The Magazine - June, 2012 Issue

Santa Fe’s Monthly

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of and for the Arts • June 2012

53 Old Santa Fe Trail

Upstairs on the Plaza Santa Fe, New Mexico

505.982.8478

shiprocksantafe.com

5

Letters

12

Universe of Charles Ross

16

Art Forum: Untitled by Emma Kunz

19

Studio Visits: Conrad Cooper and Timothy Nero

21

Food for Thought: Eggplants by Randall Morgan

23

One Bottle: The 2011 Domaine Tempier Bandol Rosé by Joshua Baer

25

Dining Guide: Santacafé, Shibumi, and 317 Aztec

29

Art Openings

30

Out & About

34

Previews: Taos Portraits by Paul O’Connor at the Hulse/Warman Gallery, Millicent R Rogers Museum, and the Harwood Museum of Art (Taos); Renate Aller at Chiaroscuro; and Transparent at the Lannan Foundation.

37

National Spotlight: On Paper at Michael Rosenfeld Gallery, NYC

39

Person of Interest: James Havard by Richard Polsky P

41

Feature: In Our T Time: Video as Art, Evidence, and Surveillance by Iris McLister

45

CritiCal C Cal refleCtions: Christopher Benson at Gerald Peters Gallery; Creative Santa Fe at the New Mexico History Museum; Heroes at Turner Carroll Gallery; Michael Wright

OC ETN STN

and Danielle Shelley at David Richard Contemporary; Movement at Santa Fe Clay; Nancy Holt at the Santa Fe Art Institute; Pina at Regal Cinemas; Stephen Wilkes at Monroe Gallery of Photography; and Zoe Zimmerman at the Millicent Rogers Museum 55

Green Planet: Dandelion Ranch, photograph by Jennifer Esperanza

57

arChiteCtural Details: Abandoned Adobe, photograph by Guy Cross

58

WritinGs: “Wind Advisory” by Susan Lanier

What does a former slave, a spiritual medium, a recluse, a Southern preacher, and an institutionalized Mexican laborer have in common? Despite never receiving any formal training, each created remarkable works of art—some sublime in their simple composition, others dizzyingly intricate and colorful. Outsider art, or art brut, provides insight into why we make art in the first place: for self-expression, enjoyment, and to find symbolic meaning. First recognized by German psychiatrists in the 1920s, outsider art is raw and uninhibited, free of the classifications and esotericism that often plague mainstream art. Charles Russell’s Groundwaters (Prestel, $65) examines the qualities and artistic merits of important outsider artists, such as Michel Nedjar—a vagabond who created eerie cloth dolls with gaping mouths and empty eyes, caked with mud and blood, and Adolf Wölfli, institutionalized after molesting a young girl, whose striking, complicated patterns of musical notes and faces resemble a Tibetan Thangka. Groundwaters is enthralling on multiple levels—the artists’ stories are rich, and their works are richer, proving that genius does, indeed, come in many forms.

PETER ALEXANDER SUBHANKAR BANERJEE UTA BARTH THOMAS JOSHUA COOPER GLORIA GRAHAM MORRIS LOUIS ROBERT MOSKOWITZ FRED SANDBACK KATE SHEPHERD IAIN STEWART JAMES TURRELL

28 APRIL–15 JULY 2012 Transparent presents painting, photography, sculpture and works on paper spanning over 50 years from the Lannan Collection. Each artwork embodies an aspect of the word transparent, from transmitting light so that what lies beyond is seen clearly, or being fine or sheer enough to be seen through, to work that is free from pretense or deceit, or that seems to allow the passage of x-ray or ultraviolet light.

309 Read Street, Santa Fe, NM 87501 Tel. 505 954 5149 Gallery Hours: Saturdays and Sundays from noon to 5pm (weekends only)

www.lannan.org Image: Uta Barth, Ground #78, 1997, color photograph on panel 41 x 39 inches, Collection Lannan Foundation

LETTERS

magazine VOLUME XVIII, NUMBER XI

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JiMMyy Montoya: 470-0258 (MoBile) THE magazine is published 10x a year by THE magazine Inc., 320-A Aztec St., Santa Fe, NM 87501. 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 2012 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. As well, THE magazine is not responsible or liable for any misspellings, incorrect dates, or inc rect iformation 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, employees, members, interns, volunteers, agents, 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 errors in any advertisement.

| j U N e 2012

Southwest Sublime, a group show on view at ViVO Contemporary, 725 Canyon Road.

Opening reception: Friday, June 22, from 5 to 7 pm. Exhibition runs to August 21.

Photograph: Jane Rosemont.

TO THE EDITOR: One puzzling aspect of Kathryn Davis’s review of the Harwood’s magnificent Agnes Martin: Before the Grid is her unquestioning acceptance of the title of the painting that you reproduce on page 53 of the April issue of THE magazine. It’s listed as The Expulsion of Adam and Eve from the Garden of Eden, 1953, both on the wall label at the Harwood and in the catalogue. Yet it’s quite obvious when you stand in front of the painting (and even from its murky reproduction) that the subject is not Adam and Eve, but Apollo and Daphne! At the time, Martin was working with exquisite grace within a searching style of lyrical surrealism that she shared with many of the evolving Abstract Expressionists, particularly Gottlieb and Rothko. Like Rothko’s Slow Swirl By the Sea (which it stylistically resembles), Martin’s painting draws on the abstract figuration of Picasso and Miró in order to explore ancient myths as a form of what Jung called the “collective unconscious.” The idea was to employ a kind of fluid style of improvisation in an effort to reach a barebones level of psychic imagination. At that level, it was felt, one would be able to tap into the source of poetry itself and the human myth-making capacity (mythopoeia) that links human experience with the mutability of the natural world. For artists since the Renaissance, and surely for Martin and the artists of her generation, the key source for Greek and Roman myths has been Ovid’s The Metamorphoses, a book of changes and transformations that celebrates the unpredictability of passion and the fluid instability of all things in the physical world. In Martin’s painting everything is flowing, as if it were a drawing made in the sand of a beach, already getting swept away in the tide. With wit and humor, she retells Ovid’s account of Apollo and Daphne, not only as the story of the frustration of erotic desire, but also as the elusiveness of inspiration. Apollo, god of the sun and of poetry, is stopped in his tracks on the right, raising his hands in despair and dropping his red bow (or is it his lyre?) as his clothing blows like pennants in the wind, showing his bereft state as his inspiration departs from his grasp. (The mystery and evanescence of inspiration was something that haunted Martin throughout her life.)

Daphne, who has no wish to be the object of desire, flees Apollo’s embrace and runs away to the left. One of her legs is shortened in a whirligig of panic and the other stretches out the distance as a few green leaves of laurel sprout from her side. It’s always best to use your eyes when looking at art. Don’t rely on the wall labels.

— illiaM peterson, forMer editor: ArtspA —w rtsp ce, via eMail

TO THE EDITOR: I found the “Art Forum” page in your May issue to be very interesting, as it was my painting Inside and Outside that was discussed. I enjoyed all the responses, but the response by Destiny Allison was the most accurate. Here is how I see the painting: Two figures standing in deep space, both holding an airplane and they both seem to be interacting. The image does create a premeditated narrative, but this narrative only serves as a distraction— a challenge to the viewer—and is only important as a hook.

The real value of the painting lies in the composition and variety of techniques and ideas that are not immediately apparent. The airplanes are a reference to a Phillip Pearlstein painting. And then there is the technique of verdaccio, which dates back to the Renaissance.

The thick brushwork in the face of the figures is a reference to Lucian Freud’s painting technique. I also made use of Abstract Expressionist approaches— like those of Willem de Kooning. So, this painting consists of a variety of techniques and ideas amalgamated to form a process-oriented image.

Each of the figures’ external expressions in the painting represents their internal state. The airplanes and the hands—which they share in posture and in action— are representative of a repressed desire to act. Thanks for the opportunity to show (and discuss) my work.

—GeorGe evans, alBuquerque, via eMail TO THE EDITOR: Your May issue—very cool. Enjoyed the profile of Henry Aragoncillo, esp. references to Wim Wenders and Antonioni. You were probably referring to Paris, Texas (which is great—Harry Dean Stanton, man). But my fave Wenders flick is Wings of Desire—one of my top ten of all time. And The Passenger is my fave Antonioni. Both are romantic and metaphysical. Cheers.

—MiChael darMody, farMinGton, nM, via eMail TO THE EDITOR: A really positive and thoughtful review of my show at the Center for Contemporary Arts. I could not ask for more.

I thank Richard Tobin and THE magazine.

— aMie haMilton, santa fe, via eMail —J

THE magazine welcomes your letters.

Send to: themagazinesf@gmail.com the magazine | 5

railyard Gallery artists’ reception: Friday, june 8, 5:30-7:30 Pm

DianeBurko water matters

june 8-july 15.2012

RichardRyan still movies

june 8-july 22.2012

downtown Gallery

JoeRamiroGarcia look into the sun june 1-24.2012 artist reception: Friday, june 1, 5:30-7:30 Pm

LewAllenGalleries Railyard: 1613 Paseo de Peralta (505) 988.3250 Downtown: 125 W. Palace Ave. (505) 988.8997 www.lewallengalleries.com info@lewallengalleries.com

joan watts poems and more

june 1– june 30 openinG reCeption:

Friday, june 1 5–7 pM

Charlotte jaCkson Fine art 554 south Guadalupe santa Fe, nM 87501 tel 505-989-8688 www.CharlottejaCkson.CoM untitled 22, 2011, oil on Canvas, 36” × 36”

TOM WALDRON New Sculpture

May 25 through June 23, 2012

RAILYARD ART DISTRICT 540 S. GUADALUPE STREET SANTA FE, NM 87501 505.820.3300 WILLIAMSIEGAL.COM

The Andrew Smith Gallery, INC.

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Miguel Gandert Saints and Sinners: Rituals of Penance and Redemption Continues through July 30th, 2012

The Andrew Smith Gallery celebrates our 2012 summer season with the exhibit, “Saints and Sinners: Rituals of Penance and Redemption,” by award-winning New Mexican photographer Miguel Gandert.

Miguel Gandert, Hijo Del Hombre

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

• 505.984.1234 • www.AndrewSmithGallery.com

PARD MORRISON PHANTOM LIMBS SAUL’S UNIVERSE 2012, FIRED PIGMENT ON ALUMINUM, 45 X 93 X 3.25 INCHES PHOTO: MICHAEL MYERS

THROUGH JUNE 23, 2012

SAM REVELES AT THE PALE NEW PAINTINGS & DRAWINGS

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Funded by Silver City Lodger’s Tax

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June 29 through July 20, 2012

ZANEBENNETT CONTEMPORARY

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435 South Guadalupe Street, Santa Fe, NM 87501 505 982-8111 www.zanebennettgallery.com Tues–Sat 10–5 or by appointment Railyard Arts District Walk last Friday of every month

PATRICK GIRAULT

RENAISSANCE SCULPTOR 505.470.4621 505.982.8114 lescigales@mac.com

FOR THE PAST FOuR DECADES,

ChaRLeS ROSS has been building the geometry of the stars into Star Axis—a naked-eye observatory now close to completion in New Mexico. His enthrallment with light, time, and the stars led to the Solar Burns series, created by burning wood-panel monochromes with focused rays of the sun, while allowing the natural patterns and forces of the cosmos to influence the work. Radius Books will be publishing a monograph—Charles Ross: The Substance of Light—covering four decades of his work and featuring full-color illustrations of the Solar Spectrum artworks, Star Axis, and Solar Burns, Star Maps, Dynamite Paintings and Drawings, along with early work and selected architectural commissions. In June 2012, Ross will have a solo exhibition at Gerald Peters Gallery, Santa Fe. Reception: Friday, June 15, from 5 to 7 pm. www.charlesrossstudio.com Star axiS

Light reveaLed

Star Axis is a sculpture to observe the stars. A naked-

For me light is not immaterial. It has substance.

the exchange Between Light and Matter

eye observatory built with earth, rock, and steel. At its

It has body, weight, and structure. I’m interested in

I became fascinated with the number 137 1/137 closely

outside dimensions it’s eleven stories high and three

manifesting forms and structures that are contained

approximates the fine-structure constant, which is

city blocks across. I conceived of Star Axis in 1971 when

in light. The creative focus is to discover and pull

fundamental to the laws of our universe, yet remains

I came across precession—the 26,000-year cycle of

images out of this infinite field, which includes the

hidden. In particle physics 1/137 was dubbed the

the earth’s changing alignment to the stars. I realized it

light that fills the universe, the light that surrounds us,

“God Number” by Richard Feynman, and is essential

was possible to make precession visible by bringing the

the light you can wave your hands through. All of my

in describing quantum interactions between light

geometry of the stars down into physical form to create

artworks—Solar Spectrum installations, Solar Burns,

and matter. 137 is also the numerological equivalent

an intimate experience of how the earth’s environment

Star Maps, Particle Light Drawings—are derived from

of the word “Kabbalah.” In 2002, I began creating a

extends out into the space of the stars. You walk

this light.

series of Solar Burn artworks, each with 137 individual burns. In this exchange between light and matter, each

through Star Axis and feel the earth-to-star alignments

of the burns is made in eight minutes and nineteen

as a whole-body experience in real time. After more than thirty-five years of construction, during which the

SoLar BurnS

seconds—the time it takes sunlight to reach the earth.

work grew and evolved, the main elements of Star Axis

The opposite of the solar spectrum. Instead of

As each burn begins, the light that will complete the

are now in place. We’re in the finishing mode. If we’re

dispersing sunlight into its primal color through a

burn is just leaving the sun.

lucky it’ll take another four or five years before Star

prism, here sunlight is focused through a large lens

Axis can be opened to the public. It’s essentially a solo

into a single point of raw power to create images

experience—how the geometry of the stars fits you.

drawn by the sun itself. Energy bits collected in

why the work MatterS

So, by invitation only, four to six people at a time will

different time frames: minutes, days, seasons, and an

You tell me—my fascination with light has lasted

be able to visit and spend the night in the guesthouse.

entire year.

a lifetime. D

| j U N e 2012

the magazine | 13

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ART FORUM

THE magazine asked three New Mexico artists and a clinical psychologist to share their take on this painting.

They were shown only the image—they were not told the title, medium, or name of the artist.

We see order and chaos in this image. Multiple

At first I thought that this could be a blueprint of a torus,

A moment later—perhaps a test pattern for who knows

geometric designs are superimposed on each other.

a donut-shaped energy field that is found from atoms to

what? Or a futurist mandala created by some eccentric

At first glance the work has a symmetrical appearance, but

galaxies as seen in the movie Thrive. There is an unfinished

prophet back in the 1930s which has been in a vault until

closer inspection reveals that each peripheral figure has

feeling about it, partial coloration and different contour line

2012? Or it may be a schematic for something that could

its own individuality. The artist teases us about our need

compositions, as in the four outer circles. As a functional art

save the world, only to be figured out by a nuclear physicist

for balance and symmetry. Symmetry is calming. People

image, it has potential to be a coloring book design, album

one hundred years from now, and because of it the world

with obsessive-compulsive disorders find asymmetry to

cover, business logo, t-shirt, skateboard graphic. Another

somehow becomes fun again. As I discover the lower levels

be very distressing. Also, in viewing this image, one’s

thought is that architecturally it looks like a garden layout

of this drawing, it changes, and so do I. It’s not flat anymore—

mind can oscillate. Looking casually may draw you to the

with canopies and fountains, or a space station. In nature

now I perceive it as a three-dimensional spherical object.

circles, but staring intently will take you to many other

it could be a snowflake or spider web. Was this some old

The six smaller orbs that surround the large orb are

shapes and movements. Gestalt theorists described

Spirograph image found behind the refrigerator after thirty

somehow connecting through to the center and creating

this pendulum-like swing in perception in the early

years? There is a feeling that there is some kind of a working

intense movement around the nucleus. This drawing is

twentieth century. They argued that the whole is greater

study going on here—hopefully for something that is toward

alive! ALIVE I TELL YOu! Now I realize that all the while

than the sum of its parts. The image is reminiscent of a

free energy, peace, and healing. I hope that somehow there

I’ve been writing this, I’ve been secretly thinking about how

mandala. Buddhist and Hindu sacred art use mandalas

is information here that someone understands somewhere.

well geometry visually translates depth, animation, math,

as representative of wholeness. Carl Jung wrote

—riChard Mole, sCulptor, santa fe

and equations. It inspires the imagination and is probably the

extensively on mandalas, suggesting that they symbolize

one pure truth that we have in our entire universe. But I

the unconscious self. Are we seeing the artist’s mind?

upon first glance at this picture my immediate thought was,

still don’t truly understand what this picture is about. The

Also, could the confluence of lines in the center represent

oh, someone had fun with a Spirograph and a piece of graph

question is: what do you think?

the artist’s view of the creation of the universe—

paper. Or is this a scientific, geometric equation of some kind.

