THE magazine April 2013 by FlavorGrafix Design

Santa Fe’s Monthly

of and for the Arts • April 2015

Photo Credit: Wendy McEahern Photography

53 Old Santa Fe Trail | Upstairs on the Plaza | Santa Fe, NM | 505.982.8478 | shiprocksantafe.com

CO NT EN TS

The material cultures of ancient civilizations intrigue us today, leaving the specifics of “why,” “how,” and “what for” open to endless speculation. The Lines (Yale University Press, $45), an elegant photography book by Edward Ranney, presents a series of photographs of the geoglyphs of Peru’s enigmatic Nazca culture. The miles of lines, geometric shapes, and large drawings are most visible from aerial views of the desert floor. At first glance they appear as minimal, barren landscapes, but then slowly reveal their intricacies to the viewer. Ranney has been intrigued by these lines and for the past thirty years has

03 letters 16 universe of: artist Juan Kelly 20 art forum: Altered States by Deanne Richards 23 studio visits: Joaquin Dudelczyk and Stephen Davis 25 one bottle: 2011 Clos Canarelli “Corse Figari” Rouge by Joshua Baer 27 dining guide: Modern General and Masa Sushi 31 art openings 32 out & about 38 previews: 3rd Annual Invitational Show at Blue Rain Gallery and Inventory of Light at Peters Projects 41 national spotlight: Lalla Essaydi: Photographs at the San Diego Museum of Art 43 person of interest: Adria Ellis 47 critical reflections: An Exhibition with Three Santa Fe Legendaries at Verve Gallery of Photography; Antoine Predock at Richard Levy Gallery (Alb.); Axle

Indoors at Peters Projects; From the Ground Up: Design Here + Now at 516 Arts (Alb.); Levitated Mass at the Los Angeles County Museum of Art; My Life in Art at Charlotte Jackson Fine Art; Noël Hudson at Rio Bravo Fine Art Gallery (Truth or Consequences); Tales from a Dark Room at the New Mexico Museum of Art; The Responsive Eye at David Richard Gallery; and Under 35: Part III at Zane Bennett Contemporary Art. 59 green planet: Activist Don Kennell, photograph by Jennifer Esperanza 61 architectural details: Near Ghost Ranch, photograph by Guy Cross 62 writings: “Two Daughters” by Rosé.

photographed them with a large-format camera, making rich silver prints of these mysterious vistas. He views the lines as capable of mapping a harsh landscape, transforming it into a cultural space, a two-dimensional architecture that may have marked ceremonial sites and pilgrimage routes. Over 1500 years old, the lines remain visible and are read by the camera as abstract drawings in vast expanses, all captured in the rich detail that view cameras provide. Lucy R. Lippard contributes an essay which situates these lines in the evolving continuum of land art, referencing the function of geometric

lines from other ancient cultures in social organization, astronomical alignment, and ancestor worship, as well as in the works of contemporary artists. Lippard reminds the reader that “while gleaning historical information about ancient cultures is a worthy task, the current significance of all this work, and of Ranney’s images, is to remind alienated contemporary cultures that we are not always in control, that reverence for nature’s power is something we can learn from our ancestors, especially as climate change melts the snowcapped peaks providing water and life to all those below.”

In Pursuit of Cultural Freedom

A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.

TA-NEHISI COATES with MICHELE NORRIS WEDNESDAY 8 APRIL AT 7PM LENSIC PERFORMING ARTS CENTER An America that looks away is ignoring not just the sins of the past but the sins of the present and the certain sins of the future. — Ta-Nehisi Coates

Ta-Nehisi Coates, writer, journalist and educator, is a senior editor for The Atlantic, where he writes about culture, politics, and social issues. In 2008 he published a memoir, The Beautiful Struggle: A Father, Two Sons, and an Unlikely Road to Manhood. His article in The Atlantic’s June 2014 issue, “The Case for Reparations,” presents an argument about the cumulative effects of the long history of institutionalized discrimination against African-Americans in the U.S. Coates teaches at City University of New York’s School of Journalism. His newest work, Tremble for My Country, is forthcoming in fall 2015.

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T U O D L O S NAOMI KLEIN

with KATHARINE VINER

WEDNESDAY 29 APRIL AT 7PM LENSIC PERFORMING ARTS CENTER

…only mass social movements can save us now. Because we know where the current system, left unchecked, is headed. We also know, I would add, how that system will deal with the reality of serial climate-related disasters…To arrive at that dystopia, all we need to do is keep barreling down the road we are on. The only remaining variable is whether some countervailing power will emerge to block the road, and simultaneously clear some alternate pathways to destinations that are safer. If that happens, well, it changes everything. — From This Changes Everything: Capitalism vs. The Climate, by Naomi Klein ©2014

Naomi Klein is an award-winning journalist, syndicated columnist, fellow at The Nation Institute and author of the international bestsellers The Shock Doctrine: The Rise of Disaster Capitalism and No Logo: Taking Aim at the Brand Bullies. Her regular column for The Nation and The Guardian is distributed internationally by The New York Times Syndicate. Her newest book, a New York Times bestseller, is This Changes Everything: Capitalism vs. the Climate.

LETTERS

magazine VOLUME XXII NUMBER VIII WINNER 1994 Best Consumer Tabloid

SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 and 2006 Top-5 Best Consumer Tabloids P U B L I S H E R / C R E AT I V E D I R E C T O R Guy Cross PUBLISHER/FOOD EDITOR Judith Cross ART DIRECTOR Chris Myers COPY EDITOR Edgar Scully PROOFREADERS James Rodewald Kenji Barrett S TA F F P H O T O G R A P H E R S Dana Waldon Anne Staveley OUT & ABOUT PHOTOGRAPHER Audrey Derell CALENDAR EDITOR B Milder

Body Language—an invitational figurative exhibition will be at Studio Broyles, 1807 Second Street, #96 (in the back). Reception: Friday, April 10 from 5 to 8 pm. One night only. Image: Holly Grimm.

WEBMEISTER

Jason Rodriguez SOCIAL MEDIA Laura Shields

CONTRIBUTORS Victoria Amoré, Diane Armitage, Joshua Baer, Richard Baron, Davis K. Brimberg, Jon Carver, Kathryn M Davis, Jennifer Esperanza, Jake Habberstad, Hannah Hoel, Ann Landi, Marina La Palma, Deanne Richards, Rosé, Richard Tobin, Lauren Tresp, and Susan Wider COVER Hanalei Pier: photograph by Adria Ellis

TO THE EDITOR: In response to the Then and Now feature. Heart flutter… I had just turned THE magazine over—it had been left face-down on my table by a friend. I knew the face on the cover. I wondered: why would Jerry (Jerome) Witkin’s 1950’s formal photo portrait be on the cover of THE? Jerry and I had been close, boyfriend/girlfriend while at Cooper Union. A few seconds later, I realized the cover story Then and Now would answer the question. I looked at the article and saw the photograph of Joel-Peter Witkin. Memories of the timeswith Jerry came flooding back. One grey Saturday, Jerry and I traveled to Williamsburg so I could meet his mother. Jerry told me that he had a twin brother—Joel. Jerry was the famous one then; he had received a Pulitzer Prize, which allowed him to study in Europe. In 1961, Jerry showed me around Florence

and traveled with my housemate and me to Sicily. Thank you THE magazine for bringing back fond memories to me. I wonder what Jerry looks like now? —L Vi Vona, Santa Fe, via email TO THE EDITOR: I got a real charge from your Then and Now article. When I saw the cover I wondered: Who and why is that dorky kid on the cover?” Like John Lennon wrote, “I found out! I found out.” It was Joel-Peter Witkin. And what a transformation from past to the present. As a sculptor livingin the Oregon boonies, I have known of and have followed Witkin’s work for many, many years. Alhough I have never met Witkin or any of the other artists in the article, that did not diminish my enjoyment of the article in the least. —Eric L. Matthews, via email

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Jimmy Montoya: 470-0258 (mobile) THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: themagazinesf@gmail.com. Web address: themagazineonline.com. All materials copyright 2015 by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable, for any misspellings, incorrect information in its captions, calendar, or other listings. Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel. All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised. THE magazine is not responsible for any claims made by its advertisers for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.

APRIL

2015

THE magazine | 5

Coordinates

April 17 - June 6 Closing Reception: Saturday, June 6, 6:00 - 8:00 pm

READINGS & CONVERSATIONS brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction, and poetry to read from and discuss their work.

an anonymous artist Thomas Barrow Xuan Chen Katya Crawford & Susan Frye Jenna Kuiper Emi Ozawa Mary Tsiongas Jennifer Vasher Tom Waldron

Richard Levy Gallery â&#x20AC;˘ Albuquerque â&#x20AC;˘ www.levygallery.com â&#x20AC;˘ 505.766.9888

WALLACE SHAWN with Michael

Silverblatt

WEDNESDAY 15 APRIL AT 7PM LENSIC PERFORMING ARTS CENTER Wallace Shawn, playwright, actor, screenwriter and essayist, has said, â&#x20AC;&#x153;I donâ&#x20AC;&#x2122;t know about you, but I only have one life, and I donâ&#x20AC;&#x2122;t want to spend it in a sewer of injustice.â&#x20AC;? Best known for his roles in My Dinner with Andre and as Vizzini in The Princess Bride, Shawn also has had an illustrious career in theater, both as an actor and writer. His plays include Grasses of a Thousand Colors and The Designated Mourner, described by The Times (London) as â&#x20AC;&#x153;â&#x20AC;Śhighly unconventional, much concerned with matters of politics, culture and human significance.â&#x20AC;? Shawn has written on subjects such as war, money, sex and aesthetics. In his collection entitled Essays: Wallace Shawn, he writes, â&#x20AC;&#x153;Every once in a while, though, I like to take a break from fantasy land, and I go off to the place called Reality for a brief vacation.â&#x20AC;?

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Elliot Norquist, Slow Moving Dreams, 2015, powder coated steel, 48 x 38.75 x 2 inches

Extraordinary kinetic wind sculptures, locally made in Santa Fe!

Mark White Fine Art | 414 Canyon Road 505.982.2073 | www.markwhitefineart.com

SCOTT ANDERSON / DAVID LEIGH

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Blue Rain Gallery’s 3rd Annual Invitational Show April 3 — 25, 2015 Artists’ Reception: Friday, April 3rd, 5 – 7 pm in Santa Fe Feauring Artwork by Josh Clare, Chris Pappan, D’Nelle Garcia, Iva Morris, and Yatika Fields

Chris Pappan, The Seven Kanzaa, graphite/pencil on collaged substrates, 20" h x 20" w

Yatika Fields

Josh Clare

D’Nelle Garcia

Iva Morris

Blue Rain Gallery | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com

Sammy Peters Connie Connally FUSION

MONROE GALLERY of photography

MARGARET BOURKE-WHITE Pioneering Photojournalist

Peters Impulse: significant; origin, 2015, oil and mixed media on canvas, 52" x 68" Louisville Flood Red Cross Relief Station, Kentucky, 1937 ©Time Inc

Opening reception Friday, April 24 • 5 - 7pm Exhibition continues through June 28 open daily 112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e: info@monroegallery.com www.monroegallery.com

Connally Edge of Summer (detail), 2014, oil on canvas, 36" x 36"

April 3-MAy 3.2015 artists’ reCePtion: Friday, aPril 3, 5:00 -7:00 PM

Jeanette Pasin Sloan reFleCted beaU t y

Cup with Three Glasses (detail), 2015, oil on linen, 22" x 44"

LewAllenGalleries 1613 Paseo de Peralta Santa Fe, New Mexico 87501 (505) 988.3250 www.lewallengalleries.com info@lewallengalleries.com

KEEPING THINGS WHOLE MARCH 27-APRIL 17 RECEPTION FRIDAY, MARCH 27 5-7 PM SCULPTURE FEATURING WORKS BY GUY DILL, DUNHAM AURELIUS AND RACHEL STEVENS

ZANE BENNETT CONTEMPORARY ART 435 S GUADALUPE ST, SANTA FE, NM 87501 T: 505-982-8111 ZANEBENNETTGALLERY.COM LEFT: GUY DILL, BOON , BRONZE, 120 X 70 X 60 IN. CENTER: DUNHAM AURELIUS, ROCKY , POLYCHROMED WOOD AND STEEL, 22 X 14 X 12 IN. RIGHT: RACHEL STEVENS, LOGOS , WOOD, CLAY, STEEL, 111 X 36 X 15 IN.

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D E C O M P O S I T I O N

curated by Adria Ellis

A P R I L 3 , F R I D AY, 5 - 7 P M , O P E N I N G R E C E P T I O N A mobile art group exhbition featuring the work of the following new media artists: Adria E llis J os ĂŠ Luis L o p ez Moral C a rolin e MacMoran C hristian Mar garita Kimber ly Post

Join us on April 18th. during Art Matters Santa Fe for a closing dialogue with the curator.

ÂŽ

EvokeContemporary.com 505.995.9902 EVOKEcontemporary.com 877.995.9902 550 south guadalupe street santa fe new mexico 87501

MY VISUAL VOCABULARY My visual vocabulary is the product of an ongoing process derived from experimentation and discoveries to better understand the fundamentals of visual perception. Every single line or shape applied to a canvas presents unique

Costa Rican artist

problems with unique compositional solutions. My paintings can be divided into two distinct aspects: “The Imagery” and “The Narrative.” Without the right imagery the narrative is worthless, and without the narrative the

JUAN KELLY’S paintings

conjure

dreamlike

imagery would be empty, with no calories. I use animals as a mirror to reflect on our idiosyncrasies and sometimes our humanity or inhumanity. The only animal I am referring to in my work is the human animal. I love indirect metaphors and using animals

world,

as my main subject not only facilitates this, but the animals

one that combines animal imagery with

also offer other compositional and graphical possibilities. My work naturally lends itself to multiple interpretations and

literature. His paintings are based on

I work in a manner to facilitate these interpretations.

a Pythagorean interpretation of nature, structure,

geometry,

CREATING FANTASTIC UNIVERSES

and

I love the aspect of my work that deals with bringing to life forms and ideas from the world of the imagination. I am

proportion. His structured

not trying to create fantastic universes, just a mirror reflection, or psychological shadow, of our own

compositions reinforce the

universe. I don’t think of myself as an artist;

elements in his paintings. Of his work Kelly has said, “As long as the viewer is not one

instead, I think of myself as someone committed t o

possibly achieve for myself and others to experience and enjoy. My approach to artwork isis

hundred percent certain of an action taking place, the painting will continue to live in a mythological relationship with the viewer—and that is when a painting truly lives.” Kelly’s work has been exhibited both nationally and internationally. He is represented by Nüart Gallery in Santa Fe. nüartgallery.com

to creating the most sublime experience I can

is very personal and comes from my desire to understand how things work and to express concepts, ideas, and opinions that imagery can

d o

in ways that words cannot.

PALETTE

I think of myself as a chef trying to get the most amazing taste, smell, and balance in his food by imagining the taste of my colors and identifying when they need some salt or sweetness or sourness or bitterness. I also think of myself as a dancer experiencing the journey of the eyes through the painting as it dances its way through the illusions of space and time. And I think of myself as a musical composer, composing his best opera by listening to the sound produced by the shapes, the volumes, and the harmony of my choirs. Then I wake out of my daytime delusional dreams to return to the studio the next day for more.

