THE magazine June 2010

Santa Fe’s Monthly

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of and for the Arts • June 2010

© Wendy McEahern Photography

SHIPROCK SANTA FE 53 OLD SANTA FE TRAIL (UPSTAIRS ON THE PLAZA) SANTA FE, NEW MEXICO 87501 505.982.8478 SHIPROCKSANTAFE.COM

5 Letters 18 Universe of artist and curator Joseph Sanchez 23 Studio Visits: Catherine Burke and David Wagner 25

One Bottle: The Billecart-Salmon Champagne Brut Rosé,

by Joshua Baer

45 National Spotlight: the dissolve: SITE Santa Fe’s Eighth International Biennial 47 Critical Reflections: Ansel Adams at Gerald Peters Gallery; Artificial Selection at 516 ARTS; Meander at the Santa Fe Community Gallery; Meow Wolf at Linda Durham Contemporary Art; David Nakabayashi at box Gallery; Santa Fe High School Art Show at the Georgia O’Keeffe Museum Education Annex; Suzanne Sbarge at the Harwood Art Center; and Vanishing Points at LewAllen Projects

27 Dining Guide: Luminaria, Santa Fe Bar & Grill, and La Maison d’Horbé

57 Artist at Work: Rick Stevens at Hunter Kirkland Contemporary, photo-assemblage by Matthew Chase-Daniel

31 Art Openings

59 Green Planet: Amma: The Hugging Saint, photograph by Jennifer Esperanza

32 Out & About

61 Architectural Details: Pecos River, photograph by Guy Cross

38 Previews: Renate Aller at Chiaroscuro; Michael Scott at Gerald Peters Gallery; SITE Santa Fe’s Eighth International Biennial at SITE Santa Fe; and Pablo Zuleta Zahr at Richard Levy Gallery (Alb.)

62

42 Person of Interest: Robert Longo and the American Myth, by Roger Salloch

Writings: Seeing Dollar Signs, by Jerry Saltz

CONTENTS

In 2009, Swoon, a Brooklyn-born street artist led an invasion by sea of the Venice Biennale with a crew of thirty artists, musicians, and mischief makers in tow. The boats they arrived in were made of trash—symbolizing the freedom that comes with radical self-reliance. Swoon has said, “Throughout history, pranksters have been looking at fences and then pushing them aside. Through action, you can move the perception. It’s almost like a magic trick.” An ambassador from the underground culture of bike-riding, dumpster-diving, and anarchist street art that has flourished in Brooklyn over the past decade, Swoons’ projects range from billboard alterations and poster campaigns, to street parties, and sculptural installations. Other work has focused on creating peepholes in hidden places throughout New York City where, once discovered, the viewer can glimpse a hidden dream world through the inconspicuous openings. The mysterious Swoon has established herself as one of the more fascinating street artists in the genre, and her work has led to gallery showings in prominent venues—like Deitch Projects in New York City. She works mostly on paper, attaching her cutouts to walls along the streets of New York City and abroad. Her drawings strike a chord, reminding one of the cruel sensuality of German Expressionist woodcuts. Swoon (Abrams, $35), by Swoon, with an introduction by Jeffrey Deitch, presents a captivating overview of her edgy work—portraits, boats, installations, and parties.

To Go Very Softly Photographs by J EAN - L U C M YLAYN E june  – august 22

No. , Novembre – Décembre,  c - Print  x  inches Collection Lannan Foundation

“ It is necessary to analyze, to go very softly in order to make these images. It is not only about capturing a likeness of a bird; it’s about understanding ourselves, about how we fit into the life of birds.” jean-luc mylayne

FOUNDATION GALLERY www.lannan.org Telephone .  .    ext.   Read Street Santa Fe, New Mexico g allery hours : s at urdays an d s u n days n o o n – : p m W EE KENDS ONLY

LETTERS

magazine

VOLUME XVII, NUMBER IX WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 & 2006 Top-5 Best Consumer Tabloids P ublis h e r / C r e a t iv e D ir e c t or Guy Cross P ublis h e r / F ood Edi t or Judith Cross A r t D ir e c t or Chris Myers E x e cu t iv e E D I T O R Kathryn M Davis CONTRIBUTING EDITOR Diane Armitage Jennifer Esperanza C op y Edi t or Edgar Scully P roof R e ad e r S James Rodewald Kenji Barrett Lori Johnson s t aff p h o t ograp h e r Dana Waldon C al e ndar Edi t or Liz Napieralski

An exhibition of recent sculptures by Ted Flicker will be on view at Goldleaf Gallery, 627 West Alameda, Santa Fe. Reception: Friday, June 4, 5:30-7:30 pm. Proceeds of sales will go to Fine Arts for Children.

C on t ribu t ors

Diane Armitage, Joshua Baer, Jon Carver, Matthew Chase-Daniel, Norma Cross, Kathryn M Davis, Anthony Hassett, Alex Ross, Jerry Saltz, Marin Sardy, and Richard Tobin, CoVER

Lotte Reiniger The Adventures of Prince Achmed, 1926 Courtesy SITE Santa Fe

A D V e r t ising S al e s

THE magazine: 505-424-7641 Cynthia Canyon: 505-470-6442 Vince Foster: 505-690-1010 Lori Johnson: 505-670-8118 Eli Follick: 505-331-0496 D is t ribu t ion

Jimmy Montoya: 470-0258 (mobile) THE magazine is published ten times a year by THE magazine Inc., 1208A Mercantile Road, Santa Fe, NM 87507. Corporate address: 44 Bishop Lamy Road, Lamy, NM 87540.

Phone: (505) 424-7641. Fax: (505) 424-7642, E-mail: themagazineSF@gmail.com. Website: www.TheMagazineOnLine.com. All materials are copyright 2010 by THE magazine. All rights are reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine.

All submissions must be accompanied by a SASE envelope. THE magazine is not responsible for the loss of any unsolicited materials.THE magazine is not responsible or liable for any misspellings, incorrect dates, or incorrect information in its captions, calendar, or other listings. The opinions expressed within the fair confines of THE magazine do not necessarily represent the views or policies of THE magazine, its owners, or any of its agents, staff, employees, members, interns, volunteers, or distribution venues. Bylined articles and editorials represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel, and are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity or quality of objects and/or services advertised. As well, 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 any mistakes in any advertisement.

| june 2010

TO THE EDITOR: A few words in the first paragraph of your review in the April issue of Meow Wolf’s “The Moon is to Live On” said more to me than all the rest: “three-hour multi-media extravaganza.” No matter how good a story is, three hours is an excessive length of time to deliver it, and a marathon for the audience.

The creativity and energy of the gang was delightful. The multi-media approach to the material was full of surprises. The sheer number of aligned collaborators that it took to put it on was impressive. The acting by a couple of the main characters showed some skill. Video monitors, black lights, strobes, choreography, original music, wild costumes, 3-D specs, all exerted an influence on the fractured narrative of two main characters seeking meaning to their disconnected lives. Some welldesigned rotating sets kept our eyes filled with a kaleidoscope of ever changing visuals, but the whole was not more than the sum of its parts.

To the company, “the message” seemed to be the point of this multimedia-extravaganza. It is admirable that Meow Wolf has assembled such an energetic, creative community and shown fearlessness in pushing artistic limits, but they didn’t completely pull this one off. So what? No big deal. I applaud them for their effort. I wouldn’t evaluate the finished product as a tour de force, but they are young, they have lots of time and assume that everyone else does too. I have no doubt they will learn from this experiment, and I hope to be able to stay in my seat to the end of the next “multi-media extravaganza.”

—Stryder Simms, via email TO THE EDITOR: I have found your magazine to be a reliable source for intelligent, thought-provoking coverage of the arts. The Critical Reflections can be enlightening and mind-expanding. But the review of the Kiyoharu Ichino exhibition at Touching Stone Gallery, laden with pretentious, clouded obscurities, falls short on all counts. Brief passages were nicely wrought, and the concluding sentence appears to offer a somewhat left-handed commendation of Ichino’s works (Do we really require of our art that it provide “pertinent insights into our complex social present”?). But I suspect it will be news to Touching Stone Gallery that their exhibition materials “exploit the exotic and provincial qualities of [Ichino’s] art while fossilizing it in the thick sediment of arid historicism.” The overall text and tone of the review was salted with tortured—and torturing —phrasing aimed at an audience that I can only hope is at most a tiny fraction of your readership.

—Phil Huston, Santa Fe

TO THE EDITOR: Your publication gets better and better. The last two issues were exceptional. The wine column, the writing, and the interviews have been extraordinary. Keep it up.

Now about Ruth Kligman. There is more to her story then has been told. She died in the Bronx. Ruth had been given a Jackson Pollock painting. She wanted it verified, but Pollock’s family wouldn’t do it—and no one would say it was a real Pollock. Question: Where is that painting?

Ruth spent time in Santa Fe with gallery owner Linda Durham and art collector Eugene Thaw. What do they have to say? Ruth’s personal art was a constant wrestling match between her demonic monstrous side and her Christ aspect.

Ruth was dealt with well in David Clemmer’s full-page article in your April issue. Perhaps she would have liked more. More recognition, more acceptance, more love. Question: Why did she continue to return regularly to Santa Fe? She wanted to be seen as more then “Pollock’s lady.” Comments from gallery owners, collectors, attorneys, and lovers would have made a much deeper story of this lovely lady in a big hat.

Ruth Kligman was an original. Keep up the excellent publishing work.

—Irving Warhaftig, Santa Fe TO THE EDITOR: I really enjoyed the “Food Porn” article in your May issue. I had never heard that expression before, but I gathered from the article that food porn is the glorification of food as a substitute for sex, and that the very best of food porn depicts beautiful food arranged in ways that I might never have ever considered. I did some research on food porn (Googled it) and discovered that there is “elegant” food porn, such as the dish by Heston Blumenthal portrayed in the article. On the other side of the table, is what I call “fast food food porn.” A perfect example would be Hardee’s Monster Thickburger, composed of two one-third-pound slabs of Angus beef, four strips of bacon, three slices of cheese, and mayonnaise, all slapped onto a lavishly buttered sesame seed bun. The sandwich alone sells for over 5 bucks, or 7 bucks with medium fries (520 calories) and a soda (400 calories). This adds up to a 2,340 calorie meal. If my memory serves me well, the daily caloric intake of a healthy adult should be around 2,000 calories. To me, a meal like the Thickburger is absolutely and positively pornographic. Something that we should all remember is a saying I first heard in the seventies: “You are what you eat.” I think that says it all.

—Victor Goldberg, Brooklyn, NY

Letters: themagazineSF@gmail.com or 1208-A Mercantile Road, SF 87507. Letters may be edited for clarity or for space consideration.

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LewAllenGalleries at t H e R a i lYa R d

Carol anthony P r i vat e G l i m P s e s

WoodyGwyn exPAnDeD vieWs June 11-July 25. 2010 Artist Reception: Friday, June 11, 5:30-7:30 PM

JudyChicago Image courtesy Donald Woodman

the toby heADs June 18-July 25. 2010 Artist Reception: Friday, June 18, 5:30-7:30 PM

LewAllenGalleries doWntoWn

JoeRamiro Garcia uRbAn ReconnAissAnce June 4-27. 2010 Artist Reception: Friday, June 4, 5:30-7:30 PM

HiroshiYamano scenes of jAPAn June 4-27. 2010 Opening Reception: Friday, June 4, 5:30-7:30 PM

May 28 - July 3, 2010 Artist’s Proof, Brush, 2009, oil pastel on paper, 9 x 6 inches. © 2010 Carol Anthony, courtesy Gerald Peters Gallery.

To view all the works please visit www.gpgallery.com 1011 Paseo de Peralta, Santa Fe, NM 87501 | tel (505) 954-5700

Downtown: 129 West Palace Avenue (505) 988.8997 Railyard: 1613 Paseo de Peralta (505) 988.3250 www.lewallengalleries.com info@lewallengalleries.com

C E L E B R AT I N G T E N Y E A R S

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2010

ART SANTA FE 2010 / AN INTERNATIONAL ART FAIR

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ALL TICKETS AVAILABLE AT THE LENSIC BOX OFFICE 505.988.1234 PICTURED LEFT TO RIGHT, TOP ROW: Jorge Fernandez, JoAnne Artman Gallery, Laguna Beach, California; Bruce Clarke, Bekris Gallery, San Francisco, California; Yayoi Kusama, EDEL, Osaka, Japan SECOND ROW: Robert Turner, Robert Turner Photography, Del Mar, California; Peter Weber, Galerie Renate Bender, Munich, Germany THIRD ROW: Friederike Oeser, Galerie Walter Bischoff, Berlin, Germany; Michael Schultheis, David Richard Contemporary, Santa Fe, New Mexico, Jimmy Ernst, Osuna Art, Bethesda, Maryland

Artificial Selection

EXHIBITION Through June 26, Tue – Sat, 12 – 5pm

LAND/ART New Mexico

BOOK LAUNCH PARTY with Radius Books Wednesday, June 16, 5:30 – 7:30pm

516 ARTS

DOWNTOWN ALBUQUERQUE

516 Central SW, ABQ • 505.242.1445 • www.516arts.org

A N D R E W S M I T H G A L L E RY, I N C .

Obama, 2009 © Pat Oliphant

House and Car, Near Akromn, Alabama, 1978 © William Christenberry

Old Friends • Pat Oliphant & William Christenberry

122 Grant Ave., Santa Fe, NM 87501 Next to the Georgia O’Keeffe Museum

June 25 - July 26, 2010 Reception for the Artists: Friday, June 25, 2010, 5:00 - 7:00 p.m.

• 505.984.1234 • www.AndrewSmithGallery.com

Sculpture Objects & Functional Art Fair July 8-11, 2010 Santa Fe

P L A N T O AT T E N D

Historic Bond/Contemporary Spirit: Collecting New Southwest Native Pottery Seminar and visits to internationally recognized sites and private collections July 6-8, 2010, Santa Fe, NM Information & registration www.sofaexpo.com/spirit

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SOFA CHICAGO – November 5-7, 2010

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Diego Romero, represented by Clark+DelVecchio

Opening Night Wednesday, July 7 Special Member Preview for the Museum of New Mexico Foundation and SOFA VIPs

ERIN CURRIER Journalistas Unembedded

June 12 - July 10, 2010 Reception Saturday, June 12, 4 - 6 pm Rozanna al Yami as the Tara, mixed media, 36 x 24 inches

PARKS GALLERY 127 A Bent Street, Taos, New Mexico 87571 575 751-0343 parksgallery.com

ARTISTS: Robert Breer Paul Chan Martha Colburn Thomas Demand Brent Green George Griffin Ezra Johnson Bill T. Jones and OpenEnded Group William Kentridge Avish Khebrehzadeh Laleh Khorramian Maria Lassnig Jennifer & Kevin McCoy Joshua Mosley Oscar Muñoz

SITE SANTA FE EIGHTH INTERNATIONAL BIENNIAL SARAH LEWIS and DANIEL BELASCO, Curators ADJAYE ASSOCIATES, Exhibition Designer

JUN. 20, 2010 – JAN. 02, 2011 www.thedissolve.net Events in June: SATURDAY, JUNE 19 11 am

The 2010 Biennial Panel Discussion: Dissolving Media at National Dance Institute, Tickets $10 at SITE Santa Fe, 989.1199

8 pm

A special performance by Bill T. Jones /Arnie Zane Dance Company Featuring a new commission in collaboration with OpenEnded Group at The Lensic Performing Arts Center, Tickets $30, $50, and $100 at Tickets Santa Fe at 988-1234, or www.TicketsSantaFe.org

Jacco Olivier Raymond Pettibon Robert Pruitt Christine Rebet Mary Reid Kelley

SUNDAY, JUNE 20

Robin Rhode

12–5 pm Public Opening SITE Santa Fe Eighth International Biennial The Dissolve

Hiraki Sawa

8 pm

Berni Searle Cindy Sherman Federico Solmi Kara Walker with historical works by

Edison Manufacturing Company

The Abstract Dissolve, a video presentation showcasing 10 works focusing on abstraction at The Lensic, Tickets $10 at Tickets Santa Fe at 988-1234, or www.TicketsSantaFe.org

TUESDAY, JUNE 29 6 pm

The Good, the Bad, and the Very Bad: A Year in the Life of an Art Critic, Lecture by Jerry Saltz, art critic for New York Magazine, and author of Seeing Out Louder, Co-sponsored by Avalon Trust, at SITE Santa Fe Tickets $10, $5 at SITE Santa Fe, 989.1199 www.sitesantafe.orgw

Fleischer Studios Lotte Reiniger Dziga Vertov

The exhibition is made possible in part through generous support from The Andy Warhol Foundation for the Visual Arts, The National Endowment for the Arts, The Burnett Foundation, Jeanne & Michael L. Klein, Agnes Gund, Toby Devan Lewis, Marlene Nathan Meyerson, Mondriaan Foundation, and the SITE Board of Directors. Special thanks to THE Magazine.

