Collecting Digital Art: Highlights + New Acquisitions from the Thoma Foundation features ongoing seasonal installations of contemporary artworks from the digital art collection and new acquisitions of historic importance, including works by Daniel Canogar, Michal Rovner, Casey Reas, Robert Wilson, Daniel Rozin, Siebren Versteeg, John Gerrard, Josh Tonsfeldt, Ivan Navarro, Guillermo Galindo and others. Our pioneering digital and electronic art collection spans the global history of computer art of the past fifty years, representing artistic innovations in custom-coded software, internet-connected and real-time animation, early computer drawing, interactive technology, video installation, electronic sculpture, and works utilizing LED and LCD displays.
TRANSFER DownloadOn view until May 25, 2019
TRANSFER Download opened Summer 2018 at Art House in concert with the Santa Fe Currents New Media and Futurition Festivals. The exhibition features new digital art by fifteen international artists showcased in an interactive display chamber called a hyperspace. Visitors can select artworks to view from a menu within an immersive projection area. TRANSFER Download brings together the latest generation of artists engaging with powerful technologies of 3D animation software, gaming engines, and algorithmic simulation, including Lorna Mills (Toronto); Lu Yang (Shanghai); Carla Gannis (New York); AES+F (Moscow); Claudia Hart (New York & Chicago); LaTurbo Avedon (The Internet); Theo Triantafyllidis (Los Angeles); Alex McLeod (Toronto); Rollin Leonard (Los Angeles); Sabrina Ratté (Paris); Rick Silva and Nicolas Sassoon (Pacific Northwest); Snow Yunxue Fu (Chicago); Phillip David Stearns (New York); Harvey Moon (San Francisco); and Daniel Temkin (New York).
Eye Contact: Portraits in the Global AgeOn view until July, 2019
Eye Contact: Portraits in the Global Age brings together works from the Thoma Foundation’s diverse collections of Spanish Colonial painting and Digital Art for the first time. Eye Contact considers portraiture as a sociological art in which the notion of personhood is subjected to the vicissitudes of globalism. While portraits are commissioned and created to commemorate individual identity, they are repositories—at times unwittingly—of the sociopolitical forces around them: world trade, colonialism, or advances in technology. The three artworks on view span more than two centuries, from 1776 to 2015, and include Robert Wilson’s video portrait of Lady Gaga in the guise of early 19th century French aristocrat Caroline Riviere, styled in accordance with the famous painting of Riviere by Jean Auguste Dominque Ingres; Andrés Solano’s Portrait of Ana Josepha de Castañeda y de la Requere from 1776; and Daniel Rozin’s Selfish Gene Mirror, in which viewers temporarily become the subject via a small camera and Rozin’s customized “Darwinian” algorithm.
Digital ArtifactsOn view until November, 2019
The thematic installation Digital Artifacts brings together the work of five internationally renowned artists to consider contemporary digital culture in a wholly new way—from the perspective of future archaeologists uncovering its remnants. Featuring works by artists Michal Rovner, Casey Reas, Guillermo Galindo, Josh Tonsfeldt, and Sabrina Gschwandtner, Digital Artifacts emphasizes the material aspects of technology in a field that increasingly prioritizes simulated experiences in immaterial spaces, as in online communities or multiplayer video games.
“Particle Field” by Leo VillarealOn view until February, 2020
This artwork is in a constant state of creation. Leo Villareal programmed Particle Field to generate a live, ever-changing composition. Its custom code is vital to the artwork’s identity and experience.
Villareal invokes with his triptych the sacred power of Renaissance altarpieces and the expressive energy of 20th century Color Field painters and performers. The artist said of his digital abstraction, “I wanted to make something that feels like it has existed for a long time using a very contemporary use of technology.”
Villareal produces the world’s largest outdoor light installations in which LEDs are treated as networked pixels across steel bridges and riverbanks. For his monitor-based artworks, Villareal makes use of the latest advance in display technology, the OLED screen, capable of individual cell illumination and the deepest black levels yet invented. Villareal’s algorithm pushes gigabytes of data across 24 million combined pixels in a choreography of orderly chaos.
Red Ladder (Backstage) by Iván NavarroOn view until 2021
Navarro grew up in Chile under the dictatorship of General Augusto Pinochet (1973–1989). He reflects, “I never traveled outside Chile during that period. We lived with the feeling of fear every day because it was a violent situation… The power went down every other day around nine o’clock at night until five the next morning in order to keep people in their houses and under control… The everyday reality was getting ready for the night—food, candles, water. Because when the power went out, the water went off. We knew every other night was going to be like that.”
Navarro relocated to New York in 1997 where he has consistently used electronic light as an expressive and inspiring material, such as Red Ladder, which evokes a fictional portal for escape to an alternate reality.
Art House location & Hours
Thursday – Saturday, 10am-5pm
231 Delgado St.
Santa Fe, NM 87501