evoke an eldritch time and place—a lyrical and symbolic otherworld that has been perpetuated by word of mouth for centuries.
In addition to these ballad-based works, six larger paintings and their accompanying props represent Wood’s first attempt to communicate the haunted double-vision through which she sees the American West, infusing landscapes with supernatural remembrances and inventions, creating unearthly contemporary narratives.
A Line in the Sand
November 9, 2019 – May 24, 2020
Hunter Gallery, Roswell Museum and Art Center
1011 N. Richardson Ave, Roswell, NM
The political boundary between the United States and Mexico has an unstable history, with both the location and the importance of the border shifting across this remote region over time. If not for the geographers, surveyors, and scientists sent to map the border, the secretive animals of the mountains, deserts, and rivers might have evaded notice for a long time. Instead, over the course of the 1800s many expeditions passed through this region, collecting and illustrating the animals they discovered. Co-curated by biologists Tracy Diver and Alexis Harrison, this exhibition explores the stories of some of these animals, from the observations of early explorers to contemporary artistic representations of these same species, with notes on the current state of scientific knowledge about each, and thoughts on how the changing nature of the border may affect the wildlife living along it.
This event is part of the Species in Peril Along the Rio Grande regional collaboration.
Mirage: Water, Energy, and Creativity in the Great Basin
June 13 – August 29, 2019 + 2020
Boise Art Museum, Boise, ID + Sun Valley Center for the Arts, ID
The Great Basin is a vast expanse of land covering much of the American West, with its rivers draining internally rather than to the ocean. Its boundaries circumscribe parts of Oregon, Idaho, Utah, Wyoming and California, and nearly all of Nevada. The Mirage exhibition uses the idea of a closed watershed system as a metaphor for thinking about this uniquely dynamic landscape as a source of regenerative power: a place of resource extraction and renewable energy, a place that has long generated creativity (including Land Art works), and a place of shifting boundaries. The Great Basin is also a place of contradictions. Much of it is desert, but it comprises multiple ecosystems and topographies; this incongruity mirrors the fact that though the region is now largely arid, it was once an inland sea. Despite the fact that it holds vast stretches of open, unoccupied land, it is a place of mystery and obscurity. Its scale allows individuals, corporations and government agencies to do things they can’t do elsewhere, from creating monumental artworks on the land to extracting natural resources or installing enormous wind farms, from testing weapons to experimenting with technology.
Artists have long been inspired by the many paradoxes of the region. Each participating artist in the Mirage exhibition presents work that considers the Great Basin from a different point of view.
Inaugural Exhibition: Art in New Mexico
March 29 – May 20, 2019
Ylise Kessler Gallery
333 Montezuma Ave, Santa Fe, NM
Deep Time Lab / Solastalgic Archive
Jan – May 2019
University of New Mexico Art Museum, Albuquerque, NM
Image and following text from project creator/curator Nina Elder:
Solastalgia is the premonition of transition, a sense of loss from an anticipated future. It is the feeling of homesickness before leaving home. The Solastalgic Archive holds materials that contextualize and give breadth to the experience of living and making in this time of accelerated change. The Archive contains ephemera of memory, creation, forgetting, destruction, preciousness and transience from a wide range of contributors. The Solastalgic Archive is an evolving, changing, temporal thing.
Documenting Change: Our Climate (Past, Present, Future)
Feb 7 – July 20, 2019
CU Art Museum, Boulder, CO
Documenting Change: Our Climate (Past, Present, Future) considers how our observation of natural worlds is influenced by measures of time and representations of form. From the tectonic to the technological, from the single-celled to the systemic, environments exist in a state of flux that can be studied and interpreted by a scientist or an artist.
This exhibition brings together diverse ranges of materials and observers, spanning historical and contemporary eras. Finely detailed Renaissance botanical publications, sweeping Romantic era landscape painting, late 19th and early 20th-century scientific photo-documentation of glaciers and contemporary works that visualize complex datasets are composed from soot, silver, wool, wood, ink, pixels, and more.
This exhibition is co-curated by Erin Espelie and Hope Saska.