—david rudolph, sCulptor, santa fe

the Big Bang?

—davis BriMBerG, ph.d., CliniCal psyCholoGist This stubby block is so contained So solid, bound, respectable Such symmetry it has attained A formal snowflake spectacle It seems to turn and yet be still It’s got to weigh at least a ton I’m sure it moves by its own will Compact as an accordion The more I look into its heart Its intricate machinery The more it hovers between Art And Byzantine stage scenery It holds the structure of the world Within its swirling central core Quite ready to jump like a spring And turn into a meteor It’s spinning now before my eyes I only hope it won’t implode Before it starts to atomize We must record its true genetic code!

—r rosé, author: the peA eArl Upon the crown (synerG ynerGetiC press) 16 | the magazine

Emma Kunz, Untitled, nd.

| j U N e 2012

G

ALAGalleries ARTSAtDISTRICT Lincoln Avenue

Come experience the exciting energy of the GALA Arts District, just off the historic Santa Fe plaza on Lincoln Avenue between Palace Avenue + Marcy Street.

Every 1st Friday of the month, the GALA Arts District invites the public to join in the celebration of new and cutting-edge exhibitions. Discover the artwork of more than 500 contemporary artists in eight distinctive venues while strolling along prominent Lincoln Avenue where you will find renowned museums of art and history, exceptional shopping, innovative cuisine by award winning restaurants and nightlife all in a stimulating + welcoming atmosphere. Enjoy exploring Santa Fe’s most vibrant art community, the GALA Arts + Museum District!

ďŹ rst friday artwalk monthly ~ 5 - 7pm

David Richard Contemporary lilly fenichel

Blue Rain Gallery rimi yang

Pippin Contemporary eva carter

Evoke Contemporary introducing alice leora briggs

Allan Houser allan houser | recent acquisitions

Niman Fine Art michael namingha

Windsor Betts david barbero ( 1938-1999 )

Legends Santa Fe sarah sense | weaving the americas

CONNECT TO OUR GALLERIES WWW.SFGALA.ORG

MONROE GALLERY of photography

STEPHEN WILKES Day To Night

Times Square, Day To Night

Exhibition Extended Through June 24 Open Daily

112 DON GASPAR SANTA FE NM 87501 992.0800 F: 992.0810 e: info@monroegallery.com www.monroegallery.com

FrANCIS BACON wrOTe, “The jOB OF The ArTIST IS ALwAyS TO DeePeN The MySTery.”

STUDIO VISITS

Bacon got it wrong. Nothing can deepen mystery, and I assume that we are talking about “The Mystery” and not what’s in the special sauce. Mystery is deep enough. There is no way to deepen it. We cannot know its depth or breadth. As I see it, some art may emerge and be a result of that. I choose to allow my work to arise from and be driven by the Mystery. That is, the big Mystery, coupled with my own private enigmas. I personally prefer the free fall into that Mystery even though it cannot be spoken of or named. It can be quite unsettling. After all, Gauguin nailed it while in paradise: “Where do we come from? What are we? Where are we going?” Just unplug and pay attention. The mystery is always there.

—tiMothy nero Nero’s most recent exhibitions were at the Contemporaria Georgetown, Washington D.C.; the George Billis Gallery, Los Angeles; and the Harwood Museum, Taos. Nero is seeking representation in Santa Fe. www.timothynero.com

It is more important to me that a painting raises questions than answers them. When I am drawn to a painting, be it mine or someone else’s, and find myself wondering, marveling, and puzzling, I feel engaged. I like to feel included in an imaginative dialogue with an artwork rather than merely be a passive reader of the imagery.

Often, the most alluring aspects of an artwork for me are areas that are indistinct, blurry, or lost in shadow, where my mind tries to fill in the blanks. The two questions I hear most about my paintings are: “What is it called?” and “What does it mean? It may sound trite, but my usual response is, “Well, what does it mean to you?” Once my painting is varnished, framed, and hung on a wall, it is, to a large degree, out of my hands. I said what I needed to say within the visual confines of the canvas. It must speak for itself. In my paintings, I hope I have built a worthy springboard for your imagination and sown the seeds of mystery to flower in your mind.

—Conrad Cooper Cooper will be in a three-person show—Alchemy—at the Stables Art Gallery, 133 Paseo del Pueblo Norte, Taos on June 8, 9 and 10. Reception: Friday, June 8, from 5 to 8 pm. During 2011 Cooper exhibited work at the Taos Center for the Arts, Stables Art Gallery, and the Harwood Museum of Art, all in Taos. www.conradcooper.com

photoGraphs

| j U N e 2012

By

anne stavely

the magazine |19

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Eggplants Eggplants (1980) by Randall Morgan is a tribute to the Mediterranean countries that acquainted Morgan with this smooth, oblong, purple-fleshed beauty, and to the delights of this amazing vegetable, unknown to him before he settled in Italy. Whether prepared with Parmesan cheese in the Italian manner, as moussaka as prepared in Romania or Greece, as a poor man’s caviar Turkishstyle, served with a chilled white wine or a beer, or savored on a terrace overlooking the sea, for Morgan the eggplant is the symbol of the Mediterranean summer. D

| J U N E 2012

THE magazine | 21

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One Bottle:

The 2011 Domaine Tempier Bandol Rosé

by Joshua Baer

On a flight from Phoenix to Albuquerque, a young Navajo woman told me

something about my face that made strangers think we were old friends?

stories about growing up in Gallup. “The gangs ran everything,” she said.

Or was this more complicated? What if my face was changing into versions of

“That’s what people in Gallup don’t understand. They hear gunshots at night

other people’s faces, but I couldn’t see it change? How many people did I look

and they think, Oh, that’s just kids being kids, but they’re completely wrong.

like? When would it happen again?

Kids being kids is life. Gangs being gangs is death—for everybody, not just for

Which brings us to the 2011 Domaine Tempier Bandol Rosé.

the gangs. I lived in fear. It got so bad, with all the break-ins and shootings?

In the glass, the 2011 Domaine Tempier Rosé is a pale coral pink.

I stopped going to the store. The last year I lived in Gallup, I drove to

The bouquet takes everything you thought you knew about the bouquet of

Albuquerque for groceries. That’s actually how I moved to Albuquerque, was

a world-class Provençal rosé and rearranges those assumptions. Or maybe it

by shopping there. One day, I was in Albertson’s, the one on Lomas, and I was

shatters them. On the palate, your first sip of the 2011 Tempier Rosé splits the

all set to pay and load up my truck and drive back to Gallup, but then I was like,

difference between nostalgia and surprise. You do not taste this wine as much

You don’t have to go back. You can drive around and look for signs and rent a place today. And then you’ll be here. You can take classes at UNM, or apply for a job, or just chill. The bottom line is, Gallup’s going to blow up, and when it does, you won’t be there. You’ll be here.”

She had a smooth, steady voice. Her eyes were large and

as you allow its gifts to overwhelm you.

The finish is edgy. It refuses to go quietly. It stays with you and entertains you until you are forced to admit that this is a new kind of finish, an innovation that evaporates before you can identify its qualities.

dark. She was wearing a white tank top and a pair of running

In a wine shop in Pasadena, an older man touched my

shorts. Her hair and her skin were as smooth as her voice.

elbow. He was wearing navy blue coveralls. The name “Dutch”

While I listened to her, I tried to pay attention without staring.

was sewn in red script into the fabric above his breast pocket.

It was difficult. She was too easy to look at.

The man had thick, white, unruly hair. “I can talk with my

“So, now you live in Albuquerque?” I said.

eyes closed,” he said. He was smiling, and at first I mistrusted

She laughed, then she punched me on the shoulder.

his smile.

“You’re such a hoot,” she said. “Always pretending. The thing

“Okay,” I said. “So can I. So can everybody.”

is, the gangs are in Albuquerque, too, but it’s an enormous city,

“I meant my mouth,” said the man. “Not my eyes. I can

so it’s no big deal to look the other way. But in a tiny little town

talk with my mouth closed.”

like Gallup? It’s only a matter of time before you take a bullet

I looked around for cameras. Aside from the man behind

that was meant for somebody else. You or one of your friends.

the counter, we were the only people in the store. “Is this some

But I’m not telling you anything new. You were one of the first

kind of prank?” I said.

people who told me I should leave. You said it was my destiny.”

The man pantomimed zipping his mouth shut. His smile

“Excuse me?” I said.

was still there, but his lips were pressed together. I heard his

She punched me again. “You crack me up,” she said.

voice say, “There’s a helicopter flying over the city of Prague.

Late that night, after I got home, I looked at my face in the

As we speak. It’s midnight, and they’re evacuating the palace.”

mirror. Did I have the kind of face that might seem familiar to

The words sounded like they were coming out of the center

Navajo women on airplanes? Was it possible that an Anglo man

of his chest.

who looked like me could have lived in Gallup a few years ago,

“How do you do that?” I said. “Are you a ventriloquist?”

and that the same man could have encouraged a young Navajo

“Ventriloquy is throwing your voice,” said the man,

woman to move to Albuquerque?

speaking normally again. “Talking with your mouth shut is not

I decided that anything was possible. Then I went to bed.

ventriloquy. It’s an audible manifestation of thought. I’m one of

In New York, at Sotheby’s, I was standing in front of

eight guys in the world who can do it.

a painting by Andrew Wyeth when a man walked up and shook my hand. “How’s it going?” he said. “How’s the family?”

He was wearing a camel hair sport jacket, blue jeans, and tasseled loafers.

Eight known guys.”

“People would pay money to see you do that,” I said.

“But you got to hear me for free,”

“Do we know each other?” I said.

he said. “You and all your friends.” D

The man burst out laughing. “Some things never change,”

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 ©2012 by onebottle.com. For back issues, go to onebottle.com. Send questions or comments to jb@onebottle.com.

he said. He pointed at the Wyeth. “Nogeeshik,” he said.

“It’s one of his better portraits. I’ll take that over a Helga any day. What do you think it’ll bring?”

That night, at my hotel, I looked in the mirror. Was there

| j un e 2012

THE magazine | 23

DINING GUIDE

A Santa Fe Tradition Dining Under the Stars at

Santacafé 231 Washington Avenue Reservations: 984-1788

$ KEY

INEXPENSIVE

$

up to $14

MODERATE

$$

$15—$23

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.

VERY EXPENSIVE

$$$$

$34 plus

EAT OUT OFTEN

Photo: Guy Cross

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

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

Dinner Full bar. Patio.

Major credit cards. $$$ Cuisine: French. Atmosphere: An inn in the French countryside.

House specialties: Steak Frites, seared Pork Tenderloin, and the Black Mussels are all winners. Comments: A beautiful new bar with generous martinis, a teriffic wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence.

317 Aztec 317 Aztec St. 820-0150 Breakfast/ Lunch. Patio.

Major credit cards. $$ Cuisine: Cafe and Juice Bar. Atmosphere: Casual. House specialties: Breakfast: Eggs Benedict and the Hummus Bagel, are winners. Lunch: we love all of the salads and the Chilean Beef Emanadas. Comments: Wonderful juice bar and perfect smoothies.

Desserts made daily.

Andiamo!

322 Garfield St. 995-9595.

Lunch/Dinner Beer/Wine. Patio.

Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin.

Comments: Good wines, great pizzas, and a sharp waitstaff.

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

Breakfast/Lunch/Dinner Valet parking.

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

Atmosphere: An elegant room evoking the feeling of an Anasazi cliff dwelling. House specialties: We suggest blue corn-crusted salmon with citrus jalapeno sauce, or the nine-spice beef tenderloin. Comments: Attentive service.

Aqua Santa 451 W. Alameda. 982-6297.

Lunch/Dinner Beer/Wine. Patio.

Major credit cards. $$$ Cuisine: American. Atmosphere: Casual House specialties: Start with the Pan Fried Oysters with Watercress. For your main, we suggest the perfect Wild King Salmon with Lentils or the Long-Braised Shepherd’s Lamb with Deep Fried Leeks.

Comments: Good wine list, great soups, and amazing bread.

Betterday Coffeeshop 905 W. Alameda St. Breakfast/Lunch Major credit cards. $ Cuisine: Classic coffehouse fare.

Atmosphere: Casual as casual can be. House specialties: Espressos, Lattes, Macchiatos (all double shots), as well as Italian Sodas, Hot Chocolates and Teas. Recommendations: Try the Coffee of the Day—always

a surprise, never a disappointment.

Comments: Food menu at the counter changes daily.

grilled salmon with leek and Pernod cream sauce, and a delicious hanger steak.

Comments: Boutique wine list.

Bobcat Bite Restaurant 418 Old Las Vegas Hwy. 983-5319.

Lunch/Dinner No alcohol. Patio. Cash. $$ Cuisine: American as apple pie.

Atmosphere: A low-slung building with eight seats at the counter and four tables. House specialties: The inchand-a-half thick green chile cheeseburger is sensational. The secret of their great burgers is a decades-old, well-seasoned cast-iron grill. Go.

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

Breakfast/Lunch/Dinner Full bar. Patio.

Major credit cards. $$ Cuisine: All-American. Atmosphere: Patio shaded by big cottonwoods. Great bar.

House specialties: The smoked brisket and ribs are fantastic. Super buffalo burgers.

Comments: Huge selection of beers.

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.

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, go for the perfectly grilled Swordfish Salmorglio. Comments: Friendly waitstaff.

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

Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine.

Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: The café is adorned with lots of Mexican streamers and Indian maiden posters.

House specialties: Hotcakes got a nod from Gourmet magazine. Huevos motuleños—a Yucatán breakfast—is one you’ll never forget. For lunch, try the Grilled Chicken Breast Sandwich.

The Compound 653 Canyon Rd. 982-4353.

Lunch/Dinner Full bar. Patio.

Major credit cards. $$$$ Cuisine: Contemporary. Atmosphere: 150-year-old adobe with white linen on the tables. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is flawless. Desserts are perfect.

Comments: Chef/owner Mark Kiffin, winner of James Beard Foundation’s “Best Chef of the Southwest” award has a new restaurant, Counter Culture 930 Baca St. 995-1105.

Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Breakfast: burritos and frittata. Lunch: sandwiches and salads. Dinner: flash-fried calamari;

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

Dinner Full bar.

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

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

Comments: Nice wine list.

Dinner Full bar. Patio.

Major credit cards. $$$$ Cuisine: We call it French/Asian fusion.

Atmosphere: Kiva fireplaces and a lovely garden room. House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass, served with black truffle scallions, and the classic peppery Elk tenderloin. Comments: Tasting menus available.

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

Lunch/Dinner Full bar.

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

House specialties: Our faves: the Arugula and Tomato Salad, the Lemon Rosemary Chicken, and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto.

