THE magazine, August 2014 by FlavorGrafix Design

MEET ARTIST VERMA NEQUATEWA THURSDAY, AUGUST 21, 2-4 PM

SANTA FE

53 OLD SANTA FE TRAIL | UPSTAIRS ON THE PLAZA | SANTA FE, NM | 505.982.8478 | SHIPROCKSANTAFE.COM

contents 5

letters

universe of: Dancer and choreographer Rulan Tangen

art forum: Untitled photograph by Hellen Van Messe

studio visits: Cannupa Hanska, Clea Carlsen, and Journeyway Price

ancient city appetite: Talin Market

one bottle: The 2012 Comte Abbatucci Rosé “Cuvée Faustine” by Joshua Baer

dining guide:

art openings

out

previews:

Georgia and Santa Fe Bite

& about Courtney M. Leonard at the Museum of Contemporary Native

Arts; Desert Serenade at the Lannan Foundation Gallery; Impacts!: Japanese Contemporary Art at Zane Bennett Contemporary Art; Jun Kaneko at Gerald Peters Gallery; Rose B. Simpson at Chiaroscuro Contemporary Art; and Women in Cultural Context at Tansey Contemporary

national spotlight:

The Platinum Photographs of Larry McNeil and Will Wilson

at the Smithsonian National Museum of the American Indian

interview: Traveling the Bolivian Altiplano with William Siegal

critical reflections:

Amar Larsen and Rebecca Seary at Phil Space; Anne Truitt

at Charlotte Jackson Fine Art; David Solomon at Patina Gallery; Federal Dances in the Park at Federal Plaza Park; From Chaos to Complexity at the Museum of Contemporary Native Arts; Hugh Gibson at the Taos Center for the Arts; Javier López Barbosa and JD Hansen at Mark White Fine Art; Jim Vogel at Blue Rain; Kara Walker at the Domino Sugar Factory (Brooklyn); and Michael Wright at Windsor Betts FIne Art

green planet: John Chris Collins: Sculptor and Activist, photograph: Jennifer Esperanza

architectural details: Blooming Cactus, photograph: Guy Cross

writings: “Storage” by Timothy P.

McLaughlin

The twenty-first century doesn’t own the use or abuse of masterpieces being altered for mass consumption. In Mona Lisa to Marge: How the World’s Greatest Artworks Entered Popular Culture (Prestel, $24.95), authors Francesca Bonazzoli and Michele Robecchi trace the history of icons from the Discobolus to Botticelli’s Birth of Venus to Grant Wood’s American Gothic, presenting many instances of works that were altered or had their meaning re-imagined for popular consumption. This re-purposing of images—whether for commercial advertising, consumer culture, humor, tribute, or ironic commentary—often occurs due to the notoriety of the initial artwork itself. In his preface to the text, artist Maurizio Cattelan lets the reader know he doesn’t believe in the sacredness of images. While he understands that not all of the thirty artists represented in the book might feel proud to see their work reproduced on coffee mugs and slippers, Cattelan claims that this is how many of those artists achieved immortality. If ideas can be in continual circulation, then images can be too—subsequently belonging to everyone and to nobody. Borrowing has always occurred in the arts. In the painting Calling of Saint Matthew, Caravaggio represents the gesture of God to man from Michelangelo’s Sistine Chapel masterwork, Creation of Adam, while its appearance in the movie poster image for the film ET is a direct, if irreverent, reference to the famous gesture. The use of the Nike of Samothrace— better known as the Winged Victory—as inspiration for the Nike “swoosh” logo is an even greater leap. We may smile at the sight of Marge Simpson as the Mona Lisa, but, as a quote by art philosopher and former Louvre painting curator René Huyghe reminds us, “From time to time a work of art contrives to bring together and express all the ideas that mean most to the spirit of a particular time and give it its meanings.”

The twenty-first century doesn’t own the use or abuse of masterpieces being altered for mass consumption. In Mona Lisa to Marge: How the World’s Greatest Artworks Entered Popular Culture (Prestel, $24.95), authors Francesca Bonazzoli and Michele Robecchi trace the history of icons from the Discobolus to Botticelli’s Birth of Venus to Grant Wood’s American Gothic, presenting many instances of works that were altered or had their meaning re-imagined for popular consumption. This re-purposing of images— whether for commercial advertising, consumer culture, humor, tribute, or ironic commentary—often occurs due to the notoriety of the initial artwork itself. In his preface to the text, artist Maurizio Cattelan lets the reader know he doesn’t believe in the sacredness of images. While he understands that not all of the thirty artists represented in the book might feel proud to see their work reproduced on coffee mugs and slippers, Cattelan claims that this is how many of those artists achieved immortality. If ideas can be in continual circulation, then images can be too—subsequently belonging to everyone and to nobody. Borrowing has always occurred in the arts. In the painting Calling of Saint Matthew, Caravaggio represents the gesture of God to man from Michelangelo’s Sistine Chapel masterwork, Creation of Adam, while its appearance in the movie poster image for the film ET is a direct, if irreverent, reference to the famous gesture. The use of the Nike of Samothrace— better known as the Winged Victory—as inspiration for the Nike “swoosh” logo is an even greater leap. We may smile at the sight of Marge Simpson as the Mona Lisa, but, as a quote by art philosopher and former Louvre painting curator Rene Huyghe reminds us, “From time to time a work of art contrives to bring together and express all the ideas that mean most to the spirit of a particular time and give it its meanings.”

Balandrán

July 25 –August 26, 2014

18th Century Bolivian Aymara Ponchos from the Giles Mead & Parry Mead Murray Collection

Public Opening: Friday, July 25 5–7pm Reception: Saturday, August 16 5–7pm

RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 875 01 505.820.3300 | WILLIAMSIEGAL.COM

LETTERS

magazine VOLUME XXII NUMBER II

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 CALENDAR EDITOR B Milder WEBMEISTER Jason Rodriguez SOCIAL MEDIA

Laura Shields

CONTRIBUTORS Diane Armitage, Joshua Baer, Davis K. Brimberg, Jon Carver, Kathryn M Davis, Jennifer Esperanza, Hannah Hoel, Marina La Palma, Timothy P. McLaughlin, James Rodewald, Susan Stella, Paulo T, Richard Tobin, Lauren Tresp, Jeane George Weigel, and Susan Wider COVER

Rulan Tangen photographed by Paulo T Photography See page 18.

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Jimmy Montoya: 470-0258 (mobile) THE magazine is published 11x 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 2014 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.

AUGUST

2014

Historic San Ildefonso Polychrome Pottery—1875 to 1925—on view at Steve Elmore Indian Art Gallery, 839 Paseo de Peralta, Santa Fe. Pottery by Martina Vigil and Florentino Montoya, and Maria and Julian Martinez. Reception: Friday, August 8, from 5 to 7 pm. On view through October 15.

TO THE EDITOR:

Joel-Peter Witkin forces his viewers to confront their unconscious. Although his art is fascinating, I am equally intrigued by viewers’ reactions to his images. Many have described Witkin as a “pervert.” But to me, he is no more twisted than the rest of us. Witkin’s work is a manifestation of everything theorized by Freud and Jung concerning the darkness within the human psyche. All people, not just “bad people,” hold unpleasant even grotesque images, wishes, fears, thoughts, and feelings in their unconscious. When Freud first theorized this, he was met with outrage, like Witkin. How can an infant possibly experience sexual gratification? That’s perverted! A sweet elderly woman has murderous wishes? No! Witkin’s art embraces the most difficult aspects of the mind. He “puts out there” what the rest of us work so diligently to avoid seeing in ourselves. Our minds are defended against accepting our own darkness twenty-four hours a day. Emotional defense mechanisms patrol our psyche like armed watchmen. If we feel nervous about something, we use denial. When we hear something we dislike about ourselves, we project it onto someone else. And so forth. Witkin pushes his viewers’ natural defenses in every sense. Like it or not, it is an undeniable fact that Witkin’s work is beautifully executed. This reality further fuels viewers’ disturbed reactions. Grotesque images are so well done that it forces the mind to experience emotional conflict. Viewers feel horror while simultaneously seeing beauty. Frankly, if Witkin was not so talented, it would be emotionally easier for his viewers. Beauty and horror delivered in one dose is a difficult concoction to reconcile. As a psychologist, I have listened to countless people describe their dreams. The images inside their nightmares are equally, if not more disturbing than anything I’ve seen in Witkin’s work. And, if we lived out our nightmares, we would all be serving life sentences in prison. All of us, myself included. Witkin forces his viewers to sit with emotionally difficult material. Who said art was easy? —Davis K. Brimberg, Santa Fe, via email

TO THE EDITOR:

In response to the letters to THE magazine in the July issue about Joel-Peter Witkin’s recent exhibition and the claim that publishing a review was somehow a promotion of the artist’s work. A review indicates that the artwork is worthy of consideration, for better or worse. In response to the conflicting claim that Witkin was “dismissed”—the fact is that a review published is evidence that both the writer and publisher felt it was worth their time to consider the work. The review was certainly critical, as all reviews should be, but critical consideration is in no way a dismissal. Additionally, to claim that Witkin’s photography “celebrates domination and torture” demonstrates ignorance of the work’s nuances. The images contemplate the notion that the participation in such lifestyle choices might be consensual and undeserving of judgement, and that marginalized individuals might be normalized and accepted. Whether Witkin’s work does this well is another issue altogether, hence the critical nature of the review. —Lauren Tresp, Writer, via email TO THE EDITOR:

I was paging through your April 2014 issue and came across the photo of an exultant Walter Chappell in the labyrinth he built, unfenced and free of willows, on what is now our property in El Rito. Close by, Walter also constructed a riverside bathtub, raised up over a space to burn twigs. A falling tree destroyed his venting system, but the royal tub survives. The big back bedroom is all that remains of the house Walter lived in, but we live within the old perimeter. The builder who tore it down and rebuilt the house was very fond of Walter, and he had a saintly photograph of him by the staircase where he built a sleeping loft and balcony. Most people seemed to be fond of Walter, impossible character that he was. His Meta Flora series worked its way into a novel I wrote during winters there. If at all possible, I would love a copy of the photo you ran. Walter’s spirit is present in many jerryrigged projects around the property; the labyrinth feels the most restful and complete. —Al Burton, El Rito, NM, via email

Apologies to Rice University in Houson for not crediting them for the cover image in the July issue.

THE magazine | 5

Tom Chambers REVERIE

July 24 – September 13, 2014

Willy Bo Richardson, That’s Where You Need to Be 16, 2013, oil on canvas

That’s Where You Need to Be William Betts • Xuan Chen • Maria Park • Willy Bo Richardson August 2 - September 19 Gallery Reception: Friday, August 1, 6:00 - 8:00 pm

Richard Levy Gallery • Albuquerque • www.levygallery.com • 505.766.9888

DAVID CRANE AND JOSÉ SIERRA AUG 8 - SEPT 20 Opening Reception for the Artists Friday, August 8 5:00 - 7:00 pm

photo-eye

GALLERY

541 S. Guadalupe (Hotel Santa Fe Guadalupe Entrance) 988-5152 x202 photoeye.com/tomchambers Also, Opening in our Project Space at 376 Garcia Street:

Brad Wilson: AVIAN

Artist Reception and Booksigning August 22, 5–7pm

photo-eye

BOOKSTORE + PROJECT SPACE

376 Garcia Street, Santa Fe, NM 87501 988-5152 x201 photoeye.com/bradwilson

Special Indian Market Reception Friday, August 22 5:00 - 7:00 pm

SANTA FE CLAY Contemporary Ceramics 545 Camino de la Familia, Santa Fe, NM 87501 www.santafeclay.com 505.984.1122

David Crane

JEREMY THOMAS Ditching the Cardigan August 1 - August 31 Reception for the Artist Friday, August 1st, 5 -7pm

CHARLOTTE JACKSON FINE ART Tel 505.989.8688 | 554 South Guadalupe Street, Santa Fe, NM 87501 | www.charlottejackson.com Super Duty Yellow, 2013, forged mild steel, powder coat and lacquer, 54 x 88 x 60 inches

Christopher Benson Withheld Narratives August 1-29, 2014

MONROE GALLERY of photography

STEVE SCHAPIRO Once Upon A Time In America

ARTISTS’ RECEPTION: FRIDAY, AUGUST 1, 5:00-7:00PM

Tom Palmore

Big Cats and Birds August 1-24, 2014

Andy Loves Edie, 1965

Exhibition continues through September 21

open daily 112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e: info@monroegallery.com www.monroegallery.com

Hiroshi Yamano & Pedro Surroca Branches August 8-September 21, 2014 ARTISTS’ RECEPTION: FRIDAY, AUGUST 8, 5:00-7:00PM

LewAllenGalleries Railyard Arts District 1613 Paseo de Peralta Santa Fe, NM 87505 (505) 988.3250 www.lewallengalleries.com info@lewallengalleries.com

JAMES KELLY CONTEMPORARY JAMES DRAKE PAGES NEW DRAWINGS | THROUGH 27 AUGUST 2014 JAMES DRAKE: THE ANATOMY OF DRAWING AND SPACE (BRAIN TRASH) MUSEUM OF CONTEMPORARY ART SAN DIEGO DOWNTOWN, JACOBS BUILDING JULY 10 – SEPTEMBER 21, 2014

1611 PASEO DE PERALTA | SANTA FE | JAMESKELLY.COM

Christopher Selser

Navajo “Corn Plant” textile 60 inches by 45 inches c.1925

223 N. Guadalupe, #563 • Santa Fe, NM 87501 • Email: tribalart@q.com • Phone/Fax: (505) 984-1481

Please visit my gallery space in Antiques on Grant, 136 Grant Ave. and Palace Ave.

IMPACTS! . 勢み Japanese contemporary art FrIDay, aUG 22, 5-7 pm GranD openInG aUG 19-23, 2014 WeeklonG events presenteD by zane bennett contemporary art & mIzUma art Gallery, tokyo

YAZZIE JOHNSON + GAIL BIRD thUrsDay, aUG 21, 2014, 4-6 pm openInG receptIon artIsts WIll be present FeatUreD necklace avaIlable eXclUsIvely at zane bennett contemporary art

zane bennett contemporary art 435 S Guadalupe St, Santa Fe, nM 87501 t: 505-982-8111 zanebennettGallery.coM aboVe: KondoH aKino, KiyaKiya paintinG 11 , 2013, oil on canVaS, 29 7/8 x 40 1/8 in. (76 x 102 cM)

beloW: yazzie JoHnSon + Gail bird, SoutH Sea pearl necKlace, 18Kt Gold, 2014

NOCONA BURGESS

TERRANCE GUARDIPEE

THE POWER OF A WOMAN Friday, August 22, 2014 Meet & Greet 4:15 Lecture and Show Opening 5-7pm

Indian Market Artist Reception August 22, 6•8pm

203 West Water Street

SAMOHPU’ - SISTER 48x30 acrylic

203 West Water St.

& 713 Canyon Road

Santa Fe, NM 87501 www.casweckgalleries.com • 505.988.2966

CANNUPA HANSKA LUGER New Works, August 20 – 24, 2014 Artist Reception: Wednesday, August 20th from 5 – 8 pm

Regalia (Winter Fox) Ceramic and mixed media 14" h x 4.5" w x 5.5" d

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

Jeane george weigel Truchas ModernisM Santa Fe Scout Collection

available at

1219 Cerrillos Road and

Reception with the artist Saturday, August 2 • 3–5pm

Santa Fe Dry Goods on The Plaza

hand arTes gallery

Dana Waldon

County Road 75, #137 • Truchas 505.689.2443 • handartesgallery.com

505.660.6442 santafescoutcollection.com

Steve Elmore Indian Art Presents

Historic San Ildefonso Polychromes Exhibition and Sale Online After August 8th at: elmoreindianart.com

Opening Reception Friday, August 8 t h 5:00 - 7:00 pm

839 Paseo De Peralta • Santa Fe NM 87501 • (505) 995-9677

Picture Frame Specialist since 1971

Randolph Laub studio 2906 San Isidro Court

Santa Fe, NM 87507

www.laubworkshop.com

505 473-3585

ROMANCE DRAMA FUN

SEASON

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. . . all at THE SANTA FE OPERA

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JUNE 27 - AUGUST 23

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AN INCREDIBLE SETTING Arrive early with a tailgate supper to enjoy the sunset and spectacular mountain views. Tickets start at $32! New Mexico Residents: Ask about a special first-time offer when you call. SantaFeOpera.org

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Mozart

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AMERICAN PREMIERE

DR. SUN YAT-SEN

Huang Ruo

UNIVERSE OF

RULAN

TANGEN—DANCER, CHOREOGRAPHER, AND ARTISTIC DIRECTOR OF DANCING EARTH—WAS ORIGINALLY INSPIRED BY THE BALLET

RUSSES, WHOSE ARRIVAL IN PARIS IN THE EARLY 1900S CAUSED A MAJOR SENSATION. MANY OF THE PREEMINENT CONTEMPORARY ARTISTS OF THE TIME VIED TO COLLABORATE WITH THE DANCE COMPANY. TANGEN’S VISION FOR DANCING EARTH IS TO GENERATE A RENAISSANCE OF COLLABORATIONS THAT WILL EMPOWER COMMUNITIES THROUGH THE MEDIUM OF DANCE. NOW IN ITS TENTH YEAR, THE COMPANY WILL EXPLORE THE THEME OF SEED, AND WILL SHARE THAT NOURISHMENT OF BODY, MIND, HEART, AND SOUL FOR THE HEALTH OF ALL PEOPLE AND OUR PLANET. BE PART OF AN EVENING OF EARTH AND SKY ON SUNDAY, AUGUST 25, 6 PM AT THE SKYLIGHT MUSIC HALL—139 WEST SAN FRANCISCO STREET. DETAILS: DANCINGEARTH.ORG MANY HATS

be more than entertainment. In the current state of our

COLLABORATION

I believe my special gift on earth is to be a

Earth, there is a lot going on socially and environmentally

The beautiful paradox about dance is that you don’t need

choreographer—a dance maker. As a small girl I began

that needs transformation, and dances can be rituals for

tools or instruments; all you need is your body. By nature,

with drawing and writing stories, channeling my dreams

energy shifts. It is also a showing of reciprocity to the

dance is collaborative—first with music, then costumes,

onto paper, but eventually that felt flat. I wanted to

universe, a giving back, and, for me, gratitude for life

lighting, and more. Besides artistry, I go deeper by inviting

embody these imaginings, and I fell passionately in love

after surviving a challenging illness. With movement, I am

all the dancers and musicians to contribute their cultural

with dance. I danced in ballet, opera, powwow, circus,

carving out time and space with enhanced awareness,

perspective, and in this way invite native protocols and

television, and film, and loved every moment. Eventually

heightened senses, and the magic of weaving together

collaborative leadership practices. This summer, Dancing

I found that the dance I most wanted to express

the seen and unseen realities of past-present-future, the

Earth goes global with indigenous artists from seven

was a form that did not seem to exist—indigenous,

embodiment of dreams.

