2019 Tulsa Art Fellows

During our 2019 fellowship, Atomic Culture is programming a series of interventions which examine the terms or ideas surrounding reconciliation and reclamation through the intersection of art.  By surveying the histories of Tulsa and in collaboration with artists whose narratives push up against the legacies of hegemonic and colonial structures embedded in our communities — we will explore what it means to seek alternative experiences of place and time. How are artists reconciling and reclaiming space? We aim for each gesture to open a forum for interaction and expanded dialogue.

Upcoming programming

June 7th, 7:30PM Performance by Red Culebra at True Turn

5 Cycles + 1

Accelerations across all vectors of society, warfare, and capitalism evoke a byproduct ritual of sexual and sonic violence that lays unresponsive to new age fetishes, magical realism, and the parochial moralities of American politics. This Post-Mexican ceremony is monotony sustained by pragmatism and our baser instincts. 5 Cycles + 1 is a public gathering for acknowledging human ferocity — a self-implicating metaphor for our enduring and determined appetite.

Infinite Spirit Social Club

Looking towards our infinite spirit, those that inspire and keep the fire burning bright -- Infinite Spirit Social Club is an open monthly salon aimed to nurture and sustain creativity by providing a space for Tulsa creatives and community members to meet, socialize, discuss their work, and exchange ideas. We aim to build a sustainable framework for informal learning and critical response by engaging with the public through food, art and discursive action. 

July Special Guest: Clemonce Heard

Spirits and Food provided by Atomic Culture

Words by Celmonce Heard

Clemonce Heard is a New Orleans native. He received a BFA in Graphic Communications from Northwestern State University and his MFA in Creative Writing from Oklahoma State University. He was awarded an honorable mention in the 2017 Gwendolyn Brooks Centennial Poetry Prize, a runner-up for the 2018 Tennessee Williams Literary Festival Poetry Award, 2nd place in the 2018 Janet B. McCabe Poetry Prize, 1st place in the 2018 Connecticut Poetry Award Contest and was a finalist in the 2019 Jeffrey E. Smith Editor’s Prize. His work has appeared in ObsidianRuminateFour Way Review and Opossum among others, and is forthcoming in Saranac Review and Connecticut River Review.

This event is open but RSVP is required. To attend and receive more information please RSVP to

August 20-23, Tamara Santibañez Tattoo and Oral History Project

Tattooing becoming mainstream in recent years has relied heavily on distancing itself from stereotypical associations with criminality. The last people to benefit from this mainstreaming are those who do have a history of incarceration or have been impacted by the criminal justice system. Tattoos that are gang related or that are perceived by others as poor quality can be a barrier to employment and other systematic and social engagement. By researching this site of overlap, I hope to push back against the respectability politics present in the tattoo industry and to address the stigma of tattoos (most often wrongfully) characterized as “criminal.”

Through partnering with Ritual and reentry services organizations local to the area, I hope to collect narratives and visuals that create a more complete and nuanced picture of tattooing’s potential for personal empowerment, centering the experiences of the formerly incarcerated. In relation to carceral spaces specifically, this might mean tattooing being a vehicle to assert an authority over one’s body that cannot be taken away by the state, having a memento that maintains a connective thread to a life outside prison walls, or being able to maintain a sense of individuality in an environment that aims to strip that away.

August 24, Artist Roundtable (2PM) with Tamara Santibañez, Atomic Culture, and Tulsa Artist Fellowship. Followed by 7PM Infinite Spirit Social Club, Guest Host: Tamara Santibañez

Tamara Santibañez (b. 1987) is a multimedia artist living and working in Brooklyn. Her work is rooted in subcultural semiotics, exploring the meanings we assign to materials and accessories.  Enlisting inanimate objects as stand-ins for human figures and relationships, Santibañez emphasizes the undulating exchange between power and vulnerability, otherness and assimilation, generational expectations and individual capability.  She is the founding editor of New York-based independent publishing house Discipline Press and editor of the 2018 anthology Sexiness: Rituals, Revisions, and Reconstructions (Sang Bleu/Discipline Press).  Santibañez has a long history of community work, having taught as a visual arts instructor at Rikers Island and with Rehabilitation Through the Arts at Bedford Hills Correctional, as well as having trained with the New York City Anti-Violence Project’s crisis hotline cohort.  She brings her experience in community organizing to her creative and tattooing work, visualizing tattooing as a transformative practice, a space for healing, and as a vehicle for resistance to mechanisms of oppression.


ojalá. Carlsbad Museum and Art Center, Carlsbad, New Mexico

May 16th - June 23, 2018

Together, the artists in “Ojalá” use new media and installation, in order to challenge the viewers relationship and responsiveness of historical museums. The exhibition presents interdisciplinary work that seeks active engagement in order to measure paradigm shifts within modes of exchange and cultural context.“Ojalá” brings together works by nine artists from across the americas, the majority of whom are exhibiting in New Mexico for the first time. Each artist uses the methodologies of sound and alternative forms of communication to address social, political, and cultural upheaval.