Long of Limb / Short of Stem: Drawings to Scale
Nov 10, 2018 – Jan 5, 2019
Symphony in the Flint Hills Gallery
The Collector’s Eye
Offroad Productions Gallery, Santa Fe, NM
In Their Wake
Kruglak Gallery, MiraCosta College, Oceanside, CA
In the Offing
Central Features, Albuquerque, NM
Harwood Art Center, Albuquerque, NM
Exhibit/208, Albuquerque, NM
A Residency on Earth
CA+E Archive Gallery, Nevada Museum of Art, Reno, NV
Doane College, Crete, NB
Ucross: A Portrait In Place
Jun 27 – Sep 7, 2015
Big Red Lane, Clearmont, WY
The Land Arts of the American West program at the University of New Mexico and the Yale School of Forestry and Environmental Studies present a transdisciplinary exhibition entitled Ucross: A Portrait in Place.
During two two-week residencies in 2013 and 2014, seven artists–all alums of the Land Arts program–worked with Yale scientists, including Charlie Bettigole, co-director of the Ucross High Plains Stewardship Initiative, and engaged in a series of site-responsive works based in the unique combination of environmental and social conditions at Ucross. In particular, the valley community, holistic range-management-based ranch and the high plains stewardship initiative became the focus of various projects. The resulting exhibition attempts to weave together the perspectives of the various enterprises and disciplines at work on the ranch to create a tapestry of place. Each project represents an investigation into a particular aspect of Ucross. Taken together, we hope they provide a multivalenced portrait in place.
Jun 6 – Aug 9, 2015
516 Central Ave SW Albuquerque, NM 87102
(Image: Gala Bent, Ship for Fools, gouache and graphite on paper; text from 516 ARTS site)
“We’ve never been here before” is a sentiment that brings to mind uncharted paths, discovery, excitement and adventure. We, as a civilization, have never come so far.
But in 2013, when scientists at Mauna Loa Observatory in Hawaii uttered this phrase with respect to the amount of carbon dioxide (CO2) in the atmosphere, it was anything but a source of pride. We had reached a sobering milestone: levels registered at 400 parts per million — a number, they said, that would continue to grow. The practice of excavating and burning natural resources such as oil, coal, and natural gas, has caused excess CO2 to release into the atmosphere at an alarming rate. Additionally, many experts attribute the rise of some of society’s most gruesome challenges — extreme weather, extinction of species, diseas, and more — to be the result of this increase of CO2 in Earth’s atmosphere.
Earth has not been in an environmental situation like this since a geological epoch known as the Pliocene, long before humans inhabited the earth. Never before or since have humans experienced such a climate. Our impact on the world is undeniable. Knew Normal is a selection of recent works from established and emerging contemporary artists based in the U.S. who use paintings, drawings, and photography to bear witness to the moments when environments, including the body, become more difficult or awkward to inhabit for reasons generally attributed to climate change.
The artists in Knew Normal depict universally familiar themes of loss and uncertainty, tempered with unmistakable empathy and, at times, hope. Each artwork in the exhibition tells a story about how our physical and psychological environments are shaped by current climates, whether social, political, or environmental. Several of the artists also look to the future, as characters of the existing universe disappear or to a time when Earth is no more. Is this adaptation at its finest, its fittest, or are we approaching the end? Having never been here before, how can we know for sure? Knew Normal contains no solutions, no methods for survival, and no Utopian proposals. Instead, the exhibition recognizes the age old traditional (or, compulsion) of art making as a strategy for understanding complex circumstances and emotions. As we come to terms with our “new normal,” and as we brace for the near and distant future, what will we learn from what once was and how might we affect what will be?
Knew Normal is guest curated by Nancy Zastudil and artists are selected by invitation. This exhibition is presented concurrently with the exhibition Off the Charts. Both exhibitions explore navigation of changing environments, and are accompanied by programs that focus on education about climate change through the arts.