1606 Paseo de Peralta, Santa Fe, NM 87501 | 505.989.1199 | www.sitesantafe.org This announcement made possible in part by the Santa Fe Arts Commission and the 1% Lodgers Tax.

TIME MAGAZINE: ONE OF 2009’S TOP TEN ART EXHIBITIONS

GEORGIA O’KEEFFE: ABSTRACTION

Georgia O’Keeffe, Series 1, No. 4, 1918. Oil on canvas, 20 X 16 in. Städtische Galerie im Lenbachhaus, Munich. Gift of the Georgia O’Keeffe Foundation. Georgia O’Keeffe, Series I–No. 3, 1918.

Oil on board, 20 x 16 in. Milwaukee Art Museum. Gift of Jane Bradley Pettit Foundation and the Georgia O’Keeffe Foundation. M1997.192. Photography by Larry Sanders. © Milwaukee Art Museum.

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PETER SARKISIAN NEW WORK JAMES KELLY CONTEMPORARY ALSO ON VIEW: DUSTED (1998 ) MIXED MEDIA & VIDEO PROJECTION

JUNE 11 – JULY 24 OPENING RECEPTION FOR THE ARTIST FRIDAY, JUNE 11 5 –7 PM

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FPO AD TO COME PAGE 16

Joseph Sanchez is a self-taught artist. Although a

quarter Taos Pueblo Indian, a quarter German, and half Spanish, Sanchez lives his life as a Native American, having been raised at the Fort Apache Indian Reservation in White River, Arizona, home of the White Mountain Apache tribe.

From 2002 to 2010, he was the curator at the IAIA Museum (now the Museum of Contemporary Native Arts) in Santa Fe. Sanchez believes in beauty—and it is beauty that drives his creative motor.

Photograph by Dana Waldon

UNIVERSE OF

Real/Reel Indians The Artist as a Witness I like this time—so visual, so auditory, so High-Def, so 3-D. Cameras on every street corner, every moment everywhere being recorded, so much technology recording every breath, every sunset, and Facebooking and Twittering it across the planet. What a great time to be an artist, as we are witness to incredible changes in our short life, and we get to watch it live and in real time every day. We have great power as human beings today, and what we need is greater responsibility. Artists have the opportunity and the technology to share truths that art can express—like love and respect, or blood and death­—with large numbers of human beings and to bring our planetary consciousness into balance. Human beings need to evolve and appreciate living, and get beyond the dominantspecies fantasy. Someone said that if we could fly above the earth and see her blue beauty, we would not be digging, clear-cutting, and killing our planet and ourselves for the sole purpose of fueling our selfish lifestyles. As one of the first Apollo astronauts said, gazing at our planet from space, “I felt like a child seeing the beauty of my mother, the earth, for the first time.”

| june 2010

Problems on the Rez Life on the Rez is troubling. Our young people are dying by their own hands, desperate and alone.

How have we failed them? Diabetes is sweeping my age group—the baby boomers and younger— with a vengeance, devastating our culture and lives. Our carnivorous, urban consumer fantasy life as Americans doesn’t quite translate to the reality of life on the reservation. There are still no opportunities or support for our youth, which is our largest age group. Rez life is a microcosm of the world situation for all indigenous peoples; it is easy to obtain natural resources, but not so easy to deal with the realities of life in places where these resources are mined and harvested. The trauma of genocide is not easily erased from our psyche, and in this country is still not acknowledged as a foundation of our Republic. Furthermore, there has still not been an apology for the boarding school assimilation plan that failed to “kill the Indian to save the man.” Our work as artists needs to find ways to reach our people, to talk to them, and to inspire them to transcend the downward spiral of suicide and diabetic death. Put simply, the question is, Do we, as Native artists, have a moral responsibility to confront our people with our present situation, and forgo the accolades of success in a consumer economy that only values our romantic ideal?

That in every decade people (our romantic spiritual selves) are en vogue is a contemporary myth, but that people wait patiently for this romanticism is not a myth. This myth pays bills and builds our selfesteem, but leaves us with the false promise that we are citizens of equality in America. We continue to look into the face of the Reel Indian, while in plain view we see poverty, alcoholism, drugs, and suicide wreaking havoc on our lives. Creating heroes and stars is not working to save our people.

People need more than ever to support each other, not be divided by selfish pride, vanity, and genetic pedigree. We need to impart to our youth the gift of wisdom and, above all, respect for all things, and not dedicate this life to the pursuit of consumer excess. Our youth feel abandoned. Why is that?

Our tribal charters always put our children in the forefront of everything that we do and say, and now it is time to dust off our priority list and turn inward to our people. If our young are saved, the world will finally see the strength and wisdom of our people. The Reel Indian is not our reality. Real Indians are going to have to step up and lead their people to a new life that is not plagued by death and despair.

Future Projects The Hood Museum exhibition at Dartmouth College of contemporary and traditional material will open in 2011. This exhibition is a curatorial collaboration with Joe Horsecapture and his father, George Horsecapture, and combines traditional and contemporary work in an exhibition about the continuity of an artistic aesthetic. Canada’s recognition of the work of Norval Morrisseau, Daphne Odjig, and now Alex Janvier, along with the Group of Seven, has generated retrospective exhibits in Regina, Saskatchewan and Winnipeg, Manitoba, and I am currently working on a performance piece for the citywide celebration in Winnipeg—where I started as an artist and created a sculpture for the Winnipeg Centennial in 1974. I am also working with Bob Haozous on creating a new dialogue to inspire indigenous artists to do work that speaks to their own communal environment and exposes the thread of our common cultural trauma. We need a picture of a different future more than the promise of a seat on the runaway consumer train.

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Books of Interest

Photo: Elizabeth Cook–Romero

Leo and Elizabeth, Booksellers

ART BOOKS ■ Photography New Mexico ■ Music (CDs & Records) Literature ■ History ■ Movies ■ More USED/DISCOUNT 311 Aztec ■ One block N. of Montezuma (between Sandoval and Guadalupe) Mon-Sat. 10-5 984-9828 Parking in back

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Pablo Zuleta Zahr

Event Horizon May 28th - July 2

Richard Levy Gallery

• Albuquerque • www.levygallery.com • 505.766.9888

STUDIO VISITS

Banksy said, “To become truly immortal, a work of art must escape all human limits.” photographs by

Anne Staveley

I consider my work public art—both my architecturally integrated glass-and-steel installations in public spaces and my aerial kinetic pieces, which exist in our most public space, the sky. The limits that I am most anxious to escape are proscribed by most galleries and performance spaces. My approach is always the same—anything goes.

—David Wagner

Contact Wagner at glassblade.com

I disagree with the statement, “To become truly immortal, a work of art must escape all human limits.” Art by its very nature is about the human experience. It is in its humanity that art transcends decades and cultures. The connection of Giorgio de Chirico and Banksy is in their similar strivings—in de Chirico’s case, to transcend “logic and common sense,” in Banksy’s case, to transcend the confines of laws governing acceptable public art. It is human nature to set up systems and laws, and it is also human nature to try to break those rules. By trying to escape all human limits, by trying to create immortality, one merely exposes the shackles of mortality. It is through this failure to truly escape human limits that sincere and honest artwork is created.

—Catherine Burke Burke’s work can be viewed at Toad Road, in Albuquerque.

CatherineBurkeStudios.com

| june 2010

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memorable food...historic setting

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Photos: Matt Yohalem

wine pasta truffles seafood specials farm fresh community great service

ONE BOTTLE

One Bottle:

The Billecart-Salmon Champagne Brut Rosé

by Joshua Baer Shoes were the original cars. Rivers were the original maps. Small birds were the original songs. Children were the original hostages. Hands and teeth were the original weapons of mass destruction. Rain was the original religion.

Trees were the original architecture. Branches and leaves were the original mirrors. Gravity was the original staircase. Falling was the original flying dream. Landing on your feet was the original moment of clarity.

The mouth of the cave was the original frame. The sky at night was the original big idea. The sight of land was the original sigh of relief. Love was the original hypothesis, but love was also proof that the original hypothesis was flawed. Making love from sunset to sunrise was the original three-act play.

Jokes were the original old sayings. Dreams were the original myths.

Hunters were the original chefs. Eating human flesh was the original religious experience.

Emptiness was the original form, and vice versa. The Big Bang was the original orgasm. Eyes were the original traps. Fear was the original form of aggressive behavior. The stars were the original free associations.

Bears were the original giants. The ocean was the original gene pool.

Accidents were the original intelligent designs. The tides were the original regulatory agencies. Fishing boats were the original offshore platforms. Sails were the original leading indicators.

Fire was the original currency. Cave paintings were the original loan applications. Marriage was the original social contract. Memories were the original retirement plans.

Albrecht Dürer was the original Andy Warhol. Francisco Goya was the original Pablo Picasso. Nicolas Poussin was the original Paul Cezanne. Gustav Klimt was the original Jimi Hendrix. James Joyce was the original John Lennon, and John Lennon was the original Steve Jobs. In her song Diamonds and Rust, Joan Baez referred to Bob Dylan as “the original vagabond.”

Drawings were the original letters, letters were the original numbers, and numbers were the original abstract expressionist paintings. Looms were the original computers. Slavery was the original real estate. Fields, plows, silos, seeds, and irrigation ditches were the original assembly lines.

Beggars were the original priests. The Catholic Church was the original global corporation. Arrows were the original swords. Bethlehem was the original mayhem, the sword was the original guillotine, the guillotine was the original deadline, Paris was the original Jonestown, and Jonestown was the original Waco. Blood was the original Kool-Aid. Liberty was the original promise. Lucifer was the original broken promise.

Shiva was the original Navi. Orpheus was the original Romeo. Breasts were the original family values. Symmetry was the original résumé. The sound of a woman’s laughter was the original vote of confidence. The womb was the original Garden of Eden. Birth was the original expulsion.

Biting off more than you could chew was the original original sin.

The word “original” derives from the Latin origo, “beginning, source, birth.” The Latin verb oriri—“to rise”—is the root of words like “orchestra,” “orientation,” and “origination.” Because the earth turns from west to

| june 2010

east, the sun appears to set in the west, pass underneath the earth, and rise in the east. The “Orientals” invented writing, gunpowder, noodles, and feng shui. When you got lost, the first thing you did—after admitting that you were lost—was to get reoriented.

For years, the word “original” was an adjective people used to describe something fresh, innovative, novel, or unique. The opposite of original was “derivative”—from the Latin derivare, “to lead or draw off a stream of water from its source.” (In Latin, de means “from” and rivus means “stream.”)

During the 1950s and 1960s, the worst thing you could say about an artist was that his or her work was derivative. Pablo Picasso challenged that argument with his world-class adage: “Good artists borrow, great artists steal.” These days, people who love art understand that the definition of an artist is a person who is not afraid of being called derivative. The American artist Robert Motherwell put it this way: “Every intelligent painter carries the whole culture of modern painting in his head. It is the real subject, of which everything he paints is both an homage and a critique….”

On Wall Street, derivatives are used to manage risk. To a trader, a derivative is, in theory, “…any agreement or contract that is not based on a real, or true, exchange… a financial instrument—or more simply, an agreement between two people or two parties—that has a value determined by the price of something else….” In practice, derivatives are futures and options, which are deals struck between two or more parties who see the opportunity for profit in agreeing to disagree. The federal government wants us to believe that derivatives are “risky,” and that people who trade derivatives are responsible for the fact that the prices of houses and the prices of stocks did not go up forever. The truth is the bitter inverse of the government’s lie. We are all responsible for our collective belief in the absolute virtue of rising prices. We were wrong. We bit off more than we could chew. We were the original suckers who took the original sucker’s bet and were left holding the original bag. As James Grant, the editor of Grant’s Interest Rate Observer, has observed: “Gold was money. The dollar was the original derivative.”

Which brings us to the Billecart-Salmon Champagne Brut Rosé. In the glass, the Billecart-Salmon is a shy, unassuming pink. The color is a head fake. The bouquet is the first clue that there is more to this Brut Rosé than its color. On the palate, the Billecart-Salmon delivers layer upon layer of generosity. As you drink it, you find yourself simultaneously lost and found. Your sense of direction takes off in all directions. Where do you end, and where does the Champagne begin? And why are there no answers to these questions? Because Dom Pérignon was the original Albert Hoffman and Champagne was the original LSD. Death was the original liberty. The reflection of the sky on the water at the break of day was the original work of art.

Air was the original canvas. Shadows were the original colors.

Light was the original paint. D One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. The name “One Bottle” and the contents of this column are ©2010 by onebottle. com. For back issues of One Bottle, go to onebottle.com. Joshua Baer can be reached at jb@onebottle.com

THE magazine | 25

At the Railyard

Award-Winning Fresh Brewed Beers

Classic Pub Fare • Daily Specials IN THE FARMER’S MARKET BUILDING 1607 PASEO DE PERALTA WWW.SECONDSTREETBREWERYRAILYARD.COM

DINING GUIDE

Dining on the patio at

Luminaria Restaurant 211 Old Santa Fe Trail Reservations: 984-7915

$ 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 MORE OFTEN!

...a guide to the very best restaurants in santa fe and surrounding areas...

315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190.

Dinner Beer/Wine. Smoke-free inside. Patio.

Major credit cards. $$$ Cuisine: French.

Atmosphere: Reminiscent of an inn in the French countryside. House specialties: Earthy French onion soup made with duck stock; squash blossom beignets; crispy duck; and one of the most flavorful steaks in town.

Comments: Recently expanded and renovated with a beautiful new bar. Superb wine list. New spring menu.

A La Mesa!

428 Agua Fria St. 988-2836.

Dinner Beer/Wine. Smoke-free.

Major credit cards. $$$ Cuisine: Eclectic. Atmosphere: Bustling and friendly. House specialties: Start with the Calamari Jardiniere in a fennel sauce or the Tataki of beef. For your main course, we suggest the flavorful Steak Frites or the perfectly cooked Salmon Osso Bucco.

Comments: Good wine list.

Amavi Restaurant 221 Shelby St. 988-2355.

Dinner Full bar. Smoke-free.

Major credit cards. $$$$ Cuisine: Mediterranean Atmosphere: Intimate. House specialties: For your main course, we recommend the Pollo Mattone; the tiger shrimp with garlic, shallots, smoked pimentos, and sherry; and the pan-roasted ribeye chop.

Recommendations: The bouillabaisse is not to be missed.

Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236 .

Breakfast/Lunch/Dinner Smoke-free. Valet parking.

Major credit cards. $$$$ Cuisine: Contemporary American cuisine.

Atmosphere: A casual and elegant room evoking the feeling of an Anasazi cliff dwelling. House specialties: To start, try the smoked chile and butternut squash soup with pulled spoon bread croutons and cumin crema. For your entrée, we suggest any of the chef’s signature dishes, which include blue corn crusted salmon with citrus jalapeno sauce, and the nine spice beef tenderloin with chipotle modelo glaze.

Comments: Attentive service Andiamo!

322 Garfield St. 995-9595.

Dinner Beer/Wine. Smoke-free. Patio.

Major credit cards. $$ Cuisine: Italian. Atmosphere: Cozy interior with Tuscan yellows and reds.

House specialties: Chicken parmesan; baked risotto with mushroom ragout; and any fish special. Comments: Consistently good food and a sharp waitstaff.

Bobcat Bite Restaurant Old Las Vegas Hwy. 983-5319.

Lunch/Dinner No alcohol. Smoking.

Cash. $$ Cuisine: American. Atmosphere: This is the real deal—a neon bobcat sign sits above a small, low-slung building. Inside are five tables and nine seats at a counter made out of real logs. House specialties: The enormous inch-and-a-half thick green chile cheeseburger is sensational. The 13-ounce rib-eye steak is juicy and flavorful.

