CENTER 2026 MEMBERS’ EXHIBITION
CENTER Space August 14 - September 11, 2026
© Jay Tyrrell, from the project Symbols – War, Conflict, Protest
WE HOLD THESE TRUTHS
centersantafe.org
Founded in 1994, the 501(c)(3) not-for-profit organization CENTER supports social and environmentally-engaged lens-based projects through education, public platforms, funding, and partnerships.
ABOUT CENTER
Through our advancement of artists and their work, CENTER serves to deepen public understanding of lens-based media’s history and ongoing cultural significance. By establishing partnerships between artists, scholars, editors, students, and the art world, we advance projects that respect all people, open minds, and engage our shared humanity.
2
Characterized by a community of gifted and committed photographers, CENTER provides platforms to create and share images and visual stories. Public exhibitions, presentations, and expositions showcase all types of photographic projects. Annual programs include project grants, awards, Workshops, Seminars, and the Review Santa Fe Photo Symposium. The CENTER Space, opened in 2025, is located in Santa Fe, New Mexico, on the ancestral and unceded traditional territories of the Tewa people, who continue to maintain connections to this land. Thousands of years ago, O’ghe P’oghe – the original Tewa name for Santa Fe, which means White Shell, Water Place – was a center place for Northern and Southern Tewa communities. We honor the Tewa people of the past, present, and future who inhabit, hold sacred, and steward this land.
WE HOLD THESE TRUTHS
In the nation’s 250th year, We Hold These Truths brings together photographers who use the camera to question, consider, and reclaim the meaning of “We hold these truths to be self-evident.” Rather than offering a static monument to history, the exhibition presents a living, contested portrait of American identity. Through social documentary, portraiture, conceptual work, and environmental imagery, the artists examine what these founding ideals look like today. Their work explores the struggles of being American, civic action and political change, the histories of local communities, and the evolving landscape shaped by environmental and social transformation. Featuring New Mexican photographers in conversation with global members and alumni of Review Santa Fe, the exhibition serves as both a community mirror and a national dialogue, inviting viewers to confront the vivid and complex truths of the present moment.
Corn Wagon Thunder, CENTER Mary Anne Redding, Turchin Center for the Visual Arts
3
EVAN ANDERMAN
Meander Boundary, Fort Morgan, CO, 2013
Archival Pigment Print
DENVER, COLORADO
IMPOSITION evananderman.com
Converging Lines, PunkinI Center, CO, 2018
This project challenges our understanding of the relationship between human development and the natural world by documenting the way that we use the land. As a geologist, when I fly over the high plains of eastern Colorado, I look at the many, overlapping layers and how the land has been modified by a combination of processes, both natural and manmade. The lowest, the land itself has been created over millions of years and forms the foundation. Draped on top of that, mankind has imposed itself in various ways with intrusive activities that are collectively called “progress.” Aggressive cultivation and overuse of pesticides and fertilizer have resulted in degradation of the most valuable resource, the fertile soil. While my main interest is the subtle beauty of the landscape itself, I also like to tease out what man has done with that land, and make the viewer wonder what is going on and why. 4
SUSAN B. ANTHONY susanbanthonyphotography.com
NEW YORK, NEW YORK
Girl with Homemade Bat
Archival Pigment Print
RURAL LIFE IN THE HUDSON VALLEY For the past five years, I have been photographing individuals and families in upstate New York. Having spent many years as a weekender and homeowner, most of the people I knew were other New Yorkers, and I never had the chance to meet those who grew up in this rural area. During the pandemic, I spent many hours outside with my camera, walking along the road and photographing local residents. Eventually, I decided to create a project about the people I met. Now, some of these individuals have become friends, and I continue to meet others whose families have lived in this area for generations. I first photographed a couple who live about a mile from me. They homeschooled nine children—three are still at home, while the others are married and living in different parts of the county. Through this family, I continue to meet relatives, friends, and neighbors, and the community I photograph continues to grow. 5
TRACY BARBUTES
Fire Me For Being Fabulous Archival Pigment Print
tracybarbutesphotography.com
GROVELAND, CALIFORNIA
FREE SPEECH ON PUBLIC LANDS?