UNIVERSE OF

photograph by

APRIL

2015

D ana Waldon

THE magazine | 17

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ART FORUM

THE

MAGAZINE

ASKED

CLINICAL

P S YC H O LO G I S T

AND

TWO

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WHO

LOV E

ART

F O R T H E I R TA K E O N A L T E R E D S TAT E S , A 2 0 1 4 P H O T O G R A P H I C C O L L A G E B Y D E A N N E R I C H A R D S .

THEY

WERE

SHOWN

O N LY

THE

IMAGE

AND

WERE

GIVEN

OTHER

I N F O R M AT I O N .

We see the influence of the Netherlandish master Hieronymus Bosch as well as

missteps, or being misled. That she is seen twice making the same gesture—her hand

the Native American concept of animal spirits. Here, a man has a fox head, which

to a confusing map—indicates that she is lost in a dream. And since there are two views

symbolizes his having a cunning and witty nature. On all fours, he is a human/

of her in perspective, we see that things are repeating themselves. Every time her hand

animal Trickster in a state of “becoming.” While transforming, the clock reminds

touches the map she becomes stuck. She feels fear and desperation at being lost and

him: Make the most of your time. Background human/animal figures open doors that

not knowing what to do. She is in a place of chaos and repetition. She needs to connect

are both symbolic and optimistic. Open doors represent starting a new life. They

with her rational mind to guide her through. What to do? Is help on the way? Luckily for

signify change and personal development. Additionally, the grid imagery with street

her, the Man with the Head of a Fox is (hopefully) not a trickster, but a spirit animal that

names symbolizes people’s internal mapping. Using our “individual GPS” enables

will provide directions to help her find her way around obstacles—he is a transformer.

us to listen closely to ourselves. It helps us navigate our life journey. Overall, the

There is a lesson that she must learn, and that lesson is to admit that she is lost, stuck,

work’s lighting makes it feel like a camera lens. The artist’s use of perspective

and needs help. If she learns from the wisdom imparted by the Man with the Head of a

further draws the viewer inside. Combined, these aspects provide a voyeuristic

Fox, a new way of seeing and thinking will emerge. The clock tells her that “time waits

quality. This feature is heightened by the figures’ nudity. Psychologically, it feels like

for no one.” If she works in tandem with the Man with the Head of a Fox (her true self),

we are looking into someone’s unconscious. Is this a dream image? This is a private

she becomes the creator of her new life. If not, she will find herself in a place—like the

world rich in metaphor.

characters in the Jean-Paul Sartre play No Exit—called Hell.

—Davis K. Brimberg, Ph.D., Clinical Psychologist, Santa Fe

—Jake Habberstad, Choreographer, Philadelphia

The fox and the birds. Masks and myths. Animal and human. A lesson in threes. At first viewing, it seems that the He Fox is crouched—as if at the start of a race—attentive, poised for action, and ready to find the way to open that door ahead of him. Looking more closely, I see that both his hands and knees are on the ground and his back very rounded—a posture that indicates that he is almost defeated or at the very least humbled and tired. A cause for pause? He Fox is “clothed” in the subtle shading of the map, whereas the two female figures are not—they are separate from the effect of the map. Perhaps he needs directions to make it through the maze to get to the road ahead. It feels as if the He Fox has been running for a very long time, perhaps in pursuit of the smaller of the She Birds. She is the dream after which the He Fox is running. Her Venetian bird-mask nose points to the keyhole, which draws my eye to the beetle. Is the beetle the key that will unlock the door? What can the He Fox learn from the beetle that will allow him to unlock the door? Perhaps the beetle is like Alice’s white rabbit—there to guide him. Time is of the essence—the clock hanging over the scenario reminds us of that. All the bodies are classical in their proportions, but seemingly of different eras. The He Fox recalls the lithe body of a classical Greek discus thrower. The larger She Bird has the fecundity of a Rubens woman; the smaller She Bird is more like a medieval painter’s representation of the human body. The She Birds feel as if they have come out of a painting by the surrealist Remedios Varo or a painting by Bruegel. There is an air of taunting in their postures, and even though they are naked they reveal nothing. There is both connection in the dream and fatigue in the realization.

—Victoria Amoré, Photographer, Santa Fe This is a story about a woman who is lost in a maze, which can depict the difficulties of finding the way out of a relationship, or it could represent indecision, confusion,

20 | THE magazine

APRIL

2015

April 3rd - 29th Artist Reception - April 3rd, 5 - 8 pm

Fire On the Floor, Encaustic, 48 x 20 in.

Paintings of Dance and Music

901 Canyon Road, Santa Fe, NM 87501 505-780-8390 e-mail: Gallery901@outlookcom www.gallery901.org

STUDIO VISITS

DAVE GROHL WROTE, “GUILT WILL CONFINE YOU, TORTURE YOU, AND DESTROY YOU AS AN ARTIST. IT’S A BLACK WALL. IT’S A THIEF.” TWO ARTISTS RESPOND TO HIS STATEMENT. I didn’t know who Dave Grohl is, so I had to look him up. He seems like a nice guy so I’m guessing he’s speaking from his own experience, otherwise his statement has the ring of the Weimar Republic. Great art often comes with great suffering (Bach, Rembrandt). I can imagine that guilt could be a driving force for someone to make better art. But it’s subjective, not to be generalized, and it depends on the nature of the guilt and the nature of the artist. Some actions are culpable. You can make art out of almost anything. Filling stadiums has nothing to do with it.

—Stephen Davis Davis’s last exhibition, Domestic Interiors, was at David Richard Gallery, Santa Fe. stephendavisstudio.com

Guilt has a very distinct feeling for me. I have made many decisions that have left me in the paralyzing grips of it. It’s been a relief to realize its power, and to change and be free. My artistic pursuit helps me to find a balance, and the place of harmony can only exist without feelings like guilt.

—Joaquin Dudelczyk To see photographs by Dudelczyk: Instagram@humanbeing_joaquin

APRIL

2015

THE magazine | 23

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ONE BOTTLE

O ne B ottle :

The 2011 Clos Canarelli “Corse Figari” Rouge by J oshua

B aer .

In the naked house, there are no secrets. Welcome to the naked house.

In the glass, the 2011 Canarelli Rouge gives a whole new meaning to

Apocryphal stories? Artistic licenses? Blonde jokes? Bold-faced lies?

the expression “the wine dark sea.” As dark as it looks in the bottle, the

False modesties? Forbidden fruits? Golden calves? Local colors

wine gathers even more depth in the glass. Keep a lit candle on the table

too rich for the rainbow?

so your eyes can follow the way this wine changes colors. The bouquet

Marriages of convenience? Monuments to hype?

has a rhythm. It beats like the pulse of a wild animal. You don’t smell this

Needles disguised as haystacks? Opinions masquerading as facts?

wine as much as you inhale its feral aspects.

Pillars of salt? Pillow talk? Shotgun marriages? Strange bedfellows?

On the palate, Canarelli’s Rouge combines immediacy with

Tales tall enough to touch the stars? Unnamed sources? White

patience. Canarelli’s Blanc and Canarelli’s Rosé are generous wines.

lies? Whoppers? They’re all here. This house is a litanist’s mecca, the

They embarrass you with their riches. Canarelli’s Rouge is less

hub of the raconteur’s wheel. But if you’re looking for secrets, you’ve

overt, which is to say that it unties its ribbons, opens its boxes, and

come to the wrong place.

celebrates its gifts more deliberately than the Blanc or the Rosé.

You have the right to remain skeptical. It’s not like these truths have been, are, or will ever be self-evident. Nobody forced you to come in. Yes, the front door is kept unlocked, in keeping with the old traditions, but you’re the one who opened it and stepped over the threshold. No, I don’t live here. Not in my wildest dreams.

By the time you get to the finish, you are simultaneously prepared for and surprised by its length. There are many great red wines that require extra time to drink. This wine gives you extra time as you drink it. Some final thoughts about where you are and why you’re here:

To call myself a regular, or even a frequent visitor? That

Leave your shoes by the front door. There’s food in

would be an exaggeration. One I’m guilty of making,

the kitchen. All you can eat. Down the hall to your left are

to be sure, especially in conversation, but the spoken

the rooms of golden silences, red flags, and silver linings.

word follows a different set of rules than the written

Access to the basement is through the library. Look for

one. Let’s just say the house agrees with me, and that

the elevator door paneled with tin. The Rorschach room

one day, if I behave, and learn how to take my own

is in the basement, across from the vault where the black

advice, I might agree with the house.

arts are stored. Viewer discretion advised!

The thing about secrets—the reason they’re

The only bathroom is here on the main floor.

banned—has to do with the sickness of exclusivity.

Some-times there’s a line. Don’t let that discourage you.

Once or twice a year, I get a call or an e-mail from

In the bathroom you’ll find all kinds of soft touches, including

somebody who’s tasted a great wine and wants to

the infamous laughing toilet, mirror of eternity, and

share it, but under one condition. I have to agree—the

walkaway tub fed by hot tears. The stairs to your right

better word might be “swear”—not to write about

will take you up to the second story, where you’ll find

the wine, no matter how much I love it. My response

the room of sighs, the room of whispers, and the narrow,

is always the same: If you want me to keep your

rickety stairs that lead to the attic. Single file on that

secrets—about love or wine—don’t tell them to me,

stairway, okay? And no pushing or shoving. This place has

because I’ll repeat them. Wine is not a secret society.

had its share of accidents.

Wine is a language, and that language is spoken all over the world. Which brings us to the 2011 Clos Canarelli “Corse Figari” Rouge.

If you’re lucky enough to make it to the attic, one thing you’ll notice is that your clothes will come off. You won’t remember getting undressed. It’s not something you do. No buttons, snaps, or zippers. Your clothes just

Clos Canarelli is located at the southern tip of the

turn into skin. If you’re lucky, you won’t feel a thing.

island of Corsica, near the town of Figari and the village

One moment you’ll be wearing what you had on when

of Tarabucetta. Grape vines have been cultivated on

you got here, the next moment you won’t. It will just

l’Île de Beauté since 500 bc. The beaches, fields, hills,

be you, the air around you, and the pressure of other

and mountains facing the Strait of Bonifacio are among

people’s eyes. Of course there are explanations. But

the most beautiful in Europe. For the last ten years,

who wants to hear them? That’s why it’s called the

stories about Yves Canarelli and his wines have made

naked house.

the journey from rumor to reputation and from reputation to legend. At the heart of that legend is a simple truth: Canarelli’s wines distill authenticity. APRIL

2015

THE magazine | 25

DINING GUIDE

A source for essential home items, dry goods, organic grains and beans, herbs and spices, cover crops, raw juices, smoothies, sandwiches, pasteries, as well as “health shots.”

MODERN GENERAL 637 Cerrillos Road, Santa Fe. 930-5462

$ K E Y

INEXPENSIVE

up to $14

MODERATE

EXPENSIVE

$15—$23

$$$

$24—$33

VERY EXPENSIVE

$$$$

Prices are for one dinner entrée. If a restaurant serves only lunch, then a lunch entrée price is reflected. Alcoholic beverages, appetizers, and desserts are not included in these price keys. Call restaurants for hours. photographs by

$34 plus

EAT OUT OFTEN

G uy C ross

...a guide to the very best restaurants in santa fe, albuquerque, taos, and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: Generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. Andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Great pizza. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236 . Breakfast/Lunch/Dinner. Full bar. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American. Atmosphere: A classy room. House specialties: For dinner, start with the Heirloom Beet Salad. Follow with the Achiote Grilled Atlantic Salmon. Comments: Attentive service. Bang Bite 502 Old Santa Fe Trail & Paseo de Peralta. 469-2345 Breakfast/Lunch Parking lot, take-out, and catering. Major credit cards Cuisine: American.Fresh, local & tasty. Atmosphere: Orange food truck in parking lot. House specialties: Burger and fries and daily specials. Comments: Lotta BANG for your buck. Lotta BANG for your buck. Bouche 451 W. Alameda St 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: Start with the Charcuterie Plank. The Bistro Steak and the organic Roast Chicken are winners. Comments: Chef Charles Dale is a pro. Café Fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch/Dinner (Fri.to Sun.) Wine/Beer soon in 2015 Cash/major credit cards. $$ Cuisine: We call it contemporary comfort food. Atmosphere: Casual. House specialties: For breakfast, both the Huevos Motulenos and the Eldorado Omelette are winners. For

lunch, we love the One for David Fried Fish Sandwich. Comments: Chris Galvin will be cooking dinners on Friday, Saturday, and Sunday evenings from 5:30 to 8:30 pm. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian posters. House specialties: Hotcakes got a nod from Gourmet The Huevos Motuleños is a Yucatán breakfast—one you’ll never forget. Chez Mamou 217 E. Palace Ave. 216-1845. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Artisanal French Bakery & Café. Atmosphere: Casual. House specialties: Start with the Prosciutto Melon Salad. For your main, try the Paillard de Poulet: lightly breaded chicken with lemon and garlic sauce, or the Roasted Salmon with white dill. Comments: Pastas are on the mark. Chopstix 238 N. Guadalupe St.  982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, and Kung Pau Chicken. Comments: Friendly owners. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. Comments: Good selection of beers and wine. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: Good old American. fare. Atmosphere: Patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are the best. Super buffalo burgers. Comments: Huge selection of beers. Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: Main the grilled Maine Lobster Tails or the 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines.

Dr. Field Goods Kitchen 2860 Cerrillos Rd. 471-0043. Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: New Mexican Fusion. Atmosphere: Casual and friendly. House specialties: Faves: the Charred Caesar Salad, Carne Adovada Egg Roll, Fish Tostada,, and Steak Frite. Comments: You leave feeling good.

Dinner - Full bar. Major credit cards. $$$$ Cuisine: Clean and contemporary. Atmosphere: Friendly and casual. House specialties: Start with the Charcuterie Plate or the Texas Quail. Entrée: The Pan-Roasted Salmon absolutely delicious. Comments: Good wine list, a sherp and knowledgeable wait-staff, and bar that you will love.

Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers. Comments: Truely fabulous soups.

Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room where you can sit, read periodicals, and schmooze.. House specialties: Espresso, cappuccino, and lattes.

Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: We call it French/Asian fusion. Atmosphere: Elegant and stylish. House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass and the classic peppery Elk tenderloin. Comments: Wonderful desserts.

Joseph’s Culinary Pub 428 Montezuma Ave. 982-1272 Dinner. Beer/Wine Major credit cards. $$$ Cuisine: Innovative. Atmosphere: Intimate. House specialties: Start with the Butter Lettuce Wrapped Pulled Pork Cheeks. For your main, try the Crispy Duck, Salt Cured Confit Style. Comments: The bar menu features Polenta Fries and the New Mexican Burger. Wonderful desserts, an excellent wine selection, beers on draft, and great service.

El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish Atmosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-to-cheek dancing. House specialties: Tapas. Comments: Murals by Alfred Morang. El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego Cheese marinated olive oil. Epazote on the Hillside 86-B Old Las Vegas Highway. 982-9944 Lunch: 11-2:30. Closed Wednesday. Major credit cards. $$$ Cuisine: Inspired New World cuisine. Atmosphere: Spacious and bright. House specialties: Botanas: meat and seafood that you cook at your table on hot rocks. They are accompanied by corn tortillas, moles, and oils. Fernando Olea’s black pepper Angus beef tenderloin is perfection. Fire & Hops 222 S. Guadalupe St. 954-1635 Dinner - 7 days. Lunch: Sat. and Sun. Beer/Wine. Patio. Visa & Mastercard. $$$ Cuisine: Susatainable local food. Atmosphere: Casual and friendly. House specialties: The Green Papaya Salad and the Braised Pork Belly. Fave large plates: the Cubano Sandwich and the Crispy Duck Confit. Comments: Nice selection of beers on tap or bottles. Georgia 225 Johnson St. 989-4367. Patio.

