THE magazine April 2007

Santa Fe’s Monthly

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of and for the Arts • April 2007

OpeningsReviewspR Openings ReviewspR pReviews pReviewsstudiOvisitsOneB eviewsstudiOvisitsOneB OneBO Ottle ttlediningguidewRitings ttlediningguidewR wRitingsARchitectuRAldetAilsOut itingsARchitectuRAldetA et ilsOut& etA Out Out&A & &A ABO BOut ut

Darren Almond Barry X Ball Stephen Bush Through May 13, 2007 APRIL Contemporary Art in Context is a program intended to ground the art of today in art history. The fourth course, comprised of four lectures, will examine four important exhibitions that have greatly influenced the presentation and reception of contemporary art in this country.

Tuesday, April 3, 6 pm High & Low: Modern Art and Popular Culture Museum of Modern Art, New York, 1990 Presenter: Joanne Lefrak

Tuesday, April 10, 6 pm SENSATION: Young British Artists from the Saatchi Collection The Brooklyn Museum, 1999 Presenter: Katia Zavistovski

Tuesday, April 17, 6 pm 010101: Art in Technological Times San Francisco Museum of Modern Art, 2001 Presenter: Laura Heon

Tuesday, April 24, 6 pm Inverted Utopias: Avant-Garde Art in Latin America Museum of Fine Arts Houston, 2004 Presenter: Liza Statton

Series price: $36 non-members; $20 members and students Individual lecture: $10 non-members; $5 members and students Call 505.989.1199 or visit www.sitesantafe.org for tickets.

These exhibitions are made possible through the generous support of the Board of Directors, as well as many individuals, and from the following major contributors: The Brown Foundation, Inc, of Houston; The Burnett Foundation; City of Santa Fe Arts Commission and the 1% Lodgers’ Tax; McCune Charitable Foundation; New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endowment for the Arts; Thaw Charitable Trust; and an anonymous donor.

Darren Almond is supported in part by Pat T. Hall; Barry X Ball is supported in part by Margaret Jacoby-Lopez & Tom Lopez and Salon 94, New York; Stephen Bush:GELDERLAND is supported in part by Sutton Gallery, Australia, and Arts Victoria; and Goff+Rosenthal, New York. image: Barry X Ball a flayed, javelin-impaled, cable-delineated-pendentive-funnel-suspended, squid-like, priapic / labio-vulval, Janusian meta-portrait lozenge of the artist, screaming, and Matthew Barney, stoically becalmed…, 2000 – 2007,Mexican onyx, stainless steel, 24K gold, various other metals, stone figure: 22 x 5 1⁄4 x 8 inches, courtesy of Barry X Ball Studio and Salon 94, NY photo: Eric Swanson

1606 PASEO DE PERALTA SANTA FE, NEW MEXICO 87501 505.989.1199 www.sitesantafe.org

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letters

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universe of artist Laura Scandrett

25

One Bottle: 1983 Château d’Yquem, by Joshua Baer

29

dining guide: The Lamy Station, Joseph’s Table (Taos), and the Rum Boogie Cafe (Memphis, Tennessee)

33

studio visits: Isaac Crooks and Richard Sober

35

Openings & Receptions

36

Out & About

42

previews: David H. Gibson and Don Hong-Oai at photo-eye Gallery; Ines Kramer at Winterowd Fine Art; Maile Pickett at Fenix Gallery (Taos); Pard Morrison at LewAllen Contemporary; Susan McDonnell at Klaudia Marr Gallery; and The African Presence in México: From Yanga to the Present at the National Hispanic Cultural Center (Alb.)

45

national spotlight: Celebrity at the Scottsdale Museum of Contemporary Art

47

critical Reflections: Colette Hosmer at the Center for Contemporary Arts; Constellation at the Museum of Fine Arts; Claudia Kleefeld at the Taos Art Museum; Darren Almond, Barry X Ball, and Stephen Bush at SITE Santa Fe; Florence Pierce at Charlotte Jackson Fine Art; Green at 516 Arts (Alb.); Historic Women Artists of New Mexico at Owings Dewey North; Kiki Smith at the Whitney Museum of American Art; Lifting the Veil at the IAIA; Pablita Velarde at the Museum of Indian Arts and Culture; Power Dressing at the Museum of International Folk Art; Sherry Levine at the Georgia O’Keeffe Museum; Susan York at Exhibitions 2d (Marfa, Texas); The Art and Artifice of Science at the Museum of Fine Arts; and Unlimited Boundaries at the Albuquerque Museum

56

destination: Shades of Paradise

69

Architectural details: Northern New Mexico Stream, photograph by Guy Cross

70

writings: “Tearing and Mourning,” by Paul Paryski

CONTENTS Destination Art (University of California Press, $39.95) is a wonderfully illustrated book, replete with practical information about two hundred contemporary art sites— museums, site-specific installations, environmental works, and sculpture parks—around the world. Destinations include: The Strata Project in Finland, The Lightning Field in New Mexico, The Grotto in Germany, and Europos Parkas in Lithuania. Written by Amy Dempsey, this book is an invaluable guide for the international art tourist.

R E A D I N G S A N D CON V E R SAT I O N S

Denis Johnson with Gary Kamiya Wednesday 11 April 2007 7 PM TICKETS ON SALE NOW!

Dave Eggers and Vendela Vida with Michael Silverblatt Wednesday 25 April 2007 7 PM SOLD OUT!

Gore Vidal with Michael Silverblatt Wednesday 9 May 2007 7 PM TICKETS ON SALE SATURDAY APRIL 7TH

Terry Tempest Williams with Christopher Merrill Wednesday 30 May 2007 7 PM TICKETS ON SALE SATURDAY APRIL 7TH

Lannan is podcasting Readings & Conversations!

Please visit our website, www.lannan.org, to learn more, listen, and subscribe to have the events automatically downloaded to your computer.

All tickets for all events are sold at the Lensic Performing Arts Center. Tickets can be purchased in person, by telephone, or online at: Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe, New Mexico Telephone 505.988.1234, www.lensic.com Box Office hours: Monday – Friday 10 am – 4 pm; Saturday – Sunday Noon to show time All tickets are for reserved seating. Doors open at 6:30 pm. All seats will be held until 6:50pm. No late seating. Late arrivals will be able to view the reading in the lobby via television monitor.

Ticket purchases are limited to four per person. General Admission $6 and Senior/Student with ID $3 Proceeds will be donated to the Lensic Performing Arts Center.

www.lannan.org

Visit our website for author biographies. www.lannan.org

LETTERS

magazine VOLUME XIV, NUMBER IX WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 Top-5 Best Consumer Tabloids

p u B l i s h e R s / c R e At i v e d i R e c t O R s

Guy Cross and Judith Cross ARt diRectOR

Chris Myers

cOntRiButing editOR

Photograph by Naomi Natale

diane arMitaGe cOpy editOR

edGar sCully

pROOfReAdeRs

JaMes rodewald KenJi Barrett

s tA f f p h O t O g R A p h e R

stanley darland

cAlendAR editOR

Kathryn M. davis

The Cradle Project is an art installation in progress that will represent the plight of forty-eight million children orphaned by disease and poverty in Africa. The mission is to promote awareness and raise financial support to help feed, shelter, and educate these children. In the fall of 2008, one thousand cradles and cribs made by artists and artisans from around the world will fill an abandoned warehouse in Albuquerque, New Mexico. The Cradle Project is seeking sponsors for each of the cradles in the installation.

To sponsor a cradle and for more information on how to participate, please go to www.thecradleproject.org.

cOntRiButORs

MiChael aBate BateMar MarC arCo, Jan e. adlMann M , diane arM rMitaG ita e, Joshua Baer, Kristin Barendsen, susanna Carlisle, Jon Carver, Martha huGhes, rinChen lhaM ha o, Paul ParysKi K , JaM a es PeriGord, alex ross, and riChard toBin cOveR

Postulating Jane By

By Jennifer nehrB ehrBass Bass B woM oMen artists” at 516 arts froM “eye to i: self- Portraits By froM Courtesy: 516 arts & Klaudia Marr Gallery

AdveRtising sAles

rose darland: 505-577-8728 (MoBile) sarah ellis: 505-424-7641 the MaGazine: 505-424-7641

TO THE EDITOR: It’s not often that I feel motivated to write a letter to any magazine, but after carefully looking over your photography annual (February/March 2007), I just couldn’t help myself. I am a fine art and commercial photographer, and I read and look at almost all of the photography magazines that are available. Compared to the so-called “photography annuals” published by magazines like Popular Photography and many others, your annual stands out from the pack. The reason is simple: no stupid lens flare pictures, no boring photos of dull landscapes, no “socially correct” documentary studies, and—praise the Lord—no pathetic and predictable nude studies. Instead I was treated to a variety of innovative photographs from around the world by a group made up of well-known and totally (at least to me) unknown photographers. What really made the issue work was the right-on-target sequencing of the photographs. My feeling is that THE magazine trumps the others, by far.

THE magazine is published by THE magazine Inc., 1208-A Mercantile Road, Santa Fe, NM 87507. Phone (505) 424-7641. Fax (505) 424-7642, E-mail:THEmag1@ aol.com. Website: TheMagazineOnLine.com. Copright 2007 by THE magazine.

All rights are reserved by THE magazine. Reproduction of contents within are prohibited without written permission from THE magazine. All submissions must be accompnied by a self-addressed, stamped envelope. THE magazine is in no way responsible for the loss of any unsolicited materials. THE magazine is not responsible or liable for any misspellings, incorrect dates, or incorrect information in its captions, calendar, or other listings. The opinions expressed within the fair confines of THE magazine do not necessarily represent the views or policies of THE magazine, its owners, or any of its agents, staff, employees, members, interns, volunteers, or distribution venues. Bylined articles and editorials represent the views of their authors. Letters to the editor are welcome. All 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 advertisers; and is not responsible or liable for any mistakes in any advertisement.

APRIL 2007

—Charles Nadeau, New York City

TO THE EDITOR: Many thanks for putting me in such amazing company in your photography issue. I am really honored— my photographs look great. Actually, the entire issue looks great.

TO THE EDITOR: A thank you to two of your writers, Rinchen Lhamo and Alex Ross for their reviews of books in your December issue. After reading Lhamo’s take on Photography Speaks/150 Photographers on Their Art, I bought the book immediately and read it cover to cover over a long weekend. A really fascinating read. Ross’ review of Undercover Surrealism was interesting enough to, again, send me to the bookstore. And once again, I was not disappointed.

—Clayton Campbell, Pacific Palisades, California

—Terri Ratz, Santa Fe

distRiButiOn

the QuiCK-QuiCKsilver silver GrouP

TO THE EDITOR: Excellent photo issue, especially the color centerfold photo by Gregory Crewdson—he really is a remarkable photographer. The other photos that grabbed me were Kenny Skarbakka’s hilarious picture Shower, Maggie Taylor’s Golden Afternoon, and Pablo Ventura’s photo that looks almost like a painting, Milan. A few weeks after your issue came out, I picked up the Sunday New York Times, and lo and behold, there was the very same photograph by Jeff Wall— Wall—A Sudden Gust of Wind (after Hokusai)—that ran in your publication. A nice bit of timing that THE magazine printed the photo before the Times did—it shows that your editors are “with it.”

Also, the cover of your “Best Books” issue in December was deliciously provocative. Keep up the fine work.

—Todd Kannerberg, Stamford, Connecticut

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kerri rosenstein & lisa solomon

through april 7 closing artist reception: saturday, april 7, 6:00 -8:00

William Betts View from the Panopticon April 13 - May 25 Artist Reception:Friday, May 4, 6:00- 8:00

#LOCKWORK

ACRYLIC ON CANVAS ON BOARD X

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7 0ALACE !VENUE 3ANTA &E .EW -EXICO TEL FAX WWW LEWALLENCONTEMPORARY COM INFO LEWALLENCONTEMPORARY COM

R i c h a r d L e v y G a l l e r y A l b u q u e r q u e w w w . L e v y G a l l e r y. c o m 5 0 5 . 7 6 6 . 9 8 8 8

ART SANTA FE . 2007 AN INTERNATIONAL ART FAIR

JULY 12-15 EL MUSEO CULTURAL DE SANTA FE SANTA FE, NEW MEXICO, USA

TEL 505.988.8883

www.artsantafe.com ART SANTA FE PRESENTS:

THOMAS KRENS DIRECTOR OF THE SOLOMON R. GUGGENHEIM FOUNDATION

PRESENTS A KEYNOTE LECTURE: THE GUGGENHEIM MUSEUM BILBAO – FRANK GEHRY DESIGNS A MASTERPIECE

SATURDAY, JULY 14, 2007 LENSIC BOX OFFICE 505.988.1234

MELODIE-JEANNE DE MESTERTON

Oil Medium, Large and Small

Opening Reception Friday, April 13. 5-8:30 pm Show runs to April 29 Phil Space • 1410 Second Street • Santa Fe • 983-7945

Who Reads THE magazine?

A weary traveler whose car has broken down in Flagstaff, Arizona, and is waiting for the train to Los Angeles reads

THE magazine, that’s who!

SUBSCRIBE

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Send check to:

THE magazine 1208-A Mercantile Road Santa Fe, NM 87507 or telephone us at 505-424-7641 Yes, we accept Master and Visa.

Photo: Stanley Darland

If you wish to advertise your business, product, or service in a magazine that many call “...the best free art magazine in the United States,” call Rose Darland at 505-577-8728 (mobile), Sarah Ellis at 505-424-764, or THE magazine at 505-424-7641.

from Santa Fe: 8 hours; and a couple of light-years

2d marfa

exhibitions2d 400 s. highland avenue marfa, texas www.exhibitions 2d.com 432.729.1910

new editions

from tamarind institute Valerie Arber Willie Cole Nancy Friedemann Linn Meyers Mark Mulroney Johnnie Ross David Row Ed Ruscha April 4 – May 5 Reception Saturday, April 7, 4 – 6 pm

  a contemporar y gallery

209 Galisteo St. Santa Fe, NM 87501 505-992-0704 www.addisonarts.com

E P H E M E R A L

Light and Water Cascade Sequence Two © David H. Gibson, 2005

M O M E N T S

Winter Fog, Vietnam © Don Hong-Oai, 1974

EPHEMERAL MOMENTS PHOTOGRAPHS BY

DAVID H. GIBSON AND DON HONG-OAI ARTIST RECEPTION, APRIL 6, 5-7 PM APRIL 6 - JUNE 22, 2007

photo eye G A L L E RY

376 Garcia Street, Suite A, Santa Fe, NM 87501 Tues - Sat 11-5 505.988.5152 x115 gallery@photoeye.com www.photoeye.com/donhong-oai www.photoeye.com/davidh.gibson

MONROE GALLERY of photography

WOMEN WHO SHOT THE 20TH CENTURY Opening Reception Friday, April 13 5 – 7 pm Exhibition continues through June 30

American Girl in Italy, 1951 © 1952, 1980 Ruth Orkin

OPEN DAILY

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

UNIVERSE OF

At the end of a workshop— “Contemporary Art Gallery Issues”—conducted by gallerist Linda Durham at Santa Fe Community College, artist Laura Scandrett submitted her final paper. Durham found the writing to be articulate and intelligent, and felt that Scandrett was deeply committed to the art she made. Durham visited Scandrett’s studio and was so impressed by a large graphite drawing that she had the piece framed, and included it in a group show at the gallery. The drawing sold, and Durham decided to take Scandrett on as one of her gallery artists. Scandrett’s work can be viewed at Linda Durham Contemporary Art, 1101 Paseo de Peralta, Santa Fe.

PhotoGraPh By B

stanley darland

the vAlue Of the sketch I do often sketch—on scraps, napkins, anything—when traveling. Sketching for me is a way to stay engaged; it keeps me connected to the process even when far away from my studio. My sketches always feel like plans for bigger drawings, but none have materialized.

So, I guess I do make preparatory sketches; I just never use them for my drawings. One of my favorite things about the process is that every single decision leaves a trace, no matter how faint. It’s important to me that the entire experience is recorded; that I know it’s there even if the viewer doesn’t. Each step has played a role in arriving at the moment of finality. My drawings aren’t planned compositions, but records of time and thought and action. As a result, they sometimes fail.

the diAlOgue Between gestuRe And stRuctuRe Gesture and structure are important—they accentuate each other, argue with each other, and hopefully coexist with each other either peacefully or with tension. I’m always searching for new and old ways to make marks on a page. Ultimately, the marks or material are only as effective as what they evoke or convey. A gestural line depicting a tree limb next to the rigid edge of a structural form comes alive, as if human. Once I’m deep into a drawing and feel physically as if I’m part of that space on the page, I feel like a conductor who is pulling some sounds forward, louder, while quieting others until a powerful note of harmony or discord is hit.

ideAs As visceRAl things Right now I’m working from reference materials—old encyclopedias—harvesting images and ideas, but also getting lost and reading a lot. I come from a family of bookworms; I read the least… by far. But I think books are proof that ideas are visceral things.

APRIL 2007

Things are recorded and shared across time and are as alive as when someone else first thought them. Art is a visual record of experience. I think anyone who loves art has had that feeling at some time in a museum when you’re the only one in the room and you almost sense breathing, like something else is alive in the room. You want to whisper to a painting, “I know. I know.”

the impORtAnce Of stRipping AwAy All visuAl influences, OR nOt I don’t think it can be done, and if so, I have no interest in doing it. Everything comes from something else, somebody else. I’m interested in the connections between things, ideas, and people, so I’m not consciously trying to strip influences away. Also, I hope for moments of transcendence so I can understand and engage daily in the struggle between what is proof and what is still only possibility. I think with every drawing I’m hoping to arrive finally at a moment that is pure.

feAR Of the BlAnk pAge OR the BlAnk cAnvAs I conquered this fear a few years ago. When I start a new piece, I already know that I want to get to that place deep in the drawing where things are really happening. So what happens at the beginning is not precious; it may or may not end up visible. The process can’t be rushed, of course, but at this point I have faith that if I keep going, I’ll reach that place. I also have a system now of starting, a series of steps, which dissuades fear—a technique I learned from the artist James Drake. I usually work large, so first I unfurl a blanket of warm white paper, attach it to the wall from a ladder, painstakingly measure and mask off the edges, and by this point I’ve touched the entire surface, so it’s familiar.

