{"id":384,"date":"2020-01-01T19:15:20","date_gmt":"2020-01-01T19:15:20","guid":{"rendered":"http:\/\/cedrawood.com\/work\/?page_id=384"},"modified":"2025-11-09T18:28:06","modified_gmt":"2025-11-10T01:28:06","slug":"currentrecent","status":"publish","type":"page","link":"http:\/\/cedrawood.com\/work\/currentrecent\/","title":{"rendered":"UPCOMING, CURRENT, AND RECENT EXHIBITIONS"},"content":{"rendered":"

RECENT EXHIBITIONS:<\/strong><\/p>\n

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Caroline Liu + Cedra Wood: Creative Reflectors<\/strong><\/a>
\nJuly 26 – August 23, 2025
\nPie Projects Gallery, Santa Fe, NM<\/p>\n

Pie Projects Contemporary Art is pleased to present Creative Reflectors, an exhibition of works by artists Caroline Liu <\/a>and Cedra Wood<\/a>. Both Liu and Wood showcase paintings and masterful drawings exploring cultural identity and environmental themes.<\/p>\n

 <\/p>\n

The Ribbon<\/strong>
\nSeptember 25 – October 30, 2025
\nAntler & Talon Galleries, Portland, OR<\/p>\n

The Ribbon<\/em> is a group exhibition of works focused on renewal, rebirth and the circle of life by winners of the Susannah Kelly Art Award’s Artist of Great Potential<\/em> prize.<\/p>\n

 <\/p>\n

Contemporary Miniatures<\/strong>
\nSeptember 28, 2024 – October 26, 2024
\nReception September 28, 4-6pm
\nPie Projects Gallery, Santa Fe, NM<\/p>\n

Read about Contemporary Miniatures<\/em> in the Santa Fe Reporter<\/a><\/p>\n

 <\/strong><\/p>\n

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A Slice of Pie<\/strong>
\nDecember 2, 2023 – January 6, 2024
\nReception December 2, 4-6pm
\nPie Projects Gallery, Santa Fe, NM<\/p>\n

A Slice of Pie,<\/em> Pie Projects’ First Invitational Exhibition, includes a selection of work from some of Pie’s favorite artists: Paul Bloch, Margaret Fitzgerald, Dana Hart-Stone, Kate Joyce, Brian McPartlon, August Muth, Danila Rumold, Janet Russek, David Scheinbaum, Catherine Eaton Skinner, Signe Stuart, Jerry West, and Cedra Wood.<\/p>\n

 <\/p>\n

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FOREST\u21ccFIRE<\/strong>
\nDecember 10, 2021 – 2024
\nA traveling exhibition, first shown in the Truckee Community Recreation Center, Truckee, CA<\/p>\n

FOREST\u21ccFIRE<\/a><\/em> is an interdisciplinary, multi-sensory installation connecting art, the humanities and science.  It flows thematically through past, present and future, utilizing painting, textiles, beadwork, sculpture, photography and more, to tell the story of the Forest ecology and its relationship with Fire.  Of how indigenous people, using low intensity fire, created and maintained the West\u2019s pre-European, old growth forest for thousands of years, of why our forests are currently in ecological collapse and what can be done immediately to prevent the loss of our Forest.<\/p>\n

Read about FOREST\u21ccFIRE <\/em>in The New York Times<\/a><\/p>\n

 <\/p>\n

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Perplexities: Cedra Wood + Nina Elder<\/strong>
\nApril 8 – 29, 2023
\nPie Projects Gallery, Santa Fe, NM<\/p>\n

Pie Projects is thrilled to present Perplexities<\/em>, an exhibition of New Mexico-based artists Cedra Wood and Nina Elder. Their creative practices center on curiosity, empathy, and storytelling as a means to address themes such as environmentalism and the transitional nature of being.<\/p>\n

Read about Perplexities<\/em> in Southwest Contemporary<\/a><\/p>\n

 <\/p>\n

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Foraging: Eight Artists Collect and Reflect<\/strong>
\nAugust 26 – September 17, 2022
\nManhattan Arts Center, Manhattan, KS<\/p>\n

Kelly Yarbrough curates this group exhibition of work by eight women artists living in different states whose practices and processes involve collecting inspiration and imagery from different connections to place. Featuring work by Nora Othic (Missouri), Hannah Demma (Nebraska), Cedra Wood (New Mexico), Amy Reckley (Michicagn), Shar Coulson (Illinois), Hannah Bennett (Wisconsin), Debra Claffey (New Hampshire), and Kelly Yarbrough (Kansas).<\/span><\/p>\n