Transgender, queer, and allied activists, on May 20, 2025, hung a 66’-by-35’ trans flag on Yosemite’s El Capitan (Tu-Tok-A-Nu-La) to send a message that transgender people are welcome outdoors. The following day the Yosemite Superintendent’s Compendium (essentially, the park’s rulebook) was updated with a new clause that banned flag displays. In August 2025, Dr. Shannon “SJ” Joslin (they/them), a Yosemite National Park ranger who helped hang the flag on their day off, was fired for “failing to demonstrate acceptable conduct” in their capacity as a biologist. The tight-knit Yosemite community continues to rally around SJ, showing support in a multitude of ways, including peaceful protests in the park. SJ continues to fight for their First Amendment rights, as well as equality and safety for the greater LGBTQ+ community. 6
EVALYN BEMIS evalynbemisphotography.com
SANTA FE, NEW MEXICO
At A Crossroads
Archival Inkjet Print
7
THE LAST FISHERFOLK: ON THE RITUALS AND RHYTHMS OF A DYING AMERICAN FISHERY
BARRON BIXLER
PRINCETON, NEW JERSEY
8
Sue weighs a Shad
There are stories, likely apocryphal, of early spring shad runs in 1778 feeding George Washington’s starving army, encamped near the Schuylkill River outside Philadelphia, and turning the tide of the Revolutionary War. Whether or not these stories are true, the shad was as totemic to Philadelphia as the cod and haddock were to Boston. So plentiful were their springtime runs, the city’s fishmongers would boast that they could stroll across the Delaware River on a carpet made of the fishes’ deep green-purple backs. Today, the Lewis Fishery in Lambertville, New Jersey is the last commercial shad fishing operation on the Delaware, and one of the few remaining links to a centuries-old American river culture in this region. For about two months each spring, the fishery’s crew hauls their seine nets onto the same muddy banks where the Lewis family has fished since 1888, keeping alive a ritual that once defined life along the Delaware. barronbixler.com
The Seasonal Home of the Lewis Family (1933)
Pigment Print on Hahnemühle Photo Rag Baryta
9
JONATHAN BLAUSTEIN
Yellow mask and yellow plastic tablecloth dye sub on aluminum mounted
PARTY CITY IS THE DEVIL 10
ARROYO HONDO, NEW MEXICO Jonathan Blaustein’s 2020 monograph, “Extinction Party,” brought together four conceptual projects that examined consumption and Capitalism in America by presenting food, animals, party supplies, and the Earth itself as items to be bought, sold, and discarded. jonathanblaustein.com
TONY BONANNO
SANTA FE, NEW MEXICO
HOOVES & DUST
Hooves & Dust #27 (artist proof)
Archival Pigment Print on cotton paper
bonannophoto.com The Hooves and Dust series explores the intersection of light, dust, and movement in a way that focuses on the raw power, grace, and beauty of horses, along with the classic working cowboy. The series was initiated in 2005 and is an on-going project. Shooting locations include the former Rock Springs Ranch in Tumalo, Oregon and actor Val Kilmer’s Pecos River Ranch in New Mexico. 11
SHEILA JANE rip it up, tear it down, 2026
ALBUQUERQUE, NEW MEXICO @sheilajaneart 12
giclee art print
JOHN DERRYBERRY DALLAS, TEXAS
Luke as Frederick Douglas
Charlie as John Muir Archival Pigment Print on cotton paper
NIGHT AT THE MUSEUM
Each year Primary School students through out the country study American History. One teacher goes further and help her 5th graders embody one character which they research and give a performance, in costume, about that character to the parents and school. These are a few of the portraits I have made of them over the past decade.
