Current Exhibitions

Cryin' Out Loud

April 21 - July 9, 2017 // Muñoz Waxman Gallery 

Cryin' Out Loud is a juried exhibition that examines the role of women's and femmes' voices as expressed in art about politics, activism, and emotion. Considering both the metaphoric and literal voice, Cryin' Out Loud explores and celebrates the use of art as a form of speaking up and out. A large group exhibition of works by selected artists will take place in CCA's Muñoz Waxman Gallery. 

Juror's Statement:

Cryin' Out Loud takes each word of this maxim seriously - Crying. Out. Loud. - and navigates the various implications of the phrase, wheter exasperated and fed up ("Oh, for crying out loud!") or literal, as one who does not hide her desperation or emotion while she is actually "crying out loud". Similarly, "living out loud" has associations with survivors of abuse, with activism in the LGBTQ community, and with anyone refusing to "be quiet" about issues of oppression, identity and authorship. It is time to speak loudly with our voices and our art; with our intellect and our emotion; with our politics and our personhood. 

Throughout history women's voices, perspectives, and innovations have been undermined by those in power. In order to have their voices heard or published, many women artists and writers have adopted gender neutral or male pseudonyms. Women have fought for their right to vote, are still fighting for wage-equity, and to have equal representation in congress. Speaking and acting out is complicated for women and femmes because of common double standards like the label "hysterical," for simply speaking her mind. Women have learned to work within these oppressive structures often at the expense of their rights and humanity, and frankly, we are ready for change. 

Cryin' Out Loud proposes that to unabashedly express emotion is a political act. To live out loud is a necessary political gesture and that women's experience needs to be seen, heard, and cherished. The exhibition will consist of work in all media that embraces emotion as statement; that broadcasts social and political concerns, and that reacts to and resists the structures that continue to oppress us.

About the Juror:

Micol Hebron is an interdisciplinary artist whose practice includes studio work, curating, writing, social media, crowd-sourcing, teaching, and public speaking. Hebron is an Associate Professor of Art at Chapman University; the founder/director of The Situation Room, a resource space for the creative community (in Eagle Rock, CA); the Femmes International Video Art Festival; the Gallery Tally Poster Project about gender equity in contemporary galleries; and the Digital Pasty/ Gender Equity initiative for the internet. In 2016 she was awarded the SPArt grant for Social Practice Art in Los Angeles. Previously, Hebron has been the Chief Curator at the Utah Museum of Contemporary Art; the director of the UCLA Summer Art Institute; an editorial board member at X-Tra magazine; an independent curator; a conservator at LACMA, and the co-founder of Gallery B-12 in Hollywood in the 90s. She has served on advisory boards at Los Angeles Contemporary Exhibitions, Birch Creek Ranch Residency (Utah), Los Angeles County Museum of Art, and UCLA. She is the founder of the LA Art Girls and the Co-Founder of Fontbron Academy. She employs strategies of consciousness-raising, collaboration, generosity, play, and participation to support and further feminist dialogues in art and life. 

Participating Artists:

Robin Adsit, Susan Arena, Susan Begy, Katina Bitsicas, Nikesha Breeze, Marcie Rose Brewer, Dorielle Caimi, Kimberly Callas, Momma Tried, Eliza Fernand, Vanessa Dion Fletcher, Cheri Gaulke, Melissa Friedman, Katya, Grokhovsky, Maureen Hawthorne, Nicola Heindl, Sarah Hewitt, Jessica Fairfax Hirst, Katie Hovencamp, Victoria Hoyt, Megan Jacobs, Kasey Jones, Casey Kauffmann, Courtney Kessel, Ellina Kevorkian, Dave Kube, Alison Kuo, Emily La Cour, Julia Barbosa Landois, Stephanie Lerma, Rebecca Leveille, Jasmine Little, Cecilia McKinnon, Maura McHugh, Melissa Potter and Maggie Puckett, Mary Anna Pomonis and Allison Stewart, Jenn Procacci, Rachel Rivera, Sarah Rockett, Celeia Rocha, Valerie Roybal, Sack (cara despain), Sallie Scheufler, Christy Schwathe, Rebekah Tarín, Kate Cassatt Tatsumi, Charlotte Thurman, Ingrid V. Wells, Quintan Ana Wikswo, Suzanne Wright, Victory Grrls, Alisa Yang

The LENSCRATCH States Project: New Mexico

April 21 - July 9, 2017 // Spector Ripps Project Space 

Opening reception on Friday, April 21, 6-8pm in the Spector Ripps Project Space


The LENSCRATCH States Project: New Mexico was originally conceived as an online web project by the internationally known photographic blog The intention was to virtually spotlight photographic artists working in each U.S. State, devoting an entire week to 7 artists from that state. A guest Project Editor/Artist was invited to represent each state by LENSCRATCH founder, artist, and writer, Aline Smithson.

