Category Archives: Uncategorized

Java What?

Java What?

Juried by: Michelle Lanteri

April 4-April 11, 2017

NMSU Music Center (1075 N. Horseshoe Las Cruces, NM 88003)

Complementing the “Java Love” musical and live poetry performances, this juried art exhibition features work by eight NMSU Department of Art students. Art and design of any media and style were welcomed for this show, with a wide range of content from the abstract, to the sincere, to the satirical. 

Exhibiting artists include: Jenny Abeyta, Fahimeh Foudazi, Olivia Lemmons, Rubi Madrid, Raquel Madrigal, Nicholas Ostella, Melissa Michelle Perez, and Mariah Shelby. 

*Click here for more information about this event

Opening Reception, Java What?

Tuesday April 4, 2017, 6:30-7:30 pm (NMSU Music Center)

Also, free coffee and treats available during the reception as part of the “Java Love” evening, a collaboration between the NMSU Departments of Music, English, and Art and the brainchild of Dr. Lon Chaffin, Department of Music faculty member.

*Click here for the Facebook event page



Fugitive Fibers


Fugitive Fibers

August 31-September 30, 2017


Featured Artists

Sandra Doore

Erika Lynne Hanson

Jeana Eve Klein

Mara Lonner


Juried by:

Exhibition Review Committee 2016-17: Julia Barello, Jessika Edgar, Heather Gordon, Madeleine Griffin, Michelle Lanteri, Emily Nachison, Katy Stuckel, Jasmine Woodul


Organized by:

Michelle Lanteri & Jasmine Woodul


Opening Reception:

Thursday, August 31, 2017. 5:30 – 7:30PM

Artist Lecture: 

Erika Lynne Hanson & Mara Lonner, Friday, September 15, 2017. 6PM

Skype Lecture:

Jeana Eve Klein & Sandra Doore, Thursday, September 21, 2017. 6PM

The University Art Gallery (UAG) is proud to present the exhibition, Fugitive Fibers, a group show displaying work by four artists who utilize fiber in their practice to speak about contemporary binaries within the contexts of found and created environments. Commenting on consumerism, Sandra Doore shapes synthetic leather into fragmented objects of beauty and creates plastic “texted” tapestries, both functioning as sites of investigation and critique. Using flags as directional guides and speaking to the contingency between climate change and the anthropocene, Erika Lynne Hanson weaves together an ecology of relationships specific to Southwest landscapes, as represented by an object, video, and performance-based installation. Through the conflicted juxtaposition of aging sites of domesticity and fresh commodities, Jeana Eve Klein re-imagines abandoned homes as locations of celebration, growth, and abundance, quilting scenes of narrative objects, of which viewers are the revolving inhabitants. Mara Lonner’s velvet tapestries elegantly confront existential crises in the natural world, while the fugitive fibers released during her burnout process are rearranged into drawings, consequential in their own right, with new life breathed into form. In this exhibition, place is a moving target, shifting and morphing before our eyes. The works on view invite a contemplation of the creation that arises from destruction and the temporary solace that blurs our vision.

This group show was juried by the UAG Exhibition Review Board from more than 80 international applicants who applied for an open call made by the UAG for exhibition proposals. The jurors included Julia Barello, Jessika Edgar, Heather Gordon, Michelle Lanteri, Emily Nachison, Katy Stuckel, and Jasmine Woodul. 

Sandra Doore’s work hovers between the representation of sound and action, visualizing her ongoing exploration into the new language of texting through stitched sculptures, installations, drawings and mixed-media. Doore was born in Switzerland and currently resided in Canada. She received her MFA from San Diego State University in 2007 and her BFA from the University of Victoria, in British Columbia.

Erika Lynne Hanson creates weavings, videos, and installations that connect diverse materials, histories, and places. Hanson received her MFA from California College of the Arts, and holds a BFA in Fiber from The Kansas City Art Institute. Her work has been exhibited in various locations including Los Angeles, Kansas City, San Francisco, New York, and Houston. Hanson is currently Assistant Professor of Fibers/Socially Engaged Practices at Arizona State University.