johnderryberry.com
13
WAYNE DESBROW
American Mobile Matrimony
Digital Capture/Inkjet Print
WEXFORD, PENNSYLVANIA
14
LISA DI GIACOMO
Aftermath
Archival Pigment Print
WOOSTER, OHIO
15
KRISTA ELRICK
SANTA FE, NEW MEXICO
Signs of Life: Studies, # 1 – 6 1. Holbrook horse, 1988; 2. Eagle at sunrise, 1990; 3. Scout Stalker Radials Discover Oklahoma, 1988; 4. Rack of elk, 1988; 5. Sun and sheep, #1; 6. Sun and sheep, #2 Silver gelatin prints
SIGNS OF LIFE Signs of Life explores cross-cultural tensions within popular culture, especially in reference to animals, Indian Country and capitalism. This body of work was created from 1987-1990, while driving back and forth into the Navajo (Dine’) Nation, in and around the Chinle area. While on the road, my curiosity grew about how money influences the aesthetics in communities that surround tribal lands. My images quietly portray several humorous details that ask the viewer to question the local vibes. The cultural issues they raise are central to many current regional dynamics that shape private/ public land use and transform traditional indigenous knowledge.
16
kristaelrick.com
DEBORAH ESPINOSA
LIVING WITH CONVICTION: SENTENCED TO DEBT FOR LIFE IN WASHINGTON STATE sameskyphoto.com
Keshena
SEATTLE, WASHINGTON
Jaime
Aluminum Print
“Whether we are incarcerated or not, we still are living marginalized lives. . . . You are taking away access to the American dream. Everybody should be entitled to that – to be able to work hard and see the benefits of their hard work,” says Carmen Pacheco, a mother and grandmother who works three jobs and owes $18,000 in court-imposed felony debt. In partnership with formerly incarcerated individuals, Living with Conviction: Sentenced to Debt for Life in Washington State, advocates for an end to how Washington State sentences people to not just prison, but to a lifetime of debt. The project is a collection of portraits and profiles of formerly incarcerated individuals trying to survive and thrive under court debt, called “legal financial obligations” (LFOs), which are the costs, fees, fines, and victim restitution that courts impose on criminal defendants at the time of sentencing. LFOs have been accruing interest for decades at a rate of at least 12%. This means that by the time a person gets out of prison, the total amount has increased substantially. The first monthly LFO payment is due within 30 days of release. Failure to pay even once can result in arrest and the loss of housing, jobs, and custody of children. And yet for individuals re-entering our communities following incarceration, who are disproportionately people of color, such debt is physically, mentally, emotionally, and financially crippling. Washington’s LFO policy criminalizes poverty, keeping people with limited income shackled to the criminal legal system for life. In so doing, this policy perpetuates generational cycles of poverty and incarceration. In an effort to break down the walls of those with criminal records and those without, each exhibit is accompanied by live community conversations the storyellers and the public. As one storyteller explained, sharing her experience with Living with Conviction “gives purpose to our pain.” 17
KATELYN FELDMAN
SANTA FE, NEW MEXICO
@feldmancat45
Daisies
18
Archival Pigment Print
TERRI GOLD terrigoldworldimagery.com
NEW YORK, NEW YORK
Oklahoma City MemorIal along Route 66 Archival Digital Print - Matte Paper
“The spirit of Route 66 is in the details: every scratch on a fender, every curl of paint on a weathered billboard, every blade of grass growing up through a cracked street.” -John Lasseter Route 66 is the essence of Americana: The Mother Road as America’s Main Street, embodies the core small-town values of America, with its Mom-and-Pop stores, its vintage service stations, motels, and diners. It is also a representation of freedom, a roaming, mobile, and automobile-oriented society, where new horizons for personal growth and experiences can always be found.
19
SUSAN GOLDSTEIN
susangoldsteinstudio.com
DENVER, COLORADO
Undercurrents: Broken Dreams (New Mexico)
20
Undercurrents: Proud to be an American (Kansas)
Archival Pigment Print
TERRY HALSEY HOUSTON, TEXAS
Lost Connection
Archival Giclee Limited Edition
terryhalsey.com
21
RAWDON, QUEBEC, CANADA
ISABELLE HAYEUR The wall at night with the mexican army camp, 2025; From The Borderlands photographic series
Archival Pigment Print
isabelle-hayeur.com
22
GALLUP Robert - from the series Gallup
CABLE HOOVER
Like countless communities across the American West, Gallup, New Mexico has surged and faded with successive industries—railroads, coal, uranium—each eventually disappearing. What has endured is Gallup’s location on the border of the Navajo Nation and within close proximity to the Zuni Pueblo and numerous other tribal lands. For generations, Gallup’s fortunes have depended less on what lies beneath its soil than on its relationship with the Native communities that surround it. Gallup generated substantial wealth through Native-made wares, trade, tourism, and labor, while many of the communities that fed that wealth continued to experience persistent poverty. That contradiction is not incidental to Gallup’s history. It is the foundation upon which Gallup was built.