And the pristine edges of the paper are preserved, which, I think, gives me the confidence to attack the rest.

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PHOTO: ROBERT MILLER

CHRISTOPHER THOMSON Sculptor

Designer

Blacksmith-Artist

800-726-0145 w w w. c t i r o n . c o m • s d l i v e r m o r e @ p l a t e a u t e l . n e t

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The Small Boutique Realtor of Saint Barthelemy www.marlavillas.com - info@marlavillas.com

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OSN I T E C TE

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MOUNTing YOUR ART and ARTIfacts 3 RANCHO DE BOSQUE • SANTA FE, NM • 505.670.1730

STUDIO VISITS

we Asked twO ARtists tO RespOnd tO the fOllOwing: “we shOuld Only lOOk At ARt thAt Bites And stings us, BecAuse if A wORk Of ARt dOes nOt ROuse us with A BlOw tO the heAd, then why lOOk At it?”

Molecular confluence! Thought and embodiment should flow symbolically in its own forming comforts that ultimately embody a purely human process, always changing a mind’s suggestion to make sense of issues outside its control.

Emotional involvement frequents the motive of connection and saturates the impression. Mental ability to connect with its own need for interpretation and emotional connection to personal issues and expressions are always subject to taste. Environment is a product.

—issaC ssa CrooKs Crooks is a sculpture student at the Institute of American Indian Arts. His work has been shown at the IAIA Primitive Edge Gallery and the College of Santa Fe. To reach Crooks: i_crooks@yahoo.com

If a person remains alive to his or her contradictions, there is a good chance that he or she will be roused, bitten, and stung many times in a lifetime.

However, the capacity to be moved by what one sees is a rare and wonderful event. If a work of art only leaves us with “a blow to the head,” we may be diminished in our capacity either as an artist or an observer. Besides, there is much art that talks to us only after seeing it many times. Sometimes one has to look at something for a long time before its power is realized within us.

—riChard soBer — Sober sells his work directly from his Pecos studio. To see his paintings, call 505-757-3523, or contact the artist by email: rsober@pecosplaza.com

APRIL 2007

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TREASURES OF LIGHT, 48" × 48", OIL ON LINEN

RICK STEVENS

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

C e!

( (c c set, sub jej,ec$0, jej, j e ej, j,ec$ ec$0, ec$ 0, set 1%.i?j.

1%.i? %.i?j %.i? ?j j. . ij ije ijej ijej 1 ej ej 1 1 A exhibition at the

Santa Fe Community College Visual Arts Gallery • March 29 through April 25, 2007 Investigating the variety and

complexity of shifting relationships in a community of artists.

Three artists [Jack Slentz • Erika Wanenmacher • John Boyce]

each choose three artists each {Pat Simpson • Roxanne Swentzell • Rose Simpson} {Laird Hovland • Celia Rumsey • Susan York} {Elissa Beaton • Greg Joubert • Kim Hargrove}

+ three artists {Connie Mississippi • John Geldersma • Peter Joseph}

Opening Reception Wednesday, April 4 • 5 to 7 p.m.

Visual Arts Gallery Monday through Friday, 10 a.m. to 5 p.m.

(505) 428-1501 • www.sfccnm.edu/gallery

Santa Fe Community College 6401 Richards Ave. Santa Fe, NM 87508

=

{teachers, students, friends, family, employees, employers}

[Artists] [Artists]

kasasoba traditional japanese cuisine

TR ATTORIA NOSTR ANI Offering Seasonal Northern Italian Cuisine and a Comprehensive European Wine List

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the patio opens soon join us for our new spring menu 3o4 Johnson Street in Downtown Santa Fe Monday - Saturday 5:3o - 1o pm Reservations 983.38oo or www.trattorianostrani.com Ample Parking Available

Copa De Oro at the Agora Center at Eldorado

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Regional Mexican Cuisine Steaks Seafood Tostadas

Burgers Barbeque Enchiladas

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Take-Out Menu Reservations

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Food Photographs Photographs for Websites, Print Advertising, and Display

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blueberry breakfast, lunch and dinner to go!

Blueberry is located at 3005 S. St. Francis Dr. Zia Road. Inside the Plaza Entrada Shopping Complex adjacent to Albertson’s.

We make the absolute best Tel. 505.989.4050 - Fax 505.989.1817 www.blueberrysantafe.com pancakes in Open 7 Days a Week Santa Fe!

Spring / Summer 7:30am to 3:30pm

cell phone: 505-570-1460

AFTER REMBRANDT: THE STORY OF JESUS An exhibiton of work by the unknown artist “Anonymous” Show runs April 15 to May 15.

cloud cliff

Bakery Cafe Artspace

1805 Second Street • Santa Fe • 505-920-1277

DINING GUIDE

Breakfast and Lunch at

lamy station CafÉ at the Lamy Train Station Wednesday–Saturday: 8:30 am to 3 pm.

Sunday: 10 am to 3 pm.

466-1904 $ key

ineXpensive

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up to $14

mOdeRAte

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eXpensive

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veRy eXpensive

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Prices are for one dinner entrée. If a restaurant serves only lunch, then a lunch entrée price is reflected.

Alcoholic beverages, appetizers, and desserts are not included in these price keys. Call restaurants for hours.

$34 plus

eAt A Out mORe Often!

At

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

315 315 Old Santa Fe Trail. 986-9190.

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

Major credit cards. $$$ Cuisine: French. Atmosphere: Three intimate rooms—reminiscent of a small inn in the French countryside. Patio dining. house specialties: Earthy French onion soup made with a duck stock; squash blossom beignets; smooth and rich foie gras terrine with poached cranberries; crispy duck; and one of the most flavorful steaks in town. comments: Super wine bar.

Al Di là 227 Galisteo St. 983-6766.

Lunch/Dinner Beer/wine pending.

Major credit cards. $$ cuisine: Italian. Atmosphere: Casual with open kitchen. house specialties: Fresh homemade pastas—we adored the Fettuccini alla Rustica: chicken, wild mushrooms, sundried tomaotes, garlic, and extra virgin olive oil; Piccata: chicken breast in a lemon caper butter sauce. comments: Try the homemade soups.

AnAs AsA As sAzi Azi RestA estAu AuRAnt Inn of the Anasazi 113 Washington Ave. 988-3030 Breakfast/Lunch/Dinner Smoke-free. Valet parking.

Major credit cards. $$$$ cuisine: Contemporary American/Southwest.

Atmosphere: Subdued room with elegant table settings that make you forget you’re in a hotel restaurant. house specialties: For starters, order the grilled Mexican prawns with heirloom tomato and avocado salad or the crispy mustard-crusted veal sweetbreads.

For your entrée, try the Alaskan Halibut with asparagus corn risotto in a spicy saffron-shellfish broth or the grilled Colorado pepper-crusted rack of lamb. Recommendations: You can rely on the sommelier to pair your food with wine, by the glass or bottle. comments: The pre-opera menu is perfect for Santa Fe’s busy tourist season.

AnDiAmo! 322 Garfield St. 995-9595.

Dinner Beer/wine. Smoke-free. Patio.

Major credit cards. $$ cuisine: Italian. Atmosphere: Cozy interior with Tuscan yellows and reds. house specialties: The chicken Parmesan; baked risotto with mushroom ragout; and any fish special. comments: Consistently good food and a sharp wait staff makes Andiamo! one of the places in Santa Fe to eat Italian.

AquA quA sAntA nt 457 W. Alameda St. 982-6297.

Lunch; Wednesday-Friday Dinner: Tuesday- Saturday Beer and Wine. Smoke-free. Patio.

Parking entrance on Water St. Major credit cards. $$ cuisine: American gets cozy with Provencal Atmosphere: Sophisticated charm that is at once warm and inviting, intimate and casual— everyone here is special. house specialties: The food is made to order, so don’t be in a hurry.

The fresh tomato soup is paired with the best bread in town and is so full of flavor that it can’t get any better. The mussels, breast of guinea

hen, anything with polenta are marvels of flavor.

Other recommendations: If the wedge of choolate pavé is on the dessert menu, go for it. comments: Aqua Santa draws a cool crowd.

BAleen sAntA ntA Fe At the Inn of Loretto 211 Old Santa Fe Trail 984-7915 Breakfast, lunch and dinner Smoke-free. Valet parking at entrance Major credit cards. $$$$ cuisine: Inspired local cuisine. Atmosphere: From the remarkable artwork throughout the inside dining area (several Picasso’s), beautiful table settings and comfortable chairs, to the lovely patio with an outdoor fireplace, Baleen is an eye-opening experience. specialties: The briny Kumamoto oysters and a frisée salad with “Squaw Candy”—a delicious rendition of Pacific Northwest smoked salmon. If the Tahitian vanilla-poached Alaskan halibut with forbidden black rice and mango salsa, or the Harris Ranch New York “Steak and Potatoes,” are available, go for it. Recommendations: The American cheese tasting plate or the hot chocolate, Spanish style, are great endings.

BlueBeRRy RR RRy 3005 S. St. Francis Drive. 989-4050 Breakfast, lunch, and dinner Smoke-free Major credit cards. $$ cuisine: American: Atmosphere: Light and bright café with good energy emanating from the wait staff and kitchen. specialties: Eggs Benedict, organic multi-grain pancakes, southern fried chicken with waffles, chicken in a pot, and sandwiches to die for. entrees: Dinners to go include a BBQ beef plate and organic Niman Ranch beef.

Recommendations: The buffalo chicken sandwich is incredible and the burgers are Niman Ranch beef. comments: Portions are beyond generous.

BoBcA cAt cA At Bite RestA estAu AuRAnt Old Las Vegas Hwy. 983-5319 Lunch/Dinner No alcohol. Smoking Cash. $$ cuisine: American. Atmosphere: This is the real deal—a neon bobcat sign sits above a small, low-slung building. Inside are five tables and nine seats at a counter made out of real logs. house specialties: The enormous inch-and-a-half thick green chile cheeseburger is sensational.

The 13-ounce rib eye steak is juicy and flavorful. comments: No desserts. the Blue heRon R Ron Restaurant at The Inn at Sunrise Springs 242 Los Pinos Rd. (La Cienega) 428-7613 Breakfast/Lunch/Dinner/Sunday Brunch Smoke-free. Patio.

Major credit cards. $$ cuisine: Asian/American Atmosphere: Zenlike setting with fireplaces and Japanese-style sitting in upstairs dining room. The beautiful grounds feature ponds with giant koi and a meditation pool. house specialities: Flash fried calamari with lime ginger dipping sauce; Asian Ceasar salad; pink peppercorn crusted Ahi tuna; Hijiki crusted salmon; prosciutto wrapped pork tenderloin with sweet ginger mash and bok choy. comments: Book one of their charming casitas and have a romantic vacation—just fifteen minutes from downtown Santa Fe.

BumBle Bee’s BAj AjA GRill 301 Jefferson St. 820-2862 Breakfast Daily Lunch/Dinner Patio and drive-up window Major credit cards. $$ cuisine: Mexican Atmosphere: Casual, friendly and bright with handy drive-up for those on the go. house specialties: Soft corn Baja-style fish tacos, featuring mahi mahi; steak burrito grande; and rotisserie chickens.

Homemade salsa (bowls of it at the salsa bar) and chips are super. comments: Chef Chris Galvin (Andiamo!, Coyote Café, and Escalera) is at the helm. The tortilla stew is the best! cAFé PAsqu AsquA squAl’s 121 Don Gaspar. 983-9340.

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

Major credit cards. $$$ cuisine: Multi-ethnic. Atmosphere: The café is adorned with lots of Mexican streamers, Indian maiden posters, and rustic wooden furniture. house specialties: Hot cakes get a nod from Gourmet magazine. Huevos motuleños, a Yucatán breakfast, is one you’ll never forget. For lunch, try the grilled chicken breast sandwich with Manchego cheese. comments: Always a line outside. cAFé sAn estevA stev n 428 Agua Fria at Montezuma St. 995-1996.

Breakfast/Lunch/Dinner Beer/wine. Smoke-free. Patio.

Major credit cards. $$ cuisine: New Mexican Atmosphere: Old adobe, rustic wooden tables. house specialties: Enchiladas de la Casa de Estevan, Anna’s poblano chile, watercress salad with poached egg and bacon, and probably the best flan you’ll ever have. comments: Chef Estevan García has taken New Mexican foods and refined them with French influences. clouD cliFF BAkeRy Ry & ARts Ry R PAce PA 1805 Second St. 983-6254.

Breakfast/Lunch/Brunch/Bakery Beer/wine. Smoke-free. Patio.

Major credit cards. $ cuisine: American meets the Southwest.

Atmosphere: Open room with long bar facing an open grill, a community table, and a bakery with heady aromas. house specialties: Roasted vegetable goat cheese sandwich; blue corn chile rellenos; soups; salads; and stuffed croissants. For Sunday brunch, try the smoked salmon sandwich. comments: Watchwords at Cloud Cliff are “Art, Politics, Community.” the comPounD 653 Canyon Road. 982-4353 Lunch/Dinner Full bar. Smoke-free. Patio Major credit cards. $$$ cuisine: American. Atmosphere: Beautiful, adobe. house specialties: The seared beef tenderloin carpaccio with horseradishcrème fraiche dressing is a great starter. The Compound’s classics remain: Roast chicken with creamed spinach and foie gras pan gravy and the forever-braised New Mexican Lamb shank with fire-roasted tomato risotto. Other recommendations: The bittersweet liquid chocolate cake is irresistible. comments: Seasonal menu that pairs perfectly with the wine list.

coPA De oRo R Agora Center at Eldorado. 466-8668 Lunch/Dinner Take out menu Full bar. Smoke-free.

Major credit cards. $$ cuisine: New Mexican. Atmosphere: Bright colors are inviting. house specialties: Duck carnitas tostadas; guacamole with jicama and freshly made corn chips and the tortilla and cactus soup are tasty starters. For dinner, try the Margarita strip steak marinated in lemon and lime juice and tequila, grilled to order over mesquite or the San Carlos fisherman’s stew brimming with fish, shrimp, and mussels in a fireroasted tomato and cactus broth. comments: Written up in Gourmet. counteR cultuRe 930 Baca St. 995-1105.

Breakfast/Lunch/Dinner Wine/Beer. Smoke-free. Patio. Cash. $$ cuisine: All-American. Atmosphere: Informal. house specialties: Breakfast: burritos and frittata. Lunch: sandwiches and salads. Dinner: flash-fried calamari; grilled salmon with leek and pernod cream sauce; and a delicious hanger steak. comments: Boutique wine list . cowG ow iRl hAll oF FAme 319 S. Guadalupe St. 982-2565.

Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio Major credit cards. $ cuisine: All American. Atmosphere: Popular patio shaded with big cottonwoods. Cozy bar. house specialties: Very “Atkins-friendly.” The smoked brisket and ribs are fantastic. Dynamite buffalo burgers; potato salad (with skins); a knockout Texas onion loaf; and strawberry shortcake. comments: Beers, beers, and more beers—from Bud to the fancy stuff. coyote cAFé 132 W. Water St. 983-1615.

Dinner Full bar. Smoke-free dining room.

Major credit cards. $$$ cuisine: Southwestern. Atmosphere: A bright, contemporary space. Saddle up a barstool covered in real cowhide. house specialties: Brazilian daiquiri or Chile-tini to go with Coyote’s famous red chile onion rings. Do not deny yourself—get the chipotle shrimp on buttermilk corn cakes for an appetizer. Entrée of choice is the 22-ounce, bone-in, aged prime rib cowboy steak—hefty enough to satisfy most armchair buckaroos. comments: A restaurant legend.

DAve Ave’s not heRe 1115 Hickox St. 983-7060.

Lunch/Dinner Beer/wine. Smoke-free.

Cash. $ cuisine: American with New Mexican flavor.

Atmosphere: One simple room with open kitchen. Friendly. Shared tables. house specialties: Thick chile cheeseburgers with french fries and knockout housemade chile rellenos have kept the Santa Feans coming back for years. Large portions and low prices. comments: Knockout burgers.

Downtown suBscRiPtion 376 Garcia St. 983-3085.

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

Cash. $ cuisine: American coffeehouse and newsstand.

Atmosphere: Café society. Over 1,600 magazine titles to buy or peruse. Big room with small tables and a nice patio outside where you can sit and schmooze. house specialties: Espresso, cappuccino, lattes, and pastries. comments: As easy as it gets. el FARol ARol 808 Canyon Rd. 983-9912.

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

Major credit cards. $$ cuisine: Spanish. Atmosphere: The Westernstyle bar with wood plank floors, thick adobe walls, and a postage-stamp-size dance floor for cheekto-cheek dancing. Wall murals by Alfred Morang.

Intimate dining rooms. house specialties: Tapas; fresh garlic soup; and paella. comments: Live music and flamenco weekly. el mesón 213 Washington Ave. 983-6756.

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

Major credit cards. $$ cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly: Spanish guitar, jazz, and even a wild Tango night. house specialties: Tapas reign supreme, with classics like Manchego cheese marinated in extra virgin olive oil; sautéed spinach with garlic and golden raisins; and flash-fried baby calamari with two sauces. The grilled 14-ounce rib eye steak with chimichurri is outstanding. Paellas are worth the 30-minute wait. comments: Chef/owner David Huertas has brought authentic Spanish cuisine from the hills of Spain to the high desert of New Mexico.