Jeana Eve Klein’s recent studio practice has coalesced around the broad theme of value, specifically how society assigns value to objects. These ideas are made tangible through large mixed media quilts and tiny obsessive embroideries. Klein earned an undergraduate degree from North Carolina State University and MFA from Arizona State University. Her work has been exhibited internationally, including recent solo exhibitions at William King Museum (Abingdon, VA), Jasper Arts Center (Jasper, IN), Rehoboth Art League (Rehoboth, DE), College of Lake County (Grayslake, IL), and Cary Arts Center (Cary, NC).

Mara Lonner recently moved from Los Angeles, CA to Santa Fe, NM. She received her BFA And MFA from The California Institute For The Arts. She works with a variety of mediums and genres to blur the conventional distinction between organic and geometric worlds. Lonner recent exhibitions include: Jancar Gallery, Los Angeles, CA; Cue Art Foundation, New York; LAXART, Los Angeles, CA.

Join us for the opening reception of Fugitive Fibers Thursday, August 31, 2017, 5:30 – 7:30PM in the UAG. As associated programing, exhibiting artists Erika Lynne Hanson & Mara Lonner will present an artist lecture on Friday, September 15 at 6 p.m, and Jeana Eve Klein & Sandra Doore will present a skype lecture on Thursday, September 21 at 6 p.m. Both events are in the UAG and are free and open to the public.

Fugitive Fibers will be on exhibit from Thursday, August 31, 2017 – Saturday, September 30, 2017.




Winfrey Hearst



Artist: Hearst, Winfrey                              

Title/Date: Saturday Afternoon, 2003                                        

Description of the work:

The scene in this etching depicts a gathering of people around a gazebo, including children and adults, in a relaxed manner on a Saturday afternoon. The gazebo is located in the middle of what seems to be a plaza surrounded by gardens with a small fence around it. Men, women and children are seen casually sitting by the parapet wall under a very cloudy sky in leisure activities such a man polishing another’s shoes and an ice-cream vendor. Trees and buildings complement the scene. The print is monotone, which looks more likely to be from an earlier period.                    

Artists Biography:

Winfrey Hearst is a native of El Paso (born in 1972), Texas and received both her B.A. in Art and B.S. in Education from the University of Texas at El Paso. She furthered her study of ceramics at the Archie Bray Foundation in Helena, Montana, and study education at Carroll College in Helena. Hearst continued her study of printmaking at the Institute of Experimental printmaking in Santa Cruz, California, and also at Frogman’s Workshops at the University of South Dakota. She has always enjoyed working outdoors and has sketched and painted in the Southwest, as well as in the forests of Montana, where she lived for almost seventeen years.


Signed: signed her name recto on the right lower-end corner of the print of the etching. In the lower center shows the edition of 2/30. The title is located on the lower left end.

Date and Dimension: 2003; 13” x 15¾”                        

Medium: Print, etching

Accession # and Acquisition date: acc. # H2011.86; Date: 2003

Condition: Good.

Provenance and Exhibitions:  Provenance; UNK

Framed: Framed  

Current Location: The piece is a part of the New Mexico State University’s permanent collections.


-“Plein Air Painters of El Paso, the Border Artists, the El Paso Art Association, Las Artistas and Pastel Society of El Paso.”            Accessed Dec 7, 2016.               

Reproductions: N/A

Researched by: Latha Sankaran, 11 November 2016.

Susan Coe



Artist: Coe, Sue

Title/Date: The Unspeakable Pursuing the Uneatable, 1951                                   

Description of the work:

The Unspeakable Pursuing the Uneatable depicts a group of animals surrounded by men with firearms. This lithograph is almost exclusively in black –and-white except for the main subjects a three birds, a deer, two bears, a rabbit and a squirrel in the center of the composition. Coe is an animal activist and the main subject of her artwork. The large number of armed men creates rhythm and patterns in the composition.

The human figures surrounding the animals are portrayed in greater detail in the foreground abstracting towards the background. The figures are disproportionate, heads are egg shaped, and facial features are exaggerated to seem more menacing. It is clear that Coe’s use of stylized imagery, as well as, realistic renderings of figures and animals to send a message of horror. On the other hand, the animals in the center of the composition are rendered realistically with textures imitating furs, feathers and, the body of the deer include the representation of the rib cage and neck muscle contraction.