Archival pigment print
HONOLULU, HAWAII
cablehoover.com
23
RETURN
SANTA FE, NEW MEXICO
PAULA IVELAND
Going Home, “Sundowner” on a summer night
Archival Pigment Print
@desert4oclock For me what started as a strong pull to photograph grasses in the Southwest in any place, time of day, or form led to an unexpected return to the grasses of my childhood in Southwestern Minnesota, to the farmlands, cornfields and the prairie. Away for many years, the return home led me back to the bison, to more memories, challenging and difficult to process through words in a journal. I soon found myself photographing bones, apples, cages, fences. Some of these subjects became spring boards to a new exterior landscape, an exploration of history and ecology of the tall grass prairie, via Richard Manning’s Grassland: The History, Biology, Politics and Promise of the American Prairie. These subjects have also become helpful tools to explore the inner landscape, asking and answering questions about the self and my true nature. I continue to look at the land and nature for answers; in doing so, I find an ongoing return and deepening search to an inward home.
24
JAMES W. JOHNSON thejameswilliam.com
SANTA FE, NEW MEXICO
Untitled
Archival pigment print
25
ALAMOGORDO, NEW MEXICO
Shanay Martinez, Mescalero Apache, 2025 Archival Pigment Print
@ronthejazzguy
26
RON KELLER
WHAT WILL REMAIN OF US? Woman, Cross, & Flag- All Signs of America- 9757 US-62, Gowanda, New York Archival pigment print
The United States has long defined itself through unity, progress, and shared purpose. Yet beneatthose ideals lies a landscape marked by economic uncertainty, cultural change, and competing visions of the future. These conditions extend beyond headlines, becoming visible in signs, flags, businesses, homes, and public spaces. The American landscape has become both witness to and record of a nation navigating profound transformation. What Will Remain of US? is an ongoing photographic exploration of the contemporary American condition. It seeks a visual archive of a nation negotiating its identity, asking viewers to consider not only where we are today, but what traces of this era will endure long after it has passed.
ERIC T. KUNSMAN
ROCHESTER, NEW YORK
erickunsman.com
27
CYNTHIA LADDS
Tulips, a bunch, black and white. Taos, NM.
Archival Pigment Print
TAOS, NEW MEXICO cynthialadds.com
28
NICHOLAS IOAN LAZAROAE
”Through You”
Archival pigment print
OGDEN, UTAH
lazaroae.com
29
AMERICAN SCRAPBOOK
San Luis Obispo, California (Culligan Water, JP Solar, drought)
Archival Pigment Print
kimllerena.com Calexico, California (Mexican border wall)
KIM LLERENA MIAMI, FLORIDA
Depicted in this project are fragments of the American experience: private backyards, public roads, landmarks built or dismantled. Relationships between disparate sites and structures emerge, highlighting various systems that direct our collective national consciousness: business, infrastructure, territory, history, politics, religion, entertainment, and more. Dictated by these invisible forces, the indelible marks of past actions and diverse quests for an American Dream become potent symbols in our visual landscape.