Body Café 333 Cordova Rd. 986-0362.

Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual.

House specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Asian Curry for lunch or the Avocado and Cheese Wrap. Comments: Soups and salads are marvelous, as is the Carrot Juice Alchemy.

Cafe Cafe Italian Grill 500 Sandoval St. 466-1391.

Lunch/Dinner Beer/Wine. Smoke-free.

Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual.

House specialties: For lunch, the classic Caesar salad; the tasty specialty pizzas or the grilled eggplant sandwich. For dinner, we loved the perfectly grilled swordfish salmorglio and the herb-breaded veal cutlet. Comments: Very friendly waitstaff.

Café Loka Las Placitas and Ledoux Courtyard, Taos.

575-758-4204.

Breakfast/Lunch Major credit cards. $$ Cuisine: American—fresh, organic, and local produce. Atmosphere: Casual.

House specialties: In the morning, try the organic eggs, or the housemade organic granola with yogurt. We love the salad specials. Comments: Nice selection of teas and coffee drinks.

Café Pasqual’s 121 Don Gaspar Ave. 983-9340.

Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Smoke-free.

Major credit cards. $$$ Cuisine: Multi-ethnic.

Atmosphere: The café is adorned with lots of Mexican streamers, Indian maiden posters, and rustic wooden furniture. House specialties: Hotcakes get a nod from Gourmet magazine. Huevos motuleños, a Yucatán breakfast, is one you’ll never forget. For lunch, try the grilled chicken breast sandwich with Manchego cheese.

The Compound 653 Canyon Rd. 982-4353.

Lunch/Dinner Full bar. Smoke-free. Patio.

Major credit cards. $$$ Cuisine: Contemporary American.

Atmosphere: 150-year-old adobe with pale, polished plaster walls and white linens on the tables. House specialties: Jumbo crab and lobster salad. The chicken schnitzel is flawless. Desserts are absolutely perfect. Comments: Seasonal menu. Chef/owner Mark Kiffin didn’t win the James Beard Foundation’s “Best Chef

of the Southwest” award for goofing off in the kitchen.

Copa de Oro Agora Center at Eldorado. 466-8668.

Lunch/Dinner 7 days a week. Take-out.

Beer/Wine. Smoke-free.

Major credit cards. $$ Cuisine: International. Atmosphere: Casual. House specialties: Start with the mussels in a Mexican beer and salsa reduction. Entrees include the succulent roasted duck leg quarters, and the slow-cooked twelve-hour pot roast. For dessert, go for the lemon mousse or the kahlua macadamia nut brownie.

Comments: Worth the short ten-minute drive from downtown Santa Fe. Corazón 401 S. Guadalupe St. 424-7390.

Dinner till late. Full bar.

Major credit cards. $$ Cuisine: Pub grub. Atmosphere: Casual.

House specialties: You cannot go wrong with the not-to-be-believed thin-cut grilled ribeye steak topped with blue cheese, or the flash fried calamari with sweet chili dipping sauce; or the amazing Corazón hamburger trio. Comments: Love music?

Corazón is definitely your place.

Counter Culture 930 Baca St. 995-1105.

Breakfast/Lunch/Dinner Beer/Wine. Smoke-free. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Breakfast: burritos and frittata. Lunch: sandwiches and salads. Dinner: flash-fried calamari; grilled salmon with leek and pernod cream sauce; and a delicious hanger steak. Comments: Boutique wine list.

Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565.

Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio.

Major credit cards. $$ Cuisine: All-American. Atmosphere: Popular patio shaded with big cottonwoods.

Cozy bar. House specialties: The smoked brisket and ribs are fantastic. Dynamite buffalo burgers and a knockout strawberry shortcake. Comments: Lots of beers— from Bud to the fancy stuff.

Cuisine: Standard coffee-house fare.

Atmosphere: A large room with small tables inside and a nice patio outside where you can sit, read periodicals, and schmooze.

Over 1,600 magazine titles to buy or peruse.

House specialties: Espresso, cappuccino, and lattes.

El Farol 808 Canyon Rd. 983-9912.

Lunch/Dinner Full bar. Smoking/non-smoking. Patio.

Major credit cards. $$$ Cuisine: Spanish. Atmosphere: Wood plank floors, thick adobe walls, and a postage-stamp-size dance floor for cheekto-cheek dancing. Murals by Alfred Morang.

El Mesón 213 Washington Ave. 983-6756.

Dinner Beer/Wine. Smoke-free. 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 in extra virgin olive oil; sautéed spinach with garlic and golden raisins.

Galisteo Bistro 227 Galisteo Street. 982-3700 Dinner Beer/Wine. Smoke-free.

Visa/Mastercard/Discover. $$$ Cuisine: International. Atmosphere: Friendly. House specialties: Start with the pan-seared yellow fin tuna with cranberry salsa or the crabcakes casalinga. For your main, we suggest lamb duet or the chicken saltimboca. Comments: For your dessert, order the Mud Puddle.

Geronimo 724 Canyon Rd. 982-1500.

Dinner Full bar. Smoke-free dining room. Patio.

Major credit cards. $$$$ Cuisine: FrenchAsian fusion. Atmosphere: Kiva fireplaces, a portal, and a lovely garden room. House specialties: Start with the superb French foie gras, Entrées we love include the green miso sea bass, served with black truffle scallions, and the classic peppery Elk tenderloin. Comments: Tasting menus for available.

Cuisine: African and Caribbean inspired.

Atmosphere: Basic cafe-style. House specialties: We love the tasty Jerk chicken sandwich. Try the curried chicken salad wrap; or the marvelous phillo stuffed with spinach, black olives, feta cheese, roasted red peppers and chickpeas served over organic greens. You cannot go wrong with the East African coconut lentil stew. Comments: For the past ten years, Obo was the executive chef at the Zia Diner.

Jinja 510 N. Guadalupe St. 982-4321.

Lunch/Dinner Full Bar. Smoke-free.

Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Dark wood booths and subdued lighting. House specialties: Yin Yang tiger shrimp dusted in salt and pepper with a plum ginger sauce, and classic Pad Thai.

Joseph’s Table 108-A S. Taos Plaza (Hotel La Fonda) Lunch/Dinner Full bar. Major credit cards. $$$ Cuisine: Eclectic. Atmosphere: A nifty bar and cozy, semi-private seats against the wall. House Specialties: Get the grilled, marinated New York Strip with Chimichurri sauce, warm bacon, roasted tomato salad and Chimayo chile fries. The sexy polenta fries with grilled radicchio and gorgonzola cream is a knockout. Recommendations: Sauteed local kale, charred leeks, and shallots in a roasted tomato vinaigrette.

Comments: Chef Joseph Wrede “rules.”

Josh’s Barbecue 3486 Zafarano Dr. Suite A. 474-6466.

Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: Barbecue. Atmosphere: Casual, House specialties: Delicious woodsmoked meats, cooked low and very slow are king here. Recommendations: We love the tender red-chile, honey-glazed ribs, the tender brisket, the barbecue chicken wings, the smoked chicken tacquitos, and the spicy queso. Comments: Seasonal BBQ sauces will wow your taste buds. Josh’s was written up in America’s Best BBQs.

Coyote Café 132 W. Water St. 983-1615.

Dinner Full bar. Smoke-free.

Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling.

House specialties: For your main course, go for the grilled Maine lobster tails or the Southwestern Rotisserie, or the grilled 24-ounce “Cowboy Cut” steak.

Comments: Good wine list and unique signature cocktails.

Il Piatto 95 W. Marcy St. 984-1091.

Lunch/Dinner Full bar. Smoke-free.

Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling.

House specialties: Arugula and tomato salad; grilled hanger steak with three cheeses, pancetta and onions; lemon and rosemary grilled chicken; and the delicious pork chop stuffed with mozzarella, pine nuts, proscuitto, potato gratin, and rosemary wine jus. Comments: Prix fixe seven nights a week.

Kohnami Restaurant 313 S. Guadalupe St. 984-2002.

Lunch/Dinner Beer/Wine/Sake. Smoke-free. 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: The sushi is always perfect.

Try the Ruiaku Sake. It is clear, smooth, and very dry—like drinking from a magic spring admist a bamboo forest. Comments: New noodle menu. Friendly sushi chefs and waitstaff.

Downtown Subscription 376 Garcia St. 983-3085.

Breakfast/Lunch No alcohol. Smoke-free. Patio.

Cash. $

Jambo Cafe 2010 Cerrillios Rd. 473-1269.

Lunch/Dinner Smoke-free.

Major credit cards. $$

Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636.

Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual

continued on page 29

| june 2010

THE magazine | 27

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DINING GUIDE

The Mahi Mahi Salad at the Santa Fe Bar & Grill 187 Paseo de Peralta (DeVargas Center) and friendly. House specialties: Start with the Pho Tai Hoi, a vegetarian soup loaded with veggies, fresh herbs, and spices. For your entree, we suggest the Noung—BBQ beef, chicken, or shrimp with lemongrass, lime leaf, shallots, garlic, cucumber, pickled onion, lettuce, and fresh herbs on vermicelli noodles—it will rock your taste buds.

Comments: Chef Lan knows her stuff.

Lamy Station Café Lamy Train Station, Lamy. 466-1904.

Lunch/Dinner/Sunday Brunch Beer/Wine.

Major credit cards. $$ Cuisine: American. Atmosphere: 1950’s dining car. House specialties: Fantastic green chile stew, crab cakes, omlettes, salads, bacon and eggs, and do not forget the fabulous Reuben sandwich. Sunday brunch is marvelous. Comments: For your dessert, order the apple crisp.

La Plazuela on the Plaza 100 E. San Francisco St. 989-3300.

Breakfast/Lunch/Dinner Full Bar Smoke-free.

Major credit cards. $$$ Cuisine: New Mexican and Continental.

Atmosphere: A gorgeous enclosed courtyard with skylights, carved furnishings, and hand-painted windows exudes Old World charm. House specialties: For your starter, we suggest the Classic Tortilla Soup or the Heirloom Tomato Salad with baked New Mexico goat cheese—both are absolutely delicious. Good choices for your entreé include the Braised Lamb Shank, served with a natural jus lie, spring gremolata, roasted piñon couscous, and fresh vegetables, or the perfectly cooked Pan-Roasted Sea Bass.

If you like authentic New Mexican fare, you will love the Filet y Enchiladas, the Rellenos de La Fonda, and the Burrito La PLazuela.

Comments: Seasonal menus created by Chef Lane Warner, using local, organic procuce when available. A good wine list and attentive service.

La Stazione Ristorante & Saloon 530 S. Guadalupe St. 989-3300.

Lunch Monday-Saturday/Dinner daily Bar menu daily Smoke-free.

Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual.

House specialties: The appetizer we love is the Frito Misto del Mare (fried calamari, prawns, sardines, and oysters, presented with a spicy pomadoro sauce and caper salsa verde). For your entreé, order the Whole Cornish Game Hen, marinated in garlic and chili. Comments: Panini sandwiches at the bar, and a very generous pour at the bar.

Luminaria Restaurant and Patio Inn and Spa at Loretto 211 Old Santa Fe Trail. 984-7915.

Breakfast/Lunch/Dinner/Sunday Brunch Smoke-free. Valet parking.

Major credit cards. $$$ Cuisine: American/Southwest. Atmosphere: Elegant and romantic. Recommendations: Start with the award-winning tortilla soup or the Maine lobster cakes. Love fish? Order the perfectly prepared coriander crusted kampache or the Santa Fean Paella—loaded with delicious shrimp, salmon, clams, mussels, roasted peppers, and onions. The flavorful

| june 2010

•

Reservations: 982-3033

New Mexico chile pork tenderloin is top notch. Comments: Organic produce when available. An attentive wait staff. A nice wine list. Chef Brian Cooper is a steady hand in the kitchen.

Maria’s New Mexican Kitchen 555 W. Cordova Rd. 983-7929.

Lunch/Dinner Full bar. Smoking/non-smoking. Patio.

Major credit cards. $$ Cuisine: New Mexican. Atmosphere: Rough wooden floors, hand-carved chairs and tables set the historical tone. House specialties: Freshly-made tortillas, green chile stew, and Pork spareribs in a red chile sauce. Comments: Perfect margaritas.

Max’s 21st Century Food 401½ Guadalupe St. 984-9104.

Dinner Beer/Wine. Non-smoking. Patio.

Major credit cards. $$ Cuisine: Contemporary Atmosphere: Intimate. House specialties: Wonderful variety of salads, succulent baby-back pork ribs, flavorful grilled baby lamb chops, and perfectly-prepared seared black peppercrusted yellowfin tuna. Comments: Organic ingredients when available.

Mu Du Noodles 1494 Cerrillos Rd. 983-1411.

Dinner/Sunday Brunch Beer/Wine. Smoke-free.

Major credit cards. $$ Cuisine: Noodle house Atmosphere: Casual and friendly. House specialties: Salmon dumplings with oyster sauce, and Malaysian Laksa (wild rice noodles in a red coconut curry sauce).

Nostrani Ristorante 304 Johnson St. 983-3800.

Dinner Beer/Wine. Smoke-free. Patio.

Major credit cards. $$$$ Cuisine: Regional dishes from Northern Italy.

Atmosphere: An 1887 renovated adobe with a great bar. House specialties: For your main course try the Stuffed Gnocchetti with Proscuitto and Chicken, or the Diver Scallops.

All of the desserts are simply amazing.

Comments: Wonderful European wine list.

Nostrani won Gourmet magazine’s “Top 50 U.S. Restaurants.”

Frommer’s rates Nostrani in the “Top 500 Restaurants in the World.”

O’Keeffe Café 217 Johnson St. 946-1065.

Lunch/Dinner Beer/Wine. Smoke-free. Patio.

Major credit cards. $$$ Cuisine: Contemporary Southwest with a French flair. Atmosphere: The walls are dressed with photos of O’Keeffe. House specialties: Try the Northern New Mexico organic poquitero rack of lamb w/ black olive tapenade. Comments: Nice wine selection.

Pizza Centro Santa Fe Design Center. 988-8825.

Agora Center at Eldorado. 466-3161.

Lunch/Dinner Wednesday-Sunday Cash or check. No credit cards. $$ Cuisine: Real New York-style pizza.

Atmosphere: Casual. Counter service and a few tables. House specialties: A variety of pizzas with names theat relfect The Big Apple,

a.k.a. New York City. Recommendations: The Central Park and Times Square thincrust pizzas are knockouts.

Plaza Café Southside 3466 Zafarano Dr. 424-0755.

Breakfast/Lunch/Dinner 7 days Full bar. Smoke-free.

Major credit cards. $$$ Cuisine: American and New Mexican Atmosphere: Bright and light, colorful, and friendly. House specialties: For your breakfast go for the Huevos Rancheros, the Chile Rellenos Omelet, or the Blue Corn Piñon Pancakes. The Brisket Taquito appetizer rules. We love the green chili stew.

Real Food Nation Old Las Vegas Hwy/Hwy 285. 466-3886.

Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $ Cuisine: Farm to table with an onsite organic garden. Atmosphere: Cheery, light, and downright healthy.

House specialties: A salad sampler might include the red quinoa, roasted beets (both vegan), and potato with dill. The roast veggie panini is perfect.

Eveything—muffins, croissants—is baked in house. Wonderful soups and desserts are a must. Recommendations: Good breakfast menu and fabulous coffee drinks.

Comments: Look for “The Supper Club at Real Food Nation in late June or early July..

Restaurant Martín 526 Galisteo St. 820-0919.

Lunch/Dinner/Brunch Beer/Wine Major credit cards. $$$ Cuisine: Contemporary American fare.

Atmosphere: Casual. House specialties: For your main course try the grilled Berkshire pork chop with shoestring tobacco onions and peach barbecue jus, or the mustard-crusted Ahi tuna served with Togorashi prawn dumplings, stir fried bok choy, and a warm tomburi vinaigrette. Comments: A chef-owned restaurant. Good service.

Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765.

Sunday Brunch/Lunch/Dinner/Bar Menu.

Full bar. Smoke-free dining rooms.

Major credit cards. $$$ Cuisine: All-American classic steakhouse.

Atmosphere: Pueblo-style adobe with vigas and plank floors. House specialities: USDA prime steaks and prime rib. Haystack fries and cornbread with honey butter.

Recommendations: For dessert, choose the chocolate pot.

Santacafé 231 Washington Ave. 984-1788.