Artist’s Biography:  

Sue Coe is a contemporary English artist who is best known for her political graphic illustrations as well as her activism. Coe was born in Tamworth, England on November 28, 1951 and immigrated to the United States in 1972 where she began her career as an illustrator in New York City. Growing up near a slaughter house, Coe was able to take inspiration from the sight and developed a passion for animal rights activism. This became a central subject in her work which feature heavy political themes. Coe uses painting, printmaking and realistic drawing styles to show scenes of animals suffering. Some of her influences include Chaim Soutine, Kathe Kollwitz and Francisco de Goya.

Over the years throughout her career, Coe became known for her depictions of victims and their tormentors respectively. She captures the essence of fear and suffering by the use of colors and the stylized nature of her imagery. For example, some of her work included the violence brought forth by the Ku Klux Klan, hunger in Africa, AIDS and terrorism in Ireland. However, she then focused her work on factory farming. Disgusted by the sounds of pigs shrieking as a result of living next to a slaughter house as a child, she then became an animal activist. Coe has become a fighter against animal cruelty in different industries including, medical research and genetic engineering. In 1986 to 1992, Coe visited slaughter houses around the U.S. and Canada recording the ghastly sights she would witness. Through her research, she found inspiration that can be seen throughout her work. Coe believes she is an optimist, which has allowed her to pursue her artistic and activism career throughout the years.


Signed: no

Date and dimension: 1951; Print: 44 ⅜” x 30” and frame: 52 ½” x 37 ¼”               

Medium: Lithograph

Accession # and Acquisition Date: 1996.01.09; Date: 1996          

Condition: Excellent, under glass

Provenance and Exhibitions: N/A         

Framed or Flat: Framed

Current location: Piece is part of the University Art Gallery’s permanent collections at New Mexico State University.


-Artnet website, Artists section Sue Coe: accessed 19 October 2016

-Galerie St. Etienne website, Artists and Inventory section, Sue Coe: accessed 19 October 2016

AWTT website, Sue Coe Section: accessed 19 October 2016

Reproductions: N/A

Researched By: Jesus Zubia, 19 October 2016         

Sandy Sorlien



Artist: Sorlien, Sandy       

Title/Date:  Ice, Philadelphia, 2000

Description of the work:  

The artist documents in this black-and-white photograph large chunks of ice with sharp edges. The composition is divided diagonally from upper right to lower left by a darker line of smaller broken pieces besides two sections of unbroken ice sheets. The diagonal of the composition documents the fragility and the movement of the ice. The weather temperature of the ice is near freezing.

Sorlien’s grant proposal to the National Science Foundation’s Antarctic Artists and Writers Program to photograph landscapes in Antarctica was rejected. She then decided to take photographs at home in the Northeastern United States of places that she imagined looked like Antarctica. The shooting was done during the historically severe winter of 1996 and subsequent winters. The result is a powerful collection of images representing snow and ice-filled images introducing the viewer into Sorlien’s vision of Antarctica. Using a plastic toy Holgas camera, the artist creates a world that is voyeuristic, isolated, and mysterious. Ironically, her brother found himself traveling to Antarctica on a project to map the Ross Sea, and their email dialogue is paired with the images. This photography is part of a series catalogued into a book.


Sandy Sorlien was born and raised in the Schuylkill River watershed and lives in Roxborough near the Manayunk Canal. Sorlien is a photographer, neighborhood planner, and watershed educator. Her photographs are in the collections of numerous institutions, including the Philadelphia Museum of Art, the Michener Museum, and Haverford College. Since 2012, she has been a contractor at the Fairmount Water Works, the education sector of Philadelphia Water. She has developed several upriver dam-related programs, including the Falling Waters tour series and the Schuylkill Dam Series geocaches. Sandy rows out of Bachelors Barge Club on Boathouse Row, and watches carefully for herons, kingfishers, and otters – all biological indicators of a healthy river.

In her own words published in her website, Sorlien writes:  “My working life changed abruptly when Hurricane Katrina hit the Gulf Coast in late summer 2005. At the time, I was primarily a fine-art photographer and educator, teaching a new class at the University of Pennsylvania called The Photography of Urban Place, and working on a book about Main Streets. I was also the part-time editor of the Smart Code, a model design and development code for towns and cities that is based on smart growth and new urbanist principles. Now in 2012, that stormy path is coming back to meet the older path, the art of photography. I was a full-time code writer and planner, and teacher of coding workshops. This work took me far beyond the Gulf Coast, to at least twenty American cities and five countries.”