30
RICHARD LOWENBERG
F-16 Pilot w/ Nightvision
F 16 Pilot w/ Nightvision
SANTA FE, NEW MEXICO
35mm nightscope photograph
“ILLICIT IMAGES: SHOT IN THE DARK”
These images are part of a larger “Information Revolutions” body of artworks, installations and performances attempting to creatively address the evermore critical issues of surveillance, privacy, terrorism and information warfare. While initially establishing creative interactions with military research labs, defense contractors, intelligence agencies and NASA in the 1980s, wanting to access and explore various multispectral imaging technologies, I quickly realized that the ‘nightscope’ and FLIR imagers could open a shifting window onto a whole world hidden in darkness. richardlowenberg.com 31
JESS MERRITT ALBUQUERQUE, NEW MEXICO
RIO GRANDE EBB PROJECT jessmerritt.com
RGE 2-1, RGE 2-2, RGE 2-3
Polaroid
At a time when the current governmental administration is actively suppressing the existence of climate change, it seems more important than ever to document the truthful impacts of it. When the Rio Grande River ran dry through Albuquerque, NM in early June 2026, partly out of shock, I decided to challenge myself to document it until it flowed again, thinking that would only be a few weeks. Optimism in the face of science. Almost non-existent snow pack due to an abnormally warm winter has left the Rio Grande watershed at critically low levels and portions of what used to be a perennial river are now turning into an intermittent stream. I’m out on the dry river every other day, running across shopping carts (17), learning lessons from the coyotes whose paths I cross, and taking distorted photos (255+), polaroids (32) and videos to reflect the distorted reality that I feel has been caused by climate change. This is an ongoing project and I am still bearing witness to the changes.
32
THE LAST GENERATION
Laboring Alone
BOB MILLER Dinner Request
Archival Pigment Print
BIRMINGHAM, ALABAMA
For thousands of years, humanity has benefited from generational intimacy with the land. But as farms and ranches continue to consolidate across America, traditional midsize farms – once the majority – are in steady decline, and those who remain find themselves on the precipice of an ever-widening chasm into which more than four million farming families have vanished since 1948. Dubbed the “hollowing out” of agriculture, this global phenomenon of a disappearing middle is actively shaping the rural communities of our time. I hope to encourage audiences of all ages to sit at the feet of their elders, and consider how the mysteries of generational knowledge might be preserved before they are lost. bobmiller.works 33
KINGA OWCZENNIKOW NEW YORK, NEW YORK
Untitled, New York City, 2021 from Framing the World
Archival Pigment Print
FRAMING THE WORLD Framing the World presents photographs with internal frames, how they sharpen focus on the world and refine viewers’ understanding of viewing – of both the world and photographs. The two attached photographs were taken during my very first visit to United States and are charged with my initial, emotional response to experiencing the country and New York City in particular.
34
kingaowczennikow.com
GRAND JUNCTION, COLORADO
ROBB REECE STATE OF THE NATION
Scopophobia Composite Photography
robbreecephotography.com
This series protests the normalization of covert surveillance in America. With the loss of anonymity in the public sphere, there is huge potential for misuse by law enforcement, ICE and other government agencies. On the one hand, we’re sold the idea of “security,” but the price is an invasion of privacy and loss of individual freedom. It’s not a dystopian future anymore; it’s happening here and now. In this 250th anniversary year of the signing of the Declaration of Independence, “we hold these truths” to mean that we are free citizens in a democracy and we have the right to live without being scanned and monitored and controlled by the state. New AI technology turns our neighborhoods into databases, reducing the spontaneity of public life into recorded, searchable, exploitable, and potentially ‘criminalized’ activities.