 <\/p>\n

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This Earth: Notes and Observations by Montello Foundation Artists<\/strong>
\nOctober 16th – December 23rd, 2021
\nSouthern Utah Museum of Art<\/a>, Cedar City, UT<\/p>\n

The Montello Foundation<\/a>, founded by Stefan Hagen, has a direct mission statement: it is a \u201cfoundation dedicated to support artists who foster our understanding of nature, its fragility and our need to protect it.\u201d Each year, international artists apply to the foundation, whose work is centered around a residency program. Annual residencies have taken place since summer 2015, with an ever-expanding roster of artists who find their work aligns with the foundation\u2019s mission. This Earth: Notes and Observations by Montello Foundation Artists <\/i>brings together, for the first time, work by 37 artists who present a broad understanding of experiences with nature. Drawn to vast vistas, unique flora and fauna, and the subtle changes in geographic proportions and colors, there are extensive interpretations of nature and its meaning.<\/p>\n

 <\/p>\n

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Reclamation: Recovering our Relationship with Place<\/strong>
\nJuly 7, 2021 – September 19, 2021
\nGregory Allicar Museum of Art, Colorado State University, Fort Collins, CO<\/p>\n

From curator Erika Osborne: \u201cThe artists featured in this exhibition were chosen because their forward-thinking perspectives are both visionary and vital. They use humor, poetry, beauty and science to present a future where the land reasserts its rights and the extraction of fossil fuels is a dark and distant memory. Don\u2019t misunderstand–this isn\u2019t a world that disaffirms humanity. The artists featured in Reclamation<\/em> are keenly aware that humans are an integral part of the great ecosystems of the earth. Human rights are directly entwined with the rights of the land. The way forward implies human action.\u201d<\/p>\n

Read about Reclamation<\/em> in the Denver Art Review<\/a><\/p>\n

 <\/p>\n

\"Tonopah_18x24\"<\/p>\n

Mirage: Water, Energy, and Creativity in the Great Basin<\/strong>
\nAugust 2020 – February 2021
\nBoise Art Museum, Boise, ID<\/p>\n

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<\/em> 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\u2019t 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.<\/p>\n

Artists have long been inspired by the many paradoxes of the region. Each participating artist in the Mirage<\/em> exhibition presents work that considers the Great Basin from a different point of view.<\/p>\n

 <\/p>\n

Sagehen: A Sierra Proving Ground<\/strong>
\n2020
\nNational Academy of Sciences, Washington DC<\/p>\n

 <\/p>\n

\"12-artists-full-grid-\"<\/p>\n

12 New Mexico Artists to Know Now<\/strong>
\nMarch 6-April 25, 2020
\nSouthwest Contemporary
\n1415 W Alameda St, Santa Fe<\/p>\n

\u201c12 New Mexico Artists to Know Now\u201d of 2020 features selected artists in a special artists issue of THE Magazine. The program received 400+ artist submissions from every corner of the state, from artists working in many styles, media, and techniques, and was curated by Lauren Tresp and guest juror Andrew Connors, director of the Albuquerque Museum. The exhibition showing the selected artists’ works in person opened on March 6.<\/p>\n

 <\/p>\n

\"Document\"<\/p>\n

A Line in the Sand<\/strong>
\nNovember 9, 2019 – May 24, 2020
\nHunter Gallery, Roswell Museum and Art Center<\/a>
\n1011 N. Richardson Ave, Roswell, NM<\/p>\n

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.<\/p>\n

This event is part of the Species in Peril Along the Rio Grande<\/em> regional collaboration.<\/p>\n

 <\/p>\n

\"Portrait<\/p>\n

A Soft Eye, A Mirror-Eye<\/strong>
\nJan 24 \u2013 Feb 28, 2020
\nSanitary Tortilla Factory<\/a>
\n401-403 2nd St SW, Albuquerque, NM<\/p>\n

In A Soft Eye, A Mirror-Eye<\/em>, 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.<\/p>\n

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\u2019 disparate personalities and physiognomies. The work stands as a testament to the distinctive character of each of these \u201cships of the desert.\u201d 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\u2019s physical features precisely and reverently, letting his remarkable qualities speak for themselves.<\/p>\n