GeRonimo R Ronimo 724 Canyon Rd. 982-1500.

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

Major credit cards. $$$$ cuisine: American and Southwestern contemporary cuisine.

Atmosphere: Two-hundred-year-old building with fireplaces, portal, and a garden room. house specialties: Executive Chef Eric DiStefano masters a complex union of herbs, spices, and fresh ingredients in creating awe-inspiring meals. Entrées include seared the “Sea Salad”—butter roasted sea bass w/ brined English cucumbers, mesquite grilled Colorado lamb chops, and the peppery elk tenderloin. Other recommendations: At dinner, choose from three of the Chef’s Tasting Menus—paired with wines for each course. comments: Service is excellent—desserts extravagant. il PiAtto A Atto 95 W. Marcy St. 984-1091.

Lunch/Dinner Full bar. Smoke-free.

Major credit cards. $ cuisine: Italian Atmosphere: A bustling interior with cozy bar. house specialties: Grilled hanger steak with three cheeses, pancetta and onions; lemon and rosemary grilled chicken, pumpkin ravioli w/ brown sage butter. For dessert: Warm bread pudding. comments: Extremely reasonable prices. No dinner entrée over $18.

continued on page 25

APRIL 2007

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SHOHKO C AFÉ sushi • sake japanese cuisine lunch dinner •

321 johnson street 982.9708

L a M o n t a n i t a C o - o p Fo o d M a r ke t 913 W. Alameda, Santa Fe 505-984-2852 www.lamontanitacoop.com

R I S T R A

bar menu from 5:30 pm

548 agua fria open nightly

patio dining

www.ristrarestaurant.com

982.8608

the bar @ RISTRA

DINING GUIDE 309 W. San Francisco St. 988-4455.

Dinner Full bar. Smoke-free.

Major credit cards. $$$ cuisine: American meets Southwestern.

Atmosphere: Clubby and comfortable. house specialties: Pan seared Alaskan halibut with Yukon gold potato and lobster cake and pepper-tomato jam; and the grilled veal chop.

For dessert, the warm liquid center chocolate cake with crème anglaise. comments: Very professional service.

Superb food, beautifully prepared and presented at

Joseph’s Table, at Hotel La Fonda de Taos.

108-A South Plaza, Taos. Reservations: 505-571-4512 jinjA 510 North Guadalupe St. 982-4321.

Lunch/Dinner Full Bar. Smoke-free.

Major credit cards. $ cuisine: Pan-Asian. Atmosphere: Rich, deep colors, dark wood booths, a stunning bar, and a Gauguin-like painting in the dining room deliver romance and nostalgia. house specialties: If you remember Trader Vic’s, the drinks at the too-much-fun Jinja Bar will blow you away.

It reads like something out of the 50s: MaiTai, Singapore Sling, Zombie, Kava Bowl, and Volcano drinks. comments: Great savory soups and wok bowls. josePh’s tABle 108-A South Taos Plaza. 505-751-4512 Lunch/Dinner Full bar Visa & Mastercard. $$$ cuisine: Modern American / New Mexicoinspired. Atmosphere: Casual. house specialties: vodka cured wild salmon on corn blinis with Canadian caviar and pan seared foie gras with sun dried cherry chutney. comments: Chef Joseph Wrede is brilliant. Butterfly Bar opens at 5:30 pm. Extensive wine list. juliAn’s 221 Shelby St. 988-2355.

Dinner Full bar. Smoke-free. Patio Major credit cards. $$ cuisine: Italian. Atmosphere: One of Santa Fe’s most romantic restaurants. house specialties: Eggplant grilled with olive oil, roasted red peppers, and balsamic vinegar. The boneless breast of chicken sautéed with raisins, shallots, and capers in a sweet-and-sour wine sauce are addictive. comments: Tiramisú for dessert. kAs AsA sAso AsoBA 544 Agua Fria. 984-1969 Lunch/Dinner Beer/Wine/Sake. Smoke-free. Patio.

Visa & Mastercard. $$ cuisine: Japanese. Atmosphere: Casual and subdued. house specialties: For dinner, we suggest Izakaya (Japanese bar food), featuring an authentic Binchotan Grill. Try the miso soup with lobster, vegetable tempura, and the sakesteamed striped bass. comments: Wonderful selection of sake. kohnAmi RestA estAu AuRAnt 313 S. Guadalupe. 984-2002.

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

Visa & Mastercard. $$ cuisine: Japanese. Atmosphere: Casual. house specialties: Miso soup; ramen; sea weed salad; soft shell crab; dragon roll; chicken katsu; noodle dishes; and the Bento box specials. comments: Good selection of sake and beers.

For dessert, opt for the wonderful tempura ice cream—ginger, red bean, green tea, or vanilla. lAmy stA tAtion Ation cAFé Lamy Train Station. Lamy. 466-1904 Breakfast/ Lunch Major credit cards. $$ cuisine: American. Atmosphere: 1950’s dining car. house specialties: Fantastic green chile stew, Teriyaki chicken bowl with veggies, burgers, and salads. comments: Wonderful breakfasts. When busy, it can be a long wait for your food, but it is well worth it. le moyne’s lAnDinG 402 N. Guadalupe. 820-2268 Lunch and dinner Beer/wine. Smoke-free. Patio Major credit cards. $$ cuisine: Cajun/Creole. Atmosphere: Casual. specialties: Duck and addouille and turtle and porcini gumbo; blackened shrimp atop coconut

and black pepper grits, Creole-spiced Dungeness crab; and voodoo poboy fried chicken breast. comments: Easy on the wallet. los mAy AyA yAs As 409 W. Water St. 986-9930.

Dinner Full bar. Non-smoking. Patio.

Major credit cards. $$ cuisine: New and Old Mexican. Atmosphere: Intimate, borders on sultry on some evenings. house specialties: Ceviche; turbo fish marinated in fresh lemon and orange juice; guacamole freso, and “Taste of Santa Fe” award-winning Chile en Nogada. comments: Flamenco every Saturday. mARiA’s new mexicA exic n kitchen 555 W. Cordova Rd. 983-7929.

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

Major credit cards. $ cuisine: New Mexican. Atmosphere: Rough wooden floors, hand-carved chairs and tables, and kiva fireplaces set the historical tone. house specialties: Freshly-made tortillas and green chile stew. Pork spareribs in a red chile sauce are a fifty-year-old tradition. Flan with burnt-sugar caramel sauce is the perfect ending. comments: For margaritas, Maria’s is the place. mu Du nooDles 1494 Cerrillos Rd. 983-1411.

Dinner Beer/wine. Smoke-free.

Major credit cards. $$ cuisine: Noodle House Atmosphere: Casual and friendly. house specialties: Try the salmon dumplings—steamed and drizzled with oyster sauce; the Pad Thai; or the Malaysian Laksa— wild rice noodles in a red coconut curry sauce with baby bok choy. comments: Daily specials are excellent. museum hill cAFé 710 Camino Lejo–Museum Hill. 820-1776.

Lunch/Sunday Brunch Major credit cards. $$ cuisine: American. Atmosphere: CafeteriaMuseum/Cafe-style. house specialties: A wonderful and hearty soup selection, righteous salads, and sandwiches. We also liked the chicken enchiladas. comments: Healthy, fresh food. Manager and host John Margraff (of Salon Mar Graf fame) is your ticket to a great meal. o’k keeFFe cAFe 217 Johnson St. 946-1065 Lunch/Dinner Beer/wine. Smoke-free. Patio.

Major credit cards. $$$ cuisine: Contemporary Southwest with a French flair. Atmosphere: The walls are dressed with photos of Ms. O’Keeffe herself. house specialties: A silky smooth foie gras served with orange muscat is an inviting appetizer. For your main, try the Northern New Mexico organic poquitero rack of lamb with black olive tapenade. comments: Nice wine selection. osteRiA D’Assisi A 58 S. Federal Place. 986-5858.

Lunch/Dinner Beer/Wine. Smoking/non-smoking. Patio Major credit cards. $$ cuisine: Italian. Atmosphere: Casual, friendly, and perfectly unpretentious. house specialties: A super selection of antipasti; a perfectly prepared Scaloppine al Vino Bianco e Capperi (veal sautéed in white wine with lemon and capers). comments: Housemade pastas, breads, and micro-brewery beers. olD house at the Eldorado Hotel

Pink ADoBe 406 Old Santa Fe Trail. 983-7712.

Lunch/Dinner Full bar. Smoke-free dining rooms.

Major credit cards. $$ cuisine: American/Creole and New Mexican.

Atmosphere: Housed in a 300-year-old former military barracks with 36-inch-thick walls, and six fireplaces. house specialties: Creole Mary, a Bloody Mary with Stoli, a skewer of celery, olives, and pickled okra. Gypsy or green chile stew at lunch. Steak Dunigan—a New York cut smothered with green chile. French apple pie with hot brandy sauce for dessert. comments: A Santa Fe tradition.

RAilyARD ilyARD RestA estAu AuRAnt nt & sAloon 530 S. Guadalupe St. 989-3300 Lunch: Monday-Saturday Dinner daily Bar Menu daily Smoke-free. Free parking.

Major credit cards. $$ cuisine: American Classics Revisited.

Atmosphere: Open, spacious, and bustling. house specialties: Appetizers include southern fried buttermilk chicken strips with Creole remoulade dipping sauce, and BLT salad. The classic sides—potatoes au gratin, macaroni and cheese, creamy spinach, mushrooms with sherry, and steamed asparagus or broccoli—will drive you mad with decisions. Steaks and chops grab your attention with choices of compound butters that melt on top of the meat. Try the ribeye with blue cheese and port butter or the blackened pecan-crusted ruby trout. Other recommendations: Catfish Po’Boy at lunch and the lemon meringue pie. comments: Generous pour at the bar.

Rio chAmA steA te khouse 414 Old Santa Fe Trail. 955-0765.

Sunday Brunch/Lunch/Dinner/Bar menu.

Full Bar. Smoke-free dining rooms.

Major credit cards. $$$ cuisine: American Steakhouse/New Mexican.

Atmosphere: Pueblo-style adobe with vigas and plank floors. house specialities: USDA Prime steaks and prime rib. Haystack fries and corn bread with honey butter are yummy sides. The tuna at lunch is superb. Other recommendations: The bar menu features a great fondue and mini hamburgers. comments: For dessert, try the chocolate pot.

RistRA 548 Agua Fria St.. 982-8608.

Dinner/Bar Menu Full Bar. Smoke-free. Patio Major credit cards. $$$ cuisine: Southwestern with French flair.

Atmosphere: Elegant new bar with an extensive bar menu, sophisticated and comfortable dining rooms, a charming outdoor patio.house specialties: Black Mediterranean mussels in aromatic chipotle and mint broth; ahi tuna tartare; squash blossom tempura; pistachio crusted Alaskan halibut; and achiote grilled Elk tenderloin. comments: Extensive wine list, Wine Spectator Award of Excellence 2006. sAn FRAncisco st. BAR & GRill 50 e. san franCisCo st. 982-2044 Lunch/Dinner Full bar.

Major credit cards. $$ cuisine: American. Atmosphere: Casual with art on the walls. house specialties: At lunch try the San Francisco St. hamburger on a sourdough bun, with red onion, tomato, lettuce, and pickle; the grilled salmon filet with black olive tapenade and arugula on a ciabatta roll; or the grilled yellowfin tuna nicoise salad with baby red potatoes. At dinner, we like the tender and flavorful twelve-ounce NY Strip served with a chipotle herb butter or the Idaho Ruby Red Trout served with a grilled pineapple salsa. comments: They’ve been around since 1985. Visit their sister restaurant at Devargas Center.

calamari with lime dipping sauce will never disappoint. Favorite dinner entrées include: grilled rack of lamb; pan-seared salmon with olive oil crushed new potatoes and creamed sorrell; miso marinated halibut with lemongrass. comments: If available, order the tempura shrimp. Righteous cocktails, super appetizers, and a knockout crème bruleé. Appetizers at the bar at cocktail hour is fun. sAveu A R 204 Montezuma St. 989-4200.

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

Visa/MasterCard. $ cuisine: French/American. Atmosphere: Cafeteria-style service for salad bar and soups. Deli case with meats and desserts. Sit down at small tables in very casual rooms, elbow to elbow. Bustling with locals every day. house specialties: Excellent salad bar and sandwiches. comments: Fast and easy. seconD stReet BReweRy R Ry 1814 Second Street. 982-3030.

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

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

Atmosphere: Casual and very friendly. house specialties: The beers brewed on the premise are outstanding, especially when paired with beersteamed mussels; beer-battered calamari; burgers; fish and chips; green chile stew or the truly great grilled bratwurst. comments: A kid-friendly place and very generous portions. the sheD 1131/2 E. Palace Ave. 982-9030.

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

Major credit cards. $ cuisine: New Mexican. Atmosphere: The Shed—a local institution; some say a local habit)—is housed in a seventeenth century adobe hacienda just a heartbeat from the Plaza. house specialties: Stacked red or green chile cheese enchiladas with blue corn tortillas are the real deal. The posole is a knockout! comments: Avoid long lines, go to sister restaurant, La Choza, for the same classic New Mexican food. shohko cAFé 321 Johnson St. 982-9708 Lunch/Dinner Sake/Beer. Smoke-free Major credit cards. $$$ cuisine: Authentic Japanese Cuisine.

Atmosphere: Sushi bar as well as table dining. house specialties: Softshell crab tempura; hamachi kama; sesame seafood salad, and Kobe beef with Japanese salsa. comments: Chat with the sushi chefs. steAksmith At A el GAncho Old Las Vegas Highway. 988-3333.

Dinner Full bar. Smoke-free dining room.

Major credit cards $$ cuisine: American. Atmosphere: Family restaurant with full bar and lounge. house specialties: Aged steaks and lobster. Great pepper steak with Dijon cream sauce. comments: They know steak here. the teAhouse 821 Canyon Rd. 992-0972 Breakfast/Light Fare to 7 p.m.

Patio.

Major credit cards. $ cuisine: Contemporary with a French flair. Atmosphere: Casual cafe. house specialties: Lovely salads and an absolutely

amazing selection of teas by the cup or in bulk. comments: A bit of old Europe on Canyon Road. tiA soPhiA’s 210 W. San Francisco St. 983-9880.

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

Major credit cards. $ cuisine: New Mexican. Atmosphere: The “real deal.” Old wooden booths or tables. house specialties: Green chile stew (known to cure the common cold). Enormous breakfast burritos stuffed with bacon, potatoes, chile, and cheese. comments: Authentic Northern New Mexican food served here. tRAtto RA RiA nostRAni 304 Johnson Street. 983-3800.

Dinner Wine/Beer. Smoke-free dining rooms.

Wine/Beer Patio.

Major credit cards. $$$ cuisine: Northern Italian. Atmosphere: A renovated 1857 adobe with a great bar.house specialties: To start, order the Trio of Crostini: duck pate, wild boar, and roasted plum tomato or the fried calamari, shrimp, and whitefish. The crépes with salt cod puree and shrimp reduction is delicious. For your main, you cannot go wrong ordering the veal scaloppine with Tuscan vegetable ragu and orzo; the grilled hanger steak with fried potatoes; or the grilled Colorado rack of lamb. comments: Large selection of Italian and French wines.

The bar has been raised for Italian food in Santa Fe. tRee house cAFé & PAstRy R shoP Ry at Plants of the Southwest 3095 Agua Fria St. 474-5543.

Breakfast and lunch Closed Monday Smoke-free. Garden tables Major credit cards. $$ cuisine: All organic ingredients.

Atmosphere: Light, bright, and cozy. house specialties: Ultra-fresh Farmer’s Market salad; soup and sandwich of the day; quiche, tart, and a vegetable quesadilla.

Recommendations: The delicious tortilla soup is crunchy, warm and cozy; the milehigh quiche has a flaky whole wheat crust.

The cakes, cupcakes, brownies, scones and muffins can’t be beat. vAnessie oF sAntA ntA Fe ntA 434 W. San Francisco St. 982-9966.

Dinner Full bar. Smoke-free dining room.

Major credit cards. $$$ cuisine: American. Atmosphere: Grand piano bar and oversize everything thanks to architect Ron Robles. house specialties: New York steak and Australian rock lobster tail. comments: Many daily specials. whole BoDy D cAFe Dy 333 Cordova Rd. 986-0362.

Breakfast/Lunch Major credit cards. $ cuisine: Mostly organic. Atmosphere: Cafe casual. house specialties: Tasty breakfast burritos, seasonal fruit plates, smoothies, juices, coffees, and teas to start your day. Raw food, sandwiches, and salads at lunch. ziA A DineR 326 S. Guadalupe St. 988-7008.

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

Major credit cards. $$ cuisine: American as apple pie.

Atmosphere: Down home and casual. house specialties: Meat loaf served with real mashed potatoes and gravy; a variety of of hamburgers; and a totally smashing chickenfried chicken. Try the hot-fudge sundae with bittersweet fudge sauce.

on the Road with t E magazine tH If

you

Memphis,

are

visiting

make

the

Rum Boogie Cafe, 182 Beale Street, a “must stop”

sAntA ntAc ntA AcAFé 231 Washington Ave. 984-1788.

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

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

Atmosphere: Minimal, subdued, and elegant. house specialties: For starters, the crispy

on

your

trip.

Catfish, gumbo, barbecue, and great beers. This joint is the real deal.