Sandy Sorlien is a prolific artist and writer with four photographic series entitled: Fifty Houses, Antartica, Manayuk and Main Streets.  The publications include the books  Fifty Houses, Imagining Antartica and SmartCode & Manuals.


Signed: No  

Date and Dimension: 2000; Image: 14” x 14”; Framed: 24”x 23”

Medium: Gelatin-Silver Print

Accession Number and Acquisition Date: acc.# 2002.01.08; Date: 2002

Condition: Excellent.         

Provenance and Exhibitions: UNK

Framed or Flat File: Framed and mounted with mat

Current Location: The piece is a part of the New Mexico State University’s permanent collections.


-Sorlein, Sandy. Imagining Antarctica, 2000; Accessed December 7, 2016.

-Sandy Sorlien, 2006 Accessed November 28, 2016

-Birch, Eugenie. L & Wachter, Susan. M. Rebuilding Urban Places After Disaster: Lessons from Hurricane Katrina. Philadelphia, PA: University of Pennsylvania Press, 2006.

Researched by: Latha Sankaran. 11 November 2016

Judith Golden



Artist: Golden, Judith

Title/Date: Untitled, 1970

Description of the work:  

This photography of a woman is a hand-tinted with her left eye cut out. In that space, there is a real eye looking out as though the photograph was a mask. Her left hand is resting against her cheek with four arrows coming out pointing to the eye cut-out, to the cheek, the teeth and the mouth. There is also an arrow pointing to woman’s hair on her left temple. There are two white rectangles; one above the left brow and one in the lower right corner, with the words IT HOT, in white text. In the upper right corner is display the word PLAYS. There are also four lines of hand-written text across the bottom section of the photograph but the word are illegible. The woman in the photograph has a heavy make up of blue-eye shadow, bright blush and deep red lipstick.

In her work, Golden addresses issues of gender, identity, popular culture and the influence of media. She often uses cut up magazines to change and alter her identity. She manipulates the image using it as a mask for the real individual.


Judith Greene Golden and born in 1934 and grew up on the south side of Chicago in a multi-cultural neighborhood which influenced her early work. As a child, she attended classes at the Art Institute of Chicago and in 1973 graduated from the School of the Art Institute with a B.F.A. degree. In 1975, she earned her M.F.A. from the University of California. At this point, Golden began her long involvement with self-portraits, role-playing, and caricatures spoofing the media.

Golden accepted a faculty position in the Art Department at University of Arizona, Tucson in 1981. This new location introduced her to Native American rituals that often utilize the mask to conceal the individual in order to reveal a more universal spirit. This concept of the mask became the basis for her images which have explored the human connection with nature, the eternal, and the universal for the past twenty years.

The Center for Creative Photography established the Judith Golden Archive in 1996, which contain an overview of her photographic prints, proofs, letters, journals, and other materials that reflect her work and career. Golden has received numerous grants including the National Endowment for the Arts, the Arizona Commission on the Arts, and the Polaroid Corporation. Her work appears in A History of Women Photographers, by Naomi Rosenblum, Seizing the Light: A Social History of Photography, by Robert Hirsch, and other publications and catalogs on contemporary photography.

Golden’s mixed media photographs are exhibited and collected worldwide including the Tokyo Metropolitan Museum of Photography, the San Francisco Museum of Modern Art, the Los Angeles County Museum of Art, the Museum of Photographic Arts, San Diego, the Museum of Contemporary Photography, Chicago, and others. In 1987, Friends of Photography and the Ansel Adams Center in San Francisco published a monograph of her images. Judith Golden is currently working on a new series, “Memory Mosaics,” which represents fragments of memory, history and mystery.


Signed: No

Date and dimension: 1970; Image: 13 ⅜” x 10 ½”; Framed: 21” x 17”

Medium: Hand-colored silver print

Accession # and Acquisition date: acc.# 1980.22.06; date: 1980

Condition: Excellent.

Provenance and the Exhibits: UNK; “Facing the Lens: Portraits of Photographers,” at the Minneapolis Institute of Arts, February 2011.

Framed: Framed.

Current location: The piece is a part of the New Mexico State University’s permanent collections.


-Fischer, Hal. “Judith Golden,” Artforum 20, 4 (1981) Accessed December 7, 2016.