countries coming to New Mexico to collaborate on a series

contemporary, of the earth, and richly layered with the

of seed solos that will highlight each cultural perspective.

complexity of culture. I wanted to dance not as a soloist,

THEME OF SEED

This will be the first rendition of a multi-year seed

but with a circle of inter-tribal dancers. To do this, I had

I had been working on dances on behalf of water for

production that includes cultural exchanges, community

to grow them, and thus became a teacher. To be able

several years. Each time I was invited to bring those

engagement, land dance, workshops, and both indoor

to retain the group, I became the founder and artistic

dances to a native community I was led to a garden

and outdoor performances. I have been honored to work

director of Dancing Earth. With that came many hats:

of native plants. If water is the omnipresent, seed is

with locally based artists who are working at international

producer, grant-writer, and travel agent. I am now in a

the humble channel of that life force—everything our

levels of aesthetic and innovation: Marion Wasserman and

constellation of an extraordinary circle of artists who are

ancestors have stored in each of us as a hope and

Louis Leray with mini-eco films and Will Wilson with tech-

supported by volunteers who contribute food, housing,

a dream. Some seeds propagate in the wild, others

enhanced tintypes that become motion films when you

tech, bodywork—creative contributions that help us to

are cultivated, while others must be kept secret and

slide a free app over it. Our dances have always appealed

generate innovative cultural dance in an era and a place

stored until the right time. Besides movement as a

to those far beyond the dance crowd. We have performed

where the arts are very vulnerable.

means of interpreting and expressing knowledge,

in opera houses, museums, and rez community centers.

or deepening an understanding, there is information

And it is the same with our classes and workshops. When

DANCE AS RITUAL

that is stored in the body that can only be accessed

we go to universities we attract an extraordinary number

If I look at indigenous roots of dance, movement is

through kinetic intelligence. So, with seed, I am

of non-dancers. Dancing Earth is about inclusion, diversity,

central to functional ritual for the existence of society.

working that theme through the body to understand

celebrating the ability to move, and the expressive ability

I have been exploring the de-colonizing or indigenizing

it from sensibilities that are revealed by movement.

to interpret and embody themes.

of contemporary dance, and looking at these roots helps

Everything in life is an expression that grew out of a

me understand the potential role of dance in society.

seed of a dream planted earlier.

Although dance can be celebratory and beautiful, it can

PHOTOGRAPH BY P AULO TP HOTOGRAPHY.COM

AUGUST

2014

THE magazine | 19

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ART FORUM

THE

magazine asked a clinical psychologist and two people who love art to share their take on this untitled photograph by Hellen van Meene. They were shown only this image and were given no other information.

I am reminded of “the magic of Disney.” A sweet

us in, gives us something of meaning or beauty or joy, or

of this photograph is not one of malevolence like

Tinker Bell–like girl blows pixie dust on a Peter Pan–like

all of these things, whatever it is we need in that moment.

many of the myths portray, but instead one of an

boy. “Take this. It helps people fly if they think happy

It meets us where we are and is fluid, not static. Like a

innocent benevolence with the young woman blowing

thoughts.” Why does a fairy’s dust contain special

good friend can be when we are lost and we are found.

powder gently over the young man, possibly her

powers? Psychologically, these spiritual creatures

—Jeane George Weigel, Artist, Truchas, NM

sibling, as an initiation into manhood and love. They

symbolize protection, love, hope and prosperity.

both look very young and there is a purity in their

We see them as conduits. They help us courageously

The first response I had to this image was that it was

body language visible through the gentle stances

pursue and fulfill our wishes. In this work, the boy may

a staged photograph, and I questioned the allegorical

they hold and the serene expressions on their faces.

be a younger version of the artist and she is blessing

meaning that may have come from some ancient

I see a shared sweetness between the two, as he is

him with heightened creativity. “From my dust, you

mythology. Upon doing research, I found that many

calmly accepting of her ritual action, which appears

will make your most beautiful work.” Alternatively,

cultures have tales and myths of dust, ash, cremains, or

to be a consensual passing of a sort of wisdom and

the waistband on the boy’s trunks appears like those

powders being blown into the face of another. These

connection between the young man and woman.

of a boxer’s. Maybe she is sending him good luck

practices are used for poisoning, cleansing, initiating,

—Susan Stella, Artist and Interior Designer, Santa Fe

before he enters the ring. Also, the dust shown here

or casting love spells upon a victim. My impression

seems to hold a life of its own. It glides throughout like a spiritual entity, brightly illuminating the scene. Perhaps she is transferring this spirit to him. The work feels optimistic in every sense. A modern day fairy, in human form, prepares a boy for greatness. —Davis K. Brimberg, Ph.D., Clinical Psychologist, Santa Fe Tonight as I look at this photo I see a story of friendship. I see a young man who has perhaps lost his way, his footing. Maybe life sucks for him in this moment. And he is there with his friend who knows he’s lost and also knows there’s nothing she can say, there’s no conversation they can have, that will help him. So she does what she can. She stands strong and is there for him. She accepts him exactly as he is. And she acts to soothe him. Maybe it’s a light powder she has made that smells of fresh rosemary and lavender, mixed with the finest of pulverized mica dust and sweet licorice flour. And he stands there because he trusts her, even when he can’t trust himself. He allows her to tend to him because he doesn’t know what else he can do. So she gently blows her powder over him in an instinctive healing ritual that is as old as time. She knows to do this, in part, because he did his own version of it for her not long ago. He stood strong and was there for her when she was lost. He accepted her exactly as she was and he soothed her with his own instinctive healing ritual, using words as she does her powder. But that is what I see in the photo tonight. Tomorrow it may be something entirely different: a baking scene gone mad or the obvious cocaine possibilities. And isn’t that the pure beauty of art? It can dance with us, depending on our moods. It opens itself to our own interpretations, invites

22 | THE magazine

AUGUST

2014

STUDIO VISITS

ERICH FROMM WROTE, “CREATIVITY REQUIRES THE COURAGE TO LET GO

CERTAINTIES.”

THREE

ARTISTS RESPOND.

Imagination, inspiration, and originality break old habits that condemn the human spirit. The restriction of today’s society has tiny doors to spread human courage. Reality sets deeper in stone, but remember that you can change reality through the power of creativity. Art is a tool to let you out of your own certainties.

—Journeyway Price Price participated in Life Out of Balance, a collaborative installation at the Institute of American Indian Arts in June. The installation consisted of a giant spiral of trash, with a backdrop of Godfrey Reggio’s film Koyaanisqatsi. Price will be showing her work with Axle Contemporary in November and at Eggman & Walrus Gallery December through February 2015. Michelle_star49@yahoo.com

At some point as a student I was told to draw what I see, not what I know. This was one of the most valuable lessons I was ever given, but I still have to constantly remind myself of it. I find myself always trying to retain control and to be in the driver’s seat, because I never really believe I’ll get to the other side unless I am the one driving the car. But when I allow myself to drive my work, I rarely end up anywhere worthwhile. When I see a finished piece and think that I don’t know how I did that, or how I got there—when it tells me things I didn’t know I was thinking, or seeing, or trying to say—in spite of the terror and frustration I felt trying to get there, I definitely then feel I’ve arrived somewhere worth going.

—Clea Carlsen Carlsen’s work can be viewed in the group show Women in Cultural Context, an exhibition at Tansey Contemporary, 652 Canyon Road, Santa Fe. Reception: Friday, August 29, from 5 to 7 pm. clea.carlsen@yahoo.com

I believe reality is a construct built of all our interactions. It accepts our courage and our cowardice. It is woven of triumphs and defeats. The only thing reality requires is for us to bear witness.

—Cannupa Hanska Luger’s work will be part of the Annual Celebration of Contemporary Native American Art at Blue Rain Gallery, 130 Lincoln Avenue. Reception: Friday, August 22, 5 to 8 pm. This is A Stereotype—a film by Luger, Dylan McLaughlin, and Ginger Dunnill—will be shown on Saturday and Sunday, August 23 and 24, 11 am to noon at the Museum of Contemporary Native Arts, 108 Cathedral Place. cannupahanska.com

photographs by AAUUGGUUSSTT

2014 2014

Anne Staveley magazine | 25 magazine |5 THE THE

The Encaustic Art Institute Guy Baldovi, NM

The Encaustic Art Institute represents more than 140 artists nation-wide, including Canada and Mexico. Artists work in encaustic/wax, often working with a wide array of mixed media, from painting to photography, collage, sculpture and more. Gallery open to the public weekends from Noon - 5 pm or by appointment. Contact Douglas Mehrens at 505-424-6487.

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April through October A non profit arts organization. For map and information go to

www.eainm.com Thanks to Los Alamos National Bank for their continued support.

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ANCIENT CITY APPETITE

Ancient City Appetite by Joshua

Baer

Talin Market’s Pop-Up Dumpling House 505 Cerrillos Road, between Ohori’s and the Luna Center, in Santa Fe Mondays only, 10:00 AM until 7:30 PM - Major credit cards 505 780-5073 Some of the best food in Santa Fe is being cooked and served at Talin Market, in

you will need two orders. By the time Monday rolls around, I am so hungry for Talin’s

the form of traditional Chinese dumplings. That’s the good news. The bad news is

dumplings, I order one Shrimp and one Traditional.

that dumplings this good are being served only on Mondays. Why? You can ask the

Shrimp Won Ton Soup ($8). As delicious as it is medicinal. Order it without

people at Talin, but if the answers they give you are as nebulous as the answers they

noodles in a to-go container. If you’re too full to finish it, the soup makes a great

gave me, you will be as confused as I am. And, believe me, you do not want to be

end-of-the-day meal.

as confused as I am. Back to the good news.

Hot and Sour Pickled Cucumber ($1.50). You want to be sure to get two of these. “Fresh” is a word that gets bounced around a lot in the restaurant business, here

Hot & Sour Soup (included with your dumpling order).

and everywhere else. Talin’s Pop-Up Dumpling House gives a whole new meaning

Dumpling Sauce: Traditional, Spicy, or Sichuan (also included—order all

to the word. When you get there you go right to the register, place your order on

three!).

a little piece of paper provided by the cashier, and pay. While you’re waiting for your

Dumplings: Shrimp ($9) or Traditional ($8). Both are exceptional. The Traditional is, hands-down, the best pork dumpling I have tasted. Talin also offers these variations on a dumpling: Vegetarian ($8), Wild Salmon ($10), and Ribeye ($8). Given that I have neither ordered nor tasted these three varieties,

receipt, turn your head to the right. Five feet from where you’re standing there will be a lady, usually dressed in black, making a dumpling. The dumpling she’s making? That’s your dumpling. Chinese dumplings, made to order—that’s my definition of fresh.

I cannot recommend them, but if they are half as good as the Shrimp and the Traditional, you will not be disappointed. Talin serves eight dumplings per order—enough for one person, unless you are

Ancient City Appetite recommends places to eat, in and out of Santa Fe. Photograph is by

either blessed or cursed with my infinite appetite for Chinese dumplings, in which case

Joshua Baer. Send the names of your favorite places to places@ancientcityappetite.com.

AUGUST

2014

THE magazine | 27

“Santacafé always feels chic, yet causal— like “Cheers” with class.” – John Vollersten, Santa Fean

Under the Moon A Perfect Table for Two The Compound A Santa Fe Tradition ~ Reinvented!

lunch - monday thru saturday sunday brunch dinner nightly

Lunch • Dinner • Bar

Reservations 505.982.4353 653 Canyon Road compoundrestaurant.com

restaurant bar 231 washington avenue - reservations 505 984 1788

gift certificates, menus & special events online www.santacafé.com

photo: Kitty Leaken

Drink different.

Small Batch Heirloom Spirits from the Great Southwest www.kgbspirits.com

ONE BOTTLE

One Bottle :

T he 2012 C omte A bbatucci R osé “C uvée F austine ” by J oshua

B aer .

“Attempt what is not certain. Certainty may or may not come later.

you see chairs, friends, walls, and windows as they might have appeared in his

It may then be a valuable delusion.” Richard Diebenkorn, from Notes

paintings. Seeing your world through someone else’s eyes changes everything.

to Myself on Beginning a Painting.

It reminds you that the ambiguity of nature and the nature of ambiguity are

Richard Diebenkorn was born on April 22, 1922 in Portland,

never far apart.

Oregon. He was an only child. When he was two, he and his parents

Which brings us to the 2012 Comte Abbatucci Rosé “Cuvée Faustine.”

moved to San Francisco. At the age of four, he was drawing all the time,

In the glass, Abbatucci’s rosé is the color of the skin of a ripe peach.

usually on scrap paper.

The bouquet wastes no time. It grabs your attention and refuses to give

In 1940, Diebenkorn entered Stanford University, where he met

it back. On the palate, the wine is simultaneously aristocratic and crude.

Victor Arnautoff, a professor and muralist who introduced Diebenkorn

Its flavors dodge identification the way genius defies categories.

to the formal discipline of oil painting; Daniel Mendelowitz, who

The finish is a slow surprise. It adds and keeps adding layers to itself,

introduced him to the works of Edward Hopper; and Phyllis Gilman, his wife-to-be. In 1943, Phyllis and Richard were married, in Santa Barbara. Between 1943 and 1945, Diebenkorn served in the Marine Corps. The Diebenkorns’ daughter, Gretchen, was born in 1945. Their son, Christopher, was born in 1947. “I can never accomplish what I want—only what

right up to the moment when it disappears. Richard Diebenkorn died in Berkeley, California, on March 30, 1993. In the May 23, 1993, issue of The New Yorker, Adam Gopnik wrote an article entitled “Diebenkorn Redux.” The article closes with a quote from Wayne Thiebaud, Diebenkorn’s close friend and colleague. “There’s a systematic skepticism inherent in his paintings—

I would have wanted had I thought of it beforehand.”

they always seem complete but never finished… He loved the

Richard Diebenkorn.

beautiful—that’s there, this earthiness—but it always involved oil

a juxtaposition of opposites. He talked a lot about crudeness.

paintings, drawings, cigar boxes, watercolors, etchings,

Visiting his studio in Venice, where he made the Ocean Park

and monotypes earned him the reputation as the

series, was always lovely, but strange. It was a cinder-block house

most important California artist of his generation. His

that he had built, with little pieces of landscape all around—

abstractions (including his Albuquerque, Berkeley, and

right angles of freeways and abutments, not at all pastoral. He

Ocean Park paintings), along with his interiors, landscapes,

took a long time looking before he started to work anywhere.

portraits, and still lifes can be found in most of the

He moved north again toward the end of his life, and his wife,

world’s best museums and private collections. In 2012,

Phyllis, wanted to plant flowers out front after they had been

at Christie’s in New York City, his Ocean Park #48 sold

there for a month or two. Dick wouldn’t let her. He had just

for $13,250,000, the auction record for a Diebenkorn.

begun to grasp what was there, and he didn’t want to have to

While critics, collectors, curators, and dealers often argue

distill a new element, even a lovely one. Especially a lovely one.

about what makes a Diebenkorn a Diebenkorn, no one

“My visits to Dick’s studio were always pleasing. He’d keep

Between

1945

and

1993,

Diebenkorn’s

disputes his status as a legendary artist.

the pictures around for a long while, and then, finally, after a long

“Somehow don’t be bored—but if you must, use it

silence, he’d ask me about them. I was hesitant to say anything.

in action. Use its destructive potential.” From Notes to

He created a kind of envelope of hesitancy around him. Finally,

Myself on Beginning a Painting.

I’d work up the nerve to criticize one section of a picture. He’d

One of the qualities associated with a Diebenkorn is

sigh, and say, ‘Yes, that’s just the part that bothers me.’ He

the way it changes the way you see things. If you spend

always thought that painting was revision. There was a beautiful

time with one of his works on paper, stand in front of an

Indian miniature he kept in his studio, which I always admired.

Ocean Park in a museum, or even spend an hour looking

Once, when I was visiting him, I noticed that one tiny area in

at reproductions of his etchings, your eyes will start to

the miniature had suddenly changed, had been made green.

see the world through the prism of Diebenkorn’s eye.

I looked at Dick. ‘Yeah,’ he said—he was a little

His colors are contagious. His perspective is viral. His

embarrassed. ‘I corrected it.’”

lines, the interruption of his lines, and the non-repeating, non-terminating geometry formed by the continuation

One Bottle is dedicated to the appreciation

of his lines colonize your eyesight. When you go outside,

of good wines and good times, one bottle

you see clouds, sidewalks, and trees the way Diebenkorn

at a time. You can write to Joshua Baer at

might have painted them. When you go back inside,

jb@onebottle.com.

AUGUST

2014

THE magazine | 29

DINING GUIDE

Pan-Roasted Scottish Salmon at

GEORGIA 225 Johnson Street, Santa Fe Reservations: 989-4367

$ KEY

INEXPENSIVE

up to $14

MODERATE

$15—$23

EXPENSIVE

$$$

VERY EXPENSIVE

$24—$33

$$$$

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.

