Follow the link below to a Library Exhibit at Roger Williams University
Read letters to, from, and about Ernest J. Gaines, including several to Gus Blaisdell, editor of the New Mexico Quarterly.
Dr. Biden, Madam Vice President, Mr. Emhoff, Americans, and the world.
When day comes, we ask ourselves, where can we find light in this never ending shade?
The loss we carry, a sea. We must wade.
We’ve graved the belly of the beast.
We’ve learned that quiet isn’t always peace.
In the norms and notions of what just is, isn’t always justice.
And yet the dawn is ours before we knew it. Somehow we do it.
Somehow we’ve weathered and witnessed a nation that it isn’t broken, but simply unfinished.
We, the successors of a country and the time where a skinny Black girl descended from slaves and raised by a single mother can dream of becoming president only to find herself reciting for one.
And yes, we are far from polished, far from pristine, but that doesn’t mean we are striving to form a union that is perfect.
We are striving to forge our union with purpose.
To compose a country, committed to all cultures, colors, characters, and conditions of man.
And so we lift our gaze, not to what stands between us, but what stands before us
We close the divide because we know to put our future first, we must first put our differences aside.
We lay down our arms so we can reach out our arms to one another. We seek harm to none and harmony for all.
Let the globe, if nothing else say, this is true.
That even as we grieved, we grew.
That even as we hurt, we hoped.
That even as we tired, we tried that will forever be tied together victorious.
Not because we will never again know defeat, but because we will never again sow division.
Scripture tells us to envision that everyone shall sit under their own vine and fig tree and no one shall make them afraid
If we’re to live up to our own time, then victory won’t lie in the blade, but in all the bridges we’ve made.
That is the promise to glade the hill we climb.
If only we dare it’s because being American is more than a pride we inherit.
It’s the past we step into and how we repair it.
We’ve seen a force that would shatter or nation, rather than share it.
Would destroy our country if it meant delaying democracy.
And this effort very nearly succeeded, but while democracy can be periodically delayed, it can never be permanently defeated in this truth.
In this faith we trust for while we have our eyes on the future, history has its eyes on us. This is the era of just redemption.
We feared it in its susception.
We did not feel prepared to be the heirs of of such a terrifying hour, but within it, we found the power to author a new chapter.
To offer hope and laughter to ourselves.
So while once we asked, how could we possibly prevail over catastrophe?
Now we assert how could catastrophe possibly prevail over us?
We will not march back to what was, but move to what shall be a country that is bruised.
But whole benevolence, but bold, fierce, and free.
We will not be turned around or interrupted by intimidation because we know our inaction and an Ursa will be the inheritance of the next generation.
Our blenders become their burdens, but one thing is certain.
If we merged mercy with the mights into might with right, a night then love becomes our legacy, and change our children’s birthright.
So let us leave behind a country better than one.
We were left with every breath, my bronze pounded chest.
We will raise this wounded world into a wondrous one.
We will rise from the gold limbed hills of the West.
We will rise from the wind swept to Northeast where our forefathers first realized the revolution.
We will rise from the lake when cities of the middle Western States.
We will arise from the sun baked South.
We will rebuild, reconciled and recover and every known nook over a nation.
And every corner called our country.
Our people diverse and beautiful will emerge, battered and beautiful.
When day comes, we step out of the shade of flame and unafraid, the new dawn balloons, as we free it.
For there was always light.
If only we’re brave enough to see it.
If only we’re brave enough to be it.
Allan Graham: As REAL as thinking
SITE Santa Fe presents an exhibition by New Mexico-based artist Allan Graham featuring a comprehensive overview of his work. The exhibition, entitled Allan Graham/TH: AS REAL as thinking, is curated by Kathleen Shields. The unusual title of the exhibition comes from AS REAL as thinking, a line from a Robert Creeley poem together with TH that stands for Toadhouse, a pseudonym that Allan Graham worked under for part of his career.
Born in 1943, Allan Graham has lived in New Mexico for nearly 35 years. Among other exhibitions, Graham showed Cave of Generation at the Fisher Landau Center, Long Island City, New York in 1992 and The Collection of Panza di Biumo, Artists of the 80s and 90s at Museo D’Arte Moderna e Contemporanea, Trento and Roveretto, Italy in 1996. Collections of Graham’s work are at the Museo Cantonale d’Arte, Lugano, Switzerland; the High Museum of Art, Atlanta, Georgia; the Museum of Fine Arts, Santa Fe, New Mexico; and the University of New Mexico Art Museum, Albuquerque, New Mexico.
Allan Graham/TH: AS REAL as thinking will present selected works from the past 15 years in individual, yet interrelated, installations that both underscore the experience of the respective groups of works and tie together the forms and ideas that underlie them. Concurrently, SITE Santa Fe will present a gallery of paintings, selected by Allan Graham, by his friend and fellow artist Oli Sihvonen (1921-1991).
AS REAL as thinking will include works such as Judas Hangs Himself, 1984, a pivotal piece in which the painting support seems to have turned inside out or its surface to have been split and turned in on itself and Moon II, 1986, representing the period during which Graham abandoned the traditional painting format to create a series of large, eccentrically shaped, monochrome canvases.
Also part of the exhibition, TIDE, 1995, featuring four sets of cast bronze coffee mugs placed on the floor suggests the simple beauty of everyday objects while offering subtle allusions to intersections of presence and absence, fullness and emptiness.