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Exhibition celebrates emerging and mid-career New Mexican women photographers
Jessamyn Lovell, Self Portrait (with blonde wig). Archival inkjet print, 2009. 11.75 x 15.75 inches.


SANTA FE, NM.- HISTORY / HER STORY presents the work of Abbey Hepner, Jessamyn Lovell, Delilah Montoya, Cara Romero, Kali Spitzer and Laurie Tumer, six artists who take innovative approaches to their chosen mediums and engage with themes of ethnicity, identity, land use, and the environment.

The exhibition includes more than 60 objects showcasing a range of early and new works by each artist selected by the New Mexico State Committee 20th Anniversary Committee and David Richard Gallery. The exhibition is on view June 23 through July 29, 2017 at David Richard Gallery.

HISTORY / HER STORY is an opportunity to celebrate emerging and mid-career New Mexican women photographers,” said Eva Borins, President of the New Mexico State Committee. “We are delighted to showcase these six exceptional artists and to bring their works into the greater consciousness of New Mexico and the national stage.”

“This group of women photographers is linked by their personal journeys, and their individual approaches to illuminating deeply held beliefs,” said David Eichholtz, co-owner at David Richard Gallery.

Abbey Hepner’s Transuranic series provides a close-up look at the radioactive waste at sites in the western United States. Her accompanying snow globes trap modern-day nuclear landscapes in miniature.

Jessamyn Lovell works with photography, video, and surveillance as tools to document her own life experiences, making connections between class and personal identity. Her D.I.Y. P.I. (Do It Yourself Private Investigator) consists of tangible and ephemeral materials related to her personal investigations and commissions from interested parties. These physical art works represent evidentiary and documentary materials and objects.

Delilah Montoya explores the unusual relationships that result from negotiating different ways of viewing, conceptualizing, representing and consuming the diverse worlds found in the Southwest from her own perspective as a feminist Chicana artist from a matriarchal family. Montoya’s Casta Portraiture employs photographic constructions including a family portrait accompanied by genetic information that establishes links with other ethnicities and cultures.

Cara Romero’s work conflates fine art and a documentary style that is often tongue in cheek with complex cultural interactions and social commentary. Romero's work addresses adaptation and examination of contemporary culture with a distinctly modern indigenous world view.

Kali Spitzer challenges pre-conceived notions of race, gender and identity through her portraits. For her series, An Exploration of Resilience, Spitzer photographed her community of mostly indigenous and mixed heritage people through the timeless format of the tintype image.

Laurie Tumer’s Glowing Evidence series illustrates the omnipresence and danger of chemicals in our lives, particularly pesticides. Using environmental scientist Richard Fenske’s technique, her photo-illustrations simulate the presence of pesticides in our homes, gardens, and in our bodies.





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June 25, 2017

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