Jennifer Schlesinger, artist and curator based in Santa Fe, New Mexico, was invited by Aline to curate a week of New Mexico photographers in April 2016 who had not been spotlighted on the blog before, introducing the LENSCRATCH readership to new and innovative photographic work being made in New Mexico. Jennifer invited the following artists to represent New Mexico for the online LENSCRATCH States Project: Michael Berman, Kate Russell, Caitlyn Soldan, Robert Stivers, Laurie Tumer, and Will Wilson.

This virtual curated show has now culminated into a physical exhibition at the Center for Contemporary Arts. The LENSCRATCH States Project: New Mexico photographic exhibition at the Center for Contemporary Arts, opens to the public with a reception on April 21, 2017 and is on view through July 9, 2017. There will be a Gallery Talk with the artists on Saturday, April 22 at 12:30pm.

For the last decade, LENSCRATCH has featured the photographs of a different photographer every day. We are proud of our efforts to celebrate this community and give opportunity and exposure to wonderful image makers. But we also know that there are countless photographic voices yet to be heard and new and innovative ways of working to explore. We have also come to realize that the best way to learn about these photographers is from those in close proximity. We were excited to ask photographer, gallerist, and educator Jennifer Schlesinger to take on the role of the New Mexico States Project Editor, where she shared the work of six talented photographers. We are thrilled that the result of that curation is now a gallery exhibition, providing another opportunity to shine a light on these projects. Thank you to Jennifer for her insights and expertise and for celebrating these artists -- Aline Smithson, Founder and Editor of LENSCRATCH


Jennifer Schlesinger's task as the New Mexico Project Editor was to curate a week of blog posts, spotlighting one artist per day for a week. She was to showcase photographers making significant work in New Mexico. Schlesinger was to introduce the artist, then present their biography, project, and artwork to the readership in one blog post. Jennifer invited photographic artists Michael Berman, Kate Russell, Caitlyn Soldan, Robert Stivers, Laurie Tumer, and Will Wilson, to represent this facet of photographic artists in New Mexico.

To begin the New Mexico States Project week, Aline began by spotlighting Jennifer's own artistic work, interviewing her on the blog for the readers to get to know her as a curator, and as an artist. Jennifer then introduced one artist per day for the remaining six days of the week on

In Aline's words:

I can’t think of a better person to tackle the task of New Mexico States Project Editor than Jennifer Schlesinger. Jennifer navigates many photographic arenas in New Mexico as an art photographer, gallery director, curator, educator, and all-things-photography enthusiast. As the Gallery Director of VERVE Gallery [at the time of this interview] in Santa Fe, Jennifer is intimately involved with regional and international photographers, making the selection process for this week even more challenging. New Mexico draws a host of classic and historical photographers, but the state is also home to a number of innovative undergraduate and graduate programs that are inspiring a new generation of photographic artists. She has quite a creative well from which to draw. - Aline Smithson

Jennifer's interview by Aline Smithson can be viewed here.

Image courtesy of artist, Jennifer Schlesinger


Tomorrow's Yesterday Home - Recent Paintings by Micaela Gardner

Micaela 6intro 

Feb 17 - June 4  // Cinematheque Lobby Gallery

Tomorrow's Yesterday Home is an exhibition of ten never before seen painting by Santa Fe-based artist Micaela Garder. Painted on large Alder panels, the works are cohesive and consistent. Gardner lets her painting unfold as she creates them, preferring to be led by intuition and exploration. Her recent exploration has led her to find a fictional future world. 

Ancient dwelling sites and ruins have captivated Gardner; she identifies with the spirit of these abandoned ancestral sites and uses her painting process to re-imagine a future of re-habitation. The loose narrative in ten oil painted panels is one of environmental apocalypse, survival, and humanity. The imagery in this series of painting is obscured ly large sweeping brush strokes and fields of color, revealing just enough information to hint at a storyline. 

“There is an inscription on my soul that knows the spirit in these places, an earth-connected human tone that revokes capitalism. With these paintings, I imagine a fantastic re-occupation of places like Bandelier, during and after an environmental apocalypse. I see obscure, contained biospheres, and living technologies as they intonate with old ways. I feel the ancestors in our bodies meeting the future with a new kind of survival.”  – Micaela Gardner

Tomorrow's Yesterday Home is on view until June 4, 2017. 

Micaela Gardner, born 1967, is a contemporary painter and native of the Southwest, based in Santa Fe. She works predominantly in oil and panel. Ranging in scale and tone, her paintings can be described as cryptic, fluid, gestural, and transparent. Her interest in finding her voice led her away from academia and directly to art-making. Her process is "automatic" - she avoids under paintings or planning her paintings and considers her practice a kind of interpretive worship.