$34 plus

EAT OUT OFTEN photos :

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. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: Generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. Watch for special wine pairings. Andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ 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. $$$$ Cuisine: Contemporary American with a what we call a “Southwestern twist.” Atmosphere: A classy room. House specialties: For dinner, start with the Heirloom Beet Salad. Follow with the flavorful Achiote Grilled Atlantic Salmon. Dessert: the Chef’s Selection of Artisanal Cheeses. Comments: Attentive service. Bouche 451 W. Alameda Street 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: Standouts starters are the “Les Halles” onion soup and the Charcuterie Plank. You will love the tender Bistro Steak in a pool of caramelized shallot sauce and the organic Roast Chicken for two with garlic spinach. Comments: Chef Charles Dale is a consummate pro. Cafe Cafe Italian Grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad or the tasty specialty pizzas, or the grilled Eggplant sandwich. Dinner: the grilled Swordfish. Comments: Friendly. Café Fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch. Patio Cash/major credit cards. $$ Cuisine: Call it contemporary comfort

food. Atmosphere: Casual. House specialties: For breakfast, both the Huevos Motulenos and the Eldorado Omlet are winners. For lunch, we love the One for David Fried Fish Sandwich, and the perfect Green Chile Cheeseburger. Comments: Annamaria O’Brien’s baked goods are really special. Try them. You’ll love them. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian maiden posters. House specialties: Hotcakes got a nod from Gourmet magazine. Huevos motuleños—a Yucatán breakfast—is one you’ll never forget. Chopstix 238 N. Guadalupe St.  982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, Kung Pau Chicken, and Broccoli and Beef. Comments: Friendly owners. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ 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.

specialties: For lunch try Doc’s Chile Relleno Platter or the Northern New Mexico Lamb Chops. Dinner faves is the Pan Seared Whole Boneless Trout. Comments: Great bar. Dr. Field Goods Kitchen 2860 Cerrillos Rd. 471-0043. Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: New Mexican Fusion. Atmosphere: Casual and friendly. House specialties: Starters: Charred Caesar Salad, Carne Adovada Egg Roll, and Fish Tostada. Mains: El Cubano Sandwich, and Steak Frite, . Comments: You leave feeling good. Real good. Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room where you can sit, read periodicals, and schmooze.. House specialties: Espresso, cappuccino, and lattes. El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ 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.

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.

Georgia 225 Johnson St. 989-4367. Patio. Aprés Lunch and Dinner - Full bar. Major credit cards. $$$$ Cuisine: Clean and contemporary. Atmosphere: Friendly and casual. House specialties: Start with the tasty Charcuterie Plate or the Texas Quail. Entrée: We suggest the Pan-Roasted Salmon or the Talus Wind Ranch Rack of Lamb. Good wine list and a bar you will love to sit at. Comments: Aprés Lunch served from 1:30–5:30. Chef Brett Sparman knows his stuff. For sure.

Doc Martin’s Restaurant 125 Paseo del Pueblo Norte. 575-758-2233. Lunch/Dinner/Weekend Brunch Full bar. Major credit cards. $$$ Cuisine: Regional New American. Atmosphere: Down home. House

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 served with black truffle scallions, and the classic peppery Elk tenderloin. Comments: Wonderful desserts. An attentive waitstaff. Harry’s Roadhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Down home House specialties: For breakfast go for the Scrambled Eggs with Smoked Salmon, Cream Cheese. Lunch: the All-Natural Buffalo Burger. Dinner: the Ranchero Style Hanger Steak. Comments: Friendly. Il Piatto Italian Farmhouse Kitchen 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ 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 Road. 428-6390 Lunch/Dinner Saki/Wine/Beer Major credit cards. $$$ Cuisine: Japanese-inspired small plates. Atmosphere: A sense of quitetude. House specialties: For starters, both the Wakame and the Roasted Beet Salads are winners. We also loved the Nasu Dengaku— eggplant and miso sauce and the Butakushi—Pork Belly with a Ginger BBQ Glaze. Comments: A wonderful selection of Saki.

Fries and the New Mexican Burger. Wonderful desserts, excellent wine, beer on draft, and great service. Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: Love the Sake. La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast / Lunch / Dinner / Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: An Authentic Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian tamales. Comments: Sunday brunch. Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: Pho Tai Hoi: vegetarian soup. Comments: Friendly waitstaff. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ 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.

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: Chef Obo wins awards for his fabulous soups.

Maria’s New Mexican Kitchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner (Thursday-Sunday) Beer/wine. Patio. Major credit cards. $$ Cuisine: American/New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: House-made Tortillas and Green Chile Stew. Comments: Perfect margaritas.

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 or the Scottish Fatty Salmon Sashimi. For your main, try the Lamb & Baby Yellow Curry Tagine or the Crispy Duck, Salt Cured Confit Style. Comments: The bar menu features Polenta

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: Large 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: Good dessert selection.

continued on page 33 AUGUST

2014

THE magazine | 31

Fresh Seafood when you want it!

oySterS

live Ster b o l e n i ma

Smok troued t

Squid

mexica n Shrimwhite p halibut

jonaha wS l crab c ScallopS

t h g SoFt cauon d Sh l wi Salm crab ell S

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

DINING GUIDE

Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. Atmosphere: Large open room. House specialties: In the morning, try the Mediterranean Breakfast— Quinoa with Dates, Apricots, and Honey. Our lunch favorite is the truly delicious Indonesian Vegetable Curry on Rice; Comments: For your dinner, we suggest the Prix Fixe Small Plate: soup, salad, and an entrée for $19. Wines and Craft beers on tap.

Santa Fe Bite’s Patty Melt 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. Comments: Deli platters to go. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile. Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American, all the way. Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs and Burgers. Haystack fries rule Recommendations: Nice wine list. Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Patio. Major credit cards. $$$ Cuisine: Southwestern with a French flair. Atmosphere: Contemporary. House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Nice wine list. Rose’s Cafe 5700 University W. Blvd SE, #130, Alb. 505-433-5772 Breakfast/Lunch. Patio. Major credit cards. $ Cuisine: A taste of the Yucatán with a Southwest twist. House specialties: We love the Huevos Muteleños and the Yucatán Pork Tacos. Comments: Kid’s menu and super-friendly folks. San Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ Cuisine: Japanese Sushi and Tapas. Atmosphere: Large room with a Sushi bar. House specialties: Sushi, Vegetable Sashimi and Sushi Platters, and a variety of Japanese Tapas. Comments: Savvy sushi chef. S an F rancisco S t . B ar & G rill

50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar.

AUGUST

2014

311 Old Santa Fe Trail

•

982-0544

Major credit cards. $$ Cuisine: As American as apple pie. Atmosphere: Casual with art on the walls. House specialties: At lunch try the San Francisco St. hamburger on a sourdough bun; the grilled salmon filet with black olive tapenade and arugula on a ciabatta roll; or the grilled yellowfin tuna nicoise salad with baby red potatoes. At dinner, we like the tender and flavorful twelve-ounce New York Strip steak, served with chipotle herb butter, or the Idaho Ruby Red Trout, served with grilled pineapple salsa. Comments: Visit their sister restaurant at Devargas Center.

on the mark. Comments: A great selection of wines. Happy hours 3-6 pm and after 9 pm.

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.

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

Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmealcrusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet. Santa Fe Bite 1311 Old Santa Fe Trail. 982-0544 Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: For breakfast, go for either the Huevos Rancheros or the Build Your Own Omelette. Can’t go wrong at lunch with the 10 oz. chuck and sirloin Hamburger or the Patty Melt on rye toast. At dinner (or lunch) the Ribeye Steak is a winner. Good selection of sandwiches and salads (we love the Wedge Salad with smoked Applewood Bacon). And the Fish and Chips rivals all others in Santa Fe. Comments: The motto at The Bite: “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 and hip. House specialties: Tuna Steak, the Chicken Fried Chicken with mashed potates and bacon bits, Ceviche, and the New York Strip with a MushroomPeppercorn Sauce. Desserts are

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: Daily specials, gourmet sandwiches, wonderful soups, and an excellent salad bar. Comments: . Do not pass on the Baby-Back Ribs when they are available.

Shake Foundation 321 Johnson St. 982-9708. Lunch/Early Dinner - 11am-6pm Major credit cards. $$ Cuisine: All American. Atmosphere: Casual with outdoor table dining. House specialties: Green Chile Cheeseburger, the Classic Burger, and Shoestring Fries Comments: Sirloin and brisket blend for the burgers. Take-out or eat at a picnic table. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff. Station 430 S. Guadalupe. 988-2470 Breakfast/Lunch Patio Major credit cards. $ Cuisine: Light fare and fine coffees and teas. Atmosphere: Friendly. House specialties: For your breakfast, get the Ham and Cheese Croissant. Lunch fave is the Prosciutto, Mozzarella, and Tomato sandwich. Comments: Many Special espresso drinks. 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

Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to tableto mouth. Atmosphere: Casual. House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox. A variety of teas from around the world available, or to take home. Terra at Four Seasons Encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties: Breakfast: Blue Corn Bueberry Pancakes. Dinner, start with the sublime Beet and Goat Cheese Salad. Follow with the PanSeared Scallops with Foie Gras or the delicious Double Cut Pork Chop. Comments: Chef Andrew Cooper partners with local farmers to bring seasonal ingredients to the table. An excellent wine list The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive.  505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ 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:the Steak Dunigan or the Fried Shrimp Louisianne Comments: Cocktails and nibblles at cocktail hour in the Dragon Room is a must! 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. $$ Cuisine: Traditional New Mexican. Atmosphere: Easygoing and casual. House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese. Lunch: choose from the daily specials. Comments: Real deal. Tune-Up Café 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home. House specialties: For breakfast, order the Buttermilk Pancakes or the Tune-Up Breakfast. Comments: Easy on your wallet. A true 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 the salads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: NIce seating on the patio. When you are in Albuquerque, visit their sister restaurant at 1828 Central Ave., SW. Zacatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Slow Cooked Pork Ribs. Over 65 brands of Tequila. Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: All-American diner food. Atmosphere: Real casual. House specialties: The perfect Chile Rellenos and Eggs is our breakfast choice. At lunch, we love the Southwestern Chicken Salad, the Fish and Chips, and any of the Burgers Commets: A wonderful selection of sweets available for take-out. The bar is most defintely the place to be at cocktail hour.

THE magazine | 33

Lilly Fenichel, You’re Getting To Be A Habit With Me, 2003, Acrylic Raw Canvas, 50” x 44”

LILLY FENICHEL REWIND <> REPLAY : 1950 - 2014 August 1 - September 6, 2014 Artist reception: Friday, August 1, 5:00 - 7:00 PM

Meridel Rubenstein, Mt. Bromo from above Encircled, 2014, Archival pigment on aluminum, Ed. 1/ 7, 18.5” x 27”

MERIDEL RUBENSTEIN EDEN TURNED ON ITS SIDE: SELECTIONS FROM PHOTOSYNTHESIS July 18 - August 24, 2014

Gregory Botts, Jemez Mountains Blue in Afternoon Light, 2001, Oil on canvas, 34.5” x 96.25”

Artist reception: Friday, August 1, 5:00 - 7:00 PM

GREGORY BOTTS SELECTIONS FROM THE MADRID GROUP Through August 24, 2014

Beatrice Mandelman, Untitled (40.WC.1.26), ca 1945, Gouache on paper, 15” x 21”

LANDSCAPES AND CLOUDSCAPES: AS SEEN THROUGH GESTURAL ABSTRACT PAINTING Through August 24, 2014

DavidrichardGALLEry.com The Railyard Arts District

DAVID RICHARD

544 South Guadalupe Street, Santa Fe, NM 87501

GALLERY

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

OPENINGS

AUGUSTARTOPENINGS FRIDAY, AUGUST 1

Blue Rain Gallery, 130-C Lincoln Ave., Santa Fe. 954-9902. Grace: new works by Roseta Santiago. 5-7 pm. Center and the Santa Fe University of Art and Design, Marion Center for Photographic Arts, 1600 St. Michael’s Dr., Santa Fe. 9848353. Road to Nowhere—Southwest Sojourns: photographs by members and alumni. 5-7 pm.

works by Lilly Fenichel. Eden Turned on its Side— Selections from Photosynthesis: works by Meridel Rubenstein. 5-7 pm. David Rothermel Contemporary, corner of Lincoln and Marcy, Santa Fe. 575-642-4981. Foundation Collection: paintings by David Rothermel. 5-8 pm. LewA llen Contemporary, 1613 Paseo de Peralta, Santa Fe. 988-3260. Two solo shows: Tom Palmore and Christopher Benson. 5-7 pm.

Charlotte Jackson Fine Art, 554 S. Guadalupe St., Santa Fe. 989-8688. Jeremy Thomas—Ditching the Cardigan: pressurized, air-inflated steel sculptures. 5-7 pm.

Liquid Outpost Gallery, Inn at Loretto, 211 Old Santa Fe Tr., Santa Fe. 983-6503. America’s First Nations: art by Angel Wynn. 4-6 pm.

David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Rewind Replay—1950-2014:

Mariposa G allery, 3500 Central Ave. SE, Alb. 505-268-6828. First Friday: paintings

by Jim Kopp and Asian-themed ceramics and paintings by Pat Marsello. 5-8 pm.

THURSDAY, AUGUST 7

New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. aPhotographs of the Southwest: photographs by Steven Jackson. 5-7 pm. Richard Levy Gallery, 514 Central Ave. SW, Alb. 505-766-9888. That’s Where You Need to Be: works by William Betts, Xuan Chen, Maria Park, and Willy Bo Richardson. 6-8 pm. The Gallery ABQ, 8210 Menaul Blvd. NE, Alb. 505-292-9333. Red Hot Summer: water-media paintings by Nina Adkins and Judi Foster. Glass art by Anita Daniels. Oil paintings by Jeff Warren in the Salon. 5-8 pm. Turner Carroll Gallery, 725 Canyon Rd., Santa Fe. 986-5027. Survival: group exhibition celebrating artists who escaped the oppression of their birthplace. Works by Traian Filip, Hung Liu, Georges Mazilu, Igor Melnikov, Wanxin Zhang, and Nele Zirnite. 5-7 pm. Unitarian Universalist Congregation, 107 W. Barcelona St., Santa Fe. 982-9674. To Make Matters Better: new works by Lauren Camp. 5-7 pm.

Karan Ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-7080. Quiet Beauty: works by Jinni Thomas and Pauline Ziegen. 5-7 pm. Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1122. David Crane and José Sierra: ceramics by the artists. 5-7 pm. Indian Market reception: Fri., Aug. 22, 5-7 pm. Steve Elmore Indian Art, 839 Paseo de Peralta, Suite M, Santa Fe. 9959677. Historic San Ildefonso Polychrome Pottery—1875-1925: pottery by Martina Vigil and Florentino Montoya, and Maria and Julian Martinez. 5-7 pm.

Chiaroscuro Contemporary Art, 702½ Canyon Rd., Santa Fe. 992-0711. Finding Center: autobiographical ceramic works by Rose B. Simpson. 5-7 pm. See August s 22.

Taos Artist Collective, l106-A Paseo del Pueblo Norte, Taos. 575-758-1887. New Works from the Taos Artist Collective: works by

2014

Exhibit 208, 208 Broadway SE, Alb. 505-450-6884. Spirit World: new work by Nick Abdallah. 5-8 pm.

SATURDAY, AUGUST 2

McCray Gallery and Western New Mexico University Museum, 1000 W. College Ave., Silver City. 575-538-5560. International Juried Exhibition: Neo-Mimbreño 2014: mixed-media works inspired by the prehistoric Mimbreño culture of the Southwest. 3-6 pm.

AUGUST

FRIDAY, AUGUST 8

Tai Modern, 1601-B Paseo de Peralta, Santa Fe. 984-1387. Solo Show: non-objective paintings by Monique van Genderen. 5-7 pm.

Hand Artes Gallery, County Rd. 75, #137, Truchas. 505-689-2443. Truchas Modernism: new paintings by Jeane George Weigel. 3-5 pm.

Image: Living on the Edge by Jerry West.

Hotel St. Francis, 210 Don Gaspar Ave., Santa Fe. 983-5700. Santa Fe, Istanbul, & Beyond—An Artist’s Journey: watercolors and sketches by Ray Audain. 5-7 pm.

Weyrich Gallery, 2935-D Louisiana Blvd. NE, Alb. 505-883-7410. Momentary Essence in a Changing World: paintings and monotypes by Sandra Humphries and fine jewelry by Celest Michelotti. 5-8:30 pm.

Act 1 Gallery, 218 Paseo del Pueblo Norte, Taos. 575-758-7831. Cletus Smith Solo Exhibition: paintings by Smith. 5-7 pm.

First Invitational New Mexico Painters Exhibition at New Mexico Highlands University, Kennedy Alumni Hall, 905 University Avenue, Las Vegas, NM. Works by over fifty painters and printmakers. Reception: Sunday, August 17 from 4 to 7 pm.

J. Mehaffey and Marsha Fawns. 4-7 pm.

SATURDAY, AUGUST 9

Gaucho Blue Fine Art Gallery, 14148 State Rd. 75, Peñasco. 575-587-1076. Roving Beyond the Edge: new and innovative directions in fiber by ten Southwestern fiber artists, including Ilse Bolle, Margaret Sunday, and Mary Cost among others. 4-8 pm. WEDNESDAY, AUGUST 13

John Ruddy Textile and Ethnographic Art, 129 W. San Francisco St., 2nd Fl., Santa Fe. 988-9860. Annual Summer Exhibition: ethnographic textiles from Japan, China, Indonesia, Burma, and Cambodia. 6-8 pm. Taylor Dale Tribal Art, 129 W. San Francisco St., 2nd Fl., Santa Fe. 670-3488. continued on page 38

THE magazine | 35

WHO SAID THIS? “Perception is Reality.” Dr. Paul White or Wendy Weiss or Lee Atwater or Karla Porter

THE DEAL

For artists without gallery representation in New Mexico. Full-page B&W ads for $750. Color $1,000.

