Gallery Shows | Harwood Art Center

Gallery Shows

  • Holly Roberts, Adam and Eve
    From Uncharted Territory, March 2014

  • Orlando Leyba, Cuerda 
    from Overlap, January 2014

  • Rachel Zollinger, Seif, No. 2
    from Re(structure), January 2014

  • Dannee Ashton
    Recycled Heart: Artists of ArtStreet, Feburary 2014

  • Elaine Roy, xxoo Sending My Love
    from Contemporary Contrast, August 2014

  • Maude Adrade, Last Night's Blue Dress
    from Finding Reason, April 2014

  • Margi Weir, Fiscal Forecasting
    from Topical Tapestries, April 2014

  • Alan Paine Radebaugh
    October 2014

  • Ken Frink
    May 2014

  • Karl Hoffman
    May 2014

  • Evan Dent
    September 2014

  • Janet Shagam
    October 2014

SURFACE: Emerging Artists of New Mexico

Friday, June 01, 6:00pm

Opening Receptions & Community Celebration: Friday, June 1, 6 - 8pm
Exhibtions Run: June 1 – July 20, 2018


Harwood Art Center's 6th annual SURFACE: Emerging Artists of New Mexico is a juried exhibition, endowed cash awards and professional development program. It is designed to cultivate the creative and professional growth of artistic talents and to expand their visibility and economic viability in our community.

Participating artists are: Helen Atkins, Hayden Barnard, Caitlin Carcerano, Emma Casady, Alison Green, Nikita Gurnani, Rachel Harris Huffman, Isabel Hees, Lena Kassicieh, Margarita Paz-Pedro, Ruby Troup, and Penelope Young.

Read more about the exhibition in the Abq Journal >


The heart of SURFACE – and what sets the program apart both in Harwood’s annual calendar and from gallery exhibitions around the city – is the professional development component. The intensive full-day workshop focuses on, fundamentally, what it means to be and how to further oneself as a professional working artist. BFA / MFA programs do an excellent job of cultivating deep development in creative practice and theoretical - historical - contemporary frameworks. The SURFACE program looks at business practice and social - commercial - communication frameworks.

Cecilia McKinnon, Screen Fringe (detail), 2018

Muscle Memory: Cecilia McKinnon

Cecilia received the SURFACE 2017 Harwood Art Center Solo Exhibition Award, presented annually for artistic excellence, originality of vision and dedication to practice.

“In its countless alveoli space contains compressed time. That is what space is for.” Gaston Bachelard, The Poetics of Space

“The self is not contained in any moment or any place, but it is only in the intersection of moment and place that the self might, for a moment, be seen vanishing through a door, which disappears at once.” Jeanette Winterson, Sexing the Cherry

Muscle Memory explores the phenomena of memory as embodied within place, experienced through sculpture, installation, and textile intervention into everyday objects. The act of dwelling, performed through the habitual and repetitive gestures of domesticity, is one by which an architectural space becomes encoded into our bodies. We contain an experiential knowledge which runs deeper than conscious thought, a bodily familiarity which allows us to find a light switch in the dark or open a tricky lock. The home becomes a container for interwoven layers of time and memory, an archive of the thousands of intimate, mundane, or unremarkable gestures which comprise daily life. Our awareness of the accustomed space extends beyond the boundaries of the body and beyond physical parameters to encompass vast emotional and psychological expanses. What role does the architecture of home play in the mediation of present experience and a continuity of memory? To what extent can we visualize the strange alchemical process by which interior space becomes a living piece of the self?

Cecilia McKinnon is an intermedia artist and curator, primarily working in the areas of sculptural installation, textiles, and performance. Her work explores the entropy of both memory and physical place, relying on craft-based interventions, found objects, and abject materials. McKinnon grew up in California, immersed in theater and performance practices. She moved to New Mexico to complete a BFA at the University of New Mexico in 2010, where she studied printmaking and sculpture, in addition to participating in Land Arts of the American West. She has performed and presented work in a variety of exhibition and festival venues, including Bread and Puppet Theater, Titwrench Festival, SOMOS ABQ, the Anderson Abruzzo International Balloon Museum, and the Center for Contemporary Arts in Santa Fe. She currently performs in experimental solo songwriting project Star Canyon, as well as with noise collective Milch de la Máquina, and women's music festival organizers Gatas y Vatas. She is a founding member of GRAFT collective, an art and curatorial collective based out of the Barelas neighborhood in Albuquerque.


We are deeply grateful to The FUNd at Albuquerque Community Foundation, Bernalillo County, City of Albuquerque, The Geissman Family, McCune Charitable Foundation, New Mexico Arts and National Endowment for the Arts for their support of SURFACE: Emerging Artists of New Mexico, as well as to Marion & Kathryn Crissey and Reggie Gammon for establishing our endowed awards for this program. SURFACE would not be possible without our extraordinary local collaborators at Albuquerque Art Business Association, A Good Sign, The Grove Cafe & Market, Tractor Brewing Company, and UNM School of Architecture and Planning.