Harry’s Roadhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Down home House specialties: For breakfast go for the Scrambled Eggs with Smoked Salmon, Cream Cheese. Lunch: the Buffalo Burger. Dinner: the Hanger Steak. Comments: Friendly. Il Piatto Italian Farmhouse Kitchen 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad; the Lemon Rosemary Chicken; and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to Table, all the way. Izanami 3451Hyde Park Rd. 428-6390. Lunch/Dinner Sake/Wine/Beer Major credit cards. $$$ Cuisine: Japanese-inspired small plates. Atmosphere: A sense of quietude. House specialties:. We loved the Nasu Dengaku, eggplant and miso sauce, and the Pork Belly with Ginger BBQ Glaze. Comments: Super selection of Sake. Jalapeno’s Barrio Cafe 2411 Cerillos Road 983-8431 Breakfast/Lunch/Dinner Major credit cards. $$$ Food truck parked in front Cuisine: Call it New Mexican/Mexican. Atmosphere: Food truck with seating in the building. House specialties: The Chicharon Burrito is a fave. The stuffed carnitas quesadilla is one of Santa Fe’s best and is big enough for two. Comments: Pricey, but well worth it.

Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: Love the Sake. La Plancha de Eldorado 7 Caliente Rd., La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: An Authentic Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian Tamales. Comments: Sunday brunch is a winrer! Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: The Vegetarian Pumpkin Soup is amazing. Fave entree is the BoTai Dam: Beef tenderloin w/ garlic, shallots, and lemongrass. Comments: Friendly. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Casual House specialties: Start with the Tomato Salad. Entrée: Braised Lamb Shank with couscous. Comments: Beautiful courtyard for dining.

continued on page 29 APRIL

2015

THE magazine | 27

apricot chutney & madras curry sauce

House-Smoked Trout Rillettes with Grilled Flat Bread $17 pickled red onion, caper berries, spicy greens & local radish

Housemade Charcuterie with Pickles & Mustard $16 duck rillettes, country paté, bresaola & mortadella

eNtrÉes Local Pork Schnitzel with Whole Grain Mustard Sauce $25 mashed potatoes & caramelized brussel sprouts

a Steak Frites $31

CLOUD CLIFF BAKERY at the SANTA FE FARMERS MARKET TUESDAY and SATURDAY

10 oz. New York strip served with au poivre, bernaise or herb butter

Potato & Horseradish-Crusted Salmon $30 braised fennel, leeks & swiss chard

To thank you 1lb. Salt Spring Mussels with Club Fries $30

Santa Fe for a amazing years, & Black Garlic Sauce $26 Roasted Colorado Chicken20 with Exotic Mushroom creamy cheese & winter vegetables we’repolenta offering a white wine, garlic, lemon & herbs

1/2 price by the Wine a bottle

Braised Veal Osso Bucco with Madeira Wine & Rosemary $32 wild rice blend & turnip purée Gluten Free

e x e c u t i v e c h e F, louis Moskow

Reservations: (505) 986-9190

315 Old Santa Fe Trail

every tuesday night u

www.315santafe.com

All bottles on the wine list

Sun- Thur, 5:00 - 9:00 pm Fri - SaT, 5:00 - 9:30 pm 315 Old SanTa Fe Trail SanTa Fe, nm (505) 986.9190 www.315SanTaFe.cOm

Spring Forward!

* ORGANIC GARDENING WATER CONSERVING SIMPLE & SUSTAINABLE KNOW YOUR FOOD SOURCE GROW YOUR OWN YEAR-ROUND GIVE THE GIFT OF FOOD TO OTHERS

PLANT EARLY IN A

GROW Y’OWN Set Up Now! 490-1849

DINING GUIDE

Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to tableto mouth. Atmosphere: Casual. House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox. A variety of teas from around the world available, or to take home.

M A S A S U S H I | LU N C H / D I N N E R Masa Sushi 927 W. Alameda St. 982-3334. Lunch/Dinner Sake/Beer Major cr edit cards. $$ Cuisine: Japanese. Atmosphere: Low-key. House specialties: For lunch or dinner: Start with the Miso soup and/or the Seaweed Salad. The spicy Salmon Roll is marvelous, as are the Ojo Caliente and the Caterpiller rolls. The Tuna Sashimi is delicious. Comments: Highly recommended. Midtown Bistro 910 W. San Mateo, Suite A. 820-3121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Beautiful open room. House specialties: For lunch: the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrée: Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop. Comments: Nice desserts. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic. New York Deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. Nexus 4730 Pan American Fwy East. Ste. D. Alb.505 242-4100 Breakfast/Lunch/Dinner Major credit cards. Patio. Cuisine: Southern-New Mexican. Atmosphere: Brew-pub dive. House specialties: Lots of suds and growlers not to mention the Southern Ffried chicken & waffle signature dish. Recomendations: the Collard greens, mac n’ cheese with green chile, gumbo and southern-fried fish n’ chips please your inner “soul food” hankerings. Comments: Featured on “Diners, Drive-ins, and Dives. “Diners, Drive-ins, and Dives. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: Breakfast: go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. All of the burritos are great. The Patty Melt is super. Comments: The Green Chilie is perfect.

APRIL

2015

| 9 2 7 W E S T A L A M E DA | 9 8 2 - 3 3 3 4

Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American, all the way. Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs, and Burgers. Haystack fries rule. Recommendations: Excellent wine list. S an F rancisco S t . B ar & G rill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Good bar food. Atmosphere: Casual, with art on the walls. House specialties: Lunch: the San Francisco St. hamburger or the grilled Salmon filet with black olive tapeade and arugula on a ciabatta roll. Dinner: the flavorful twelve-ounce New York Strip steak, with chipotle herb butter, or the Idaho Ruby Red Trout with pineapple salsa. Comments: Visit their sister restaurant at Devargas Center. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Southwest Contemporary. Atmosphere: Minimal, subdued, and elegant House specialties: The world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Pan-seared Salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Happy hour special from 4-6 pm. Great deals: Half-price appetizers. “Well” cocktails only $5. Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmealcrusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet. Santa Fe Bite 311 Old Santa Fe Trail. 982-0544 Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Lunch: the juicy 10 oz. chuck and sirloin Hamburger or the Patty Melt. Dinner: the Ribeye Steak is a winner. The Fish and Chips rivals all others in Santa Fe. Comments: Their motto” “Love Life. Eat good.” We agree. Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. Atmosphere: Contemporary. House specialties: Tuna Steak, Chicken Fried Chicken with mashed potates and bacon bits, and the New York

Strip with a Mushroom-Peppercorn Sauce. Desserts are on the mark. Comments: Nice wine selection. Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Hot daily specials, gourmet sandwiches, Get the Baby-Back Ribs when available. Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Pub grub. Atmosphere: Real casual. House specialties: We enjoy the Beer-steamed Mussels, the Calamari, and the Fish and Chips. Comments: Good selection of beers. Shake Foundation 321 Johnson St. 982-9708. Lunch/Early Dinner - 11am-6pm Major credit cards. $$ Cuisine: All American. Atmosphere: Casual with outdoor table dining. House specialties: Green Chile Cheeseburger, the Classic Burger, and Shoestring Fries. Amazing shakes. Comments: Sirloin and brisket blend for the burgers. Take-out or eat at a picnic table. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff. at El Gancho Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant House specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce. Comments: They know steak here.

Steaksmith

Sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner. Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. Atmosphere: Large open room. House specialties: The Mediterranean Breakfast—Quinoa with Dates, Apricots, and Honey. Lunch: the Indonesian Vegetable Curry on Rice; Comments: We love the Prix Fixe Small Plate: soup, salad, and an entrée for $19. Wine and Craft beers on tap. Teahouse 821 Canyon Rd. 992-0972.

Terra at Four Seasons Encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties:. Dinner: Start with the sublime Beet and Goat Cheese Salad. Follow with the PanSeared Scallops with Foie Gras or the Double Cut Pork Chop. Comments: Chef Andrew Cooper brings seasonal ingredients to the table. Excellent wine list. Thai Vegan 1710 Cerrillos Rd. 954-1780 Lunch/Dinner Major credit cards. $$ Cuisine: Vegan all the way. Atmosphere: Easygoing. House specialties: Start with the Spring Rolls or the Tofu Satay skewers. For your main, we suggest the Stir-Fried Vegetables or the Spicy Eggplant, both served with Steamed Brown Rice. Comments: Try the Papaya Salad and any of the Wraps. The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive.  505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: Local flavors. Atmosphere: Casual, calm, and friendly. House specialties: At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, and foillow with the Trout with a Toa ste Piñon Glaze. Comments: Nice wine bar. The Compound 653 Canyon Rd.  982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American Contemporary. Atmosphere: 150-year-old adobe. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef and owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award. The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: Modern Italian Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch: the Prime Rib French Dip. Dinner: go for the Salmon poached in white wine, or the Steak au Poivre. Comments: Super bar. The Pink Adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club Sandwich. Dinner: Go for the classic Steak Dunigan or the Fried Shrimp Louisianne Comments: Appetizers and drinks (generous pours) in the Dragon Room during the early evening is fun—a lively crowd. The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican.Atmosphere: A local institution located just off the

Plaza. House specialties: If you order the red or green chile cheese enchiladas. Comments Always busy., you will never be disappointed. The Ranch House 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: BBQ and Grill. Atmosphere: Family and very kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: The best BBQ ribs. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$ Cuisine: Traditional New Mexican. Atmosphere: Easygoing and casual. House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese. Lunch: choose from the daily specials. Comments: Tia is the real deal. Tune-Up Café 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, New Mexican. Atmosphere: Down home. House specialties: Breakfast:We like the Buttermilk Pancakes. Lunch: Great specials Comments: Easy on your wallet. A local hangout. Vanessie

Santa Fe

434 W. San Francisco St. 982-9966 Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American. Atmosphere: Piano bar and oversize everything, thanks to architect Ron Robles. House specialties: New York steak and the Australian rock lobster tail. Comments: Great appetizersgenerous drinks. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: Light, bright and cheerful. House specialties: Organic salads. We love all of the salads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: NIce seating on the patio. When in Albuquerque, visit their sister restaurant: 1828 Central Ave., SW. Verde 851 W. San Mateo Rd.. 820-9205. Gourmet Cold-Pressed Juice blends Major credit cards. $$ Cuisine: Just Jjuices. Atmosphere: Light, bright, and cheerful. House specialties: Eastern Roots: a blend of fresh carrot and apple juice with ginger and turmeric juice, spinach, kale, and parsley. Zacatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Pork Ribs. 65 brands of Tequila for your drinking pleasure. Zia Diner 326 S. Guadalupe St. 988-7008. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: All-American diner food. Atmosphere: Real casual.House specialties: The perfect Chile Rellenos and Eggs is our breakfast choice. Lunch: the Southwestern Chicken Salad, the Fish and Chips, and any of the Burgers Commets: Nice pasteries and sweets for take-out.

THE magazine | 29

POST-OP: ‘THE RESPONSIVE EYE’ FIFTY YEARS AFTER

Francis Celentano, Le Cirque 10, 2004, Acrylic on canvas, 60” x 84”

CURATED BY DAVID EICHHOLTZ AND PETER FRANK

Featuring: Richard Anuszkiewicz Hannes Beckmann Karl Benjamin Ernst Benkert Francis Celentano Thomas Downing Lorser Feitelson John Goodyear Francis Hewitt Leroy Lamis Mon Levinson Alexander Liberman Ed Mieczkowski Oli Sihvonen Julian Stanczak Peter Stroud Tadasky

Through - April 11, 2015

TOM GREEN

MAPPING THE HUMAN CONDITION (FAMILY, NATURE, WAR, AUTHORITY, MEMORY, COMPASSION)

APRIL 17 - MAY 17, 2015 Tom Green, Signpost, 1986, Acrylic on canvas, 72” x 48”

OPENING RECEPTION: FRIDAY, APRIL 24, 5:00 - 7:00 PM

DavidrichardGALLEry.com The Railyard Arts District

DAVID RICHARD

544 South Guadalupe Street, Santa Fe, NM 87501

GALLERY

(505) 983-9555 | info@DavidRichardGallery.com

OPENINGS

APRILARTOPENINGS THURSDAY, APRIL 2

Iconik Coffee Roaster, 1600 Lena St., A2, Santa Fe. 428-0996. AKA Forge: silkscreen prints by Jason Rodriguez. 5-7 pm. FRIDAY, APRIL 3

516 ARTS, 516 Central Ave. SW, Alb. 505242-1445. ABQ Designers Trunk Show. 6-8 pm. Blue Rain Gallery, 130-C Lincoln Ave., Santa Fe. 954-9902. 3rd Annual Invitational Show: works by Iva Morris, Yatika Fields, Josh Clare, Chris Pappan, and D’Nelle Garcia. 5-7 pm. EVOKE Contemporary, 550 S. Guadalupe St., Santa Fe. 955-9902. Decomposition: new media works captured and produced with the iPhone. 5-7 pm.

Gallery 901, 901 Canyon Rd., Santa Fe. 559-304-7264. Paintings of Dance and Music: encaustics by Willow Bader that are inspired by the Tango. 5-8 pm.

Wheelhouse Art, 418 Montezuma Ave., Santa Fe. 919-9553. Incept: group show featuring Bill Sortino, Sheila Miles, Becky Pinnick, and others. 5-7 pm.

LewAllen Galleries, 1613 Paseo de Peralta, Santa Fe. 988-3250. Jeanette Pasin Sloan— Reflected Beauty: paintings and drawings by Sloan. 5-7 pm.

SATURDAY, APRIL 4

Manitou Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Contrast and Connection: paintings by Alvin Gill-Tapia and Gail Gash Taylor. 5-7:30 pm. Richard Levy Gallery, 514 Central Ave. SW, Alb. 505-766-9888. Nest—Birdhouse Exhibition: visionary birdhouses created by architects and designers. (Auction closes Sun., April 5, 7 pm. Auction details: bidsquare.com) Closing reception: 6-8 pm.

ART.i.factory, Art.i.fact consignment boutique, 930-C Baca St., Santa Fe. 9825000. Fools for Art: juried group show of whimsical artworks. 4-7 pm. Rising Moon Gallery, Hwy. 84, Abiquiu. 505-685-4415. Lawrence McLaughlin: sculptures, mobiles, and monoprints by McLaughlin. 2-4 pm. FRIDAY, APRIL 10

Central Features, 109 5th St. NW, Alb. 505-243-3389. Dear Erin Hart: exhibition of

photographs by Jessamyn Lovell and book signing. 6-8 pm. Eileen Braziel Art Advisors, 54½ E. San Francisco St., Suite 7. Santa Fe. 699-4914. Gallery Fake Santa Fe: pairings of regional artists’ works with internationally known artists’ works that challenge the viewer about issues of artistic influence, authenticity, and historicity in the digital age. 5-8 pm. Page Coleman Gallery, 6320-B Linn Ave. NE, Alb. 505-238-5071. The Grand Expand: new 3-D works by Ali Gallo, Gwyn Metz, and Maria Ross. 5:30-8:30 pm. photo-eye Gallery, 541 S. Guadalupe St., Santa Fe. 988-5152. Fanny: photographs by Jock Sturges. 5-7 pm.