Reserve space for the September issue by Tuesday, August 12. 505-424-7641 or email: themagazinesf@gmail.com

Honey Harris Show with THE magazine Thursday, August 7 at 10:30 am

98.1 FM KBAC

OUT AND ABOUT photographs by Mr. Clix Elliot McDowell

Jonas Povilas Skardis

Mac (and PC) Consulting 速

Training, Planning, Setup, Troubleshooting, Anything Final Cut Pro, Networks, Upgrades, & Hand Holding

phone: (505) 577-2151 email: Pov@Skardis.com Serving Northern NM since 1996

OPENINGS

28th Annual Exhibition of Antique Oceanic, American Indian, and African Works of Art. 6-8 pm.

THURSDAY, AUGUST 21

Jean Cocteau Cinema Gallery, 418 Montezuma Ave., Santa Fe. 466-5528. Dean and Jodi Balsamo: works by the artists. 5-7 pm.

FRIDAY, AUGUST 15

Canyon Road Contemporary, 403 Canyon Rd., Santa Fe. 983-0433. Uncommon Sense: paintings by Lance Green and Joy Richardson. 5-7 pm.

MoCNA, 108 Cathedral Place, Santa Fe. 4242300. Rattlebone by Ric Gendron. The Desert Never Left “The City” by Mario Martinez. Saligaaw (it is loud-voiced) by Da-ka-xeen Mehner. Breach: Log 14 by Courtney Leonard. 5-7 pm.

David Rothermel Contemporary, corner of Lincoln and Marcy, Santa Fe. 575-642-4981. Archetype Series: paintings by Rothermel. 5-8 pm.

Shiprock Santa Fe, 53 Old Santa Fe Trail, Santa Fe. 982-8478. Verma Nequatewa/Sonwai: Meet the artist and view her designs. 2-4 pm.

GF Contemporary, 707 Canyon Rd., Santa Fe. 983-3707. The Life: whimsical and theatrical works by Gigi Mills. 5-7 pm.

Than Povi Fine Art Gallery, 6 Banana Lane, Santa Fe. 455-9988. Gerald “New Deer” Nailor: paintings, prints, and jewelry by the artist. 3-6 pm.

Matthews Gallery, 669 Canyon Rd., Santa Fe. 992-2882. The Boundless Moment: New paintings by Eric G. Thompson. 5-7 pm.

Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Yazzzie Johnson and Gail Bird—Native American Contemporary Jewelry. 4-6 pm.

Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-3432. 100 Rings: 15th anniversary exhibition with jewelry by Peter Schmid from Atelier Zobel. 5-7:30 pm.

FRIDAY, AUGUST 22

Tansey Contemporary, 652 Canyon Rd., Santa Fe. 995-8513. Emma Varga—Apocalypse Reversed: glass works by the artist. 5-7 pm. SATURDAY, AUGUST 16

Nedra Matteucci Galleries, 1075 Paseo de Peralta, Santa Fe. 982-4631. John Moyers and Terri Kelly Moyers—Through Our Eyes: oil paintings by husband and wife. 2-4 pm. Shiprock Santa Fe, 53 Old Santa Fe Tr., Santa Fe. 982-8478. Annual Opening: historic and contemporary Native American art. 5-7 pm. Tapestry Gallery, Firehouse Lane., Suite. D, Madrid. 505-262-0392. Feng Shui (Plus Additions): tapestries by Donna Loraine Contractor. 1-4 pm. SUNDAY, AUGUST 17

New Mexico Highlands University, Kennedy Alumni Hall, 905 University Ave., Las Vegas. 505-429-3458. First Invitational New Mexico Painters Exhibition: paintings and prints by more than fifty New Mexicans. 4-7 pm. WEDNESDAY, AUGUST 20

Blue Rain Gallery, 130-C Lincoln Ave., Santa Fe. 954-9902. Annual Celebration of Contemporary Native American Art: works by Cannupa Hanska and others. 5-7 pm. Details of Blue Rain’s Indian Market events: Wed.-Sun., Aug. 20-24: blueraingallery.com

The Life: a one-woman show of paintings by Gigi Mills on view at GF Contemporary, 707 Canyon Road, Santa Fe. Reception: Friday, August 15 from 5 to 7 pm. Show runs through Sunday, August 31. David Crane and José Sierra at Santa Fe Clay through September 20. Reception: Friday, August 8 from 5 to 7 pm. Indian Market opening: Friday, August 22 from 5 to 7 pm. Image: José Sierra.

203 Fine Art, 203 Ledoux St., Taos. 575-7511262. Beatrice Mandelman: works from the 50’s and 60’s. 5-7 pm.

Canyon Road Contemporary, 403 Canyon Rd., Santa Fe. 983-0433. Molly Heizer—20 Year Gala: ceramic totems, kachinas, and animals by the artist. 5-7 pm. Casweck Galleries, 203 W. Water St., Santa Fe. 988-2966. Indian Market Show: featuring Terrance Guardipee and Blackfeet Ledger. 6-8 pm. CCA, 1050 Old Pecos Trail, Santa Fe. 982-1338. New Perspectives & Messages from the Wounded Healers: works by Chuck Ginnever and Sam Scott. 6-8 pm. Chiaroscuro Contemporary Art, 702½ Canyon Rd., Santa Fe. 992-0711. Contemporary Native Group Show: works by Yatika Starr Fields, Harry Fonseca, Emmi Whitehorse, and Lisa Holt with Harlan Reano. 5-7 pm. Giacobbe-Fritz Fine Art, 702 Canyon Rd., Santa Fe. 986-1156. The Power of a Woman: paintings by Nocona Burgess. 5-7 pm. Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. Visual Poetry: sculptures by Eric Boyer. Paintings by Charlotte Foust. 5-7 pm. Molecule Industrial Contemporary, 1226 Flagman Way, Santa Fe. 989-9806. Cash Rome—Dubai Diptychs: paintings inspired by Dubai’s skyline. 5-8 pm.

continued on page 40

38 | THE magazine

AUGUST

2014

CMY

TANSEY CONTEMPORARY EMMA VARGA ~ APOCALYPSE REVERSED August 15 - September 9 Opening Reception, Friday, August 15, 5 - 7 pm

CMY

Emma Varga ~ “BLUE WORLD TROPICAL” ~ Glass

OPENINGS

Niman Fine Art, 125 Lincoln Ave., Santa Fe. 988-5091. Dan Namingha, Arlo Namingha, and Michael Namingha: works by the artists. 5-7:30 pm. Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1706. Craft Driven: lecture by Rose B. Simpson about her process and sculptures. 7 pm Windsor Betts Fine Art, 143 Lincoln Ave., Santa Fe. 820-1234. Crow Chronicles: paintings by Kevin Red Star. 5-8 pm. Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. IMPACTS!—exhibition of Japanese contemporary art. 5-7 pm. FRIDAY, AUGUST 29

Casweck Galleries, 713 Canyon Rd., Santa Fe. 988-2966. Chuck Volz: new paintings. 5-7 pm. David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. A Subject to Avoid: works by Silvia Levenson. 5-7 pm. David Rothermel Contemporary, corner of Lincoln and Marcy, Santa Fe. 575-6424981. Juxtaprose Series: paintings by David Rothermel. 5-8 pm. Tansey Contemporary, 652 Canyon Rd., Santa Fe. 995-8513. Women in Cultural Context: contemporary artworks focused on cultural expectations and norms typically directed towards women. 5-7 pm. SATURDAY, AUGUST 23

Eggman & Walrus Art Gallery, 130 W. Palace Ave., 2nd Fl., Santa Fe. 660-0048. This Engage Disengage: works by John Hitchcock and Monty Little. 5-9 pm. CALL FOR ARTISTS

The Encaustic Art Institute, 18 County Rd. 55A, Cerillos. 505-424-6487. 4th Annual National Juried Encaustic/Wax Exhibition: open to all artists working with encaustic/wax. Apply online by Mon., Aug. 4. eainm.com SPECIAL INTEREST

ARTScrawl, Alb. Citywide, self-guided arts tour, Fri., Aug. 1. East Mountain ARTScrawl, Sat., Aug. 2, 10 am-5 pm. Route 66 Art and Chocolate, Fri., Aug. 15. artscrawlabq.org Digital Latin America Public Programs at IFDM, Mesa del Sol, 5700-B University W. Blvd., Alb. Double feature screening: Blak

40 | THE magazine

Mama/Más Allá del Mall, Sat., Aug. 23, 7 pm. Art and Interdisciplinary Research panel, Sat., Aug. 30, 2-4 pm. Emerge—Film & Digital Media Creative Works exhibition and open house, Sat., Aug. 30, 4-6 pm. ifdm.unm.edu or 516arts.org

Santa Fe North African Sephardic Festival, 216-0672. Two film premieres as part of the Santa Fe Jewish Film Festival. Concert, photography exhibition, dinner, and travel lecture. Fri., July 29-Sun., Aug. 3. santafejff.org

Ellsworth Gallery, 215 E. Palace Ave., Santa Fe. 989-7900. Sightlines: works by Arin Dibneen and Jeff Juhlin. Through Wed., Aug. 27. ellsworthgallery.com

Santa Fe Yoga Festival, Bishop’s Lodge Ranch and Resort, 1297 Bishop’s Lodge Rd., Santa Fe. Multi-day celebration of yoga classes, meditations, talks, and evening parties. Thurs., Aug. 28 through Sun., Aug. 31. santafeyogafestival.org

Giacobbe-Fritz Fine Art, 702 Canyon Rd., Santa Fe. 986-1156. A Weekend with Utah Painter Bregelle Whitworth Davis: painting demonstrations Fri., Aug. 1 at 11 am and 4 pm, and Sat., Aug. 2 at 2 pm. Fundraiser reception: Sat., Aug. 2, 2-5 pm.

Silver City Clay Festival, Silver City. Workshops, demonstrations, live music, youth activities, and more. Through Sun., Aug. 3. clayfestival.com

Isaac’s Gallery, 309 N. Virginia, Roswell. 575-626-8626. Gussie and Elmer Schooley: 65 Years of Painting: works by the New Mexican couple. Through Fri., Sep. 5.

Tai Modern, 1601 Paseo de Peralta, Santa Fe. 984-1387. Fujitsuka Shosei—Cosmos: works in bamboo by the artist. Through Sun., Aug. 17. taimodern.com

James Kelly Contemporary, 1611 Paseo de Peralta, Santa Fe. 989-1601. James Drake—Pages: new drawings by Drake. Through Wed., Aug. 27.

Tansey Contemporary, 652 Canyon Rd., Santa Fe. 995-8513. People Places & Things: sculptures by Sheryl Zacharia. Through Tues., Aug. 19. tanseycontemporary.com

Mark White Fine Art, 414 Canyon Rd., Santa Fe. 982-2073. Brainstorm: paintings by Javier López Barbosa and bronze sculptures by jd Hansen. Through Mon., Aug. 25. markwhitefineart.com Museum of Northern Arizona, 3101 N. Ft. Valley Rd., Flagstaff, AZ. 928-7745213. Brushstrokes on the Plateau: highlights from the museum’s collection. Map of My Heart: masterpieces by Native and Anglo-Americans, through Fri., Sept. 1. Works by Shonto Begay through Sun., Oct. 26. 65th Annual Navajo Festival of Arts and Culture on Fri., Aug. 15, 4 pm. musnaz.org Objects of Art Santa Fe, El Museo Cultural, 555 Camino de la Familia, Santa Fe. 992-0591. Fifth anniversary exhibition and benefit for KNME New Mexico PBS. Preview: Thurs., Aug. 14, 6-9 pm. Exhibition Fri., Aug. 15-Sun., Aug. 17, 11 am-6 pm. objectsofartsantafe.com

Taste of ABQ, 2200 Q St., NE, Alb. 505899-6918. Live music, activities, and dishes from over 20 restaurants. Sat., Aug. 2, 12-4 pm. simon.com/mall/abq-uptown The Antique American Indian Art Show Santa Fe, El Museo Cultural, 555 Camino de la Familia, Santa Fe. 992-0591. Exhibition and benefit for the Institute of American Indian Arts. Preview Wed., Aug. 20, 6-9 pm. Exhibition: Thurs., Aug. 21, 11 am-6 pm. antiqueindianartshow.com The New Mexico History Museum, 113 Lincoln Ave., Santa Fe. Painting the Divine— Images of Mary in the New World: Spanish Colonial masterpieces from Peru, Mexico, and New Mexico. Santa Fe’s Schola Cantorum performs Echoes of Mary, seldomheard sacred music dedicated to Mary from

the cathedrals of Mexico City and Cuba to the capillas of northern New Mexico. Sun., Aug. 3, 2-4 pm. Through March 29, 2015. Details: nmhistorymuseum.org Wade W ilson A rt, 217 W. Water St., Santa Fe. 660-4393. James Surls: exhibition runs through Sun., Aug. 10. wadewilsonart.com Windsor B etts F ine A rt, 143 Lincoln Ave., Santa Fe. 820-1234. Kevin Red Star will be signing his book Kevin Red Star Crow Indian Artist on Fri., Aug. 22, 5-8 pm. PERFORMANCE

A spen S anta F e B allet , Three ballets by Norbert de la Cruz III, Jiri Kylian, and Nicolo Fonte. Sat., Aug. 30, 8 pm. aspensantafeballet.com J uan S iddi F lamenco , Acclaimed authentic flamenco performance with thirteen dancers and live music. Sun., Aug. 3 and Sat., Aug. 9 at 8 pm. Details: juansiddiflamencosantafe.com P erformance S anta F e , Season Opening Celebration at the Brenner home, following the Opening Concert, Sun., Aug. 31, 6:30-8:30 pm. Tickets: $195 per person. RSVP at 9848759 or rsvp@performancesantafe.org S anta F e C hamber M usic F estival , Six-week event featuring a blend of contemporary music and masterworks of the chamber music repertoire. Through Mon., Aug. 25. santafechambermusic.com S anta Fe Playhouse, 142 E. De Vargas St., Santa Fe. 988-4262. Sylvia: a comedy about a man, his wife, and his shaggy dog. Thurs., July 31-Sun., Aug. 17. santafeplayhouse.org Cosmos: works by Fujitsuka Shosei on display through Sunday, August 17 at Tai Modern, 1601-B Paseo de Peralta, Santa Fe.

Op.cit, 500 Montezuma Ave., Santa Fe. 4280321. A Poetry Reading by Joseph Bottone: on nature and divinity. Sat., Aug. 9, 4:30 pm. Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-3432. Special Appearance by Claire Kahn: the distinguished jewelry artist will be present on Fri., Aug. 8 and Sat., Aug 9, 11 am-4 pm. patina-gallery.com SalsaFest, Main St., Las Cruces. 575-5251955. Salsa making, salsa music and dancing, and salsa competitions and tasting. Free admission. $5 tastings. Sat., Aug. 23, 7-10 pm. Sun., Aug. 24, 12-5 pm. downtownlascruces.org

AUGUST

2014

PREVIEWS Impacts! Japanese Contemporary Art Zane Bennett Contemporary Art 435 South Guadalupe Street, Santa Fe. 982-8111 July 25 through September 22, 2014 Reception: Friday, August 22, 5-7 pm.

perspectives, from Turrell’s now familiar Roden Crater

Tokyo-based Mizuma Art Gallery, in collaboration with Zane

a career in photography, which provides a platform for his

Bennett Contemporary, presents an exhibition of established

interest in the wilderness, disappearing indigenous cultures,

and emerging Japanese artists and a series of events to

and climate change. Tiny dark specks—military drones—

encourage dialogue between artists, collectors, and critics

silently scan the terrain below, interrupting Trevor Paglen’s

about cultural, political, and artistic issues and how they

ephemeral skyscapes. Victoria Sambunaris and Tom Miller

influence contemporary art in their respective countries.

address border fences and other intrusions on the desert

Mizuma Art Gallery has been called one of the top ten

landscape, depicting epic stories of geology, commerce, and

galleries in Japan by The Guardian, and shows cutting-edge,

emigration—all mixed with the notion of Manifest Destiny.

provocative works that address the region’s social issues.

Renate Aller is known for her photographs of the Atlantic

Artists on view include Amano Yoshitaka, designer of images

Ocean, but has also photographed deserts, including White

from the popular video game Final Fantasy; Ishihara Nanami,

Sands. Sambunaris could be speaking for all the artists

whose large works combine the technique of nihonga,

when she says, “I resist approaching a landscape strictly as

traditional Japanese historical painting using mythological

an expanse of scenery, but view it as an anomaly with an

imagery, with themes of current subjects and modern events;

abundance of information to be discovered.”

