Jason S. Ordaz

Jason S. Ordaz is an experienced professional in photography, communications, marketing, and branding, with a 24-year career based in Santa Fe, New Mexico. Known for his creative approach and attention to detail, he played a key role in leading the rebranding of the School for Advanced Research’s (SAR) centennial campaign in 2007.

Ordaz’s writing and photography have garnered recognition in esteemed international and national publications such as Vogue, The Smithsonian, The New York Times, Progresso Fotografico Magazine, Santa Fe New Mexican, Pasatiempo, and THE Magazine, among others. In July 2025, Ordaz received the 2025 Santa Fe Mayor’s Award for Excellence in the Arts. This prestigious honor, presented by Mayor Alan Webber, the City of Santa Fe Arts Commission, and the Arts & Culture Department, recognizes Ordaz’s remarkable contributions as both an artist and educator, inspiring and empowering students through the visual arts and storytelling.

As Chief Communications Officer at the Institute of American Indian Arts (IAIA), he serves on the President’s Cabinet, working collaboratively with colleagues across the institution. His editorial, design, and photographic contributions have helped strengthen IAIA’s brand presence and visibility on a national and international level.

Beyond his professional achievements, Ordaz is passionate about supporting Native and Indigenous communities. He has cultivated meaningful relationships with individuals, Tribal Nation communities, and prominent organizations, including Marvel and Disney, The Jane Goodall Institute, CalArts, The Georgia O’Keeffe Museum, Santa Fe International Film Festival, SWAIA, as well as numerous magazines and publishers.

Ordaz’s career reflects a consistent dedication to quality and a sincere commitment to the communities and causes he supports. His contributions span the fields of communications and photography, as well as broader efforts to uplift and engage with community initiatives.

Denis Pellerin

Stereoscopy in the Roaring 20s and the Hungry 30s

Like many others before him, Denis thought that stereoscopy had almost disappeared after the first World War only to know a major revival in the early 1950s. By having a closer look, however, he discovered that an awful lot was happening in the stereoscopic field in the “roaring” 1920s and the “hungry” 1930s, including, among other things, the projection of the first stereoscopic movie, the advent of the printed anaglyphs, the nearly simultaneous birth of the View-Master and of the polarizing glasses, the publication of stereoscopic cigarette cards and tru-vue filmstrips, as well as the apparition on the amateur market of new binocular cameras – mostly German – that have become household names since. In this presentation Denis will share what he has found out about commercial and amateur stereoscopy in Britain, France, Germany and the U.S.A. in the inter-war period, with lots of pictures from his, his colleague Rebecca's and Sir Brian's collections.

Denis Pellerin was bitten by the stereoscopic bug in his late teens and has never looked back or tried to get cured since. Although he spent the first forty years of his undiminished passion for stereoscopy exploring Victorian Britain and Second Empire France, he has been doing more frequent in depth explorations of the twentieth century over the past four years, starting with aerial stereoscopic photography during WWII and gradually making his way back to WWI, with an unexpected incursion in the 1960s, the subject of which will hopefully be revealed in August 2026. A former teacher, Denis has been the curator of Sir Brian May's collection since 2012 and the co-curator, with his colleague Rebecca Sharpe, of the Brian May Archive of Stereoscopy since 2020. Denis has written over 85 articles and given more than 160 3-D talks, either online or in-person since he started in Sir Brian's employ and was instructed to make his collection alive.

Melody Davis

Domestic Vision / Haptic Presence—Studio production and factory labor in the golden age of stereography

The stereograph's golden years occurred between 1865-1905, during which both small studios and large factories on both sides of the Atlantic published stereographs that sold in record numbers to a market that craved home entertainment. Of greatest popularity were narrative scenes and series, which were entirely fabricated in studios with orchestrated lighting and complex mise en scène to appeal to their target market—women at home. By looking at the stereoscopic negatives of F. G. Weller, Underwood and Underwood, American Stereoscopic, and H.C. White companies, we will see that narrative stereographs were carefully curated, lit, and enacted to create a “domestic vision” that was pure artifice. The negatives were then processed and turned into stereoscopic cards in factories that were staffed almost entirely by women. Shepherding the process, women's hands created a “haptic presence” to complement the domestic vision, which the consumer could again handle and view at her leisure.

Melody Davis is a photography historian and poet. She has researched the history of stereoscopic photography for over 30 years, with a focus on how stereo and vernacular culture reinforce and interrogate the role of women and racial and sexual exclusion in modernity. Her monograph, Women's Views: the Narrative Stereograph in Nineteenth-Century America (2015) was published by the University of New Hampshire Press, and her essays have appeared in the International Journal on Stereo and Immersive Media; 19: Interdisciplinary Studies in the Long Nineteenth Century; Stereo World; Le Magazine (Gallerie du Jeu de Paume); Photography History, and the anthologies, The New Woman International: Photography and Film, 1890-1930; Lee Miller: A Surrealist Eye, among others. Davis has given plenary and conference presentations internationally. She has received fellowships for stereoscopic research from the Smithsonian Institution, the Archives Center of the National Museum of America History (2026); the National Stereoscopic Association, Library of Congress Research Fellowship (2024); The Henry Luce Foundation/American Council of Learned Societies; and her awards include the Susan Warren Beatty Faculty Research Award and Schacht research grants from Russell Sage College. In 2022, she was honored with the William C. Darrah Memorial Award for Distinguished Scholarship and Extraordinary Knowledge of Stereoscopy from The National Stereoscopic Association. Davis is the author of five other volumes in art history and poetry and has been the recipient of fellowships from the National Endowment for the Arts and the Pennsylvania Council on the Arts. She is Professor Emerita of Art History at Russell Sage College and a proud member of the National Stereoscopic Association.

melodydavis.wixsite.com/melody-davis--art-hi

Thomas Jane

Dark Country Director's Cut

Dark Country is a 2009 American mystery thriller 3D film directed by and starring Thomas Jane in his directorial debut. It also stars Lauren German and Ron Perlman. This is a new directors cut of the movie, never before shown here.

Plot:
Newlyweds Dick and Gina decide to head across the Nevada desert for their honeymoon, driving at night to beat the heat. Before they head off, a stranger warns Dick to be careful, as couples have been known to get lost, and to stick to the Interstate. Shortly afterward, the couple realize they are heading the wrong way and turn off the highway onto another road. Dick turns off the car headlights to drive by starlight. Eventually Dick turns the lights back on, immediately swerving to avoid a figure in the middle of the road. Investigating, they find a man severely injured from a car accident. Unable to get a phone signal, they decide to drive him to a hospital themselves, only for the road to come to a sudden end a few miles ahead. Watch as this comes to an exciting climax. Rated R.

Thomas Jane is an American actor. He is known for appearing in the films Boogie Nights (1997), Deep Blue Sea (1999), The Sweetest Thing (2002), The Punisher (2004), The Mist (2007), 1922 (2017), and The Predator (2018). Jane's television roles include Mickey Mantle in the television film 61*, Ray Drecker in the HBO series Hung, for which he was nominated for three Golden Globe Awards, and Josephus Miller in the Syfy/Amazon Video series The Expanse (2015–2019). Outside his acting career, he has edited and written various comic books, the first of which was Bad Planet. He made his directorial debut with the crime thriller Dark Country (2009). He has also modeled for various magazines, including Men's Health and Da Man. Jane will portray Dr. Leonard 'Bones' McCoy in the 5th season of Star Trek: Strange New Worlds.