Sheldon Museum of Art


Date of this Version



Sheldon Memorial Art Gallery Lincoln, Nebraska August 31-October 3, 1982


Copyright 1982 Nebraska Art Association


Few artists' colonies have richer legacies than those of Santa Fe and Taos. Much of that Southwest tradition is represented in the collections of the Sheldon Memorial Art Gallery. For that reason alone, it seems especially right that the Sheldon organize this exhibition of contemporary art from Northern New Mexico. There are, of course, other connections. Recently, the Sheldon mounted an exhibition of the work of Georgia O'Keeffe. Bernard Plossu, Joan Myers, and William Clift, all photographers working in New Mexico, have recently been exhibited here. In sum, the Sheldon's collections and exhibition calendars reflect the vitality of art from New Mexico.

This exhibition proposes that the vitality of painting - and with less conspicuous proof, printmaking and the crafts - continues. Various circumstances dictated regretable omissions, however. Agnes Martin is not included and Juan Hamilton is not. Neither are Allen and Gloria Graham nor John Wenger. It is at least true, however that both Martin and Hamilton are much more closely associated with their galleries in New York than their residences in Galisteo and Tesuque, respectively. In accord with the curatorial intentions which shaped this exhibition, artists who do not reside in Northern New Mexico were generally not included. There are a few exceptions, but those were allowed on the grounds that their work was first shown -.and continues to be shown - by galleries in Santa Fe or Taos.

The difficulties of developing this exhibition, at long distance and with budget restrictions of a very real kind, were many. I am much indebted to Linda Durham, Donald and Carolyn Eason, Marcia York of the Heydt-Bair Gallery, Elaine Horwitch and both Ann Wilson and Julie Sasse of the Elaine Horwitch Galleries, Talley Richards, Thorn Andriola of the New Gallery and Larry Bell and his assistant, Arabella Lalla. Thanks too must go to Philip Yenawine, whose early interest in this project did much for its success. The assistance of Smith-Kramer Art Connections has been crucial to every step in developing the tour of this exhibition.