(s)and: an introduction
May 2 – May 30, 2015
302 Broadway Boulevard Southeast, Albuquerque, NM 87102, USA
(s)and is a group of artists, based in Albuquerque, New Mexico. This exhibition will serve to introduce our work as unique particles of a whole, a sum and its parts, to illustrate the diversity and quality of artistic voices in this region. Coming together as a community, we promote community, despite differences, to create a unified force of impact. Our work rejects the desire for categorization by gender or place; each artist in the collective is unique in style, process, and vision. Photography, sculpture, painting, and works on paper; abstract and figurative, personal to universal: try to define us and grains will be sure to escape through the filter. See press for (sand): an introduction in the Alibi and the Albuquerque Journal. This event is part of the On the Map: Unfolding Albuquerque Art + Design.
Jan 23 – Feb 15, 2015
Belconnen Arts Centre
118 Emu Bank, Belconnen, ACT, 2617
Curated by artist Dr. Amanda Stuart, Imaginarium explores the realm of imaginary creatures and/or forms that speak to interpretations of “hybrids”: imaginary creatures, creations, or objects that are fanciful, intriguing, even confronting; invite interpretation, and explore the cross-fertilisation of ideas, places and imagery. The exhibition explores the political, spiritual, technological, biological, ecological and cultural, and showcases the work of 20 international artists working in a range of mediums.
You Are The Doorway
Nov 1, 2014, 5 – 9 pm, In conjunction with OneBeat ABQ at the Rail Yards
Albuquerque Railyards Blacksmith Shop
777 1st St SW, Albuquerque, NM
You are the Doorway is a series of installations curated by Billy Joe Miller, appearing in the Albuquerque Railyards Blacksmith Shop during the OneBeat ABQ international music event and art happening. The exhibition explores the concepts of spirit, thresholds and the invisible powers that guide us. Visitors are welcome to interact with artworks across the enormous space. Utilizing painted surfaces, highly crafted objects, knitting looms, natural materials, video and performance, the artists have reflected on their journeys, questioned transformative powers, and made sensitive, powerful, and often participatory pieces in response. The artists invite guests to step from spectator to participant and consider their own positioning in the dialogue. Considering the transition of life to death as a slow incremental process with witnesses and participants, Michelle Montjoy sets up her installation, Loom, as a large knitted barrier that serpentines a space between two oversized knitting looms. Participants can choose to either step over the tangled form, or take the position as midwife to the process, and knit more of the sculpture. Driven by the power of things that need to be seen, heard, and experienced, the forces that transform culture are often delivered to the masses by any means necessary and by the humblest of transport systems. In The Road to Des Moines [Black Flag Tour Van], William Feeney built a haunting scale model of a 1970’s Ford Econoline van out of wood, with working headlights, to consider desire, the vehicle, and traveling, suggesting the transformations that can take place on the journey.
Featured visual artists include: Lea Marta Andersson, Ellen Babcock, Corvas Brinkerhoff, Michelle Montjoy, William Feeney, Lance Ryan McGoldrick, Augustine Romero, Adam Wohlwend and Cedra Wood. Video work by Temujin Doran, Jackson Glasgow, Karen Hipscher and UNM Arts Lab. Performance art by Edie Tsong.
(Featured photo by Ellen Babcock, text from 516ARTS blog.)
Magnetic North: Artists and the Arctic Circle
May 27 – Aug 29, 2014
Avenue of the Americas Art Gallery
1285 Avenue of the Americas, New York, NY 10019, USA
The Arctic Circle is an expeditionary residency that brings together artists, architects, writers, composers, scientists and educators. For several weeks each year, participants voyage into the open seas and fjords of the Svalbard archipelago aboard a specially equipped sailing vessel. Magnetic North is a selection of works by 23 artists from the 2009-2012 residencies: Saul Becker, Leah Beeferman, Janet Biggs, Daniel Blinkhorn, David Bowen, Carrie-Ann Bracco, Beau Carey, Kevin Cooley, Derek Cote, Arjen de Leeuw, Temujin Doran, Nicholas R. Fairbank, Anna Frants, Stephen Hilyard, Wendy Jacob, Sarah Anne Johnson, Marcelo Moscheta, Ed Osborn, Jessica Segall, Paul Segers, Raphael Shirley, Teng Chao-Ming, and Cedra Wood.