Lunch/Dinner Full bar. Smoking/non-smoking. Patio.

Major credit cards. $$$ Cuisine: Contemporary Southwestern.

Atmosphere: Minimal, subdued, and elegant. House specialties: For starters, the calamari with lime dipping sauce never disappoints. Favorite entrées include the perfectly cooked grilled rack of lamb and the pan-seared salmon with olive oil crushed new potatoes and creamed sorrel..Comments: Wonderful soups and the best dumplings ever. If available, order the tempura shrimp.

Appetizers at cocktail hour rule.

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. House specialties: Start with the delicious cornmeal-crusted calamari. For your main course, we love the Santa Fe Roitisserie chicken, the Rosemary and Garlic Baby Back Ribs, and the Prawns a la Puebla. All of the salads are top notch.

Comments: Chef Carlos Rivas is doing a yeoman’s job in the kitchen.

Saveur 204 Montezuma St. 989-4200.

Breakfast/Lunch Beer/Wine. Smoke-free. Patio.

Visa/Mastercard. $$ Cuisine: French/American Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily chef specials (try the maple-glazed pork tenderloin), gourmet and “build-your-own sandwiches, and an excellent salad bar. Comments: Wonderful breakfasts, organic coffees, and super desserts. A family-run restaurant.

Second Street Brewery 1814 Second St. 982-3030.

Lunch/Dinner Beer/Wine. Smoke-free inside. Patio.

Major credit cards. $$ Cuisine: Simple pub grub and brewery.

Atmosphere: Casual. House specialties: The beers are outstanding, especially when paired with beer-steamed mussels, the beerbattered calamari, burgers, fish and chips, or the truly great grilled bratwurst.

Second Street Brewery 1607 Paseo de Peralta. at the Railyard. 989-3278.

Lunch/Dinner Beer/Wine. Smoke-free inside. Patio.

Major credit cards. $$ Cuisine: Simple pub grub and brewery.

Atmosphere: Casual. House specialties: The beers are outstanding, especially when paired with beer-steamed mussels, the beerbattered calamari, burgers, fish and chips, or the truly great grilled bratwurst.

The Shed 113½ E. Palace Ave. 982-9030.

Lunch/Dinner Beer/Wine. Smoke-free. Patio.

Major credit cards. $$ Cuisine: New Mexican. Atmosphere:

This local institution—some say a local habit—is housed in an adobe hacienda.

House specialties: We suggest the stacked red or green chile cheese enchiladas with blue corn tortillas.

Comments: They make great chile here.

Check out their sister restaurant, La Choza.

Shohko Café 321 Johnson St. 982-9708.

Lunch/Dinner Sake/Beer. Smoke-free.

Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine.

Atmosphere: Sushi bar table dining. House specialties: Softshell crab tempura; hamachi kama; Kobe beef with Japanese salsa, and Bento boxes. at El Gancho Old Las Vegas Hwy. 988-3333.

Dinner Full bar. Smoke-free dining room.

Major credit cards $$$ Cuisine: American.

Atmosphere: Family restaurant with full bar and lounge. House specialties: Aged steaks and lobster. We suggest you try the pepper steak with Dijon cream sauce.

Comments: They sure know steak here.

S teaksmith

The Teahouse 821 Canyon Rd. 992-0972.

Breakfast/Lunch/Dinner 7 days a week Beer/Wine Fireplace.

Major credit cards. $$ Cuisine: Farm-to-table. Atmosphere: Casual. House specialties: Salmon Benedict with poached eggs, quiche, gourmet cheese sandwich, and the amazing Teahouse Mix salad, a wonderful selection of soups, the out-of-this-world strawberry shortcake, and the Teahouse Oatmeal, which many say is the “best oatmeal in the world.” Comments: An incredible selection of teas.

Tia Sophia’s 210 W. San Francisco St. 983-9880.

Breakfast/Lunch No alcohol. Smoking/non-smoking.

Major credit cards. $ Cuisine: New Mexican. Atmosphere: This restaurant is absolutely a Santa Fe tradition. House specialties: Green chile stew and the huge breakfast burrito stuffed with great goodies: bacon, potatoes, chile, and cheese.

Tree House Pasttry Shop and Cafe 1600 Lena St. 474-5543.

Breakfast/Lunch Tuesday through Sunday Smoke-free.

Major credit cards. $$$ Cuisine: Only organic ingredients used.

Atmosphere: Light, bright, and cozy.

House specialties: You cannot go wrong ordering the fresh Farmer’s Market salad, the soup and sandwich or the quiche.

Vinaigrette 709 Don Cubero Alley. 820-9205.

Lunch/Dinner Beer/Wine. Smoke-free.

Major credit cards. $$ Cuisine: Farm-to-table. Atmosphere: Light and cheerful. House specialties: The Nutty Pear-fessor salad with grilled Bosc pears, bacon, toasted pecans, and Gorgonzola, Comments: Organic greens deliver the freshness that slow food promises.

Zia Diner 326 S. Guadalupe St. 988-7008.

Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. PatIo. Major credit cards. $$ Cuisine: All-American Atmosphere: Down home. House specialties: Possibly the best meat loaf, chicken-fried chicken, and fish and chips.in town. Comments: The hot fudge sundaes are always perfect.

Pastries are available for take-out.

On the Road w/THE magazine

Ristra 548 Agua Fria St. 982-8608.

Dinner/Bar Menu Full bar. Smoke-free. Patio.

Major credit cards. $$$ Cuisine: Southwestern with French flair.

Atmosphere: Elegant bar with a nice bar menu, sophisticated and comfortable dining rooms, and a lovely outdoor patio. House specialties: Mediterranean mussels in chipotle and mint broth is superb, as is the ahi tuna tartare. Comments: Ristra won the Wine Spectator Award of Excellence in 2006.

San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044.

Wonderful afternoon tea at La Maison d’Horbé, La Perriere, Basse Normandie

02 33 73 39 43

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Photo: Norma Cross

Lunch/Dinner Full bar.

Major credit cards. $$ Cuisine: As American as apple pie.

Atmosphere: Casual with art on the walls. House specialties: At lunch, do try the San Francisco Street hamburger on a sourdough bun 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, or the Idaho Ruby Red Trout served with grilled pineapple salsa. Comments: Visit their sister restaurant at DeVargas Center.

Michael Scott BuffalO BulB’s Wild WesT

June 18 - July 31, 2010

Opening reception 5pm to 8pm with the artist: June 18, 2010 Catalog with text by elizabeth turner will be available for purChase.

View more works from this exhibition at www.gpgallery.com

1011 paseo de peralta, santa fe, nM 87501 | tel (505) 954 - 5700 The Menagerie, oil on canvas, 90 1/2 x 61 3/4 inches. Š 2010 Michael Scott, courtesy gerald Peters gallery.

ART OPENINGS

JUNE A R T Friday, May 28 Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. Aria: mixed media on wood panel by Jennifer J.L. Jones.

5-7 pm.

Meyer East Gallery, 225 Canyon Rd., Santa Fe. 983-1657. Boulder & Sky: Cubist Meditations on the Southwest: paintings by David Jonason. 5-7 pm.

Niman Fine Arts Gallery, 125 Lincoln Ave., Santa Fe. 988-5091. Celebrating 20 Years on Lincoln Avenue: work by Michael, Dan, and Arlo Namingha. 5:30-7:30 pm.

Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe. 984-1122. Decalcomania: group show.

5-7 pm.

OPENINGS

Plaza Gallery, 68th Street, Francis Plaza, Ranchos de Taos. 575-758-4101. Sacred Places: paintings by Rick Meadows. 5-7 pm.

Touching Stone, 539 Old Santa Fe Trail, Santa Fe. 988-8072. Song of Silence: sumi-e on Chinese paper by Wang Nong. 5-7 pm.

Santa Fe Art Institute, 1600 St. Michael’s Dr., Santa Fe. 424-5050. Elemental: Earth Air Fire Water: Art and Environment: art with a focus on environmental awareness. 5-7 pm.

Ventana Fine Art, 400 Canyon Rd., Santa Fe. 983-8815. New World Vaqueros: paintings

by Robert T. Ritter. 5-7 pm.

Steve Elmore Indian Art, 839 Paseo de Peralta, Suite M, Santa Fe. 995-9677. A Dedicated Collector: More Jewelry from the Lynn Trusdell Estate: early Navajo and Pueblo jewelry. 5-7 pm.

Sumner & Dene, 517 Central Ave. NW, Alb. 505-842-1400. Savor the Landscape: landscape paintings. 5-9 pm.

Weyrich Gallery/The Rare Vision Art Galerie, 2935-D Louisiana Blvd. NE, Alb. 505-883-7410. Expressive & Aesthetic Ends II: anagama and wood-fired pottery. 5-8:30 pm.

J ohnsons of M adrid , 2843 State Rd. 14, Madrid. 505-471-1054. Mel’s People: work by Mel Johnson. 4 Artists/4 Walls: paintings, photography, cutpaper landscapes, and mixed fiber arts.

3-5 pm.

Loma Colorado Main Library, 755 Loma Colorado Dr. NE, Rio Rancho. 505-891-5013.

Art Meets Technology: paintings of Douglas Greengard. 2-4 pm.

Sunday, June 6 Saturday, June 5 Gebert Contemporary at the Railyard, 544 S. Guadalupe St., Santa Fe. 992-1100. Fung Ming Chip and Udo Noger: paintings. 2-4 pm.

Hulse/Warman Gallery, 222 Paseo del Pueblo Norte, Taos. 575-751-7702. Recent Paintings: recent paintings on canvas by Brian Coffin. 2-5 pm.

Friday, June 4 Artistas de Santa Fe Gallery, 228-B Old Santa Fe Trail, Santa Fe. 982-1320. The Book as the Elegant Body: altered books and mixedmedia book art by Joy Campbell. 5-7 pm.

Aztec Cafe, 317 Aztec St., Santa Fe. 820-0025.

Mel Scully: mixed-media paintings. 5-7 pm.

Bright Rain Gallery, 206-1/2 San Felipe NW, Alb. 505-843-9176. Douglas Kent Hall: rock ‘n’ roll color photographs. 6-9 pm.

Goldleaf Gallery, 627 W. Alameda St., Santa Fe. 204-6034. Ted Flicker: recent works and selected sculptures. 5:30-7:30 pm.

Legends Santa Fe, 143 Lincoln Ave., Santa Fe. 983-5639. Native Modern: Contemporary Native Art and Design Exhibit Series: photography and glass. 5-7 pm.

Matrix Fine Art, 3812 Central Ave. SE, Suite 100-B, Alb. 505-268-8952. Life Portraits of a Landscape: oil paintings by Leo Neufeld. 5-8 pm.

Museum of International Folk Art, 706 Camino Lejo, Santa Fe. 476-1200. Silver Seduction: The Art of Mexican Modernist Antonio Pineda: jewelry and other silver objects. 5:30-7 pm.

New Grounds Print Workshop & Gallery, 3812 Central Ave. SE, Suite 100-B, Alb. 505268-8952. The Figure in Ballet: drypoint and gravure by Brian Giza. 5-8 pm.

Work by Mary Judge is on view at the William Shearburn Gallery, 129 West San Francisco Street, 2nd Floor. Santa Fe.

| june 2010

continued on page 34

THE magazine | 31

WHO SAID THIS? “Art is not what you see, but what you make others see.”

1. John Singer Sargent 2. Gerog Baselitz 3. Edgar Degas 4. Paul Cezanne

HERE’S THE DEAL! $500 B&W full-page ads ($800 for color) in the

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& ABOUT Photos: Mr. Clix

Jennifer Esperazana,

Anne Staveley, & Dana Waldon

ART OPENINGS

Thursday, June 10 Launchprojects, 355 E. Palace Ave., Santa Fe. 670-9857. Stories from A-Z (Andy to Zappa): paintings by Ward Shelley. Installation in collaboration with Douglas Paulson. 6-7 pm.

Transcendence Design Contemporary Art, 1521-F Upper Canyon Rd., Santa Fe. 9840108. Contemporary Buddhist Art: group show of paintings, jewelry, archival prints, works on paper, and mixed-media art. 5-7 pm.

Saturday, June 12 Friday, June 11 Gebert Contemporary at the Railyard, 550 S. Guadalupe St., Santa Fe. 992-1100. Brandon Reese: new sculpture. 5-7 pm.

Ledger Gallery, 413 Broadway, Truth or Consequences. 505-231-5295. Squaring Off: geometric monoprints by Bennett Strahan.

6-8 pm.

High Mayhem, 2811 Siler Ln., Santa Fe. 501-3333. Embed: new work by Andrea Cermanski and Tanya Story. 6-10 pm.

Parks Gallery, 127-A Bent St., Taos. 575751-0343. Journalistas Unembedded: new collage work by Erin Currier. 4-6 pm.

James Kelly Contemporary, 1601 Paseo de Peralta, Santa Fe. 989-1601. New Work: video work by Peter Sarkisian. 5-7 pm.

RioBravoFineArt, 110 N. Broadway, Truth or Consequences. 575-894-0572. New Work: Delmas Howe, Terry Allen Rubin, and Daniel Kosharek. 6-9 pm.

Muñoz-Waxman Gallery, CCA, 1050 Old Pecos Trail, Santa Fe. 982-1338. Archive: collaborative installation by Ward Shelley and Douglas Paulson. 5-7 pm.

Shelby Street Gallery, 222 Shelby St., Santa Fe. 982-8889. The Shape of Space: new Diaphans

by Clytie Alexander. Paintings by Edith Baumann and Norbert Prangenberg. 5-7 pm.

Station at the Railyard, 530-A S. Guadalupe St., Santa Fe. 988-2470. The 3rd Place: Impressions of Places Between Home and Work: paintings by Sandy Vaillancourt. 5-7 pm.

currents 2010, an exhibition of experimental video work opens on Thursday, June 17 at El Museo Cultural de Santa Fe, 555 Camino de La Familia, Santa Fe. Reception: 5-9 pm. Above image: Elephant’s Memory, by Marion Wasserman.

FireGod Gallery, 217 E. Palace Ave., Santa Fe. 252-3330. TimeKeepers Moon: reliquaries, fetishes, totems, and shields by Doug Coffin. 5-10 pm.

Thursday, June 17 El Museo Cultural de Santa Fe, 555 Camino de La Famillia, Santa Fe. 992-0591. currents 2010: video installation, single-channel video screenings, and performance. 5-9 pm.

Friday, June 18 Gallery, 1611-A Paseo de Peralta, Santa Fe. 989-4897. Plunge: Water Images on Glass: large-scale photo images printed on glass by Margeaux. 5-7 pm. box

The Shape of Space, a group show on view at 222 Shelby Street Gallery, 222 Shelby Street.

Reception: Friday, June 11, 5-7 pm. Above image: Edith Baumann

Selby Fleetwood Gallery, 600 Canyon Rd., Santa Fe. 992-8877. Sandra Pratt: new paintings. 5-7 pm.

Sunday, June 20 Flux Contemporary, 4801 Alameda Blvd.

NE, Space D-2, Alb. 505-504-9074. Thermal Duration: group exhibit featuring paintings by Roger Green. 5-8 pm.

Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Michael Scott: Buffalo Bulb’s Wild West Show: portraiture, still life, and tableau paintings. 5-7 pm.

Linda Durham Contemporary Art, 1807 Second St., #107, Santa Fe. 466-6600. Rise or Fall: work by Richard Berman. 5-7 pm.

Flux Contemporary, 4801 Alameda Blvd.

NE, Space D-2, Alb. 505-504-9074. “Arts in Medicine—The Creative Encounter: Art as Medium, Messenger, & Medicine”: a talk by Alison MacLeod. 2-4 pm.

SITE Santa Fe, 1606 Paseo de Peralta, Santa Fe. 989-1199. the dissolve: Eighth International Biennial, curated by Sarah Lewis and Daniel Belasco. 12-5 pm.

Friday, June 25

New Concept Gallery, 610 Canyon Rd., Santa Fe. 424-7641. Flora: Sol o Sombra: paintings by Jane Abrams. 5-7 pm.

Andrew Smith Gallery, 122 Grant Ave., Santa Fe. 984-1234. Old Friends: multi-media work by William Christenberry and Pat Oliphant. 5-7 pm.

NüArt Gallery, 670 Canyon Rd., Santa Fe. 988-3888. The Art of Collage: new paintings by Cecil Touchon. 5-7 pm.

Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Contemporary Naturalism: recent sculpture and paintings. 5-7 pm.

Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Video as Object: work by Pascal. 5-7 pm.

Karan Ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-0807. Exposure: oils and encaustics on canvas and panel. 5-7 pm.

Saturday, June 19

Saturday, June 26

203 Fine Art, 203 Ledoux St., Taos. 575751-1262. A Taos Modernist: paintings and drawings by John De Puy. 5-7 pm.

Nedra Matteucci Galleries, 1075 Paseo de Peralta, Santa Fe. 982-4631. Return to the Familiar: bronze sculptures by Dan Ostermiller. 2-4 pm.

David Richard Contemporary, 130 Lincoln Avenue, Suite D. Santa Fe. 983-9555. Future Natural: abstract work by Beverly Fishman. Solo Show: abstract work by Paul Henry Ramirez. 5-8 pm.

Special Interest

Preston Contemporary Art Center, 1755 Avenida de Mercado, Mesilla. 575-523-8713.

Artist Dialogue: Janet Ballweg. 1-2 pm.

6th Annual Chama Book Fair, Chama. 505220-4933. Book signings and readings. Fri., June 4 and Sun., June 5. Call for info.

Borders Bookstore, 5901 Wyoming Blvd., Alb. 505-797-5681. Book signing: Don James

continued on page 36

34 | THE magazine

| june 2010

claiborne gallery

608 canyon road by appointment or open friday 10am-5pm tel/fax: 505.982.6726

S A N TA F E C L AY CONTEMPORARY CERAMICS

DARCY BADIALI, DAVID HICKS, PATRICIA SANNIT July 9 - August 21 545 Camino de la Familia, Santa Fe, NM 87501 505.984.1122

www.santafeclay.com

ART OPENINGS

will sign copies of his new book, One Nation One Year. Sat., June 12, 1 pm.

Center for Contemporary Arts, 1050 Old Pecos Trail, Santa Fe. 982-1338. Northern Visions/Before Tomorrow: film screenings. Tues., June 14, 7:30 pm.

Magic, Music and Moonlight: performance by Karrin Allyson and silent auction. Sat., June 26, 6 pm.

Collected Works Bookstore, 202 Galisteo St., Santa Fe. 988-4226. SWAIA Native Literary Series: readers and times TBA. Wed., June 23. Info: swaia.org Corrales Society of Artists, Corrales. Art in the Park: a series of fine arts and crafts shows sponsored by the Village of Corrales. Sun., June 20. Info: corralesartists.org Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Private Glimpses: new work by Carol Anthony. Through Sat., July 3.

Harwood Museum of Art, 238 Ledoux St., Taos.

575-758-9826. Skipped the Light Fandango: ledger drawings by Dwayne Wilcox. Through Sun., June 6.

IAIA Campus, 83 Avan Nu Po Rd., Santa Fe. 4242308. Cultural Tourism Workshop: New Strategies for Tribal Tourism in an Economic Downturn: three-day workshop to assist leaders who work in tribal tourism.

Wed., June 2 to Fri., June 4. Call for info.

Lannan Foundation, Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe. 988-1234. Readings and Conversations Series: Adrienne Rich with Carolyn Forché.

Wed., June 16, 7 pm. Info: lannan.org Lloyd Kiva New Gallery, 108 Cathedral Pl., Santa Fe. 983-1666. First Laugh: group show on Native American humor and tricksters.

Through Sun., July 11.

2-4 pm. Judith McLaughlin will sign Sacred Feminine. Sun., June 20, 1-3 pm.

Wheelwright Museum of the American Indian, 704 Camino Lejo, Santa Fe. 9824636. Quick Draw: live art auction. Looking at Indian Art: an introduction to Southwest art. Sun., June 12, 10 am-1:30 pm. Info: wheelwright.org Music

Museum of Northern Arizona, 3101 N. Fort Valley Rd., Flagstaff, AZ. 928-779-2300.

4th Semi-Annual Navajo Rug Auction: auction of classic rugs. Sat., June 12, 2-5 pm.

New Concept Gallery, 610 Canyon Rd., Santa Fe. 424-7641. Tribute to Santa Fe’s 400th Year: work influenced by Santa Fe and the surrounding areas. Through Sun., June 13.

New Mexico Silk Painters Guild Studio Tour, Alb. 505-898-2340. Fine art and clothing sale. Sat., June 19, 10 am-4 pm. Map and info: nmartists.com

County Line Bar-B-Q, 9600 Tramway Blvd. NE, Alb. 505-856-7477. The Giant Convenience Stores Music Series Live at the County Line: weekly event featuring contemporary and legendary Americana/ Country musicians. Thursdays through Aug. 19, 7-9 pm.

Santa Fe Complex, 632 Agua Fria St., Santa Fe. 216-7562. Robert Rich: experimental live electroacoustic music. Fri., June 4, 8 pm.

Performing Arts Albuquerque Theatre Guild, 712 Central Ave. SE, Alb. 505-341-9590. 3rd Annual ATG General Auditions: auditions for upcoming productions. Sat., June 12 and Sun., June 13, 9 am-3 pm. Call for info.

Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe. 988-1234. A Broadway Series: performance of Say Good Night Gracie: The Love, Laughter and Life of George Burns by Rupert Holms. Fri., June 4 to Sun, June 6. Performance of Ethel Merman’s Broadway. Fri., June 25 to Sun., 27. Info: lensic.com Santa Fe Playhouse, 142 E. De Vargas St., Santa Fe. 988-4262. The New Century: a play by Paul Rudnick. Thurs., June 10Sun., June 27. Thurs. to Sat. performances at 8 pm. Sun. matinees at 2 pm. Details: santafeplayhouse.org

Open Hearth Arts, P.O. Box 21733, Alb. 505-730-9544. Verse-Converse Poetry Festival: poetry workshops and readings.

Thurs., June 3 to Sun., June 6. Schedule and locations: openheartharts.org/vc/index.html

Il Piatto, 95 W. Marcy Ave., Santa Fe. 984-1091.

Farm to Restaurant Project 2010: five-course meal highlighting the seasonal crops of regional farmers.

Wed., June 16, 6-9 pm. Proceeds benefit Santa Fe Alliance.

Santa Fe Studio Tour, Santa Fe. 983-6021.

Tour of twenty-six artist studios. Sat., June 19, 10 am-5 pm, and Sun., June 20, 11 am-4 pm. Map and info: santafestudiotour.com

Lannan Foundation, Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe. 988-1234. To Go Very Softly: photographs by Jean-Luc Mylayne. Info: lannan.org

Treasure House, 2012 South Plaza St., Alb. 505-242-7204. Book signings: Nasario Garcia will sign Fe y Tragedias: Faith and Tragedies in Hispanic Villages of New Mexico. Sat., June 5,

Old Friends—multi-media work by William Christenberry and Pat Oliphant at the Andrew Smith Gallery, 122 Grant Ave. Reception: Friday, June 25, 5-7 pm. Left: William Christenberry. Right: Pat Oliphant.

36 | THE magazine

| june 2010

The Universal Currency Project In response to the global economic meltdown, Santa Fe artist Jennifer Joseph is making her own money: Universal Currency.

Each unit is approximately one ounce of solid sterling silver.

The goal is to create a commodity-based piece about resource and exchange, grounded in the value of a physical object in present time.

To learn more about this project or to order Universal Currency, please visit www.universalcurrencyproject.com

Jennifer Chenoweth

WAYFINDING mixed media wall installation in paper, paint, plaster and steel representing the four elements: air, water, earth and fire

FPO FPO FPO PAGE 38

exhibition: jenchenoweth.com May 13 - August 27, 2010 seeking representation The Courtyard Gallery at the AT&T Executive Education and Conference Center accepting commissions for 2011 The University of Texas at Austin, Austin, Texas

PREVIEWS

Michael Scott: Buffalo Bulb’s Wild West Show June 18 to July 31 Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700.

Opening reception: Friday, June 18, 5-7 pm.

Most of us wouldn’t consider buying art, particularly paintings, for our homes, if it weren’t for the Dutch and their amazing tulip bulbs. It’s the artist’s fascinating grasp of art history that lies at the heart of Michael Scott’s upcoming exhibition of fantastical oil paintings. Ranging in sizes from medium to extra large, Scott’s canvases cover the theoretical territory of Manifest Destiny as promoted through the Western landscape and the commercialism of secular art as spectacle—a fact as relevant today as it was in seventeenth-century Holland, where businessmen were eyeing the exotic East in what is now Turkey through the petals of a flower that grew into an icon for Northern Europe’s Reformation movement away from Catholicism Michael Scott, Payola at the End of the Rainbow (Yellowstone Falls), oil on canvas, 64 ½” x 99”, 2010

toward commercialism as a religion. Scott’s subjects—buffaloes, Native American peoples, and carnival snake oil, among other details—are narrated with Baroque techniques of theatrical space and composition, a gem-like color palette, enough trompe l’oeil to give things a funhouse appeal, and exquisite still lifes situated within a setting so energetic that the act of looking threatens to exhaust. The paintings are positioned in handbuilt frames that suggest the circus wagons of nineteenth-century America. Buffalo Bill Cody takes on the role of hero (and possible self-portrait) in the saga told by some fifty paintings; if he’s vaguely uncomfortable in the role, we’re left uneasy by the intimations of illusionism that are essential to the practice of image making. Is it real, or is it magic? Whichever you decide, these paintings are emphatically beautiful.

Pablo Zuleta Zahr, BAQUEDANO, C-print, 41½” x 71”, 2009

Pablo Zuleta Zahr: Event Horizon May 28 to July 2 Richard Levy Gallery, 514 Central Avenue SW, Albuquerque. 505-766-9888.

No opening reception.

In an update on the Modernist grid, Chilean artist Pablo Zuleta Zahr, in his series Baquedano, makes still photographs from videos of anonymous users of the subway system. Using ambient lighting, the artist makes ten-hour videos, which he slices and dices according to patterns of gender, fashion, and attitude to create large-scale horizontal arrangements that suggest a naturally occurring, organic system out of what seems in real life to be chaos. Rather like an Agnes Martin painting, at least functionally, Zuleta Zahr makes order out of randomness, and brings us face to face with theoretical physics. Another series, Madrid, is similar to Baquedano in that each of its four photographs represents a reorganization of groupings of strangers. In BUTTERFLYJACKPOT, four video panels portray four different women from four international cities. Each of the women is dressed alike, and takes the viewer through a parallel scripted tour of her home. Playing simultaneously, the videos confront their viewers with the loss of individualism in today ’s commoditized world.

At the same time, there is something inescapably unique to each of us, despite the effects of corporatism—and all the artists’ grids in the world. Event Horizon is the artist’s first exhibition in the United States. Zuleta Zahr lives and works in Berlin.

| june 2010

THE magazine | 39

PREVIEWS

Kara Walker, Six Miles from Springfield on the Franklin Road, video still, 2009

the dissolve: Eighth International Biennial Exhibition. June 20 to January 2 SITE Santa Fe, 1606 Paseo de Peralta, Santa Fe. 989-1199.

Opening reception: Sunday, June 20, noon to 5 pm.

In its eighth biennial exhibition, curated by Sarah Lewis and Daniel Belasco (both of whom

is this because the viewer becomes more involved in the creative process? Or is it simply the

assisted Robert Storr when he curated SITE’s fifth biennial), animated images and video will be

result of successfully entertaining the viewer with bright and shiny light and color? Whatever

examined as a fine-art genre from its early inception to today’s instantaneous—and intimate-as-

profundity of perception our attention spans may or may not afford, this fact of temporality in

your-computer-screen—imagery. From the flipbook to YouTube, the genre presents not only a

space reveals the proximity of animation and video art to sculpture and performance art.

means for proposing a narrative, but a process in which the viewer plays the odd role of lowly

Nearly thirty artists will be included, running the gamut of technology from the Edison

intern and executive director by choosing what will be seen and under what terms—even when

Manufacturing Company’s Enchanted Drawing of 1900 to contemporary works by Kara Walker,

those terms include complete disinterest or distraction. For example, the length of time the

Raymond Pettibon, Cindy Sherman, Thomas Demand, Brent Green, Mary Reid Kelley, Avish

“average” visitor spends with a work of art is apt to be longer when the media is animated;

Khebrehzadeh, and Laleh Khorramian.

Renate Aller: Oceanscapes—One View—Ten Years June 4 to July 3 Chiaroscuro Contemporary Art, 702½ Canyon Road, Santa Fe. 992-0711 Opening reception: Friday, June 4, 5 to 7 pm.

Back in the nineteenth century, Europeans and East-Coast Americans were worried about the end of the natural world—as well they should have been, what with the Industrial Revolution polluting most major cities in the Western world. Out of this fear came Romanticism, an art movement about beauty and the sublime in nature. Edmund Burke’s Philosophical Enquiry, published in 1757, proposed that the sublime is not the equivalent of beauty; in fact, he argued that the sublime invokes in us a sense of horror, such as most of us would feel standing at the edge of the Grand Canyon. Thus, the romantic painters, including Caspar David Friedrich and J.M.W. Turner, depicted nature as something beyond all comprehension; it overpowered and enveloped humanity’s attempts to harness its potency. As we approach what could very well be the end of the natural world due to carbon overload or god knows what, our sense of what is “natural” is woefully meager compared to what it was some hundred and fifty years ago.

Imagine, then, spending ten years photographing the Atlantic Ocean from the same place off Long Island. Renate Aller, inspired by Friedrich, has performed such an act of devotion to the sublime; her Oceanscapes are being presented in book and exhibition form at Chiaroscuro. Rather than journalistic images, Aller’s non-manipulated photographs are monuments to notions of the sublime, defined by Burke as that which brings us to our knees in abject humility: the sheer unyielding beauty of its vastness, the unfathomable depths and expanses of an ocean that neither knows nor cares about us. Polluted or not, the earth is covered with water. It will still be here—in some form—eons after we’ve wiped ourselves off its face.

40| THE magazine

Renate Aller, January, archival pigment print, 33” x 47”, 2010

| june 2010

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Robert Longo and the

American Myth

The Haunting, charcoal on mounted paper, 48” x 89”, 2005

Robert Longo is having a nice run. First there was the one-man retrospective in Nice,

The dark side of the American myth is what interests Longo. His work traces its

France, last summer; then his place as the featured artist at last year’s New York

shadow, finds its source, unearths its ashes, and paints with it. He eschews anything

Metropolitan Museum exhibition The Pictures Generation, 1974-1984, a show devoted

sensual, pays no attention to the appeal of his materials, draws Nagasaki (as though

to the school of artists who turned their backs on conceptual abstract visions and began

one could render something like an atomic explosion with pastels), and turns an

to work with identifiable images taken from the media, comic books, the movies,

atomic explosion into a voluptuous mushroom cloud, just as twenty years later he

advertising, and whatever they found on the streets. Then there was the exhibition at

uses black charcoal to hurl a wave the size of a sexual obsession at a shore that

the Colecção Berardo Museum of Modern and Contemporary Art in Lisbon, Portugal.

doesn’t exist.

It’s hard not to connect the resurgence of interest in Longo’s work with the

Guns point at us, but they are not in the hands of heroes. They are Uzis and

change in the way the world views America, Barack Obama, and the economic crisis.

.38s, just hanging in the air like prophecies of the massacres that have occurred across

Robert Longo, who was largely forgotten in the 1990s, is about the way America

the country in the last few years. “Body hammers” Longo calls them. Enough said.

looks at itself today. Longo is both long ago and now in a very big way.

Similarly, Weapons of Mass Destruction are just drawings of American dollar bills, in

Longo was born in New York City in 1953, in the middle of the Cold War. In

all denominations, front and back. It is obvious, but it had to be done. The art is in its

those days of mass conformity you had to dance fast to leave the pack behind. Maybe

simplicity. That doesn’t necessarily make him the darling of the art world. But Longo

that is why he is also a sculptor, a musician, a brilliant draftsman—with a wrist like

is not interested in being anybody’s darling.