-Minneapolis Institute of the Arts, Museum Ethics Help Build the Collection, posted Aug 4, 2011 Accessed December 7, 2016.

-Rosenblum, Naomi. A History of Women Photographers. New York, NY: Abbeville Press, 2010.

– Hirsch, Robert. Seizing the Light: A Social History of Photography. New York, NY: McGraw-Hill Education, 2008.

Reproductions: NA

Researched by: Latha Sankaran, 14 November 2016.                     

Dorothy Dehner



Artist: Dehner, Dorothy                

Title/Date:  Lunar Series #4, 1978

Description of the work:

The lithography Lunar Series #4 uses an exclusively monochromatic pallet with rectangles, oval and circular shapes. There are at least three different values throughout the shapes and forms. In order to distinguish the shapes from the background, the figures use a lighter value than the background. On the recto side of the composition is an almost perfect circle which lies atop a black rectangle and takes two-third of the composition, whereas the remaining space on the left is occupied by an elongated rectangle with an oval shape in the center.

Most of the circular image on the right utilizes a lighter tone of grey except for the bottom recto corner over a black rectangle. The use of color allows the viewer to associate the shape with the moon. The verso side of the composition contains a similar object, however is drastically condensed. The figure is more of an oval shape and is split into two halves dark gray and white whereas the elongated background is divided into light gray and black. Closer inspection reveals a cross hatch-like texture that throughout the work and is most likely caused by the texture of the paper and the direction of the lines. The circle and the oval shapes resemble different shapes of the moon which is going through either its waning or waxing stages.

Artist’s Biography:

Dorothy Dehner is an American artist born in Cleveland, Ohio in 1901. In 1915, she moved to California to study modern dance and in 1922, she tried to become an actress. She then moved to New York to study at the American Academy of Dramatic Art. It was after a trip to Europe that Dehner became interested in the plastic arts, particularly in sculpture. Inspired by the works Picasso and Matisse, Dehner perused her career in the arts. After returning to New York, Dehner enrolled in the Art Students League where she turned to painting in a modern style. Her work became inspired by cubist and abstract styles of art which were reflected in her art.

Then during 1940, Dehner married fellow artist David Smith and moved with him to Bolton Landing, outside of New York City. Though her art became subordinate to her duties as a wife, Dehner continued producing work. In 1950, she had her first solo exhibition at Skidmore College where she featured her ink drawings. Shortly after, in 1952, Dehner began focusing on three-dimensional forms and created many sculpture during the 1950s and 60s. Her work involves the use of wood and bronze and creates abstract towering forms with jagged edges which reflect her inspiration from the cubist movement. Divorced from her husband, Dehner focused solely on her artistic career and had at least 50 solo exhibitions from 1952 to her death in 1994.


Signed: Dorothy Dehner 70, Lower recto corner and the tittle Lunar Series 4 is accompanied by V/V

Date and dimension: 1971; 19 ½” x 24” edition 5/5

Medium: Lithograph

Accession # and Acquisition Date: 1985.01.09 Date: 1985           

Condition: Matted,Good, slight fading of signature

Provenance and Exhibitions:

Framed or Flat: Framed

Current location: This piece is part of the University Art Gallery permanent collection at New Mexico State University.


-The Phillips Collection webpage: accessed by 19 October 2016

-The National Gallery of Art webpage: accessed 19 October 2016

-The British Museum of Art webpage: accessed 19 October 2016.

Reproductions: N/A

Researched By: Jesus Zubia, 19 October 2016          

Carrie Mae Weems



Artist: Weems, Carrie Mae                      

Title/Date: Black and Tanned Your Whipped Wind of Change Howled Low Blowing Itself – Ha- Smack into the Middle of Ellington’s Orchestra Billie Heard It Too & Cried Strange Fruits of Tears From, 1995-96

Description of the work:

Portrait of an African-American young man with back towards the view exposing many scars. This work featured is part of a series, From Here I saw What Happened and I Cried, a series of 33 prints that contain focus on a similar subject—African Americans and slavery. This work and the others in the series consist of appropriated photograph that contain subject matter about slavery. The compositional elements added by Weems is the contrasting black and red colors which become almost haunting to the viewer. Weems also adds a simple gray Serif typeface in order to add a narrative that creates a fragment of a story from one far bigger.  

