Interview with a Curator | Stitched Ink

Kiss Cross Ghada Amer & Reza Farkhondeh, Kiss Cross RFGA
Kiss Cross, Ghada Amer & Reza Farkhondeh, lithograph with hand-sewn elements, 24 x 30 in


“That’s the thing about printmakers,” Kylee Aragon says. “They’re never satisfied. There’s this constant push to make a print that isn’t like your last.”


Before joining the Zane Bennett staff, Aragon served as the interim gallery director of Albuquerque’s nonprofit lithography center Tamarind Institute. To curate Stitched Ink, Aragon studied the Zane Bennett collection, selecting works that reflected the dynamism of textiles. 


Scroll below to view works from the exhibition and learn more about Aragon’s curatorial process.


Louise Nevelson Essence Series, Louise Nevelson Zane Bennett Gallery, Louise Nevelson prints
Louise Nevelson, Essence Series 7, lithograph, 44 x 30 in, 1978


I’m fascinated by the relationship between printmakers and artists. I’ve seen how they work together and push one another. They’re always experimenting, I think because prints aren’t three-dimensional. They’re trying to create that feeling on a flat surface.


You see it so much in Louise Nevelson’s work. She’s draping lace over prints and then printing on top of the it. She’s trying to invoke this sense of fabric. Because it’s just paper. We all know what paper feels and looks like. But to make paper look like something else is such a difficult thing to do. Printmaking is in itself so difficult. To be problem-solving and trying to get that result is so fascinating.


Yes. It’s a science, but it’s an art. Plus, there’s this collaborative element. There isn’t a singular author, it’s all these different brains are coming together and working in different ways.


June Wayne, the mother of lithography, says you can’t have one without the other. You have to have them both: the printmaker and the printer. And you see so much of that in Kiss Cross. Those two artists coming together to collaborate. It isn’t a whole piece without them both.


There’s a dynamism to fiber that these printmakers are bringing to their prints. It has different volumes, it flows. Can you take that and translate that into a two dimensional space?


It’s something Christo is so brilliant at conveying. He could have so easily done models, and that could have been his main way of making these. But he chose print. And I’m really interested in why. It seems like such a strange place to go.


It reminds me of Lesley Dill. The way she brings in fabric is really interesting. It’s a delicate and really poetic way of doing it. They’re all written words and she brings in her literature major into everything she’s doing. And all of her quotes are just so lovely. What she’s pulling from is so delicate, like the materials. She’s not using thick fabric. It’s always a little transparent and has an ephemeral aspect to it. It looks like it could almost break.


Lesley Dill Woman with Hindi Healing Dress, Lesley Dill print, Lesley Dill lithograph and collage
Lesley Dill, Woman With Hindi Healing Dress, lithograph, collage, plexi box, 15 x 11 x 3 in


I think it’s great you’ve taken the time to really look at this collection that’s been building for 10 years. These prints didn’t all arrive here at the same time, they’re from different parts of Zane Bennett’s history. You really were able to find this thread through the collection.


I found that really important. Wrapped Flower is from 65, and then we have this Christo from 2015. Just seeing the way the work has transformed is kind of like telling the story of Zane Bennett.


I don’t like to see things from just one era, especially when dealing with a collection like this. It’s art history. They’re all referencing each other and have seen each other’s works.  I’m really pleased and I had such a cool collection to work with.


Christo, Wrapped Building (Project for #1 Times Square, 42 Street and Broadway, New York City), lithograph and serigraph with collage elements, 30 x 23 in, 2003


What do you hope that viewers come away with from seeing this exhibition?

I want people to be excited about works on paper. There’s always a conversation about prints. “Why prints? Why not a painting? I want something original.” But these are original works. And seeing the craft that goes into them – they’re not easy to make. And seeing those hand sewn elements or really delicate bits in a print just shows the time. Prints are having a revival. The conversation is shifting. It’s fine art, it’s not just a piece of paper.


Stitched Ink is on view at form & concept through March 23.

To learn more about this exhibition,
please contact us at 505-982-8111

Zane Bennett Returns: Stitched Ink

zane bennett gallery, zane bennett contemporary art, zane bennett gallery installation, stitched ink, donald sultan, donald sultan in gallery
Exhibitions Coordinator Brad Hart installs work by Donald Sultan.


Stitched Ink

January 25 – March 23, 2019
Opening Reception: Friday, January 25, 5-7 pm

“Zane Bennett is back,” says Sandy Zane. “Although it never really went away.”

Tonight, Zane Bennett Contemporary Art presents Stitched Ink, an exhibition of fine art prints by legends such as ChristoJudy ChicagoLouise Nevelson, and Donald Sultan.

Curator Kylee Aragon, who served as the interim gallery director of Albuquerque’s nonprofit lithography center Tamarind Institute before joining Zane Bennett’s staff, selected work from Zane Bennett’s formidable collection of masterworks on paper, highlighting iconic artists who have used highly tactile printmaking techniques to reflect the textures, patterns, and colors of textiles.