William Gainsborough and a vision like William Burroughs. His work jars the senses,

To walk through a Longo exhibition is to walk through one’s own memory—the

does not strive for beauty, strives for effect, and makes no compromise. He isn’t

repressed images, the fantasies, the visions one wishes that one could have avoided.

interested in aesthetics, which one suspects he would characterize as just another

Regrets are at the heart of his production. Someone once said, “Where there is

commodity. He is interested in the American myth and wants us to hear the hollow

beauty, there is hope.” Longo’s is a dark beauty with a dark hope. (Darth Vader

echo in that myth.

comes to mind. He would be pleased.) He draws and photographs the moments in

Longo got his street smarts in Brooklyn, staring at Manhattan, where the big artists

which the delicate balance between life and death is threatened. Since those moments

were abstract expressionists, howling the pain of their solitude while Eisenhower and

happen every day, Longo doesn’t have time for contemplation. He works with crews

then Nixon and then Reagan turned the American dream into a demand for more.

of assistants, and often delegates the manufacture of his pieces to associates.

And more. He didn’t go to fancy art schools, and was always looking for the way to

Longo’s retrospective in Lisbon proved it: His is the vision that was missing. His

break in, and to break out. His first show was held in 1979, and contained some of

most famous series is called Men in Cities. It pictures men and women—lithe, elegant,

the same elements found in his work at the retrospective in Lisbon—the inhuman and

fashionable creatures in business suits—twisting around in convulsions caused by

the mechanical, the impact of media, of television, of comic books, of the Internet.

what could be an electric shock, or a sudden impulse to stop behaving, or just to let

PERSON OF INTEREST

Longo draws the moments in which the delicate balance between life and death is threatened

Both: From the Men in Cities series. Untitled, charcoal, graphite and ink on paper 96” x 60”, 1981-87 Left: Collection of the artist, New York City. Right: Collection of Phoebe Chason, New York City.

it all hang out. To rock. To be. And damn the torpedoes, full speed ahead. Is it really

the corporate middle class, about the Cold War, about rock music, which worked

so far a stretch from a banker with a Ponzi scheme to a madman with a machine gun?

to subvert the lies of the establishment and became establishment itself. And he

Walking among Longo’s works, you don’t have to wonder: you know. It isn’t far at all.

knows about the ends of empires. He was the leader and guitarist of a musical

Or take the series done in the seventies, of black charcoal-painted American

act called Robert Longo’s Menthol Wars, which performed punk experimental

flags, as another example. They are dead flags. You stare at them fascinated, and

music in New York rock clubs in the late 1970s. During the same period he also

imagine them hanging over the hearings on water-boarding and torture and Abu

performed with Rhys Chatham in Chatham’s Guitar Trio. Did the lyrics matter?

Ghraib and Guantanamo Bay. These flags do not want your allegiance. These are flags

Not much. Or no more than Longo’s materials matter today. Just so long as the

caught in a death rictus.

image is in your face. Just so long as you can’t get comfortable. “A race with the

Or consider The Haunting, one of his most moving tributes to the myth he has

expectations of the audience” is how Greil Marcus once defined punk. Though

spent his life taking apart. Against a bright white sky the silhouettes of two planes

punk is almost forgotten, Longo’s art works the same strain. It hurls the eye

fly toward the unified dark shadow of the twin towers. Everything is black. What

into an empty space. Landscape exists only as the oppressive presence of what

isn’t black is white. Color is in the eye of the beholder. But no longer are there any

corporate forces have done to mother nature. Skyscrapers are daggers. In Longo’s

beholders. Longo’s drawing reports on an aftermath before the fact. Death is close.

world, even guns are lonely. He is the ultimate romantic. If beauty is there, it is

It leaves no one behind.

beyond dreams.

Conceptualism, abstract expressionism, lyrical expressionism, hyper-realism: art

Longo challenges the viewer to go beyond what he is looking at, to find his own

movements have their day. Right and wrong do not. In Longo’s world, we are all of

way, to prove he can get to where his head and his heart want to take him, in spite

us but figures in a landscape. We hardly need to be considered. Soon the figures will

of the obstacles. Someone once called American capitalism the system that offers the

be gone, and the landscape will be dry. No wonder there are so few individuals in

consumer as wide a choice as possible among identical objects. Longo is not part of

Longo’s work. And when one appears—the head of a young child, or of a woman,

that system. His art is like no one else’s. The moment has come. Take it or leave it.

(Rita for example, exquisitely fashioned, probably copied from a photograph and

In Nice, New York City, and Lisbon, the arguments for taking it were eloquent. D

then obsessively reworked with charcoal and black pastels until the image acquires five different levels of tenderness)—tears come to your eyes because, given the emptiness and the mechanical grind of the rest of the exhibition, this really is beauty.

It started before Vietnam and it is drawing to a close—maybe—with Obama.

Call it the fifty-year cultural war. Robert Longo is the chronicler of that sorry and rich and miserable and exalting piece of the American journey. He knows about

| june 2010

Roger Salloch lives in Paris. He is a writer and photographer. His last photography exhibition took place in September, 2009, at the Ostholstein Museum, in Eutin, near Lubeck, Germany. His stories have appeared in The Paris Review, The North Atlantic Review, Fiction, and Ploughshares, among other publications. He regularly contributes articles about the arts for the French edition of Rolling Stone. A memoir, In Germany, is currently in pre-production as a feature film.

THE magazine | 43

MONROE GALLERY of photography

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William Kentridge, History of the Main Complaint, 5 minutes, 50 seconds. 1996.

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

the dissolve :

SITE Santa Fe’s Eighth International Biennial , by Joshua Baer

She was the kind of woman who always ordered a caffé Americano. She was the kind of

Wikipedia defines a dissolve as “… a gradual transition from one image to another. In

woman—no, I can’t say that. She was the kind of woman who could smile at you and make

film, this effect is created by controlled double exposure from frame to frame; transitioning

you feel like a million dollars—or five cents, depending on which smile she gave you. She

from the end of one clip to the beginning of another.” The Dissolve will allow you to

was the kind of woman who would call you at 3:45 in the afternoon and say, “So, what are

transition from frame to frame, but also from video to video, from culture to culture, and

you doing?” and when you said, “I’m working,” she would say, “But what are you doing?”

from artist to artist.

and when you said, “Nothing. What are you doing?” she would say, “I don’t know. I might

One of the videos in the exhibition is History of the Main Complaint by the South

go to that biennial thing.” And when you said, “Do you want company?” she would say,

African artist William Kentridge. A series of drawn and re-drawn charcoal renderings

“Sure, you can come.”

tracks the medical and moral deterioration of Soho Epstein, a fictional real estate tycoon

I am tempted to say that she was a work of art in her own right but she was much

in Johannesburg. As the drawings emerge from and dissolve into each other, they raise

more than a work of art. She was a masterpiece of human nature, is what she was. She

certain questions: “Who is this man? Why is he suffering? Is he being punished, or is this

had her faults. She was indifferent to kindness, and impossible to impress. You could show

just his fate?”

her an emerald the size of a Brazil nut and she would say, “Interesting green.” But she had

The Dissolve will be on display from June 20, 2010, through January 2, 2011. There

exquisite patience. Whenever the world ignored her, she would just give the world one

will be a series of opening events between June 18 and June 20, including a gala dinner

of her better smiles and move on to her next decision. Where is she now? Married to the

on June 18, created by Deborah “Dolly” Madison at the Santa Fe Farmer’s Market.

man of her dreams, one would hope—for her sake and for his.

To purchase tickets for the dinner, call Jo-Anne Skinner at 505-989-1199.

SITE Santa Fe’s Eighth International Biennial opens on June 21, 2010. The Biennial

SITE Santa Fe is located at 1606 Paseo de Peralta in Santa Fe, across from

is called The Dissolve. Curators Sarah “Bones” Lewis and Daniel “Dr. Ritual” Belasco are

the Santa Fe Railyard and the Farmer’s Market Building. Hours are 10 am to 5 pm,

presenting animated videos by twenty-five emerging and established artists. Those artists

Thursday through Saturday; 10 am to 7 pm on Friday; and 12 to 5 pm on Sunday.

include Kara “Skin” Walker, Bill “T” Jones, William “The Conqueror” Kentridge, Federico

For details, go to www.sitesantafe.org. Watch William Kentridge’s History of the Main

“Hide The” Solmi, and Cindy “Who’s That Lady?” Sherman.

Complaint at www.thedissolve.net. D

| june 2010

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ELEMENTAL: Earth, Air, Fire and Water Art and Environment

Exhibition Elemental: Earth Air Fire Water Art as Environment

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With works by: Amy Franceschini, Patricia Johanson, Jennifer Monson, Trevor Paglen, Victoria Sambunaris Greg Sholette, Mierle Ukeles, Will Wilson, The Yes Men 6/4 Opening reception 5 - 7pm. SFAI Exhibition through 8/27MF, 9am - 5pm

6/ 7-11 Nancy Reyner Acrylic Painting with Digital Media Workshop.10am - 4pm SFAI. $495 generous need-based scholarships available

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C R I T I C al reflections

Vanishing Points: Saul Becker, Marti Cormand, Steve Robinson 1613 Paseo

LewAllen Projects Peralta, Santa Fe

de

Schismatically positioned via the late eighteenth century’s naïve overestimation of the industrial opportune, the advent of

landscape as a genre for painting constitutes a counterrevolutionary indicator insofar as it elevates a tendency towards eulogistic amplification of an already vanishing agrarian ideal. In retrospect, the paradoxical ontology of the Romantic “cult of nature” only gains in depth, as from our current vantage it may well be observed to hinge upon contrapuntal tensions between a retarde nostalgia for the pre-industrial and a prescient grasp of widespread twenty-first century environmental degradation. In other words, the original circumstance constituting Western Art’s embrace of landscape as a distinct modality of image making, its raison d’etre, has contemporarily achieved a near hyperbolic validity. This is perhaps one component responsible for the immense success of LewAllen Projects’ inaugural exhibition, Vanishing Points, an exploration of somewhat like-minded works by a trio of contemporary landscape painters heretofore previously unseen in Santa Fe, and the outstanding curatorial effort of THE magazine contributor, Alex Ross.

In gestures of what might be contradictorily termed post-apocalyptic hopefulness, Saul Becker masterfully combines digital imagery and traditional oil techniques to present a crumbling post-industrial pictorialism. Absent actual human presence, his digitally recombinant images describe the ruins of an all-too-human aftermath in the correlative modes of surveillance-camera stills and video-game depiction, as if the abandoned remnants of human intrusion and nature’s gradual reclamation are objects set aside solely for a ceaseless mechanistic gaze. In this sense these paintings masterfully preclude the viewer in favor of his or her inherited technologies, compounding the sensation of absence, disappearance, and the simultaneous erasure of both nature and culture. Not so much “man vs. nature,” Becker’s stunningly executed oil paintings actuate a quiescence of collapse, the vanishing point, as it were, of both constructs.

Drawing upon a somewhat less distopian presentment of hominid intervention and a digitized interpolation of vision, Steve Robinson orchestrates large-scale computer stencils derived from appropriated Internet snapshots of the late-fifteenth-century Zen garden at Ryoan-ji in Kyoto, a place that, most significantly, he has never visited. Situated elegantly between data-stream mechanization and gestural abstraction, these painstakingly manipulated, media-assisted imaginings bear, according to those who have been there, no real resemblance to the scale or physical actuality of their chosen subject. Resonating oddly and intentionally with Zen ideals of “emptying out,” these subtly colorful, abstracted interventions upon the tourist’s sight and site fascinatingly emanate a highly mediated sense of place best described as nowhere at all.

Where Becker and Robinson succeed in emptying the preModernist landscape genre of viewer and subject respectively, Marti Cormand reintroduces both with the articulate vigor of a moral indictment. Bite, a 2008 composition in oil on linen, situates the viewer in an abyss as the foreground falls away precipitously. The center of this dreamy soft-focus landscape of rocks and hills is masticated by what appears to be an impromptu (scenery chewing) landfill composed of intensified chromatic detritus that Cormand masterfully brings into sharp focus and high relief. The landscape as analogous to societal norms is elegantly realized in Cormand’s potent juxtaposition of the “ubiquitous pristine” (Ross’s phrase) with post-consumer cast-offs.

There is a telling obviousness of allegory here as towards the bottom of the inchoate mass, accompanying the stumbling viewer towards the void, is a discarded painter’s easel—an acrid admonition of futility.

Evincing a re-registration of the landscape as interrogator of the nexus of cultural imperative and post-transcendent locale, Vanishing Points notably advances concepts of objective painting, à la Gerhard Richter, in contradistinction to the obsequious abstraction that has come Saul Becker, Cornucopia, oil on linen on panel, 39” x 44”, 2009 to be pro forma within Santa Fe’s art economy. Evidencing this dichotomy, the new LewAllen project space touted Ross’s carefully chosen and brilliantly presented compositions with their uber-intellectualism, understated chords of chroma, and subtly sophisticated palettes only to mar it somewhat unfortunately with the inclusion of brightly colored glass vessels on a shelf in the vicinity of the street-side fenestration. This unfortunate installation was out of sync with an otherwise thoroughly conceived and expertly conceptualized exhibition strategy that allowed the “project space” to assert its synecdochical consonance with new ideas of art and aesthetic exploration.

Despite this minor distraction, the exhibition was one of the best shows of contemporary painting that Santa Fe has seen in some time, and it is our sincere hope that the LewAllen Gallery will continue this program with equally thought-provoking and well-conceived artistic manifestations.

Commercialism and content need not be mutually exclusive, as Ross has so clearly demonstrated.

As the oil slick engulfs the biology along the Louisiana shore, as Google Earth maps the entirety of the planet, as the human and the natural collide vis-à-vis amplified technologies of desire, Vanishing Points envisions a long and much-needed perspective.

—Jon Carver

| june 2010

THE magazine | 47

T

Cycles of Time: Santa Fe High School Art Show Georgia O’Keeffe Museum Education Annex 123 Grant Avenue, Santa Fe

The creativity of youth

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Suzanne Sbarge: New Work Harwood Art Center 1114 7th Street NW, Albuquerque

Since Photoshop’s release in 1990, the ability to manipulate images to create convincing visual lies has become increasingly easier. Before Photoshop, it was necessary to find real photographs, cut them up, and paste them together to achieve similar effects. When you do that now, you’re creating some kind of storyline about why you don’t just use Photoshop.

Suzanne Sbarge’s work is decidedly not Photoshopped. Made with her hands, it consists primarily of collaged elements pasted into painted, found photographs. She states that her images of anonymous women, abandoned American houses and disaster scenes (mostly floods) “explore the process of growth through destruction, incorporating images of disaster, abandonment, and decay with lush outgrowths revealing ever-present life.”

Sbarge is attempting a kind of revivification, rescuing a world that has died. The images of decrepit homes are offset by tender, nascent signs of life: eggs, birds, young weeds bursting through sidewalk cracks, or leaves budding from dry trees. The women in the portraits are similarly barren, and it’s easy to knight Sbarge as the artist-emancipator who humorously rescues these stick-in-the-muds from the Victorian conditioning that produced them. She gives the drowning woman in Immersed a snorkel to help her breathe, while the subject of Woman in the Margin dons a colorful boa and mask to help her defy being overlooked.

In this scenario, salvation is granted through art, simply because it’s the hand of the artist that has cut and pasted each baby-blue egg into these gloomy worlds, pressing the reset button and manipulating fate. So when we see a hand collecting those eggs, we assume it’s an effort to assure our better future.

But what if it’s not? The fact is that every image we’re confronted with makes enigmatic statements about individual struggle. A woman is under water. A woman is in the margin. Homes are run down. Towns are flooded. And the willful avoidance of the present—too obvious to ignore—isn’t enough to mitigate whatever sorrowful psychology is at work. Ironically, Sbarge’s show is called New Work, even as it relies on the past to ask current questions regarding gender, domesticity and creative identity. Confusion dominates because, while gorgeous to look at, the Terry Gilliam–meets–Georgina Berkeley aesthetic she employs sends so many hushed messages about personal decay and salvation, you’re not sure if she’s in total control or simply at the end of her well-knotted rope.

brilliantly trumps under-resourced public art education in this outstanding display of student work from Santa Fe High. Works in a vast array of mediums, encompassing printmaking, cardboard construction, ceramic sculpture, stained glass, spray paint, acrylic painting, drawing, and jewelry, wondrously overflowed the O’Keeffe education annex.

Highlights included Rebekah Birkan’s “film still” painting of a young girl in a pretty dress holding a pink teddy bear. Her subject’s strongly felt presence and slightly sulky attitude nicely sidestepped the potential sentimental pitfalls and were perfectly expressed through confident technique. The trope of the “film still” frame distanced the figure temporally, suggesting the fleeting nature of both youth and memory.