Studio 116 Gallery, 116 W. Main St., Farmington. 505-801-5889. Night Vision: artist Michael Darmody reimagines postcards of famous Southwest landmarks as chocolate bars and “portraits” of extraction industry machinery as trademarked demons in an apocalyptic ghost story. 6 pm on. SATURDAY, APRIL 11

Rio Bravo Fine Art, 110 N. Broadway Ave., Truth or Consequences. 575-894-0572. A Celebration of Life: portraits in oil by Leo Neufeld. 6-9 pm. FRIDAY, APRIL 17

Jean Cocteau Cinema, 418 Montezuma Ave., Santa Fe. 415-571-9782. Rare Candy: illustrations in acrylic by Nico Salazar. 5-7 pm. Marigold Arts, 424 Canyon Rd., Santa Fe. 9824142. Expressions in Weaving: tapestries by Linda Running Bentley, Connie Enzmann-Forneris, Barbara Marigold, and Robin Reider. 5-7 pm. Phil Space, 1410 2nd St., Santa Fe. 983-7945. Kansas: paintings by Scott Anderson and David Leigh. 5-8 pm. Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1122. Kathy Erteman, Giselle Hicks & Lauren Mabry: clay vessels by the three artists. 5-7 pm. Winterowd Fine Art, 701 Canyon Rd., Santa Fe. 992-8878. Limitless Glass Explored: kiln-formed glass sculpture by Karen Bexfield. 5-7 pm. SUNDAY, APRIL 19

Las Placitas Presbyterian Church, 7 Paseo de San Antonio, Placitas. 505-867-8080. Placitas Artists Series April Artist Reception: ceramics by Catherine Alleva. Wax resist paintings by Dorothy Bunny Bowen. Art quilts by Jo Anne Fredrikson. Works in water media by P. K. Williams. 2-3 pm. Placitas Artists Series April Concert: duo performing works for violin and cello. 3-5 pm. Art Speaks—Inaugural Exhibition: new works by Clea Carlsen, Calvin Ma, Gino Miles, and Patrick McGrath Muñiz. On view at Tansey Contemporary Sculpture Center, 619 Canyon Road, Santa Fe. Reception: Friday, April 24 from 5 to 7 pm. Sculpture by Gino Miles.

continued on page 34 APRIL

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THE magazine | 31

WHO WROTE THIS? “My work is obsessive. It doesn’t concern the audience.” Chuck Close or Damian Hirst or Louise Bourgeois

THE REAL DEAL

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OPENINGS

THURSDAY, APRIL 23

MoCNA, 108 Cathedral Pl., Santa Fe. 4242300. You Are On Indian Land: works by leading contemporary American Indian and First Nations artists. 5-7 pm. FRIDAY, APRIL 24

David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Mapping the Human Condition: works on family, nature, war, authority, memory, and compassion by Tom Green. 5-7 pm.

Chiaroscuro Contemporary Art, 702½ Canyon Rd., Santa Fe. 992-0711. The Santa Fe Years: works by Bebe Krimmer from 1930 through 2014. Through Sat., Apr. 25. chiaroscurosantafe.com David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Post-Op—The Responsive Eye Fifty Years After: works by seventeen artists interested in visual perception. Through Sun., Apr. 12. davidrichardgallery.com

Ellsworth Gallery, 215 E. Palace Ave., Santa Fe. 989-7900. On the Brink: new works by gallery artists. Through Fri., May 1. ellsworthgallery.com Encaustic Art Institute, 632 Agua Fria St., Santa Fe. 989-3282. Celebrating 10th Anniversary: over two-hundred encaustic works by nationwide members. 901 Gallery & Encaustic Art Institute: encaustics by Gina Marie Erlichman, Robert Gigliotti, Karen Frey, Niki Sherey, Paul Steiner, and Carrie Quade.

Through Thurs., Apr. 30. eainm.com and 901gallery.org Georgia O’Keeffe Museum, 217 Johnson St., Santa Fe. 946-1000. Modernism Made in New Mexico: works by fifteen pioneering artists who found inspiration in New Mexico’s landscape. Through Thurs., Apr. 30. okeeffemuseum.org Fanny—an exhibition of photographs by Jock Sturges opens on Friday, April 10 at photo-eye Gallery, 541 South Guadalupe Street, Santa Fe. Reception: 5 to 7 pm.

Manitou Galleries, 225 Canyon Rd., Santa Fe. 986-0440. New Visions: new works by Maura Allen, Amy Poor, Tim Prythero, and Zoe Urness. 5-7:30 pm. Tansey Contemporary Sculpture Center, 619 Canyon Rd., Santa Fe. 995-8513. Art Speaks—Inaugural Exhibition: new works by Clea Carlsen, Calvin Ma, Gino Miles, and Patrick McGrath Muñiz. 5-7 pm. ViVO Contemporary, 725 Canyon Rd., Santa Fe. 982-1329. Pattern and Rhythm: diverse works by fourteen gallery artists. 5-7 pm. SATURDAY, APRIL 25

Offroad Productions, 2891-B Trades West Rd., Santa Fe. 670-9276. (re)Launch: contemporary works curated by Cyndi Conn of LAUNCHPROJECTS. 6-8 pm. SPECIAL INTEREST

203 Fine Art, 203 Ledoux St., Taos. 575-7511262. Ron Cooper—Irony and Enigma: flattened bottles and phrases using language as a type of poetic game. Opens Fri., May 1. 5-8 pm. April Price Projects Gallery, 201 3rd St. NW, Alb. Middlescapes: works by Gus Foster, Bob Ellis, Margaret Fitzgerald, Mary Ann Strandell, Alan Radebaugh, and Marietta Patricia Leis. Through Thurs., Apr. 30. aprilpriceprojectsgallery.blogspot.com A SEA Gallery, 407 S. Guadalupe St., Santa Fe. 988-9140. Friedrich Geier: works by the German artist. Through Sat., Apr. 25. ARTScrawl, Alb. Citywide, self-guided arts tour, Fri., Apr. 3, 5-8 pm. Artful Saturday in Old Town, Sat., Apr. 18, 3-6 pm. Create your tour: artscrawlabq.org Back Street Bistro, 513 Camino de Los Marquez, Santa Fe. 982-3500. Patterning: abstract works by Nicolas Gadbois. Through Sun., Apr. 12. Center for Contemporary Arts, 1050 Old Pecos Tr., Santa Fe. 982-1338. Playing House: collaborative “suburban fluxus” works by husband and wife team Hillerbrand + Magsamen. Through Sun., May 31. Happiness is a Warm Projector: site-specific exhibition by Basement Films collective. Through Sun., May 31. Je Suis Artoonist: political cartoons by Issa Nyaphaga. Through Sun., Apr. 19. Info: ccasantafe.org Charlotte Jackson Fine Art, 554 S. Guadalupe St., Santa Fe. 989-8688. Gratitude: sculptural works by Elliot Norquist. Through Mon., Apr. 27. charlottejackson.com continued on page 36

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OPENINGS

InSight New Mexico Women’s Photographic Exhibit, Fine Arts Building at Expo New Mexico, 300 San Pedro NE, Alb. Through Her Eyes: photographs by sixty-one women photographers. Sun., Apr. 5 through Sun., Apr. 26, 10 am-5 pm. Closed Mon. insight-nm.com James Kelly Contemporary, 1611 Paseo de Peralta, Santa Fe. 989-1601. Expo: a show of collaboratively produced monotypes by Scuba. Through Sat., June 20. Lannan Foundation, Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe. 988-1234. Ta-Nehisi Coates with Michele Norris: Wed., Apr. 8, 7 pm. Naomi Klein with Katharine Viner, Wed., Apr. 29, 7 pm. lannan.org Malkerson Gallery 408, 12th St., Carrizozo. 575-648-2598. Remains: works by Pia Imas. Through Sun., Apr. 19. gallery408.com M atthews Gallery, 669 Canyon Rd., Santa Fe. 992-2882. Art Matters Collector’s Forum Workshop: Fri., April 17. Limited seating. 5-6:30 pm. MoCNA, 108 Cathedral Pl., Santa Fe. 4242300. Future Tellers: BFA theses and projects by graduating students. Sat., Apr. 11 through Sat., May 16. iaia.edu/museum

graduate exhibition. nmartmuseum.org Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Keeping Things Whole: sculptures by Guy Dill, Dunham Aurelius, and Rachel Stevens. Through Fri., Apr. 17. zanebennettgallery.com

St. John’s College, The Great Hall at Peterson Student Center, 1160 Camino Cruz Blanca, Santa Fe. James Onstad, Tenor, and Nathan Salazar, Piano: recital featuring works by Rachmaninoff, Schubert, and other composers. Fri., Apr. 3, 7:30 pm. Full calendar: sjc.edu/programs-and-events/santafe/community-calendar

PERFORMANCE

Performance Santa Fe, Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe. 988-1234. Chamber Music Society of Lincoln Center: featuring Wu Han, pianist; David Finckel, cellist; Paul Neubauer, violist; and Daniel Hope, violinist. Mon., Apr. 6, 7:30 pm. Tickets: performancesantafe.org

ViVO Contemporary, 725 Canyon Rd., Santa Fe. 982-1329. Poetry readings from Giving Voice to Image 3: collaborations between visual artists and poets. Readings Fri., Apr. 10 and 17, 5:30-6:30 pm. vivocontemporary.com

national juried show celebrating darkness. Artworks of all media accepted. Apply by Wed., Apr. 15: blog.gregmoonart.com/groupexhibition Las Cruces Museum of Art, 491 N. Main St., Las Cruces. 575-541-2137. From the Ground Up: twenty-sixth annual regional juried ceramics exhibition. Deadline: Fri., May 8. Info and submissions: pottersguildlc.com Santa Fe Art Classes at Paint Moment, 621 Old Santa Fe Tr. #16, Santa Fe. 575-4041801. Two hour step-by-step guided classes. Thurs. and Sat., 6-8 pm. Fri., 3-5 pm. RSVP: muse@santafeartclasses.com

CALL FOR ARTISTS

Performance Santa Fe, St. Francis Auditorium, 107 W. Palace Ave., Santa Fe. 984-8759. Takács Quartet. Thurs., Apr. 16, 7:30 pm. Tickets: performancesantafe.org or ticketssantafe.org

Crusade for Art Engagement Grant: $10,000 awarded annually to the applicant with the most innovative idea to build audiences for photography. Apply by Fri., Apr. 17: crusadeforart.submittable.com/submit

T aos A rt M useum at F echin H ouse , 227 Paseo del Pueblo Norte, Taos. 575-758-2690. Russian Night in Taos: eleventh annual juried exhibition and auction. Open to artists inspired by the Southwest. Apply by Sat., May 30: taosartmuseum.org/ call-for-artists-2015.html

Railroad Performance Center, 1611 Paseo de Peralta, Santa Fe. 670-2140. Chancy Dancing: original choreography by Micaela Gardner, Adam McKinney, Echo Gustafson, and Emmaly Wiederholt, along with Pedro Alejandro Dance and Dancers. Sat., Apr. 11, 8 pm. Tickets: $10.

Currents New Media, Santa Fe. Reduced rate housing and airline miles needed for visiting festival artists. Contact: connect@currentsnewmedia.org Visit: currentsnewmedia.org/volunteer

Calendar Listings for the May issue are due no later then Tuesday, April 14.

Greg Moon Art of Taos, 109-A Kit Carson Rd., Taos. 575-770-4463. After Dark IV:

Jeanette Pasin Sloan: Reflected Beauty at LewAllen Galleries at the Railyard, 1613 Paseo de Peralta, Santa Fe. Reception: Friday, April 3 from 5 to 7 pm.

Museum of Nature & Science, 411 N. Main St., Las Cruces. 575-522-3120. Essence of New Mexico: desert photographs by Pamela Needham. Through Sat., Apr. 4. las-cruces.org New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Sustenance: photographs, sculptures, and drawings by Bill Heckel. Through Sun., Apr. 12. newconceptgallery.com Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-3432. The Green Hour: objects and artworks in green. Curated by Ivan and Allison Barnett. Through Sun., Apr. 12. patina-gallery.com Popejoy Hall at UNM, 203 Cornell Dr., Alb. 505-277-8010. Martha Graham Dance Company on Sat., April 25, 8 pm. Tickets: 505-925-5858 or 877-664-8661 or popejoypresents.com or unmtickets.com Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1122. Sunshine Cobb, Tom Jaszczak & Doug Peltzman: functional ceramics by three artists. Through Sat., Apr. 11. santafeclay.com SITE Santa Fe, 1606 Paseo de Peralta, Santa Fe. 989-1199. 20 Years/20 Shows Spring: projects revisiting SITE’s exhibition history. Featuring Gregory Crewdson, Deborah Grant, Roxy Paine, Rose B. Simpson, Jessica Stockholder, and Mary Reid Kelley with Patrick Kelley, Through Sun., May 31. sitesantafe.org Studio 116 Gallery, 116 W. Main St., Farmington. 505-801-5889. Night Vision: Reimagined postcards of the Southwest by Michael Darmody. Through Sat., Apr. 25. UNM Art Museum, 1 University of New Mexico, Alb. 505-277-4001. Pure Feeling: works by Raymond Jonson, 1934-1978. Connectivity: twenty-first annual juried

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PREVIEWS Third Annual Invitational Show: Iva Morris, Yatika Starr Fields, Josh Clare, Chris Pappan, and D’Nelle Garcia Blue Rain Gallery 130 Lincoln Avenue, Santa Fe. 954-9902 April 3 through April 25, 2015 Reception: Friday, April 3, 5 to 7 pm. Blue Rain is committed to introducing new talent through its annual invitational, and the 2015 edition offers paintings that range from abstraction to plein air to fantasy, as well as contemporary photography. Utah native Josh Clare’s Southwestern landscapes reflect his deep love of nature and the venerable tradition of beginning a painting with a color sketch made in situ to establish tonal values and compositional relationships. The resulting studio paintings retain the rhythm of the sketch strokes and the colors found in nature. Iva Morris’s new work includes highly detailed paintings of skeletons swarmed by butterflies and other dreamlike imagery, sometimes with mythical, female figures in imagined environments. Chris Pappan (Kaw, Osage, and Cheyenne River Sioux) appropriates the vintage look of nineteenth-century ledger drawings as the backdrop for Native American portraits, finely drawn with exaggerated and altered anatomy. Yatika Starr Fields’ abstractions explode with dynamic, restless movement and swirls of vibrant color. His new works reveal pictorial elements amidst the rhythmic compositions. Photographer D’Nelle Garcia focuses C

on the natural world’s interaction with the signs of westward

migration and the role in history of expanding boundaries.

Inventory of Light: Lita Albuquerque, Thomas Ashcroft, Kelsey Brookes, Robert Buelteman, Will Clift, Brian Knep, August Muth, Victoria Vesno, Jonathan Wells, and Ryan Wolfe Peters Projects 1011 Paseo de Peralta, Santa Fe. 954-5800 March 27 through April 25, 2015 Reception: Friday, March 27, 5 to 7 pm The intersection of art and science continually generates compelling thought and imagery. Inventory of Light, an invitational exhibition, showcases the work of ten artists exploring aspects of technology and science. Imagery derived from advancedmicroscopy, computer simulations, and nanotechnology generated by the New Mexico Spatiotemporal Modeling Center (STMC) at the University of New Mexico is also included. Featured artist Victoria Vesno, UCLA Professor of Design and Media Arts and Director of the Art/Sci Center at the School of the Arts California Nanosytems Institute, offers Nanomandala. Her installation is composed of images of the molecular structure of a single grain of sand taken with a scanning electron microscope and shots Above: Ryan Wolfe, Branching Systems, custom electronics and software, motors, elm leaves, dimensions vary, 2004

of Tibetan sand paintings created grain by grain projected on an eight-foot disc of sand in a work connecting the contrasting Eastern and Western perspectives of the world.

