Russell Frye

Mimbres Cimarron

Ira Lujan (Taos Pueblo), Purple and Green Glass Antlers, 2020

Ira Lujan, Povi Basket, 2022, hand-blown glass wedding vase, 15" x 8" x 8"

Ira Lujan, Black-on-Black Olla Hand-Blown Glass 10.5” x 9.5” x 9.5” 2022

Ira Lujan, Violet and White on Black Quail Hand-Blown Glass 5.5” x 3.5” x 4” 2024

Ira Lujan, Yellow on Brown Quail Hand-Blown Glass 5.5” x 3.5” x 4” 2024

Ira Lujan, Violet and White on Black Quail Hand-Blown Glass 3.5” x 2.5” x 3” 2024

DOUBLE HELIX can suspended from a ceiling or from a semi circular tension bar as shown here. The dichroic glass shifts color from different points of vie...

Bloom No. 1 from the Bloom Series by Norman Mooney Acrylic, mirror-polished stainless steel, birch plywood base Ediion of 3 Inspired by the work of the 19th century biologist Ernst ...

Bloom No. 2 from the Bloom Series by Norman Mooney White frosted acrylic, mirror-polished stainless steel, birch plywood base Edition of 3 Inspired by the work of the 19th century b...

Bloom No. 4 from the Bloom Series by Norman Mooney Mirror-polished stainless steel, birch plywood base Inspired by the work of the 19th century biologist Ernst Haeckel and his study...

FOCUS is a public art sculpture about photographic vision and how it shapes the way we see the world. It is concerned with the viewer’s growing visual perception and bodily experienc...

Laughter, discomfort, perplexity: these are all plausible reactions to the work by sculptor Cal Lane. The artist’s most recent body of work is an affective assemblage of incongruous parts that, taken together, violate our mental patterns and expectations. Charged with contradictions, metaphor, sexual undertones, and unsettling associations, Lane’s unlikely combinations use absurdity as a way of pointing to western society’s normalized habits and conventions, often with an emphasis on gender and sexuality. For the exhibition Try Me, Lane installs a basketball court in the gallery. The two basketball hoops on opposing walls are embellished with silver-coated frames and lustrous mirrors, which serve as decorative backboards. In place of nets, women’s black lace underwear delicately hang from hoops. A decorative rug stenciled with court lines performs as the court floor. It is a mise-en-scène set in motion by viewer’s reconciliation of the individual parts to the whole, and to their original function. Panties regard themselves in the mirror or perhaps measure up their opponent, which, not without irony, is the mirror image of itself. Themes of gender and sexuality are performed and imagined in the upward voyeuristic gaze of the viewer and the expected swoosh of the ball into the net. This is further elaborated by phallic impressions formed by court lines and their likeness to a work of modernist abstraction—a movement wrought by notions of masculinity. The decorative rug’s connection to femininity and domesticity juxtaposes the rigid geometry. Lane further explores the historical gendering of technology, industry, and war in her series of wallpaper drawings, which depict war submarines on cloud patterned wallpaper. The innocence of the submarine in popular culture and its reality as a phallic war object...