Photograph by Rachel Allen

APRIL 2007

THE

MAGAZINE

|25

PATIO DINING ALWAYS AVAILABLE

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Aqua

santa

451 WEST ALAMEDA · RESERVATIONS 982.6297 LUNCH 12 - 2 PM W - F · DINNER 5:30 - 9pm t - s

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ONE BOTTLE

one Bottle: the 1983 chÂteAu d’yQuem

by Joshua Baer

The state where I live has a shadow government. In that shadow government

dessert wine category and leave it there is like saying that making love is a

there are many departments, more departments than anyone can count. I work in

biological function we perform to reproduce ourselves. You can drink Yquem

the Department of Highways and Memories. Some people say I got fired from the

with grilled foie gras, roast beef, fettuccine arabiata, or a ham sandwich. Nothing

Department, or that I retired for medical reasons. Other people say I run it. All of

intimidates Château d’Yquem.

those people are mistaken. I’m still on the job, but no one can run the Department

The vineyard is two hours southwest of Paris, on a hillside south of the

of Highways and Memories because no one can know where it begins or where

Garonne River. (For pictures, visit www.yquem.fr—the site is a jewel.) Yquem’s

it ends. Anyone who tells you otherwise is trying to scam you out of everything

cepage is eighty percent sémillon and twenty percent sauvignon blanc. The

you love and hold dear.

grapes are allowed to overripen on the vines, sometimes into late October.

The state where I live has a lot in common with the state of New Mexico. It is

They are harvested only after they have been attacked by a grey fungus called

a large state. It is a state where mystery is both an atmosphere and a destination. It

Botrytis cinerea (Latin for “grapes like ashes”). The fungus, known in the wine

is a poor state full of rich people and a rich state full of poor people. It is something

world as “noble rot,” contributes to Yquem’s metaphysical flavors.

else, is what it is. But the state where I live is not New Mexico. It is a state of anxiety crossed with a state of bliss. It is a state of denial crossed with a state of grace. Everything happens here—including nothing.

I have lived here all my life, though there were times when I believed

In the glass, the 1983 Yquem walks the line between copper and gold.

Forget about describing the bouquet. Suffice it to say that given the choice between inhaling and drinking this wine, plenty of people would choose the former. On the palate, the Yquem is a bag of tricks, each one

with all my heart that I lived someplace else. (The heart can be tricky

designed to humiliate you with pleasure. The flavors seem definitive

that way.) My parents lived here before me. Their parents lived here

at first, then the symphony of uncertainty begins. There is no way to

before them. My children live here. God willing, their children and

be sure, no way to say with any degree of authority, what it is that

their children’s children will carry on the tradition. My wife lives here.

you are tasting. By the middle of the glass, the uncertainty works

My dogs live here. Anyone who has ever dreamed of an island, tasted

its way into your heart. By the end of the bottle, it lives in your

a snowflake, or forgotten his or her own name lives here, too.

soul. The finish survives the wine’s uncertainty but also maintains

The Department of Highways and Memories has been around

it. When your glass is empty, you still taste the Yquem. When the

for years. It’s as old as the hills. What we do, basically, is provide a

bottle is empty, you are haunted by the Yquem. That’s what I call

service for travelers. We give travelers the chance to erase the

a finish.

lines between their highways, their destinations, and the memories

As great a wine as the 1983 Yquem is, it is also a great lesson.

of their highways and their destinations. When we do our job well,

Some wines give you a feeling of power. Other wines give you thrills.

travelers recall their highways, their destinations, and the memories

Chateau d’Yquem gives you faith, and it does it by dispelling your

of their highways and their destinations with a certain combination of

illusions of certainty. Numerical rating systems and paragraphs full of

nostalgia and relief. None of us can explain where the nostalgia comes

culinary adjectives may promise you an understanding of what you’re

from though we think it has something to do with leaving home and

drinking but they cannot keep that promise. All they can do is provide

knowing—the moment you leave, not later—that things will never

you with the illusion of certainty.

be the same.

Like the related illusions of immortality, invincibility, and

If all of this sounds vague, strange, or mystical, then I apologize.

perfection, the illusion of certainty is a highway to hell. Wine, like life,

It is none of the above. The Department of Highways and Memories

is uncertain. Accepting its ineffable nature is the key to appreciating

is as real as death, love, sacrifice, or war. The Department is neither

it. If you know—or think you know—what you’re doing, you’re not

a concept nor an allegory. What I am describing is not a figment of

only mistaken, you’re a danger to yourself and others. Take it from

your imagination. This is not The Twilight Zone. The problem is,

a lifetime employee of the Department of Highways and Memories.

words cannot describe the Department of Highways and Memories.

The known may be the favorite, but the unknown is the sleeper bet.

To describe what goes on here, you would need an ocean of mirrors

Only a fool is certain.

or a sky full of stories. You would need all the colors that never made it onto the wheel. You would need a bottle of wine that tasted like the human soul.

One Bottle is dedicated to the appreciation of good wine and good times, one bottle at a time.

The name One Bottle,, and the contents of this column, are © 2007 by onebottle.com. If you need help finding a wine or building a cellar, write to Joshua Baer at jb@onebottle.com.

Which brings us to the 1983 Château d’Yquem.

Château d’Yquem (pronounced “shah-toe dee-kem”) is one of the most celebrated wines of France and is the best-known Sauternes in the world. Because Château d’Yquem is a Sauternes, people think of it as a dessert wine. Yquem is a dessert wine, but to put Yquem in the APRIL

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W I L L I A M S I E G A L G A L L E RY ANCIENT

CONTEMPORARY

NEW LOCATION

GRAND OPENING

NEW FOCUS

SATURDAY, MAY 18

RAILYARD DISTRICT

540 S GUADALUPE ST

SANTA FE, NM

505 820 3300

OPENINGS

april March

FRIDAY, MARCH 30 Artistas de santa fe gallery, 228-B Alameda at Old Santa Fe Trail, Santa Fe. 438-3775. Marriage of Heaven and Earth: New Work by Barbara Carter: Polaroid composite landscapes of Tuscany. 5-7 pm. box gallery, 1611-A Paseo de Peralta, Santa Fe. 989-4897. Solo exhibition: Bruce Wallin: graphite drawings and sculpture. 5-7 pm. expo new mexico, New Mexico Fairgrounds, Alb. 260-9977.

MasterWorks of New Mexico 2007: Spring Art Show opening preview and awards. 5-8 pm.

30

art openings —

April

30

charlotte Jackson fine Art, 200 W. Marcy St., Suite 101, Santa Fe. 989-8688. Off the Wall: group show including Constance DeJong, William Metcalf, and Susan York, with others. 5-7 pm.

516 ARts, 516 Central Ave. SW, Alb. 242-1445. Out of the Underground: The 13th Annual Juried Graduate Student Exhibition: curated by SITE Santa Fe’s Laura Heon. 6-8 pm.

Jonson gallery, University of New Mexico, 1909 Las Lomas NE, Alb. 277-4967. Out of the Underground: The 13th Annual Juried Graduate Student Exhibition: curated by SITE Santa Fe’s Laura Heon. 5-7 pm.

donkey gallery, 1415 4th St. SW, Alb. 242-7504. Heavy Objects: survey of unique objects solicited from the general community. 6-9 pm.

516 ARts, 516 Central Ave. SW, Alb. 242-1445. Tributaries: eight artists respond to poet/ curators, part of Downtown Artscrawl. 5-9 pm.

Jonson gallery, University of New Mexico, 1909 Las Lomas NE, Alb. 277-4967. Tributaries: eight artists respond to poet/curators, part of Downtown Artscrawl. 5-9 pm.

exhibit/208 gallery, 208 Dartmouth NE, Alb. 266-4292.

Dirty Drawings: smudged encaustic over collage elements by Angela Berkson. 5-7 pm.

inpost Artspace at Outpost performance space, 210 Yale SE, Alb. 268-0044. Word Play: Lauren Camp and Krista Kozel work with words for Artscrawl. 5-8 pm.

klaudia marr gallery, 668 Canyon Rd., Santa Fe. 988-2100. Still Lives: egg-tempera paintings by Susan McDonnell. Paintings and watercolors

by Jeanette Pasin Sloan. 5-7 pm.

the governor’s gallery, NM State Capitol Building, 4th floor, Santa Fe. 827-3000. Futures for Children: Photographs by Debbie Fleming Caffery and Kim Ashley: portraits of Native students in a mentoring program. 4-6 pm

lewAllen contemporary, 129 W. Palace Ave., Santa Fe. 9888997. Peripheral: Pard Morrison’s fabricated aluminum paintings/ sculptures. 5:30-7:30. mariposa gallery, 3500 Central Ave. SE, Alb. 268-6828. Threeperson show: visual haikus by Jenna Weston, sculptures by Susan Gutt, and jewelry by Johanna BeckerBlack. 5-8 pm. allery 806 Mountain Rd. allery, moRo gallery, NW, Alb. 242-6272. Solo show: foundobject art by Jill Cooper. 5-9 pm. w new grounds print workshop & gallery, 3812 Central Ave. SE, 100-B, Alb. 268-8952. Leaves: Etchings by Japanese Master Aire Furumoto: multi-plate etchings by one of Japan’s best-known printers.

5-8 pm. patina gallery, 131 W. Palace Ave., Santa Fe. 986-1879. Fostering the Sacred: turned-wood sculptures

by Clay Foster. 5:30-7:30.

hispanic cultural national center, 1701 4th St. NW, Alb. 246-2261. The African Presence in New Mexico: From Yanga to the Present: highlights Mexico’s “third root” in art. 6-8 pm.

photo-eye gallery, 370 Garcia St., Santa Fe. 988-5159. Ephemeral Moments: photographs by David H. Gibson and Don Hong-Oai. 5-7 pm. thirteen moons gallery, 652 Canyon Road, Santa Fe. 995-8513.

One-person show: mixed-media collages by Fran Skiles. 5-7 pm.

SUNDAY, APRIL 1 the teahouse t , 821 Canyon Rd, Santa Fe. 820-0763. Spirit Sites of Santa Fe: a collection of black and white photographs by Todd William. 5-7 pm.

t touching stone, 539 Old Santa Fe Trail, Santa Fe. 988-8072.

Essence of Japanese Aesthetics 2007: contemporary Bizen ceramics by Miroyuki Wakimoto. 5-7 pm.

WEDNESDAY, APRIL 4

visiones gallery, 212 Gold Ave. SW, Alb. 242-9267. Burned Books/ Quema de Libros: mixed-media altered books by students of Charles Castillo. 6-8 pm.

santa fe community college, Visual Arts Gallery, Room 701, 6401 Richards Ave., Santa Fe. 428-1501. Set-Subset: invitational sculpture exhibition curated

by Jack Slentz, Erika Wanenmacher, and John Boyce. 5-7 pm.

SATURDAY, APRIL 7 FRIDAY, APRIL 6 bivouac artspace, 1413 4th St. SW, Alb. 385-3717. The Whale’s Mouth: abstracted cave images by Tara Massarsky. 5-8 pm.

Spirit Sites of Santa Fe,, a series of black-and-white photographs by Todd Williams is on view at The Teahouse—821 Canyon Road, Santa Fe— through April 30. Opening reception on Sunday, April 1, 5 to 7 pm.

Addison Arts, 209 Galisteo St., Santa Fe. 992-0704. New Editions: Hot off the Press from Tamarind Institute. Omada: paintings by Michele Mikesell. 4-6 pm.

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WHO SAID THIS? “It's on the strength of observation and reflection that one finds a way.”

A) Egon Schiele. B) Claude Monet. C) Jeff Koons. D) Frida Kahlo.

DEAL: $500 full-page ads in the May issue for artists without gallery representation in New Mexico. Deadline: APRIL 13. 424-7641.

OUT & ABOUT Photographs by Clix, Jennifer Esperanza, and Stanley Darland

Saturday, April 21, 5-8 pm Eldorado Hotel

DESERT ACADEMY presents its Annual Auction in support of Santa Fe’s most outstanding financial aid program for students whose families would otherwise not be able to afford a high-quality, college prep school education. From 2004 to 2007, total aid at Desert has grown from $188,000 to $313,000. The percentage of the student body receiving aid has increased from 23% to 35%, and 39% of the recipients are of an ethnic minority background.

Pablo Picasso and Françoise Gilot, Cap d’Antibes, gelatin silver print, 11" x 14", 1951, Robert Capa (1913-1954). Courtesy of Monroe Gallery

No educational fundraiser in Santa Fe is more generously supported by such an impressive roster of local and regional artists. (See partial list at right.)

See their work at the ARTISTS’ PREVIEW PARTY, Sunday, April 15, 5–8 p.m., (Admittance by RSVP only.) Open to the public 1–4 p.m. Crossroads Contemporary Gallery, 203 Canyon Road, at Paseo de Peralta.

Visit the auction catalog online at www.DesertAcademy.org. For an auction invitation, or to enter a silent bid if you cannot attend, call Colin Pierce in the Desert Academy Development Office, 505-992-8284 x28

New Horizons, oil, 40" x 44", Javier Lopez Barbosa.

Courtesy of Canyon Road Contemporary Gallery

Springtime Storyteller, Mixed Media—Texas limestone, shells, turkey feathers, 16" x 38", Mark Swazo-Hinds.

From the collection of the artist

Featured Artists: Destiny Allison � Charlie Andrijanoff � Carol Anthony � Peggene Bishard � Robert Capa/Monroe Gallery � Edward S. Curtis/Rainbow Man Gallery � Becky Dickens � Trent Edwards � Michael Freitas Wood � Linda Ging � Carlo Gislimberti/San Taos Gallery � Steve Halvorsen � Sally Hayden Von Conta � Beanie Kaman � Helen Kaman � Phyllis Kapp/Waxlander Gallery � Catherine Kirkwood � Ellen Leitner � Rose Leitner � Javier Lopez Barbosa/Canyon Road Contemporary � Judith Moir � Nancy Pollock � Jason Roberts/Canyon Road Contemporary � Richard Sandoval � Mark Swazo-Hinds � Charles Veilleux � Gretchen Wachs

Desert Dream s

When it comes to Color, Qualilty Really Matters!

The Color in THE magazine beats “the others” hands-down.

THE magazine prints on 50 lb. bookstock.

“The Others” print on newsprint.

Our color reproduction is crisp and dynamic.

“The Others”—well, what can we say?

Call THE magazine: 505-424-7641 for a price quote.

OPENINGS

James kelly k contemporary, 1601 Paseo de Peralta, Santa Fe. 9891601. New Paintings: a show of new works by Stuart Arends. 5-7. shamana Jewelry, 415 Twelfth St., Carrizozo, NM. Grand Opening: handcrafted jewelry by Zoe de Negri. 5-7 pm.

TUESDAY, APRIL 24

The Richard Levy Gallery, 514 Central Avenue SW, Albuquerque, present View from the Panopticon, an exhibition of recent work by William Betts that deals with art in a post-9/11 world where surveillance is used both for and against us. Show runs April 13 to May 25. Closing reception on Friday, May 4, 6 to 8 pm./

university of new mexico Art museum, UNM Center for the Arts, Alb. 277-7312. A Familiar Marriage: Connecting Pictures and Words: text and image create visual and textual compositions. 5-7 pm.

santa fe clay, 1615 Paseo de Peralta, Santa Fe. 984-1122. Salt & Pepper: national invitational featuring salt and pepper dispensers. 5-7 pm.

SATURDAY, APRIL 28 gallery Zipp, Glorieta, NM 7576428. Directions: I-25 north to Valencia (exit 297). Go left under freeway pass. Turn right to green gate, #01AB. Continue to gallery.

7th Heaven: seventh annual Book as Art and Works on Paper shows, featuring seven artists each making seven pieces. 11am-4 pm.

SUNDAY, APRIL 29 Richard levy gallery, Twoperson show: new work by Kerrie Rosenstein and Lisa Solomon.

Closing reception: 6-8 pm.

Zane Bennett gallery, 826 Canyon Rd., Santa Fe. 982-8111. Marks on Paper: gallery artists explore the medium of paper. 5-7 pm.

FRIDAY, APRIL 13

SATURDAY, APRIL 14

Artistas de santa fe, 228-B Old Santa Fe Trail (entrance off Alameda).

982-1320. Laid Bare: new oil paintings

by Martha Kennedy. 5-7 pm.

coleman gallery, 4115 Silver SE, Alb. 232-0224. Grand Opening at New Location: showing gallery artists. 4-6 pm.

farmer gallery of gary contemporary ontemporary Ar Art, 131 W. San Francisco, Santa Fe. 988-1171. The Return Home: paintings by Ontario artist Anong Beam. 5-8 pm.

v gallery, 554 S. Guadalupe, vO evO Santa Fe. 982-4610. Points of Perspective: minimalist painted steel sculptures by George Thiewes. 5-7 pm.

monroe gallery, 112 Don Gaspar, Santa Fe. 992-0800. Women Who Shot the 20th Century: leading women photojournalists of the 20th century. 5-7 pm.

FRIDAY, APRIL 20

museum of new mexico, palace of the governors, on the Plaza, Santa Fe. 476-5094. On the Road: scroll of Jack Kerouac’s defining novel of the Beat generation. 5-7 pm. phil space, 1410 Second Street, Santa Fe. 983-7945. Oil Medium, Large and Small: surreal rock paintings by Melodie-Jeanne De Mesterton. 5-8 pm. thirteen moons gallery, 652 Canyon Rd., Santa Fe. 995-8513.

One-person show: photolith, woodcut, and chine collé unique prints by Beej Nierengarten-Smith.

5-7 pm.

Artspace 116, 116 Central Ave. SW, Suite 201, Alb. 245-4200. Nick Abdalla: Emanations: mixed-media sculptures by Nick Abdalla. 5-9 pm. gerald peters gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Two solo exhibitions: Robert Erickson and Ron Kent: hand-crafted furniture and turned-wood vessels. 5-7 pm. framemakers, 627 goldleaf W. Alameda, Santa Fe. 310-2241. withDRAWN: abstract mark making from four Santa Fe artists. 5:30-7 pm. harwood Art center, 1114 7th Street NW, Alb. 242-6367. Three solo shows: featuring John Brandi Julie Wagner, and Clancy Frances.

Plus a student exhibition. 5-8:30.

museum of fine Arts, 107 W. Palace Ave., Santa Fe. 4765072. How the West Was One: an intercultural history of New Mexico art from 1879 to the present.