 <\/p>\n

\"Document-1\"<\/p>\n

The Water Waxes Deeper Still<\/strong>
\nNov 23, 2019 \u2013 Jan 12, 2020
\nMarshall and Winston Gallery, Roswell Museum and Art Center<\/a>
\n1011 N. Richardson Ave, Roswell, NM<\/p>\n

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\u2014a lyrical and symbolic otherworld that has been perpetuated by word of mouth for centuries.<\/p>\n

In addition to these ballad-based works, six larger paintings and their accompanying props represent Wood\u2019s 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.<\/p>\n

 <\/p>\n

\"Tonopah_18x24\"<\/p>\n

Mirage: Water, Energy, and Creativity in the Great Basin<\/strong>
\nJune 13 – August 29, 2019 + 2020
\nBoise Art Museum, Boise, ID + Sun Valley Center for the Arts, ID<\/p>\n

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<\/em> 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\u2019t 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.<\/p>\n

Artists have long been inspired by the many paradoxes of the region. Each participating artist in the Mirage<\/em> exhibition presents work that considers the Great Basin from a different point of view.<\/p>\n

 <\/p>\n

\"install\"<\/p>\n

Inaugural Exhibition: Art in New Mexico<\/strong>
\nMarch 29 – May 20, 2019
\nYlise Kessler Gallery
\n333 Montezuma Ave, Santa Fe, NM<\/p>\n

 <\/p>\n

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Deep Time Lab \/ Solastalgic Archive<\/a><\/strong>
\nJan – May 2019
\nUniversity of New Mexico Art Museum, Albuquerque, NM
\n<\/strong><\/p>\n

Image and following text from project creator\/curator Nina Elder<\/a>:<\/p>\n

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<\/em> 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…an evolving, changing, temporal thing.<\/p>\n

 <\/p>\n

\"documenting_change_62\"<\/p>\n

Documenting Change: Our Climate (Past, Present, Future)<\/strong>
\nFeb 7 – July 20, 2019
\nCU Art Museum, Boulder, CO<\/p>\n

Documenting Change: Our Climate (Past, Present, Future)<\/em> 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.<\/p>\n

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<\/sup> and early 20th<\/sup>-century scientific photo-documentation of glaciers and contemporary works that visualize complex datasets are composed from soot, silver, wool, wood, ink, pixels, and more.<\/p>\n

This exhibition is co-curated by Erin Espelie and Hope Saska.<\/p>\n

 <\/p>\n

\"Wood<\/p>\n

Long of Limb \/ Short of Stem: Drawings to Scale<\/strong>
\nNov 10, 2018 – Jan 5, 2019
\nSymphony in the Flint Hills Gallery<\/p>\n

 <\/p>\n

The Collector\u2019s Eye<\/strong>
\n2018
\nOffroad Productions Gallery, Santa Fe, NM<\/p>\n

Museums and some galleries feature shows from time to time that are comprised of a collection assembled by an art patron that specifically highlights that collector\u2019s taste and aesthetic. The best ones reflect the thought and care that went into acquisitions which illustrate the uniquely personal vision of that Collector. For The Collector\u2019s Eye<\/em>, Michael Freed assembles a group of 7 Collectors who committed to curating 7 artists (1 artist per Collector) to produce a show reflecting their ideas about the contemporary art they are most interested in.<\/p>\n

Some of the Collectors act as a partnership with the other involved in their relationship as they collect together. Others are individual Collectors who buy works that primarily reflect their singular vision. Each Collector or Collector Partnership has chosen one artist they feel represents their eye for the show. None of the Collectors have been in contact with each other and some have never met, so the resulting combination of works is an interesting mix of personal taste and aesthetic through individual curation, then assembled into one show offering a unique presentation of combined curation without any other formula.<\/p>\n

In Their Wake<\/strong>
\n2017
\nKruglak Gallery, MiraCosta College, Oceanside, CA<\/p>\n

 <\/p>\n

In the Offing<\/strong>
\n2017
\nCentral Features, Albuquerque, NM<\/p>\n

 <\/p>\n

Home<\/strong>
\n2017
\nHarwood Art Center, Albuquerque, NM<\/p>\n

 <\/p>\n

TONDO<\/strong>
\n2017
\nExhibit\/208, Albuquerque, NM<\/p>\n

 <\/p>\n

A Residency on Earth<\/strong>
\n2016
\nCA+E Archive Gallery, Nevada Museum of Art, Reno, NV<\/p>\n