Project schematics to Emi Winter’s oils, where horizontal stripes of vibrant color blend into each other, reflecting her early life in Oaxaca and time as an artist-in-residence in Marfa, Texas. Subhankar Banerjee left science to pursue

Top: Tomiyuki Kaneko, Red Banas Pati Raja, mineral pigments, transparent watercolor, pen, foil on Japanese paper, 2012 Middle: Renate Aller, Pascua: Easter Sunday, White Sands, New Mexico; Atlantic Ocean, vintage hand-bound book in custom box, 48½” x 18”, 2012 Bottom: Jun Kaneko, Untitled, unique bronze with enamel paint, 74” x 21” x 18”, 2012. Photo: Colin Conces

and Hieguchi Ayane who employs kawaii, the Japanese pop

Jun Kaneko landscapes to express symbolic dualities and references to Gerald Peters Gallery the devastating 2011 tsunami. The exhibition promises a full 1011 Paseo de Peralta, Santa Fe. 954-5700 culture style of cuteness, using animals and candy-colored

film viewings, artist talks, a traditional Japanese tea ceremony,

August 8 to September 14, 2014 Reception: Friday, August 8, 5-7 pm.

and a live painting by Kato Ai, who is known for his “Madonna

Japanese artist Jun Kaneko is renowned for his contributions

girls” and animé-style fantasy paintings.

to the contemporary ceramic arts movement, combining

immersion in Japanese culture, offering free panel discussions,

innovative technique and painterly surfaces, often on a

Desert Serenade: Drones, Fences, Cacti, Test Sites, monumental scale. Kaneko, who exhibits internationally, has completed more than fifty public arts commissions in the Craters, and Serapes United States and Japan. His installation at the Peters gallery Lannan Foundation Gallery includes a selection of his dangos and hand-built clay vessels, 309 Read Street, Santa Fe. 954-5149 which resemble vases with closed tops that are covered in July 12 to August 31, 2014 rich and varied glaze patterns. In addition, Kaneko will be Reception: Saturday, August 9, 5-7 pm. What lives in the desert? Cacti, of course, and then there are

showing Tanukis—Japanese folk-inspired works of raccoon-

craters and test sites, drones, fences, and serapes—all co-

like trickster figures said to bring prosperity and good fortune.

existing in the amazing light that permeates and penetrates

Standing more than six feet tall, these pieces make a lively and

the environs. Desert Serenade, an exhibition of work from

colorful grouping, showcasing Kaneko’s abstract designs and

the collection of the Lannan Foundation, brings together all

brilliant glazes. The exhibition includes examples of glass slabs

of the above in an exhibition of painting, photography, mixed

and layered glass chunks, which extend the artist’s elegant

media, and works on paper by Renate Aller, Subhankar

design sensibility regardless of medium. Kaneko also works in

Banerjee, Trevor Paglen, Tom Miller, Victoria Sambunaris,

bronzes and acrylic, and designed the San Francisco Opera’s

James Turrell, and Emi Winter. The artists offer various

current production of Madame Butterfly.

42 | THE magazine

AUGUST

2014

PREVIEWS Rose B. Simpson: Finding Center Chiaroscuro Contemporary Art 702½ Canyon Road, Santa Fe. 992-0711 August 9 to 31, 2014 Reception: Saturday, August 9, 5-7 pm. Rose B. Simpson is serious. She says she doesn’t want to make art that’s safe because that wouldn’t fulfill what she is here to do. Her solo exhibition presents a body of work that stems from the artist’s quest to achieve growth of awareness and share the understanding that comes from it. Simpson (Santa Clara Pueblo) moves inward to a space that challenges the safe and familiar and honors the vulnerable, uncomfortable place of facing the unknown. Her life-size figurative ceramic work is elegant and expressive, more powerful than pretty. Through the process of hand-building clay figures she grapples with the personal and universal questions that surround us, realizing there is no way to answer but to approach them with respect and daring. Herein lies the power of her art, in works that simultaneously display a high degree of craft and compelling content. These busts are clothed in mixed-media sculptural fashion, reflecting the artist’s inner world through figures that ponder the human interaction with the planet. Simpson “clarifies a feeling” in her artwork and shares with the viewer her personal vision.

Women in Cultural Context Tansey Contemporary 652 Canyon Road, Santa Fe. 995-8513 Friday, August 29 to Tuesday, September 23 Reception: Friday, August 29, 5-7 pm. Tansey Contemporary continues its commitment to showing the work of artists who address broad themes and topics that shape our lives today. Using diverse media, a group of gallery artists present artworks that explore how women respond and adapt to cultural expectations and norms. Clea Carlsen’s ceramic sculpture No Longer Here, Not Yet There presents a woman who is on the threshold of leaving, but also becoming. Referencing classical sculpture, the contemporary female figure embraces herself in a gesture of self-protection while breaking the bindings that have kept her in her chair. She appears to be of an age to have lived a life filled with experiences that are about to change as she becomes untethered. Sheryl Zacharia and Irina Zaytceva provide very different responses, referencing feminine mythology and royalty in their ceramic sculptures. Susan Taylor Glasgow and Stephanie Trenchard, who work in glass, explore the themes of maternity and domesticity—the challenges of motherhood and parenting while attempting to maintain a creative career. Krista Harris makes paintings that speak to evolving notions of beauty, which change with age and motherhood, leaving no fixed definitions, only the expansion and contraction of our notions of what beauty is. Equity of Justice, a bronze sculpture by guest artist Roger Reutimann, addresses the prevalence of social dysfunction, oppression, and discrimination. In his paintings Patrick McGrath Muñiz examines the forces that shape our modern lives, including the unseen numbers of women who work in food service and the profound influence consumerism has on the daily choices we make.

Courtney M. Leonard Museum of Contemporary Native Arts 108 Cathedral Place, Santa Fe. 922-4242 Friday, August 22 to December 31 Reception: Thursday, August 21, 5-7 pm. Courtney Michele Leonard’s exhibition, Breach: Log 14, offers works that catalogue expeditions, encounters, and experiences from January through August of this year. The artwork is a visual log of Leonard’s investigation. The abstract paintings and drawings assembled on panels and displayed in MoCNA’s Hallway Gallery explore historical ties to water and whales and the subsequent laws and issues surrounding whaling and the sustainability of traditional cultures. Leonard is a member of the Shinnecock Nation of Long Island, New York, who hunted whales in dugout canoes until the practice was banned in the late 19th century. MoCNA will also present Rattlebone, a traveling show of the work of Ric Gendron (Arrow Lakes Band of Confederated Tribes of the Colville and the Confederated Tribes of the Umatilla) curated by Ben Mitchell. The exhibition chronicles thirty years of Gendron’s expressionistic and lyrical paintings and prints, which are contemporary interpretations of traditional Upper Columbia Plateau Indian culture and iconography. The Desert Never Left “The City,” paintings by Yaqui artist Mario Martinez also opens on August 21. Martinez conflates his pre-Christian belief system, contemporary Yaqui culture and his Sonoran desert memories with imagery and experiences from his current urban environment of New York City. In addition, Alaskan artist Da-ka-xeen Mehner’s installation of hand-stretched drums and video projections celebrates the lasting and profound relationship between Tlingit language and song in the exhibition Saligaaw (it is loud-voiced). Mehner’s interest in cultural heritage is reflected in this piece, which alludes to the practice of disallowing Native Americans to speak their own language. Top: Rose B. Simpson, Directed I & II (North/South), ceramic and mixed and reclaimed media, 72” x 35” x 35”, 2014 Middle: Clea Carlsen, No Longer Here, Not Yet There, 22 ½” x13½” x 13 ½” Bottom: Courtney M. Leonard, Breach, mixed media, 2014

44 | THE magazine

AUGUST

2014

Wenger-74 Binary Nucleus Comet, Oil on aluminum, 48” x 36”

DAVID SOLOMON

SHAPE SHIFTER July 11 – Aug 24 2014

PATINA GALLERY 131 W. PALACE AVE, SANTA FE 986.3432

A N D R E W S M I T H G A L L E RY I N C . M A N AG I N G A N D B R O K E R I N G I M P O R TA N T P H OTO G R A P H Y COLLECTIONS, ARCHIVES AND INDIVIDUAL MASTERPIECES OF PHOTOGRAPHY

The Vittorio Sella Collection: The Mountain as Landscape

109-113 HK Panorama from northern spur of Gasherbrum: 2005: Bride Peak [K2] (point reached by H.R.H.); 2006: Vigne Glacier; 2007: Mitre Peak, Nasherbrun, Baltoro; 2009: K2, Godwin-Austen glacier, 17.24 x 119”, 1909

A group of 750 exhibition prints from the Alps, Himalayas, Caucasus, Africa and Alaska by the world’s leading high altitude land based mountaineering photographer, the Italian, Vittorio Sella active 1880-1910. Sold for the benefit of the Appalachian Mountain Club, Boston. Andrew Smith Gallery exclusive agent.

N e x t t o t h e G e o r g i a O ’ Ke e f f e M u s e u m a t 1 2 2 G ra n t Ave . , S a n t a Fe , N M 8 7 5 0 1 5 0 5 . 9 8 4 . 1 2 3 4 • w w w. A n d r e w S m i t h G a l l e r y. c o m • H o u r s : 1 1 - 4 M o n d ay - S a t u r d ay.

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

Nakotah LaRance by

Will Wilson

The use of the precious metal platinum to print photographs figures early in the history of photography, particularly in the documentary images of Native Americans then referred to as the “vanishing race.” The exhibition Indelible: The Platinum Photographs of Larry McNeil and Will Wilson, at the Smithsonian’s National Museum of the American Indian, features two Native American photographers living in the digital age who returned to platinum. Their images offer indigenous artists’ perspectives on their history and people and serve as testimonies to their enduring presence. Born in Alaska, Larry McNeil (Tlingit/Nisga’a) explores the aesthetic relationship between light and dark to deliver a critical interpretation of American Indian history, which bears witness to the devastating impact of technology, including photography itself. AUGUST

2014

Wade Wilson’s (Diné/Bilagáana) Critical Indigenous Photographic Exchange, or CIPX, is an ongoing project begun in 2012. He uses a large-format view camera to make traditional platinum portraits of indigenous subjects, which are then printed as large-format digital images. Mixing the old with the new, Wilson emphasizes the intersection of imagery, technology, and power in the photographic representation of indigenous peoples. Both artists will be speaking about their work at an international symposium on the science, conservation, significance, and continued application of the historic photographic process. The exhibition will be on view at the Smithsonian’s National Museum of the American Indian, Fourth Street and Independence Avenue SW, Washington, D.C., through January 15, 2015. THE magazine | 47

DA N N A M I N G H A

Montage #19

Mixed Media on Canvas

30” X 70”

ARLO NAMINGHA

Dan, Arlo, and Michael Namingha Ar tists’ Reception Friday, August 22, 2014 5-7:30 PM 125 Lincoln Avenue • Suite 116 • Santa Fe, NM 87501 • Monday–Saturday, 10am–5pm 505-988-5091 • fax 505-988-1650 • nimanfineart@namingha.com • namingha.com

INTERVIEW

INTERVIEW BY GUY CROSS

William Siegal wearing a poncho from the Mead Collection, 1976.

continued on page 50 AUGUST

2014

THE magazine | 49

THE WILLIAM

Siegal Gallery is renowned for its collection of museum-quality textiles and objects. In the early

1970s, Siegal moved to Bolivia to study and collect the weavings of the Aymara people. He traveled the Bolivian Altiplano in search of the finest ceremonial garments from the seventeenth, eighteenth, and early nineteenth centuries. THE magazine met with Siegal to discuss his adventures on the Altiplano. THE magazine: In your world, how important is luck?

traveling in Israel and I started to buy hand-embroidered

TM: In your recent book—Balandrán—you write about

William Siegal: Interesting first question. I’ll give you a

Bedouin dresses from the ancient market in Jerusalem. I

an ancient tradition that you say even sophisticated

sport’s metaphor, which is “you make your luck.” Luck is

took them back to the United States, and sold every one

textile collectors and museum curators were completely

important; in sports we say that if you practice a lot and

of them very quickly to the art students at Carnegie Mellon.

unaware of. What is that ancient tradition? WS: It was

work hard at your craft, you make your own luck.

the final stage of the pre-Columbian and Colonial period TM: What kind of profit did you make on them? WS:

Andean textile tradition, which goes back three thousand-

TM: When and how did you become interested in South

Substantial. I bought low and sold high, but still sold for much

plus years. All of the major museums and collectors were

America and textiles from indigenous tribes? WS: I’ve

less than they were selling for at Bendel’s in New York City.

obviously aware of the pre-Columbian and Colonial

been asked this question before.

period textiles, but what they weren’t aware of were TM: Then where did you go? WS: First to Central

the seventeenth- and eighteenth-century pieces, many

TM: Then you must have a pat answer. WS: Yes, I have

America, Panama. I was guided to textiles called molas,

minimally striped and phenomenally woven from Alpaca

a pat answer, but it’s the right answer. I realized I loved

which are a very sophisticated form of reverse appliqué

yarns. At that time, there was not one museum in the

traveling in college when I went on my own to Europe. I

stitching made by the Kuna Indians on the San Blas

world—and I’ve visited all of the major museums—that

had never felt such freedom as when I was on the road.

Islands. Over the next three years I made approximately

had any early, seventeenth or eighteenth century Aymara

After graduating in 1970, with a huge head of hair and no

fifty trips to the San Blas Islands off the Caribbean coast

weavings. And none of the textiles we found were

desire whatsoever to go to law school, I needed to find

of Panama, sailing in a fourteen-foot dugout canoe with

known to the most knowledgeable curators—whether

a way to support myself and wanted to do that through

my faithful guide, Alejandro Henry. We went over and

you’re talking about the Met, the British Museum, Los

my travels. Back in the seventies, you could go to almost

over again to these miniscule islands buying mola blouses.

Angeles County. They had no idea that the textiles that

any place in the Third World and if you spent time

Each blouse has a mola on the front and the back. At

we found existed.

studying the local arts and had an eye of any type, you

night we’d sit on a dirt floor ripping apart the blouses

could find great textiles and objects, often times quite

and then sleep in woven hammocks. We’d do that for

TM: Talk about your search for textiles and objects. WS:

old. Because there was a background of textiles in my

ten days to two weeks before I returned to Panama City

During my first two years of traveling in Bolivia, I would

family, I gravitated toward the textile arts.

to recover. Then I’d go back out to the islands and buy

go down, stay for a few months, and then come back to

more. By the time I was finished with the trip I had two

the United States. I was buying primarily from shops in the

TM: Is the value of textiles the same now as it was in

or three thousand molas, which I sold at American Indian

tourist market in La Paz. Commercial runners or private

the seventies? WS: No. Because of many others like

shows throughout the West. Museum shops and private

individuals would bring in textiles that they no longer

myself who traveled throughout the world studying and

collectors were my clients, and eventually I sold my

wanted and they would sell them to the shop owners.

collecting ethnographic arts, textiles have become much

personal collection to the National Museum of Ethnology

There were ten or twenty tiny shops that had literally

more appreciated and therefore more valuable. Prior to

in Japan.

hundreds of textiles stacked floor to ceiling. As it turned

the seventies, they were perceived almost exclusively as

out, most of those textiles were not very old, twentieth

decorative art. There are a lot of reasons for that, mainly

TM: Are there still bargains to be had? WS: People

having to do with male museum curators and how those

constantly come into the gallery—young travelers, usually

guys at that time viewed the art of women. This became a

guys going to some far-off place—and ask, “Where do

TM: When you were driving through Bolivia, with a

conversation about how women in the arts, and their work,

you think I can find this, and where can I find that?” There

friend or alone, someone says, “You gotta go to this

were perceived as less important than the work of men.

was a lovely guy who came in last week, and he showed

village, you gotta see so-and-so.” What language did you

That has since changed. People now, much more so than

me some textiles from Bolivia and Peru. He thought

speak, and what was the reaction from people when

ever, realize that textile art should not be relegated to the

they were old; as it turns out they were just faded. For a

you showed up? WS: I have to put this in context. The

area of decorative arts, and it is now often seen as fine art.

good number of years, it’s been almost impossible to go

Altiplano is at thirteen thousand feet, surrounded by

anywhere in the world and find museum-quality textiles,

twenty thousand- to twenty-four thousand-foot snow-

as so many did in the seventies and eighties.

covered peaks. The air is rarefied, as are all of the people

TM: How did you end up in South America? WS: I was

century, maybe late nineteenth century at the most.

INTERVIEW

that are living there. I would drive into a village with my

to the truck, very agitated. They said, “We want more

for textiles from South America. So value has to do with

truck—a Dodge Power Wagon, a three-quarter-ton

money.” And I said, “Wait a minute, I paid you what you

the buyer’s perspective and with the context of where

camper with big off-road tires…

wanted.” Dumb novice that I was, I realized that unless

the textiles are from. That is why I’ve been saying for

you bargain, especially with something that has no fixed

forty years that the greatest value in the world of art are

TM: A survival vehicle? WS: Yes, and it was really a

price, people would immediately think that since I was

Andean textiles because they’ve always have been the

spaceship to these people. We spoke Spanish, but the

willing to pay their asking price—and they’re so used to

red-headed stepchild of the art world. There weren’t

older people mostly spoke Aymara or Quechua, which

bargaining—that they didn’t charge me enough.

a lot of South American collectors, which would have

we learned enough of to get around and certainly enough

helped to develop the market. And that holds true today.

to do business. However, most of our transactions were

TM: And that you were taking advantage of them. WS:

There still are ancient masterpieces available from South

carried out in Spanish. Arriving in a village we would

Exactly. And so that was the last time that ever happened.

American cultures that are priced far below much newer

look for the mayor or the person of authority and we’d

No matter how good a deal someone offered me, I knew

and less finely woven North American textiles.

show them our documents. We were often visiting very

that I had to bargain to some extent or they would feel

remote villages that had very little contact with strangers,

taken advantage of.

especially longhaired gringos. But we quickly learned

TM: Ten or twelve years ago, you told me about the relationship of these textiles to contemporary art,

how to make friends (playing Frisbee with kids in the

TM: Recently I came to the conclusion that the story

specifically to Agnes Martin. WS: Agnes Martin is really

Plaza always helped). The idea was to create a friendly

is important in creating value. Is this true with textiles?

just one of the many artists consciously or unconsciously

atmosphere because there was so much skepticism about

WS: Yes, absolutely. And it’s not just the story; it’s the

influenced by pre-Columbian textiles. That’s because

our intent. We traveled with introductory documents

customer’s perspective. For instance, these textiles—

of the basic similarity of some of the textiles to her

from the Museo Nacional de Etnografía y Folklore, and

whether they’re pre-Columbian, or Colonial or post-

particular form of striping. But I could also mention

once we presented our documents to the mayor or the village elder, the tone and the vibe changed dramatically. The mayor would put the word out that we were looking for old textiles for study and purchase, and for as much information about the textiles that people could provide. Within a short period of time, there would be a line of people carrying bundles of weavings coming to the truck. Conversations quickly became very animated as we asked our questions and they became comfortable with what we were there for. The great majority of what was offered to us was not of the age or quality we were looking for. However, because we carried samples of the kind of textiles that we were interested in, they would get the idea that we were really looking for old things, if they had them. And every once in a while people would return home and bring to us truly amazing pieces. TM: Was there a lot of bargaining? WS: On my very first trip into the countryside

Alpacas on the Altiplano, 1976.

someone brought something that I thought was wonderful. I paid their price. I didn’t know what the textiles were worth as there wasn’t a

Colonial—are much more finely woven and employed

Barnett Newman, Jasper Johns, Ad Reinhardt, and the

real market yet. I just knew what I could afford to pay.

much more sophisticated techniques than those used in

list goes on.