Top Right: Yatika Starr Fields, River Metaphors, oiil on linen, 48” x 48”, ???

Lita Albuquerque uses generative computer software to dissolve the solid form of a beekeeper into individual pixels that spread out across the space of the gallery wall. Each pixel follows a unique path each time the image disbands and contracts. Albuquerque states, “My initial impetus for Beekeeper was to present the visual similarity between a beekeeper and an astronaut. I created a narrative around which the beekeeper’s aim is to help maintain biological life on the planet, and the astronaut became the starkeeper maintaining life in the cosmos.” Inventory of Light: The Art of Systems Biology asnd Nanoscience presents workshops, children’s activities, and lectures by Vesno and other scientists to advance the understanding underlying the concepts in the exhibition.

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CMY

TANSEY CONTEMPORARY Art Speaks: April 24 - May 13 Inaugural Exhibition

“FYI” ~ Gino Miles ~ Bronze ~ 48" x 40" x 12" on granite base

Tansey Contemporary Sculpture Center

New Work from Clea Carlsen, Calvin Ma, Gino Miles and Patrick McGrath Muñiz Opening night Global Code Project event to benefit ArtSmart New Mexico: April 24, 5-7 619 Canyon Road, Santa Fe, NM Visit www.tanseycontemporary.com for details and to learn about the Global Code Project

N AT I O N A L S P O T L I G H T

Lalla Essaydi: Photographs Bullets Revisited #22, Chromogenic print, 2013 Photograph ©Lalla Essaydi/Courtesy Jenkins Johnson Gallery, San Francisco, and Edwynn Houk Gallery, New York City. While the nineteenth-century Romantic era depicted the exotic life of the Arab

they are interdisciplinary artworks including fabrics dyed to reflect the tiles and

harem in numerous Orientalist paintings, the works were Eurocentric fantasies.

ceramics or settings of interiors. Models, walls, and textiles are adorned with

Moroccan-born, New York–based photographer Lalla Essaydi has created

Henna calligraphy, an artform traditionally restricted and taught only to males. The

an impressive body of large-scale work that appropriates these images while

accompanying texts tell stories of life in these private spaces. The preparation of

subverting the stereotypes. As Essaydi explains, “The traditions of Islam exist

the artwork in the photographs is meticulous, often taking over a year to execute.

within spatial boundaries. The presence of men defines public space... Women are

In Bullet an immense cape was constructed entirely of bullet casings. Essaydi

confined to private spaces, the architecture of the homes. In these photographs,

doesn’t think of her work exclusively as photography. “I don’t work only with one

I am constraining women within space, confining them to their “proper” place, a

medium, I like to paint, to write, to photograph… and each medium really informs

place bounded by walls and controlled by men. Their confinement is a decorative

the next. I don’t really think of my photographs as just being photographs… there

one.” The exhibition presents her work in various settings from contemporary

is so much that goes into it, it is based on many, many things.” Her work is on view

galleries to being contextualized alongside historic tile work and calligraphy, and

at the San Diego Museum of Art, 1450 El Prado, Balboa Park, San Diego through

integrated among Orientalist paintings. Although the images are photographic,

Tuesday, August 4, 2015.

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THE magazine | 41

made to order Fr a m es d Fu r n it u r e 6

Picture Frame Specialist since 1971

Randolph Laub studio 2906 San Isidro Court

Santa Fe, NM 87507

www.laubworkshop.com

505 473-3585

PERSON OF INTEREST

iPhone + iPad + Instagram = PHOTOGRAPHS BY ADRIA ELLI S

A D R I A E L L I S M A K E S S T U N N I N G P H O T O G R A P H S T H AT A R E A E S T H E T I C A L L Y C O M P L E X A N D C R I T I C A L L Y S T I M U L AT I N G , T H O U G H

E L U S I V E I N M E A N I N G . H E R I M A G E S A R E L O S T S T O R I E S — M O M E N TA R Y, T R A N S I T O R Y, D I S C O N N E C T E D I N T I M E A N D S P A C E .

T H E Y A R E C H A R A C T E R I Z E D B Y E X T R E M E S I M P L I C I T Y O F F O R M A N D A D E L I B E R AT E L A C K O F E X P R E S S I V E C O N T E N T. V I E W I N G

E L L I S ’ S W O R K I S A N O P P O R T U N I T Y T O E X P L O R E V I S U A L R E P R E S E N TAT I O N S O F P L A C E , S P A C E , A N D N AT U R E . A N E X H I B I T I O N

O F H E R P H O T O G R A P H S — D E C O M P O S I T I O N — W I L L B E O N V I E W AT E V O K E C O N T E M P O R A R Y, 5 5 0 S O U T H G U A D A L U P E S T R E E T.

R E C E P T I O N : F R I D A Y, A P R I L 3 F R O M 5 T O 7 P M . A C O N I C A . C O M | I N S TA G R A M @ A C O N I C A /

continued on page 44 APRIL

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PERSON OF INTEREST

PHOTOGRAPHS BY ADRIA ELLIS

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THE magazine | 45

Celebrate the 10th Anniversary of The Encaustic Art Institute Our move from Cerrillos to Santa Fe opens and the a whole new chapter for the Encaustic Art Institute. Starting the weekend of MOVE March 28-29, the new facility at Agua Fria and RomeroStreets will be open Wed to our new through Sun 10-5. Enjoy the Encaustic Art Institute’s Permanent Collection of 175 Facility in pieces of encaustic/wax art along with an extensive display of constantly changing Santa Fe. nation-wide members art for sale. In addition, Gallery 901 (of Canyon Road) will host an entire wall of distinctive and exciting art shows. 505-780-8390 For more EAI information,call 505-989-3283 or 505-424-6487 www.eainm.com EAI is a 501C3 non profit arts organization.

Encaustic Art Institute • 632 Agua Fria Street (Access from Romero Street,) Santa Fe NM 87501 • 505 989 3283

CRITICAL REFLECTION

Michael Heizer: Levitated Mass

Los Angeles County Museum of Art 5905 Wilshire Boulevard, Los Angeles “Nobody moves a rock that big…” —John Bowsher, project manager for the transport and installation of Levitated Mass

ON FEBRUARY 28, 2012, EMMERT INTERNATIONAL, AN ENGINEERING COMPANY, finally had all of Michael Heizer’s complicated ducks in a row in

That all the logistics would come together, after

visually underwhelming after such extravagant levels of

regard to the hefting, securing, and moving of “the rock.” And

Heizer’s forty-four-year quest to realize Levitated Mass, was

hype and hoopla, but I find Levitated Mass elegant, majestic,

so began the great structural and logistical feat of transporting

a bit of a miracle, the center of which was in the artist’s

and inspiring in its entire cycle of initial idea turning at right

a three-hundred-and-forty ton piece of Riverside granite from

mind. The periphery of this miracle, however, was dotted

angles to execution. For those who live in L.A. and who

the Pyrite Quarry near Riverside, California, to downtown

with dynamite, bulldozers, cranes, construction workers,

regularly visit LACMA, it’s like having one of the wonders of

Los Angeles—a total of one-hundred-and-five miles. The Los

project managers, engineers, assorted patrons, city and

contemporary art out in the back forty of a major American

Angeles County Museum of Art (LACMA) would welcome

county officials, and Michael Govan, LACMA’s fearless

museum—this nine-hundred-million-year-old monument

the arrival of the granite megastar on March 10, after a journey

director, whose unwavering enthusiasm was infectious,

perched delicately on its two diminutive steel brackets

that would, literally and figuratively, be one for the books and

bracing, and lucid in its visionary ecstasy. Also to be noted

attached to a descending and ascending, four-hundred-and-

come to represent thousands of pages of hand-done sketches,

was the group of men whose job it was to walk along the

fifty-foot long concrete trench. For all the private funds

computer-assisted drawings, bureaucratic applications and

side of the trailer and troubleshoot every foot of the journey,

that brought this project to fruition, there is, in the end, an

begrudging permits, and a host of notations on the strategies

from barren desert through dense urban sprawl. The route

oddly humble yet dignified quality that resonates from the

for moving Heizer’s Levitated Mass from point to point on

was also populated with curious onlookers and the refusal

installation—as if we are momentarily asked to bring all our

a massive grid. This spatiotemporal plan illustrated the pass-

of some to believe the whole project danced to the tune of

grandiose expectations back to something as fundamental

through cities, counties, roads, intersections, underpasses,

ten million dollars.

as one imposing monolith left with its facets intact after the initial blast that set it free from its matrix.

and the various traffic signals and cables that sometimes

Three years later, the original concept of a rock blasted

would have to be raised to allow a specially designed, cherry-

from the side of a hill and carried to LACMA’s reinforced

Along with the experience of the installation itself,

red tractor trailer the size of a football field, along with its

concrete cradle is a fait accompli and Levitated Mass is there

there is a documentary about the project by the filmmaker

two-story cargo, to inch its way along with all two-hundred-

for anyone to gaze at and walk under. Some people refuse

Doug Pray. This astoundingly good movie records the

and-six wheels turning at a snail’s pace.

to forget about the price tag and some merely find this work

entire physical journey of Levitated Mass as well as the bureaucratic ins and outs. Interspersed with the nightmare logistics surrounding the harrowing path of the sculpture is archival footage ranging from Heizer’s early days as a minimalist painter in New York in the 1960s to his projects in the Nevada desert at the same time that other Land Art pioneers embraced entropy and emptiness and art on the vast scale of ancient monuments—individuals such as Robert Smithson, Nancy Holt, and Walter De Maria. At that time, Donald Judd would fall in love with Marfa, Texas, James Turrell would go in search of the perfect mesa in Arizona for his Rodin Crater, and Charles Ross would find a site in New Mexico for his ongoing project Star Axis. Pray’s documentary is satisfying on many levels, and for anyone interested in Heizer’s work, it’s illuminating to see the whole scope of his projects, both finished and unfinished. But one thing Pray’s film does not do is wrap up the artist and his intentions in a neat bundle. Heizer, and his visions of absence and presence, remains as enigmatic as ever. And when the artist finally shows up on the LACMA campus after the delivery of the rock, he appears almost fragile: a slender man in his late sixties who seems discomforted by the attention but still obsessed with the details of a perfect presentation. Heizer’s Levitated Mass can finally bleed in place but it cannot heal the divide between the grand, often incomprehensible gestures at the heart of Land Art and the relentless commodification of art objects, with their logarithmic progression of dollar signs like a giant cloud of dust on the horizon

—Diane Armitage Michael Heizer, Levitated Mass, Riverside granite, installation view, 1968-2012

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My Life in Art

Charlotte Jackson Fine Art 554 South Guadalupe Street, Santa Fe

MY LIFE IN ART, A PANEL DISCUSSION HOSTED BY THE NEW MEXICO COMMITTEE of the National Museum of Women in the Arts, took place

feminism became a topic of art. Cindy Sherman, Barbara

particularly women: money], and “staying alive, keeping

at Charlotte Jackson Fine Art, on January 26, and featured

Kruger, and Sherrie Levine decoded images [as patriarchal

going.” This last point is one of simple economics, as we

panelists Laura Addison, Constance DeJong, Libby Lumpkin,

definitions of femininity]. Women study these points in

can’t all “marry well,” advice that DeJong received from a

MaLin Wilson-Powell, and Jackson. It’s often difficult to prod

art history and cannot help but change their viewpoints.”

man early in her career.

a panel of women into raging against the machine—in this

Independent curator and art historian Wilson-Powell

At this, Lumpkin raised a red flag: “[There are] black

case rampant sexism in the art world—lest they be stamped

responded, “I don’t know that [the situation has] improved

collectors who buy black art, gay men who buy work by

with the unladylike label of “feminist,” but art historian and

in museums. Women who complain are perceived as less

gay men. Why don’t women collect women artists? Women

museum curator Addison, in charge of posing questions to

professional than males.” She cited an example in which a

need to support women.” After some feeble arguments that

the panelists, managed to lead them to three key points.

fellow female museum employee decided to experiment for

there is this one woman who collects art by women, the

Given how resistant the art world is to dealing with these

a year with keeping her own counsel during staff meetings.

generalization I drew was that it is high time we women

issues, it wasn’t surprising that it took until the second half

At the end of that year, according to Wilson-Powell, this

took responsibility for correcting this.

of the discussion for them to come up. Once Addison took

woman “got a great performance review;” her employers

Part two of the final, financially related point was

advantage of the direction of the discussion’s momentum and

noted that she had “been so cooperative this year.” Later

raised by Wilson-Powell, and boy did it hit home with me.

prompted the panelists with her remark, “So, feminism has

in the discussion, Lumpkin reminded us of Laura Mulvey’s

She pointed to a recent trend in arts writing: “the paucity

shaped your career,” these three issues began to gain clarity.

impactful essay Visual Pleasure and Narrative Cinema (1975),

of criticism versus boosterism. Nobody wants to pay for

Issue one is the simple admission that sexism continues

which posits that, as Lumpkin paraphrased, “Women are

criticism anymore. This is a huge problem in the art world;

passive and men are active; men act, women react.”

it makes [the art world] wimpy. [Critics] don’t say what they

to thrive, despite our pretensions to living in a “post-feminist” age. Jackson, a gallerist in Santa Fe for over twenty-five years,

The second issue had to do with how this seemingly

mean and they’re always being nice. This doesn’t make for a

stated that there are “no specific gender limits [in the arts

latent sexism plays out in New Mexico in its own special

vigorous art world at all.” As Lumpkin said, “I identify myself

professions], but it’s a general, pervasive, atmosphere.

way. When Addison suggested that Santa Fe might be a

as an art writer. Getting paid is the biggest challenge. You

Whether we know it or not, [sexism] still mentally and

bubble of sorts, with so many women working as museum

spend years getting the expertise,” write two or three pages

psychically affects us.” In other words, according to Lumpkin,

directors, Wilson-Powell was quick to disabuse us of

for a magazine, and get paid $300.

professor of contemporary art history and theory at the

any illusions that our capital city is kinder to professional

I can’t emphasize enough how important it is that we

University of New Mexico, sexism is codified into what

women in the arts. She addressed the fact that the state-

writers do not give away our work, and that we are vocal

Arthur C. Danto called the “institution of art” (which I am

run museum system pays notoriously poorly, suggesting

about refusing to accept grossly underpaid assignments.

short-handing here as “the art world”) in such a way that

that, “Maybe women will take these jobs that don’t pay

As to the question of rave “reviews” devoid of carefully

gender inequality in the work force more easily escapes

comparatively enough to meet living expenses.” At this,

thought-out, even negative content, I call upon gallerists

detection now than it did in the 1970s and ’80s. Of course,

there was knowing laughter and general agreement.

and curators to actively support an art criticism that means

this is, with very few exceptions, true today regardless of

Lumpkin jumped in with, “I think that’s true at UNM.

something intellectually, whether or not it is favorable to

one’s profession, and women who refuse to quietly endure

It’s worked out well for the institution. I don’t know

your exhibition. Most of all, it is imperative that we writers

are often stigmatized. If you don’t think that’s the case, check

about the women.” Here, sculptor DeJong, whose work

take great care to express what we believe to be true. And

out some of the hateful social-media comments regarding

is represented at Jackson’s gallery and also teaches at

to insist on getting paid a living wage for doing so.

Patricia Arquette’s Oscar-night speech.

