Santa Fe University of Art and Design launches annual series to spotlight genres and artist s who have had a positive impact on society.

Santa Fe University of Art and Design announced the launch of Artists for Positive Social Change, a groundbreaking, university-wide series of events, courses, lectures and performances. Each academic year, the university will focus on the exploration of a specific genre that is relevant to society and the artists within the genre that have respectfully and fearlessly pushed the creative boundaries of their profession. Led by Photography Department Chair David Scheinbaum, the first annual Artists for Positive Social Change series for the 2011–2012 academic year will focus on the genre of hip-hop as a major influence on today’s culture and social fabric as well as work of hip-hop artists who push the boundaries of their medium. The year of hip-hop will begin in September and end with a three-day capstone symposium and performance on campus in May 2012.

“This program broadens the real-world relevance of our curriculum in an innovative way,” Scheinbaum explained. “So much of teaching is theoretical. It’s important to teach theory, but it’s even more important for students to meet the players and see what it’s like to lead lives in artistic professions. This series brings artists to campus who have had a major impact on their chosen fields by pushing the respective boundaries and have exhibited excellence and creativity in their approach to ethics, creative ideas, professionalism, quality.”


Scheinbaum chose the subject of hip-hop to launch the series for personal reasons. “My personal photographic work is steeped in hip-hop,” he said. “For the past 12 years, I’ve photographed hip-hop artists with positive messages.” He led the development of the

Artists for Positive Social Change series in part as a way to share his experiences with an audience larger than his own classroom. Elements of hip-hop culture, genre and practice will be discussed in courses in every department. Series-specific courses will include the study of rap lyrics as poetry in the Creative Writing and Literature Department; a course on the production of music videos through the Moving Image Arts Department; a series of workshops and performances in the Contemporary Music Department; and a study of the “art” of hip-hop culture, including graffiti and dance, through the Art and Theatre departments.


Performance is another exciting component of the program. A yet-to-be-announced roster of hip-hop artists will visit the campus to give lectures, participate in discussions, perform and—most importantly—meet and talk with students. In May, students will have the opportunity to attend a three-day capstone event that features guest lectures by academics and scholars and concludes with a performance by a prominent hip-hop group.


“Many of the artists I work with have a strong sense of social responsibility,” Scheinbaum said. “That’s an overriding theme of this first series. Hip-hop music often addresses community issues and social responsibility. These artists are a voice for this generation and bringing them onto campus is an exciting way to offer an innovative, motivating curriculum to the students.”


Future series will draw on artists from different disciplines, including poetry, theater and film. Scheinbaum said, “This program will epitomize our teaching: artists who are pushing the boundaries, sticking to their ethics and producing work of quality and relevance.”



Santa Fe University of Art and Design, in Santa Fe, New Mexico, provides students with a unique interdisciplinary curriculum that combines practical experience with core theory to prepare graduates to become well-rounded, creative problem-solving professionals. The curriculum is designed to inspire creativity, passion and outstanding performance in contemporary music, creative writing, performing arts, art, graphic design, moving image arts (filmmaking and video production), photography, business and education. Its location, in one of the world’s leading centers for art and design, provides a perfect setting for learning in a city where creativity and innovation are central to the community. For more information, visit

Santa Fe University of Art and Design (formerly the College of Santa Fe) is accredited by The Higher Learning Commission and a member of the North Central Association,








An Image To Remember

Link to YouTube clip:


Mina Cappussi – journalist, writer, editor in chief of the international daily magazine “A World of Italians” and professor at “La Sapienza” Roma 3 University – wrote this article about Roberto Alborghetti’s “Lacer/Actions” artworks:

Roberto Alborghetti choose to silence words and to let the images tell. LaceR/Actions are really unusual images, so far away from common visions. They are not manipulated images, they are natural images.

Alborghetti “spies” advertisings, and all what is ripped, sticked and lacerated paper, mixin’up styles, colors, explicit or subliminal messages. Alborghetti proceeds his research in an ingenious way, re-reading images and messages in the light of superimposition, like a photoshot with a long time exposure, lettin’ flow emotions, sensations, events that contaminate the original scene. And so, the contamination becomes art, and we have the way to discover new points of view and observation, settin’ free one mind of prejudices and conventional thoughts.