Nana Lawson’s acrylic image of a female nude floating through the deep blue cosmos with long, flowing red hair and her hands on the handlebars of her bike was stunning in color, and recalled Chagall in its imaginative subject matter and Remedios Varo in its surreal mood. Hope Donoghue’s bright red picture of a woman with a yellow aura getting paint poured into her hinged-open head was similarly surreal, and boldly expressive of a highly fueled imagination.

Jared Lobato and Gabe Bustos collaborated on a number of mad-fly graffiti-inspired images that succeeded in an appealingly off-kilter way, and Lynette Bustos demonstrated a similarly solid commitment to this by now ubiquitous urban style. Rounding out the painting aspects of the exhibition, Marie Maganelli’s red-ground portrait of a woman offered a monumental gaze that belies its diminutive scale and stuns with intimate intensity, while Sarah Livingston’s stenciled skull with a bright green Mohawk on striped canvas, accompanied by five brightly colored sphere creatures in sculptural relief, is one of the weirdest metaphysical painting objects ever, in a very good way. Curtis Wells should be mentioned for his impressively sophisticated graphicnovel style ink drawings, and Chris Montoya’s ceramic break-dancer pivots nicely in space.

Alisha Martinez’s homage to Mondrian in the form of brightly glazed ceramic cups and plates are awesome, and Abigail Schiffmiller’s fused-glass dragon fly pendant is lovely and excellently executed.

Compliments and congratulations are due to the O’Keeffe museum for its steady commitment to the education aspect of their mission and to Lori Andrews, the current Art Department Head at Santa Fe High. Nice work!

—Jon Carver

—David Leigh

Suzanne Sbarge, High Ground, mixed media,16” x 26”, 2009

Rebekah Birkan, Untitled, acrylic on canvas, 48” x 36”, 2010

C R I T I C al reflections

T

Meander

The City of Santa Fe Community Gallery 201 West Marcy Street, Santa Fe

All things are interconnected.

Everything goes somewhere.

—Bobbe Besold, text from Watershed

The new Siler Road extension to West Alameda, with its bridge over the Santa Fe River, is in my neighborhood; I drive

over it nearly every day and I am beguiled by the views to the right and the left. The river is flowing now, and although in reality it’s more like a stream, I find it thrilling, nonetheless, to pass over it and see its narrow flood plain and the chasm it has carved into the land a surprising distance below. We all agree how wonderful it would be if the Santa Fe River could flow year round, but that time is not yet and maybe never. Still, the river—and its importance to the spirit of Santa Fe—has captured our imaginations and found a permanent place in our sense of Santa Fe’s identity.

The river has already been the focus of attention by artists like Dominique Mazeaud, who began her project of cleaning the river’s banks and its riverbed over twenty years ago. Some of the objects Mazeaud collected in her performance-based project—things she tends to think of as gifts from the river—are part of her poignant installation in Meander. And the Santa Fe River served as the locus for an ambitious eco-art project by Helen and Newton Harrison, which culminated in the exhibition Santa Fe Watershed: Lessons from the Genius of Place at the Santa Fe Art Institute in 2005. This was an endeavor that involved many individuals in our community in a multi-generational, multi-organizational manner. (If anyone is interested, the Harrisons’ project can be seen in DVD form through SFAI.) In this exhibition, presented in collaboration with the Santa Fe Watershed Association, twenty-five artists interpreted the river and its riparian environments.

Or perhaps it is only the idea of something watery that is depicted, some oblique reference to fluidity—like the abstract paintings by Jennifer Joseph and Christina Hall-Strauss titled Aquifer and River, respectively. Each work is the polar opposite of the other in terms of style, but both capture some liquid essence without being literal. There are also traditional landscape paintings, photography, collage, sculpture, a couple of installations—one by Mazeaud and the other by Elizabeth Hunt—and a large, sinuous wall sculpture by Matthew Chase-Daniel made from the slender branches of elm trees. A photography and mixed-media piece called Watershed by Bobbe Besold includes five plastic bags of water hanging from the ceiling. Also included are several geographic revelations about our area in a work

by Ward Russell, who did his photography work from the air, but close enough to earth for you to locate your house or apartment should you be lucky enough to live near the river.

One of the most interesting pieces is Russell’s twenty-five-foot long, doublesided photographic portrait of the Santa Fe River from its source in the Sangre de Cristo Mountains, through the city, and beyond to the desert west of La Cienega and La Bajada. And as well as you might know your way around Santa Fe, it’s easy Elizabeth Hunt, Cry Me a River, mixed media, 8’ x 7’ x 32”, 2010 to get flummoxed when looking at a particular part of the river in relation to the urban topography when seen from above. Russell’s photographs are mounted on narrow sheets of Plexiglas and suspended in the middle of the gallery so that a viewer can saunter along and follow the course of the river from its headwaters at Lake Peak, under the Siler Road Bridge, and eventually into the Cochiti Reservoir fed by the Rio Grande.

Elizabeth Hunt presents another perspective on the watershed in her piece, Cry Me a River. Her political and conceptual work comprises a series of faux ecosystems with gurgling, moving water supplied through pumps and drip systems. Hunt has created a unified series of fourteen glass tanks with their diverse and often strange inhabitants. A ceramicist, she fabricated all the forms out of white clay: things such as tiny balls that look like seeds or beans, fish, seashells, mushrooms, bones, coral, acorns, sponges—all representative of water-bound, water-dependent life. Cry Me a River is a wry commentary on the rebirthing of a degraded waterway and the efforts at keeping it healthy, along with its dependent animal and vegetable life forms.

In the last analysis, getting the Santa Fe River off the list of the most endangered rivers in America is all about art—the art of skillful and visionary management, and an array of strategic and artful interventions. Everything goes somewhere. Isn’t that one of the strongest things we feel when we see a river flow?

When we intuit its sources, its meandering sweep along the banks, its identity as a matrix of civilization, and its ultimate destination?

—Diane Armitage Guy Cross, The Santa Fe River from the Siler Road Bridge, digital print, 2010

| june 2010

THE magazine | 49

B

Ansel Adams: Landscape

and

Light

Gerald Peters Gallery 1011 Paseo de Peralta, Santa Fe

“Standing on the bare ground—my head bathed by the blithe air, and uplifted into infinite space—all mean egotism vanishes. I become a

transparent eyeball; I am nothing; I see all; the currents of the Universal Being circulate through me; I am part or particle of God.” —Ralph Waldo Emerson

Bathed by the Blithe Air: when nineteenth-century photographer Carleton E. Watkins clambered across the rocky

outcroppings below the sheer granite face of Yosemite’s towering El Capitan in 1861, burdened with—give or take—a ton of camera equipment carried by mule, he was rousing a sleeping giant: landscape photography. With the end of the Civil War, the American West would experience a surge of exploration and development led by government survey expeditions and civilian railroad engineers. Both undertakings were documented by photographers. Their prints of this period of expansion westward would fix forever the perception of the West in popular mythology—of a wilderness that was at once fearsome and benign, an untenable image of a pristine yet inviting Eden.

In hindsight we realize that those timeless, uninhabited vistas appeared timeless and uninhabited in part because the process of securing the shot took at least ten minutes, what with setting up the large camera, coating the wet collodion plate (don’t ask), inserting the dripping glass plate in the camera, exposing it, then developing the glass negative in the portable darkroom before the plate dried. Any wildlife in camera range would have ambled off (never mind bolted) by then, and the indigenous inhabitants of this “uninhabited” wilderness were invisible, presciently chary of any attempt to capture an image of Eden or of them. But if these pioneer photographers were unwitting or even witting accomplices to “The Way West,” their panoramic vistas played a critical role as well in the nation’s history of preservation and conservation, from the establishment of our national parks and forests to the setting aside of wilderness areas.

Ansel Adams’ work lays claim to the photographic legacy of Watkins in Yosemite, William Bradford in the Arctic, and William Henry Jackson in Yellowstone. Active in the third quarter of the nineteenth century, these pioneer photographers of the West subscribed to a visionary aesthetic of nature in American landscape painting known as Luminism, a Romantic offshoot of the Hudson River school whose pellucid light effects were in synch with Emerson’s Transcendental ethos.

Luminist painting expressed a timeless nature: vast and tranquil vistas of wilderness at twilight or sunset, intense contrasts of light with enveloping darkness. It was a uniquely indigenous style of painting that emerged at the same time as a uniquely American identification of nature with the immanence of the divine, investing landscape with a moral imperative. And Luminism embraced the related philosophical notion of “the sublime” revived in late-eighteenth-century aesthetics.

British philosopher Edmund Burke held the sublime to be distinct from beauty, as evidenced by their different relations to light: beauty is revealed to us by light, while the sublime’s ineffable light almost blinds us to its vastness—boundless and transcendent. The sublime in landscape would find fullest expression in the huge canvases of Hudson River painters Albert Bierstadt and Thomas Moran.

The landscape photography of Ansel Adams is heir to this nineteenth-century aesthetic. His work is pervaded by this quality of luminosity, and in some cases transformed by an explicit evocation of the sublime—especially his photographs from the early 1940s (e.g.

Clearing Winter Storm, Yosemite National Park, California, 1940, or the exhibit’s 1944 series of images of Mt. Williamson, Sierra Nevada).

Visitors to the current Ansel Adams exhibit at Gerald Peters Gallery—in fact anyone seeing his work in person—will discover what is largely lost Ansel Adams, Half Dome, Blowing Snow, Yosemite National Park, CA, gelatin silver print, 15½” x 19 ½” , 1955 in published reproductions. One accomplished photographer I know calls it presence, authenticity. When you come upon a colossal print like Winter Scene with Train (84” x 120”), you skip a breath and then here’s your first set of Lionel trains escaped from under the Christmas tree come chugging up to meet you. All the photographs close up possess that presence, that immediacy. And it’s not always the size of the print. Standing before his Winter Sunrise, Sierra Nevada, from Lone Pine, California, 1944 (17” x 22 ¾”), you are not transported to its vast panorama so much as it comes to you. If you start walking toward it, in time you will reach the black horse down the valley floor in the deep foreground lit by early morning light—a brilliantly understated black detail that intimates the vast range of snowy white phosphorescent peaks rising far above it, illumined by a mimicking carpet of clouddarkened pines on the hillside below.

Comparison of Watkins’ spectacular images of El Capitan in Yosemite with the Ansel Adams exhibit’s prints of Half Dome, Blowing Snow (1955) and El Capitan, Sunrise, Winter (1968) underscores the latter’s unique achievement. Adams uses sharp focus, maximum depth of field, and brilliant rendering of material surface and texture to attain unequalled effects of clarity, luminosity, and sense of the sublime.

For many of us, viewing an Ansel Adams photograph like Half Dome, Blowing Snow is as close as we’re ever going to get to experience the transcendence of Nature. For those in search of the timeless and the sublime, it’s close enough.

—Richard Tobin

I

C R I T I C al reflections

David Nakabayashi: Winterstate In 2008, David Nakabayashi

1611-A Paseo

de

box G allery Peralta, Santa Fe

was in a wreck that totaled his car. In his introduction to the exhibition Winterstate he writes about standing outside afterward looking at the ruined hulk. Then, he continues, he found himself in a truckstop restaurant looking out the window: one scene jerking into another like a broken reel of film. After you’ve been part of a sudden and violent event, an event that ends almost as quickly as it began, a sense of being outside of your body invariably takes over, as if you were watching it all happen from the unreachable place of a dream.

Nakabayashi’s paintings reflect that sense of being unexpectedly separated from the individual self. His figures float in front of mostly snowy urban-scapes that are frozen in temperature and temporality. So adeptly painted against colorfully abstracted, even drippy, skies and snow, his subjects look as if they don’t belong to the surface of the painting. It’s easy to imagine that they have been cut out of magazines and collaged onto the painted canvas. In this exhibition, the same figure is often repeated in the same painting in varied positions, but it’s impossible to tell what exactly is going on. As to who they are, their features are so specific that we assume the artist knows them. Still, they remain unknowable despite our most rigorous scrutiny—anonymous strangers who reflect our own anonymity. They are active, but they also seem to float, as if they, too, had just witnessed something implausibly real, such as the proximity of their own mortality. Several of the paintings include an equestrian statue hovering above everything—a witness, adding to the surreality of the scenes.

In the foreground of the eerily glorious Magic City, a man posed as a digger holds no shovel. Another man in a T-shirt and a black glove is missing an arm; both appear to be standing on a frozen lake. The most impressive figure is the industrial complex of the “magic city” itself. It is almost black, Mordorlike, with lights that glow from a demon’s eye sockets. Smoke streams from stacked towers, startlingly beautiful in the manner of J.M.W. Turner’s Rain, Steam and Speed—The Great Western Railway of 1844. Autumnal fields in Nakabayashi’s City imply that the complex is located in the kind of lost landscape we’d rather hide—another of the dirty secrets of our industrialized lives. Dark Water, a highly attractive piece, may feature the artist himself; the figure, shown in a three-quarter profile, invites yet defies identification. Two ghostly white jackets perform some function in the cold and lonesome foreground. Above, an Ab-Ex sky explodes with tension. In Exit Ramp, another urban background, we see what are probably the outskirts of downtown Chicago.

This is Nakabayashi’s domain: the urban “blight” of the landscape that we refuse to accept or claim.

In a large piece, Victory Dance, there appear two versions of a woman in a green jacket and hat; incongruously, she also wears Capri jeans and sandals in the snow. She isn’t dancing as much as twisting, contorted from a near fall. The backdrop of tanker train cars and a factory is topped by an equestrian sculpture of a golden crusader, his right arm raised, carrying a banner as if into battle. Another largish piece, Under Current, has a textured surface that suggests craquelure. The effect is that of trying to see clearly in an old mirror, dodging splintered and silvered glass to view what is below the surface. Nakabayashi’s treatment of his canvases smacks of de Kooning, Rauschenberg, and Bacon.

Safe Harbor shows several different people standing on blue water. Or is it ice? A surface beyond description, it’s certainly not in my landscape lexicon. No one looks as if they’ve discovered anything safe so much as they’ve discovered something within David Nakabayashi, Dark Water, acrylic and oil on canvas, 20” x 20”, 2010 themselves, something they share, tacitly, with one another.

A factory dominates the background—the Church of Industry and blue skies with fluffy white clouds lure us into believing that here is refuge. The sides of the painting are over-painted with Nakabayashi’s signature treatment. Frozen River, a very small, ten-by-ten-inch piece, is a standout, featuring a magnificently rendered suspension bridge with concrete pillars, against a snowy backdrop. A crowd of people are daubed onto the snowy surface; unlike the rest of the painted figures, these seem to belong, somehow, to the painting, rather than having been applied to the surface.

Six smaller pieces are slightly more difficult to access visually—they function almost as details, and their vocabularies are compressed, difficult to decode. A notable exception is Cold Front, in which a figure, possibly a woman, bears down against the wind on a Chicago-cold day, in that area between the unfriendly industrial zone and the warm elegance of downtown. How and where, asks Winterstate, do we find ourselves?

—Kathryn M Davis

| june 2010

A

Artificial Selection

C R I T I C al reflections

516 ARTS 516 Central Avenue SW, Albuquerque

Americans freshly awakened

from the long autistic-masturbatory sleep of the past thirty years might notice an extraordinary social and psychological change taking place right before their very eyes: Events that once seemed impossible are now not only becoming possible, but they are also becoming real. It seems as if the direct passage from impossibility to normalization has been swept clean of its unpleasant, ethical, or natural barriers by state and corporate powers, so that now we’ll be able to truly unleash the unthinkable. Not just for our enemies, but for our own society as well. The good old days of religious or political institutions galvanizing for the common good seem to have ended. We have now grown accustomed to the sad fact that religious institutions are too busy funding terrorism, having sex with children or male prostitutes, or inventing “Intelligent Designs” to be much good in responding to the world’s problems. The Government also continues to prove itself unwilling to function—unless of course acting as a bagman for corporate criminals constitutes a kind of function. A simple but salient diagnosis ends up in a surprising deadlock of ethical and natural crises, and at this stage of the game it’s difficult to even estimate the soundness of Democracy itself. So where does that leave us?