35
SUSAN RESSLER This is Wrong!, billboard depicting 5-year old Liam Conejo Ramos, detained by ICE, paid for by a local in Taos, NM 2026 Digital Print on Baryta Archival Fiber Paper
ARROYO SECO, NEW MEXICO
AMERICAN PORTRAITS
Most of my work over the past 50+ years is broadly about American culture and its impact in the US and beyond. Much of that work was based in Los Angeles, and dealt with consumerism, social inequality, wealth, and power. More recently, I’ve been making portraits closer to home, in Taos and the Southwest, that address similar issues. At the heart of this work is my concern with social justice and deeply felt values. To me, those are the truths at the core of what it means to be an American. And by showing the diversity and character of the people in this small set, I hope their values shine clear. 36
susanresslerphoto.com
MIKE RUGGIERO mkruggie.photoshelter.com
PALMYRA, VIRGINIA
Hwy 43, Williamston, Michigan - 2023 Museum Grade Archival Pigment Print
WE THE PEOPLE
Michael’s photographs are as perceptive, evocative, and enduring as any lyrical work in the medium of street photography. This series of six black-and-white photographs was selected from images made during a recent road trip. Inspired by a childhood journey across the United States—when, at the age of seven, his family drove from Pennsylvania to California on what was then a two-lane highway—Michael spent decades traveling the country, observing moments that might otherwise have gone unnoticed. What distinguishes this body of work is its ability to transform the ordinary into the extraordinary. Fleeting encounters and familiar scenes become imbued with grace, drama, and quiet surprise. Each photograph invites the viewer to see the open road as a stage where everyday life unfolds across America. 37
LAWRENCE RUSS The Tree of Unsleeping Surveillance
38
SOUTHPORT, CONNECTICUT
Archival pigment inks on rag paper
lawrenceruss.com
ANNE SAVEDGE
of by for, celebrating 250
annesavedge.com
Archival Pigment Print
N. CHESTERFIELD, VIRGINIA
39
WE HOLD THESE TRUTHS
BARRY SCHNEIER
Fine Art Ink Jet Print
The Declaration of Independence was written as a declaration of freedom from tyranny. At its heart is the enduring belief that all people are created equal and endowed with the unalienable rights to life, liberty, and the pursuit of happiness. These words affirm not only our equality, but also our freedom to choose our own paths. The pursuit of happiness is deeply personal. It should never be defined or dictated by others. Yet, nearly 250 years after those words were written, governments and institutions continue to debate—and sometimes restrict—what life, liberty, and the pursuit of happiness should mean for others. To me, the right to choose is among our most fundamental freedoms. It is the freedom to decide where and how we live, whom we love, how we express ourselves, and how we define our own happiness. These are the rights promised to us, the rights we celebrate, and the rights we must continue to protect. As a photographer, I have always been drawn to documenting the many ways people celebrate themselves, their communities, and their freedom. My work is about choice—the freedom to live authentically. Whether someone chooses life in a remote mountain cabin, an off-grid commune, to make music with the person they love, or to march down Main Street in celebration of our nation's birthday, each expression reflects the same unalienable right: the freedom to pursue happiness in one's own way. These are the truths we hold to be self-evident. In those truths, we find joy, humanity, and connection. Through my photography, I hope to capture those moments that remind us of the freedoms we share and the lives we choose to live. 40
barryschneierphotography.com
SANTA FE, NEW MEXICO
Le Momo, Poet, California 1976
LAURIE SMITH Eyes Through the Wall, El Paso/Juarez Border 2023 Fine Art Ink Jet Print
Hands Through the Wall, Anapra, New Mexico 2018 Archival Pigment Print
DENVER, COLORADO
ONE LAND DIVIDED lauriesmithphoto.com.com
I am a native of the borderlands, shaped by a bicultural identity that gives me a unique perspective on the immigration crisis where Texas, New Mexico, and Mexico meet. Through photography, I focus on a microcosm of global migration in the El Paso/Juarez region – a place known for centuries as the Pass of the North, now walled off and divided. I am drawn to open the eyes of those who choose not to see, to give a face to the human cost of migration, and to expose the stark presence of a 30-foot steel bollard wall that stretches across the Chihuahuan desert. This is more than a border crisis—it is the moral fault line of our time. What we allow reflects who we are. If we close our eyes and fall silent, what hope does the future hold?