 <\/p>\n

Unstable Ground<\/strong>
\n2016
\nDoane College, Crete, NB<\/p>\n

 <\/p>\n

Ucross: A Portrait In Place<\/strong>
\nJun 27 – Sep 7, 2015
\nUcross Gallery
\nBig Red Lane, Clearmont, WY<\/p>\n

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<\/em>.<\/p>\n

During two two-week residencies in 2013 and 2014, seven artists\u2013all alums of the Land Arts program\u2013worked 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.<\/p>\n

 <\/p>\n

\"knew-normal\"<\/p>\n

Knew Normal<\/strong>
\nJun 6 – Aug 9, 2015
\n516 ARTS
\n516 Central Ave SW Albuquerque, NM 87102<\/p>\n

(Image: Gala Bent, Ship for Fools, gouache and graphite on paper; text from 516 ARTS site)<\/p>\n

\u201cWe\u2019ve never been here before\u201d is a sentiment that brings to mind uncharted paths, discovery, excitement and adventure. We, as a civilization, have never come so far.<\/p>\n

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 \u2014 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\u2019s most gruesome challenges \u2014 extreme weather, extinction of species, diseas, and more \u2014 to be the result of this increase of CO2 in Earth\u2019s atmosphere.<\/p>\n

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.<\/p>\n

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 \u201cnew normal,\u201d 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?<\/p>\n

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.<\/p>\n

 <\/p>\n

\"sand-introduction-postcard-1024x683\"<\/p>\n

(s)and: an introduction<\/strong>
\nMay 2 – May 30, 2015
\nExhibit\/208
\n302 Broadway Boulevard Southeast, Albuquerque, NM 87102, USA<\/p>\n

(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.<\/p>\n

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\"imaginariumlogo\"<\/p>\n

Imaginarium<\/strong>
\nJan 23 – Feb 15, 2015
\nBelconnen Arts Centre
\n118 Emu Bank, Belconnen, ACT, 2617<\/p>\n

Curated by artist Dr. Amanda Stuart, Imaginarium explores the realm of imaginary creatures and\/or forms that speak to interpretations of \u201chybrids\u201d: 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.<\/p>\n

 <\/p>\n

\"you-are-the-doorway\"<\/p>\n

You Are The Doorway<\/strong>
\nNov 1, 2014, 5 – 9 pm, In conjunction with OneBeat ABQ at the Rail Yards
\nAlbuquerque Railyards Blacksmith Shop
\n777 1st St SW, Albuquerque, NM<\/p>\n

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\u2019s 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.<\/p>\n

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.<\/p>\n

(Featured photo by Ellen Babcock, text from 516ARTS blog.)<\/p>\n

 <\/p>\n

\"magnor-1024x709\"<\/p>\n

Magnetic North: Artists and the Arctic Circle<\/strong>
\nMay 27 – Aug 29, 2014
\nAvenue of the Americas Art Gallery
\n1285 Avenue of the Americas, New York, NY 10019, USA<\/p>\n

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.<\/p>\n

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.<\/p>\n

 <\/p>\n

\"watershed\"<\/p>\n

Watershed Bounding<\/strong>
\nMay 3 – Jun 29, 2014
\nOpen Space Visitor Center
\n6500 Coors Blvd. NW, Albuquerque, NM<\/p>\n

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 \u201cPlace\u201d. 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, \u201cBoundless Horizons\u201d 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.<\/p>\n

Participating artists include:
\nLea 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.<\/p>\n

 <\/p>\n

\"the-renga\"<\/p>\n

The Renga Project<\/strong>
\nJun 20, 2013 – Jun 22, 2014
\nAxle Contemporary Gallery
\nRail Trail, Santa Fe, NM
\nThe 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\u2019s stanza. The poem has been displayed on a large sign in the Santa Fe Railyard all year, with new stanzas added weekly.
\nIn 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.<\/p>\n

 <\/p>\n

\"wish-you-were-here\"<\/p>\n

Wish You Were Here<\/strong>
\nDec 13, 2013 – Feb 15, 2014
\nSun Valley Center for the Arts
\n191 5th St E, Ketchum, ID 83340<\/p>\n