UNM, asked a potent question, “Why are women artists

—Kathryn M Davis

An interesting discussion followed this admission.

underrepresented in these museums led by women?”

Lumpkin led with her observation that “Feminism played

It was DeJong who pointed to the third and the biggest

a huge role in improving relations in art institutions, as …

“challenge for artists [and the rest of us in the art world,

Panelists, from left to right: Laura Addison, Constance DeJong, Libby Lumpkin, MaLin Wilson-Powell, and Charlotte Jackson. Photo: Judith Nix

CRITICAL REFLECTION

POST-OP: The Responsive Eye—Fifty Years After

David Richard Gallery 544 South Guadalupe Street, Santa Fe

AS A FIFTY-YEAR-ANNIVERSARY TRIBUTE TO THE MUSEUM OF MODERN ART’S February 1965 exhibition The Responsive Eye, David Richard

motion sickness. And yet we’re fascinated to try. After all, didn’t

2013, incorporates wooden dowels and monofilament in a way

Gallery presents POST-OP, curated by David Eichholtz and Peter

the artist have to focus on these bouncing lines for extended

that is entirely unsteadying. Two of the four vertical bars are

Frank. The Responsive Eye introduced the Op Art movement

periods to create this effect in the first place?

painted on the canvas. The other two alternate with them but

through the work of ninety-nine international artists. POST-OP

Untitled (June 30) by Ernst Benkert, from 1967, along with

are suspended in front of the canvas. Our eye is ready to believe

investigates how a subset of these artists continues to work

Francis Celentano’s Elliptical Kinetic Painting, from the same

that all four are painted flat until we notice the dowels’ gentle

with visual perception and perceptual ambiguity. This is the first

year, toss us around in black and white—literally in Celentano’s

shadows. The powerful red, white, and blue bands in Francis

in a series of four linked exhibitions by Eichholtz and Frank in

case, as there is a motor involved. Benkert presents squares

Hewitt’s 1991 Franklin County actually feel calming. There is

this anniversary year.

that might not be, and even though our brains know that this

so much going on within each band that our eyes don’t fight to

MoMA’s original press release for the exhibition

ink-on-paper creation is perfectly flat, and hanging on a perfectly

dissect it all. Instead, we see an explosion of colors. On a flat

characterized the more than one hundred twenty paintings and

flat wall, the upper left and lower right corners still curl away

surface, it stays that way. And nothing dances. But not to worry,

constructions as works that exist “less as objects to be examined

from us. They just do. Then Celentano loops us around and

Hewitt’s Grey Illuminated Discs and Op Ended, both from 1964,

than as generators of perceptual responses in the eye and mind

around with black and white ellipses in order to pull us into a

prance on the wall with fantastic vibrations. Another Hewitt wall-

of the viewer.” In David Richard Gallery’s large, bright space,

black hole. Surely the ellipses must be a connected spiral, but

bender is Illuminated Discs, also from 1964. Here are circles that

the works undulate, vibrate, and dart; it’s like being surrounded

they turn out to be nine separate white bands alternating with

look like Japanese lanterns meet Bubble Wrap, as the lower left

by color-drenched, dancing shapes. The artists use lines, bands,

nine black ones. Correction—they don’t just pull us into the

corner of the painting appears to flap off the wall toward us.

circles, and patterns in white, gray, black, or vivid colors to

black hole, they pull us right through the wall. Because the piece

Thomas Downing’s ca. 1970 Fizi looks simple: three circles—

create movement, illusions, and hidden images—all of which

is motorized to spin continuously, it also creates the sensation

each of a different blue hue—that make the square painting seem

are real to the eye and the brain, but do not exist physically in

of pushing us out while it sucks us in. A more recent Celentano

narrower on the bottom. And then the circles begin to lose the

the actual paintings. In the original exhibition catalogue for The

acrylic in nearly neon colors is equally unnerving, yet gorgeous.

definition along their curves, their sizes shift, and there go our eyes

Responsive Eye, William C. Seitz, MoMA’s Curator of Painting

Le Cirque 10, from 2004, blends graded wiggles of greens, reds,

and minds again, running away from us with their own ideas. In a

and Sculpture Exhibitions, writes, “The eye needs only the

oranges, and probably several other colors, except that you

later acrylic from 1983 called First Sky, Downing continues to mess

slightest clue to link an abstract shape to some past association

can’t look at it long enough to really pick them out because

with us. Are the red, feathery shapes the same size? Are the pinks

with actual objects and space.”

the floor is starting to move. The effect is something like a

alike? Are the parallel lines truly parallel?

In POST-OP, Karl Benjamin’s two works from 1964 and

multicolored, pounding, shimmering waterfall. Eichholtz, who

Happily, each artist’s contribution from the 1960s and his

1990 both present dense, bold colors, the first in large blocks,

designed the exhibition layout, chose to enhance this effect

contrasting later work are not presented side by side. Instead,

the second in multicolored geometric patterns that shift into

when he hung Le Cirque 10 on a wall that receives powerful,

Eichholtz has placed the older works in the gallery’s inner core,

ever-changing prisms. It’s a mistake to try to figure out where

natural New Mexico light. Access to the painting is from either

with the newer pieces around the perimeter, like moving back

one prism stops and the next one starts. Just when you think

side, which causes the ripples to undulate from top to bottom.

in time. We can now look forward to parts two through four of

you know where one plane recedes, it jumps forward on you.

No, wait, that can’t be, it’s a flat surface.

the series, with the possibility of a four-series catalogue coming,

Richard Anuszkiewicz’s Exact Quantity, from 1963, is anything

John Goodyear illuminates his 1965 work The Light Source

but. It would be terrifying to try to ascertain the exact quantity

from behind. Doesn’t matter, we still reach out to steady

of these lines as they cross different colors and create different

ourselves. There is a yellow-and-black pattern on the surface

sensations. Some push us backward, others tip the painting’s

of a light box. A panel of horizontal acrylic bars hangs in front

two large squares sideways, but they really don’t. Up close, they

of it. When the panel is pushed sideways into a pendulum

Francis Hewitt, Op Ended, acrylic on canvas on Masonite, 24” x 24”, 1964

aren’t squares at all, merely illusions. Looking more intently, or

motion, the yellow lines jump to life behind it and even our own

Julian Stanczak, Trespass in the Dark, acrylic on canvas, 40” x 84”, 2004

squinting to try to understand what is really there, is a recipe for

movement changes the patterns. Goodyear’s Presence, from

APRIL

2015

like a prize, at the conclusion.

—Susan Wider

THE magazine | 49

Axle Indoors 1011 Paseo

Peters Projects Peralta, Santa Fe

THE EYE WHO CAME IN FROM THE COLD. KUDOS TO PETERS PROJECTS for the recent group retrospective at the mothership Gerald

(downsized to ‘projects’), art’s social mandate—or at least in

cadmium yellow and a striped cobalt teal waistcloth, both belie

Peters Gallery. Axle Indoors featured some five hundred works

art’s capacity to address them.” That doesn’t guarantee that all

and secure its sarcophagal allusion to some timeless ritual. Jamison

by the one hundred fifty artists who responded to the gallery’s

the work is engaging—some representational art early on could

Charles Banks’s apt conceit of an upended replica of a Soviet-era

invitation to everyone who ever exhibited at Axle Contemporary.

be stronger, and some of the abstract work is more notional than

cast metal bust of Lenin is a wry epitaph on the USSR. The visual

The flyer accompanying the show notes: “Axle Contemporary

ideational. But overall, virtually all the work is accomplished—a

appeal of Christy Georg’s highly crafted woven-hemp and carved-

was founded in 2010 by artists Matthew Chase-Daniel and Jerry

tad too much in some works that skirt the decorative edge

wood wall piece Giant Becket Brooch hovers playfully between

Wellman as a collaborative work of art and an innovative vehicle

of derivative terrain. For all that, the well-planned layout and

a charm bracelet and a docking coil for a Viking ship. Timothy

for arts distribution. We intersect disciplines and encourage and

spacing of this wide-ranging exhibition by the curators manage

Nero offers witty annotation to his artful wood-and-paint floor

promote experimental and creative approaches to art-making

to claim some proprietary space for each piece. Prospective

constructs, while Erika Wanenmacher achieves an oddly winsome

and presentation in our mobile gallery and beyond.” “Beyond,”

visitors to the exhibition can preview the artists’ works on

effect with her thermoplastic standing sculpture Messohippus.

in this instance, is the tony Gerald Peters Gallery, quite a change

Axle Contemporary’s website (http://www.axleart.com; click

Those who need to lighten up need go no farther than

from Axle’s normal venue, a 1970 retrofitted aluminum step

“exhibitions”). While virtually every genre of contemporary art

the droll digital pigment print by Burning Books, DEATH: Is it

van (walk-in), a type of truck adapted originally for deliveries

is present, the pieces cited here are more a cross section than a

really THE END; Also, How can I avoid pornography—a query

like milk and bakery goods, now more familiar as the ubiquitous

critique of the range of work in the show.

made mute by Patti Levey’s light-jet photo print Coffee Porn.

Gone Wild, Kathleen McCloud’s large mixed-media wall

The photo prints by Kirk Gittings capture a brooding sea viewed

The active words here are mobile and local. The van takes

figure, is enhanced by two framed works on paper that comprise

from a rocky coastline, while Kappy Wells’ Greenland series

the art to people who normally would not visit a conventional

Loving the Birds of Appetite, McCloud’s (maybe) Zen Taoist

offers eerie, eloquent charcoal-on-sheetrock studies of the ice-

gallery, and the five hundred works on view in this retrospective

homage to Thomas Merton. Charles Greeley’s Japanese paper

sheeted island’s arctic coast.

underscore Axle’s commitment to local artists. Hence this

collages on canvas provide a fresh take on the familiar trope of

Photographer and THE magazine publisher Guy Cross’s

high-end gallery venue is a big volte-face for Axle’s innovative

Northern New Mexico landscape, while Carolyn Niman’s low

Famous and Not-So Famous Artists, Celebrities and the Like bag

approach to “art distribution.” What is gained and lost in

rider cyanotint and Janet Stein Romero’s hip-chick monotypes

of photographs includes a poignant image of the then eighty-

the trade-off?

capture that landscape’s local culture. Mark Spencer’s effortless

something Agnes Martin, serene in her rocker and displaying

command of drawing and figuration imbue his graphite studies

the now iconic print by Mildred Tolbert of a younger Agnes

with compelling narrative force.

seated in her studio, in her early forties. Peering cautiously at the

UPS and FedEx panel trucks.

Like any wide-ranging group show without a unifying theme—case in point, the CCA Armory Show revival last May—

viewer, the early Agnes evokes the fragile, melancholic maiden

Axle Indoors lacks the original context for the works, so that, as

For those who favor abstraction, there is Sydney Cooper’s

with the CCA show, the resulting salon or silent-auction feel

variegated leaf on metal panels from her exquisite Indra’s Net

of the gallery mutes its meaning and import. But, unlike CCA’s

series, Jonathan Morse’s highly nuanced pigment prints, David

Axle Indoors demonstrates that—pace Peters Projects—

prosaic, à la carte pluralism, the works here come across as more

Nakabayashi’s unsettling collages, and Gina Telcocci’s enigmatic

even in the lion’s den, a mobile gallery can effectively convey

than simply cultural products. That is in large part due perhaps to

papier-mâché (?) wall pieces. Two painterly collage panels from

art that espouses social and aesthetic values over market-driven

a carryover of the aesthetic subtending the original venue, one

Craig Anderson’s Nature and Culture series recall Rauschenberg

trends of today’s commodity art market.

that guided Axle’s choice of these artists in the first place.

at his best.

—Richard Tobin

Elsewhere I’ve referred to such a common aesthetic as

Eliza Naranjo-Morse’s arresting soft sculpture Coming of

“a deep belief (borrowing from postmodern nomenclature)

Age is a life-size, fiber-filled supine figure whose stitched, flesh-

in ‘grand narratives’—e.g. humanism, the Enlightenment

tone pantyhose, accented with nylon head bandages of intense

of Pre-Raphaelite D.G. Rosetti’s Ecce Ancilla Domini.

Installation view

CRITICAL REFLECTION

Axle Indoors 1011 Paseo

Peters Projects Peralta, Santa Fe

AXLE INDOORS AT PETERS PROJECTS CELEBRATES FIVE YEARS OF EXHIBITIONS Lastly, Carrie Tafoya’s nude self-portraits are beautifully

in Axle Contemporary’s 1970 Grumman-Olsen aluminum step

from the ceiling by a wire cable and the other magnet

van. Now the truck is nowhere to be seen. Over the years,

meets it from the floor. The two discs do not touch but

grotesque. Incubation Period #1, #2, and #3 expose the artist’s

Axle had quite a few artists exhibit work in its sixty-square-foot

are obviously attracted to each other—like the tension of

figure fantastically growing large, moldy cysts, consumed in

former Hostess delivery truck (Twinkies, Ding Dongs, Yodels,

lovers in public.

ashen detritus, and marked by vinous DNA. Her wisdom and

Sno balls, etc.). All of the artists from the past five years were

Linda Swanson, in her two large drawings, sketches

her curves contradict her fetal position and suggest a chrysalis

invited to participate and one hundred fifty replied, filling Peters

horses on a page, drawing their contours again and again,

or cocoon. This morbid, curious incubation period renders

Projects with over five hundred works of art.

fitting the bodies together like grains of wood. The animals

whatever her final transformation is irrelevant.

Whenever a tiny, improvised venture goes commercial, it’s hard to know whether to rejoice in the recognition or

are both realistic and magical as the muscles and manes form into landmasses and horizons.

How a few guys with a repurposed Twinkies van can suddenly become the curatorial stars of the most momentous

scowl at selling out. In this case, Santa Fe rejoiced, and Axle

Greenland I, II, and III by Kappy Wells are gritty charcoal

show this winter is a rare and endearing turn of events. Axle

Indoors feels like a retrospective and thus quite celebratory,

waterscapes made on sheetrock. The materials add severity

Indoors is a great show, made better by a big-name gallery

particularly with Peters’ eight thousand five hundred square

with their inherent weight, and Wells carved chunks out of

doing something outside the box—or van.

feet. That’s quite an upgrade. The prices range from free all

the drywall to expose a perfect white. Bits of the building

—Hannah Hoel

the way up to one hundred thousand dollars. Pricing aside,

material float on the water’s surface like crumbling ice, and

it’s hard to stand out among that many artists, and there’s

as concrete as the drawings appear, they also feel fallible—

a lot of really good work that gets lost amid the sheer

like a structure about to become a ruin.

quantity. Here’s a fraction of the fun.