Comments: New on the menu: a perfect New York Strip Strip Steak at a way better price than the Bull Ring—and guess what— you don’t have to buy the potato.

Downtown Subscription 376 Garcia St. 983-3085.

Breakfast/Lunch No alcohol. Patio.

Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare.

Atmosphere: A large room with small tables inside and a nice patio outside where you can sit, read periodicals, and schmooze. Tons of magazine to peruse. House specialties: Espresso, cappuccino, and lattes.

Jambo Cafe 2010 Cerrillios Rd. 473-1269.

Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired.

Atmosphere: Basic cafe-style. House specialties: We love the Jerk Chicken Sandwich and the Phillo stuffed with spinach, black olives, feta cheese, roasted red peppers, and chickpeas served over organic greens. Comments: Chef Obo wins awards for his fabulous soups.

Dragonfly Cafe & Bakery 402 Paseo del Pueblo Norte, Taos 575-983-3085.

Lunch/Dinner Beer/Wine. Patio.

Cash/Major credit cards. $$ Cuisine: As organic as possible.

Atmosphere: Casual. House specialties: For lucn, go for the Kale Salad or the French Country Beef Stew. Dinner faves include the superb Grilled Salmon delicious Moroccaan Roast Chicken Comments: Sunday Brunch is a winner—get the Eggs Dragonfly.

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

Lunch/Dinner Beer/Wine/Sake. Patio.

Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual.

House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials.

Comments: The sushi is always perfect.

Try the Ruiaku Sake. It is clear, smooth, and very dry. Comments: You will love the new noodle menu.

.

El Faról 808 Canyon Rd. 983-9912.

Lunch/Dinner Full bar. Patio.

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

Comments: Murals by Alfred Morang.

El Mesón 213 Washington Ave. 983-6756.

Dinner Beer/Wine. Patio.

Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego Cheese marinated in extra virgin olive oil. Go. Geronimo 724 Canyon Rd. 982-1500.

La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine.

Major credit cards. $$ Cuisine: Salvadoran Grill. Atmosphere: casual open space. House specialties: Loroco omelet and the pan-fried plantains.

Try the Salvadorian tamales . Everything is fresh. Recommendations: Sunday brunch.

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

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

Atmosphere: Casual and friendly. House specialties: Start with the Pho Tai Hoi, a vegetarian soup loaded with veggies, fresh herbs, and spices. For your entrée, we suggest the Noung—it will rock your taste buds.

Comments: Generous portions.

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

Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental.

Atmosphere: Enclosed courtyard. House specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad with baked New Mexico goat cheese. For your entrée, try the Braised Lamb Shank, served with a spring gremolata, couscous, and vegetables. Comments: Seasonal menus.

M aria ’ s N ew M exican K itchen 555 W. Cordova Rd. 983-7929.

Lunch/Dinner Full bar. Patio.

Major credit cards. $$

Cuisine: New Mexican. Atmosphere: Rough wooden floors and handcarved chairs set the historical tone.

House specialties: Freshly made tortillas, Green Chile Stew, and Pork Spareribs. Comments: Famous for their margaritas.

Mu Du Noodles 1494 Cerrillos Rd. 983-1411.

Dinner/Sunday Brunch Beer/Wine.

Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual.

House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Mu Du is committed to organic products.

Museum Hill Cafe Museum Hill, off Camino Lejo. 984-8900.

Lunch: Tuesday - Sunday Beer/Wine.

Major credit cards. $$ Cuisine: American/Contemporary New Mexican. Atmosphere: Casual. House specialties: We love the Asian Shrimp Taco sand the Smoked Duck Flautas.

Comments: Menu changes seasonally.

New York Deli Guadalupe & Catron St. 982-8900.

Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Hero Sandwiches, Pancakes, and over-the-top Gourmet Burgers. Comments: Deli platters to go are available.

Nostrani Ristorante 304 Johnson St. 983-3800.

Dinner Beer/Wine. Fragrance-free Major credit cards. $$$ Cuisine: Innovative regional dishes from Northern Italy. Atmosphere: Elegant. House specialties: Start with the Mushroom and Artichoke Salad. Entrees we love: the Veal Scalopinni or the Roasted Trout with Leeks, Pepper, and Sage. Dessert: Go for the Mixed Berries with Lemon.

Comments: Organic ingredients. Menu changes seasonally. Frommers rates Nostrani as one of the “Top 500 Restaurants in the World.” Please note: fragrance-free.

continued on page 27

| j un e 2012

THE magazine | 25

Home of the Healing Arts

PATIO NOW OPEN NEW SPRING MENU FROM EXECUTIVE CHEF

LOUIS MOSKOW

DINNER NIGHTLY 315 Old Santa Fe Trail • Reservations 505.986.9190 www.315santafe.com

The Spa at Encantado offers an innovative selection of spa and wellness services, honoring New Mexico’s indigenous healing traditions while paying tribute to Santa Fe’s established reputation for eclectic approaches to health and well being.

THE

{ WE ATHER PERMITTING } AT E N CA N TA D O

877.262.4666 198 State Road 592, Santa Fe encantadoresort.com

DINING GUIDE

Full bar.

Major credit cards $$$ Cuisine: Modern Italian Atmosphere: Old World flavor with red-flocked wallpaper in the bar. House Specialties: For lunch: the “Smash” Burger or the Prime Rib French Dip. Dinner: We love the Chicken Breast Diablo Italiano, Tuscan Shrimp, or the All-American Steak au Poivre. Comments: Great pour at the bar. Italian, Hawaiian, New Mexican, Chinese, and Moroccan influences show up on the dinner menu. Chef Joseph Wrede works his magic in the kitchen.

RAMEN

•

IZAKAYA

•

YAKITORI

Shibumi 26 Chapelle Street, Santa Fe Plaza Café Southside 3466 Zafarano Dr. 424-0755.

Breakfast/Lunch/Dinner 7 days Full bar.

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

Atmosphere: Bright and light, colorful, and friendly. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes.

Comments: Excellent Green Chile.

Rasa Juice Bar/Ayurveda 815 Early St. 989-1288 Major credit cards. $$ Cuisine: Organic juice bar. Atmosphere: Calm. House specialties: Smoothies, juices, teas, chai, cocoa, coffee, and espresso—made with organic ingredients.

Juice: our favorite is the Shringara, made with beet, apple, pear, and ginger.

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.

House specialities: USDA Steaks and Prime Rib. Juicy and flavorful Burgers.

The Haystack fries with cornbread and honey butter is a big, big plus.

Recommendations: Nice wine list.

Ristra 548 Agua Fria St. 982-8608.

Dinner/Bar Menu Full bar. Patio.

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

Atmosphere: Contemporary. House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Ristra won the Wine Specator Award of Excellence.

San Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ Cuisine: Japanese Sushi and Tapas.

Atmosphere: Large open room with a Sushi bar. House specialties: Sushi, Vegetable Gyoza, Softshell Crab, Sashimi and Sushi Platters, and a variety of delicious Japanese Tapas Comments: A savvy sushi chef makes San Q a top choice for those who really love Japanese food.

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

Lunch/Dinner Full bar.

Major credit cards. $$ Cuisine: All-American. Atmosphere: Casual. House specialties: The San Francisco Street Burger, the Grilled Yellowfin Tuna Nicoise Salad, or the New York Strip. Comments: Sister restaurant located in the DeVargas Center.

Santacafé 231 Washington Ave. 984-1788.

Lunch/Dinner Full bar. Patio.

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

Atmosphere: Minimal, subdued, and elegant. House specialties: The worldfamous calamari never disappoints. Favorite

| j un e 2012

•

428-0077

entrées include the perfectly cooked grilled rack of lamb and the pan-seared salmon with olive oil crushed new potatoes and creamed sorrel. Comments: The daily pasta specials are generous and flavorful.

Appetizers during 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 and friendly. House specialties: Try the Cornmeal-crusted Calamari, the Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet.

Saveur 204 Montezuma St. 989-4200.

Breakfast/Lunch Beer/Wine. Patio.

Visa/Mastercard. $$ Cuisine: French meets American.

Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily chef specials, gourmet and build-yourown sandwiches, wonderful soups, and an excellent salad bar. Comments: Organic coffees and super desserts. Family-run.

Second Street Brewery 1814 Second St. 982-3030.

Lunch/Dinner Beer/Wine. Patio.

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

Atmosphere: Casual and friendly. House specialties: The beers are outstanding when paired with Beer-steamed Mussels, Calamari, Burgers, and Fish & Chips.

Comments: Sister restaurant at 1607 Paseo de Peralta, in the Railyard District.

Shibumi 26 Chapelle St. 428-0077.

Lunch/Dinner Fragrance-free Cash only. $$. Parking available Beer/wine/sake Cuisine: Japanese noodle house.

Atmosphere: Tranquil and elegant.

Table and counter service. House specialties: Start with the Gyoza—a spicy pork pot sticker—or the Otsumami Zensai (small plates of delicious chilled appetizers), or select from four hearty soups. Shibumi offers sake by the glass or bottle, as well as beer and champagne. Comments: Zen-like setting.

lunch favorite is the Prosciutto, Mozzarella, Tomato sandwich on a Cabatta roll. Comments: Special espresso drinks. at El Gancho Old Las Vegas Hwy. 988-3333.

Lunch/Dinner Full bar.

Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant House specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce.

Comments: They know steak here.

Steaksmith

Table de Los Santos 210 Don Gaspar. 992-5863 Breakfast/Lunch/Dinner Sunday Brunch Full Bar. Major credit cards. $$$ Cuisine: New Mexican–inspired fare.

Atmosphere: Large open room with high ceilings House specialties: Try the organic Chicken Paillard with vegetables—it is the best. For dessert, we love the organic Goat Milk Flan. Comments: Well-stocked bar.

Teahouse 821 Canyon Rd. 992-0972.

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

Major credit cards. $$ Cuisine: Farm-to-fork. Atmosphere: Casual. House specialties: We love the Salmon Benedict with poached eggs, the quiche, the Gourmet Cheese Sandwich, and the Teaouse Mix salad. Comments.

Teas from around the world.

Terra at Encantado 198 State Rd. 592, Tesuque. 988-9955.

Breakfast/Lunch/Dinner Full bar. Patio.

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

Atmosphere: Sophisticated and very elegant. House specialties: For dinner, start with the Risotto with Shaved Truffles. For your main, order the Harris Ranch Beef Tenderloin served with foie gras butter, or the Fish of the Day. Comments: Chef Charles Dale certainly knows what “attention to detail” means.

The Palace Restaurant & Saloon 142 West Palace Avenue 428-0690 Lunch/Dinner

The Pantry Restaurant 1820 Cerrillos Rd. 986-0022 Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: New Mexican/American.

Atmosphere: Bustling with counter service and extra-friendly service.

House specialties: Breakfast rules here with their famous stuffed French Toast, Corned Beef Hash, and Huevos Rancheros. A hand-breaded Chicken Fried Steak rounds out the menu.

Comments: The Pantry has been in the same location since 1948.

The Pink Adobe 406 Old Santa Fe Trail. 983-7712.

Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club. For dinner, get the Steak Dunigan, with green chile and sauteed mushrooms, or the Fried Shrimp Louisianne. Comments: Cocktail hour in the Dragon Room is a Santa Fe tradition.

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

Lunch/Dinner Beer/Wine. Patio.

Major credit cards. $$ Cuisine: New Mexican. Atmosphere: A local institution located just off the Plaza. House specialties: Order the red or green chile cheese enchiladas.

Many folks say that they are the best tin Santa Fe. The Ranch House (Formerly Josh’s BBQ) 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: BBQ and Grill. Atmosphere: Family and kid-friendly.

House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: Nice bar.

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

Breakfast/Lunch Major credit cards. $ Cuisine: New Mexican. Atmosphere: Casual. House specialties: Green Chile Stew, the traditional Breakfast Burrito, stuffed with bacon, potatoes, chile, and cheese. Comments: The real deal.

Tomme Restaurant 229 Galisteo St. 820-2253 Lunch/Dinner Beer/Wine.

Major credit cards. $$$ Cuisine: Contemporary. Atmosphere: Casual and friendly. House specialties:

Start with the Cheese Board.

Entrée: Choose the Steak Frites, or the Southern Fried Chicken. Fave dessert: the Caramel Pots de Crème.

Comments: Innovative cuisine Tree House Pastry Shop and Cafe 1600 Lena St. 474-5543.

Breakfast/Lunch Tuesday-Sunday Major credit cards. $$$ Cuisine: Only organic ingredients used.

Atmosphere: Light, bright, and cozy.

House specialties: Order the fresh Farmer’s Market Salad, or the Lunch Burrito, smothered in red chile.

T une -U p C afé 1115 Hickox St.. 983-7060.

Breakfast/Lunch/Dinner Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home, House specialties: Breakfast faves are the scrumptious Buttermilk Pancakes and the Tune-Up Breakfast.

Comments: Super Fish Tacos and the El Salvadoran Pupusas are excellent.

Beer on tap in late May. V inaigrette 709 Don Cubero Alley. 820-9205.

Lunch/Dinner Beer/Wine.

Major credit cards. $$ Cuisine: We call the food here: farmto-table-to-fork. Atmosphere: Light, bright and cheerful. House specialties: All of the salads are totally amazing— as fresh as can be. We love the Nutty Pear-fessor salad, and the Chop Chop Salad. Comments: Vinaigrette will be opening a “sister” restaurant in Albuquerque in the fall.

W hoo ’ s D onuts 851 Cerrillos Rd. 629-1678 6 am to 3 pm.

Major credit cards. $ Cuisine: Just donuts. Atmosphere: Very, very casual. House specialties: Organic ingredients only. Comments: Our fave donut is the Maple Barn.

Organic coffee is a big plus.

Z acatecas 3423 Central Ave., Alb. 505-255-8226.

Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican.

Atmosphere: Casual and friendly.

House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo cooked in housemade Chipotle Salsa or the Slow Cooked Pork Ribs with Tamarind Recado-Chipotle Sauce with Sweet Potato Fries and Serrano Slaw. Over sixty-five brands of Tequila are offered. Comments: Savvy waitstaff.

Z ia D iner 326 S. Guadalupe St. 988-7008.

Breakfast/Lunch/Dinner Full bar. Patio.

Major credit cards. $$$ Cuisine: All-American diner food.

Atmosphere: Down home. House specialties: The Chile Rellenos and Eggs is our breakfast choice. At lunch, we love the Southwestern Chicken Salad, the Meat Loaf, all the Burgers, and the crispy Fish and Chips.

Comments: The bar is the place to be at cocktail hour. Sweets and pastries are available for take-out.

The Kale Salad at 317 Aztec – 317 Aztec Street

Shohko Café 321 Johnson St. 982-9708.

Lunch/Dinner Sake/Beer.

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

Atmosphere: Sushi bar, table dining.

House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes.

Comments: Friendly waitstaff, Station 430 S. Guadalupe. 988-2470 Breakfast/Lunch Patio Major credit cards. $ Cuisine: Light fare and fine cofffee and teas. Atmosphere: Friendly and casual.