August Exhibitions

Friday, August 03, 6:00pm

Opening Reception: Friday, August 3 from 6 - 8pm
Exhibitions Run: August 3 - 23, 2018


Luanne Redeye’s exhibition, Frames, is a series of mixed media works and portrait paintings that weave together historical and personal narratives, familial relationships, and creativity as a way to heal. Through this work, Luanne incorporates beaded picture frames as a device to represent larger themes that affect Native communities and families – themes like alcoholism, domestic violence, mental illness but also good things like caring, providing, protecting, and teaching. Representing five different family members, the frames and paintings hold important moments that reveal the thoughts and history of the artist, like a collection of finger prints; the layering of imagery focuses on creating visibility, confronting historical traumas, and acknowledging the past to help understand the present. {main gallery}

Barbara / Facing Down Alzheimer's: Vincent Frazzetta

Barbara and Alzheimer’s. The viewer knows the outcome of this story. In this exhibition of photographic art and documentary, Bernalillo resident Vincent Frazzetta presents a woman’s extraordinary struggle to live a decent life while facing down a murderous disease. With eighteen black and white film photographs and accompanying text, Frazzetta invites the viewer to bond with Barbara and learn something new about grace under duress. For those who work as caregivers for people with the disease, the stunning images and accompanying texts reveal small truths and clues to help carry on their mission. {front gallery}

About the artists

Luanne Redeye
Luanne Redeye uses painting as a way to see others. Working primarily in oil she depicts the relationship between perception and experience of native identity through genre scenes, designs, and portraits. Born in Jamestown, New York, Luanne grew up on the Allegany Indian Reservation in Western New York. It is from here where she draws inspiration incorporating community and family members into her paintings, which gives her works a strong personal and emotional component. Luanne currently lives in Albuquerque, New Mexico. An enrolled member of the Seneca Nation of Indians and Hawk Clan, she studied at the University of New Mexico receiving her MFA in 2011. She has exhibited throughout the US and has been the recipient of various awards including most recently the Barbara and Eric Dobkin Fellowship at the School for Advanced Research in Santa Fe, New Mexico.

“As a figurative artist my work is an intersection of autobiography and community. I depict my Native culture and the relationship between perception and experience through genre scenes and portraits of people from my home reservation in New York. Representation of Native peoples from a Native perspective is important to me. Sometimes that representation includes specific, identifiable symbols and sometimes it does not – because the figures within my paintings define their culture on their own terms. The work asks the viewer to search further for the paintings meaning to wonder “why this image”, “why this person or these people” – not to prove authenticity but to disprove what others think is “authentic.”

Even though I don’t depict myself within the scenes I am present because I made the work, I am part of the work because it’s from my experiences. The paintings are from my gaze and the surface becomes a window into the everyday life, domestic setting, and familiar surroundings of the participating figures. The works are visual narratives of the people’s histories capturing what it means to be Indian today.” – Luanne Redeye

Vincent Frazzetta
Vincent Frazzetta, a photographer now working exclusively with black and white film, was born in Bridgeport Connecticut, and began his serious photography late in life. In 1998, while living in Corrales, New Mexico, his wife, Barbara, was diagnosed with early onset Alzheimer’s disease. At that point, Frazzetta turned to photography to help deal with the expected decade of solo caregiving to which he’d committed. With Barbara now gone, his photo work continues.  Frazzetta’s photography includes interiors, landscapes, people and work; most typically seen in bold, high contrast black and white images. They are made with a strong sense of the art assimilated through earlier decades of wandering through museums and galleries.

Frazzetta has exhibited in juried shows and solo exhibitions in Maine (where he retired to care for his stricken wife). He received the Ike Royer Memorial Award For Black and White Film Photography, and was published in B&W Magazine. Returning to New Mexico three years ago, his work has been shown in Bernalillo and Jemez Springs galleries. 

“I have a good eye, a passion to document what I see, and an equally strong need to honestly record the subject with beauty, irony, or humor, and perhaps a bit of storytelling. My eye goes to the essence of the subject, and with the Barbara/Alzheimer’s series, I have done just that while documenting her life-affirming struggle to manage a murderous disease.

Artistically, I seek a certain signature look of my own, so my tools are vintage; my work is recorded on black and white film, and I utilize traditional darkroom processing. In this I follow my predecessors and models: Dorthea Lange, Walker Evans, W. Eugene Smith, and Tina Modotti.” – Vincent Frazzetta

Upcoming Exhibitions

Friday, October 05, 6:00pm


Opening Reception: Friday, October 5 from 6 - 8pm
Exhibitions Run: October 5 - 25, 2018

David Disko & Dani Jeffries: Landforms
{main gallery}

Jessica Kennedy: Beautiful Unwanted
Beautiful Unwanted deals with harmful invasive species and the impact they have when introduced into foreign ecosystems, usually for reasons of human greed or naïve fascination with the unfamiliar or “exotic.” The works in this exhibition are intended to acknowledge the destructive force of these species, while simultaneously honoring their aesthetic beauty and inherent value as life forms. {front gallery}



Opening Reception: Saturday, December 1, 6 - 8pm
Exhibitions Run: December 2 - 7, 2018

Both Galleries: ((12x12))



Kris Mills

Former Studio Artist

I was in Harwood’s very first show called Road To Chaos, organized by Jeff Kruger. My dog, Micro, was also in that show eating 30 hot dogs in a performance piece by Bryan Konefsky. I had two studios at two different times. The most recemt, I used the studio to do serigraphy with my collaborative friend Tom Loeb. LThe first time, I used the studio to make sculpture. Harwood has given me many opportunities to show my own art and curate shows about the work my community, Albuquerque makes.  My dog Pablo and I are in and out of Harwood’s doors a lot because I now live in the neighborhood.

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