Although the work is part of a larger series that tell a complete story, this piece suggests a violent and torturous moment within the story. The line reads, “Black and Tanned your whipped wind of change howled low blowing itself-ha-smack into the middle of Ellington’s orchestra Billie heard it too and cried strange fruit tears.” This line alone suggests violence that took place during times of slavery. The heavy toned red and black image of a man further indicates the idea of violence. Light and shadow play an important part within the composition as areas of the photograph seem to become more prominent. 

Artist’s Biography:

Carrie Mae Weems was born on April 20, 1953 in Portland, Oregon and was the second child born to her parents. Weems as an artist is known for her work involving relationships with family, work dealing sexism and identity, as well as power. In terms of schooling, Weems earned a BFA at the California Institute of the Arts in Valencia in 1981. She then went on to receive her MFA at the University of California in San Diego in 1984. However, she continued her studies and enrolled in the graduate program in Folklore at the University of California in Berkeley during 1984-87.

Throughout her career, Weems has developed a wide variety and complex amount of work. This mainly includes photography, fabric, audio and video and text and image. As a natural storyteller, Weems uses stories within her photography to depict stereotypes but also to expose the pretentiousness of them.  Not only has her work been praised by critics, but she has also received numerous awards throughout her career. In 2012, Weems received one of the first U.S. Department of State medal of art for her commitment to the state’s art in embassies program. Then, the following year in 2013, she received the MacArthur Genius grant and a Congressional Black Caucus Foundation Lifetime Award. Weems has also been featured in the Jack Shainman Gallery since 2008.


Signed: no

Date and dimension: 1995-96; 23 ½” x 19 ½”             

Medium: Chromogenic color print with sand blasted text on glass

Accession # and Acquisition Date: 1997.01.15 Date: 1997           

Condition: Excellent, under glass

Provenance and Exhibitions: University Art Gallery at New Mexico State University, Old Friends and New Faces: Selections from the Permanent Collection June 13-August 2, 2014

Selections from the Permanent Collection, ’14  

Framed or Flat: Framed   

Current location: Piece is part of the University Art Gallery’s permanent collections at New Mexico State University         


-Carrie Mae Weems page, Biography Section: accessed 19 November 2016

-Artsy webpage, Carrie Mae Weems section: accessed 19 November 2016

-Art21 webpage, Carrie Mae Weems Artists Section: accessed 19 November 2016

-University Art Gallery at New Mexico State University webpage: accessed 7 December 2016.

Reproductions: Published in the University Art Gallery at New Mexico State University Website April 2, 2015

Researched By: Jesus Zubia, 19 November 2016          

Ann Fessler



Artist: Fessler, Ann

Title/Date: Genetics Lesson, 1992                     

Description of the work:

Genetics Lesson is an artist book based on Fessler’s installation of the same name. The book uses both type and image together in a modular grid. As the sixth book created by the artist, it is her most structurally complex of all. The book contains several gatefolds which allow the reader to read the book in innovative ways. The cover of the book is a blue hue with an image in the center. The blue cover almost seems woven as the texture resembles that of fabric. The image is yellow in the upper sections of the composition depicts a classroom setting with what seems to be a teacher holding a long pointer in the direction of a picture of the female reproductive organs. On the left hand corner of the image, is a magenta triangular line shape. The magenta triangle breaks the consistency of the exclusively yellow and black image. About an inch below the image is the tittle of the book, Genetics Lesson, which is displayed in a yellow Serif typeface. Inside the book is a story in which Fessler remembers her installation on the first page. After turning the page, viewers are shown an image of a woman holding a child. The image fills the spread and contains a gatefold on the verso side. Upon opening it, viewers are presented with a close-up image of a man’s face. This is meant to depict the level of intimacy of the man and the woman.

Blue, yellow and magenta are used in the book and are consistent throughout every spread. Close-up images of human figures are used as well and either fill one page or a whole spread. Images used within the book are based off her installation as well. The interactive book opens as the reader pleases and can be read in various ways in order to uncover different components of the story.

Artist’s Biography:

Ann Fessler is an American filmmaker, visual artist and author. She has received her BA from Ohio State University in Columbus, the MA at Webster University and, finally, the MFA from the University of Arizona.  Her work primarily focus on feminism, women lives and relationships. Fessler’s focus on stories of women have become a prominent theme throughout her career. For some of her projects, she has followed different subjects, including first person narratives of adoption and bringing them forth to the public. Currently, Fessler is a professor of photography at Rhode Island School of Design and has been a faculty since 1993. She has also had the role of head of the Photography Department and the director of the graduate program. Her artist books and other works can be seen in collections from different museums of art including the Whitney Museum of American Art.