5:30-7:30 pm. stewart l. udall center for museum Resources, 725 Camino Lejo, Santa Fe. 982-6366 ext. 108.

Pushpin Show: artworks to be hung with pushpins on the evening of the reception. Open to any and all artists. 6-9 pm.

FRIDAY, APRIL 27 canyon Road contemporary, 403 Canyon Rd., Santa Fe. 9830433. Two-person show: abstract nature paintings by Bonnie Teitelbaum.

Landscapes by Claudia Hartley. 5-7 pm.

gallery Zipp, Glorieta. 757-6428.

Directions: I-25 north to Valencia (exit 297). Go left under freeway pass. Turn right to green gate, #01AB. Continue to gallery. 7th Heaven: seventh annual Book as Art and Works on Paper shows, featuring seven artists each making seven pieces. 11am-4 pm.

winterowd fine Art, 701 Canyon Rd., Santa Fe. 992-8878. Edges of Perception: new paintings by Ines Kramer. 5-7 pm. ushasti gallery, 3907 Central Ave. NE, Alb. 255-1267. Image Poems and Magic Letters: A Two-Person Show: Judith Shaw and Eliza M. Schmid.

5-7 pm.

SATURDAY, APRIL 21 center for contemporary Arts, 1050 Old Pecos Trail, Santa Fe. 9821338. Seventh Annual Collect/Inside 8: work in 8” x 8” x 8” format by scores of artists, hung salon-style.

5-7 pm. t street, gallery 408 on twelfth 408 Twelfth Street, Carrizozo, NM. 648-2598. Close to Home: series of photographs of people, places, and things by Richard T. Bryant. 5-7 pm.

Marks on Paper, Paper, a group show, will be on view at Zane Bennett Contemporary Art—826 Canyon Road, Santa Fe. Artists include Jesse Blanchard, Yeshe Helander, David Kapp, James Perigord (above image), and Jan Sessler. Opening reception on Friday, April 13, from

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“Untitled” • 40” x 30” • Oil on Canvas

photo by Dennis Weller

photo by Mary Alice Murphy

208-A Ranchitos Road Taos, New Mexico 87571 505.758.9120

Art Abounds in Silver City!

Cecilia Stanford

Barry Namm

Silver City Grant County Chamber of Commerce www.silvercity.org 1-800-548-9378

MAILE PICKETT Monica of Fleetwood • Solo Exhibition April 14 – May 31, 2007 • Opening: Saturday, April 14 • 4–6 PM

www.fenixgallery.com

Funded by Silver City Lodgers Tax

the downtown gallery district of truth or consequences presents art mostly at

G A L L E RY K AT Z E N E L L E N B O G E N CASITA DE GUADALUPE C E L E S T I A L C R E AT I O N S R I O B R AV O F I N E A RT PICTURE PERFECT H A P P Y H O L I D AY S MAIN STREET G R A P E S PA R I S I WHEN

gallery hop 6-9 pm, saturday, april 14

look for us on the web at www.torcart.com Sponsored by the TorC/Sierra County Chamber of Commerce. Paid for in part by TorC Lodgers Tax “dusk in stumblewire” photo/ad work: rob miller graphic design

OPENINGS

Jonson gallery, University of New Mexico, 1909 Las Lomas NE, Alb. 2774967. Tuesday Talks: graduate students Jennifer Van Horn, April 10, and Larry Bob Phillips, April 17, 5:30 pm. maxwell museum of Anthropology, 1 University of New Mexico, Alb. 277-5963. Artisans of the World: Mata Ortiz Pottery. Demonstration by Oscar Treviso. Saturday, April 28, 12-3 pm. millicent Rogers museum, 1504 Museum Road, 4 miles north of Taos.

758-2462. Best of the Southwest: celebrating 50 Years at the MRM, extended through August.

IPI Festival 2007 will be held at the College of Santa Fe on Friday, April 20 and Saturday, April 21. The festival explores “fear” in its many guises, from social discomfort and personal phobia to political upheaval and global threat. Admission is free. Above image: Katherine Lee. Details: www.ipi.csf.edu

SPECIAL INTEREST A.d. collective, 916 Baca Street, Santa Fe. 577-1828. Sweet Tuesday: readings by established local authors, alongside high school writers and undiscovered talents. Tuesday, April 3, 7-9 pm. Free. calling all artists. Juried show for the SW states: oil, acrylic and mixed media. $3500 cash and prizes. Digital images due

by June 1. Email to: fthorsen@comcast. net. Rio Grande Art Association, PO Box 53307, Alb. 293-3811. call all for entries for 2007 City Different Poster Competition. City of Santa Fe Arts Commission, 120 South Federal Pl., Room 314, Santa Fe. 955-6707, arts.santafenm.gov. Deadline for entry forms: Monday, April 9 at 5 pm. call for entries: Originals 2007: juried and invitational exhibition sponsored by The New Mexico Committee for the National Museum of Women in the Arts, Washington, D.C. Deadline: Saturday, May 12. Application: 986-9695. free rree lecture. William deBuys and Don J. Usner on Preserving a National Treasure. School for Advanced Research, 660 Garcia St. 954-7203.

Tuesday, April 10, 3:30-4:30 pm. free rree talk. Let Go and Live the Extraordinary Life with author Guy Finley on Saturday, April 21 at 2 pm.

Borders at Sanbusco, 500 Montezuma, Santa Fe. 954-4707.

APRIL

design competition for the Façade of El Museo Cultural de Santa Fe, 1615 Paseo de Peralta, Santa Fe. 992-0591. ART Santa Fe Presents announces a competition open to all artists, architects, and designers. $5,000 cash award plus budget for façade. Applications due April 20; finalists announced April 23. Finalists will have their concepts displayed during ART Santa Fe 2007, July 12-15. Download application at artsantafepresents.org 16 AR ARts, 516 Central Ave. SW, 516 Alb. 242-1445. Tuesday Talk: graduate student Joseph Mougel for The 13th Annual Juried Graduate Student Exhibition. April 24, 5:30 pm.

museum of new mexico, Palace of the Governors, on the Plaza, Santa Fe. 476-5094. Spanish Colonial Art History Lecture Series: Piety and Patronage: lecture by Cristina Cruz Gonzalez, Wednesday, April 4, 6:30-7:30 pm. t center the stables gallery at taos for the Arts, 133 Paseo del Pueblo Norte, Taos. 758-2036. Conversations About Art: free public forum for artistic discussion, hosted by Dinah Worman.

Tuesday, April 3, 12-1 pm. Email conv. art@gmail.com for details. university of new mexico Art museum, UNM Center for the Arts, Alb. 277-7312. Gale Memorial Speaker Series: Current Vistas in the Study of

516 Arts, 516 Central Avenue SW, Albuquerque, presents Tributaries,, an exhibition curated by two poets exploring collaborations between poets and artists. Above image—Bones of Our Mother—by Becky Holtzman. Opening reception on Friday, April 6, 6-8 pm.

Mother

Colonial Visual Cultures: Thursdays, April 5, 19, and 26, 4-5 pm.

NW, Alb. 242-6367. ARTiculations: performance series with a composer, a poet, and a musician. Saturday, March 31, 7 pm. $3.

MUSIC & PERFORMING ARTS free talk. Hee Sook Kim with UNM’s 2007 Composers Symposium, Tuesday, April 3, 5:30 pm. harwood Art center of escuela del sol montessori,, 1114 7th Street

university of new mexico school of music, 310 Washington SE, Alb. 266-3474. Notations: Rainbow Women’s Collective: features jazz classics and show tunes performed by Lucy Nalbadian and Tina Garcia. Sunday, April 1, 3-5 pm.

w ds, 516 Central Ave. SW, 516 wOR Alb. 242-1445. Poetry reading and gallery tour: Sunday, April 29, 4 pm. go! 2007 Art festival now accepting applications from artists; also seeking sponsors, volunteers, food vendors, entertainment for weekend of Sept. 28-30. Contact: goartists@ downtownabq.com for application, or Val Hollingsworth, 262-0075. ipi festival: Fear as Art, College of Santa Fe Fine Arts Gallery, MOViN Gallery and Studio One, Garson Communications Center, 1600 St. Michael’s Dr., Santa Fe. 473-6508.

Installation, performance, and interactivity project take on civil liberties and notions of autonomy.

April 20 and 21. Call for hours and events: 473-6400.

An exhibition entitled After Rembrandt: The Story of Jesus will be on view at Cloud Cliff Bakery, Cafe, and Artspace, 1805 Second Street, Santa Fe. The artist—“Anonymous”—adds his/her mark to the mark of the master. Show runs April 15 to May 15.

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Pard Morrison: Peripheral April 6 to April 29 Lewallen Contemporary, 129 West Palace Avenue, Santa Fe. 988-8997 Opening reception: Friday, April 6, 5:30-7:30 pm.

Although formalist, Morrison’s fabricated aluminum pieces are above all visionary. A blurring of sculptural and painterly conventions, these hybrids of painting and sculpture reflect two powerful early influences on the artist’s work: Donald Judd’s rectilinear, minimalist sculptures and Agnes Martin’s ethereal, though also minimalist, grid paintings. The combination of repetitive geometric form and color creates an alluring rhythmic harmony of structure and surface. “Psychologically,” says the artist, “the repetitive segmentation…is similar to dissected time and is intended to evoke the soothing effect of prayer and ritual. The painterly surfaces represent humanness, or spirit, transcending corporeal weight and strict containment in bodily form.”

Pard Morrison: I Love Your Love, patinated aluminum, 48” x 48”, nd

Don Hong-Oai, Winter Fog, Vietnam, silver gelatin print, 20” x 16”, 1974

David H. Gibson and Don Hong-Oai: Ephemeral Moments April 6 to June 22 photo-eye Gallery, 370 Garcia Street, Santa Fe. 988-5159 Opening reception: Friday, April 6, 5-7 pm.

Alfredo González, Jarocha Beauty / Belleza Jarocha, oil on canvas, 49” x 39”, 1952. Collection of Gálas México

The work of these two photographers explores the ephemeral, inexhaustible nature of moments in time.

The African Presence in México: From Yanga to the Present March 30 to August 5 National Hispanic Cultural Center, 1701 4th Street, SW, Albuquerque. 246-2261 Opening reception: Friday, March 30, 6-8 pm.

For nearly five hundred years, the existence and contributions of the African descendants in Mexico have been overlooked. Almost a century after Africans arrived in Mexico in 1519, Yanga, an African leader, founded the first free African township in the Americas on January 6, 1609. Since then, Africans have continued to contribute their cultural, musical, and culinary traditions to Mexican society up until the present. This exhibition is filled with paintings, prints, lithographs, woodcuts, movie posters, photographs, sculpture, costumes, masks, musical instruments, and other examples of art and popular culture, and provides an important opportunity to experience and embrace the African legacy in Mexico and the Americas.

David H. Gibson combines the basic elements of light, water, mist, smoke, and fire to create uncertain, mysterious landscapes, while Don Hong-Oai’s evocative images represent idealized scenes that are not actual photographs of a specific time or place.

PREVIEWS

Ines Kramer: Edges of Perception April 20 to April 30 Winterowd Fine Art, 701 Canyon Road, Santa Fe. 992-8878 Opening reception: Friday, April 20, 5-7 pm.

Ordinary bits of cityscapes, nondescript buildings, bridges, walkways, Tibetan prayer flags, photographs, and traffic signs: such are the disparate images that Ines Kramer gathers together, like found objects, to reassemble into dynamic and wildly inventive collaged compositions. According to the artist, she is drawn to “peripheral views,” and then “creates a new landscape from bits of the old. Paint subdues some elements and intensifies others, much like the process of forgetting, remembering, and editing the past.”

Ines Kramer: Dusky Harbor, 24” x 24”, mixed media on panel, 2005

Susan McDonnell, Desert Still Life, egg tempera on panel, 40” x 30”, 2007

Susan McDonnell: Still Lives: New Paintings April 6 to April 29 Klaudia Marr Gallery, 668 Canyon Road, Santa Fe. 988-2100 Opening reception: Friday, April 6, 5-7 pm.

Using images that she has collected from her environment and her travels, Los Angeles artist Susan McDonnell collages these elements to create tableaux where, in the artist’s words, “the subject feels as though it’s integrated or emerging from the paint of the background; as though it is the inevitable outcome of the initial process.” The subjects are painted using the traditional techniques of egg tempera, with clearly defined individual strokes building the form (on particle board), thus allowing the unique characteristics of each pigment to come into play when mixed, layered, thinned and pooled with other pigments, both organic and inorganic.

Maile Pickett, Untitled, oil on canvas, 30” x 40”, 2005/2006

Maile Pickett: Monica of Fleetwood April 14 to May 31 Fenix Gallery, 208-A Ranchitos Road, Taos. 758-9120 Opening reception: Saturday, April 14, 4-6 pm.

For three years, Maile Pickett lived in Fleetwood, a town just north of the Bronx. A neighborhood of derelict landscape, neither safe nor beautiful in any conventional sense, its ravaged spaces inspired in the artist not only a sadness for Fleetwood’s “absences, losses, scars,” but also something “hopeful and irrevocable.” The very rawness of those unbeautiful spaces evoked an absolute presence that Pickett hoped to communicate visually to others. To this end, she shot four rolls of film of Monica, an intrepid twelve-year-old inhabitant of Fleetwood, against the background of her neighborhood, and two years later, living in New Mexico, the artist painted the photos to produce the black-and-white pictures that will be shown in this exhibition. In the artist’s words, “a painting from a photograph can reference a place between two worlds, between two modes of perception, the ‘concrete’ world of the photograph and simultaneously the visionary world of painting.”

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Elemental ( elîme•ntål ), i. Of or pertaining to the four elements, or any one of them. 2. Composed of, or produced by, the (four) elements, material, physical. 3. Applied to fire. a. Material. b. As a pure element. 4. Pertaining to the forces of nature. 5. Pertaining to the sky. 6. Of the nature of an ultimate constituent. 7. Constituent. 8.

Relating to rudiments; elementary. Now rare.

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Celebrity has bred subcultures, fashion trends, virtual communities, quixotic role models, and a generation of youth whose identities have been shaped in the shadow of such mass-mediated, market-fabricated narratives of selfhood. An exhibition—Celebrity—at Celebrity—at the Scottsdale Museum of Contemporary Art, 7374 East 2nd Street, Celebrity Scottsdale, explores the phenomenon of celebrity in contemporary culture and the allure of fame, beauty, glamour, and success. The show runs through April 29, 2007.

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Spring Fever 4 Exhibitions, including

NICK ABDALLA

BANG!@Farrell Fischoff

Emanations

April 6 - May 16 2007 Sasha Baskina - Untitled, color photogram, 30” x 40”

Mixed-media sculpture

Ephemeral Art Installations Paintings Performance Photography Sculpture Visit our website for the full schedule of opening event dates & times.

Farrell Fischoff Gallery Farrell Fischoff Gallery 1807 Second Street #29

1807 Second Street #29 Santa Fe, New Mexico 87505 Santa Fe, New Mexico 87505 Tel 505.995.0620 Tel 505.995.0620 Fax 505.955.8487 Fax 505.955.8487 www.FarrellFischoff.com www.FarrellFischoff.com

Desert Shiva 2006 Mixed media 51" x 33" x 35"

April 20–June 1, 2007 OpENINg RECEpTION Friday, April 20 from 5–9pm During Downtown Albuquerque ArtsCrawl

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A

CRITICAL REFLECTIONS

Darren almonD, Barry X Ball, Stephen BuSh 1606 paSeo

Art historicizes the art that comes before it.

De

SIte Santa Fe peralta, Santa Fe

Moreover, much of the excitement we derive from the creations of today stems from our

understanding that their lineages may be traced back, sometimes steadily and sometimes less so, to the beginnings of historical time. In the abstract, we cannot help but know that the aims of Henry Moore diverge from those Canova pursued a mere century before him. Nevertheless, when confronting their works in the same afternoon––perhaps wandering the Met in avoidance of the cold that penetrates even one’s favorite black parka during a New York winter’s day––our eyes persist in gauging their successes in terms of one another.

Nevertheless, many of today’s artists take their cues from the past without giving it either much thought or credit. That the art of Darren Almond, Barry X Ball, and Stephen

Bush makes explicit the confrontation of historical themes––and not only those that interest the art historian alone, but also others that span a broad spectrum of fundamental human concerns—is readily evidenced. Read on to discover how the modern kunsthalle, as embodied by SITE Santa Fe, seems to echo the nineteenth-century salon.

“The cinema is an invention without a future,” wrote Louis Lumière, only four years after he and his brother, Auguste, first demonstrated their invention, the Cinematograph

in the basement lounge of the Grand Café on the Boulevard des Capucines. Marked by a genius for polyvalence, Darren Almond’s train trilogy provides a strong refutation to Louis’ assertion. The series directs allusions to technological progress and the sense of journey that the train’s image inevitably carries as freight toward the service of a visual metaphysics of the soul’s passage above, through, and below the world of waking consciousness.

Schwebebahn documents the route of the world’s first elevated monorail. In reverse, upsidedown, and filmed in grainy 8 mm, Almond projects this image of the above as though it can be seen only through the prismatic distortions of spiritual and historical memory. Perhaps a commentary on the manner by which technology profanes the spiritual, the only comprehensible utterance from the film’s drum and bass soundtrack intones, “I’m gonna be a bad muthafucka’.”

Geisterbahn presents reduced-speed, black-and-white footage of a journey through an archaic and ghoulish amusement park train ride. Accompanied by a soundtrack featuring Stefan Betke’s hazy and aptly titled Fremd (alienation) and replete with campy plastic demons, it is a gritty representation of death and the passage through the cavernous layers of what Buddhist teaching refers to as the Naraka realm below us.