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.<\/p>\n

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 \u201call inclusive\u201d 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.
\nUntil 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\u2014relatively easy, inexpensive means of travel.<\/p>\n

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\u2019s On the Road to National Lampoon\u2019s Family Vacation. Americans live in a country with huge regional variation\u2014the cross-country road trip gives them the opportunity to get to know it in a deeper way, to reaffirm their identities as Americans.<\/p>\n

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.<\/p>\n

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\u2019ve 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.<\/p>\n

 <\/p>\n

\"common-threads\"<\/p>\n

Common Threads<\/strong>
\nSep 16 – Oct 27, 2013
\nDennis Gallery, Austin College
\n1305 East Richards Street, Sherman, TX 75090, USA<\/p>\n

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.<\/p>\n

 <\/p>\n

\"fathomout_postcardtest_2-1024x675\"<\/p>\n

Fathom Out<\/strong>
\nSep 5 – Oct 1, 2013
\nMesaros Gallery
\nWest Virginia University
\nFathom 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.<\/p>\n

 <\/p>\n

\"among-the-final\"<\/p>\n

Among the Final Thunders of These Ices<\/strong>
\nSep 6 – Sep 28, 2013
\nSmall Engine Gallery
\n1413 4th St SW, Albuquerque, NM<\/p>\n

Among the Final Thunders of These Ices, a solo exhibition\u2013the first to feature finished large-scale drawings and paintings resulting from 2012\u2019s Arctic research\u2013is showing in the Small Engine Gallery in the Barelas neighborhood in Albuquerque.<\/p>\n

 <\/p>\n

\"relative-proximity\"<\/p>\n

Relative Proximity<\/strong>
\nApr 1 – May 23, 2013
\nIda Green Gallery, Austin College
\n1001-1399 East Brockett Street, Sherman, TX<\/p>\n

The Ghost Town Arts Collective is back with their group exhibit \u201cRelative Proximity,\u201d celebrating connection and distance in its myriad forms.<\/p>\n

 <\/p>\n

\"that-sound-under-the-floor\"<\/p>\n

That Sound Under the Floor Is The Sea.<\/strong>
\nApr 5 – Apr 25, 2013
\nHarwood Art Center
\n1114 7th Street Northwest, Albuquerque, NM<\/p>\n

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 \u2013 November 2012.<\/p>\n

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 Bod\u00f8, Troms\u00f8, 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\u2019s 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 \u2013 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.<\/p>\n

 <\/p>\n

\"alcove_wood_1\"<\/p>\n

Alcove 12.8<\/strong>
\nJan 18 – Feb 15, 2013
\nNew Mexico Museum of Art, Santa Fe, NM
\nCurated 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.<\/p>\n

 <\/p>\n

\"far-flung\"<\/p>\n

Far-Flung: A Three-Person Exhibition<\/strong>
\nJul 20 – Aug 14, 2012
\n5G Gallery, Factory on 5th Art Space
\n1715 5th Street NW, Albuquerque<\/p>\n

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\u2019s work is a preoccupation with spaces both intimate and immense, and with the species and characters that inhabit those spaces.<\/p>\n","protected":false},"excerpt":{"rendered":"

RECENT EXHIBITIONS: Caroline Liu + Cedra Wood: Creative Reflectors July 26 – August 23, 2025 Pie Projects Gallery, Santa Fe, NM Pie Projects Contemporary Art is pleased to present Creative Reflectors, an exhibition of works by artists Caroline Liu and Cedra Wood. Both Liu and Wood showcase paintings and masterful drawings exploring cultural identity… <\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"_vp_format_video_url":"","_vp_image_focal_point":[],"footnotes":""},"class_list":["post-384","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/cedrawood.com\/work\/wp-json\/wp\/v2\/pages\/384","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/cedrawood.com\/work\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/cedrawood.com\/work\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/cedrawood.com\/work\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/cedrawood.com\/work\/wp-json\/wp\/v2\/comments?post=384"}],"version-history":[{"count":34,"href":"http:\/\/cedrawood.com\/work\/wp-json\/wp\/v2\/pages\/384\/revisions"}],"predecessor-version":[{"id":973,"href":"http:\/\/cedrawood.com\/work\/wp-json\/wp\/v2\/pages\/384\/revisions\/973"}],"wp:attachment":[{"href":"http:\/\/cedrawood.com\/work\/wp-json\/wp\/v2\/media?parent=384"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}