Joan Zalenski’s game-board pieces are funny, especially

Lara Nickel’s cheeky coyote sets a rather mischievous

her checkers game, Let’s Move In Together. It was originally

mood. When the feral animal comes through the doors, gets

conceived as a performance with two players who each

a bath, and lounges within, even on pristine white walls, it’s

advance his or her domestic belongings into the other’s

completely natural to feel a bit mischievous and even gleeful.

territory. The game ends when the “Debris Pile

Nickel’s impeccably painted coyote is surrounded by white

becomes too large and prevents either player

canvas, which leans against the gallery wall at shin level,

from advancing or making a move (as in Real

coaxing you into the main exhibition space. His trickster

Life).” At this point, “play cannot continue and

smile seems to celebrate that, like Axle Contemporary, he

the players are faced with the [sad] wreckage of

walks against a very clean backdrop.

their attempt to live together in harmony.” For

Ai Krasner sunk faux magenta peonies into a

Ai Krasner, Awakening Flowers, plastic, faux flowers, 18” x 15 1/2” x 8 1/2”, 2014

the generation that repeatedly cohabitates,

plastic mass in Awakening Flowers. It looks like a still-life

Zalenski’s game is a valuable exercise for any

protruding from a cube of oil whose corners are browned

serious couple.

by debris. The bright petals fight for a life they never had. Now they are fossilized, commodified, and unnervingly shiny, even sexualized, like the candy-colored, goopy sculptures of Linda Benglis. David Rudolph’s Canyon Road Goes Digital and Canyon Road Goes Digital, Again turn our cloudless New Mexico sky into a green and yellow Legoland. Rectangles float above the grey pavement, digitizing the atmosphere and casting moody shadows over our darling adobe art walk. The aerial building blocks usurp any traditional Canyon Road landscape, while Richard Diebenkorn’s palette and tranquility haunt any futuristic implications. Touching from Afar uses two strong magnets—so strong that artist Jamie Hamilton warns that those fitted with a pacemaker should keep proper distance. This is the irony of touching without touching: that from a distance one touches with magnetism. The installation is incredibly simple. One magnet hangs APRIL

2015

THE magazine | 51

Under 35: Part III: Nicola López, Nouel Riel, Jack Warren Zane Bennett Contemporary Art 435 South Guadalupe Street, Santa Fe

UNDER 35: PART III PRESENTED THREE MIXED -MEDIA ARTISTS WORKING however, nothing ambiguous about simply lacking definition.

of black, grey, dark brown, and silverish girders and

formalist principles of modernist abstraction with hints of

Nicola López grew up in Santa Fe, but is currently

beams, imaginary metal lattices, and ladders set, like

postmodernity. All three produce pieces that, in the classic

based in Brooklyn. Her work is the most defined here,

Kline’s gestures, against white grounds upon which

style of modernist universalism, rely upon the viewer for

and she has racked up funding and accolades, including

they criss-cross each other in legitimately ambiguous

completion through a process of socialized and personal

a commission from the Met and a recent grant from the

spaces, achieved entirely through the juxtaposition

associations. Without exception, all of these works get caught

Joan Mitchell Foundation. Looking at her mid-scale work I

of competing perspectival systems. She cubistically

between a desire to say something explicitly and clearly and

was reminded of a Franz Kline show in the galleries at the

manipulates a repertoire of platonic solids signifying the

the need for the art to remain uncommitted to any particular

Pennsylvania Academy of Fine Arts many years ago. Exiting

urban environment into lines and diagonals that produce

perspective so that it can (supposedly) be read by all.

onto the sunny streets of Philly, you saw why his work was

pleasing formal harmonies and Escher-like spaces. They

predominantly in an aesthetic space predicated upon the

And yet, when the work in this exhibition does achieve

good. Every girder and asphalt patch, every steel beam or

also associatively link to our contemporary networks of

clarity, it tends to fall a little flat. While the unclear elements

streetlight became a giant Franz Kline slash within the urban

virtual communication, and in this way cool down and

sometimes look cool, and even succeed formally, they

landscape. In his mature work he had distilled his time and

update Kline’s more romantic response to big city living.

ultimately tend to bog down in interpretive indefinity. True

place perfectly.

There is a monumental claustrophobia in the best of

ambiguity, something being two or more distinct and even

López’s project is similar, but more literal in her

contradictory things simultaneously, is rewarding. There is,

case. Her collage images consist of perspectival drawings

them. And maybe that is where we’re at after all. Jack Warren’s paintings also harken back to the bygone days of AbEx paint splashing. Like de Kooning he uses images from magazines and newspapers collaged into fields of bright colored paint. Like Rauschenberg, Johns, and Sigmar Polke, he uses appropriated imagery as gesture and plays it off Terry Winters-esque forms found in the automatic process of painting. Don Juan Peyote Party has a great sense of vivid color and a graffiti writer’s sense of emergent form, but beyond that lacks real rhyme or reason. Warren is a colorist, for sure, and there’s a party going on right here, but the whole is never really more than the sum of its parts in these paintings. They generally fail to commit to any specific meanings beyond their own phenomenology. Mixed-media artist Nouel Riel would have been a groundbreaking Nouveau Realist and probably a great buddy of Yves Klein in the Paris of the 1950s, had that been her milieu. She presents work in two modalities. The first is a series of heavy accretions of radical materiality that at times achieve a sort of gooey beauty recalling Arman’s resin experiments or some of Dubuffet’s early surfaces. She describes them as her way of mapping her world and personal experiences. They appear to be quasi-aleatorically created, controlled pours, etc., and the po-mo touch is that the materials she is working with—blood, wine, soil, salt, plastics, latex, and other organic and inorganic items, along with traditionally archival artist’s materials—make each piece a unique time-based experiment all its own. At the other end of the clarity versus indefinity spectrum, she also hung up six scans of body parts from her series Manufactured Intimacy: for Relationships on the Go. Here the conception is tight. The joke is sound. And after that it’s just another sad country song about all the ways true love goes wrong. The problem for the crystalclear conceptualist is the one-liner. I’m not quite buying the argument that this is painterly figurative work with a dreamy sense of memory and mystery; Riel ain’t no Michelangelo (or El Greco), but I am amused.

—Jon Carver Nicola López, The Space Between, ink, watercolor, gesso, molding paste on paper, 55 ½” x 55 ½”, 2009

CRITICAL REFLECTION

Noël Hudson: Ornamental Abstraction

Rio Bravo Fine Art 110 North Broadway Street, Truth or Consequences

THE TRIP TO TRUTH OR CONSEQUENCES BEGINS WITH A PERUSAL OF the Rio Bravo Fine Art website. The discovery of Noël

gestures of color, vibrate like exercises in dissipating the

and Bamboo in Mist) the results are sweet and serene. In

Hudson’s exhibition, Ornamental Abstraction, which fell on

muddle of the everyday. They seem to represent a clearing,

some pieces, that moment gets lost in the flurry of process

the town’s second Saturday art walk, is quickly followed

or transitional experience. In contrast, her collaged squares

and competing media.

by the wrangling up of a willing travel companion and a

offer up a sense of order and calm by collecting and holding

The artist cites influences from disparate times and places,

call to Riverbend Hot Springs to book a quiet, private soak

pattern together with organic papers and handmade prints

reflecting a wide variety of references that unite along a central

overlooking the Rio Grande.

and paintings.

conceptual thread. From Japanese printmaking and kimono

Truth or Consequences is no idyllic destination. It’s run

The artist’s paintings on paper and monotypes reflect

to medieval Islamic vegetal abstraction and the Nabis school

down; it’s bare bones. The sun-bleached, peeling paint that

an overriding concern for emotion and expressionistic

of Post-Impressionist painters, these influences show up in

pervades downtown rings with the city’s emptiness like a

gesture. The prints are identified in series with titles including

Hudson’s work through a driving concern for pattern, surface,

long, sighing exhale. However, underneath the fallen-on-

Refraction, Reflection, and Infusion, suggesting an alchemy

and the powerful confluence of palette, form, and texture.

hard-times crust is an eccentric hardiness and happenstance

involving explorations in spontaneity of gesture and a curiosity

charm that is relished by some, lost on others.

about the play of two-dimensional forms.

Emerging from Rio Bravo Fine Art is like leaving an oasis, but we decide to continue our newfound love of meandering,

Fortunately, my travel companion and I, like so many

More compelling is Hudson’s Fragment series of

this time in the direction of dinner. Tomorrow is filled with

who find themselves in New Mexico, prefer the gritty crunch

collages. These diminutive squares are comprised of collaged

more plans for soaking in hot springs and embracing the

of crumbling sidewalks to the click of heels on pavement, and

papers and prints, as well as prints and paintings made by

unwinding sensation incurred by this quirky place, augmented

so we are rather undeterred passing by empty storefront

the artist. On each floating panel, expressionistic gesture is

by Hudson’s world of contemplative ornament.

after empty storefront. This place does not, cannot, pretend

confronted with and tempered by pattern and fields of color.

—Lauren Tresp

to be anything else. This place wears its heart on its sleeve.

Each square feels like an experiment with—or meditative

For those willing to look under the skin of things, Truth or

contemplation of—the materials at hand. When the artist hits

Consequences offers a special kind of romance involving

on that alchemical moment (such as in Snowing in Moonlight

Noël Hudson, Bamboo in Mist, collage on panel, 6” x 6” [, year?]

eccentric charms and gravity. Truth and Consequences sounds more appropriate. However, in the midst of this economic slump there are distinct, buzzing points of light. Seeking them out necessitates meandering, so we meander. We leave the dusty, coffeescented shelves of Black Cat Books and Coffee with arms full of used books. At Passion Pie Cafe we order brunch: flaky croissant, fresh fruit, and the show-stopping pear, feta, and walnut waffle sandwich. The Geronimo Springs Museum offers a cobbled-together take on local history (we spend most of our time here looking at the photographs of every graduating class of Hot Springs High since 1939. We contemplate personalities, probable fates, with whom we would have gone to the prom... We soak up healing waters and sunbeams at Riverbend Hot Springs. Overlooking the Rio Grande, this rustic retreat feels like another world. A quick nap on a chaise in sun-speckled shade helps us transition back to life. Rejuvenated, we head out for the Second Saturday Art Hop. We see small groups join in on the meandering to which we’ve adapted so well, but locate most of the crowd at Rio Bravo Fine Art. The gallery, a sprawling, multilevel space, was founded by the artist Harold Joe Waldrum in 2000. The gallery has been owned and directed by Eduardo Alicea since Waldrum’s death in 2003, and represents a handful of local New Mexico artists. Several gallery artists have work on display throughout the building, including Delmas Howe, Dave Barnett, Joel Smith, and Waldrum himself. The main first-floor gallery is filled with the colorful, exuberant abstract works of Santa Fe–based artist Noël Hudson. Ranging from collage and acrylics to monoprints and monotypes, Hudson’s works capture an energetic impulse that feels of a piece with—and makes sense in—the milieu of Truth or Consequences. Her paintings, cathartic and frenetic APRIL

2015

THE magazine | 53

Antoine Predock: Strata

Richard Levy Gallery 514 Central Avenue SW, Albuquerque

ANTOINE PREDOCK IS A WORLD-CLASS ARCHITECT WHO, FOR REASONS unfathomable to this writer, has never quite ascended to the

of influences have informed Predock’s approaches, and it’s

Kooning and Walter Kuhlman, an exercise that gave him an

pantheon of contemporary “starchitects”—Gehry, Piano, Hadid,

intriguing homework to tease out the various strands. Early in

ability to visualize architecture’s reciprocity with landscape. The

Calatrava, et al. Nonetheless, the longtime Albuquerque resident

his career, soon after meeting his future wife, a Juilliard-trained

stereotypical architect’s drawing, often done on graph paper,

has reaped honors galore, like the Rome Prize, the American

dancer named Jennifer Masley, Predock became interested in

usually has a chilly precision and reserve; Predock’s are loose

Institute of Architects’ gold medal, and numerous fellowships and

choreography and the movements of the body through space

sketches and scrawls, preliminary insights into where his three-

degrees. Though he has built in places as far-flung as Taipei and

(he and Masley even co-directed a dance company). “I am always

dimensional actualizations might take him.

Winnipeg, designing structures ranging from ballparks to private

aware of the body moving through architecture—the physicality

It was harder to know what to make of the collages on view

residences, his heart seems to have remained in the Southwest

of architecture,” he has said. He has also been a lifelong skier and

here, one of them an undated study for the San Diego Padres

(his Hotel Santa Fe in Paris, near Disney World, for instance, has

avid motorcyclist, and elements of his buildings reflect the passion

Stadium nearly thirteen-feet long. Again, I turned to the Web:

some cornball Wild West touches but still references the earth

for both. The glacial glass exterior of the Canadian Museum for

“Since at least the 1980s, [Predock] has started each project by

colors and adobe architecture of this part of the world).

Human Rights, not in this show but accessible on the Net, does

fictionalizing its landscape as a journey of discovery with a mural-

A few phases of Predock’s long and prolific career were

indeed suggest ski slopes; the visitor’s progression through

size collage fabricated from pastels, magic markers, postcards,

documented in the exhibition, encompassing drawings, clay and

the museum, as one critic noted, recalls the switchback roads

and pictures clipped out of magazines,” wrote Christopher

mixed-media models, collages, Polaroid photos, and notes—all

Predock travels on his bikes. And some of that “switchbacking

Mead, a professor of architecture at UNM. “We walk its length,

of which helped to connect the dots in the architect’s thinking

sensibility” could be seen here in a couple of models for the

engaging our bodies in the space of the collage and reenacting

but might have been greatly abetted by some rudimentary wall

Tacoma Art Museum. More immediately apparent in the Levy

the architect’s gestural labor when first assembling the image.”

text to help the viewer toward a better understanding of his

show was Predock’s innate sensitivity to landscape, to indigenous

Well, okay, that would be nice to know up front … perhaps in a

aims and philosophy.

colors, and even to a kind of abstract symbolism. The Polaroid

handout or on a label?

For that, one has to turn to the Internet, and it’s worth

photos, drawings, and models for the low-slung United Blood

Antoine Predock: Strata raised some sticky issues about how

the trip to get a fuller picture of his accomplishments. A lot

Services building on University Avenue in Albuquerque suggested

to present an architect’s work to the public, many of whom may

a desert sky at sunset; its welcoming “arms”—a wide embracing

be frustrated by wanting to find a clear-cut sense of progression

entranceway—take some of the sting out of the many messy

and development in the work. (And why was his earliest project

associations of whatever “blood services” might mean, though

situated in the farthest gallery from the entrance?) Wall text

some of Predock’s notes make it clear that this is more a place to

is often annoying, telling us how and what to think, but in this

give rather than to receive: the architect stated that he intended

instance it seemed a necessity to help us navigate the particulars.

the building, completed in 1980, as a sign that “should attract

Fortunately for the curious, two of the architect’s projects, the

donors by using red and earth tones.”

Rio Grande Nature Center and United Blood Services, are

Perhaps the most appealing works in this show were

within driving distance of Albuquerque. And I hope visitors to the

Predock’s drawings and the clay models for buildings, such as

Levy show were sufficiently intrigued to go find them.

the early study for the Rio Grande Valley House, upended and

—Ann Landi

hung on the wall so that they read almost like Constructivist relief sculptures. They were elegant and polished, whereas his sketches had an offhand immediacy and intimate charm. The architect began drawing landscapes while still in school at the University of New Mexico, studying with painters Elaine de

Inset: Antoine Predock, Early Study for Rio Grande Valley House Model, foam core, chip board, colored paper, 36” x 37” x 2”, 1983 Bottom: Antoine Predock, Study for the Tacoma Art Museum, ink on paper, 9” x 12”, 2002

CRITICAL REFLECTION

From the Ground Up: Design Here and Now

516 Arts 516 Central Avenue SW, Albuquerque

WE L IVE WIT H HY B RIDS, MA SH -U P S, A N D R EL ENT LESS I N N OVAT I ON . Mostly these are at least amusing, but sometimes they

frame of [her] eating disorder and the intensity of its presence

had its label on a wall on the other side of a different piece.

are so pervasive that it begins to feel like the mindless

throughout its duration.” Madie Wickstrom’s Saturation

The crowded opening was a factor, but the mounting of a

worship of “disruption.” In our man-made environment,

traces “personal relationships over twenty-one years…”

show is also a form of design, and needs attention.

we are prisoners of design, which is what makes design so

I was particularly struck by Maria Estrada’s Hidden Pain, which

Along with furniture, jewelry, and housewares, the

important. Fine art since the end of the nineteenth century

illustrates with pins in a black field “the hidden nature of pain

show included immersive pieces such as The Dome, An

has tended toward the avant-garde attitude of shocking or

and the experience of living with lupus.”