To preview works in the exhibition, click here. Scroll below for more information.


Christo, Christo Print, Zane Bennett Gallery Christo, Santa Fe Christo,Wrapped Building (Project for #1 Times Square, 42 Street and Broadway, New York City), Christo for sale,
Christo, Wrapped Building (Project for #1 Times Square, 42 Street and Broadway, New York City), lithograph and serigraph with collage elements, 30 x 23 in, 2003


Zane Bennett moved to a fully online model in 2016, after more than a decade as a brick-and-mortar gallery. In its stead came a new gallery, form & concept, but they’ll officially split exhibition space for the first time this evening.

Stitched Ink coincides with the reception for form & concept’s fiber art show Nika Feldman: Spirits in the Material World. The exhibition is Zane Bennett’s first formal, in-gallery display since 2015, and launches a curatorial program of seasonal exhibitions.

Louise Nevelson, Essence Series 5, louise neveson print, louise nevelson essence series, louise nevelson lithograph, louise nevelson art, louise nevelson purchas
Louise Nevelson, Essence Series 5, lithograph, 43.75 x 30 in

“We all know what paper feels like, but to make paper look like something else is a hard thing to do,” Aragon says. “When you’re making a print inspired by a textile, how do you create that sense of dimensionality and flowing movement on a two-dimensional surface?”

To answer these questions, Aragon selected works on paper that alchemically reflect the dynamism of textiles. Stitched Ink features thirteen pieces by six premier artists in our collection and is on view through March 23.


Ghada Amer & Reza Farkhondeh, Kiss Cross, Lithograph with Hand Sewn Elements, 24 x 30 in


Special Offers: Pop Art

Jim Dine- Lithograph- Zane Bennett Contemporary Art- Santa Fe New Mexico
Jim Dine, The Astra Tool AP, lithograph, 1985, 23.63 x 19.75 in.

Add a piece of art history to your walls this winter! There’s a new Special Offerssection on the Zane Bennett Contemporary Art website, featuring exceptional pricing on works by legendary artists. Scroll down to view prints by Pop Art icons and Pop-inspired artists from the new collection, and make sure to bookmark the Special Offers page for future additions.

Jim Dine
Black Ink Robe
25.5 x 19.5 in.
year: 2005

Olivier Mosset
Yellow Star
27.5 x 27.5 in.
year: 1998

Olivier Mosset
Number 9
serigraph on aluminum
10.62 x 7.87 in.
year: 2006

Donald Sultan
Black Flowers October 15
29.87 x 22 in.
year: 1996

Mimmo Paladino
Atlantico II ( Figure Kneeling with Ladder & Chest of Drawers)
linoleum block print
74.25 x 23 in.
year: 1987

Click here to browse more artwork on our Special Offers page.

A letter from Sandy Zane

Creative Santa Fe- Disruptive Futures Dialogue Series- Zane Bennett Contemporary Art- Santa Fe New Mexico

I have been a board member of Creative Santa Fe for several years and I believe passionately in the mission of this organization. I want you to know about some very exciting new projects happening in 2018. In addition to addressing Santa Fe’s urgent affordable housing crisis with the Siler Yard Arts + Creativity Center, a low income, 60 unit, live-work space for artists, we are launching a new initiative called the Disruptive Futures Dialogues Series.

This series will be a year-long community engagement in partnership with organizations throughout the city and the region to envision the future of Santa Fe. We will focus on the key question: What do we want Santa Fe, and the world, to look like for Future Generations, and how do we get there from here?

Each dialogue will address a critical issue our city faces which also reflects global issues, including: affordable housing, job creation, the upcoming mayoral election, the environment, film & technology, nuclear weapons, and cyber connectivity. We recognize that progress can only be made by breaking down silos, bringing diverse voices to the conversation, and finding what connects rather than separates us. It is our goal that at the end of this year of engagements and dialogues that we will have a clear action plan to continue working on key initiatives and building ongoing partnerships to strengthen our economy and help build a sustainable future for our city.

Your interest and support is vital for Creative Santa Fe to become a leader in connecting our community, creating city-wide conversations, and effecting positive change throughout the city. We hope you will support Creative Santa Fe with a year-end gift to help us continue on our path to ensure that Santa Fe is a healthy, vibrant, and thriving city for generations to come.

To donate and/or to be on our mailing list, click here, mail a check to PO Box 2388 Santa Fe, New Mexico, 87504, or call Executive Director, Cyndi Conn at 505-288-3538.

Thank you in advance for your support and belief in Creative Santa Fe.

Wishing you the very best for the holidays and the new year,

Sandy Zane, Owner

Zane Bennett Contemporary Art | form & concept

New Acquisitions

Black Friday at Zane Bennett.