Magnetic North is organized by The Arctic Circle in association with The Farm, Inc. The exhibition is sponsored by the 1285 Avenue of the Americas Art Gallery, in partnership with Jones Lang LaSalle, as a community based public service.
May 3 – Jun 29, 2014
Open Space Visitor Center
6500 Coors Blvd. NW, Albuquerque, NM
Watershed Bounding is a collection of work from the practice of field-based artists who locate their creative process and critical inquiry in the ecologic conditions of “Place”. Showcased in this exhibition are works from Land Arts of the American West students, alumni, faculty, and visiting artists curated around the theme of Watershed. Alongside this is the international traveling exhibition, “Boundless Horizons” which samples work from partnering field-based art studio programs including Australian National University, Field Studies and Mira Costa College, Landmarks of Art, from San Diego.
Participating artists include:
Lea Andersson, Eric Cook, Bill Gilbert, Lauren Greenwald, Jeanette Hart-Mann, Yoshi Hayashi, Ryan Henel, Chrissie Orr, Erika Osborne, Heike Qualitz, John Reid, Randal Romwalter, Chitra Sangtani, Geordie Shepard, Amanda Stuart, Marzena Wasikowska, Cedra Wood, and Amelia Zaraftis.
The Renga Project
Jun 20, 2013 – Jun 22, 2014
Axle Contemporary Gallery
Rail Trail, Santa Fe, NM
The Renga Project began on the summer solstice, 2013, and is a new take on an ancient traditional collaborative form of Japanese poetry. Fifty-two weekly stanzas were written by a diverse group of New Mexico poets; fifty-two New Mexico artists were invited to create a linked drawing with each artist responding to a writer’s stanza. The poem has been displayed on a large sign in the Santa Fe Railyard all year, with new stanzas added weekly.
In June and July, Axle Contemporary presented an exhibition of the drawings in its mobile gallery, the book with the entire collaborative poem and linked drawings, and a group reading by the poets of the entire poem, a roundtable discussion, booksigning, and renga writing workshop at The New Mexico Museum of Art.
Wish You Were Here
Dec 13, 2013 – Feb 15, 2014
Sun Valley Center for the Arts
191 5th St E, Ketchum, ID 83340
An exhibition at the Sun Valley Center for the Arts, featuring work by Elliot Anderson, Mark Klett and Byron Wolfe, Matt McCormick, Roger Minick, Karla Wozniak, and Cedra Wood.
The road trip has been around for centuries. First-century Roman aristocrats traveled around the Mediterranean visiting sites that even then were considered ancient wonders. During the Middle Ages, pilgrims booked “all inclusive” package tours of the Holy Land that departed from Venice. 17th- and 18th-century young British men embarked on the Grand Tour through Western Europe.
Until recently, leisure travel was restricted to the upper classes. The birth of the tourism industry as we know it emerged in the 19th century with the development of railroads and steamships—relatively easy, inexpensive means of travel.
In the United States, railroads fed a boom in tourism and led to the development of destination resorts like Sun Valley. But U.S. tourism is probably best defined by the road trip, the classic American vacation that has sent countless travelers out onto highways to visit National Parks, historic sites and cultural destinations. Road trips are part of the fabric of American culture, the basis for works ranging from Jack Kerouac’s On the Road to National Lampoon’s Family Vacation. Americans live in a country with huge regional variation—the cross-country road trip gives them the opportunity to get to know it in a deeper way, to reaffirm their identities as Americans.
While road trippers may set out with specific goals for their trips, organizing them around ball parks or battlefields, most of us plan our itineraries the same way the ancient Romans did. We tend to visit the same places and take the same photos.
As they have always been, road trips continue to be educational experiences. We buy souvenirs and take snapshots in order to take a little bit of our journey home with us, to literally help us remember the places we’ve been. We send postcards (or update our Facebook status) in order to share our travels (and perhaps impress our friends with them). We travel to broaden our horizons but ultimately, so that we can return home knowing a little bit more about ourselves and our place in the world.