So I paid what the person had asked. Other people came

the American Southwest. The people of the Southwest

by and I paid them what they wanted, and it seemed

—whether they’re Texans or Oklahomans—value

TM: Do you explain this to collectors? WS: If they don’t

to me that everyone was happy. The next morning,

the textiles from our Native American tribes, and pay

hit upon it themselves, then I certainly point out the

many of these people that had sold things came back

infinitely more for those textiles than they would pay

similarity between many twentieth-century Modernists continued on page 53

AUGUST

2014

THE magazine | 51

ANDEAN TEXTILES AND PRE-COLUMBIAN OBJECTS HAVE ALWAYS BEEN

THE RED-HEADED STEPCHILD OF THE ART WORLD and Abstract Expressionists and textiles

make textiles that were influenced by

that were woven a thousand to two

Ecclesiastical robes and garments. So

thousand years ago. Sean Scully created

they developed some designs that were

paintings that are literally identical to

actually exported to Europe—to Spain

Inca textiles that he never saw. Josef

in particular. The ponchos were worn

Albers started Homage to the Square

by wealthy classes throughout Peru,

after having visited an Inca textile show

Argentina, and Bolivia. They were large

in Lima, Peru, in the 1950s. Picasso

ponchos made for riding on horseback;

wrote a recently discovered letter to

they were practically waterproof, and

the Peruvian ambassador to France

were originally woven in strips. The

in the fifties saying he was greatly

ponchos became the garment of status,

influenced

of high status, especially in Bolivia.

pre-Columbian

art.

The logo of this gallery is based on classic Incan tunic designs, which Albers

TM: How did Dr. Mead acquire these

expanded on.

ponchos? WS: He bought them all from me.

TM: Going back years to the Los Angeles Gift show. You said, “Meeting

TM: These ponchos are currently on

Dr. Giles Mead was a once-in-a-lifetime

exhibit? WS: Yes. The exhibition is

opportunity.” Talk about meeting him.

primarily comprised of twenty-four

WS: I was exhibiting textiles from

pieces. The exhibition opened on July

various indigenous cultures and his

25 and runs through the month of

executive secretary walked in. She

August. It was pure coincidence that

didn’t seem particularly interested, but

these incredible ponchos started to

as she was walking out she said, “My

come to me just as Dr. Mead became

boss needs to see these.” I asked, “Who

interested in he field.

is that?” She answered, “Dr. Giles Mead, the Director of the Los Angeles County

TM: Who owns them now? What’s the

Museum of Natural History.” I had

price point on the ponchos? WS: They

never heard of him, but I said, “Great.”

are owned by Dr. Mead’s daughter,

The next day he came in, and within an

Parry. The doctor passed away some

hour he was enthralled, and became a

years ago. Prices range from $25,000

very serious collector. The next day at

to $100,000. Before meeting Dr.

the museum I showed him some pieces

Mead, I wanted to spend more time

that I had not intended to sell, but

in South America and less time in the

realized this might be a good time to

United States because I felt that there

part with some of the best pieces. Dr.

was a chance to rediscover a textile

Mead became the major collector of this

tradition that few, if any, Westerners

material for the next six or seven years.

were aware of. Because of Dr. Mead’s financial backing, I was able to move

TM: Talk about his collection of Bolivian

to Bolivia and bring a sophisticated

Balandrán ponchos. WS: They were

vehicle with me, so I could travel the

originally inspired by the Jesuits, who

Altiplano. I stayed for thirteen more

had treadle looms that they brought

years collecting and studying Aymara

to the New World. They wanted to

textiles.

INTERVIEW

TM: If you went back today, what would you find? WS: The villages themselves have not have changed in any perceptible manner, except the thatched roofs would now be mostly corrugated metal, and there would be a TV or a radio in every structure. But the physical appearance of the villages has changed hardly at all. It is still very rustic. TM: Are there still a lot of textiles or objects to be found or purchased down there? Or is this like the gold rush that has come and gone? WS: The gold rush has come and gone. There still are a lot of textiles because the Aymara still weave, but the ancient examples we were able to purchase thirty to forty years ago are all gone. If you examine these ponchos from the seventeenth and eighteenth centuries you will see that that they are in pristine condition in spite of the fact that they were subjected to a lot of very rough wear the two or three times a year they were worn for ceremonies. When I bought them, they showed dirt and whatever else was on them. But they cleaned incredibly well and there is virtually no restoration on them. TM: Do you have plans to go back to South America? WS: I’ve gone back many times, but not recently, because, for one, you can’t take anything out. But I do go back to see friends. TM: So, as with Dr. Giles Mead, you were in the right place at the right time. WS: Exactly. Guy Cross is co-publisher of THE magazine.

Opposite Page: Quechua Indian, Alpaca, 77” x 60”, 17th-18th centuries. This Page: Tarabucan woman at an upright loom.

AUGUST

2014

THE magazine | 53

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CRITICAL REFLECTION

Anne Truitt: Paintings and Works on Paper

Charlotte Jackson Fine Art 554 South Guadalupe Street, Santa Fe

My idea was not to get rid of life but to keep it and see what it is. But the only way I seem to be able to see what anything is is to make it in another form, in the form in which it appears in my head. Then when I get it made I can look at it. —Anne Truitt, from an interview with James Meyer, Artforum, May, 2002

IN THE EARLY 1960S, ANNE TRUITT EMERGED IN THE NEW YORK ART WORLD through a solo show at Andre Emmerich Gallery, but her minimalist

to be found, or anyone else’s for that matter, in the paintings on

dimensions of weight and depth. And at this conceptual node is

sculpture was promptly dismissed in a review by Donald Judd. He

canvas that dominate this show.

where Truitt’s paintings relate to her sculpture. The same kind of

said her work, appearing as “serious,” was actually not so and

A while back I came across this phrase: “the unforeseen

curious movement is present in the work Untitled (October ’72).

he called her arrangements “thoughtless.” Interestingly enough,

intimacy at the heart of abstraction” and those words seemed

An irregular white rectangle, framed by a relatively thin border of

a short time later Judd would begin presenting his own minimal

prescient to me as I studied Truitt’s large paintings, particularly

flame red, generates the sensation that the white field is bulging

sculptures that would derive their aura from a reductive aesthetic

Untitled (October ’72) and Quest (5 July). The latter work was

ever so slightly outward from the picture plane. Does it have

not unlike Truitt’s. Forty-one at the time of her first important

particularly galvanizing even though its predominantly pale-pink

something to do with a slight angular tilt upward at the very top

exhibition, Truitt’s work and ideas about art remained incredibly

color isn’t known for being unusually magnetic. What captivated

of the white shape, about a third of the way in from the right side?

coherent and probing until she passed away in 2004, after four

me was that within the painting’s square format, a large, irregularly

It is at this space in the painting where the uninflected white field

decades of a consistent pursuit of physical truth within each

shaped pink form—slightly angular though suggesting an oversize

gives its ever so modest dimensional thrust.

specific form.

balloon—expanded almost to the edges of the canvas but was

Writing in her first journal, titled Daybook, Truitt said, “A few

Better known as a sculptor, Truitt was also a painter who

held in check against a white ground. Ready to float away but

of us leave behind objects judged, at least temporarily, worthy of

worked with equal rigor on canvas and paper. Looking at her work

unable to, the field of pink was in actuality tethered to the bottom

preservation by the culture into which we are born…

in Santa Fe, I was struck by the Keatsian idea that beauty is truth

edge of the painting by a very small coral-colored slash of paint. At

Ordered into the physical, in time we leave the physical,

and truth beauty, because the issue of beauty is indeed deeply

a distance, you could barely see that coral band—only perception

and leave behind us what we have made in the physical.” It is

embedded within Truitt’s compositions—beauty’s relationship

on an intimate level renders the importance of that thick bravura

this sense of the unforeseen intimacy that can be found within

to the artist’s notion of truth is investigated in the relationship of

line. The other aspect of being close to the painting was that when

the experience of abstraction that I find so applicable in looking

color to line, one hue to another, or one shape to another shape

you backed away, the pink field itself seemed to move—to float

at Truitt’s work—as if a quiet unadorned presence offered an

in close proximity. There is nothing haphazard or arbitrary about

outward, or was it sideways? This surprising sense of movement

intense belief in the intelligence of her own vision, an intelligence

Truitt’s decision making. And if there is a problematic aspect to

was of course an illusion, but you have to ask, what caused this

that rose to the surface of each piece and showed itself capable

some of the works on paper, it’s that Truitt was strongly inspired

apparent swerve?

of expansion, of selective indirection, of being able to trust in the physical to carry the intimate weight of an existential loneliness,

by Barnett Newman and, in some of the pieces, Newmanesque

It was as if some of these paintings possessed a subtle

“zips” are very much in evidence even if Truitt’s vertical lines are

body below the surface of a field of color, and the small bands

giving it a sequential and surprising radiance.

more diffuse and luminous, and seem to bleed upward from

of contrasting hues at the bottom acted as a kind of fulcrum on

—Diane Armitage

below the surface of a particular field of color, as in the work

which an airy cloud of pink, magenta, or pale blue was harnessed

Untitled (10 January ’71). That said, Newman’s ghost is nowhere

to the artist’s vision of color as a distinct physicality with the

AUGUST

2014

Anne Truitt, Untitled (October ’72), acrylic on canvas, 48” x 96”, 1972

THE magazine | 55

Fine Art

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CHUCK VOLZ

Photography: Craig Clark

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When - August 30, 31 & September 1, 2014 Where - Waszak Studio North 818L Paseo Del Pueblo Norte Taos, NM 87571 505-898-1019 Time - 10-5 all 3 days

CONTACT Phone 505-898-1019 E mail krysteen@krysteenwaszak.com Website www.krysteenwaszak.com 713 Canyon Road 203 West Water St.

Waszak Studio Visits Santa Fe, NM 87501 www.casweckgalleries.com â&#x20AC;˘ 505.988.2966 Call for appointment 505-250-0455 Studio North - Taos, NM Studio South - Albuquerque, NM

CRITICAL REFLECTION

Michael Wright: Modern Abstractionist

Windsor Betts Fine Art 143 Lincoln Avenue, Santa Fe

TRY TO WALK INTO WINDSOR BETTS WITH AS EMPTY A MIND AS POSSIBLE. Then, you will have a truly enjoyable experience viewing

on one another. Nomads presents slabs of color elbowing

vivacity that smacks of dance. Red Hook and Filibuster also

the works of an accomplished, mature abstractionist. Do

themselves into place, as if seeking somewhere to rest.

powerfully achieve that coveted synthesis of the sense of

not read anything (besides this piece, of course) beforehand

Tundra, in another room, seems to fully accomplish

depth, motion, and balanced composition that makes an

about the artist or his life; just look at the paintings. Watch

the kind of balanced serenity that is an implied goal or

abstract painting really work. Many of Wright’s paintings are

Michael Wright establishing and taking charge of his own

project in Nomads. How delicious to watch an artist,

quite large (in fact there is a set of works not in the gallery

rules within each field in a gentle but masterful act of will.

from one painting to another, work through various

because they could not be fit through the entrances; these

You are greeted by several joyous recent works

complex aesthetic problems he has set himself. If Tundra

are shown only in reproductions on standard printer

including Electric Blue and Celtic Blue, with their gorgeous

achieves maximal majesty in stillness, Carousel is an apex

paper). Wright makes work in different styles and has also

masses of color that in a few spots hint at casting shadows

of controlled and balanced movement, possessing a

done landscapes in oil and acrylic, but the focus here is rightly on his abstract work. The thing I love about abstract painting is how it resists language or narrative, or at least is never easily encompassed by it, but rather calls on us to respond directly. The experience either satisfies some aesthetic emotional function deep within us, or not, and verbiage comes later, if it must come at all. What can happen as one moves through the labyrinthine display spaces of Windsor Betts in which his work is distributed is that one’s “monkey mind” begins to throw off little sparks—Jasper Johns, Hans Hofmann, Helen Frankenthaler, Robert Motherwell, Clyfford Still, even Mark Tobey—the mid-twentieth-century American Modernist parade of names pop into the brain. This is because Wright was a near contemporary of these people—a friend, a colleague, a studio assistant in his early days to Willem de Kooning—and so one sees some of the same things being worked through. However, in my opinion, making comparisons is a waste of time. This is one reason I recommend not reading any more biographical details until after you have truly just looked at the paintingss Wright is a superb colorist. In Urban Development (echoes of Diebenkorn, the artish monkey mind whispers) and Verona, Wright uses black like a shot of espresso in small stimulating jolts here and there. Sometimes he uses materials collaged onto the board or linen surface. The works I find most successful are those where, though something was applied, it is barely perceptible that part of the surface is slightly raised. The works that incorporate stenciled numbers and those using cutout paper or Hindu texts as collage seem less integrated and more like experiments. Wright is his own man, and the work communicates a sense of a life well and fully lived, and gives evidence of a sincere and persistent application to the challenges of abstract painting. I’m just enough of a Platonist to relish the idea that here is an artist reaching for some ideal of Beauty; and when he nails it, it is literally a joy to behold.

—Marina La Palma Michael Wright, Tundra, charcoal, archival paper, and urethane on canvas, 80” x 66”, 1998

AUGUST

2014

THE magazine | 57

Hugh Dana Gibson: A Musician Paints

Encore Gallery at the Taos Center for the Arts 145 Paseo del Pueblo Norte, Taos

“The last performance played, or a work that I am rehearsing for, recycles through my subconscious until replaced by another.” —Hugh Dana Gibson

AND THAT MUSIC SHOWS UP IN EVERY BRUSHSTROKE. HUGH DANA GIBSON trained as both a painter and a violist/violinist. Even his

from the Santa Fe Opera but the viewer is more likely to

evening left daytime for painting,” he says. Over the years

military service blended performing in the United States

be pulled directly into the bed of daylilies in the foreground.

he has been a member of the Houston Symphony, the New

Seventh Army Symphony with visits to European museums,

Their rusts, oranges, and yellows couldn’t be more vibrant,

Orleans Philharmonic, and the Santa Fe Opera Orchestra.

sketchbook in hand. A Musician Paints is a sixty-year Gibson

and yet there is a softness in the way the colors of the

Gibson always hears music when he paints. “It’s a way of

retrospective. Curated by David Hinske, the exhibition

other leaves, petals, and grasses melt into one another.

practicing without the instrument,” he says.

presents twenty-two works that track Gibson’s artistic

Burning Bush (1998) lets us zero in on one plant, but now

—Susan Wider

journey in oils, acrylics, lithographs and more.

the colors have become confetti. The lilacs and purples

“One painting always led to another,” says Gibson.

are especially striking—almost like shimmering stained

Music notes do that, too. Gibson’s work is full of percussion

glass—in the gallery’s

and crescendos and pianissimos and musical themes. In

beautiful

Three Musicians (1951) there is an English-horn player

of natural and artificial

warming up, a string player arriving with his instrument

light.

still in its case, and a third figure with no instrument visible

the plant’s colors in the

who might be a singer or a pianist. Each musician has his

painting’s

background

own privacy in the painting and yet we expect them all to

transparent

join in their music making under Gibson’s bright orange

white paint over similar-

stage lighting. The picture’s composition was inspired by a

colored

wartime memory of timbers in a burnt-out building, and the

musicians are separated by these charred slashes of wood.

frosted

Three Musicians shares a wall with three other large canvases

some of the underlying

bursting with reds, yellows, and oranges. It is no surprise to

colors barely seeping

learn that the work of Pierre Bonnard had a big influence on

through the white veil.

Gibson. He makes this clear visually.

By contrast, Hollyhock

combination

Gibson

using

echoes

brushstrokes

create

lighter,

effect,

with

Circles appear often in Gibson’s paintings. They are in

with Moth (1997) lands

the red and blue pots and pans of Kitchen Sink (1980), and in

us right inside a single

the similarly colored red and blue streamers and

pink

pinwheels of Fireworks 4

hollyhock.

It’s

of July (1973). This canvas

just us and the moth in

was Gibson’s answer to not being invited to a Fourth

there. Gibson says he

of July party; he went home and painted instead. The

was thinking art deco

circular theme continues along the same gallery wall in

when he painted the

Voyage to Byzantium (c. 1957). What began as a depiction

colorful wings, but I see

of Noah’s ark, until Gibson ran out of room for all the

the curved designs of

animals, instead became oodles of circles in oranges,

Canadian First Nations’

corals, peaches, and roses. Up close the circles continue

art. The creature’s left

in the wood of the boat, the clothing designs, the people’s

wing is peacock-like and

faces, the cat’s body, and the sky full of moons. Around

its right wing is a subtler

the corner, in a brightly lit hallway hung with six works

mosaic. The not-so-little

on paper, Gibson’s Santos lithograph (1951) swirls with

moth’s pale blue body

frightening ovoid hands, faces, and even shirt collars in so

sports rows of red, blue,

many different blacks and greys.

and

green

rectangles

And then there are Gibson’s flowers. A believer in

in contrast with the

mass plantings in his own garden, he mass paints them as

painting’s other beautiful

well. The four large canvases on the gallery’s east wall are in

curves.

full bloom. Here the reds and pinks are intense, whether the

Gibson

never

flowers grace a tabletop or decorate an outdoor stairwell

worried about his two

or flood a sweeping landscape. View from the Opera (1968-

professions competing.