House specialties: For your breakfast choose the Ham and Cheese Croissant or any of the Fresh Fruit Cups. Our

THE magazine | 27

Downtown

544 South Guadalupe Street, Santa Fe, NM 87501

130 Lincoln Avenue, Suite D, Santa Fe, NM 87501

p (855) 983-9555 | f (505) 983-1284

p (505) 982-0318 | f (505) 982-0351

www.DavidRichardGallery.com

www.DavidRichardContemporary.com

GRAND OPENING EXHIBITIONS

UPCOMING EXHIBITIONS

Robert Swain, Untitled, 6x7-01, 1989 Acrylic on canvas, 72” x 84”

Lilly Fenichel, Schiele’s Hand, 2009, Oil on synthetic paper, 39” x 37”

Railyard Arts District

ROBERT SWAIN COLOR AFFECT

June 15 - July 21, 2012 Opening Reception Friday, June 15, 5:00 - 7:00 PM

Through June 23, 2012 LILLY FENICHEL Current Work

A Group Exhibition Featuring: Gabriele Evertz, Beverly Fishman, Harmony Hammond, Maxwell Hendler, Tom Holland, Tim Jag, Matsumi Kanemitsu, Tom Martinelli, Scott Malbaurn, Robert Motherwell, Julian Stanczak, Yozo Suzuki, Robert Swain and Leo Valledor

DOUG EDGE New Paintings in Cast Plastic

Curated by David Eichholtz

BEATRICE MANDELMAN Collages from the 1960s

Tim Jag, Colornova / Red Atomic, 2011, Acrylic On Panel, 48” x 60”

Essay by Gabriele Evertz, On Perceptual Abstraction and Red: Color as Subject in Painting.

MERION ESTES Paintings and Collages

Beatrice Mandelman, Untitled (60-SP 1-12), 1960, Collage on cardboard, 19 7/8” x 15 7/8”

SEEING RED

ART OPENINGS

J u n e a rt o p e n i n g S FRIDAY, JUNE 1 a rt s alon at i nsPire , 423 4th St. SW, Alb. 505-450-9901. Conveyance: works by Tara Massarsky. 7-9 pm.

Blue rain Gallery, 130 Lincoln Ave., Santa Fe. 954-9902. Paintings by Rimi Yang. 5-7 pm.

l as C ruCes m useum of a rt , 491 N. Main St., Las Cruces. 575-541-2137. Where is the Stopping Place Place: watercolors by Lynn Wiley. Chicanismo: paintings by Gabriel Perez. A Surprising Similitude in Mud and Paper: works by Sara D’Alessandro and Paper Harriet Russell. 5-7 pm.

C harlotte J aCkson f ine a rt , 554 S. Guadalupe St., Santa Fe. 989-8688. poems and more: more paintings by Joan Watts. 5-7 pm.

leWa llen G alleries, 125 W. Palace Ave., Santa Fe. 988-8997. Look Into the Sun: paintings by Joe Ramiro Garcia. 5:307:30 pm.

e GGman anD W alrus , 131 W. San Francisco St. and 130 W. Palace Ave., Santa Fe. 6600048. Ferus: group show. 5:30-9 pm.

manitou G alleries, 123 W. Palace Ave., Santa Fe. 986-0440. Paintings by Bruce Cody and Roger Hayden Johnson. 5-7:30 pm.

G eralD P eters G allery , 1011 Paseo de Peralta, Santa Fe. 954-5700. A Tradition Revisited: paintings by Simon Parks. 5-7 pm.

Revisited

m ariPosa G allery , 3500 Central Ave. SE, Alb. 505-268-6828. Black and White: paintings by April Park. 5-8 pm.

i nPost a rtsPaCe at the o utPost P erformanCe s PaCe , 210 Yale Blvd. SE, Alb. 505-268-0044. Intervals: paintings by Jill Christian. 5-8 pm.

m illiCent r oGers m useum , 1504 Millicent Rogers Rd., Taos. 575-758-2462. Paul O’Connor—Taos Portraits Portraits: reception and book release. 5-8 pm.

n eW C onCePt G allery , 610 Canyon Rd., Santa Fe. 795-7570. One-Person Show: paintings by Kathleen Doyle Cook. 5-7 pm.

P alette C ontemPorary a rt anD C raft , 7400 Montgomery Blvd. NE, Alb. 505-8557777. Menfolk and their Modernist “Must Haves”: works from the Hagenauer and Haves” Auböck sculpture collection. 5-8 pm.

P hoto - eye

G allery , 376-A Garcia St., Santa Fe. 988-5159. Double Life: photographs by Kelli Connell. 4-6 pm. s anta f e C lay , 545 Camino de la Familia, Santa Fe. 984-1122. (Un)structured: works

by Brian Kluge and Matt Repsher. 5-7 pm. s sCa C ontemPorary a rt , 524 Haines Ave. NW, Alb. 505-228-3749. The Finite Passing of an Infinite Passion Passion: group show. 5-8 pm. s tranGer f aCtory , 109 Carlisle Blvd. NE, Alb. 505-508-3049. Le Petite Mort: works

by Chet Zar. Scuffle: works by Charlie

Immer. Sinister Dexterity: sculptures by Stephan Webb. 6-9 pm. t ouChinG s tone G allery , 539 Old Santa Fe Trail, Santa Fe. 988-8072. Seeing Beyond: sumi-e paintings by Hiroki Murata. 5-7 pm.

FRIDAY, JUNE 8 G eBert C ontemPorary , 558 Canyon Rd., Santa Fe. 992-1100. Trace: paintings and works on paper by Tim Craighead. 5-7 pm. h yDra G allery , 4312 Lomas Blvd. NE, Alb. 505-916-1316. Imprint: energyscape photographs by Michael C. Gutierrez. 6-9 pm. l eW a llen G alleries , 1613 Paseo de Peralta, Santa Fe. 988-3250. Water Matters: paintings

by Diane Burko. Still Movies: photo drawings

by Richard Ryan. 5:30-7:30 pm.

SATURDAY, JUNE 9 r io B raV ra o f ine a rt , 110 N. Broadway, Truth or Consequences. 575-894-0572.

Healing 108 108: paintings, photos, and mixedmedia works by Kathleen R. Smith. 6-9 pm.

SUNDAY, JUNE 10 l as C hiVas V Vas C offee r oaster , 7 Avenida Vista Grande, Santa Fe. 466-1010. Southwest on my Mind—Images and Icons Icons: photographs by George Henke. 1-3 pm.

FRIDAY, JUNE 15 C aPriCCio f ounDation for m oDern anD C ontemPorary a rt , 222 Shelby St., Santa Fe. 982-8889. The Taos Sculptures: works

by Lee Mullican. 5-7 pm.

C hiarosCuro , 702½ Canyon Rd., Santa Fe. 992-0711. Dicotyledon: photographs by Renate Aller. 5-7 pm.

D aV a iD r iCharD C ontemPorary , 130 Lincoln Ave., Suite D, Santa Fe. 9839555. Four solo exhibitions. Lilly Fenichel: Current Work Work; Doug Edge: New Paintings in Cast Plastic Plastic; Merion Estes: Paintings and Collages; and Beatrice Mandelman: Collages Collages from the 1960s 1960s. 5-7 pm.

G eralD P eters G allery , 1011 Paseo de Peralta, Santa Fe. 954-5700. Close Examination: small sculptures by Carol Examination Mothner. Solar Burns: works by Charles Ross. 5-7 pm. n üart G allery , 670 Canyon Rd., Santa Fe. 988-3888. Through the T Trees : paintings

by Jorge Leyva. 5-7 pm. s ilVer s un G allery , 656 Canyon Rd., Santa Fe. 983-8743. Colors of Happiness: photographs by Yuko Hirao. 4:30-7:30 pm.

Ferus—a group show at Eggman & Walrus—131 West San Francisco Street, 1st Floor & 130 West Palace Avenue, 2nd Floor. Reception: Friday, June 1, from 5:30 to 9 pm.

Closing party on Saturday, July 14, 6 pm on.

Image: Cannupa Hanska

t urner C arroll G allery , 725 Canyon Rd., Santa Fe. 986-9800. Construct: paintings by Kate Petley and sculptures by Rusty Scruby.

5-7 pm.l continued on page 32

| j U N e 2012

the magazine | 29

HERE’S THE DEAL for artists without gallery representation in New Mexico.

Full-page b&w ads for $600, color $900.

Reserve your space for the July issue

by Friday, June 14.

THEMAGAZINEONLINE.COM

OUT AND ABOUT photographs by Mr. Clix Anne Staveley Jennifer Esperanza Norman Mauskopfs

WHO SAID THIS?

WHO SAID THIS? “I think therefore I am.”

1. G.W.F. Hegel 2. Albert Camus 3. René Descartes 4. Gottfried Wilhelm Leibniz THEMAGAZINEONLINE.COM

reading by Santa Fe Poet Laureate Joan Logghe. Fri., June 8, 5-7 pm. santafenm.gov D elGaDo s treet C ontemPorary , 238 Delgado St., Santa Fe. 982-6487.

Outdoor Installation: Installation sculptures by Connie Schaekel. Through Sat., June 30. delgadostreetcontemporary.com e l m useo C ultural De la s anta f e , 555 Camino de la Familia, Santa Fe. 670-6473.

Currents 2012—The Santa Fe International New Media Festival Festival: video installations, multimedia performances, documentaries, art-games, and more. Fri., June 22 through Sun., July 8. currentsnewmedia.org currents 2012—the Santa Fe international new media festival—will take place from June 22 to July 8 at El Museo Cultural de Santa Fe, 555 Camino de la Familia, along with other venues. Reception: Friday, June 22, from 6 pm on. Image: Video still by Peter Daverington. currentsnewmedia.com

V erVe G allery of P hotoGraPhy , 219 E. Marcy St., Santa Fe. 982-5009. Shadows of the Dream: Dream silver gelatin prints by Misha Gordin. 5-7 pm.

FRIDAY, JUNE 22 e l m useo C ultural De s anta f e , 555 Camino de la Familia, Santa Fe. 670-6473. currents 2012—The Santa Fe International New Media Festival: Festival video installations, multimedia performances, documentaries, art-games, and more. Opening: 6 pm to midnight.

GVG C ontemPorary , 202 Canyon Rd., Santa Fe. 982-1494. Pattern Language: paintings by Blair Vaughn-Gruler and Kuzana Ogg. 5-7 pm. k aran r uhlen G allery , 225 Canyon Rd., Santa Fe. 820-0807. New Sculpture Garden: works by Sally Hepler, Gary Beals, and Bret Price. 5-7 pm. m anitou G alleries , 225 Canyon Rd., Santa Fe. 986-6833. Western Images Group Show.

5-7:30 pm. pm m ariGolD a rts , 424 Canyon Rd., Santa Fe, 982-4142. Southwest Watercolors: works by Robert Highsmith. 5-8 pm.

THURSDAY, JUNE 28 s outh B roaDWay DW DWay C ultural C enter , 1025 Broadway Blvd. SE, Alb. 505-848-1320.

Liquid Currency 2012—Spend It Like Water: Water group show and poetry reading. 6-8 pm.

FRIDAY, JUNE 29 B ellas a rtes G allery , 653 Canyon Rd., Santa Fe. 983-2745. Wildflowers/Garden Flowers: collages and paintings by Robert Flowers Kushner. 5-7 pm.

C anyon r oaD C ontemPorary a rt , 403 Canyon Rd., Santa Fe. 983-0433. Vast Intimacies: pastels by Kathy Beekman. 5-7 Intimacies pm.

D aV a iD r iCharD G allery , 544 S. Guadalupe St., Railyard Arts District, Santa Fe. 9839555. Three solo exhibitions. Judy Chicago: ReViewing PowerPlay; PowerPlay Deborah Remington: Select Works from 1964 to 1975; 1975 and Silvia Levenson: Life Strategies. 5-7 pm.

e l r anCho De las G olonDrinas , 334 Los Pinos Rd., Santa Fe. 471-2261. 3rd Annual Santa Fe Fiber Arts Festival Festival. Sat., June 23 to Sun., June 24, 10 am-4 pm. golondrinas.org

Jane sauer Gallery, 652 Canyon Rd., Santa Fe. 995-8513. Saints, Heroes and Corporations: paintings by Patrick McGrath Muñiz. Through Tues., June 19. jsauergallery.com la tienDa D exhiBit sPa Da PaC aCe, 7 Caliente Rd., Santa Fe. 428-0024. Dimensions: group show. Through Sat., June 23. theexhibitspace.com leGenDs santa fe, 125 Lincoln Ave., Santa Fe. 983-5639. Weaving the Americas: works by Sarah Sense. Through Mon., July 2. sarahsense.com leW Wallen Galleries at the railyarD, 1613 Paseo de Peralta, Santa Fe. 988-3250. Summer’s Response: paintings by Emily Mason. Through Response Sun., Jun. 10. lewallengalleries.com the maB a el DoDGe luhan house, 240 Morada Lane, Taos. 575-751-9686. Meetings With Remarkable Women. Fri., June 1 to Sun., June 3. taos.org/women Women

s ilVer s un G allery , 656 Canyon Rd., Santa Fe. 983-8743. Dedication to Contemplation: works by Laura Orchard. 4:30-7:30 pm. z ane B ennett C ontemPorary a rt , 435 S. Guadalupe St., Santa Fe. 982-8111. Staying Ahead of the Beast Beast: paintings by James Havard. 5-7 pm.

SATURDAY, JUNE 30 h eiDi l oWen G allery , 315 Johnson St., Santa Fe. 988-2225. News Broadcast: ceramic work by Debora Barrett. 2-5 pm.

SPECIAL INTEREST 203 f ine a rt , 203 Ledoux St., Taos. 575751-1262. Variable Prints: works on paper

by Ann Saint John Hawley. Fri., June 15 to Sat., July 7. 203fineart.com 1629 C luB at Casa Rondeña Winery, 733 Chavez Rd. NW, Los Ranchos de Albuquerque. 505-550-7220. Taos Connection: works by Ed Sandoval and Ann Connection Huston. Through Sun., June 24. nmarts.org the aBiquiu inn, 21120 Hwy. 84, Abiquiu.

685-0921. Honoring the Stone: stone carving workshop with Abiquiu Workshops. Mon., June 18 to Fri., June 22. abiquiuworkshop.com a xle C ontemPorary at the Railyard off Paseo de Peralta, Santa Fe. 670-7612.

Emotional Portraits Portraits: performance art by Rima Miller. Fri., June 1 and Sat., June 2, 5-7 pm. Art in a Dark Van: work and performance by Greta Young. Fri., June 8 and Sat., June 9, 5-7 pm. The Better Butter Puppet Hour Hour: performance by Ross Hamlin Fri., June 15 and Sat., June 16, 5-8 pm; Sun., June 17, 1 pm. axleart.com t he B uCkaroo B all f ounDation at the Santa Fe Farmer’s Market, Paseo de Peralta, Santa Fe. 988-9715. Buckaroo Ball 2012: fundraising event. Fri., June 15, 6:30 2012 pm. buckarooball.com C enter for C ontemPorary a rts , 1050 Old Pecos Trail, Santa Fe. 982-1338. Arrhythmic Visions: sculpture and wall works by Jamie Visions Hamilton and Alison Keogh. Through Sun., June 10. ccasantafe.org C ity of s anta f e C ommunity G allery , 201 W. Marcy St., Santa Fe. 955-6705. Poetry

Look Into the Sun: paintings by Joe Ramiro Garcia at LewAllen Galleries, 125 West Palace Avenue.

Reception: Friday, June 1, from 5:30 to 7:30 pm.

h arWooD m useum , 238 Ledoux St., Taos.

575-758-9826. An Evening with Paul O’Connor and Taos Portraits Portraits. Thurs., June 7, 7:30 pm. Agnes Martin—Before the Grid. Through Sun., June 17. harwoodmuseum.org

m ark s uBlette m eDiCine m an G allery , 602-A Canyon Rd., Santa Fe. 8207451. Landscapes of the West: group show. Fri., June 15 to Wed., July 11. medicinemangallery.com

hulse/Warman Gallery, 222 Paseo del Pueblo Norte, Taos. 575-751-7702. Taos Portraits: book release by Paul O’Connor. Sun., June 3, 3-5 pm.‬ hulsewarmangallery.com hunter kirklanD ContemPorary, 200-B Canyon Rd., Santa Fe. 984-2111. Radiant Flux: paintings by Jennifer J.L. Jones. Through Sun., June 10. Perpetual Unfolding: works by Rick Stevens. Fri., June 22 through Sun., July 8. hunterkirklandcontemporary.com

m illiCent r oGers m useum , 1504 Millicent Rogers Rd., Taos. 575-758-2462.