Roberto Alborghetti ‘s laceR/Actions are movement and action that born from breaking rules and plans, they are pure art enclosed inside paper fragments, layed down as a fecund seed on the world walls.

By Mina Cappussi



I recently had the way to visit one of the most beautiful Italian medieval villages, Cornello dei Tasso (Bergamo). In the ancient church (XII Century) I saw incredible frescos. I was attracted and fascinated by colored fresco stripes on the walls (XV-XVI Century). They are really cool and they have an incredible modern touch. They are signs and signals comin’ from the past; they tell us the universal language of colors. Here, in this page, I show some pictures.

The church (dedicated to Saints Cornelio and Cipriano) where I saw the frescoed stripes, dominates the village from on high, with its bell tower with mullioned windows, beautiful example of Romanesque architecture. It has undergone considerable changes from its original 12th-century structure over the centuries, and it is one of the elements of greatest interest in the village.

The most interesting aspect brought to light by restoration work is the magnificent fresco cycle covering the interior walls of the Tasso noble chapel, painted in the 15th-16th century. It shows a variety of themes, and an excellent execution. Considerable variation in style – as the colored stripes – can be seen in the different panels of the fresco.

The figures of St. George, St. Vincent, St. Stephen and St. Agatha are well-painted; the Adoration of the Magi is admirable; but the finest of all is the panel of the Miracle of St. Giles, protector of farriers, a scene of considerable historical interest for its depiction of settings, clothing and tools from the period.

 Little, but important village. We may say that here was “invented” the postal service. According to documents, Cornello is the home of Omodeo Tasso and other members of this “postmaster” family. Mail was first carried on foot, and later the service was improved with use of horses, dispatch riders, and mail coaches. The Tasso family organized itself into a private company, the Compagnia dei Corrieri, and through its various branches, it succeeded in obtaining contracts for handling mail first in the Republic of Venice and, later, in the 1400-1500s, in the Papal States, in the State of Milan, and in all the lands of Europe dominated by the Hapsburg empire. The family Tasso – this surname gave origin to the same word of “taxi” – still survives at nowadays in the german Thurm und Taxis family.

Cornello dei Tasso is one of the villages in the province of Bergamo that has best preserved its medieval structure. At one time the village was the center of trade with the Valtellina along the Via Mercatorum, and it had an important market. At the end of the 1500s its commercial fortune began to decline. Its centuries of isolation helped preserve the original layout of the village, which is characterized by the superimposing of four levels of buildings. In the lower part, a number of buildings are aligned horizontally, overhanging the Brembo river , which show the original fortified character of the village. On the upper level there is the street with porticos, topped by stone arcades, covered by a wooden beam ceiling and paved with cobblestones.

 In the pics: the fresco stripes and a street with porticos in Cornello dei Tasso (Italy). 


 Lacer/actions artworks by Roberto Alborghetti are now textile designs made with the internationally known Bruno Boggia Studio.


 Once upon a time there was a waste … It was the dirty, torn, and worn paper of the advertisings posted on the walls of our cities. Perhaps it was unthinkable that, from waste paper, we could take and pull out something beautiful and aesthetically attractive. But, I’ve made it with my project “Lacer/actions”: to transform paper-trash images in a subject of art, or at least in a watchable product. The proof? My canvases and lithographs, and even the videoclips running trough a lot of websites around the world. And now, I check out a unique experiment that has become reality thanks to Bruno Boggia, in Como, who for over sixty years has been working with the most famous designers and fashion brands in the world (Capucci, Lacroix, Valentino, Lancetti, Mila Schon, Chanel, Celine, Dior, Y.S.L., Etro, Escada, Donna Karan, Paul Smith, Rolando Santana…).

Bruno Boggia, founder of the prestigious Design Studio in Como ( ), appreciated immediately my artworks “Lacer/actions”. He found in my works – images of ripped ads! – shapes, colors and graphics solutions so close to contemporary art and design. He found, in my “Lacer/actions”, images so similar to patterns and motifs created by his designers team, whose works are sold all over the world.