Immersive Portable Visualization, a projective space within

even insulting the viewer in some way. But design needs

Other works presented trajectories of movement in

which the construction of the Dome was portrayed.

to function—to facilitate a task, or to inform or please the

space or time such as the experience of a rider, horse and cattle

(Perhaps it could in future utilize the amazing, in-progress

viewer—so it tends toward, well, fun. In studying design, at

in team roping (Lorenzo Ruiz’s 6 Seconds), skateboarding

open source software V-Dome, recently developed for IAIA’s

first, you are able to just experiment with materials and craft.

(Lance Hinkle’s Indian School Outlaw), migration between the

Digital Dome by students and instructors there.)

As teachers begin to introduce training for the real world,

U.S. and Mexico (Eduardo Ventura’s A Step at a Time), or

In White Cubes Installation numerous cubes of various

and later in the professions, constraints (from engineering to

“the frequency of intersections experienced in Albuquerque”

sizes (with an eyehole on one face) were suspended so that one

legal regulations, budgets, social and other constraints) come

(Keila Gutierrez’s Intersect); Valentin Raphael Montoya’s A

person at a time could peer inside at an image of a conceptual

down like a ton of repurposed clinker bricks.

Path to Zozobra shows “a family tradition of walking through

or built project. You had to take the cube into both hands to

From the Ground Up: Design Here + Now is part of

the festival of Zozobra” and Hole #6 by Zachary Mills traces

raise it to your eyes before pointing it at a light source, which

516 Arts’ contribution to an ambitious collaboration by many

a game of golf, while Gabrielle Hermosa’s A Day in the Life

made for a nice involvement of the viewer. Unfortunately, the

organizations including the Public Art program called On

models “intensity and productivity during a workday at

cubes were very closely spaced in a loft area, and in several of

the Map: Unfolding Albuquerque Art + Design that continues

Starbucks” with strips of paper. Others share experiences

them I could not really make out the image. A cool idea that

through June. At the opening there was a DJ and dancers

of natural phenomena, like “watching shooting stars at the

could have been somewhat better executed.

from the University of New Mexico weaving through the

Grand Canyon” (Antolin Salazar Gervacio’s Star Trail Context),

Parker Sprague and Donavan Boone’s room-size

crowd in the two-level space. This made it more difficult to

“light and shadow during a lightning storm” (Cheyenne

installation of hanging string, Agoojignanan (its title is the

see some of the work but added an air of excitement.

Gurule’s Lightning) or “fishing and wading through the Pecos

Ojibwe word for something hung), was meant, as we walked

River” (Alec Vittitow’s A River Runs Through Me).

through it, to invert our usual experience of space-defining

I firmly believe that good design is grounded in the somatic and visceral experience of the designer on behalf of the user.

Other compelling works were more abstract, mapping

materials as being anchored rather than suspended. Nearby

So I particularly enjoyed Personal Cartographies. Sixteen 3-D

“felt differences between intensities of indulgence and

was Jennifer Vasher’s Spalter, a narrow corridor into which

modeling projects by designers from the School of Architecture

fulfillment” (Dillon Romer’s Synthetic Stimuli) or “the many

one could peer. Lit by a bright fluorescent tube and lined

and Planning are arranged in a grid on waist-high pedestals. Using

obstacles one has had to endure” through life (Brandon

with shiny white tiles into which were cast clusters of pills,

“mapping” as a broad term for representation, each piece offers

Clark’s Crossroads.) An illustrated sheet showed each

the space possessed a livid creepiness suggestive of the

the memories and identity of its maker and invites extended

piece, but the works were not laid out corresponding to

stranglehold pharmaceutical products have on our society.

observation. Some highly personal pieces included Brandon

their position on the paper and, though the pedestals were

—Marina La Palma

Ortiz’s Temporary Insomnia, which “maps the experience of

numbered, the numbers were not on the handout.

sleep during a week; the height of waves indicating the quality of

This was an overall weakness in the exhibition—labeling

sleep and dream.” Nicole Zollner’s Disintegrating gives “a time

and orientation made it a bit difficult to navigate. One work

APRIL

2015

Lorenzo Ruiz, 6 Seconds, mixed media, 18” x 18”, 2013-2014

THE magazine | 55

Tales from a Dark Room An Exhibition with Three Santa Fe Legendaries

New Mexico Museum of Art 107 West Palace Avenue, Santa Fe Verve Gallery of Photography 219 East Marcy Street, Santa Fe

AS A LONGTIME PHOTOGRAPHER AND EX-DARKROOM AFICIONADO who fifteen years ago abandoned film, bought a digi-

look now.

tal camera, and vowed—as God was my witness—I

Ansel Adams is said to have said, “The single most

would never reek of fixer again, I have found myself

important component of a camera is the twelve inch-

in all too many debates over the merits of darkroom

es behind it.”

versus digital photography. Many of my peers—se-

It doesn’t matter if one makes daguerreotypes,

nior citizens who mastered chemical photography

gold toned gravures like Edward Curtis, or coats one’s

multiple decades ago—are loath to abandon their

plates à la Atget. It’s irrelevant if one is schlepping

skills and become novices at a new craft, so they stick

around a ten-thousand-dollar Linhoff stopped down

to the darkroom and declare that digital’s just not the

to f/64, if one whips out a Leica loaded with Tri-X, or

same, it’s not real photography. When pressed to be

if one shoots with a camera manufactured by an elec-

more specific, they respond that there’s something

tronics or telephone company. Photographic history is

indefinable that gelatin prints have, a certain je ne sais

the story of technological evolution and progression.

quoi that digital prints simply can’t equal.

Each new discovery is a departure from earlier meth-

Yeah, yeah. Photographs shot on prepackaged

ods, but neither the equipment nor the process is the

emulsified rolls of plastic that are developed in a con-

point. It’s the photographer’s intention and his ability

coction of chemicals that come from a can and are

to convey it with the method he’s using that’s what

exposed to commercial photo paper have a special

matters.

mystique and purity that’s in keeping with the great

An exhibition running concurrently at Verve

traditions of photography of yore. Oh yeah? Ask

featuring the work of three venerable Santa Fe

Eugène Atget if calling B&H with your credit card in

photographers neatly illustrates this.

hand is in the same tradition as mixing your emul-

Norman Mauskopf’s work American Triptychs

sion from scratch and coating it on sheets of glass

was shot—on his travels in the ’80s—on a Hasselblad,

the night before you wander the streets of nine-

that noble, Nordic workhorse of a medium-format

teenth-century Paris at dawn.

film camera. He printed the resultant negatives only

This romanticization of sloshing around the

recently, and these new prints shine with all the clarity

darkroom has remained a persistent element in pho-

and crispness one would expect from negatives ex-

tographic discourse, and now the New Mexico Mu-

posed on a Hasselblad and printed on silver gelatin by

seum of Art has taken it a step further and fetishized

a seasoned darkroom devotee like Mauskopf.

it. In an exhibition titled Tales from a Dark Room, a col-

Tony O’Brien’s photos—Sketches from Syr-

lection of homemade dodging tools (clumsily crafted

ia—were shot more recently on a newer piece of

pieces of cardboard taped to short bits of wire used

equipment. Rather than lug a camera bag, lenses, rolls

for lightening selective areas of a print) are displayed

of film, and so on through the Middle East morass,

alongside Rayograms by Aspen Mays silhouetting the

O’Brien slipped a Panasonic Lumix digital camera into

same dodging tools. Whatever else one thinks, it can

his breast pocket and brought back data from Syria

safely be said that this is not a meditation on the hu-

that he transferred to paper via his inkjet printer with

man condition.

the same clarity and crispness one would expect from

Also exhibited are photographs by John Cyr

a negative exposed on a Hasselblad. Go figure.

of a variety of famous photographers’ smudged de-

As if to put a cherry on the point, the inquisi-

veloping trays. The implication is that those stains

tive David Scheinbaum offers up hybrid images that

memorialize historic photographic processes and

combine a hyper-traditional technique with modern

represent an emanation of the photographer’s cre-

technology. By sliding photographic paper into the film

ative essence, and aren’t just photos of the random

holder of his eight-by-ten view camera rather than

residue of methylaminophenol on plastic.

film, he produces paper negatives in much the same

There are some engaging photograms by

manner as did Henry Fox Talbot, whose Talbotypes

Robert Stivers that abstractly record the humps on

were among the very first photographs made. Schein-

the bottom of his developing tray, and he also exhib-

baum then scans his Talbotypes into the computer

its the tray itself. In adjacent galleries are exemplary

and prints them digitally, to unique effect.

examples of silver gelatin prints by Bravo, Callahan,

All of these series are as purely photographic as

and a few others, as well as a full retrospective of

the others; all are equally as real as photography can be.

the work of darkroom champ Edward Ranney. All

—Richard Baron

of these images display the great tonal range and moods of black-and-white photography, but any one of them could just as well have been digitally ex-

Tony O’Brien, Untitled, archival pigment ink print, 20” x 16”, 2013

posed and printed, and would look exactly as they

John Cyr, Minor White’s Developing Tray, pigment print, 2012

CRITICAL REFLECTION

Ron Cooper

Franklin Parrasch Gallery 53 East 64th Street, New York City

LOCAL LEGEND RON COOPER IS BEST KNOWN FOR HIS DEL MAGUEY white lacquer creates a wall appendage that’s barely visible, and

Single Village Mezcals, which he discovered on a trip to

Franklin Parrasch Gallery felt breezy and bare. Cooper’s

Oaxaca in 1990, looking to create and fill fifty blue bottles

nine vertical Plexiglas bars were so unobtrusive that they were

with the roasted agave liquor to bring home to friends.

almost nonexistent. It’s the kind of very livable work that

By these terms, Pink Out of Control - Red Transmission, is

His artisanal booze has just recently gained widespread

demands nothing more than a beautifully vacant area to let it

quite the opposite. None of Cooper’s pieces are loud, but this one

notoriety. He may be better known as the best mezcal

breathe. Each bar has four sides and is at least seven feet tall

does have a room of its own for a reason. Lately, pink is popping

importer in the world than as an artist, but Cooper’s work is

and three and a half inches wide. Each hovers off the floor just

up as the quirky, unexpected color flirting its way through the

in some pretty prestigious museums, including LACMA and

above the molding. Despite the three dimensions, their aerial

art world. It is arguably the most fetishized color, found in nature

the Guggenheim in New York City. His most recent show at

lightness defies the gravity of sculpture and places them in

in flowers, sunsets, and flesh. Its obvious girlish implications are

Franklin Parrasch Gallery, on New York’s Upper East Side,

between a Donald Judd and a beam of light, escaping even the

reflected in innumerable manufactured items, but pink is gaining

remains faithful to his previous work, which emerged from

weight of Barnett Newman’s painted zips. However, like the

an exciting, new, arty life that’s refreshing. Cooper’s pink beam

1960s California minimalism.

zips, the scale invites human interaction and each is a deliciously

brightens up its small dim alcove, and the light coming through

tall, skinny, shiny reflection of your own body, but one that has

the window creates a golden sunset sheen. Unlike the clarity of

nothing to do with you.

Blue with Chinese Red - Beige Transmission, Pink Out of Control -

The Light and Space movement reflected the emerging architecture, Western light, and beach culture of Southern

it’s this quiet monochrome that finds success in its passivity.

Red Transmission depends upon this desirable, chatoyant surface.

California. Flattening the picture plane seems downright

The most enigmatic pieces are the ones with the least

provincial compared to the emphasis on perception and

amount of color. There are a few that appear almost clear and

Cooper’s new work is almost—but not quite—perfect.

phenomenological experience inherent in the works of

frustratingly similar in hindsight, with titles that dimly reflect the

There are a few superficial scratch marks and bubble wrap

Cooper’s contemporaries Robert Irwin, James Turrell, and

acrylic lacquer with which they were painted. Blue with Chinese

imprints that distract from the illusory experience of light, space,

Doug Wheeler. This kind of art does not provoke conceptual

Red - Beige Transmission is nearly invisible except for its perfectly

and fetishized finishes. Despite these minor imperfections,

foreplay or garner its value from subjective, abstract

straight greyish shadow on the wall, yet one would expect a

Cooper’s West Coast attitude and execution still feel cool and

expression. Often it is barely saleable. The Light and Space

visible shift from blue to Mao red. Cooper’s pearlescent paints

perspicuous—especially in cold, wintery New York. Stigibeau!

movement is exactly that: art made with light and space.

are inspired by the 1960s California car culture that engendered

—Hannah Hoel

Most often it combines existing or site-specific architecture

Finish Fetish art. The paints are very topical and sit on the surface

with industrial or ambient light. Thus its difficulty is in giving

with iridescent sparkles that look a bit sexy and very fetishized.

the work proper space.

Blue with Chinese Red - Beige Transmission does not do this. Its

APRIL

2015

Ron Cooper, Pink Out of Control - Red Transmission, acrylic lacquer on Plexiglas, 84” x 3/8” x 3 5/8”, 2014

49 THE magazine | 57

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Blue Gorilla was commissioned by the Philadelphia Zoo to bring attention to critically endangered lowland gorillas. The sculpture is made from blue sheet metal harvested from forty wrecked cars and is intended to make explicit connections between our consumer-driven society, habitat loss, and climate change. Blue Gorilla was selected by the Railyard Art Committee for temporary installation through the end of March 2015. Don Kennell began his sculpture career in the folk art and punk scenes of Houston, Texas, in the late eighties, making outdoor sculpture and art cars. His sculpture is in private and public collections throughout the United States. donkennell.com The Railyard Art Committee invites both individuals and teams to propose visual and performing arts that are vital and experimental for temporary installation within the Railyard Park and Plaza. Details: railyardartproject.com

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APRIL

2015

THE magazine | 59

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A R C H I T E C T U R A L D E TA I L S

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APRIL

2015

Guy Cross THE magazine | 61

WRITINGS

TWO DAUGHTERS DAUGHTERS TWO by R osé by Rosé Oneofofmy mydaughters daughters’isaaBuddhist  One Buddhist  She sits sits on on the the path path and and recites  recites  She Mantras that that float float to to the the heavens  heavens  Mantras And practices practices Buddhistic Buddhistic rites   rites   And Oneofofmy mydaughters daughters’isaaNudist  One Nudist  Though not not always always stripped stripped to to the the skin  skin  Though She practices practices forms forms of of Nudistics  Nudistics  She Both bask bask in in the the sun sun from from within. within. Both

Rosé has been writing and performing poetry for sixty years. He is the author of Poetraits and the epic The Pearl Upon the Crown, both published by Synergetic Press, Santa Fe. They are available on Amazon.

62 | THE magazine

APRIL

2015

Lita aLbuquerque thomas ashcr af t stephen auger KeL se y brooKes robert bueLteman WiLL cLif t brian Knep august muth Vic toria Vesna Jonathon WeLL s ryan WoLfe

noW th rough apriL 25, 2015

in association with stmc,

the university of new mexico and

Los alamos Laboratory

1011 paseo de peraLta, santa fe, nm 505 954 5 800 | petersproJects.com image: Lita albuquerque, Beekeeper. ÂŠ 2015, peters projects and gerald peters gallery