SITElab 14 surveys the career of internationally recognized feminist artist May Stevens, on view from March 26 through June 9.
The museum’s latest major exhibition illuminates complexities surrounding the global crisis to reignite a sense of common humanity. On view March 21–September 6.
The exhibition examines themes of race, gender and class within the stories, traditions, architecture, and music of opera. On view through Fall 2019.
This year, the biennial has carved a conversation about displacement in the Americas, using art to question whose history we revisit.
Despite curatorial missteps, 2018’s SITE Santa Fe contributes to an ongoing and timely conversation in the Americas about identity, displacement, and colonialism.
SITELines.2018: Casa tomada, is the third installment in SITE Santa Fe’s reimagined biennial series with a focus on contemporary art from the Americas.
The second edition of the SITElines biennial has a razor-sharp gracefulness that cuts with equal parts beauty and bitterness.
SANTA FE — Unsettled Landscapes, the first installment of SITElines, SITE Santa Fe’s reimagined model for how biennials are conceived, curated, and structured, is a conglomeration of art from the Americas.
SANTA FE — At this point it’s hard to keep track of which type of art event there are more of: art fairs or biennials. There are art fairs that look like biennials, biennials that look like art fairs, triennials, pop-ups, and everything in between. But the trope of the biennial has long been a fixture in the art world.
SANTA FE, New Mexico — This massive, intricate fantasy of high art and kitsch, hand-made things and found objects, snaps together tighter than an Ikea bookshelf.
SANTA FE, New Mexico — SITE Santa Fe claims to have established the first international art biennial in the United States. The year was 1995, the theme was “Longing and Belonging,” the raison d’être was to create a global exhibition in lil’ ole Santa Fe, and the response was so strong, according to the organization’s current director and curator, Irene Hofmann, that “SITE Santa FE” shifted from the name of a biennial to a cultural institution with full-time programming the very next year.