Said and done. Bruno Boggia, with the invaluable assistance of his daughter Lucia, and with the support of his staff, helped me in the selection of artworks to be converted into silk scarves, packed with all the trappings of the case. And so, within a few days, the challenge reached the finish line. The images of that dirty and ripped paper have changed now in the elegance, delicacy and sheen of silk scarves.

Me too, when I passed the scarves in my fingers, I was really impressed and moved. I think that, in some ways, it’s an extraordinary and innovative result. The photographs of a couple of scarves, reproduced in this page, they are going to demonstrate it. And even better, aesthetically, it was when young women of Bruno Boggia Studio wanted to wear “Lacer-ations” silk scarves. It was a sort of personal “defilèe” where they were highlighting the uniqueness of images taken from reality. Images that were originally ripped and dirty advertisings, left to decompose on the walls or billboards.

Now, they have become soft and beautiful silk scarves. Incredible, but true. Thanks to Bruno Boggia, to Lucy, to all the Studio in Como, to have participated to this unimaginable and creative development of my project.

By Roberto Alborghetti





Have 30 seconds of relax with my videoclip in which I show some of my blue coloured “lacer/actions” artworks.

I collected the pics around the world, as the other 30.000 I own.

Some of them are now canvases and lithographies.

Enjoy the clip that  I made with the beautiful soundtrack “After Afterall” by William Fitzsimmons. 


laceR/Azioni – tracce blu/blue tracks.



 Massimo Lallai, so attentive to the world of communications and medias, sent me some interesting considerations about my artworks “Lacer/actions”. I’m glad to share them on this page.

I read your brochure “Lacer/actions – Pics of torn (publi)city” and your experience reminded me that recently I supported an examination whose title was “The City ‘s Writing”. It was concerned about historical and economic development of Latin American cities, particularly Buenos Aires, Mexico City, Lima and Havana, and the way they were portrayed in literature.

I read several works by authors who recreated those cities in their books (in physical and socio-cultural terms) and some of them speak and analyze popular forms of art such as graffiti or wall paintings in Mexico City or in La Havana, where those drawings and “signs” really works as advertisings for restaurants, bars and food shops; others authors analyze other forms of written expressions on the walls, called “Las Maras” by local street gangs.

In fact, with your “Lacer/actions” artworks, you too are acting as a “voice of the city” because every lacerations is typical of a certain place and culture. I’m not only speaking about showing written words artworks but, above all, about the colors pictures. They are really beautiful! My compliments again! “





 L’amico Massimo Lallai, persona attenta a tutto ciò che è e fa comunicazione, mi ha inviato alcune sue riflessioni sui miei artworks “Lacer/actions”. Sono considerazioni molto interessanti, che voglio condividere con voi.

“Ho letto il tuo opuscolo “Lacer/azioni – Fermi-immagine sulla (pubbli)città strappata” e la tua esperienza mi ha riportato alla mente un esame sostenuto da poco il cui titolo era “La scrittura della cittá”. Trattava dello sviluppo storico ed economico delle metropoli latinoamericane, ed in particolare di Buenos Aires, Cittá del Messico, Lima e La Habana e del modo in cui queste venivano rappresentate nella letteratura.

Lessi diverse opere di autori che ricreavano tali metropoli nei loro libri (sia dal punto di vista fisico e socioculturale) e alcuni di loro parlano e analizzano forme popolari di pittura come per esempio i graffiti di Cittá de Messico o i dipinti murari che fungono, a La Habana, da vere e proprie “insegne” pubblicitarie per ristoranti, bar o negozi di articoli alimentari; altri analizzano altre forme di espressione come le scritte murarie delle bande di strada chiamate Las Maras.
In effetti anche tu, con le “Lacer/azioni”, fungi da “voce delle cittá” anche perché ogni lacerazione é tipica di un certo luogo, della sua cultura e non parlo solo delle lacerazioni che mostrano delle scritte ma anche, e soprattutto, dei colori. Sono veramente belle… ancora complimenti!”