Shop Small at Zane Bennett Contemporary Art- Santa Fe New Mexico

Starting Black Friday (Nov. 24) and extending through Cyber Monday (Nov. 26), enjoy a 10% discount on any acquisition from Zane Bennett Contemporary Art. Scroll down to see our latest offerings, and browse the complete collection on our website.

Robert Motherwell Collage- Zane Bennett Contemporary Art- Santa Fe New Mexico

Robert Motherwell
America — La France Variations VI
lithograph and collage
46.5 x 32.125 in.
year: 1983-4

Helen Frankenthaler Screenprint- Zane Bennett Contemporary Art- Santa Fe New Mexico

Helen Frankenthaler
Solar Imp.
color screenprint
39.375 x 29.875 in.
year: 2001

Ellsworth Kelly Lithograph- Zane Bennett Contemporary Art- Santa Fe New Mexico

Ellsworth Kelly
Untitled (Eight by Eight to Celebrate the Temporary Contemporary)
color lithograph
29 x 41 in.
year: 1983

Christo Lithograph- Zane Bennett Contemporary Art- Santa Fe New Mexico

Wrapped Telephone, Project for L.M. Ericsson Model
color lithograph with mixed-media collage
28 x 22 in.
year: 1985

Wrapped Motorcycle/Sidecar (Project for Harley-Davidson 1933 VL Model)
color lithograph with mixed-media collage
19.626 x 21.875 in.
year: 1997

Francis Bacon
Lithograph for the Metropolitan Museum of Art
color lithograph poster
44.875 x 33.625 in.
year: 1975

Click here to browse the complete Zane Bennett Contemporary collection.

Halloween Art.

Mimmo Paladino- Fine Art Print- Zane Bennett Contemporary Art- Santa Fe New Mexico

Mimmo Paladino, Atlantico VI (Skeleton)linoleum block print, 74.25 x 23 in., 1987

Halloween is upon us, so we conjured a batch of spooky art from the Zane Bennett Contemporary collection. Behold Jim Dine’s raven à la Edgar Allan Poe, a spider web by Vija Celmins, a marionette masquerading as Frida Kahlo by Armond Lara, and other dark, mysterious creations. Trick or treat!

James Drake Prints- Zane Bennett Contemporary Art- Santa Fe New Mexico

James Drake
Salon of a Thousand Souls
57 x 43 in.

Armond Lara Sculpture- Zane Bennett Contemporary Art- Santa Fe New Mexico

Armond Lara
Marionette “As Frida”
wood and mixed media
36 x 15.50 x 16 in.

Manuel Amorim- Woodcut- Zane Bennett Contemporary Art- Santa Fe New Mexico

Manuel Amorim
17.75 x 11.75 in.

Vija Celmins- Fine Art Print- Zane Bennett Contemporary Art- Santa Fe New Mexico

Vija Celmins
Spider Web
10.88 x 13 in.

Jim Dine- Lithograph- Zane Bennett Contemporary Art- Santa Fe New Mexico

Jim Dine
Sun’s Night Glow
35.5 x 51.5 in.

Juan Jose Molina- Fine Art Print- Zane Bennett Contemporary Art- Santa Fe New Mexico

Juan Jose Molina
34 x 24.25 in.

Click here to browse the complete Zane Bennett Contemporary collection.

Art in Monochrome.

“Black is a property, not a quality,” Richard Serra (b. 1938) said. “A black shape can hold its space and place in relation to a larger volume and alter the mass of that volume readily.” Even in his two-dimensional artworks, Serra wields black forms as though they possess literal mass and volume.

Scroll down to view artwork from Serra and other masters of monochrome.

Richard Serra
Paths and Edges #13
Etching on buff Lanaquarelle watercolor paper
23.50 x 35.25 in

“In terms of weight, black is heavier, creates a larger volume, holds itself in a more compressed field. […] Since black is the densest color material, it absorbs and dissipates light to a maximum and thereby changes the artificial as well as the natural light in a given room.”

Vija Celmins
Spider Web
10.88 x 13 in

“I did a whole series of black works—I don’t know now—twenty, thirty works. I thought it was quite difficult to make a black painting work because it has such an incredibly strong silhouette, you know? But it did a series of things. It invited you closer and closer to the work. I don’t know what I think about that yet, but I thought it was sort of an interesting phenomena that happened.”

Martin Puryear
Untitled LP 2
17.87 x 23.75 in

“There is the potential for much more spontaneity with prints than there is with the sculpture, which tends to be very slow, accretive kind of process-labor intensive.”

Armond Lara
Bowl of Cherries
Graphite on paper
40.50 x 55 in

“I look for interesting shapes. I just start putting these things down on a piece of handmade paper, and then it’s a process of elimination to find a focal point for the piece. Then I find other things to add that make the central object out of context. What I want is surprise, surprise and strong composition, and to get that I need tension.”