Spring 2025

2025 ALR AWARDS
Lauren Barbato, The Great Renunciation (fiction, selected by Kimberly Garza)
Dayna Bateman, Deracination or How to Disappear (essays, selected by Jaquira Díaz)
Maryhilda Obasiota Ibe, Post-colonial Theory (poetry, selected by Carolina Ebeid)
Monica Fields, Blue Camellias (poetry, first runner-up)
Zoë Luh, multiple-choice tongue/暴力 (poetry, second runner-up)
POETRY
Ash Adams, Echolocation
Meagan Arthur, FLAT
Daisy Bassen, A reminder
Zoe Boyer, On Belonging
Sarah Brockhaus, Elegy for My Ninth Grade Natural Science Project
Kami Enzie, The Whale
Makayla Danielle Gay, Denny’s Grand Slam
Jessica Hincapié, Mammoth
William Palmer, A Sound Like a Clang of Sheet Metal
Brian Simoneau, Mercy
Erik Tschekunow, This Call Is from an Inmate at a Federal Prison
FICTION
Terry Engel, Maps
Siavash Saadlou, Tomorrow
ESSAYS
Sharon Kwik, Exhibit #116
Zach Miko, Zach and the Beanstalk
INTERVIEWS AND REVIEWS
Gretchen Walsh reviews Losing Music by John Cotter
Heather Myers, Mythmaking as Self-Making: An Interview with Aza Pace, Author of Her Terrible Splendor









Santa Fe artist Kathleen Frank travels throughout the American West, seeking inspiration for her landscape paintings. Using vibrant hues, she captures light and pattern in her search for logic within complex terrains. Exhibitions include International Art Museum of America; Museum of Western Art; St. George Museum of Art; Northwest Montana History Museum; UNM Valencia; MonDak Heritage Center| Art & History Museum; WaterWorks Museum; Sahara West Gallery; La Posada de Santa Fe; and Jane Hamilton Fine Art. Press includes LandEscape Art Review, MVIBE, Art Reveal, Magazine 43 and Southwest Art. Art in Embassies/U.S. State Department selected her work for Kuala Lumpur, Malaysia.
Artist Statement: Having been an art teacher, woodcarver and a printmaker in my formative years, I emerged as a painter, joyously overwhelmed by color and searching for pattern. Color and pattern are everywhere, but the seeing and interpretation of them are different for each of us. Pattern in nature is primal to me – which fuels my desire to find a glimmer of logic in vastly complicated, confusing and tumbled landscapes. I do also seek out the vibrant hues in landscapes. My oil paintings begin with a saturated red orange backdrop. This is overlaid with the main imagery, applied with distinct brushstrokes of brilliant color. Hints of the red background peek through like a woodcut, creating subtle impact without drawing attention away from the primary subjects. Several times a year I travel throughout the Southwest, hiking and photographing vistas for future paintings. The goal is to catch the light and design in these scenes in all its strangeness and beauty. It is a lofty goal, but I find when the quest is shepherded with paint and brush it is a delightfully daunting adventure.
Top Gallery: Cumbres Pass (2015, oil, 37.5″x 49.5″)
Bottom Gallery (top to bottom): Crested Butte Meandering (2017, oil, 41.5″x 41.5″), Dawn at Nordfjord (2015, oil, 49.5″x 61.5″), Creekside Grazing (2020, oil, 36″x 36″), Deep River Distant Cliffs (2023, oil on canvas, 48″ x 36″), Cornlillies and Conifers (2018, oil, 41.5″x 41.5″), Dead Horse Point II (2019, oil on linen, 30″ x 40″), Death Valley Shadows (2018, oil, 37.5″ x 37.5″), Diablo Canyon Wash (2022, oil, 37.5″ x 37.5″), DD Ranch Along Highway 4 (2008, oil, 25″ x 49″)