Atomic Culture has been committed to curating exhibitions that ignite further conversation around invisible borders. This exhibition continues that conversation. The title, Ojalá , considers the word’s cross-section of cultures —  the Arabic root, inshallah translates to god willing - Oxalá"( from an Yoruban origin “Obatala”) is known in West-African and afro-Brazilian religions as the father of all people. “Ojalá” explores linguistic structures that are linked to set powers of inequality, established through cultural erasure  —  the artists exhibiting offer models of examining cultural recall and materiality for purposes of breaking down pre-determined systems that blanket our communities, globally. The exhibition employs objects connected to a multitude of cultural experiences in order to provoke reflection upon the viewer. 

Entre Irse y Quedarse at Galeria Merida
Opening December 2, 2017 7PM-2AM
(public intervention by Crack Rodriguez)
Exhibition On View December 2 - January 2018


Images: Sandra Monterroso: Coloring the strands y Bleaching the strands (still picture of video art)

Images: Sandra Monterroso: Coloring the strands y Bleaching the strands (still picture of video art)


“The light turns the indifferent wall
into a ghostly theater of reflections.
I find myself in the middle of an eye,
watching myself in its blank stare.”

-Octavio Paz

Merida, Mexico -- Atomic Culture and Galeria Merida present, Entre Irse y Quedarse (Between Coming and Going), multi series exhibition focusing on the dialogue between artists living along border, specifically those in the “Americas”.  In observing cross sections of the vibrant visual legacy of the global south, the exhibition seeks to mediate the complex tensions that arise when imagined lines are made real. hrough public intervention and installation, each of the artists in the exhibition -- Crack Rodriguez, Electronic Disturbance Theater 2.0, Cristobal Martinez, Sandra Monterosso, and Delilah Montoya -- Activate the observer to address their experiences with cultural erasure in relation to border issues with public intervention and xperiential installation.

As the Nobel prize winning poet Octavio Paz often alludes to in his writings about self reflection, the exhibition speaks to the mass reflection society needs to participate in, considering the legacy of colonial imperialism within the Americas. Entre Irse y Quedarse reflects on immigration, the disregard toward earth’s resources, and the hypocrisy of the human condition. Over the course of the last year, the conversations surrounding immigration reform has becoming increasingly central to the public discourse internationally, with the global refugee crisis and waves of economically motivated immigration headlining international news and often posed as a societal threat. Yet, these conversations and the issues raised in the media are not new nor consequential.

The artists in Entre Irse y Quedarse illustrate the movement of ideas and people as drivers of our innovation, and bolsters of economic industry. Cristobal Martinez’s Con Frascos Embrujados Me Ensangrente las Manos. Escucha Cuando Me Chingé Solo con Tierra y Viento, invites participants to interact individually or in tandem by picking up and twisting hanging jars that when activated immerse the space with the evocative reverberation of standing in the desert. Martinez aims for the participants to experience the unleashing of “ a death curanderismo that arises from the artist’s perception of the irradiated borderlands.” Sandra Monterroso confronts dialogue around identity and its conditioning, looking at both ancestral memory and contemporaneity, focused in particular on Guatemalan context. Crack Rodriguez’s public intervention is a catalyst for social change by focusing on the abuse of power upon socially and economically disadvantaged populations. And the seminal works of the Electronic Disturbance Theater 2.0 and Delilah Montoya focus attention on the basic human needs of those caught in the intersection of flux and political feud.

Each artist explores borders as a physical reality and as a site for possibility, encompassing multiple disciplines, reflecting the ways in which contemporary artists themselves cross disciplinary borders, bringing nuanced perspectives to international concerns. As Octavio Paz wrote, “All is visible and all elusive, all is near and cannot be touched."


New Mexico, Summer 2017- Residents at Poetics.NM



February 4 to March 18, 2017 | Loisaida Center 710 E 9st at Ave C

The Transborder Immigrant Tool is a ECD 2.0 (Ricardo Dominguez, Brett Stalbaum, Amy Sara Carroll, Micha Cárdenas, Elle Mehrmand)

The Transborder Immigrant Tool is a ECD 2.0 (Ricardo Dominguez, Brett Stalbaum, Amy Sara Carroll, Micha Cárdenas, Elle Mehrmand)

Future Now // Futura Ahora calls to attention the movement of artists reclaiming and reconfiguring their cultural disposition and narratives with society at large. Through sound, installation, literature, and visual arts each artist presents compelling possibilities for the future by embracing and reclaiming their histories, traditions, and present-day experiences.

During Atomic Culture’s curatorial artist residency at the Loisaida Center. They will bringing together 15 artists native to the southwest United States, Texas, New Mexico, Colorado, Arizona, and California to discuss futurism and geopolitics. Futurism is not just about technology but an act of self preservation and concern toward the creation and dismemberment of invisible borders, pillaging of natural resources, and colonization. Through decolonization and reclamation of traditions, personal culture, land and natural medicine.