The Art of the Dress—Four Conceptual Fittings: works by Michelle Cooke, Fittings mixed media; Nancy Delpero, painter; Deborah Rael-Buckley, sculptor; and Zoe Zimmerman, photographer. The Power to Create, Collect, and Inspire Inspire: works

by Millicent Rogers Rogers. Maria Martinez— Matriarch of San Ildefonso Ildefonso. All through Dec. 2012. millicentrogers.org

James kelly ContemPorary, 550 S. Guadalupe St., Santa Fe. 989-1601. Phantom Limbs: paintings by Pard Morrison. At the Pale: paintings and drawings by Sam Reveles.

Through Sat., June 23. jameskelly.com

m iraDor G allery , 616 Canyon Rd., Santa Fe. 995-1977. Tibetan Contemporary Masters: group show of artists from Masters Lhasa, Tibet. Through August 2012. miradorgallery.com

ART OPENINGS

m useum of C ontemPorary n atiVe a rts , 108 Cathedral Place, Santa Fe. 983-1777.

Under The Influence—Iroquois Artists at IAIA. Ladies and Gentleman, this is the IAIA Buffalo Show: Show works by Frank Buffalo Hyde.

Through Tues., July 31. mocna.org

PERFORMING ARTS 516 arts, 516 Central Ave. SW, Alb. 505-242-1445. 516 Words—Inch by Inch: an evening of poetry and saxophone with Miriam Sagan, JB Bryan, and John Brandi.

Thurs., June 14, 7 pm. 516arts.org

m useum of i nDian a rts anD C ulture , 710 Camino Lejo, Santa Fe. 476-1250. Breaking the Rules: Rules works by Margarete Bagshaw.

Through 2013. Woven Identities: basket art from the museum’s collections. Through 2014. indianartsandculture.org

a lBuquerque t heatre G uilD at various locations in Alb. Performances throughout June. abqtheatre.org s anta f e C hamBer m usiC f estiVal V Val at the St. Francis Auditorium, 107 W. Palace Ave., Santa Fe. 982-1890. 40th Anniversary Season: chamber music performances. Sun., Season July 15 to Mon., Aug. 20. sfcmf.org

n eDra m atteuCCi G alleries , 1075 Paseo de Peralta, Santa Fe. 982-4631. Exquisite Jewelry from Buccellati.

Buccellati Mon., June 25 to Sat., June 30. matteucci.com

santa fe neW musiC at the Center for Contemporary Arts, 1050 Old Pecos Trail, Santa Fe. 474-6601. Southwest Festival of New Music. Thurs., June 21 to Sat., June 23. sfnm.org Music

n eW m exiCo h istory m useum , 113 Lincoln Ave., Santa Fe. 476-5200. Points of Inquiry: Native American portraits. Fri., May 18 through Nov. nmhistorymuseum.org

santa fe oPera, 301 Opera Dr., Santa Fe. 986-5955. 2012 Festival Season. Opening night: Fri., June 29, 8:30 pm. santafeopera.org

n eW m exiCo m useum of a rt , 107 W. Palace Ave., Santa Fe. 476-5072. It’s About Time—14,000 Years of Art in New Mexico: Mexico survey of historic New Mexico art. Fri., May 11 through 2014. nmartmuseum.org

s t . J ohn ’ s C olleGe , 1160 Camino Cruz Blanca, Santa Fe. 984-6000. Music on the Hill Hill: live outdoor performances.

Wednesdays, June 13, 20, and 27, 6-8 pm. stjohnscollege.edu

P alaCe of the G oVernors , 113 Lincoln Ave., Santa Fe. 476-5200. An Evening of Limericks by Poet Stuart Hall.

Hall Fri., June 1, 6 pm. nmhistorymuseum.org

CALL FOR ARTISTS

s anta f e a rt i nstitute , 1600 St. Michael’s Dr. Santa Fe. 424-5050. Lecture: Mon., Dr., June 18, 6pm at Tipton Hall. Workshop “Ethnobotanical Excursion with Future farmers and John Duncan,” Sun., June 24, Time TBD. Exhibition: Mon., June 18 to Friday, July 27. sfai.org

D oña a na a rts C ounCil , P.O. Box 1721, Las Cruces. 575-523-6403. 41st Annual Renaissance Arts Faire Faire. Deadline: Fri., July 13. las-cruces-arts.org P astel s oCiety of n eW m exiCo , P.O. Box 3571, Alb. 505-895-5457. 21st Annual National Pastel Painting Exhibition Exhibition. Deadline: Wed., Aug. 15. pastelsnm.org

s anta f e C lay , 545 Camino de la Familia, Santa Fe. 984-1122. Private and group lessons through summer 2012. santafeclay. com s ilVer s un G allery , 656 Canyon Rd., Santa Fe. 795-7515. Transitions: watercolors

by Bette Yozell. Through Tues., Jun. 12. byozell.com

OUT THERE The Finite Passing of an Infinite Passion features the work of twenty artists at SCA Contemporary Art— 534 Haines Avenue NW, Alb. Reception: Friday, June 1, from 5 to 8 pm. Image: Erin Currier.

Weaving the Americas—new mixed-media works by Sarah Sense at Legends Santa Fe, 125 Lincoln Avenue.

Reception: Friday, June 1, from 5 to 7 pm.

museum of northern arizona, Hwy.180 Flagstaff, AZ AZ. 928-774-5213. 2012 Summer Navajo Rug Auction. Sat., June 23. Public preview 9 am-1 pm; auction 2-5 pm. musnaz.org

s ourCe i n s ilenCe , P.O. Box 10195, Santa Fe. 470-1067. Creativity Workshop: course in recovering and discovering your creative self. Every Sunday in June, 3-5:30 pm. santafesoul.com s t . J ohn ’ s C olleGe , 1160 Camino Cruz Blanca, Santa Fe. 984-6000. Lectures, community seminars, and performances throughout June. stjohnscollege.edu t extile V ixen , Various locations in Alb. 505-314-6807. Q-Palooza: music and fashion show. Thurs., June 28 through Sat., June 30. textilevixen@yahoo.com u niteD s tates G reen B uilDinG C ounCil n eW m exiCo C haPter , Various locations in Santa Fe, Taos, and Alb. 505-410-7703.

13th Annual GreenBuilt Tour: Tour green home tour. Sat., June 9 to Sun., June 10, 10 am-4 pm. usgbcnm.org W illiam s ieGal G allery , 540 S. Guadalupe St., Santa Fe. 820-3300. New Sculpture: works by Tom Waldron. Through Sat., June 23. williamsiegal.com

| j U N e 2012

the magazine | 33

PREVIEWS

Paul O’Connor: Taos Portraits Friday, June 1 through Sunday, July 15 Millicent Rogers Museum,1504 Millicent Rogers Road, Taos. 575-758-2462 Reception and Book Release: Friday, June 1, 5 to 8 pm.

Hulse/Warman Gallery, 222 Paseo del Pueblo Norte, Taos. 575-751-7702 Sunday, June 3 through Sunday, July 1.

Reception: Sunday, June 3, 2 to 5 pm.

Harwood Museum of Art, 238 Ledoux Street, Taos. 575-758-9826 Book Signing: Thursday, June 7, 7 pm.

While studying photography at the Pasadena Art Center in California, Paul O’Connor was given an assignment to photograph the same person once a week, twelve weeks in a row. He chose an eighty-two-year-old man, and in the process of completing the project, O’Connor’s photographic style took shape. O’Connor was fascinated by how the man’s face, with all its creases and wrinkles, told a story. Years afterward, the photographer would find similar stories in the faces of Taos’s most important artists. At the suggestion of his friend and colleague, Taos artist Jim Wagner, O’Connor and his wife, Tizia, honeymooned in Taos. Within days, the couple fell in love with the desert, the sky, and—most importantly—the people. He soon started shooting artists in their studios with his four-by-five-inch view camera. “For me, the artist in the studio is the lifeblood of Taos,” he writes in the preface to his new book, Taos Portraits. Over the course of two decades, O’Connor met and photographed painter Agnes Martin, filmmaker Dennis Hopper, and Tony Reyna—a living symbol of the Taos Pueblo community. Each stunning black-and-white photograph is accompanied by a brief narrative about the subject, compiled and edited by Bill Whaley of Taos’s Horse Fly.

Transparent Lannan Foundation Gallery 309 Read Street, Santa Fe. 954-5149.

Through Sunday, July 15 Saturdays and Sundays, Noon to 5 pm.

Is transparency a weakness or a strength? We wish that our politicians, journalists, and other public figures would be transparent, but it’s not a label we take kindly, ourselves. To be completely transparent is to be naive. There is a certain strange, jaded pride in being circumspect, in being able to hide our excuses and weaknesses. But the current group show at the Lannan Foundation Gallery reveals the pure beauty of transparency. Works in many different mediums meditate on the various meanings of the word “transparent,” such as Subhankar Banerjee’s 2009 print Sky: Often I Look Up and Wish for Rain, in which small, frail clouds float softly below a slate-colored sky, and Kate Shepherd’s 1999 work Whites, Standing Open Box, Blue Line, a simple, ethereal study of space. Pieces dating as far back as the 1950s are also represented, such as Morris Louis’s shadowy Veil series. After taking a careful, considered look at the various works represented in this exhibition, we may rediscover the liberating openness of transparency for ourselves.

Paul O’Connor, Ron Cooper

Gloria Graham, Salt/Garnet/Nickel, graphite on 3 sheets of vellum, 33¾” x 35¾”, 2010

Renate Aller: Dicotyledon Friday, June 15 to Saturday, July 7 Chiaroscuro, 702 1/2 Canyon Road, Santa Fe. 992-0711.

Reception: Friday, June 15, 5 to 7 pm.

You may know photographer Renate Aller for her radiant, hyper-naturalistic oceanscapes, which record the ever-changing atmosphere of the Atlantic coast off Long Island. Aller, a German native, has received acclaim from many important publications, including The New Yorker, The Washington Post, and Artforum, and her work is included in the collections of museums worldwide. Recently, Aller has undertaken a new photographic journey. With a series of carefully juxtaposed large-scale images, the artist once again embraces the natural landscape, but this time with an evolved perspective. “Our human desire is to tame and dominate nature,” writes Aller. “We expect nature to present itself as a stage set for our entertainment.” With this philosophy in mind, Aller created her latest exhibition making portraits of animals and humans that inform a vision of the earth. By following the carefully constructed narrative of the exhibition, the viewer is subtly brought to a new understanding of how to interpret images of natural beings. A limited-edition monograph published by Radius Books accompanies the exhibition.

Renate aller, Dicotyledon Plate 4, archival pigment print, 27” x 80”, 2012

34 | the magazine

| j U N e 2012

The Natural World in the Nineteenth Century Archival pigment prints 22 x 17 on Rives BFK 310 gsm 100% rag mould-made paper $135.00 includes shipping 3

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Cotton Monument by

Benny Andrews

At first glance, the only element unifying the thirty-six pieces now on view at the Michael Rosenfeld Gallery in New York City is the show’s title—On Paper. Nancy Grossman’s characteristically creepy heads, rendered faceless by their bindings, don’t seem to belong in the same space as Anne Ryan’s warm and peaceful collage. Despite the dissimilarities of subject matter in this group show, the gallery is filled with a kind of poetic unity. Many of the artists shown, such as Willem de Kooning, Paul Cadmus, and Gaston Lachaise, did not consider their works on paper “primary,” so the show crackles with an unmitigated, unselfconscious energy. The late Benny Andrews’ Cotton Monument is particularly intriguing, with its straining Atlas faced by tranquil, still observers, making a statement that may only be possible through collage. The works in this survey, whether on cardboard, newspaper, paperboard, or plain paper, prove that many great works of art never made it onto the canvas—nor did they need to. On Paper is on view through June 29 at the Michael Rosenfeld Gallery, 27 West 57th Street, New York City. D

| j un e 2012

THE magazine | 37

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PERSON OF INTEREST

J a M e S h ava r d By richard poLSky

The 1970s were a volatile time in the art market. The

“Indian Card.” Though Havard would utilize titles like

early part of the decade started off badly, thanks to an oil

Hopi Sun Dance, it never occurred to you that they were

embargo triggered by the Yom Kippur War in 1973. The

references to his cultural ancestry. You just saw them as

American economy was reeling and no one was buying art.

evocative names for paintings.

But things gradually began to improve, and by the end of

havard began to dig deeply into primitive art for

the decade the art world was on the road to recovery. The

inspiration. He referenced Art Brut, á la Dubuffet, and

bigger names like Warhol and Lichtenstein resumed their

Southern-fried Outsider art, in the spirit of Bill Traylor.

upward price trajectory. Simultaneously, there was a hunger

Even ancient Mimbres culture was fair game. It was a risky

for something new, something decorative and painterly that

strategy, given that critics like nothing better than to “call”

contained a “fun” element. That “something” turned out to

an artist on his influences. To Havard’s credit, he shrugged

be Abstract Illusionism.

off any criticism to invent a synthesis of styles—something

unlike most art movements, which are usually united

akin to a sophisticated primitivism. The frisson created by

by a common philosophy, Abstract Illusionism was primarily

these opposing approaches, mimicking the energy exuded

about technique. Though every painter deals with spatial

by magnets repelling each other, gives the work its power.

concerns, the Abstract Illusionists pushed

the

alchemy

of

turning

two-dimensional space into threedimensional space as far as it could go. Viewing an A.I. painting felt like you were looking through a pair of 3-D glasses. Thanks to the strategic

havard is one of a handful of living contemporary artists who are incapable of making an uninteresting picture.

placement of shadows, applied with an airbrush, it appeared as if a handful of little squiggles were

Now seventy-five years old, James Havard lives in

floating above the surface of the canvas. Slipping your hand

Santa Fe and exhibits locally on a regular basis. He works

under these hovering “X’s” and “O’s” was irresistible. Of

primarily on a small scale, preferring paper to canvas, and

course when you went to do so, you couldn’t. That was the

often crosses over into collage. The current imagery is

style’s magic.

incredibly varied. Havard seems to have found a sweet spot

Illusionism largely coalesced around the Louis Meisel

that reflects a lifetime of hard-earned wisdom. It’s as if he’s

Gallery, with James Havard its most successful practitioner.

trying to say, “I’ve experienced fame and financial success so

Other key figures were Jack Lembeck and George Green.

I have nothing to prove.” Feeling liberated, Havard’s making

Meisel, who had a knack for promotion, claims, “I made them

some of the best art of his long career.

all into millionaires.” During the early 1980s, he ratcheted

Havard is one of a handful of living contemporary

up Havard’s prices to $60,000 for a large new painting

artists who are incapable of making an uninteresting picture.

(Havard left the gallery in 1982). Equally important, his work

They’re the ones who could be stuck on the proverbial

was heavily collected by the eccentric and highly influential

deserted island, scavenge a few coconuts, a couple of conch

tastemaker Allan Stone. But it wasn’t just collectors in the

shells, and a palm frond, and turn them into something

know who bought Havard; the decorator crowd was also

remarkable. In fact, the late work in many ways resembles

hip to the work. You could regularly spot Havard paintings

a scavenger hunt. Havard’s art cobbles together disparate

in the pages of Architectural Digest. The auction houses also

images and materials—images as varied as Congo fetishes,

liked Havard; his pictures generally brought strong prices at

materials as varied as old picture frames—to create art with

the sales.

a soul.

