April 27 - June 22, 2018.
Taos 1960s - Present.
Vivan Horan Fine Art
35 East 67th Street, New York.
“I found out that the sunshine in New Mexico could do almost anything with one: make one well if one felt ill, or change a dark mood and lighten it. It entered into one’s deepest places and melted the thick, slow densities. It made one feel good. That is, alive.”
― Mabel Dodge Luhan
Vivian Horan Fine Art is pleased to present “Taos: 1960’s – Present,” opening April 27 through June 22. The exhibition includes a selection of work by artists who have continued the creative legacy of Taos from its early beginnings as an artist’s colony to the thriving artists’ community of today. “Taos: 1960’s – Present,” includes works by the late luminaries Agnes Martin, Ken Price, and Dennis Hopper, and 1960’s Southern Californian artists – Larry Bell, Price, and Ronald Davis – who brought the concerns of the mid-century Los Angeles art scene to Taos, and became pivotal influences for generations of artists working there. The contemporary artists in Taos give material form to their natural surroundings, and to their experiences living in an artists’ colony where art and life are inextricably intertwined.
June 4- July 16, 2016.
November 30, 2015
December 22, 2014
February 22 - May 4, 2014.
My studio featured in BBC Culture coverage of Art Studio America, a new book about American Artists in their studios, with Debbie Long, Marina Abramovic, Glen Ligon, Chuck Close, Jeff Koons, Alex Katz, John Giorno, Bill Viola, and Laurie Simmons.
"American Artists Pictured in Their Studios"
Article by Rebecca Laurence
Photo of Debbie Long in her New Mexico Shipping Container Studio by Robin Friend
October 14, 2013
October 12-19, 2013.
We arrived in the Mojave with the Naima trailer after a long drive through the desert between New Mexico and California. Our site for Naima and High Desert Test Sites was a sprawling dry lakebed surrounded by a ring of low hills. We drove around the lakebed all afternoon searching for the perfect spot for Naima, unhitched the trailer, and camped for the night. We were in the most spare and wild desert spot. The sky was a huge bowl covering the lakebed. At night I was surprised by shooting stars.
The next day we were hit by a dust and windstorm that lasted two days. We camped in the desert, dust filling the air and all our gear. At night it was cold and gritty. We started to install Naima with the wind rocking the trailer. We stacked the 150 cardboard boxes filled with glass for Naima inside a tent. The wind finally stopped and I settled in to being out in the elements. We camped out for a week installing Naima.
It's amazing how much more you notice the sky and the light and the cycles of day and night camping out in the desert. I forget or ignore them in the city. I got to see over and over how dramatically the light inside Naima changed at different times of day - sunset, high noon, and even at night under moonlight, which was a surprise. Thank you to all the intrepid people who braved the desert roads and waited in the hot desert sun to see Naima at High Desert Test Sites.