Within the exhibition and workshops each artist addresses these issues blending their complex histories with a contemporary perspective creating a new trajectory.

Future Now/Futura Ahora will host multiple workshops on reclaiming use of the land and the natural remedies she provides you, discussions and screenings on chicanx futurism. The exhibition serving as a catalyst to discuss and initiate thinking and being in a time of increased tension and unknown.

Artists: Electronic Disturbance Theater 2.0, Nani Chacon, Gilbert "Magú" Luján, Ryan Dennison, Zeke Pena, Chico MacMurtrie, Claudia X. Valdes, William Camargo, Rick Cortez, Lindsay Kane, Delilah Montoya, Cristobal Martinez, Scott Williams, Cultural Workers, and a SSSK Distro retrospective.

Loisaida, Inc. stands firm on its original mission– Address the serious economic and social disenfranchisement of poor and low income Latino residents, with employment and training opportunities, comprehensive youth development initiatives, as well as neighborhood revitalization activities that positively highlight the rich culture, heritage, and contribution of the Puerto Rican and Latin American community in this City– while offering programming that meets the demands of the times and the neighborhood’s changing demographic. In its new home in 710 East 9th Street, Loisaida builds a connection between community, learners, artists and scholars through affordable education opportunities in cultural fields, S.T.E.A.M. (Science, Technology, Engineering, Arts and Mathematics) design and everyday life. Our approach celebrates the urban surroundings, grassroots invention and immigrant spirit of the Loisaida neighborhood in its dedication to celebrate Latino cultural vitality and their contributions to NYC.

Its new multi-purpose space, The Loisaida Center, aims to become an incubator for self-
sustainable artisanal technology, and culinary arts entrepreneurial initiatives.


In collaboration with Carlsbad Museum and Art Center Presents ...


Exhibition July 1-5, 2016 • Opening Reception & Live Music July 2 4-9PM

For Immediate Release Carlsbad, New Mexico -

Atomic Culture is proud to present its inaugural arts program, Turn On and Take Cover, with live music and an exhibition of works by six contemporary artists based in or from New Mexico.

The inaugural exhibition is structured around a showcase of contemporary artists from the southwest and their relationship and use of the land. The results are shocking, playful, and heart-breaking, with abstract relationships revealed in the artist's struggles with an unrelenting landscape, political issues and ancient traditions. Participating artists include Nani Chacon, Chico MacMurtrie, Death Convention Singers, Claudia X Valdes, Scott Williams, Joel-Peter Witkin.

Free live music will be offered in Halagueno Arts Park., with Sleepercar (El Paso, TX), an alternative country project of Jim Ward of Sparta and former member of At the Drive-In, glam metal band Chicharra (Albuquerque, NM), and surf punk band Miijas (El Paso, TX).

There will be a free community portrait booth - photography by Mathew and Malinda Galindo will be available online the next day for all subjects.

Atomic Culture is both an idea and a place where people from all backgrounds are encouraged to learn, create, and experience art in it’s myriad forms. The organization curates free cultural events, approximately every four months in New Mexico, aimed at engaging all generations of the community in a long-term and ongoing growth of artistic enablement, understanding, and inclusion. These events encourage active participation and bring awareness to not only the indigenous cultures dominant in the area but also a broader spectrum of art-based activity.

Representing a wide range of practice in visual, sound, and performance arts, Atomic Culture provides exhibitions, live performances, and workshops. In providing an open arts space the organization and it’s sponsors encourage conversation and inspire new works across a diverse range of cultures, ages, and levels of arts awareness.

Atomic Culture is crowd funded through­fundraising/atomicculture

Carlsbad Museum and Art Space is open Monday through Saturday, from 10am to 5pm, and closed on Sundays. Carlsbad Museum and Art Center

418 W Fox St, Carlsbad, NM 88220

For more information and press photographs

please contact; (



Opening - February 4, 2017: Cultural Workers will perform followed by a discussion on the history and uses of the Agave. Tequila and Mezcal Tasting.

February 11, 2017: Nativa Remedies by Celeste Casillas: Community workshop on how to use traditional herbs in modern daily life and creating at home remedies influenced by elder and ancestral healing methods and the passing down of stories. Participants will make a salve to take home.

Feb 9, 2017: Ricardo Dominguez will join us for a conversation and skype in his collaborator Amy Sara Carroll (who wrote the poems on the Transborder Immigrant Tool) we will be talking about Border publics, Art and Activism.

March 3, 2017: Performative Presentation by Guillermo Gomez-Pena, Balitronica, and Alex Rivera

TBD: Mural Workshop with Navajo and Chicana Muralist Nani Chacon

Cognitive mapping: realizing your space in a neighborhood