A year ago, the production, support and existence of Conceptions Southwest was begging for help because it was about to drown. What could they do, rip up all of the back copies of Conceptions, make some type of floatation device with the remnants and pray to high hell that one of the only artistic/literary collections at UNM would be able to doggie paddle it back to safety?
Thanks to the current staff at Conceptions, that is exactly what is starting to happen. I spoke with Angela Williams, the 2000-2002 editor, about the process of bringing the magazine back to life.
"It was about to go under," Williams said. "Conceptions used to be biannual, so now that we only publish one issue a year we have much more time and resources to focus on the magazine itself."
Williams also spoke of the poetry and fiction readings that were held in an effort to raise funds for the magazine and gather support.
"What you are actually reading in Conceptions is the product of many people's opinions and hard efforts," she said.
Conceptions Southwest is too large for me to pinpoint every person involved, so I will review the media presented and make honorable mentions to specific artists and writers.
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The photography represented within Conceptions ranges from the very specific moments of emotive catalysis to clichÇ. Laura Mann's "Untitled" (with head shot) breathes a sexuality and control that is irresistible and has good composition. Joaquin Sparks' "Nuevo Mexico" is a rare photographic situation, yet quintessentially New Mexican.
The paintings in Conceptions range in technical ability and force of presentation. Both of Amanda Banker's "Sexuality" and "Sad Bear" achieve specificity in style. PhilomÇne LongprÇ's "Plato's Cavern" is simple, but extremely effective in its relation of organic and geometrical forms. The Conceptions cover art, by Betty Blackburn, has a calm elegance and radiant intention.
The poetry in Conceptions is sometimes confused, but on average pretty good. Avrum Katz's "Bribe" jumps off the page as much as the nipples it speaks about. Sim¢n Trujillo's "Epithet" is not as bad as he indicates in his biography. Peter Lawton's "Friday Night" fragments and re-splinters, giving the drunk his birthright and beauty. Kenn Rodriguez's "Room a thousand years wide" I liked because of the pure subjective identification I felt with the concept of finding your personal heaven in a collective hell.
I did not like the fiction and nonfiction as much. Fiction and nonfiction are longer in form and structure, requiring more subtle integrity and patience in artistry. The fiction/nonfiction work that is contained in is not devoid of quality; it shows much creative strain and analytical process. However, the work does not necessarily reflect the apprehension and understanding of the longer written form.
Ocalan Bey's "1948," the fiction contest winner, is a very palpable, kinesthetic read. The rhythm seemed disjointed and a little unorganized, but given the subject matter this is understandable.
Despite any shortcomings the artistry within Conceptions may possess - and much of it is of superior quality - there is a more important facet to this anthology: the exposure and support of people who have decided to incorporate an active creativity into their lives. Let's all support this year's issue of Conceptions Southwest.
Conceptions Southwest's submission deadline for the 2003 issue is November 30. Applications are available in Marron Hall, Room 131. Fiction and poetry staff applications also are being accepted. Contact Sahar Anwar at 277-5656, or e-mail csw@unm.edu.