However, by the early 1990s, the market had softened

Havard’s pictures of the last decade are not only good,

for Abstract Illusionism. The collective art world began to

they’re lessons on how to live. It’s a shame that younger

view it as a gimmick. Green and Lembeck tried to reinvent

artists can’t master what has taken Havard a lifetime to learn.

themselves, to varying degrees of success. The only artist

Namely, the minute you start producing work that tries

to convincingly do so was James Havard. The reason was

to please your dealer and collectors, you’re doomed. By

that he was miscast to begin with. Havard was always more

making the sort of art that reflects life’s sublime moments—

of a pure painter. Ironically, the one aspect of his career

travel, love, sharing good food and wine with friends—you

that could have brought him more attention was his Native

take your game to the next level. Some call that keeping it

American heritage. To his credit, he never fully played the

real. I call it being an artist. D

| j U N e 2012

An exhibition of paintings by Havard—Staying Ahead of the Beast— on view at Zane Bennett Contemporary Art, 435 South Guadalupe Street. Reception: Friday, June 29 from 5 to 7 pm. Richard Polsky is a private contemporary art dealer and the author of a book about art world visionaries, The Art Prophets. www.RichardPolsky.com.

the magazine | 39

through June 29th

Frames of Reference John Chervinsky Project Room 17 Stones: Jenna Kuiper

Richard Levy Gallery

Albuquerque

info@levygallery.com

www.levygallery.com

Manjari Sharma Darshan Special Prepublication Offer Available contact the gallery for details

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F E AT U R E

I N O u R T I M E : V I D E O A S ART, E V IDENCE, A ND S uR V EI LLANCE B y i ris

M C l ister

continued on page 40

| j U N e 2012

the magazine | 41

THE MESSAGE IS CLEAR— GET uSED TO BEING WATCHED

Denis Beaubois, The Event of Amnesia the City Will Recall, from a Tate Modern exhibition

James Turrell was in a helicopter above the Arizona desert,

thing,” Thomas Jefferson once said, “act as if all the world

be “won.” When a contestant on The Bachelor or American

scouting locations for a photography project, when he fell

were watching.” The problem with Jefferson’s advice is that

Idol is rejected we lean in more closely; shows like Jersey

in love with a volcanic crater. So he did what any other

it’s impossible to follow. Since 9/11, it’s harder than ever to be

Shore and The Real World film their subjects when they are

wacky perceptual artist in the 1970s would do: he bought

private in public; digital monitoring of American citizens has

drunk, naked, and crying, and in doing so give the viewer a

it. Since then, Turrell has spent decades carving out intricate

swiftly and silently increased. Our definition of privacy is now

right to access private behaviors. A creepy frustration ensues

tunnels and viewing chambers to forge a massive, naked-eye

tangled up with our definition of security from domestic and

when night-vision cameras stop just short of exposing a tryst.

observatory whereby what was originally spied on and into

international terrorist attacks. Take the Patriot Act, which

In a matter of several generations, television has decisively

would take on inverse qualities as a space from which to

allows the government access to our most private deeds and

altered the way we look at things, and it has transformed the

watch. Turrell’s crater is a result of and an exercise in seeing,

uses the threat of terrorism to excuse it. Of the thousands of

way we expect to be looked at. In a society that fetishizes

a product of a distinctive form of surveillance in which the

so-called “sneak and peek” searches performed in 2010, less

fame, why should we mind being videotaped? Contemporary

artist is documentarian and observer. His urge to capture

than one percent were related to terrorism. Let’s face it—

television has conditioned us to accept it and to enjoy it, and

and store data, to survey and accordingly to convey, is one

what was promised as a temporary, targeted law to keep us

the message is clear—get used to being watched.

we associate with artists.

safe from terror has become a permanent rewriting of the

Surveillance can have more surprising and sobering

Bill of Rights.

Surveillance technology is a multi-billion dollar business whose applications extend beyond closed circuit television

ramifications. More than twenty years have passed since

Merging the personal with the private in an effort to

(CCTV) monitoring. Researchers have discovered that

George Holliday awoke to swirling police lights outside his

blur the distinction between truth and fiction, reality TV’s

biomarkers like cholesterol and sodium can be found

apartment window. He grabbed his Sony Handycam and,

pervasiveness has made us feel entitled to other people’s

on the surface of the eye, and “smart lenses” are able to

for a little over nine minutes, recorded four police officers

business; the most entertaining parts of an episode are those

continuously track organ functions, diagnose disease, and

severely beating Rodney King. After giving the tape to a Los

that reveal the most intimate confessions and interactions.

even dispense medication. Highway commuters who

Angeles news station, its broadcast garnered international

Reality TV plotlines depend on social interactions where

don’t want to wait in line to pay tolls can buy an E-ZPass

attention. The very concept of recorded video as an

any possibility of genuine human connection is thwarted

to stick to their windshield, which cameras in designated

irrefutable form of evidence ushered in a new awareness of

by interpersonal competition or by assigning elimination

lanes instantaneously scan. But this technology doesn’t just

the power and scope of surveillance. “Whenever you do a

powers to an individual whose attention and affection must

help you skip a long line, it records where you’re going and

F E AT U R E

Clockwise from top left: Video still of Rodney King beating, by George Holliday; Ai Wei Wei, Surveillance Camera, marble, 2010; Lady Di, video still from the Internet

when—information that can be used as evidence in criminal

Farocki explored surveillance and video game technology. In

cameras surrounding his Beijing studio and spent two months

and civil courts. The storage of private information in long-

his exhibit Images of War (at a Distance) Farocki juxtaposes

in jail in 2011 for dubious charges; one of his most recognizable

term digital databases, like the massive NSA complex being

wartime exercises with virtual reenactments in order to

works is a surveillance camera sculpted from marble. In

built in utah, is troubling because information collected for

examine links between technology, politics, and violence.

April, he facetiously installed CCTV cameras in his home to

one purpose could become available to an indeterminate

In one short film, Farocki uses surveillance footage to

broadcast his personal life on a round-the-clock website,

audience for an unknown number of uses and years. Privacy

expose the fatal shooting of an unarmed prisoner by a

but it was shut down by authorities in a matter of days. Lutz

laws have not kept pace with surveillance technology.

guard at a maximum-security penitentiary, thus exposing

Bacher’s recent exhibition at the Metropolitan Museum of

Art exists in every moment of every day—not

technology’s irrefutable correlation to violence and, more

Art included a forty-minute looped video comprised entirely

a shattering revelation, but intriguing when viewed

subtly, questioning how the cold precision of mechanized

of surveillance camera footage from a security camera that

in conjunction with the pervasiveness of unintelligent

surveillance can inform the imperfect messiness of human

was mounted above the desk of her close friend and gallerist,

surveillance cameras doing the same thing. In viewing

nature. Intriguingly, Farocki’s work foreshadowed the

Pat Hearn. The film rather intimately documents the period

static visual art—a painting, a sculpture—the viewer has

increasingly central role that unmanned aerial drones play in

of time from hearn’s diagnosis of liver cancer to her death ten

the freedom to come and go within a static setting. Video

American warfare practices. The utilization of war simulation

months later. The work’s uncanny poignancy demonstrates

presents the shock of constant change. Surveillance footage

video games as combat training tools has displaced the

how surveillance cameras have the capacity to capture not

as material for an artist has vast potential due in part to its

responsibility associated with the act of killing; “bug splat”

just purely visual records but can also expose deeply personal

practically inexhaustible availability and its fraught capacity

is military slang for a victim of a drone strike, since the body

behaviors, making the genre much less indifferent, and

to convey both political and aesthetic statements. The

looks like a crushed insect through the grainy-green lens

considerably more communicative, than it may initially seem.

proliferation of digital surveillance has turned us into an

of recorded footage. Exposed: Voyeurism, Surveillance and

As a society, we purport to treasure our privacy,

emphatically voyeuristic culture—a society that CCTV-

the Camera opened recently at Tate Modern in London.

but contemporary culture has seen us happily relinquish

based art both reflects and rebukes. In a society that has

Featuring images made surreptitiously, the exhibition is

it. We’ve recklessly placed ourselves at the mercy of an

stealthily but steadily implemented increasingly aggressive

essentially the history of spying with a lens. But there’s an

invasive government and a correspondingly nosy media. This

surveillance measures, direct experience has become

elephant in the Tate. As you move from room to room of

construct has us do so much looking out that we don’t notice

filtered through a lens that is both all seeing and ultimately

videos and photographs by the likes of Walker Evans and

who’s looking in. This robs us of an ability to be distinguishing

unable to truly see. In involving the viewer as a necessary and

Bruce Nauman, look up into the corners. What do you see?

in our consumption and comprehension of images. The

indispensable component to a work’s very existence, video

The Tate’s own extensive network of CCTV cameras.

logical outcome of having all this stuff to look at is receding

art uses a language that’s both familiar and alienating, and surveillance footage is a striking vehicle for a narrative.

This year’s MoMA retrospective by Czech artist Harun

| j U N e 2012

Ai Wei Wei has used art as a means of confronting the

eyesight, in a figurative and unpleasantly literal sense. D

oppressive Chinese government for years. No stranger to surveillance, Ai has lived with government-installed CCTV

Iris Mclister is a freelance writer and contributor to THE magazine.

the magazine | 43

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Santa Fe Art Institute

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Lecture: Mon June 18, 6pm Tipton Workshop: Sunday June 24 Exhibition: June 18- July 27, SFAI 9am -5pm MF

Nancy Holt: Sightlines Exhibition Through June 29, SFAI 9am – 5pm MF

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Lecture: Mon July 2, 6pm Tipton Workshop: Sat & Sun June 30 - July 1 Exhibition: July 9-27, SFAI 9am -5pm MF

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CRITICAL REFLECTIONS

Stephen WilkeS: Day

Are you a city

person? Do you like hailing a taxi or looking upward to see the tippy top of a skyscraper?

Maybe you’re more of a country mouse like me, and being among millions of people with places to go and people to see leaves you cold. My only, very brief, visit to New York City, several years ago, left my feathers substantially ruffled. The rush, the anonymity, the impossible task of trying to be nonchalant about riding the subway; the everywhere presence of interesting-looking people I’d never know or even meet. No, not all of us are city people. Contemporary photographer Stephen Wilkes chose New York City as his subject for his series Day to Night, capturing moments of astonishing urban beauty in luscious, vivid color. His unique digitally manipulated, time-lapse photography allows the course of an entire day to be viewed in one image, thereby exposing the city’s constant energy while suggesting its ultimate stability.

We’ve all seen pictures of the Empire State Building or the Brooklyn Bridge at dusk; these aren’t those. The first thing you notice about the photos in Day to Night is the uncanny quality of light they capture; they look lit up from within. Wilkes has been a commercial photographer for many years, working for major publications like Sports Illustrated, Vanity Fair, The New York Times Magazine, and Time. As a fine-art photographer, his work reaches similarly wide audiences and often has political undertones. A series shot on

to

night

ellis Island depicts eerie scenes of dilapidated buildings and neglected grounds—it garnered so much attention that it helped prompt Congress to grant the area millions of preservation dollars and designate it as a “living ruin.” In a 2008 body of photographs taken in China, Wilkes conveyed in equal measure the sterile coldness of sprawling factories and the humanity of their workers.

For this more neutral, but visually dazzling, body of work, the artist began by choosing an iconic New York City location like Central Park or Washington Square.

Perched fifty feet above ground level in a rented boom lift, the artist spent ten to fifteen hours taking hundreds of pictures of the same scene throughout the course of a day, painstakingly ensuring that every shot came from the same, fixed perspective.

Wilkes then blended together a dozen or so carefully chosen shots with digital photo software to forge utterly seamless portrayals of a day’s shift into night.

Painstakingly detailed and full of nuance, a single image can take a month to create.

Photographs take on time-travel qualities in their ability to relate distinct times of day in just one frame. In Gramercy Park, this city landmark becomes a dense forest, composed so that the vermillion shock of tall trees in the foreground gives way, somewhat ominously, to darkened evening skies. Apartment building windows are so warmly and clearly lit you can almost make out figures, and the bizarre lighting, which Wilkes sometimes manipulates into veritable

Monroe gallery 112 Don gaSpar avenue, Santa Fe fluorescence, suggests the contrivance of a movie set or a starkly illuminated dollhouse. In Park Avenue, rows of golden yellow cabs stream down traffic lanes in a scene of ecstatic motion. Thrillingly bright light beams downwards onto the avenue, and an inky-dark, cloudy sky makes a perplexing and delightful backdrop. This is a remarkably beautiful rendering of an urban scene—and it feels consummately new in its depiction. Coney Island is more literal in its representation of a day’s transition from morning to night; the evening portion on the left side of the picture gradually turns to brilliant daylight on the right. The neon blur of the Ferris wheel against the night sky gives way to the sunbathers and sailboats,

creating areas of startling, but somehow organic, contrast. Of these photographs, which Wilkes calls “quintessential city portraits,” the artist says: “You realize that the pedestrians are communicating, the cabs [are communicating], all these elements are coming together and creating a complex life form… that’s how the city works.”

In this eye-catching exhibition, Stephen Wilkes manages to inject scenes of urban New York with a dynamism that conjures universally relatable themes of renewal and change. This work encourages us to celebrate and share in the ineffably triumphant quality of New York City—and it’s got this country girl yearning for a visit to the Big Apple.

—iris mClister

Top: Stephen Wilkes, Park Avenue, digital C-print, 30” x 40”, 2011 Bottom: Stephen Wilkes, Coney Island, digital C-print, 44” x 84”, 2011

| j U N e 2012

the magazine | 45

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CRITICAL REFLECTIONS

pina I have always been in awe of choreographers and how they orchestrate their vocabulary of dance elements: bodies, gestures, music, costumes, lighting, and human behavior, along with the precision timing on which a performance hinges. The late dancer and choreographer Pina Bausch could be thought of as another kind of artist as well; one of the dancers in her company said that Bausch was essentially a painter and the dancers were her palette of colors and textures thrown against the canvas of a stage or other intriguing space. Pina, by the German filmmaker Wim Wenders, gathers together various strands of Bausch’s extraordinary career and braids them into nonlinear sequences of pure exhilaration, mysterious plots, and postmodern subversions of the psyche, accompanied by a soundtrack you won’t easily forget.

The movie almost didn’t get made. Wenders had been in the early stages of working with Bausch on a documentary about her life when she was diagnosed with cancer. Five days later Bausch was dead. Her sudden exit came as an almost paralyzing shock to Wenders and her company, seeming to have come out of the void like a lightning bolt of destruction at the very least for the future of this project, but it was a movie that was meant to be. All the performers rallied and provided episodic cameo reflections about Bausch and created gorgeous dramatic reconstructions of her work, and so the film was made. Without doubt, Pina—filmed in 3D—is one of the most amazing documentaries about the art of dance—visually stunning, emotionally profound, and deeply inspired, as Bausch herself was from her early days as a young dancer in Germany, gifted student at Julliard, and then as the directorial prodigy of Tanztheater Wuppertal.

regal CineMaS 3474 ZaFarano F Drive, Santa Fe The idea that Bausch hid the seriousness of her physical condition and went about her daily routines in pain and isolation is a theme that rides on the tides of her choreography; her dances rise and fall and spread out on a carpet of existential loneliness, a desire for connection, for sensual epiphanies, for the union of opposites. The sturm und drang of German Romanticism was part and parcel of Bausch’s artistic sensibilities, yet an underlying angst was also leavened with a startling and fabulous sense of humor. One prevalent insight into Bausch has to do with taking oneself seriously as an artist while leaving one hand free to press a button marked burlesque.

For the most part, Pina concentrates on excerpts from four productions: The Rite of Spring, Café Müller, Vollmond, and Kontakthof. In archival film footage we actually get to watch Kontakthof Bausch herself perform in Café Müller Müller—a piece that references her early history and the café that her parents ran in Germany.