2012) may be titled to describe distant mountains as seen

“Rehearsals

the

Hugh Gibson, Burning Bush, acrylic on canvas, 48” x 38”, 1998

CRITICAL REFLECTION

Cante Jondo (Deep Song): New Paintings by Jim Vogel

Blue Rain Gallery 130 Lincoln Avenue, Suite C, Santa Fe

THE PERFORMANCES IN JIM VOGEL’S OIL PAINTINGS ARE SUPERIOR IN SOME WAYS to live theater. These inspiring productions never have to

overpower his guitar. The singer gestures upward into the

windows, illuminating the wooden beams overhead and

end. Vogel’s new show at Blue Rain Gallery takes us deep

night sky, his right hand enlarged for expression. All three

glinting on the blade of a knife that lies on the floor. Don

into the world of flamenco music and dance as we witness

performers have closed their eyes and are immersed in their

José kneels over Carmen, not quite touching her, as we wait

his blend of art and craftsmanship. The paintings take your

art. Vogel exaggerates the deep lines and shadows in the

for the massive, silvery curtains to close.

breath away with their vivid colors and flamenco action,

guitarist’s face in a way that lets us experience this musician

Vogel is often described as a storyteller, but his work

and the frames he creates for them turn each piece into its

actively listening to the singer. And in the same way, Vogel

goes well beyond that notion. He is also an interpreter.

own private world. The hand-carved, gold-leafed frame of

paints the wrinkled folds of the singer’s brow so that we can

He recasts and reimagines stories in a way that

La Resurrección represents golden flames burning around

hear a voice full of emotion.

illuminates underlying traditions, character complexities,

the figures in the painting. The canvas is irregular in shape

For Carmen, Vogel again pulls the frame’s theme from

and reverberating plots. Never do we see a Vogel face

within those flames, as though someone has set the edges

within the subject of the picture. This time the irregular

smiling, so intense are the figures’ focus and passion.

of a larger canvas on fire and it is burning in on itself. The

wooden borders are “draped” with theater curtains he

Along with the large, irregular-shaped oil paintings and

flamenco dancer in the center is so on fire inside her art

carved. They contain the same deep folds that he paints

their hand-carved frames, the show also includes smaller

that the ruffles on her skirt and sleeves have become red

into all of his figures’ clothing, folds that echo wrinkles on

oil paintings contained inside handcrafted boxes, trunks,

and orange flames. Even the red rose in her hair is a burst

faces, and sinew in arms and legs. (Sometimes these same

and cabinets. Nuestra Señora de la Gente (Our Lady of the

of fire. As in much of Vogel’s work, the hands and feet of his

undulating folds even appear in Vogel’s clouds or tree bark

People) is painted on a canvas panel that is framed by

figures are oversized and over-muscled. Flamenco dancers

or hillsides.) Carmen lies on the floor of what looks to be

an antique wooden box, perfect for “hiding” a painting

speak with their hands and this woman’s are larger-than-

a small chapel. Paint missing from the walls reveals adobe

inside. Vogel paints this box with accent colors from the

life dramatic. Her guitar player’s hands are so large they

bricks, and light floods onto the death scene from side

canvas. The same blue of the woman’s skirt appears on the box’s exterior, and the rusty red of her blouse is in the wood on the inside of the box’s doors. The box sits on a matching blue wooden shelf and viewers might need to bend slightly to peek under the box’s top rim to look into the woman’s eyes. A slight shift in stance hides her eyes and emphasizes her anonymity. Here again, the woman’s hand on the child is the oversized hand of la gente, the people, and the child itself is grounded by its large feet. Vogel often places his figures so that a hand is positioned in the center of the canvas, as is this woman’s. Cantador (Gypsy Singer) is framed inside an antique Mexican wooden nicho, as reworked by Vogel, with hammered tinwork in the doors. Here, even the singer’s shadow on the back wall seems to move as the man claps and sings. ¡Olé! is a diptych; its frame is an antique New Mexican wooden trunk standing on end. The solid, earthy reds, blues, and golds of the dancers’ and observers’ clothing contrast with the bright white of a dove, just released from the woman’s dancing hand. But the most ingenious framing treatment is for Café Cantante (Flamenco Bar). Inside this Mexican nicho frame are a seated male singer, a female flamenco dancer in a blue dress, and a guitar player behind them, eyes lost beneath his hat brim. The brown box is distressed with traces of the dress’s blue paint and the box’s door is outfitted on the inside with a small curtain rod and an antique lace curtain, yellow with age, that can be pulled across to close out the world, much as a drawn café curtain might close off the entertainment inside from passers-by. With the flamenco theme of this show, Vogel hopes to create added awareness for the recent catastrophic fire at the National Institute of Flamenco in Albuquerque.

—Susan Wider Jim Vogel, ¡Olé!, oil on canvas panel with antique trunk frame, 22 ¾” x 22”

AUGUST

2014

THE magazine | 59

Catch & Release: Rebecca Seary and Aram Larsen

Phil Space 1410 Second Street, Santa Fe

WHAT’S IT MEAN TO TAKE THE BAIT? WHAT’S IT MEAN TO CAPITULATE? In Pilar last week with my son, casting our lines out across the

only engaged in that portion of the fisherman/fish arrangement

earthers who fled the Bay Area in the 1970s, and numerous

Rio Grande toward the shade and shallows of a big black rock,

that worked for her. She did this because she’s a wild thing, not

hermetic spirits of wide variety: people who wanted to get away

with a quick tug a small trout flipped into the air, slipped the

bound by laws or conventions, free inside and out, in nature.

from everything, and people who couldn’t handle anything, and

hook, and was gone. She definitely took the bait, but not in

She never even acknowledged our so-called “fishing” construct.

everybody in between. So they set up a studio for the project

the expected proverbial sense. Basically she freeloaded. She

Ideologies are meaningless to fish.

and they gathered faces from up and down the Yuba River and

In New York City in 1965 or so, a

among the foothills of the Sierra Nevadas. They painted pictures

famous Pop artist switches from doing

of strangers who became friends and strangers who stayed

politically oriented work that rivals Goya’s

strangers. They deepened connections and became friends and

masterpieces (see his car crashes, electric

family with the community. They got to know people before

chairs, and 13 Most Wanted Men) to

they sat for their portraits. They had coffee, conversation and a

portraiture because he feels the pull of

little food together, slowly starting to sketch before plunging into

aristocratic European collectors who want

the paint and picture making.

to commission likenesses. He definitely

Seary and Larsen are young artists whose work shows

takes the bait in the proverbial sense, and

promise, and who haven’t been ensnared by any real net yet.

keeps biting over the next twenty-plus

Along with the great quantity of portraits, the best of which are

years, ultimately amassing a huge amount of

done by Seary, Larsen presented a large, salon-style smattering

personal wealth through celebrity portraiture

of small- to medium-size paintings of surrealist automatic

before dying. Dying without ever really

derivation done in a style influenced by his father—who was his

making another piece as daring, relevant,

first teacher and a lifelong Disney animator—and by Picasso’s

or meaningful as his pre-1965 work. He did

cartoon Cubism. Hence Larsen employs a lot of movement

this because he was a social being, bound

and flash that achieves its potential when harnessed to his

by laws and conventions. Who in our hyper-

more developed intentions in a number of the larger pieces.

monetized day would blame him? The trick

There are slight echoes of Remedios Varo’s sense of ritual and

is to not lose your head in the process. Slip

introspection. Larsen is a young artist with great energy and

the hook. Take the bait, but don’t capitulate.

potential who is still searching. Seary, on the other hand, seems to have found her calling

Somebody got a hook into Andy. Starting in 1950, the C.I.A. backed

in portraiture, though this is not to say she ought necessarily to

and

stop at that. The best of these recall Alice Neel or Jack Richard

extensively, at the expense of the careers

Smith in their clarity and honesty of intention, and most of all

of many talented artists who worked

in their pleasure in painting. She talks about starting each piece

figuratively. Did they then suddenly just stop

with an explosion of color where the eyes will be. We are each

fishing, or did they also pop Pop?

of us the event horizon.

Abstract

Expressionism

secretly

In North San Juan, California, in 2011,

Will pictures of the everyday people who’ve escaped to

Rebecca Seary and her husband, Aram Larsen,

live along the river ever net as much at auction as Warhol’s

were commissioned through a grant from

celebrity portraits? Probably not, though far stranger things

Cal Humanities to collect painted portraits

happen. But looking at Seary and Larsen’s portraits, I am sure

of the residents of the rural area where they

that they matter and mean just as much, if not more than any

reside, a (state-funded) social-realist project

Warhol mock-up of a wealthy collector. Just like the people of

if ever there was one. The artists’ aristocracy

North San Juan matter just as much, if not more than the one

is derived from the local ranchers, back-to-

percenters running the casino economy. Just like spending time with your kid not catching fish matters more than all the fish you’ve ever caught alone. And just like staying off the hook, whatever that hook might be, whether you take all the bait or not, matters the most.

—Jon Carver

Aram Larsen, Her Lovely Spine, oil and charcoal on canvas, 46” x 22”, 2013 Rebecca Seary, Jasmine, oil on canvas, 20” x 16”, 2013

CRITICAL REFLECTION

David Solomon: Shape Shifter

Patina Gallery 131 West Palace Avenue, Santa Fe

“ALL ART CONSTANTLY ASPIRES TOWARDS THE CONDITION OF MUSIC.” The unlikely source of this enduring maxim was Victorian

“special material” refers to the specific physical medium,

here in Solomon’s oil-on-aluminum panel paintings, while

arts critic and writer Walter Pater, in his essay on Giorgione

but in a broader sense it describes the diverse visual

the artist’s actual manipulation of their images is arguably

appearing in the second edition of his The Renaissance,

vocabularies and dialects peculiar to each of the successive

much more restricted on aluminum panel than on canvas,

in 1877—the same year as the third exhibition of the

movements of modern art.

linen, or even Masonite.

“Impressionists” (including Cezanne, Degas, Monet, Renoir).

David Solomon’s attractive oil-on-aluminum paintings

But the larger factor affecting Solomon’s paintings has

What Pater wrote was revolutionary. It went against

in Shape Shifter can be viewed within the modernist

to do more with their structure than with their facture.

the prevailing representational theory of art dating back to

legacy of abstraction, beginning with the physical

In most of the paintings the composition is overworked,

the Renaissance and enshrined in the much earlier maxim

medium. Solomon’s rationale for his choice of aluminum

crowded with images that convey the sense of several

by the Roman poet Horace: ut pictura poesis (“as is painting,

as the ground of his oil paintings is problematic: “I work

prospective paintings vying for a single surface. A similar

so is poetry”). Poetry is visual like painting; conversely,

on the aluminum panel because it comes without any

overkill pervades the artist’s choice and distribution of

painting is visible poetry. What Pater maintained, instead,

predetermined surface. There’s no texture as there is

color and color areas, in part a function of the crowded

was that, in all the arts, aesthetic experience was fully

with canvas or linen. Therefore the surface is completely

imagery. Large adjacent areas of black and saturated

achieved when the subject matter became one with the

mine and unadulterated for the images to grow as they

red (Flower, Flower; Icon I; Alluvial Planes; Your Quality of

form—a condition most easily achieved in music. As

want” (artist’s statement). The listless facture in Shape

Intake) tend to dilute each other. In the more biomorphic

Kenneth Clark noted in his introduction to the 1961 reprint,

Shifter reflects this largely proscriptive approach to the

compositions, such as Like Drippings from the Ceiling, the

modern art would follow Pater’s prescription, one which,

medium that physically defines that surface—unlike, say,

potential for chromatic drama of contrasting colors (here

however inadvertently, advanced the aesthetic premise for

Frank Stella’s material choice of an aluminum support for

red and green) is denied by their equal apportioning on the

the subsequent emergence of modern abstraction.

his lacquer and oil Montenegro I (1975) or Stella’s later

surface, resulting in simply decorative effect rather than

In the same essay Pater asserted what would become

recourse to the sheet’s flexible rolling structure to help

dynamic tension.

a precept of modernism: granted the reciprocal relations

achieve the Pop-Baroque exuberance of his massive painted

The shapes, compositions, and palette of the

among the arts, the expression of this aesthetic in each art

wall relief of polymer-based pigments on canvas, etched

paintings in Shape Shifter evoke references to a range of

form is distinct, “untranslatable” into another art form, and

magnesium, and aluminum Guifa e la beretta rossa (1984).

modernist precedents: Jean Arp, Joan Miró, Kandinsky, the

its uniqueness in any given art form is due to that form’s

Canvas and linen no more predetermine a surface than

early, biomorphic work of various Abstract Expressionists.

attention to “its special material.” At its most concrete,

aluminum or Masonite. And ironically, texture is pervasive

But rather than inform, they tend to deflect the artist’s own resolutions, as if Solomon moved too quickly in embracing his intuitive painting process in lieu of more extensive study of the “special material” that distinguished each artist and movement. The inherent risks of a premature reliance on such an intuitive approach against the lessons of a century of abstraction is visible in The Downfall of the Flower Prince, where the juxtapositions of geometric and biomorphic shapes, and of saturated red with black and yellow ochre, appear forced or self-conscious and come perilously close to yielding something like an attractive New Yorker cover made in the generic modernist look familiar from contemporary fashion and design. Solomon’s paintings suggest a work in progress. The series in Shape Shifter projects an inchoate quality, as if the artist’s initial efforts at stratagems for composition, shape, line, and color were cut short by a too facile recourse to an intuitive process that—to be genuinely intuitive—calls for deeper study of modernist influences and their attention to material process. That said, Solomon’s paintings convey an authenticity that is essential to true progress. Shape Shifter is an early phase in what should be an ongoing process of trial and error that, if sustained, could result in future work that is both solid and significant.

—Richard Tobin David Solomon, Face Off With A Rose, oil on aluminum panel, 36” x 48”, 2014

AUGUST

2014

THE magazine | 61

Micaela Gardner: Federal Dances

Federal Park 120 South Federal Place, Santa Fe

CHOREOGRAPHER MICAELA GARDNER’S FEDERAL DANCES WERE PERFORMED on three separate occasions over the weekend of June 27.

In 1883, the same plaza was chosen to host New Mexico’s

over the encumbered slave dance happening below her.”

Gardner began conceptualizing the dance’s eight vignettes two

“Tertio-Millennial” celebration organized by LeBaron Bradford

Gardner’s personification invoked the idolatry projected upon

years ago and rehearsed with the accompanying performers

Prince (prominent historian and eventual governor). In 1884,

this strange little doll burdened with keeping the peace.

for one year. The dancers came and went until there were

a sandstone obelisk honoring Kit Carson was installed.

In Etiquette Duets, the six dancers donned blue metallic

seven: six women (including Gardner) and one man. The

The sun beat the grassy sprawl through its stately trees

heels and waltzed in the courtyard’s dust. Amid their courtly

eight segments, parsed out on a distributed program to the

while the dancers braved the dry heat in bare feet and hand-

propriety, the duet would turn on each other and digress—

hundred-plus voyeurs gathered at the Federal Park, describe

sewn white cotton smocks. They thumped the ground in

then seamlessly assume their entitled statures. Spencer Toll,

stages of revolution, colonization, and industrialization.

ritualistic unison, jumped with angled limbs, showed fists of

the token male, was unblinkingly graceful in high heels and

Part of Gardner’s goal was to uncover New Mexico’s

strength, and traversed the entire manicured arena like ghosts

only pushed the absurdity of this removed cultural practice

cultural history as well as to honor her own “hidden” Native

caught in purgatory—often pushing the limits of our personal

to its extreme: role-playing. In The Doorway, the dancers

American blood. Her mother’s family, the Valencias, settled

space as the crowd moved to accommodate their flight.

were contained on the landing of the Federal Building’s

in the Galisteo area in the 1600s, where, as Gardner cynically

In the third vignette, La Conquistadora, the lady

stairs, framed by its Greek columns, and moving at a snail’s

said, they “lived, ranched, and fraternized with ‘savages.’”

surveys work and salvation, Gardner made her entrance as a

pace back and forth, as if exhausted by war or pilgrimage.

“Urged by ghosts and echoes,” Gardner subsequently went

shimmering matriarchal totem. Wearing a cardinal’s beret and

The dancers in their white togas evoked the Elgin Marbles’

digging through sources, among them the books of Marc

regal teal-blue robes that glittered in the sunlight, this surreal

characters carved in stone relief.