Signed: no

Date and dimension: 1992; 8” x 5 ¾”    

Medium: Artist book

Accession # and Acquisition Date: 1997.01.15; 1997         

Condition: Excellent

Provenance and Exhibitions: N/A

Framed or Flat: Flat

Current location: Piece is part of the University Art Gallery’s permanent collections at New Mexico State University         


Ann Fessler webpage Biography Section Page: accessed by October 19, 2016                      

RISD webpage Photography Faculty Page: accessed by October 19, 2016,

Reproductions: Unknown

Researched By: Jesus Zubia, 19 October 2016         

Amy Rankin



Artist: Rankin, Amy                       

Title/Date: Rabbit, 2009

Description of the work:

Rabbit is a color etching by American artist Amy Rankin. The work depicts a human figure, probably a female figure, in a crouching position with both hands over the head. This figure wears a costume of a rabbit complete with rabbit feet and the face is uncovered by the lifting of the mask. The feature of the figure suggests a female looking downward. The figure is placed at the center of the composition which resembles an empty room divided by bands of yellow and purple.

The figure is the sole object within the composition, as well as the focal point. In terms of use of space, the composition does not give the viewer a sense of depth, Rankin uses light and shadow to create some dimensionality in a two-dimensional space. Rankin uses the complementary colors purple and yellow as a backdrop that is subordinate to the central figure. The top half of the composition where Rankin uses purple seems to utilize a heavier coat of paint in comparison to the lower half which uses yellow. The lower half uses a lighter coat of paint as one can see the brush strokes as well as the white of the material. The central and main figure is not depicted as a realistic interpretation of a human figure, rather a stylized version of one. Light and shadow are used but mainly in the lower leg areas part of the torso and the shadow of the figures in the yellow section. However, shadows are not represented near the arms or the face of the figure. The work gives the viewer the sense of turmoil or sadness. The fetal position of the figure, as well as the rosy cheeks of the figure suggest sadness.

Artist’s Biography:

Amy Rankin is an American artist from New Mexico. For more than 20 years, Rankin has worked in various disciplines that is reflected in her work. Some of these disciplines include printmaking, painting and drawing.  Her portfolio of work seem to suggest that she is interested in human form, as well as the raw emotion it produces. In her artist’s statement, Rankin says that every human being has a path. Fortunate humans find a path, as well as strength to continue till the end. Rankin tries to achieve a point where her ideas and imagery can come together to form a complete work. It is meant to be a reflection on the contemplation of life and its processes. This includes the process of growth, learning and change; she depicts both of this directly and metaphorically in her work. Rankin takes inspiration from material objects and living forms which allow her to use them as subtle metaphors as the subject matter for her compositions.  Although she has her own intention of ideas for her work to convey, ultimately, she leaves them up for interpretation from the audience.

 As a native New Mexican, Rankin currently lives in Taos, New Mexico.  However, she holds an MFA from New Mexico State University in Las Cruces. In an invitation for a 2013 Art Reception, sponsored by Pueblo Community College, Colorado, Rankin’s description states that she has been an instructor in the Art Department of The University of New Mexico in Taos since 2005. Currently, she is the coordinator of public programs, as well as Interim of visitor services and store manager at the Hardwood Museum of Art located in Taos, New Mexico.


Signed: etching of monogram of A R lower recto corner  

Date and dimension: frame size 9 ½” x 12 ½” sight size 9” x 12”; 2009                 

Medium: Copper and Solar etching

Accession # and Acquisition Date: 2009.02.01 Date: 2009

Condition: Framed, Excellent

Provenance and Exhibitions: Selections from the Permanent Collection, 09′ and 13′    

Framed or Flat: Framed

Current location: This piece is part of the University Art Gallery’s permanent collection at New Mexico State University


-Judith Kendall webpage, Amy Rankin portfolio section accessed 20 November 2016

-Hardwood Museum webpage accessed 20 November 2016

-Colorado State Fair 2013, accessed 20 November 2016

Reproductions: N/A

Researched By: Jesus Zubia, 20 November 2016