Sep 16 – Oct 27, 2013
Dennis Gallery, Austin College
1305 East Richards Street, Sherman, TX 75090, USA
Common Threads, an Austin College Alumni exhibit, features art work by Carl Antonowicz, Brianna Burnett, Brent Fogt, Candace Hicks, Horace Hobbs, Seth Hudson, Kristy Peet, Heidi Rushing, Dianne Smith, Cedra Wood, and Kelly Yarbrough.
Sep 5 – Oct 1, 2013
West Virginia University
Fathom Out is a two-person exhibition of Arctic-based work. Mounted in the Mesaros Gallery at West Virginia University, the show juxtaposes large-scale oil paintings by Beau Carey and miniature acrylic paintings by Cedra Wood.
Among the Final Thunders of These Ices
Sep 6 – Sep 28, 2013
Small Engine Gallery
1413 4th St SW, Albuquerque, NM
Among the Final Thunders of These Ices, a solo exhibition–the first to feature finished large-scale drawings and paintings resulting from 2012’s Arctic research–is showing in the Small Engine Gallery in the Barelas neighborhood in Albuquerque.
Apr 1 – May 23, 2013
Ida Green Gallery, Austin College
1001-1399 East Brockett Street, Sherman, TX
The Ghost Town Arts Collective is back with their group exhibit “Relative Proximity,” celebrating connection and distance in its myriad forms.
That Sound Under the Floor Is The Sea.
Apr 5 – Apr 25, 2013
Harwood Art Center
1114 7th Street Northwest, Albuquerque, NM
That Sound Under the Floor Is The Sea, a solo exhibition of paintings, drawings, sketches, prints, and ephemera from the Far North, is the result of art-centric travels above the Arctic Circle in September – November 2012.
Svalbard, a remote archipelago halfway between mainland Norway and the North Pole, was home for two and a half weeks to a crew of internationally-selected visual and performance artists, scientists, writers, musicians and composers. As part of this group, Wood lived and worked on board an ice-class sailing vessel, exploring polar bear-populated wildernesses, ghosted mining towns, and icebound scientific communities alike. In mainland Scandanavia, she traveled alone up the length of the northern Norwegian coast by ferry, train and bus, spending time in Bodø, Tromsø, Alta, Hammerfest, Narvik, and the Lofoten Islands. During this time, she amassed more than two hundred pages of detailed journal entries, sketches, and painted studies of polar and subpolar environments. That Sound Under the Floor Is the Sea is a unique window (and occasionally a porthole) into the process of creative research: Wood’s journal will be on display, together with additional studies, photographs, works on paper, and documentation of performance work in the field. These artifacts will be accompanied by the first finished works to result from the journey, created in December – January in her Albuquerque studio, as well as current sketches for upcoming work. Wood was selected as 2012 recipient of the Marion & Kathryn Crissey Award, a Harwood Emerging Artist grant, which enabled her to acquire materials for the trip.
Jan 18 – Feb 15, 2013
New Mexico Museum of Art, Santa Fe, NM
Curated by New Mexico Museum of Art curator of special projects, Merry Scully, Alcove 12.0 included the work of 45 artists from across the state of New Mexico. Five new artists were exhibited every five weeks from March 2012 through April 2013 in the bays of the historic building.
Far-Flung: A Three-Person Exhibition
Jul 20 – Aug 14, 2012
5G Gallery, Factory on 5th Art Space
1715 5th Street NW, Albuquerque
An exhibition of work by Lauren Greenwald, Brooke Steiger, and Cedra Wood, showcasing sculptures, prints, paintings, drawings, video and photographs by the three artists. Initially brought together by their mutual experiences in the Land Arts of the American West Program at the University of New Mexico, Greenwald, Steiger and Wood have independently applied a peripatetic approach to their artwork in subsequent years, exploring wanderlust and celebrating immersion in the unknown. Present in each artist’s work is a preoccupation with spaces both intimate and immense, and with the species and characters that inhabit those spaces.