41
BRYAN STEIFF SANTA FE, NEW MEXICO
There is Hope, Taos, New Mexico, 2021 Archival Pigment Print
theartnerd.com
Caution Rattlesnakes, Pecos, New Mexico, 2021
ENCHANTED
Although New Mexico did not join the union until 1912, the massive chunk of land that would become the 47th state played an integral role in the United States’ colonization of the west much earlier. It could be rightfully described as a springboard, used in the furthering of the project of Manifest Destiny. Beginning in 1820, the Santa Fe Trail brought west the products, people, and culture of the bourgeoning United States to a region already inhabited for thousands of years. This commercial highway gave the U.S. a foothold to further westward expansion, until the arrival of the railroad in 1880 turbocharged that expansion and solidified the US grasp on the west. The collision of cultures, colonialism, and capitalism that shaped New Mexico and the mountain west is still evident today. The romanticization of the American West purposely omits the detrimental effects of colonization, yet it remains evident. These photographs trace the enduring tensions inscribed on the landscape: between natural beauty and engineered intervention, permanence and extraction, memory and myth. The contrast of spectacular natural beauty, industrial infrastructure, and layered cultural identities reveals only a fragment of the historical complexity embedded within the place now called New Mexico. 42
STEVEN SWINEHART
Primitive Baptist Church, Ordway, Colorado
Archival Pigment Print
ALBUQUERQUE, NEW MEXICO
43
KATHLEEN TUNNELL HANDEL
Warning - Oregon #01, 2019
NEW YORK, NEW YORK
limited edition, archival pigment print
WHERE THE HEART IS: PORTRAITS FROM AMERICAN TRAILER AND MOBILE HOME PARKS This collaboration with residents and housing advocates challenges the ingrained stereotyping of the estimated 22 million Americans who live in manufactured home communities, as stigmatized trailers and mobile home parks are being rebranded. Photographic portraits of residents and their homes, video interviews, drone footage, and quotes from residents, reveal and archive what is being lost in their communities, while amplifying residents’ and advocates’ voices.
kathleentunnellhandel.com
44
Down the Street - California #02, 2018 Archival Pigment Print
MARTHA ELIZABETH TURE
A Good Citizen
mttamalpaisphotos.com
Dye-Infused Print on Metal
INVERNESS, CALIFORNIA
45
JAY TYRRELL
BLAINE, WASHINGTON
Lennon's Wall, Prague
46
SYMBOLS: WAR, CONFLICT, AND PROTEST
Image detail, World War II Memorial, Washington D.C.
Dark America, Wheat Fields, Eastern WA
Emulsion Transfer on TwinRocker Handmade Archival Paper
You and I witnessed history today. If it was a day like most others, it sped past us into our memory and settled there until we could gather our thoughts and gain perspective. When significant events happen we know in an instant that history is being made. In our youth we don’t often visit the past where history builds. History takes its time. Aging provides few benefits - I consider perspective and arc of experiences one. This project wouldn’t have interested me even ten years ago, yet in my desire to clarify my past, this work demands its time in the daylight now.
jaytyrrell.com
47
CARL YOUNG cyoungphoto.com
Woman and Child, No Kings Protest, Santa Monica, CA
Archival pigment print
SANTA MONICA, CALIFORNIA
48
WENDY YOUNG CERILLOS, NEW MEXICO
PORTRAITS OF LEE AND JACKSON, HAMBURG, AR, 2018 Archival pigment print
A LONG AND SLOW SURRENDER
MIDDLE OF THE ROAD, LAKE VILLAGE, AR, 2023
It all started with a disagreement with a friend. She stated vehemently that all the Confederate Monuments needed to come down. Now. Although I understand the conflict that the monuments present, my gut reaction was, “No damn Yankee is going to tell me what to do with my statues!” As a Southerner, I often felt that most Northern attitudes toward the South were misconceptions. Now I see those misconceptions have dark truths behind them. I struggled with that reaction because I have no real connection to these monuments. Growing up in the deep South, my Southern education led me to believe the “Lost Cause Myth,” which promotes States Rights as the impetus for the Civil War. Curious, I read the copies of the original Letters of Secession from all the Southern States. Yes, States Rights, Secession, and Southern Heritage can be perceived in the texts, but the core of these letters points to the South’s pro-slavery beliefs and the North’s objective of abolishing slavery as the main reasons for conflict. I am exploring my clash with my Southern Heritage through these images of Confederate Monuments and the religious, racial, and rural tensions that Southerners experience living among them. wendyyoung.net
49
THANK YOU We would like to thank the CENTER members, Axle Contemporary, High Vibe Brands, Nocturne Spark, Roux Arts, and the Pacheco District businesses for your participation in the Pacheco Art Walk coinciding with the opening of the We Hold These Truths exhibition on August 14, 2026. This program is partially funded by the City of Santa Fe Arts and Culture Department and the 1% Lodgers’ Tax, Santa Fe County, and the Zimmer Community Fund. District Two Arts & Culture Funding is made possible by the generous support of Councilor Liz Barrett and Councilor Paul Bustamante.