Samantha Platero realized how adulterated and inauthentic most of the jewelry presented as “Navajo” was, and how rarely her community truly profited from this economy.
Upon invitation from the Wheelwright Museum, Nathan Young has created an installation of bridles, bow guards, belt buckles, and cigarette holders ranging from the 19th century to the present.
Born to an immigrant family in El Paso, Texas, Luis Jiménez grew up in a world dominated by cowboys, cactus, and rattlesnakes, all of which appeared in his art.
Exhibitions will display embroidery techniques by asylum seekers, reflect on New Mexico’s first all-Black community, and more.
With $1.3 million granted by the Getty, teams hope to develop innovative solutions to address Wupatki’s challenges that can also be applied to other climate-vulnerable heritage sites.
The Carl & Marilynn Thoma Foundation opened the 3,500-square-foot space with exhibitions spanning the 18th to the 21st centuries.
In Horror Vacui, the artist’s works exude depth and dynamism, turning what might be mayhem into compelling narratives.
The gawking fascination with the Utah obelisk taps into larger, fundamental behavioral problems that are holdovers from colonizing the frontier.
Local artists Chris Ramming and Rob Brill address tourists traveling to Marfa, which is in a COVID-19 hotspot and doesn’t have a hospital.
In From Dust Cara Despain lays bare that dark chapter of US history when the government tested nuclear weapons on its own soil.
Visitors have already started to show up at the site of the unusual, reflective monolith in the remote canyons of Utah.
Myriad theories about the sculpture emerged on the internet, ranging from a secret project by Richard Serra to an alien invasion.