We see Bausch moving like a sleepwalking adolescent haunted by the public displays of emotion, from erotic to violent, of the people who frequented the café. There are sequences in the choreography where dancers move with their eyes closed, barely avoiding chairs that are literally thrown out of their way just before impact. Part of the score for Café Müller comes from a work by Henry Purcell, “O Let Me Weep, For Ever Weep,” music that burns itself into the viewer’s mind like a timeless mirror to the melancholy journey we all have to make from the innocence of childhood to the mixed messages of adult frustration.

Bausch’s multivalent genius put her squarely in the world of contemporary art, avant-garde choreography, postmodern bricolage, and the open-ended delights of all kinds of music, and she used sound for its sheer exuberance or new-wave complexities. In

the exuberant mode, there is Jun Miyake’s “Lilies of the Valley,” which accompanies sections of Vollmond (Full Moon), with its highenergy staging of a huge boulder, falling water, splashing dancers, and bodies that swim across the stage in a shallow pool. Vollmond is perhaps the work that viewers will remember most, with its women dancing in soaking-wet strapless gowns and men poling themselves across a slippery floor as if in invisible boats.

There are moments of pure lyricism in the film, like the sexy couple dancing in the streets of Wuppertal under a suspended monorail that languidly meanders in and out of the documentary, because not all of the excerpts are performed on a stage. Other examples of non-ordinary spaces are the edges of a steep quarry; or the austere courtyard of an industrial plant where a ballerina dances on her toes for an incredibly long time, her ballet shoes stuffed with raw veal; or what looks like a sand dune where a parade of dancers, all dressed up in fancy clothes, marches in a playful line on the crest of the hill. Bausch’s extensive inner landscape of moods, body language, and elemental situations from which she drew her inspiration put her work more in the realm of performance art and theater than in the more strict boundaries of contemporary dance. Pina leaves us breathless, as if we are in a fugue state and totally immersed in the artist’s sequences of consciousness harnessed to flesh.

—Diane armitaGe

Wim Wenders, Pina, film still, detail of Café Mülller, 2011 Wim Wenders, Pina, film still, detail of Vollmond, 2011

| j U N e 2012

the magazine | 47

Creative Santa Fe’S iF: iMagineD FutureS / Santa Fe SerieS the neW W M exiCo h iStory tory M uSeuM a uDitoriuM 113 linColn avenue, Santa Fe

“evolve

or Die?” queried the inaugural event for Creative Santa Fe’s IF: Imagined Futures / Santa Fe Series. Is Santa Fe’s future really that desperate, and if so, how might we reshape it? In a program that intended to use Glasgow, Scotland and Rust Belt city Buffalo, New York, as prime examples of cultural and economic development, the question never got answered—or even asked. Despite an outstanding keynote address by Eddie Friel, city marketing consultant for Glasgow’s recent phenomenal transition from a hopeless “industrial slum” to one of five “cultural capitals” in Europe, IF appeared to drop Santa Fe from consideration.

Friel, a charmingly eloquent Irishman, noted that our city can lay claim to “some of the greatest intellectual and creative capital I’ve ever seen.”

During his presumably short visit here, Friel managed to remain benignly unaware of the ongoing and decidedly perverse sensibility that Santa Fe has done just fine on its own for four hundred years, thank you very much; for too many government officials—especially at the state level—the question is not so much how to change, but why. Isn’t Santa Fe already a cultural-tourism marketer’s dream come true, its renowned art kicking butt, sales-wise, all over the united States?

Yes, it’s too bad we have a soaring high-school dropout and teen pregnancy rate among our youth, who, with the working class in general, can’t afford to live here anyway; sure, New Mexico has a higher per capita drug-overdose death count than any other state in the union—but really, the skies are so blue here and we don’t have smog (yet).

For several years, Creative Santa Fe was just another bureaucratic effort with no punch. The new and improved Creative Santa Fe’s reincarnation as a can-do nonprofit is dizzyingly promising, and “Evolve or Die?” was a sold-out event. Incongruously, the three panelists from Buffalo couldn’t connect the dots of civic recovery in western New York to northern New Mexico. Louis Grachos, director of the Albright-Knox Art Gallery; Mary F. Roberts, head of a residential Frank Lloyd Wright restoration project; and Artspace (a nation-wide initiative to create affordable artists’ quarters) architect Matthew Meier delivered messages that suffered from an overly long program and board-room dull PowerPoint slides. After nearly two hours, the audience—a captive, monied audience—had had enough of both Buffalo and Glasgow. Where was Santa Fe in this picture of creative and financial salvation?

The proposed panel discussion was nixed, a great loss for Creative Santa Fe’s mission pursuant to “the growth and vitality of the region’s creative economy.” It would have been useful to hear from Grachos in particular, as he directed SITE Santa Fe from 1995 until 2003; his feedback about what might work in Santa Fe’s arts and cultural community as compared to Buffalo’s could have been invaluable. Alas, the call to action to an eager—at least initially—audience was never sounded.

—k kathryn m DaV a is

Clark Hulse (at podium), executive director of Creative Santa Fe, introducing “Evolve or Die?” at the inaugural session of the Imagined Futures series, May 12, 2012

nanCy holt: SightlineS Santa Fe art inStitute 1600 St. MiChael’S Drive, Santa Fe

The traveling

exhibition Sightlines serves as a retrospective of important early works by land artist Nancy Holt. Curated by Columbia university’s Alena J. Williams, the show and its accompanying book present Holt’s work as an intervention between the “vast landscapes” of the West and our limited “human scale.” As such, it largely fails: The problem is that this kind of intervention is simply not necessary. I say this with the greatest respect and admiration for Holt as a major artist and a lovely human being.

Sightlines affords one an opportunity to glimpse—almost literally—the visual confines that residence in Manhattan imposes on its denizens. One of the chief quandaries that occurs when a New Yorker presents the West to her viewers is that, for the New Yorker, the vastness of the mythic West is an exoticized Other.

That is, the land may be experienced by someone from a sky-scraped East Coast megalopolis as a myth. I understand Holt’s need, as one of New York’s cutting-edge Conceptual and Earth artists of the 1960s and ’70s, to mediate her subject. Theory, as it was developed by her peers Robert Smithson, Michael Heizer, Sol LeWitt, Eva Hesse, and Carl André, demanded this kind of stepping away from the subject as object. Nonetheless, the above artists didn’t seek to control their viewers’ experiences to the extent that Holt did.

Instead, they used a gentle, often dark humor based on the ephemerality of physical structures to produce works that

Nancy holt, Pine Barren, still from 16-mm film, 1975 © Nancy Holt/Licensed by VAGA, New York

are often quite open-ended and layered in meaning. as holt states regarding her Sun T Tunnels (1973-1976), four custom-made concrete tunnels placed above ground in the Great Basin Desert of utah, “I wanted to bring the vast space of the desert back to human scale…. The panoramic view of the landscape is too overwhelming to take in without visual reference points . . . .” For me, Sun Tunnels works because it bears witness to our innate humanity without romanticizing it, not as a means of intercession between the land and my inability to come to terms with its enormity.

With the clarity of hindsight some thirty-five years after the fact of the Tunnels’ installation, I find that Sightlines presents Holt as the personality who defines New York’s early Earth artists, a cultish bunch who, from what we see here in the exhibition, believed themselves to be highly entitled interpreters of the West.

Throughout Sightlines, holt’s habit of working through systemic, formal inquiry becomes as tedious as old video art from the seventies—too long and too little action to justify such self-consciousness.

That being said, the show is a must-see for anyone with an interest in the origins of twentieth-century land art. holt has lived in the Santa Fe area for seventeen years now. unquestionably, her peripheral vision has grown, as has her love for the West as a real place.

—k kathryn m DaV a is

CRITICAL REFLECTIONS

ChriStopher BenSon: neW paintingS

To those

clinging to tradition, distraught by pluralism, and deep in existential crises, Christopher Benson’s show at Gerald Peters Gallery may ease your nauseating angst. Twentyfour oils and works on paper promise plenty of opportunity for restorative rehabilitation comparable to a trip to the country. Benson’s palette of burnt oranges and auburns accented by complementary pastoral hues methodically travels from painting to painting while large, incisive brushwork occasionally lets a stroke stray just to prove its organic origin. The sparse props in Benson’s interiors, a napkin or a cup, are doggedly normal and evoke a quiet existence somewhere in New England. Indeed, these are the calming curatives to quell that existential fire.

Benson reveals similarities to realists David Hockney and Fairfield Porter. Spawned from some rogue time machine, this realism carries implications of being detached from abstraction and minimalism and other confusing, perhaps conceptual, modes of representation. A favorite practice for its accessibility, some realistic representation presents illusions that even Winnie the Pooh might understand. As the honey-loving bear so wisely said, “It is more fun to talk with someone who doesn’t use long, difficult words but rather short, easy words like ‘What about lunch?’” In today’s sometimes taxing epistemological confusion, maybe art like Benson’s is “fun,” or at least easy.

Painting predominantly from photographs, Benson’s work ranges from very small to very large at forty-six-byninety-six inches, as in The Quilter’s Daughter. However big, his paintings are easy to look at, requiring little from the viewer. The artist hopes that “the quality of my understanding of the world, if not its exact contents, might become available to others through these pictures” and that “through the subjective act of looking, […] the viewer should come to own the work as much as I do.” Benson’s

anD

DraWingS

representations paint a very nice place, one missing the chaos of real life. They’re almost like those luxury getaways that tout old-fashioned leisure—you know, the ones cut off from interplanetary communication where all you can do is chat, mull, and read.... Except that Benson’s interiors are pleasant country houses rather than exclusive resorts.

In Man Reading In An Imagined Interior, the canvas is divided in two by a slim brown support just off center.

The beam starts at the very top of the canvas where it connects to a lintel structure and a second post off to the left that butts up against the edge of the canvas. This beam travels down the left side of the image, partially framing the picture within. Like Raphael in School of Athens, Benson employs painted architecture to frame the interior with an age-old trick that forces a 2-D plane into a 3-D illusion. The left beam ends with a glimpse of a bookcase, which then gets overlapped by the top edge of an olive-green chair.

This corner of color denotes the immediate foreground that meets the viewer’s space with a request to enter. The dividing beam ends at the floor just before the canvas’s bottom, leaving space enough for the viewer to walk easily into this quiet scene. Revealing a partial table, two chairs, and a sideboard, the left side of the painting shows just enough clues to indicate a dining room while the right side shows a man reading in a standard wooden chair. His body slants with ease. Almost covering his entire lap, the sizeable white leaves of his book hold the promise of silence and tranquility while the man’s face, caught in afternoon shadows, holds perfect attention.

Investigating depth of field with his flat planes of neat color, Benson makes an odd decision at the back of this “imagined interior.” The center beam not only divides the interior but also extends back in space as a wall that ends at a large window, dividing the background’s scene of pastoral bliss in two. The window’s royal purple drapery hangs at

geralD peterS gallery 1011 paSeo De peralta, Santa Fe either side and also in two distinct rooms. Rarely is a home built with such an eccentric feature, and by this the viewer can assume that the presumed realistic objectivity is itself an illusion. Here is a realistic representation baring its inherent subjective interpretation of who knows what amalgamation of photographs. It exists in a pluralistic world, but the title tells us it’s imagined, and trying to extract profound meaning from Benson’s work is as difficult as squeezing milk out of the farmhouse door. So, the viewer can exhale and just enjoy the view, entering this countrified getaway to chat, mull, and read….

The more one looks at Benson’s work, the less one finds. You can imagine the characters leaning over and asking, “What about lunch?” They aren’t discussing anything that’s been soaked in an esoteric bathhouse or even a hipster dorm room à la Hockney. They are merely passing time. It’s so simple it feels profound. I mean, who has time to read a big book in the middle of the afternoon with no one around amid beautifully whitewashed doors?

The answer is someone retired who lives in Rhode Island or Maine.

—hannah hoel

Top: Christopher Benson, Man Reading In An Imagined Interior, oil on linen, 50”x 44”, 2012 Bottom: Christopher Benson, The Quilter’s Daughter, oil on linen, 48”x 96”, 2012

| j U N e 2012

the magazine | 49

heroeS: DeBorah oropallo, hung liu,

The work

of three artists who live and work in the San Francisco Bay area is on exhibit at Turner Carroll Gallery under the title Heroes.

The reflective viewer scratches her head and asks just what is heroic here? Perhaps it is simply that these three women of the same generation (my own) are still making art. Their large canv canvases breathe deeply in the space of the gallery, each staking its image field as a space of play, inquiry, and contradiction.

The purported thematic of the heroic in art is largely discredited or revisited with great irony. Given how overused a category irony has become, I would speak of distance instead.

Critical to all three artists is their particular, unique distance from their material, by which I mean both technique and content.

Deborah Oropallo, Chambermaid, acrylic on canvas, 68” x 49”, 2012

anD

Squeak CarnWath W Wath

Hung Liu’s work often derives from old photographs she took or bought in China. She uses oil paint mixed with linseed oil to make it “drip,” pushing back against her training in China as a muralist and activating the vertical dimension of what is often an implicit historical panorama. Her best paintings find balance between mourning and celebration as they wrestle with the angel of history—her own and that of her native country, which she left three decades ago.

The careworn figure holding an infant at the center of Liu’s Refugee Opera illustrates her chosen distance from subject and genre. The painting alludes to the official Communist style of representing idealized Chinese peasants happily making a new and better world; having experienced the Cultural Revolution as an interruption of her education, Liu portrays ordinary and specific persons, whose

turner Carroll gallery 725 Canyon roaD, Santa Fe

lives have clearly been anything but easy, caught in the machinery of history. In her recent compressed and multi-layered portraits of women there is beauty, but also a seductive glossiness reminding us that advertising and propaganda are siblings. It remains to be seen how Liu, in dialogue with her adopted country, will work through this tension between what is realistic or natural and what is a fantasy projection.

When we say history we think of movements and political climaxes. But today’s history is also micro in scale; the circulation and processing of information and images has become a driving force in economics, education, medicine, and much else. Deborah Oropallo develops her visual ideas entirely in digital space, though the final prints are painted upon and otherwise hand-altered.

The familiar poses of figures in historical painting are combined with mail-order adult costumes (maids, witches, princesses, superheroes)s often modeled in postures surprisingly similar to the classical paintings. The performative artificiality of Lucas Samaras’s Polaroids of the 1970s comes immediately to mind. But a truer predecessor is Richard Hamilton’s work of the 1960s and 1970s.

Hamilton used photogravure, etching, engraving, dye transfer, burnishing, aquatint, collograph, stencil, and collage—literally every technique then available, to carry out radical interventions in how images spoke. In a catalogue essay for a 1986 Hamilton show at LaCM La aCMa, Richard Field stressed this aspect of intervention “rather than invention.” Though they are in one sense monumental selfinventions, Oropallo’s layered images do not return our gaze; they are technical interventions in formal space, built to trigger our own interpretations. The viewer is invited into a circumscribed theatrical space that approximates a niche (the kind for housing religious icons, whether Buddha, Virgin, or Ganesh.) Like the electronic niche currently manifesting as the cell phone screen, where we may act out our individuality with imported images, Oropallo’s is charged with constructed idiosyncrasy.

Squeak Carnwath presents us with tabletops of controlled elements, seemingly dispensed with a flick of the wrist (though effortlessness is of course a complex artistic achievement).

Everything on her canvases—including transferred images and what appears to be penciled lettering—is rendered in paint mixed with alkyd to give the exact texture she demands. Paint is associated for Carnwath with the body and skin, and indeed the result is a kind of intimacy. She keeps her distance by getting close. In a domesticated space (grocery lists included), words and images are splayed for scrutiny, the banal placed alongside the lightly skewed arbitrary.

