'Tradition and Transformation' explores the impact of santero art -- past and present

May 7—The visual echoes of the santeros trail throughout the work of contemporary New Mexico artists.

Open at the University of New Mexico Art Museum, "Tradition and Transformation: Colonial New Spain and Contemporary Hispanic America" explores that living thread still weaving throughout the art produced here through more than 30 artworks from the museum's collection.

"Tradition and Transformation" approaches the Spanish colonial visual language as a living tradition perpetuated by the region's artists.

Curator Angel Jiang organized the exhibition into historic work, retablos, santeros and living memory.

"The common thread is the subject matter and the visual language and style stays consistent over the centuries," Jiang said. "A lot of these santeros are still working in traditional methods. Also, how does this translate to modern mediums like lithography?"

The section "Painting and Sculpture in Colonial New Spain" demonstrates the dynamism of Spanish colonial painting, a style that infused European models with new palettes, decorative motifs and symbolism. It includes work by Juan Correa,one of the most prominent and prolific painters of colonial New Spain, as well as unattributed paintings of saints and biblical episodes.

An historic oil on canvas of St. Roch (invoked against the plague, as well as the patron saint of dogs) dates to c. 1840. His hand lifts his tunic to reveal a sore while his dog waits by his side.

"People prayed to him during times of plague," Jiang said. "I'm thinking we should have brought him out during Covid," she added with a laugh.

"The Art of the Retablo" pairs historic painted tin retablos with contemporary printed retablos produced at Tamarind Institute. Retablos refer to either individual panels painted with holy figures, or altar screens made from an ensemble of sculpted and painted materials. While the format and subjects of the retablo remain relatively fixed, artists have experimented with the form for centuries.

Another unknown artist painted the retablo "Our Lady of Refuge" (c. 1821-1880) on tin.

Adopting a traditional palette and representing conventional figures, contemporary artists reinterpret the retablo in a distinctly modern medium, transforming into its own artistic tradition.

Both Elena Climent (Mexican) and santero Felix López took the retablo tradition to printmaking at Tamarind. Clement created a nearly sculptural version of "Virgin in Blue Box," a seven-color lithograph with Tamarind printer Bill Lagattuta. The image of Mary appears in a seemingly three-dimensional frame.

"This work is interesting because it's more illusionistic; it's more Western European," Jiang said.

López chose to create a memorial five-color lithograph dedicated to his mother in "Mensajero: En Memoria de mi Madrecita Eva."

The "Living Memory" section highlights work by contemporary Hispanic artists. It features prints and photographs by New Mexican, Puerto Rican and Guatemalan artists addressing ethnic and national identity, the experiences of various Hispanic communities, and cultural preservation.

Luis Tapia's sculptural "Our Lady of Sorrows" features a heart pierced by a halo of spindels made of carved and painted wood in neon colors.

"He's more known for big sculptures of lowriders," Jiang said. "This sculpture looks a lot more Catholic — the sacred heart."

Delilah Montoya's photograph of a man's back displaying a Virgin of Guadalupe tattoo reveals a more contemporary version of the santero tradition.

"She was interested in photographing people with tattoos of the Virgin of Guadalupe," Jiang said. The photographer wound red plastic flowers around the man's shoulders for contrast.

In June, staff members will rotate out the works on paper for more of the same from the museum's collection to give a broad look at the materials and to protect the fragility of the prints.

'Tradition and Transformation: Colonial New Spain and Contemporary Hispanic America at the UNM Art Museum'

WHEN: Through Sept. 30

WHERE: University of New Mexico Art Museum, 203 Cornell Dr. NE

HOW MUCH: Free at artmuseum.unm.edu, 505-277-4001