Completing the train trilogy, In the Between derives both its title and structure from the funerary text that guides the dead through the three states of consciousness between death and rebirth during the interval known as the Bardo. Conflating spiritual, political, technological, and art histories, the tripartite work’s outer screens document a journey across the plateau separating the spiritual haven of Lhasa from militarized Beijing. The middle display centers us in the chanted meditations of Tibet’s Buddhist monks. The Lumière Brothers’ own L’Arrivée d’un train en gare de la Ciotat is but one of many references reminding us that cinema continues to evolve at the hands of artists with the likes of Almond’s prodigious capabilities.

Rarely since the plaintive romanticism of Rilke’s “The Roman Fountain” (which may inform its animated counterpart to which one of the installation’s four screens is devoted) has art expressed a beauty that straddles the line between the despondent and the regenerative as well as If I Had You, Darren Almond’s attempt to represent the recollections of his grandmother, Nan, on film.

Accompanied by a piano melody that enlists the aid of a third and guiding hand, footage of a pair of feet forever dancing reminds us of the clemency that memory may at times bestow. A suite of slowly shifting images, which captures Nan enrapt in reminiscence, serves as focal point to an installation possessing uncommon human dignity.

Stephen Bush, The Lure of Paris, #22, oil on linen, 72” x 72,” 2002.

Courtesy: Sutton Gallery, Melbourne, Australia

Equally concerned with histories, Barry X Ball’s un-idealized stone sculptures draw upon a tradition as old as portraiture itself. The rendering of individual human likenesses was born with the death mask, and Ball does everything conceivable to accentuate the qualities of both death and

mask in his works. Combining ancient and avant-garde sculptural practices, of which the use of computer numerically controlled milling is but one innovation augmenting assured hand carving, his works in semiprecious stone integrate inspirations ranging from Egyptian effigies, Roman Republican sculpture, the conjoined symbolism of the Abrahamic religions, tattoo art, and the contemporary predilection for grotesque distortions suggesting hematomas and impalement. Something of a modern-day Lysippus, though acting as court sculptor to the curatorial office rather than the imperial throne room, he simultaneously disfigures and immortalizes the visages of art world luminaries such as Matthew Barney, Laura Mattioli Rossi, and Ball himself. Also on exhibit, his Scholars’ Rocks probes the link between authenticity and aesthetic delectation.

Interweaving explorations of diverse painterly techniques with commentary on Australia’s unsettled post-colonial identity, Stephen Bush’s exhibition, Gelderland, results in a precarious balance between kitsch and sincerity. Caretakers, a series of off-kilter paintings of beekeepers donning gold lamé suits in romantic landscapes, calls to mind what might have been had Caspar David Friedrich inhabited Dalí’s era. Referencing the grisaille of French Neoclassicism, the absence of middle ground associated with the diorama, and de Brunhoff’s L’Histoire de Babar, Bush’s The Lure of Paris series integrates these allusions into an eccentric allegory for colonialism. His most recent paintings set cabins, his signature apiarists, and modernist architecture against woodsy landscapes––the latter often implied by lurid gestural abstraction that positions Bush’s art closer to modish outré than retardataire despite nods to a multiplicity of dated art-historical styles.

Despite their dissimilar media and aesthetics, the winter exhibitions are united by technical assurance, pronounced theatricality, and the willingness to confront (without haughty accusation) cultural histories that transcend merely personal gesturing. These descriptors may more often recall the dusty art of the academies than the kind displayed in any recent biennial, but in an artistic environment embracing neophilia too tightly, works that both distinguish and contextualize themselves through reverence for their precedents should by now be welcome.

Alex Ross

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UPCOMING FAN MAN SHOWS AT THE LENSIC SANTA FE’S PERFORMING ARTS CENTER

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t

CRITICAL REFLECTIONS

KIKI SmIth: a GatherInG G , 1980-2005 this generous, mid-career retrospective

WhItney muSeum oF amerIcan art 945 maDISon avenue, neW yorK presented a rich survey of Kiki Smith’s work up to the present and included

approximately one hundred twenty-five works done in a variety of media. Installed throughout several galleries on the third floor of the Whitney, these mostly figurative works inspired a cumulative and focused appreciation for the artist’s astounding ability to reshape mythic, biblical, and literary themes and images by filtering them through her own uniquely tender and playful sensibility. Her use of diverse materials such as handmade paper, papier-mâché, beeswax, glass, terra cotta, plaster, wax, and bronze well serves the fluid sensibility that underlies the artist’s hyper-capability in harnessing images to multiple meanings—meanings ranging from the primal and bestial to the fanciful and celestial. Some works even managed to dispel the boundaries between species of both the animate and inanimate universe; or rather, those works eclipsed the relevance of the perceived differences, as in: rock meets bone meets flesh meets heart meets the stuff of stars and planets, all in service to expressing ineluctable truths about us all. “Us all” means we the beings made up of this and that body fluid, covered up in skin, assuming various postures of vulnerability as we grope our way to our personal extinctions. Smith’s greatest truth is one that is inscribed by a compassionate and loving engagement with the universe.

Smith’s persistent curiosity, a symptom of that engagement, has produced moving works of such extraordinary power that I watched as one of them brought viewers down to their knees, literally crouched on the black, stone floor of the museum, all the better to absorb the aura of that supine figure and gaze directly into her eyes. In another gallery, Smith’s upright Virgin Mary depicted the sacred icon as an anatomical model, stripped raw, flayed skinless, her muscles exposed. Rendered in beeswax, microcrystalline wax, cheesecloth, and wood, the sculpture reflected Smith’s fondness for working with tactile materials. Throughout her career she has employed a variety of production techniques, ranging from traditional, homely practices such as quilting, dyeing, and embroidery, to casting objects in metal or glass. Thus the force of her works insinuates itself through both intricate, fragile aspects, and formidable, strong ones. Taken as a whole, the body of work magnificently reveals the coexistence of vulnerability and strength, all the abjection, menace, and wonderment that is present in the human condition. Lilith, Adam’s first wife according to Hebrew legend, and widely considered a symbol of feminine strength, is a sculpture cast in silicon bronze from a live model squatting on the floor, looking sharply over her shoulder. The dark-complexioned figure was hung upside down on the wall, crawling on all fours, clinging to a vertical plane like a predator, peering up at the viewer with glass eyes.

Though most of the works are inspired by human anatomy and the body’s intimate, biological processes, more recently Smith’s vocabulary has expanded to include animals, both as they interact with humans and as subjects in their own right. Flock is comprised of more than two hundred bronze reliefs that the artist traced from preserved bird specimens at the Carnegie Museum of Natural History in Pittsburgh. For humans, birds have long represented illusive, fleeting ideals such as freedom and the Holy Spirit, but here they were regimented and bound into a certain order, all heads aimed in the same direction (extinction, maybe?), all attached to the wall by a human hand. Black Animal Drawing was an especially poignant menagerie of creatures—a wolf, a deer, a cat, and a peacock—all rendered in silvery lines on a black background, a mural-sized etching on Nepalese paper and methylcellulose. The huge tenderness that informed the animals’ tentative stances spoke of a distinctly maternal sensibility, one that was more literally present in Pietà, a self-portrait that depicted the artist mourning her dead cat, rendered in a posture reminiscent of the sculpture’s fifteenth-century namesake.

Kiki Smith, Untitled, brown paper, methylcellulose, and horsehair, 53” x 18” x 50”, 1995.

Courtesy: The Dakis Joannou Collection, Athens

One of the galleries held a kind of Wunderkammer, or cabinet of curiosities, a sixteenth-century phenomenon that was a precursor of today’s museum.

Included were plant and animal specimens, Buddhist figurines, gargoyles, and a bronze heart. This vitrine contained a grouping of objects and images selected for the exhibition by the artist herself and incidentally suggested a broad sampling of her themes, ranging from body parts to Degas’ dancers to bits and pieces of the inanimate universe. Smith’s art in the early years often depicted organs on their own, reflecting an interest that was initially sparked by the artist’s acquaintance with such visual sources as Gray’s Anatomy, a text first published in 1858, in which organs were de-contextualized and depicted as unconnected, distinct phenomena. Smith went on to train as an emergency medical worker, at least in part to further acquaint herself with the visceral presence of body parts. She has an indisputable knack for exploring the unbeautiful body, that is to say, the body divested of secondary, diminished representation, unflinchingly rendered in states of visceral abjection and weird beauty. The forms draw power from the tension between their delicately wrought materiality and the primal acts that they depict (leaking fluids, defecating, weeping tears that cannot detach themselves from the eyes that produced them). A rib cage, sagging off the wall, had “bones” cast in pale terracotta, held together by string. Nearby was a plushy, folded skin made up of panels of sheep’s wool stitched together with human hairs and placed on a pedestal. Over and over again, Smith’s odd juxtapositions of concept and material provoked the viewer to think in new ways about the physicality of form and to disengage from habitual concepts. The gift of this kind of provocation was that you left the museum with a bruised and matured heart.

Rinchen lhAmo

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f

colette hoSmer: FeaSt food for thought:

center For contemporary artS rt 1050 olD pecoS traIl, Santa Fe

Colette Hosmer’s installations don’t grab you by the horns. Viewers are not forced to

confront the work; instead we’re invited to engage with it—or not. Feast is so understated that it might easily suggest the aartist’s rtist’s benign indifference to visitor response, producing the subtly enticing effect of drawing us in. For those who do enter tthe he installation space, that first impression of exclusion gradually gives way to a sense of complicity in the artist’s intense ccontemplation ontemplation of her work. And so we respond like we used to when entering a library, silent and subdued by a self-imposed restraint, alert with a heightened attentiveness in the presence of a pervasive genius loci.

On its face, Feast comprises an array of sculptures depicting selected parts of fish, fowl, and poultry common to

traditional outdoor food markets in rural China: goat and fish heads, pig tails, goat tongues, and pork teats. Culinary delicacies they might be, but these truncated denizens of the butcher block are normally not the stuff of artful reflection. Hosmer has achieved the transformation by fusing ancient traditions of Chinese stone carving and ceramics with basic principles of modern design.

A winding procession of cast bronze and porcelain pig tails in the center of the gallery lead the visitor into the installation space. Nearby, a half-dozen carved fish heads some nineteen inches long and ten inches wide lie in a loose grouping on the gallery floor. The monumental (for fish) scale and dark green granite medium infuse these kitchen scraps with the casual gravity of imperial ornaments from a Roman basilica or a Tang dynasty palace.

On one wall, a herd of fifty glazed white porcelain goat heads are tightly grouped in a luminous circle, in a vain attempt to seek safety in numbers. On another wall, an equal number of pink porcelain pig teats are arranged in vertical rows like culinary coats of arms, while across the gallery some ninety pairs of pink porcelain goat tongues keep silent

Installation view

watch, ceramic Qin warriors in a cook’s dream. Three granite ducks huddle in one corner, alternately suggesting sleeping fowl or dressed poultry.

The deep green of the walls envelops the entire space, relieved only by the spare lighting that accents each sculptural series. The artist’s keen sense of design has managed to convert the grim remains of the butcher’s block into a minimalist installation. And Hosmer’s poetic sensibility and masterful understatement transform an elegant visual experience into a meditation in a Chinese garden.

RichARD toBin

the art

t

anD

artIFIce

oF

ScIence

muSeum oF FIne artS rt 107 WeSt palace avenue, Santa Fe

“The imagination that pictures, researches, and seeks to engage in the transformation of all

Justine Cooper has laminated MRI images of her head to layered pieces of glass. The

substance belongs to the alchemical minds of the scientist and artist, both of whom approach

composite sculpture, Trap, presents a compelling three- dimensional portrait. Although

the philosopher’s stone…. Artists and scientists act in the intersection between the natural

MRIs map the body and “trap” images to help diagnose illnesses, they make us transparent

and the constructed…”

and vulnerable, turning our insides out for others to observe. Cooper’s three-channel video installation Scynescape is a thoughtful counterpoise. Electron microscope scans of

—Kristine Stiles

the Art and Artifice of science,

gold-coated molds of the topography of the artist’s skin create vast poetic landscapes. co-curated by Laura Addison and

Images drift horizontally and vertically, merging man and universe. The soundscape,

Arif Kahn, brings our attention to artists using technology to revitalize

composed by Mazen Murad and Tammy Brennan, is hauntingly

historical scientific concepts, make invisible worlds visible, and reveal

familiar. Like the mesmerizing images, it is not obvious that the

(to quote body artist Stelarc) “technology as a new kind of nature.”

source of the sound is the body itself. (The recording utilized a

Daniel Lee’s video animation, Origin, is aptly placed at

vascular ultrasound machine.)

the entrance to the galleries. Images morph slowly, suggesting

Gary

Schneider’s

Genetic

Self-Portraits

also

make

us

the evolution from Devonian fish to man. This work and Lee’s

uncomfortably aware of the exposure of our identities. Leigh

powerful photographs of manimals—constructions of human/

Anne Langwell’s superb photograms transform fact into fiction.

animal hybrids—evoke our cellular memory, becoming an uncanny

Constructed of common objects and her own latex sculptures,

reminder of poet and anthropologist Loren Eiseley’s words, “one

these works allude to a journey through the body’s internal systems.

does not meet oneself until one catches the reflection from an eye

Rebekah Bogard’s Japanese animé-inspired ceramic animal hybrid

other than human.”

and Christine Chin’s photos of vegetables-humans address the

Patrick Nagatani also brings the past into the present by

unexpected results of genetic engineering, illuminating “technology

exploring the use of color and light to balance energies to heal the

as a new kind of nature.”

body. Chromotherapy is rooted in Ayurveda, a practice of Indian

Addison and Kahn have given us an opportunity to travel into

medicine that’s over one thousand years old. It is also linked to

mysterious and often chilling territory. They have their fingers on the

ancient Chinese and Egyptian medicine. Nagatani’s photo dramas

pulse and, like the artists they present, hold up a mirror, urging us

illustrate and cause us to ponder how an ancient practice, combined

to observe and reflect upon powerful currents running through our

with contemporary imaging techniques, may affect our cells. One

culture, our world, and ourselves.

portrays a naked baby being held directly under a large semicircular

susAnnA cARlisle

metal lamp, suggesting an offering of a sacrificial lamb.

Daniel Lee, Juror No. 6 (Leopard Spirit), digital inkjet print, 53” x 35”, 1994 Collection of the Museum of Fine Arts

f

CRITICAL REFLECTIONS

lIFttInG the veIl: neW W m e XI co W omen fact or myth?

anD the

trIcultural myth

I Ia Ia I muSeum 108 catheDral place, Santa Fe

New Mexico is composed of three cultures—Native American, Hispanic, and Anglo. After a centuries-long struggle for

ccontrol ontrol of land and resources, we now live separately but harmoniously, practicing our traditions and our arts.

This exhibition declares the “three separate cultures” part of this story “the tricultural myth,” showing how our ethnic lines have been blurred

byy the mixing of blood through the generations. Twenty-nine local women artists of diverse heritage offer works from various media, creating an b eexhibition xhibition as inclusive as the show’s thesis demands. Cameo appearances by images of Asian, Muslim, African-American, and Jewish women add more “multi” to the multiculturalism. However, the three cultures of the myth dominate this show. They are represented as separate entities, juxtaposed but not blended—like oil and water. In Laura Fragua-Cota’s ink drawing Grain Offering, a Pueblo woman offers oven bread, a Hispanic woman presents tortillas, and an Anglo woman shows off her Wonder Bread. It’s an illustration of the tricultural myth, but tongue in cheek, poking fun at stereotypes.

While a departure for the IAIA museum, the inclusion of non-Native work in this show highlights the complexity of contemporary Native American identity. Eliza Naranjo Morse writes in her artist’s statement about attending an Indian day school: “I was acutely aware of a separation in the world around me.” In her brilliant painting A Dense Interaction,, adobe-colored, amorphous forms are being swallowed by dominating white forms. The shapes, half-sketched and with cryptic nodules, elude identification. Their unfinished quality shows that our cultural blending has a long way to go before its resolution.

Hispanic folk art traditions permeate the show, as shown in Anita Rodriguez’s Casa de la Curandera, a scene of a Mexican-Indian spiritual cleansing painted with

exquisite detail on what looks like an old window and its frame. Pola Lopez writes about her “definite Chicana voice” in her statement for Mestizo Coat of Arms, Arms a European crest made from symbols of the Indian and Spanish worlds. Catholic iconography surfaces in updated versions, as in Máye Torres’s futuristic crucifixion scene and Our Lady of the Un-holy Bomb, a drawing that places the Virgin of Guadalupe at the center of a Los Alamos blast while Judy Chicago–esque creatures stream toward an ark with Indian motifs.

Obviously, the show is about women as well as culture. Women are Obviously the keepers of the bloodline, family, community. We are a vessel and vehicle for diversification. The motif of blood runs through many of the pieces, as does the theme of women’s bodies, reproductive organs and all. The bodies are large, aging, tattooed, dismembered, fractured; they are crucified and glorified; made from trash, hay, bronze, silver. A structure of matriarchy is implied and exalted.

Take Harmony Hammond’s two panels of hay, soaked in red where they almost touch; or Take

Iris Vazquez, As Is, bronze, 42” x 28” x 25”, 2006

Iris Vazquez’s As Is, the unapologetically, sumptuously obese torso of a woman sculpted in bronze, a descendant of the Venus of Willendorf. Erin Currier uses “trash”—discarded wrappers of Baby Ruth candy bars, Dove soap, and Philadelphia cream cheese—to construct her Blonde Zombies, goofy twins wearing black shades that illustrate how the Anglo consumer culture can make us feel identical, thrown away.

Don’t miss the art in the south galleries, especially Johanna Kohout’s series The Culture of Make Believe, about coming to terms with living in Santa Fe and with her White heritage of oppressing those who were here first.

