近距离内射合集

Din茅 artist Emmi Whitehorse gained international art world fame in 2024, when she was included in the Central Exhibition of the Venice Biennale, 鈥淔oreigners Everywhere,鈥� curated by Adriano Pedrosa.

In February, Whitehorse鈥檚 first-ever museum retrospective, 鈥淚ntimate Landscapes,鈥� opened at the Wheelwright Museum of the American Indian in Santa Fe. Due to space constraints, the exhibition was divided into two parts, and the second part, which includes work made between 1990 and the present, opened June 18 and runs through Oct. 3.

For those who missed Part I, a series of works on paper that Whitehorse made in 1980, titled 鈥淜in N谩h Zin鈥� (鈥淪tanding Ruins鈥�), will remain on view in the lobby outside the main gallery for the duration of the show. Curator Hadley Welch Jensen sees them as an origin point for Whitehorse鈥檚 mature practice.

鈥淭hey were all made over a four-month period in 1980 when she was still a student at the University of New Mexico,鈥� Jensen said. 鈥溾�� I think they kind of anchor the show, because they give a rare glimpse into the work of an artist at a time when she鈥檚 finding her own artistic voice. 鈥� There are aspects of her practice that remain remarkably consistent over time, and she has talked about how these works were the nucleus of what was to come, as (the work) slowly expanded in scale.鈥�

Jensen serves as the curator of collections and research at the Wheelwright. She said the themes of 鈥淚ntimate Landscapes鈥� developed out of conversations with the artist at her studio in the nine months leading up to the show.

鈥淚 was very fortunate to be able to interview Emmi over the course of exhibition development,鈥� Jensen said. 鈥淭he fact that she鈥檚 based in Santa Fe allowed for a deeper kind of collaboration.鈥�

Whitehorse came up with the title, 鈥淚ntimate Landscapes.鈥� Although the desert landscapes that inspire her are vast, she often depicts small details, such as seed pods and animal tracks, that are only seen at close range.

鈥淚 was thinking of being in the same space or place that becomes very familiar after years of experiencing it. Things may change, but very slowly over time, by weather, by animals,鈥� Whitehorse said. 鈥溾�� The sameness is familiar or becomes intimate knowledge. You find yourself knowing where things are. I work with light and dark scrawls that look like they were made by passing critters.鈥�

Jensen has included a selection of botanical specimens from Whitehorse鈥檚 studio in a Plexiglas display case. Whitehorse finds these objects on her nature hikes and uses them as motifs in her art.

Many of the works in Part II of 鈥淚ntimate Landscapes鈥� are over six feet wide. Their rich color gradients may recall the immersive color field paintings of Mark Rothko, an early influence on Whitehorse.

鈥淪he learned, or maybe borrowed, something from (Rothko鈥檚) work, in terms of the way color can affect you. But I think her work is quite different, as well,鈥� Jensen said. 鈥溾�� So much of her work is about recording sensory experiences. That鈥檚 why I use the term 鈥榮ensory abstraction鈥� to try to get close to it. In her own statement, she talks about recording sensory impressions and trying to capture ephemeral moments.鈥�

Jensen said Whitehorse often depicts phenomena, such as the sensation of wind or the changing shadow of a cloud, that are so subtle as to be nearly invisible.

As Whitehorse writes in an essay in the exhibition catalog, 鈥淭he work reflects sensory impressions of long days passed amid the land鈥檚 vastness 鈥� days spent noticing the subtle fluctuations of light, the perpetual changes in color, and the fleeting shift of elements from prominence one moment to obscurity the next.鈥�

Whitehorse first visited the Wheelwright on an elementary school field trip in the 1960s. At that point, the museum functioned mainly as a repository for Din茅 ceremonial knowledge, as opposed to the center for contemporary Indigenous art that it transitioned into, starting in the 1970s.

A young Whitehorse saw reproductions of Din茅 sand paintings in the Klah Gallery, where her retrospective now hangs, and they made an impression.

鈥淭hey had some early influence on her,鈥� Jensen said.

At the same time, Whitehorse said she is glad the museum has changed its focus.

鈥淭he museum has certainly grown up,鈥� Whitehorse said. 鈥淚ts focus was mainly on the preservation of traditional crafts and artifacts. That has changed, and it has been showing more contemporary artists. I鈥檓 delighted 鈥� the landscape is more welcoming now.鈥�

It took a long time for contemporary Indigenous art to be recognized and taken seriously by the mainstream art world, Whitehorse said.

鈥淲e didn鈥檛 have Native critics writing about the new artwork that was coming out, nor Native curators. Mainstream art critics seemed baffled and avoided tackling the subject,鈥� she said. 鈥淭he new artworks weren鈥檛 taken seriously.鈥�

A documentary about Whitehorse by Din茅 filmmaker Kelso Meyer is included in the exhibition.

鈥淲e did a two-day shoot at Emmi鈥檚 studio back in October, and then Kelso went out to the Crownpoint-Whitehorse Lake area, where Emmi is from, and was able to capture drone footage of some of those landscapes, which he incorporated into the film,鈥� Jensen said.

鈥淚 think Emmi likes to keep some mystery when it comes to her process, so I knew that was important 鈥� not to show too much, but to give visitors a deeper insight into her process,鈥� Jensen said.

Whitehorse wants visitors to slow down and spend time with her 鈥淚ntimate Landscapes,鈥� much as they would if walking through an actual landscape. As she writes in her catalogue essay, 鈥淭hey are purposefully meditative and meant to be seen slowly.鈥�

Logan Royce Beitmen is an arts writer for the 近距离内射合集. He covers visual art, music, fashion, theater and more. Reach him at lbeitmen@abqjournal.com or on Instagram at .