Simmons, John Upton Terrell’s Pueblos, Gods, and Spaniards,

figure rose upon a stone pedestal where she stood nearly

The most notable story about time-lapse and memory is

and the first history of our state, Gaspar Pérez de Villagrá’s

motionless but meticulously swiveled in place, weaving spells

Marguerite Duras’s Hiroshima Mon Amour, in which generically

account as the token intellectual while a captain of Don Juan

with her encompassing arms and long, enchanting fingers.

named lovers grapple non-linearly with history. In the film, He

de Oñate’s Spanish explorers. The sordid stories imprinted

Recognized as the first representation of the Virgin Mary

says to She, “You are not endowed with memory.” The Federal

on this land are rarely brought to the surface, and yet we walk

in the United States, La Conquistadora was saved by the Spanish

Dances was not just a performance piece in Santa Fe—a

on impounded sites of tension every day.

during the pueblo revolt and returned to Santa Fe with Don

rare occasion here—but was also a haunting use of bodies

Construction on the Federal Building did not begin

Diego de Vargas in 1693. De Vargas credited the figure’s

in space. Gardner’s thoughtful orchestration ceremoniously

until 1853. Originally intended as the state capitol, the site so

motherly love for his bloodless conquest over the pueblos—an

imprinted the land, and this overlapping of time and narrative

grandly represents the triumph of cultivation, or as Gardner

accreditation eventually adopted by the Natives as well. Now

pinpricked the sunny bright geography with memory.

puts it, “its orderliness considered so much the hero of the

she is the honored guest during Santa Fe Fiestas. The third act

—Hannah Hoel

wild New Mexico territory.” Built in two stages, the stone

of the Federal Dances paid homage to this figure as, in Gardner’s

building is a mixture of Greek revival and Renaissance revival.

words, “a version of religious imagery that mystifies and lords

Etiquette Duets, performance, 2014

CRITICAL REFLECTION

Kara Walker: A Subtlety South 1st Street

Domino Sugar Factory Kent Ave, Williamsburg, Brooklyn

KARA WALKER IS AN ARTIST. SO THAT’S ONE COMMUNITY SHE BELONGS TO. She’s also a she, obviously, so that’s another one. And she’s black.

foot long, thirty-five-foot high, sphinx-like mammy figure covered

a growing chorus of anger from one of Walker’s communities, but

But being part of all those communities has costs: each group

completely in white sugar. (Walker used forty of the eighty tons

now I wonder if that was keeping some blacks away.

has staked its claim on Walker, and, despite the privilege that

donated by Domino on her.) She is a completely nude caricature,

Then, on the penultimate weekend of the show, a college

accompanies membership, it hasn’t always been pretty.

complete with big lips (front and back), wide nostrils, perky nipples,

professor/blogger named Nicholas Powers found the crowd’s light-

Walker is getting a fair amount of attention right now, as she

nappy hair in a do-rag, and an ass you could bounce a quarter off if

hearted picture taking inappropriate and yelled, “You are recreating

did in 1994, when her cut-paper silhouettes in a Drawing Center

you had a quarter the size of a small house. She is anything but subtle.

the very racism this art is supposed to critique.” This was the lead

group show impressed Holland Cotter. His New York Times

(The name refers to medieval sugar sculptures, called “subtleties,”

of his piece in The Indypendent. The assumption at the heart of the

review described the work as a “surreal, raunchy, angry fantasia

that were served to that day’s one percent as dessert or between

article is that artists have a responsibility to educate the masses.

on the world of antebellum slavery. Looking like a cross between

courses; the figures depicted political or religious images.) There are

Many commentators agreed, though not many had seen the show.

a children’s book and a sexually explicit cartoon, this is skillful,

also fifteen smaller sculptures of black child workers, some made

I’m a white male so I won’t comment on Powers’s rage, but because

imaginative work and will doubtless be showing up elsewhere

of sugar, others of resin, scattered around the five-story, thirty-five-

I visited the Domino factory so often and had such a wide range of

soon.” As indeed it did. Just three years later, at the age of twenty-

thousand-square-foot, molasses-coated ruin.

experiences—the space has been as quiet as a place of worship,

seven, Walker was included in the Whitney Biennial and she

The first two times my wife and I visited the installation we

as energetic as a county fair; I’ve seen inappropriate behavior

became the youngest winner of a MacArthur Foundation “genius”

were struck by the high percentage of blacks in the crowd. The

(Surprise! Some people act like morons around nudity) and acts

grant. Not surprisingly, all that attention brought condemnation as

neighborhood is diverse, but not heavily African-American; people

of kindness; I’ve had illuminating discussions and been disturbed to

well. A group of black artists objected to her use of negative racial

have come from all over the city and beyond, some 130,000 over

see so many filtering their experience through a digital device; I’ve

stereotypes. Oh how far we have not come.

the course of nine weekends. We’ve been to plenty of museums

found the monolith dull and the small figures captivating; I’ve had

For those who haven’t seen images or visited the soon-to-

and galleries in New York City, and elsewhere, and the presence

my breath taken away by the Sugarbaby’s searing whiteness and

be-demolished Domino Sugar Factory building in Williamsburg,

of so many people of color was striking. In the course of those

been mesmerized by the various transformations—I can say with

Brooklyn, A Subtlety (subtitled The Marvelous Sugar Baby, an Homage

initial visits we had numerous conversations with an amazing

no hesitation that it is a magnificent piece of art. It is one of the only

to the unpaid and overworked Artisans who have refined our Sweet tastes

variety of people. But on our fifth visit, I mentioned that it seemed

recent works I’ve seen that, despite the haters, manages to create

from the cane fields to the Kitchens of the New World) is a seventy-five-

like a much whiter crowd. I didn’t know at the time that there was

a truly democratic space. On its final Saturday, the day after we all celebrated the birth of our complicated, conflicted, freedom- and equality-loving country, the crowd was such that a brother from another planet would have been hard pressed to say which of our many races was in the majority. The contrast to the recently opened Jeff Koons retrospective at the Whitney is striking; there the art market and the art are inextricably bound. Walker has managed to do what Donald Judd, in his “Statement for the Chinati Foundation,” prescribed in 1987: “…art, all of the arts, in fact all parts of the society, have to be rejoined….” He went on to write, “Almost all recent art is conquered as soon as it’s made, since it’s first shown for sale and once sold is exhibited as foreign in the alien museums. The public has no idea of art other than that it is something portable that can be bought.” Here the possibility exists to experience art that is not portable and (presumably) can’t be bought. A Subtlety is not just a big white sculpture accompanied by a bunch of smaller brown ones. It’s not just a huge factory building weighted down with the toxic legacy of the sugar industry. It’s not just the future site of luxury condos. It’s all those things plus the people who are in it at any given time, and yes, it’s also all the stupid “selfies,” it’s the overheard conversations both smart and inane, it’s the decaying walls, it’s that it will go away, it’s that it will never leave you, it’s the molasses smell that’s everywhere. It contains anger, beauty, sex, silliness, sadness, death, hope, and probably an infinite number of things I didn’t notice in half a dozen visits over those nine weeks. In other words, it’s art.

—James Rodewald Kara Walker, The Marvelous Sugar Baby (part of A Subtlety), carved polystyrene and refined white sugar, 75 1/2’ x 26’ x 35 1/2’, 2014

AUGUST

2014

THE magazine | 63

From Chaos to Complexity: Where Do Art and Science Meet?

Museum of Contemporary Native Arts 108 Cathedral Place, Santa Fe

HANGING OUT AT MOCNA CAN BE QUITE REWARDING—EVEN PROVOCATIVE. By its very nature, an institution with such a challenging title as

The panel was moderated by former C.I.A. spy Valerie Plame

indigenous artist and, it would seem, a non-Native scientist).

Museum of Contemporary Native Arts should be expected

Wilson, director of communications at SFI. (Mysteriously, SFI’s

If the panels had consisted of two males of a certain age and

to present programming that challenges preconceptions. First

website remains mum about her position; is this merely an

European descent, would the questions be the same? To let

and foremost, there’s the big concern: Are contemporary

insignificant omission?) Basket maker Shan Goshorn, an Eastern

Wilson off the hook, I admit that mainstream society might

Native arts necessarily different than the so-called regular

Band Cherokee artist and activist, shared the stage with SFI

find “artist” or “scientist” such a bizarre career choice that the

contemporary variety? And if so, how and why? Setting aside

researcher Jennifer Dunne, who is currently working on food

question of how you get there has to be asked. I have a gut

an attempt to answer these questions—although I suspect we

biosystems. On the flyer that accompanied the discussion, the

feeling, though, that there is a kind of exoticizing at work here,

might seek resolution in MoCNA’s latest offering, the Social

model Dunne had put together to look at who eats whom in

and would like to offer a challenge to both institutions to probe

Engagement Residency Program—the fact is that there are

the food chain was as intricate a work of art as one of Goshorn’s

the matter more deeply. And while we’re at it, I have to admit

no other museums of contemporary Native arts in the United

baskets. This is no trivial thing; Goshorn is known for her use

that I found Wilson’s questions somewhat shallow. Goshorn and

States, at least none that I’ve ever come across. Either Santa

of traditional exacting patterns in her contemporary baskets,

Dunne are highly intelligent and articulate women with a great

Fe is at the head of its class in this area, which I maintain is

which make statements about indigenous history. She uses

deal to say about the state of art, science, and being human.

distinctly possible, or the rest of the country is correct to ignore

shredded giclées prints in place of river cane so that she can

Had Wilson been advised to dumb down the topic? If so, she

the category. Given how well the U.S.A. pays any attention

illustrate her concepts, literally, in pictures. The mathematics of

was sadly misdirected. Even the use of the term “chaos” was

at all to its indigenous populations, ignoring such notions as

her artworks is tricky; it was her young son who pointed out

mishandled, which must have proven frustrating for Dunne.

“contemporary Native arts” is very likely, though hardly for

that “all math is patterns.” Dunne agreed, affirming that even in

At one point, Goshorn talked about the “chaos” in her studio

admirable reasons. It’s more to be expected that most of this

so-called chaos—science’s chaos, not the public’s perception of

as she figures out the workings behind a basket. She meant

country doesn’t even realize there is such a thing.

it as randomness—there are discernable patterns.

“mess,” I believe, but no one corrected the misuse. This is a

With a willingness, even a mission, to challenge mainstream

Now, back to gender. I noted that Wilson asked the two

place where a moderator could skillfully and graciously swoop in

concepts about contemporary art and culture, other matters

panelists what led them to become an artist and a scientist,

and allow for a defining of terms and ideas; that the opportunity

can quickly get added to the mix of subjects under investigation

respectively, and who had nurtured their creativity and

was passed over is unfortunate.

at the museum. One such topic is gender, as it is perceived in

intelligence. When I inquired as to whether she would have

—Kathryn M Davis

Native communities and at large. This turned out, at least for

asked the same questions of men, Wilson replied that she has,

me, to be a potent subtext when MoCNA presented, with

indeed, asked those very questions when the panelists were

Art + Science panel, May 31, 2014. From left to right: moderator Valerie

the Santa Fe Institute (SFI), a panel discussion titled From Chaos

both male. I am tempted to quibble and put forward the issue

Plame Wilson, artist Shan Goshorn, and scientist Jennifer Dunne.

to Complexity, the third in their ongoing Art + Science series.

of the fetishization of Native artists (each panel consists of an

Photo: David Halpern.

CRITICAL REFLECTION

Brainstorm: Javier López Barbosa and jd Hansen

Mark White Fine Art 414 Canyon Road, Santa Fe

TWO ARTISTS EXPLORE THE REALM OF PSYCHOLOGY AND EMOTION IN THE current exhibition Brainstorm at Mark White Fine Art. Santa

the soft vulnerability of loss. The contradiction between the

These two bodies of work meditate on the human

Fe-based Javier López Barbosa creates expressive, colorful

title and the content pulls at the slippage between idealistic

psyche and experiment with the diverse abilities that

abstractions on canvas, and California-based sculptor jd

societal expectations and the reality of imperfection. Orchard

color,

Hansen’s bronze figures capture the subtleties of body language

represents the abstracted likeness of a woman. The rough

the internal worlds of human experience. Since both

and the permutations of mood. The pairing of these two bodies

and jagged surface infuses her draped clothing with the rugged

artists contemplate the inner workings of the heart,

of work was a wise curatorial choice: the exuberance and

textures of an orchard, with craggy, linear folds akin to wood

Brainstorm might just as well have been called Heartstorm.

dynamism of López Barbosa’s paintings complement the gravity

and bark. The woman rests one hand on her hip, a hunched-

—Lauren Tresp

and refinement of jd Hansen’s bronzes.

over posture that communicates enduring effort in the service

López Barbosa, born and raised in Mexico, has lived and

of difficult labor.

form,

and

material

have

for

communicating

jd Hansen, Orchard, bronze, 30” x 10” x 8”, 2013

worked in Santa Fe since 1984. An entirely self-taught artist, he has been creating art works since he was a young boy. Using oil and other media, his luminous fields of color are the result of a glazing technique in which layers of transparent paint are applied over expanses of opaque pigment. The layering of the oils creates a lucid, dimensional surface that captures light and glows from within. The artist’s energetic canvases echo the traditions of Abstract Expressionism and color-field painting. Passionate gestures and an intensely bright palette express big, heartinflating emotions. Like standing on top of a mountain, or young, intrepid love, Barbosa’s paintings soar into higher realms of heightened sensation and unimpeachable joy. Titles such as Benevolence, Uplifting, and Mystic Abstraction convey a commitment to euphoric ideals. The artist’s sincere positivity is reflected in vivid hues of azure, magenta, and tangerine floating in expanses of spacious white and accentuated with penetrating black. In Apparition of Emotion, expanses of rich orange and red accumulate against a backdrop of white and cool creamy blues, like clouds forming on the horizon. The soft, expansive backdrop suggests the depth of possibility and reserves space for transformation and growth. The intense red clouds are also accentuated with black. The darkness amid light suggests planes of color that have yet to unfurl, as though the painting may continue to transform as the viewer gazes upon it. jd Hansen’s subtle, understated bronze figures present a corollary to Barbosa’s sumptuous, utopian panels. These blocky and weighty sculpted figures are visually accessible at first glance, yet reward prolonged observation. The sculptor creates nuanced portraits by stripping down the details of each subject to the features essential to communicating subtle ranges of human expression. Alternating smooth surfaces with rough and angular shapes, the artist infuses complex emotional states into simple, relatable figures. Such minutiae as the slope of a shoulder, the placement of a hand, and the tilt of a head are given careful attention and result in highly nuanced perceptions into mood and body language. The minimalist, stripped down stylization contributes to a feeling of naked vulnerability in her subjects. The sculpture Best of Show looks like anything but. The horse’s head hangs and the jockey is perched diminutively on the edge of the saddle. While a best of show winner would display certain idealistic characteristics, the horse and its rider are captured in a moment of reprieve touched with

AUGUST

2014

THE magazine | 65

Jennifer Esperanza Photography www.jenniferesperanza.com ~ 505 204 5729 client ~ wild hare salon of santa fe

KRYSTEEN WASZAK CONTEMPORARY FINE ART

Trunk Show

August 8,9 & 10, 2014

Jane Hamilton Fine Art

200 Canyon Rd, Suite D Santa Fe, NM 87501 520.465.2655 www.janehamiltonfineart.com Meet the artist, Krysteen Waszak Fri 11-7, Sat 11-6 & Sun 11-4

Taos Artist Organization TAO ART STUDIO TOUR

August 30, 31 & September 1, 2014

Studio # 21

818L Paseo Del Pueblo Norte Taos, NM 87571 Open 10-5 all 3 days Visit Krysteen & various artists in their Taos studios over Labor Day weekend. www.taostudiotour.org

CONTACT

THE RED GATE OPUS Framed 36” x 60” original plein air oil paintings

505-250-0455 www.krysteenwaszak.com krysteen@krysteenwaszak.com Studio visits by appointment in Albuquerque and Taos.

GREEN PLANET

CHRIS COLLINS • SCULPTOR • ACTIVIST

RELICS:

This series of work is comprised of iron castings of obsolete technologies, from floppy disks and a VHS tape to vintage

video gaming systems. These objects serve as fossils and fetishes of our technological culture. In this day of technological advancement, one is overwhelmed with the mechanisms of manipulation. Technology is moving faster than the machines that utilize it, thus creating a wasteland of obsolescent things. These machines, once used to store information, only exist as empty visages of their own utility. Upon our own obsolescence, it is these things that will be used to understand us as a culture. www.chriscollins.com http://www.santafecollective.com/chris-collins-sculpture/

photograph by Jennifer

AUGUST

2014

Esperanza THE magazine | 67

RC Gorman at Work, 

E L L I O T T M C D OW E L L PHOTOGRAPHER

elliottmcdowell.com V I N T A G E P R I N T S • N E W W O R K • P O S T E R S • 505.570.0138

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

Blooming Cactus photograph by

AUGUST

2014

Guy Cross THE magazine |69

WRITINGS

STORAGE by

Timothy P. McLaughlin

It is a simple thought to say the soul, in a way, must be quite like an old cellar. A space to hold things or hold space for light or shadow to shine forth. A place of whole acceptance, cradling all until filled or overfilled— boxes stacked and shelves stuffed, webs and mold and micro worlds proliferating the unattended darkness. To most folks, the things feel put away, dealt with, yet a burden appears plainly in the heavy eyes and heavier steps of the attending body. The cellar can, of course, be cleaned and cleared, swept out and lit up, the stacks slimmed, the files trimmed, the shelves relieved and lightened. The door can be opened to new air, a window dug and built to permit sunshine and moon glow, a song hummed into the bare walls and cold floors. All that is surely good, it seems— a refreshment, a warming, an illumination. It is also good, essential really, to descend into the storage space on a moonless night and feel the crawling and prowling of animal and spirit, to stand silently before the long shut-up boxes on leaning shelves and simply weep until morning or sleep sweeps you up and carries you back into the comforts of the living room. Timothy P. McLaughlin is a poet and spiritual teacher. He taught in Native communities of South Dakota, Montana, and New Mexico for thirteen years and founded the Spoken Word Program at the Santa Fe Indian School. He and his students received numerous awards and were featured in many media publications and programs, among them the New York Times and the PBS News Hour. He received a Writing Residency Fellowship from the Lannan Foundation in 2011. His writing has appeared in numerous publications including The Declaration, Radical Grace, the Santa Fe New Mexican, and Malpaís Review.

70 | THE magazine

AUGUST

2014

Jun KaneKo

August 8, 2014 - september 14, 2014 presented by gerald peters gallery

1011 pa s e o d e p e r a lta , s a n ta f e , n e w m e x i c o i n q u i r i e s : e va n f e l d m a n , d i r e c t o r ( 5 0 5 ) 9 5 4 - 5 7 3 8 o r e f e l d m a n @ g p g a l l e r y. c o m v i e w a d d i t i o n a l w o r k s at w w w. g p g a l l e r y. c o m

u n t i t l e d , H e a d s , 2 0 1 2 , u n i q u e b r o n z e w i H e n a m e l pa i n t & s ta i n l e s s s t e e l , l e f t : 74 x 2 1 x 1 8 i n c H e s , r i g H t : 74 x 2 0 x 1 8 i n c H e s . ÂŠ 2 0 1 4 J u n k a n e k o , c o u r t e s y g e r a l d p e t e r s g a l l e r y

Rose B. Simpson: Finding Center August 9 - 31

Reception: August 9, 5-7pm

Solo E xhibition - 20 ne w cera mic mixed media sculptures

Contemporary Native Group Show August 9 - 31

Reception: August 22, 5-7pm

Rick Bartow - Yatika Starr Fields Harry Fonseca - Emmi Whitehorse

c h i a r o s c u r o 702 1/2 & 708 CANYON RD AT GYPSY ALLEY, SANTA FE, NM

www. chiaroscurosantafe .com

505-992-0711