“Bloodline” could be another title for the show. In Shelley Horton-Trippe’s installation by that name, two European fleur-de-lis tapestries, stained red, are held aloft by a rope that happens to be an unraveling noose. A plastic tube connects the two tapestries in a shape suggestive of ovaries and fallopian tubes. As a general comment, I would have liked to know more specifics about the bloodlines of the artists and how they identify culturally. Some artists addressed this topic in their statements, but several did not. Another minor quibble: Many pieces were separated from their descriptions, making the show a treasure hunt.

Any show taking on such PC topics as multiculturalism and gender risks lapsing into the didactic. But this show avoids that pitfall with a dialogue specific and relevant to our local reality. Most pieces address only one aspect of the theme, be it ethnicity, gender, or New Mexico identity—a curatorial choice that ensures the works do not all tell the same story. The art embodies the complexity it wants to describe, and its lasting subtleties are the power of the show.

While wandering through this exhibition, I overheard a docent tell a group of children, “Nobody is only one race.” Her comment invites us to reject the concept of race altogether, whether or not we assume our bloodlines are “pure.” We can still maintain traditions true to our heritage(s), without obliterating them in the melting pot. But if we can stop believing in the tricultural myth, perhaps we can adopt a fourth identity as “New Mexican,” an amalgamation of all the cultures present in our local communities. Or, even better, we can consider ourselves children in the bloodline of Mother Earth.

kRistin BARenDsen

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s

SuSan yorK

eXhIBItIonS 2D 400 South hIGhlanD avenue, marFa F , t e Xa Fa X S

santa fe sculptor susan y york’s ork’s stunning show at Dennis Dickinson’s Exhibitions 2d gallery in Marfa

represents the continuing evolution of Minimalism among a younger generation of American artists. A longtime resident of Santa Fe, York was mentored over a number of years by Agnes Martin. York’s work and her show in Marfa retain and refine certain aspects of Minimalism, such as fine craftsmanship and wit, while continuing the positive trend of opening up formerly “boys-only” clubs to female artists.

York’s Marfa work consists of thirteen small (the largest is about two feet across), dense shapes formed from compacted graphite. The

simple shapes—rectangles, cubes, and trapezoids—are imaginatively installed in asymmetrical locations in two rooms of the decades-old adobe building that now houses Dickinson’s Exhibitions 2d, which specializes in new American minimalism.

York creates each sculpture by compacting granular graphite in molds with a binding substance; she then uses saws, grinders, and files

to painstakingly refine the shapes and surfaces. This obsessive, process-based quality was a major feature of a 2004 exhibit at the Art Institute of Chicago, where York and several assistants spent three days using their hands to rub graphite smoothly across all the surfaces of the exhibition room, completely covering the walls with a dark, silvery graphite sheen. She then placed several graphite sculptures on the floor of the space, resulting in a rich, darkly powerful visual experience.

York approached the installation at Exhibitions 2d from a completely different perspective. In one whitewashed room, a sculpture was placed high up near the ceiling, bridging a corner of the room, while others are installed closer to eye level, and still others at about ankle height. The sculptures and the spaces between them create a three-dimensional matrix that shapes the visual environment of each room. A small, dark rectangle on one wall attracts your attention; then your gaze is drawn across the room to a largish cube that is almost—but not quite—resting on the floor, attached to the wall a few inches above the irregular boards of the well-worn floor.

Competing with—or complementing—the work are the visual elements of the old adobe house: a door to a closet, light switches, windows with views of the surrounding small-town businesses and the West Texas desert sky. Natural light from the windows causes the appearance of the work to vary tremendously depending on the time of day, with the dark, luminous surfaces reflecting light at certain times; seemingly absorbing it at others. The historical character of the gallery in Marfa—a house in which a family once lived—creates a very different experience from viewing the work in the more antiseptic space of a modern museum or gallery.

York’s installation at Exhibitions 2d invites quiet contemplation; invites you to notice the space around you, and your place inside that space: the confined, enclosed space of a small room and the vast open space of the endless sky just outside the windows.

t

mARth AR A huGhes

hIStory

oF

Installation view

Women artIStS t tS

the exhibition

oF

neW meXIco

oWInGS DeWey north 120 eaSt marcy Street, Santa Fe

History of Women Artists of New Mexico was, as I imagine these

weren’t shy about strutting it. Dorothy Brett, the partially deaf and fully outrageous lover

early modernists themselves may have been, warmly hospitable. Well lit and welcoming, the

of D.H. Lawrence, appeared to take a special joy in her work: her Silent Audience, an oil

show imparts a sense of the gracious past, as if the old days were, indeed, the good ones.

painting from 1938, used pulsing hot pink to infuse her Modigliani-esque Indian women

To a large degree, it was the nearly two-dozen artists’ intuitive use of color that lifted the

with life. Unfortunately, this kind of subject matter and handling is clichéd today; still Brett’s

ambience to a noticeable cheeriness without being overtly Fauvist or simply overdone. These

work is undeniably good, and a pleasure to behold. Two surprising treasures were a pair of

women, none of them household names (with the

murals made for a Taos elementary school by the

exception of the obligatory inclusion of works by

Colorado-born Ila McAfee. In her depiction of the

Georgia O’Keeffe—a suite of lithographs—and,

wildlife of the region she used, quite unexpectedly,

rather refreshingly, two paintings by her sister Ida

a distinctly Asian approach, and the results are

Ten Eyck O’Keeffe), were unquestionably dedicated

almost scroll-like—charmingly mannered yet

to furthering the discoveries of twentieth-

matter-of-fact.

century Modernism. Despite the relative absence

Intelligently curated by gallery director Kelly

of nationally noted artists, aficionados of New

Lyon, this show was presented previously (as

Mexico’s history will recognize many of the women

Women Artists of Santa Fe) at the Panhandle-Plains

featured here, including Dorothy Brett, Rebecca

Historical Museum on the West Texas A & M

Salsbury James, and Beatrice Mandelman.

University campus in Canyon—where they know

From exquisite etchings by Gene Kloss, whose

their O’Keeffes. An essay for that show by Michael

superior handling of the medium’s tendencies

R. Grauer makes the case that women in New

toward tenebrism is redolent of Caravaggio, to

Mexico were “far bolder and more avant-garde

the jewel tones in the naïve-style oil paintings by

than their male counterparts, on several levels.”

Barbara Latham, to the boldly penciled lines and

Collectors take note.

the use of watercolor as a compositional device

kAth AthRyn R m. DAvis A

by Gina Knee, these women knew their stuff and Gene Kloss, Penitente Fires, dry point and aquatint on paper, 11½” x 17½”, 1939

B

CRITICAL REFLECTIONS

conStellatIon Beauty is subversive.

muSeum oF FIne artS rt 107 WeSt palace avenue, Santa In an ugly world, at least, it can be a seditious tactic to insist on focusing upon that which is lovely and light-

filled—both metaphorically and metaphysically. And make no mistake about it, when it comes to using beauty as a tool against would-be oppressors, Jennifer Joseph is a secret agent extraordinaire right down to her cat-eye sunglasses, spiked heels, and diamond-tipped cigarette holder. OK, I made up the

costume part, but it seems apt. I’m sure that somewhere, somehow, Joseph dons impossibly elegant spy attire, sneaks out into the darkest slice of night, and uses a light saber to make beautifully calligraphic slashing gestures, kamikaze-like, against the forces of evil while the rest of us lie abed, tossing and turning in the troubled sleep of inaction. Sometimes, I bet, her minions—and I use the word in its best sense—Constance DeJong and Erika Blumenfeld join Joseph in the battle against the shadows of the night.

MFA curator of contemporary art, Laura

Addison, conceived of this exhibition as a meditation on the history of the legendary luminosity of New Mexico and its influence on myriads of artists over the years. As will happen with good curating, the show took on a life and a radiance of its own as the three artists’ works took shape. Upstairs in the gallery off the boardroom, I entered into a realm of pure light and darkness as Erika Blumenfeld’s projected video installation, Prismatic Refraction: Autumn, swirled kaleidoscopically on a large screen. The particulars of the work make it an object of adoration: Blumenfeld photographed, through prisms, the sun on its path from dawn to dusk during the equinox of September 21. On one of the longest days of the year, the artist dedicated herself to taking pictures of the fiery orb in intervals of minutes—an exercise in commitment if I’ve ever seen one. The splendor of her devotion is remarkable, and adds to this show’s sense that the only real truth is beauty.

A small gallery space off to the right held Joseph’s work: a startlingly intricate web of shimmering Swarovski crystals suspended on wire. The immediate impulse of delighted intrigue made it an act of will to refrain from climbing into the thing, a happy fly at the mercy of a fantastic spider. As a friend said, this would make the best bedroom canopy ever, like lying under the stars every night. The word “macrocosm” insinuates itself into our consciousness when we look at Joseph’s art, and universes appear, all light and particulate matter that is the essence of Life itself: we see ourselves as made of stars and begin to

Erika Blumenfeld, Prismatic Refraction: Autumn, projected video installation, dimensions vary, 2006

grasp the implications of that great truth. Now, that’s subversive stuff, and I found myself wishing that somehow this feeling of discovery could have formed, in actuality rather than through sensibility alone, the core of the exhibition. My only complaint about Constellation is based on the Museum’s physical limitations. In this second-floor gallery, the three artists’ works are displayed in such discrete spaces that they can, at first, seem rather disparate. Altogether, the theme of the show holds its own beautifully, but those initial impressions can be off-putting.

Finally, in the third gallery area, Constance DeJong’s tiny sculptures of wafer-thin copper plates reflect light in all its most delicate and astonishing effervescence. Yet, this is a quiet group of works: maquette-sized, they are their own entities and require a kind of alert concentration, as if the light itself might disappear like a dandelion’s down on an unwitting exhalation of breath. DeJong allows color to enter into the equation of her art, and the results are stunning once the viewer peers past the Plexiglas box that protects each piece. (Ah, to own one and free it of the box!) Bold orange light bounces cheerily from arcing copper, yet the small size of the sculptures keeps them from becoming either boisterous or overly exuberant. Instead, they are diminutive treasures, like illuminated manuscripts, meant to transform a dreary afternoon into an interlude of contemplative retreat. Alone with one’s own soul, finding the courage to face the dark, we can become agents of the light. Find yourself a cape and some tights; the world needs more superheroes.

kAth AthRyn R m. DAvis A

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A

Florence pIerce: StIllInG

the

mInD charlotte JacKSon FIne art 200 WeSt marcy Street #101, Santa Fe

“Zen demands intelligence and will-power, as do all the greater things which desire to become real.” –D.T. Suzuki

A careful balancing of opposites informs florence pierce’s art.

In her sumi ink drawings, for example, there is harmony between

the soft, bleeding edges of the ovoid shapes that contrasts with the solidity of the stones from which they take their shape. They appear like Japanese fighting fish, tails billowing, poised to dart away. Or as rings of smoke, frozen in time.

There is balance, too, in her balsa wood sculptures whose rounded portions have naturalistic shapes that harmoniously contrast with their flat sculpted sections. Though the rounded shapes are a fabrication—“carved” by a technique of sandblasting reminiscent of the process of erosion—it is not mere mimicry at play in Pierce’s work. The techniques she employs speak more of an interplay between order and spontaneity governed by a willful, conscious intent. One cannot easily control, for example, how the ink will bleed on a piece of rice paper but one can allow for the bleeding.

Pierce achieves her artistry by controlling without seeming to, achieving balance through a careful manipulation of materials while allowing for an element of risk. In fact, as the sandblasting process used on the balsa sculptures became more controllable, hence safer for both the art and the artist, Pierce left it behind in favor of exploring other mediums: notably her resin reliefs whose opalescent depths are shown to good effect by the gallery ’s lighting.

The interplay of those resin reliefs with the available light belies their simplicity. They shimmer at one angle, seem to change their color at another, and appear to have rippled surfaces that are flat to the touch. The only thing simple about them is their geometric shapes. Here, in the basic forms of the art, lies their unassuming power. Like the purity of symbols, they almost require a lack of preconception, a willingness to take in their shapes with fresh eyes, to be properly apprehended. And, like symbols, they are not easily defined.

A similar quiet complexity is at play in the sumi ink drawings. After laying wet rice paper over garden stones, Pierce inked the surface, allowing the ink to follow paths delineated by the stones. The pattern, outlined heavily in earthy colors, is evocative of the stones, but also of mossy jungle vines and weeping willows.

As the last surviving member of the Transcendentalist Painting Group, Pierce has continued to explore themes of mystery and spirituality and has given them full expression. So there is a sense when viewing her resin reliefs that they embody a dimensionality that is fundamental. They absorb light and retain it.

They are like magic but not like magic tricks.

There is something haunting in the totemic quality of the balsa wood sculptures that also relays depth and dimensionality. They, too, speak with the ageless authority of symbols. They command with such presence despite the fragility of their material. It is as though these sculptures are imparting something of a long forgotten language: one whispered by ancient ruins or by hollow trees succumbing to the ravages of time. Perhaps it is a language only heard by the quiet and still mind.

i

m i c h A e l A B At e m A R c o

Florence Pierce, Untitled, balsa wood, 40” x 15” x 7½”, 1960s

SherrIe levIne: aBStractIon

GeorGIa o’KeeFFe muSeum 217 JohnSon Street, Santa Fe

i wonder about the title of this show: Abstraction. Not that it’s misleading, but

In the past, Levine’s look-alikes of celebrated works may have provoked inquiries about the commodification

ttoo the extent that everything you can think of, visually or otherwise, is a complex product of history, personal

of art, the meaning of authorship, and what it means to appropriate so-called original artworks, but by now we

memory, m emory, and social convention, both conscious and unconscious (just for starters), you could say that there’s

may have collectively digested those insights and no longer find them all that stimulating.

nnothing othing that isn’t already an abstracted version of something else. In looking at art, abstraction may refer to a

The serial, repetitive nature of much of Levine’s work is beautifully served in the eighteen iris prints

kkey, ey, essential fragment—an intriguing oddness that sharply penetrates and creates a conceptual fragmentation

entitled After Stieglitz, hung on a third wall. These slightly blurred, pixilated renderings, inspired by Alfred

that can open up a fresh sensibility or state of lucidity.

Stieglitz’s famed series of cloud photographs made in the 1920s, represent a subtle reworking of another artist’s

When you first enter the spacious gallery that has been provided for Sherrie Levine’s work, you’re struck

ideas. One wouldn’t even bother pointing this out if Levine weren’t already associated with a methodology that

by the magisterial presence of three distinct series hung on three walls. To the left, the

intentionally borrows from another artist’s readily identifiable body of work. Here, the

Large Pink Knot paintings revisit the artist’s investigation into originality by reworking,

distance between the original photographs and Levine’s prints is perfectly calibrated:

on a much larger scale, her own, much smaller plywood paintings of some twenty

not too identical, not too far apart. The viewer is put in the playful zone of stimulation

years ago. In this show, six standard, four-foot by eight-foot plywood panels are framed

where originality and appropriation are understood to be as one. To quote Jonathan

and enclosed in glass. The knots have been filled in with oval shapes, painted in pale

Lethem quoting John Donne in a recent article for Harper’s Magazine, “All mankind is of

pink acrylic. They might suggest something vaguely female, or a petal or a leaf, maybe

one author, and is one volume; when one man dies, one chapter is not torn out of the

echoing the leaf in the O’Keeffe painting in the next room, Patio Door with Green Leaf.

book, but translated into a better language…” Contrast this generous, sophisticated

I guess there’s no harm in taking ordinary sheets of plywood and re-representing the

intelligence with a partial quote excerpted from Stieglitz’s achingly precious, almost

already existing beauty inherent in the grain of plywood, but there may not be all that

endearingly prosaic observation about his Equivalents (some of which are on view

much to say about it. Appropriating non-art objects and contextualizing them into an

close by and not to be missed), printed on the gallery wall: “…Several people feel I

artistic enterprise is fine, but the viewer likes to have an inkling of some manifestation

have photographed God. Maybe…I know I have done something that has never been

of fresh thought behind that action, be it wit, audacity, or originality.

done.” People just don’t express themselves like that anymore.

The opposite wall holds nine antelope skulls cast in bronze. These multiples are

Rinchen lhAmo

undeniably elegant sculptures, but again, the allure may be short-lived for some of us.

Sherrie Levine, After Stieglitz:2, Iris print, 19” x 13”, 2006

g

CRITICAL REFLECTIONS

Green

516 artS rt 516 central avenue SW, alBuquerque

green is every spring (so far). So green is starting out, beginning, and sowing seeds. Green is the color of a world sustained in a state of becoming.

Green is the first of many shows at the newly established 516 Arts. Instead of offices upstairs in what was the ol’ Magnifico Artspace, the upper galleries double the

prime gallery footage and make the most of the space, a space aglow with new killer lighting. The list of funders, state and city entities, and local businesses stepping up for this nascent non-profit is especially encouraging. A bright new bud is pushing up through the sidewalks of downtown Albuquerque.

Kermit the Frog, U.S. banknotes, the global attire of Mother Nature, and the name of this blockbuster inaugural exhibit are all the same color. Dr. of Art History

Sharyn R. Udall gives good essay in the exhibition catalogue, illuminating a crazy bevy of regional art stars with the lights of her writer’s skills.