It is now a commonplace that modern civilization is on the defensive against the onslaught of the technocratic state, despite the toys and gadgets doled out to an infantilized middle-class. In the foreground of our society, body-scanners, surveillance cameras, data-mining, complex financial instruments, and a severe legal curtailing of not only civil liberties but of middle-class privileges as well, have left the country reeling. In the background, most of our tax dollars disappear into the Pentagon’s unreachable horizon of “security,” funding lethal technologies like the military’s “Enhanced Human Performance” program, whose aim is to prevent “people” from becoming “the weakest link in the military” through biogenetic manipulation. Military robotics programs, swallowing enormous portions of the nation’s budget, promise to establish “a complete and functioning network of robotics communications, sensors, and systems everywhere in the world, by 2023.” It appears that the unique potential of science and, simultaneously, technology has become, at its core, a weaponized animal, rapturously devouring everything in its path. Social networking and intelligence data-mining companies have locked together in an obscene embrace, with twenty-six-year-old gasbag CEOs at the helm crowing about how people don’t care about privacy anymore. The resounding response of the American public has been… passivity.

Perhaps it is only the domain of art that can adequately confront these problems at their ideological root, since it is art that possesses not only the outrage but also the radical and paradoxical courage and intelligence to confront ideology directly. With the recent demolition of the economy, and more misery on the way, we may at last be able to cull the art world of its celebrity imposters, its obscene Art Stars, and realize, once again, the radical emancipatory power of art, not just its market and celebrity-status value. To put the world in a simplified context: Capitalism, or at least a superclass of capitalists, has at last achieved its ultimate predatory potential. The question to be asked today about our present predicament is: Where does the artist stand in relation to the impossible miracle of social transformation, to true revolutionary change?

In the group exhibition Artificial Selection, curator Rhiannon Mercer has brought together eighteen artists to examine “the fantastic advancements that have become part of our presentday future….” A brilliant exhibition, showcasing formidable thinkers possessed of powerful technical abilities, Artificial Selection takes us through a strange political landscape governed by competing technologies of surveillance, mobilization, fortification, genetic enhancement, and the perpetual evolutionary dynamics of corporate and military-driven science.

The philosopher Paul Virilio once said, “History progresses at the speed of its weapon systems,” that is, at the speed of its capacities to mobilize, stabilize, and police the polis. In this precise sense the topics raised in this show can be seen as the de-cloaking of strategic weapons, utilized in times of peace or Laurie Hogin, Vytorin from the series What Ails Us: The 100 Most-Prescribed Pharmaceuticals in the Nation, oil on panel, 2008.

Courtesy Schroeder Romero, NY undeclared war. Laurie Hogin employs the imagery of guinea pigs to represent the hundred most prescribed drugs, suggesting that human beings have become the lab rodents in a pharmaceutically saturated culture.

Robert Dohrmann offers an alarming “fake” industry called Davison Grant Genetics, a simulated biotech company pitching attractive options for “an enhanced and improved life, complete with the ability to manufacture only the ‘best’ traits in individuals.” Heidi Taillefer’s paintings of machine and biological hybrids recall Surrealism’s true historical power, revealing the permeable border of man’s unconscious as it exudes its “cockroach robot.”

Spread out over two floors of generous gallery space, Artificial Selection’s selections range from in-the-trenches easel paintings of genetic catastrophes to satirical videos and high-tech sculpture and photography. A highlight here is Christine Chin’s Vegetable Human Hybrids, a series of genetic-transfer sculptures that collapse body parts and kitchen utensils into amusing “sinus cavity pepper mills” and nippled milk jugs sprouting elaborate sprigs of human hair. All the artists here have responded to the show’s premise in sly, passionate, and critical ways, not one succumbing to a mournful contemplation of the “banality of evil” or reverting to reflexive irony. The effect is searing.

—Anthony Hassett

| june 2010

THE magazine | 53

GODS

FOR FUTURE

www.hobaron.com

RELIGIONS SURREAL SCULPTURES BY HO

Tesuque Pueblo Flea Market 6 miles north of Santa Fe on U.S. 84/285 Open Fri.-Sun. 8am-4pm

“Post Nuclear Dog” 17x28 x15” 2007

A

C R I T I C al reflections

Meow Wolf: GEODEcadent As Santa Fe’s little artist collective that

could, Meow Wolf makes its first foray into gallery-land with GEODEcadent, an installation and group show at Linda Durham Contemporary Art, June 4 to July 3. We tapped multi-media artist David McPherson to talk about the group’s feral creativity, and why he’s in on the action.

Give me an example of a classic Meow Wolf idea. For the Omega Mart show last year, a sort of holiday show, we turned the Meow Wolf space into a supermarket and sold pieces of art as product. We made some advertisements for a fictional multinational corporation called Dramcorp— Omega Mart’s a subsidiary—and a product called Dramnilate, a dream suppressant for business people who have shocking or weird dreams. It eliminates them from your life.

Linda Durham Contemporary Art 1807 Second Street #107, Santa Fe at a time, that arrangement of ideas happens in that form. And then, in the next form, is some other modification, or combination with other ideas. It’s a progression, an evolution. Following the evolution of ideas, you never finish the thought. It just mutates—your ideas and attitudes throughout life, your belief systems.

How does that relate to your implementation? I’m totally obsessed with chasing down the evolution of an idea, and bringing it into the physical world: temporary installations for underground parties, background installation environments, sculptural objects. But there’s a level of functionality that they’re created for, outside of the sculptural form.

For instance, the thing I created for the Meow Wolf play, The Moon is to Live On, is a sculptural piece, but it’s a stage prop. I want to create things that are interactive for people, experiential. They may be there for a different reason than to see art, and maybe they don’t even define it as art. But I want them to see something they haven’t seen before, in kind of non-deliberate ways—to have a sort of sideways experience of art.

How do you make art together as this entity? It’s a weird trade-off because I don’t get into the zone as much as when I go off on my own. The payoff is having that outside influence on your work, affecting things in less predictable ways. A lot of people say—and it’s really true—that we surprise ourselves. We’ll have an idea that individually wouldn’t be so spectacular, but as a whole it goes way beyond what we were expecting.

Where does this take you, as an artist? Outside the vacuum of a lot of contemporary art galleries, and what I’ve seen of the art world. When I go to a gallery, I feel like you’re not really engaging with the art so much. If art is an expression of culture, it has to be in culture. What’s interesting to me are collisions, like Burning Man, where there are all these fragmented bits of different things, and you’re completely engaged, the audience and artist.

The GEODEcadent show at Linda Durham is based on an earlier installation built at the Meow Wolf space in 2009. Tell me about that first version. It was basically a geodesic dome with all kinds of thrift-store items and everyday objects, but modified in certain ways—made more into art objects, woven together in this cluster. The idea was based on a video game called Katamari Damancy: You start out with really small objects, and you’re creating a ball by rolling around and picking up objects that are smaller than the ball.

Meow Wolf, GEODEcadent, mixed media, dimensions variable, 2009

How convenient. Artist collectives seem to be the new Santa Fe dream: Meow Wolf, High Mayhem, Santa Fe Complex, and Humble. What’s the appeal? It’s a conversation. I like that exchange of ideas—to engage in this storytelling dialogue with other artists; to create through not only my eyes but their eyes as well; decentralize the art-making process, and not have it be wrapped up in an individual ego so much. The way Meow Wolf works, it’s about the sum of its parts and the experience.

What makes Meow Wolf a good fit for you? Meow Wolf is total emergence of everything. It just kind of happens, and then if there’s a problem, that chaos is somehow reconfigured—but it’s still very open, loose, no central hierarchical organization or anything like that. All of the shows have a clear initial idea, but there’s no way to tell how it’s going to turn out. That’s really fascinating to me.

How does that relate to your ideas about art? I’ll make art objects for a specific event, and then pull them apart and reconfigure them for something else— sort of creation and destruction at the same time. Whatever shape it takes

| june 2010

What was your personal contribution to that piece? I took some bowling pins that were around Meow Wolf, coated them with mirrors, and put them on rotors—a cluster of three or four. And stuff from my house, unfinished art, objects I would attach and arrange in interesting ways.

How will the Linda Durham installation relate to that first effort? It’ll be an evolution of that. Much more alive—less of a static piece. We’re implementing electrical devices so there’ll be lights flashing and mechanical parts. And it’s going to be more about the interior because there won’t be as much room to walk around it.

Have you ever shown any work in a gallery before? I showed at the Center for Contemporary Arts once, and a few others. But I haven’t really pursued it in this century.

Why now? I always figured if I was doing something important enough, then galleries—and the right gallery—would approach me.

—M arin S ardy

THE magazine | 55

Thomas Allen Bethune

H I R S C H F I N E A RT

WIFREDO LAM

EMIL BISTTRAM

BEATRICE MANDELMAN

DONNA GUNTHER BROWN

REGINALD MARSH

LEONORA CARRINGTON

ROBERTO MATTA

HOWARD COOK

CARLOS MERIDA

CAROL CORELL

JUAN MIRABAL ROBERT MOTHERWELL

RANDALL DAVEY RICHARD DIEBENKORN WERNER DREWES

JANE PETERSON LOUIS RIBAK

ALBERT LOOKING ELK

ROLPH SCARLETT

NORMA BASSETT HALL

LOUIS SCHANKER

E. MARTIN HENNINGS

JOHN SLOAN

HANS HOFMANN

NILES SPENCER

CARL HOLTY

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riCK StevenS Between Connections JUne 25 – JUly 12, 2010 Opening Reception: Friday JUne 25, 5 – 7pm

Western Spaces, 2010, Oil on canvas, 50 × 44 inches

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Hunter Kirkland Contemporary 200 – B Canyon Road, Santa Fe, NM 87501 phone 505.984.2111 fax 505.984.8111 www.hunterkirklandcontemporary.com

artist at work

photo - assemblage of rick stevens by

Matthew Chase-Daniel

Rick Stevens’ oils on linen and pastels on paper are on view at Hunter Kirkland Contemporary, 200-B Canyon Road. Reception: Friday, June 25, 5 to 7 pm. | february june 2010/march 2010

57 THE magazine | 15

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GREEN PLANET

AMMA:

The Hugging Saint

“The seedling cannot emerge and grow into a large tree unless the outer shell breaks and dies. Likewise, the inner Truth cannot be realized unless the ego dies.”

“Through selfless action we can eradicate the ego that conceals the Self. Detached, selfless action leads to liberation. Such action is not just work, it is karma yoga.”

—Amma Amma is from Kerala, India, and is known as the “Hugging Saint.” For the past thirtyfive years Amma has dedicated her life to the uplifting of suffering humanity through the simplest of gestures—an embrace. In this intimate manner Amma has hugged, blessed, and consoled more than twentyfive

million

people

throughout

the

world. She has also inspired innumerable worldwide humanitarian acts, including the creation of charitable hospitals, hospices, medical camps, orphanages, schools and other educational institutions, free food and clothing programs, disaster relief programs, free homes for the poor and needy, pensions for widows, free legal advice, and the preservation of nature.

Amma teaches the practice of Karma Yoga, or the yoga of action. She and her devotees from all over the world worked to raise over forty-six million dollars for Tsunami relief in India and Sri Lanka, and also assisted Katrina disaster victims. Our local Amma Center has fed the homeless of Santa Fe every Sunday for more than fourteen years through the Santa Fe Ashram’s Burrito Project. Amma is currently establishing an orphanage in Haiti and continues to travel throughout the world in response to the heartfelt longing of people who seek lasting peace and harmony in their lives. Amma will visit Albuquerque June 20 to June 24. Details: www.amma.org or www. ammacenter.org, or 505-982-9801.

photograph of

| june 2010

Amma devotee Eileen Torpey holding her photograph of Amma. © J ennifer E speranza THE magazine | 59

by ed ng. n i ra ro as s t mst oke thly a r e w A sm on I’v nce my y m t at er.

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| june 2010

Guy Cross THE magazine | 61

WRITING

Seeing Dollar SignS

by Jerry

Saltz

For many, the art market is a communal version of the Primal Scene—a sexed-up site that

The market is now so pervasive that it is simply a condition—as much a part of the

offers a peek into the bedroom of the creative act. Art advisers and collectors now treat art

art world as galleries and museums. Even if you’re not making money—as is the case with

fairs and auctions like Warhol’s Factory: places to flaunt junkie-like behavior while hoping

most of us—that’s your relationship to the market. To say you won’t participate in the

one’s creative potential might bloom. In this global circus, mega-collectors like Charles Saatchi

market is like saying you refuse to breathe the air because it’s polluted.

and François Pinault are the art world’s P.T. Barnums: showmen who have become part of the show—moguls who understand that the market is a medium that can be manipulated.

The current market feeds the bullshit machine, provides cover for a lot of vacuous behavior, revs us up while wearing us down, breeds complacency, and is so invasive that

Once upon a time, the market and the scene (clubiness, chicanery, and profligacy

it forces artists to regularly consider issues of celebrity, status, and money in their studios.

notwithstanding) were joined and reflected social, political, and sexual change. Now the

Yet, it also allows more artists to make more money without having to work full-time soul-

market is only in service of itself. The market is a perfect storm of hocus-pocus, spin, and

crushing jobs and provides most of us with what Mel Brooks called “our phony-baloney

speculation, a combination slave market, trading floor, disco, theater, and brothel where an

jobs.” Last December, more than 400 New York art dealers representing more than 5,000

insular ever-growing caste enacts rituals in which the codes of consumption and peerage

artists paid for booths in one art fair or another in Miami to participate in this market.

are manipulated in plain sight.

Everyone is trying the best they can. For critics to demonize the entire art world, then, as

Is the art market making us stupid? Or are we making it stupid? Consider the lame-

somehow unethical and crass seems self-righteous, cynical, and hypocritical.

brained claim made by Sotheby’s worldwide head of contemporary art, Tobias Meyer, who

Much confusion stems from there being no new, cogent ‘Theory of the Market,’ no

recently effused, “The best art is the most expensive because the market is so smart.”

philosophy that addresses the ways in which the ongoing feeding frenzy is affecting the

This is exactly wrong. The market isn’t “smart;” it’s like a camera—so dumb it’ll believe

production, presentation, and reception of art. Nothing we say about the market adds

anything you put in front of it. Essentially, the art market is a self-replicating organism

up, partly because “the market” isn’t really an autonomous subject. It’s a diversionary

that, when it tracks one artist’s work selling well, craves more work by the same artist.

tactic—essentially, a blend of economics, history, psychology, stagecraft, and lifestyle;

Although everyone says the market is about “quality,” the market merely assigns values,

an unregulated field of commerce governed by desire, luck, stupidity, cupidity, personal

fetishizes desire, charts hits, and creates ambience.

connections, connoisseurship, intelligence, insecurity, and whatever. D

The above passage is from Seeing Out Louder (Hudson Hills Press, $45). Jerry Saltz is a teacher, lecturer, and senior art critic for New York Magazine. Saltz surveys the good, the bad, and the very bad in contemporary art.

He writes about famous artists and fallen stars, emerging talent and diamonds-in-the-rough. He covers art fairs, auctions, museum politics, and the art world’s bad behavior. Of his writing, New Yorker art critic Peter Schjeldahl, wrote, “Jerry Saltz is the best informed and hair-trigger liveliest of contemporary art critics, tracking pleasure and jump-starting intelligence on the fly…” Saltz will be lecturing at SITE Santa Fe on Tuesday, June 29 at 6 pm.

Saltz’s topic is “The Good, the Bad, and the Very Bad: A Year in the Life of an Art Critic.”

5 ||THE T H Emagazine M A G A Z I N E 62

february/march | june 2010 |

R en at e A l l er

Aller, December 2008, 1/3 ed, Archival pigment print 47.5 X 67.5 inches (framed)

Oceanscapes - One View - Ten Years

June 4 - July 3, 2010 Opening Receptions, Friday, June 4, 5-7pm Renate Aller Booking Signing, Saturday, June 19, 2-4pm

Licari, One Thing After Another, 3-color litho with hand coloring, 40 x 27 inches, Edition 22

Ta m arind Turns 50!

Recent Lithographs Celebrating Collaborative Printmaking Daniel Brice Willie Cole Jim Dine Julie Evans Tom Joyce Fay Ku Mark Licari Nicola Lopez Christine Ngyuen Johnnie Winona Ross David Row Kiki Smith

c h i a r o s c u r o 702 1/2 & 708 canyon rd, santa fe nm, 87501 chiaroscurosantafe.com 505-992-0711

505.983.8900 iaiamuseum.org membership@iaia.edu