In Sampler a semi-legible portrait of Dorothy and the Tin Man offers a hint of the heroic journey while undermining such a reading by pointing to the means of production—labels explicitly name various media, techniques, and materials. Carnwath’s mental bulletin board of circulating injunctions includes “good ideas are not made they are stolen” and “eat less think better.” Jenny Holzer ironized the sententiousness of her pronouncements by puffing them up to Times Square electronic signage scale. Carnwath, passing hers through the technology of paint, understates the power of the thought bubbles of received information to infiltrate our minds.

However seemingly casual the arrangement and choice of objects, the artist’s viewpoint on this tabletop is the eye of a god, all-seeing and capricious.

Historical panorama, consumer’s household bulletin board, or electronic icon niche—we must go with open minds to the artist’s turf, asking what it gives us in return.

—marina la Palma

CRITICAL REFLECTIONS

MoveMent 545 CaMino

Taking in a show

at Santa Fe Clay’s gallery space quickly becomes more than just looking at pottery.

You enter the gallery through a store that offers all the tools of the trade. You walk through the L-shaped exhibition space and so do members of the staff along with some of the apronclad resident potters, coming and going from their studios in the back. As you consider the finished ceramic art on display, you also smell wet clay and hear it being slapped and pounded, the sounds of pottery in the making. The entire visit feels organic.

Santa Fe Clay’s current show, Movement, brings together the art of North Carolina potter Nick Joerling and Pennsylvania potter Ryan Greenheck. The pairing of these two artists was the wise idea of Santa Fe Clay’s director Avra Leodas and we have her to thank as well for the beautiful installation. Leodas organizes eight shows a year in the Santa Fe space. “I am concerned with presenting a variety of work of the highest quality being made by the national ceramics field,” she explains.

In Movement Leodas presents twenty functional ceramic works by Greenheck and sixteen by Joerling. Visitors can enter the gallery from either end of the “L”, which means starting with one artist and transitioning to the other. The experience is very different depending on where you happen to begin. You either move from Joerling’s fanciful and quirky “sense of animation,” as he calls it, to Greenheck’s “structured composition,” or the reverse.

I started with Joerling, by accident. “I make pots as much from a drawing sensibility as a pottery one,” he says. “My pot reference is most often you and I, our bodies.” This quickly becomes clear. The stoneware shapes are fun, gymnastic, and

often evoke human forms. A tall, smoky-blue teapot is scratching its back with its handle, and its lid is straight off the hat rack of the Wicked Witch of the West. Nearby, a jar and vase are sitting in yoga poses with the clay of their bases folded around them like legs. Another teapot—this one in a khaki shade—has its spout tipped forward like a floppy wrist, as if pooh-poohing the vase at its side.

In several of his pieces Joerling starts with a red underglaze, applies adhesive dots and wax to preserve splashes of red, and then dips the pottery in a contrasting color. The matte result presents perfect red dots, and red “script” that suggests Asian lettering. The liner glazes are sometimes glossy in contrast, while others wrap the outer matte finish into the interior. One vase and two of the serving dishes are footed and there is a whimsical sense that the saggy stretch of the pot is caused by those feet moving in opposite directions.

The feeling of movement in Greenheck’s porcelain clay pots is much more subtle. We leave whimsy behind (mostly) and enter a more regal, precise world. Greenheck is all about form and structure, but some of the earth tones in Joerling’s work travel with us into Greenheck’s territory of honey, blue, green, and brown. These mugs, jars, pitchers, platters, tankards, and teapots feel classical, almost Grecian in their precision and symmetry. The handle on each lid is like a tiny delicate pot all on its own. Greenheck combines glazes so that the more stable ones create a canvas on which he applies and controls less stable, contrasting glazes that flux down the pot from its handles or from his placement of sprigs, tiny appliquéd elements that he adds to every piece. He also balances open space and color elements beautifully. A white diamond pattern alternates

De la

Santa Fe Clay FaMilia, Santa Fe

precisely with the handles and the sprigs of Honey Green Jar. After applying the white pattern, Greenheck glazes over the diamonds with a green running glaze that flows to the base of the jar. But Greenheck’s vessels are not without a certain whimsy of their own. The two teapots have a slight crook in their spouts and a similar bend in their handles. And some of the pieces feature sprigs of Celtic knots.

Leodas offers lovely visual transitions within the work of each artist and between the works of the two. There are chairs under a stairwell in the Joerling section that invite visitors to sit and really look. From this vantage point Leodas guides our eye through a flow of color. The golden exterior of Gold Footed Serving Dish is the interior gold of Medium Bowl with Handles. That bowl’s outer blue appears again in Tall Teapot (the cocky teapot with attitude) and pulls the eye to that same color in Pocket Vase with Cutout and Figures and beyond to my absolute favorites, two creamers—one gold, one blue—whose spouts resemble nothing other than duck bills. Joerling’s matte finishes and earth hues then transition nicely into Greenheck’s glossier finishes via the quite similar blues and creams.

A final happy accident of the visit was my discovery of Santa Fe Clay’s two polar-opposite display spaces for the work of potters from past, present, and future shows. The Back Room is a large segment of warehouse space with items displayed on tables and shelves, and the Closet is exactly that—a long skinny roomlet lined with shelves on one side to display smaller items.

Now if I could just stop thinking about those duck-billed creamers.

—susan WiDer

Nicholas Joerling, Pocket Vase with Cutout and Figures, stoneware, 8 ½” x 18” x 4”

| j U N e 2012

the magazine | 51

Zoe Zimmerman

at

Millicent Rogers

Fashion

plates: the archival pigment prints of Zoe Zimmerman recently on view in the Millicent Rogers Art of the Dress exhibition are a departure from Zimmerman’s more familiar matte albumen prints, for which she devised a unique variant technique that is now featured in photo textbook discussions of the albumen process. If the images from Art of the Dress differ more in tone than technique from the even more enigmatic and arresting style of her portfolios found on her website (zoezimmerman. com), that is largely a function of the nature of a group show with a common theme—here, female apparel as statement of identity—provided a priori by the curator to the artists invited to address it. The result is no less engaging, and the show’s predetermined subject content allows viewers a closer look at Zimmerman’s creative process itself.

Each of the fifteen prints of Zimmerman’s series for Art of the Dress is a tableau vivant contrived in the studio. In each instance the artist inserts the lens of her large frame camera at the interface of the perceived object and its meaning—between a draped figure and its conventional reference for past or present couture. The series can be divided more or less evenly into images that depend primarily

upon their formal strength and those whose compositions suggest a vignette or errant tarot card’s cryptic narrative.

In the formal studies such as Little Black Dress, Vortex, or New York Times, the sheer purity and precision that mark her signature albumen prints imbue these archival pigment images with a surreal, dreamlike quality. In the more charged scenario of The Empress’s New Clothes, a kneeling assistant flanks a nude model standing with her back to the camera on a raised platform. Taken together, the playful allusion of title and image to the familiar children’s fairy tale invites reflection on the vanitas of fashion and its dauntless knack for self-delusion.

All of the prints in fact comprise a cheeky semiotics of haute couture that explores and deconstructs accepted feminine dress codes. Thus in each tableau, the clothed (or nude) model serves as visual synecdoche or stand-in for women’s apparel in general, each frame a wry commentary on the cultural import of fashion itself.

The prevalence of the nude figure in the series underscores an ironic aspect of fashion—sexuality—that is variously central or incidental but is never absent. Untwined depicts a standing nude, draped in the bell-basket cage of the panier, languidly snipping a strand of thread that descends to its fiber spool on the floor below,

Zoe Zimmerman, Untwined, archival pigment print, 34” x 30”, 2012

Millicent Rogers Museum 1504 Millicent Rogers Road, Taos where it mimics the suspended hoop in a meandering loop of yarn.

The ambivalent action of the scissors can be read as a gesture of liberation from fashion’s propensity to objectivize women at the same time as the scanty panier appears to “expose” the caged model’s nudity. In Redress, a young model poses in a crimson red miniskirt adorned at the waist with a large and drooping lepidopterous bow. Her sullen stance and detached-verging-ondisdainful gaze at the viewer belie the beauty of her Dante Gabriel Rossetti face, Pre-Raphaelite perm, and sensual body. Here the object of desire is not so obscure, given the gift-wrap metaphor conveyed by the outsize crimson bow. Yet if the red bow of the tableau indicts fashion for perpetuating the notion of la femme objectivé, it indulges the sensuous source of its obsession as well.

The artist’s probing yet playful commentary on the world of fashion concedes some sympathy for the devil—especially if she wears Prada. But the lasting effect of Zimmerman’s Art of the Dress imagery is to persuade viewers to search out her work on her website, where they will find superb photographic prints conjured from her own devices and desires.

—Richard Tobin

CRITICAL REFLECTIONS

MiChael Wright

anD

Danielle Shelley DaviD riCharD ConteMporary 130 linColn avenue, Santa Fe

I had a crazy,

colorful crush on Tangee Green in middle school in the late 1970s. She sat in front of me in geometry class and I poked pencils into her strawberry blonde hair to get her to turn around and flirt. Her real name was Tangerine, but she went by Tangee with two E’s, because a Y would have made her Tangy, like the astronaut drink that was still orbiting the eighth grade lunchroom in those days.

Carter’s presidency was flailing, and Reagan was about to sucker the middle class into accepting that they should only get a teensy trickle of the nation’s economic gains, but I didn’t care about any of that.

One strangely attractive thing about her was her coloring, which (as if she were a fictional character) aligned perfectly with her moniker. Her freckled face and orange tousle meant she was the tone of the fruit after which she had been named. Had her hippy parents named her after the surreal sixties-era psychedelic rock band Tangerine Dream, which had once performed at a Salvador Dalí opening? Some answers are irredeemably lost in the past. The next fall we went off to different schools and I never saw her again.

What brought me to this nostalgic reverie was a visit to David Richard Contemporary to see the works of Michael Wright and Danielle Shelley. Both are abstract painters, in different modes, and I was struck by the use of tangerine tonalities in a number of the strongest works on view, triggering the aforementioned chromatic childhood memories. This is something that good abstract painting does, though it is not always acknowledged. It can take you to places long forgotten and associations obscurely buried in your psyche. Much is made of the formal qualities of abstract work, as this is safe territory for art writers and appreciators, but the real value of this kind of work is its ability to elicit personal connections and subjective associations.

No matter how well resolved an abstract piece is, it is really only worth looking at, or living with, if it also manages to magically plumb the depths of one’s soul. Anything less is just a waste of time. The meaning or purpose of the artwork for the artist is largely irrelevant; while the real generosity of this kind of work is that for each and every viewer it is ultimately “all about me” (meaning you).

Neither Michael Wright nor Danielle Shelley set out to make paintings about the innocence of unrequited love, but (in my case) that’s what they ended up doing, because both are strong and successful painters.

| j U N e 2012

Michael Wright was born in New Rochelle, New York, in 1931, to a family of writers and artists. He studied painting at numerous prestigious institutions, including the Yale Art and Music School, served in the Korean War, and began his long-running career as a painter in New York City in the 1950s. He did a stint as de Kooning’s studio assistant in the mid-sixties and his abstract expressionist work reflects this. There are great compositional similarities, but where de Kooning focuses on linear sweeps, and his signature brushwork, Wright is more obsessed with shifting shapes and patches of color. The drama is in the density of his blacks and how his edges interact.

In the large paper-and-ink on canvas composition Late Summer, swaths of color, including a number of peaches, pinks, and, yes, tangerines are set against mysterious patches of inky blackness that magically project the aura of rich heat and fecundity typical of the season. Wright overlays flutterings of calligraphic linearity along the edges of certain shapes, making them vibrate and sing. The song of the locust tinged with the bittersweet onset of autumnal darkness gives this piece a soul-searching strength.

Danielle Shelley was born in Houston, Texas, and grew up in the Bay Area. She’s traveled all over the world, worked for the Peace Corps in Ghana, and finds inspiration in African textiles and Donald Judd’s minimalism.

Her paintings update Suprematism with the inclusion of secondary and tertiary colors, and just a touch of touch. Where other geometric abstractionists (notably Judd) have sought to eliminate the “artist’s hand,” Shelley’s geometric work is distinguished by a sense of physical making that does just the opposite. This has a humanizing effect that wondrously animates her work. She’s an excellent colorist, and seeing this work in reproduction is almost like not seeing it at all. One needs to stand before each piece to catch the interactions of color that are largely dependent upon the scale of each shape.

Earth Measure #7 recalls Robert Mangold’s eccentricities, and the green and gray rectangles whisper the melodies of Matisse’s Piano Lesson, but what I like best about it, of course, is the large, sumptuous section of tangerine. I’m thirteen years old again, back in geometry class; the un-bathed instructor draws lines on the chalkboard as I swoon over the tangle of tangerine hair tangent to the freckled nape of Tangee’s neck.

Shelley’s perfect picture sends that selfsame tingle up my own spine.

—Jon CarV ar er

Top: Michael Wright, Late Summer, paper, charcoal, and ink on canvas, 95½” x 72”,1998 Bottom: Danielle Shelley, Earth Measure #7, oil on linen, 36” x 24”, 2011

the magazine | 53

CHARLES GREELEY oN VIEw MAY 25th - JUNE 26th

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Pattern Language Paintings by Blair Vaughn-Gruler and Kuzana Ogg June 15 through July 6

Reception with the Artists • Friday, June 22, 2012 • 5 to 7 PM

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Amelie, Cloeman, Giselle and Dan Piburn. Hosts of The Dandelion Ranch urban Community Garden, Santa Fe, New Mexico. http://thedandelionranch.blogspot.com photoGraph By Jennifer

| j U N e 2012

esperanza the magazine | 55

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A bandoned A dobe , T aos photograph by | j un e 2012

G uy C ross THE magazine | 57

WRITINGS

Wind Advisory By

susan lanier

Blue, indicating rain within clots of cloud mass, jerks in time-lapse progression across the radar map. I watch, eyes fixed on New Mexico.

Again today the maw of exposed land yawns up from the south.

We close blinds, doors, mourn the blackened buds, dread the smell of smoke.

Walking the arroyo, I look up to high, thin feathers far afloat from any source.

Couldn’t they be emissaries from a cumulonimbus? Couldn’t the radar have missed something?

And then, just as on the screen, those lovely single note songs afloat against the sky disappear, and we’re thrown back to the wait, so dry the ground puffs up grit between our toes, the flora reverts to nodes of rootstock, trees shed all nonessential needles, and coyotes dig deep the arroyo’s sandy bottom for the seep.

Always the sky blue.

And below, only the meager comfort of shadow.

Susan Lanier came to New Mexico in 1971, where she honeymooned for a month in a teepee. Settling in Vermont, she farmed, raised a family, and taught creative writing at The Grammar School and Vermont Community College. But after repeatedly waking in the night smelling piñon and sage, she responded to the call to come west in 2000. She has won awards for her poetry and fiction and has been published in Harvard Magazine, MS., Passages North, and The Poetry Miscellany, among others.

58 | the magazine

| j U N e 2012

Simon Parkes A Tradition Revisited

Dusk, Los Ranchos, oil on board, 7 x 16 inches

Š 2012 courtesy, Gerald Peters Gallery

June 1 - July 7, 2012 Opening Friday, June 1st from 5pm to 7pm Mary Etherington, Director of Contemporary Art 1011 Paseo de Peralta, Santa Fe, NM 87501 | tel 505-954-5700

Renate Aller: dicotyledon

dicotyledon, Plate #9, 2012, Archival pigment print, 31 x 84 inches

June 15 - July 7, 2012 Reception, Friday June 15, 5-7 pm

www.CHIAROSCUROSANTAFE.com

dicotyledon, Plate #1, 2012, Archival pigment print, 62 x 92 inches

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& 708 Canyon Road, at Gypsy Alley Santa Fe, New Mexico 505.992.0711