Credit for Green curation and getting 516 Arts up and running goes to artists Suzanne Sbarge and Andrew John Cecil who curatorially title themselves “tender

footed,” working tirelessly for the extended art family of Albuquerque and beyond. Although Green fails to deliver on its theme (it ain’t easy being green with twenty-three

widely divergent artists), that failure is more than made up for by viewing the show as simply a consolidation of regional artistic muscle. Green as the color of a sustainable art community goes a long way with Mr. Moi. Although few of the artists are greenhorns, almost

all

are

well-established

names

in

contemporary art in Northern New Mexico and beyond. Take Larry Bell, who enters a 2006 glass cube put through his magical light-and-spacealtering process, or pouring powerhouse Florence Pierce with her portal pyramid of resin. Frederick Hammersley shows two of his little “hunch paintings” seemingly on a delightful whim. Jaune Quick-to-See Smith’s lithos from her American Landscape series are subtle and, given time, speak out—with wit—against current political/corporate agendas. Joel- Peter Witkin gives a pagan call to the Green theme with the inclusion of his classic image Centaur. Diego Romero continues his own tradition of Pueblo style pottery with humorous and scary images of the current culture crash, while Acoma potter Mary Lewis Garcia sticks to the forms that have evolved only slightly over the centuries. For real evidence of sustainability in the arts look to Pueblo pottery. Grant Hayunga shows the scrawly, mixed-media paintings of his not-so-distant artistic youth (his new stuff is even better). Anne Cooper fits the Green theme with her profusion of plantings and drawings. Tom Joyce holds down the first floor with Bloom, a massive, forged iron organic abstraction.

Tom Dixon shows abstract expressionist paintings.

From Bill Gilbert’s DVD, The Kiss

Beverly Magennis, famous for her eleven-year project Tile House, brings her mosaic work inside with one of her large-scale ceramic Garden Ladies. Marc Oulette and Douglas Kent Hall both find poetry in sophisticated images of men at the edge of the frame. And among the name products, Z is for Zink as in Melissa whose works with text, image, and found ephemera always engage.

And onto the newcomers, though even this is a relative term in this context as most have long exhibition lists to their credit. Orlando Leyba comes through with richly colored mixed-media paintings that employ figurative and abstract elements in perfect harmony and surfaces to die for. Jennifer Lynch composes in a similar mode, combining magnified photos with a painterly sensibility. Cynthia Cook summons the supernatural with her Cornellesque boxes that, in a rare reversal, actually rival the surrealist master’s . Iva Morris’s oil painting Cat’s Cradle is the only real disappointment in Green. She sticks too close to her obviously photographic sources and creates bizarre spatial conundrums that read more like lack of understanding of illusionistic volume than interesting experimentation, recalling one of my least favorite successful artists, Janet Fish.

So what else? Only the most intriguing entries remain. Bill Gilbert creates a sweet video called The Kiss in which various couples give lip service to human affection and digitally morph into each other. This is pretty cool to watch, though there is a digital bump in each transition that irks a little. One might say that the piece hinges too much on a fascination with the new media, but this is forgiven, as celebrating intimacy is a much-needed balm in this too-cruel world. Mary Tsiongas hits the mark with her image of a flayed deer drinking from a black pond shot full of arrows. This sculptural vision of nature as a nuclear waste dump is a chilling warning against corporate toxicity.

Her “targets”—combining human and wild animal heads—recall Tasha Ostrander’s recent work and are strong statements against the omnivorous aspects of humanity run amuck. And finally, photographer Delilah Montoya packs a powerful punch with her crisp images of women boxers.

Green is dedicated to the late Luis Jiménez. Among other works by this protean figure appears his famous print Border Crossing, which seems even more relevant today than it did when he created it in 1987. Jiménez is missed, but his art is more alive than ever.

jon cARve AR R

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t

poWer Dre reSSInG : m en ’ S F a ShIon

anD

preStIGe

two dinka dandies strut bare-ass in the barnyard,

In

aFrIca

muSeum oF InternatIonal FolK art 706 camIno leJ e o , S anta F e

flaunting their finery like a pair of

peacocks—their dazzling, beaded corsets signaling to one and all their exalted status. Well, what else would you wear in real hot weather that could be so breathtakingly minimal and yet show so much? These sauntering Sudanese herders proudly flash their chic, brightly beaded corsets to all and sundry; moreover, all their kinfolk immediately read each fellow’s rank and status by checking out the varying heights of each corset’s peak at the back of their necks. In their established aesthetic code, the higher the peak, the higher the power.

The Museum of Folk Art’s recent exhibition Power Dressing: Men’s Fashion and Prestige in Africa presented one example of

those dazzling corsets among a fascinating array of men’s clothing and regalia from regions throughout contemporary Africa. For this viewer, a great fan of the Fashion Institute at New York’s Metropolitan Museum of Art (which has, in recent times, completely transformed and validated the display of mere clothing in the august museum context), this exhibition was one of the most amazing displays of dressing for success seen anywhere. Organized by the Newark (N.J.) Museum of Art’s curator, Christa Clark, and drawn from that museum’s substantial collection of traditional African tribal dress—from Morocco to South Africa—this traveling show demonstrated not only the ongoing cultural relevance of men’s dress in Africa, but also its amazing diversity.

The variety of ensembles ranged from the minimalist “bustiers” of Dinka herdsmen to vast, enveloping, cotton robes to a wide array of fiber tunics, capes, and other garments, many run up from the most exotic materials, such as leopard fur and leather, cowrie shells and seedpods, leather and feathers, copper, gold leaf, even elephant tails and porcupine quills. (A particularly stunning tunic and helmet from Cameroon, an outfit unquestionably designed to declare “don’t tread on me!” was fashioned from cotton, leather, and a bristling carapace of porcupine quills.)

Surely this viewer was not the only visitor to this revelatory show to muse about similar “power dressing” in today’s hip-hop universe, which can be equally spectacular and certainly never dull. Diddy’s bling, Bow Wow’s billowing pants, the far-out headgear and dreads of Lord Finesse, or Jay-Z are not only way cool, they could be seen to have a long-standing, grand tradition stretching back for centuries in the Dark Continent.

— An e. ADlmAnn —j

t

clauDIa KleeFelD: love, loSS,

Carol Beckwith and Angela Fisher, Dinka Herders in Beaded Corsets, Sudan, Photograph, 1981

anD

the rInG

oF

FIre 227 paSeo

Del

taoS art muSeum pueBlo norte, taoS

this body of work, created over the course of the last six years, draws on the

suggestion. It has the quality of a dream whose intriguing forms remain tantalizingly just below the

artist’s experience throughout that period, an experience that encompasses her marriage,

surface of consciousness’s power to regulate meaning into sharp definition. The series of breast

the birth of her daughter, and her husband’s suicide in 2005. In somewhat the same way that

feeding paintings (including one charcoal drawing) conveys an intimacy of this primal, contained world

certain cultures enact rituals to expedite an individual’s journeys through intense moments of

that is demanding. These works require that the close communion and vulnerability they depict be

both celebratory joy and devastating loss, Claudia Kleefeld has used her vocation as an artist

met and answered by an equivalent vulnerability on the part of the viewer. The Weave is a literal

to go beyond a mere intellectual and emotional embracing of her own life events of recent

depiction of the interwovenness of moments in life whose disparate feelings of grief, joy, communion,

years. In both cases, there is a wise recognition that there are explicit, skillful means for dealing

and transcendence address those half-shadowy, half-apprehended aspects of human experience that

with the trauma of grief whereby it may be transmuted

might be puzzled together after the fact, in hindsight. Events

into pure presence, beyond categorization of good or

occur separately, and then they occur all over again, in their

bad, pain or pleasure, and thus leave the psyche not only

collective totality.

unwounded, but more resilient and compassionate than

In the final, painted version of The Day of the Peach,

before. The exhibition includes oil paintings and works

the theme of the wounded bird, spirit transcending, is

on paper, most of which are accompanied by a text that

fully affirmed in Kleefeld’s muted colors and expressive,

has been framed separately and hangs next to the work

instinctive brushwork which convey an affirmation of

it elucidates.

life in the teeth of death. The woman releasing the bird

Owl, Death of My Past imparts a significance that cannot

into the air unlocks the valve of feeling, a kind of rebirth,

be exactly articulated, as if the incidental paraphernalia of the

and in this way the painting also in some way evokes the

painting’s narration don’t need an explicit elucidation. What

Annunciation, as if Gabriel (or any harbinger) manifests

survives after the transmutation of dream and memory into

as the light filtering through the trees, illuminating the

art evokes an intensity of feeling that often eludes precise

woman’s white slip, announcing more than the birth of

definition. The waywardness of dream imagery, its multiple

one individual, but also the eternal reawakening of spirit.

uncertainties, the errant nature of consciousness: All of these “imperfect” elements imbue the painting with beguiling

Rinchen lhAmo Claudia Kleefeld, Owl, Death of My Past, oil on linen, 24” x 30”, 2000-2006

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CRITICAL REFLECTIONS

unlImIteD BounDarIeS

the alBuquerque muSeum,

In collaBoratIon WIth the I nDIan

pueBlo cultural center 2000 mountaIn roaD nW, alBuquerque

Remember the hilarious saturday night n live skit Jew? not ot a Jew? in which a game show host asks contestants to identify celebrities? There’s an indigenous version down at the Albuquerque Museum and it is one of the best pieces in Unlimited Boundaries. Twenty photo portraits are hung in a grid on the wall with the phrase Guess Who Is American Indian? stenciled above them. This is also the title of the piece, a collaboration between Jaune Quick-to-See Smith and Neal Ambrose-Smith. Is the question mark at the end a grammatical mistake in what should be an imperative, i.e. the name and object of the game? Or is it a question implying that the phrase be followed up with something like, “you gotta be fuckin’ kidding.” Either way this is one of the edgiest pieces in a strong exhibition.

There is a key and viewers will inevitably find themselves stumped and surprised. Like much of this show the power of the art is in the

questions raised, and the assumptions exposed. Are you American Indian if you’re half Irish and half Mayan? I was reminded of what my first ex-wife (who identified as Jewish) used to say when idiots said, “You don’t look Jewish. Her rejoinder, “This is what Jewish looks like.”

And this is what contemporary American Indian art looks like. Its boundaries are unlimited, as the title of the show suggests. In fact,

there is a kind of aesthetic nomadism at work here that spans vast territories of contemporary and traditional expression. Potter Diego Romero sticks close to his roots in the Pueblo tradition, but as an elegant foil for his droll and dire sociopolitical statements. Powerhouse Bob Haozous also draws upon traditional iconography—the Apache warrior, the sweat lodge—but usually to point up the culture clashes and/or shared problematics between and within Native and mainstream American cultures. Similarly, Norman Akers presents his potent painterly pastiche of alienated animal spirits and abstracted symbology in vividly apocalyptic environments.

The totemic sculptural installation of Nora Naranjo-Morse, The Black, White, and Brown of it—Transcending the Landscape of the Same, implies a reality in which our human similarities and differences are equally valued, so that we might balance both individual freedom and communal belonging. Stephen Deo’s intriguing objects made of recycled shoes, rulers, and vinyl records imply universal narratives and at the same time employ an utterly specific particularity. The paintings of Emmi Whitehorse represent transcendently elegant floating worlds, while Gregory Lomayesva’s burning houses have an out-of-control loneliness that hits home.

This is just a smattering of what one multi-culty white guy thought about some parts of this intriguing exhibition. Get your own ethnically identified ass down there and enjoy the show yourself, whoever you are.

jon cARve ARveR

p

Jaune Quick-to-See Smith with Neal Ambrose-Smith, Guess Who Is American Indian?, photographs, 18” x 16”, 2004

paBlIta velarDe

muSeum

oF I nDIan

artS rt anD c ulture 710 camIno leJ e o , S anta F e

The cultural life is always around you… You just automatically learn it. You hear it, you see

One aspect of her work that Velarde stressed throughout her life concerned itself with

it, you feel it, and you do it.— Pablita Velarde. From Pablita Velarde: Painting Her People,

expressing a woman’s point of view about Pueblo life. As a museum brochure stated, “Velarde

by Marcella J. Ruch

pursued painting even though it was not considered the role of a Pueblo woman and certainly

pablita velarde velarde

not a traditional career choice…. And she often chose themes that conveyed the interests of (Santa Clara) was an exceptionally attractive and charismatic-

women, a subject that was of little concern to other Pueblo artists and non-Indian observers

llooking ooking woman from youth through her old age. Normally I would not bother to include

at the time.” Working in casein on matte board, Velarde rendered, in stylized fashion, not only

tthis his type of information in a review, but for reasons I myself don’t fully understand, I feel that

scenes such as pottery and basket making, seasonal dances, animal round-ups, and hunting

her h er magnetic physical presence played a part in her life as an artist. Velarde trained her gaze

expeditions, but also the intimacy of domestic scenes like food preparation, sleeping children,

outward o utward to her culture, with its wealth of details from

family meals, and Pueblo interiors. The viewer is

myth, ritual, and activities of Pueblo life, and the world

quietly swept along the path of Pueblo life and comes

returned her gaze in celebratory fashion. Her face—

to feel a sense of connection with many of its layers

expressive, iconic, and strong-featured—contained

of shared meaning.

with the landscape of its features the history and

Some of Velarde’s most successful work focused

continuity of a culture. This is an uncommon reality for

on the intricate details of dancers’ ritual costumes

any artist, past or present.

and the lay of the land with its flora and fauna. And

Velarde died last year, at the age of eighty-

she was a master of the small gesture rendered in

eight, leaving behind a remarkable record of Pueblo

mid-motion as people picked berries, carved meat,

life. Native Americans—an ongoing subject of Anglo

tended corn, played stickball, held the reins of a

art since the nineteenth century—have seldom been

horse, climbed a ladder, or placed bread in an oven.

treated to in-depth studies by Native Americans

Documenting Pueblo life was Velarde’s forte, yet she

themselves. However, at the age of twenty-two,

was very much aware that being an easel painter since

Velarde was commissioned by the National Park

the age of fourteen had set her apart and given her a

Service, under the aegis of the WPA, to document her

singular vantage point on a world both rooted in time

cultural and social roots in a series of paintings to be

and caught in a distinct stage of transition between

installed at Bandelier National Monument. The work

traditional values and twentieth-century concerns.

in this exhibit is from that period of documentation Velarde undertook in the 1940s.

APRIL

Pablita Velarde, Basket Dance, casein on matte board, c. 1940.

DiAne ARmitAG mit mitAG e

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SHADES OF PARADISE PhotoGraPhs By B

Guy Cross

IN

the French West Indies—just a ten-minute plane ride from St. Maarteen—there is a small island,which, like Santa Fe, is often celebrated by the editors and readers of magazines like Condé Nast Traveler and Travel + Leisure.

If you’re searching for natural beauty, pristine beaches, luminous water, astounding views, rejuvenating spa treatments, swaying palms, and a harmonious blend of colors and textures, this jewel of an island—no high-rise hotels, golf courses, or casinos—may end your quest. Add to the mix luxurious but not ostentatious hotels, exquisite cuisine at five-star restaurants, long lunches, jumping night clubs, supreme pampering, high-end boutiques, cutting-edge contemporary art, wonderful villas to rent by the week or the month, and you are in St. Barthélemy—aka St. Barts, aka St. Barths—the Carribean’s most alluring destination—one that exceeds all expectations for discriminating travelers who favor relaxed and easy elegance.

The award-winning Hôtel Guanhani

Gustavia Harbor

Touring the back roads by motorbike.

DESTINATION

Luxe villa Catch of the day at Hôtel Le Sereno

The beach at La Plage

Suites and villas—designed by Christian Liaigre—at Hôtel Le Sereno

continued on page 54

APRIL

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`

DESTINATION

Beachfront dining

Casual lunches at La Plage

Ultimate spa treatments

Lunch at Hôtel Saint-Barth Isle de France

Interior of Me • d i • um Gallery

if yoU’RE GoinG…

getting theRe: American or Continental Airlines to St. Maarteen’s Queen Juliana International Airport. Then fly Winair (www.fly-winair.com), Air Caraibes (www.aircaraibes.com), St. Barth Commuter (www.stbarthcommuter.com) or Tradewind Aviation (www.tradewindaviation.com). wheRe tO stA stAy Ay: François Plantation (www.francois-plantation.com), Hôtel Guanhani & Spa (www.leguanahani.com), (www.leguanahani.com), Hôtel Saint-Barth Isle de France (www.isle-de-france.com), Hôtel Le Sereno (www.lesereno.com), The Eden Rock (www.edenrockhotel.com), Le Toiny Hotel (www.hotelletoiny.com). dining: La Plage Beach Restaurant (590 52 81 33), Le Rivage (590 27 82 42), Hôtel Guanhani (590 27 66 60), Carl Gustaf Restaurant (590 29 79 00), Hôtel Saint-Barth Isle de France 590 52 90 36), Wall House (590 27 71 83), François Plantation (590 27 61 26), Hôtel Le Sereno (590 29 83 00) and K’fé Massai (590 29 76 78). night life: Casa Nikki (690 40 03 40), Yacht Club (690 49 23 33), and Le Feeling (590 27 88 67).

ARt R : Me • di • um (590 29 47 63)—contemporary gallery and artist-in-residence program, where work by Mike Kelley, Sigmar Polke, and Phillip Guston has been shown. (www.mediumstbarth.com).

Rt To b.art—contemporary art and photography (590 87 98 53), and Terre Indigo—original local art. (590 27 78 80). villA illA RentA ill ent ls: MARLA Villa Sales & Rentals—590 27 62 02 (www.marlavillas.com) and V.I.P.—590 27 94 86 or stbarthvip@anadoo.fr

APRIL

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ome, H Studio & Gallery in Madrid

2845 STATE HWY 14 NORTH

GALLERY

MADRID, NEW MEXICO

OFFICE

w w w. r e a l e s t at e i n m a d r i d . c o m

LIVING QUARTERS COMMERCIAL LOCATION ROOM FOR EXPANSION HISTORIC NEIGHBORHOOD

T

his property is certainly one of the best retail locations in Madrid situated across the street from the Mine Shaft Tavern. Originally built

in 1947 as a car showroom for Huber Motor Company, this site was the biggest car dealership in New Mexico at that time. This property is ideal for a live work space with the gallery in front and comfortable living in back. The property features a state of the art water filtration system, including reverse osmosis drinking water, two lots of record and space to create a workshop.

Recently the subject of a Santa Fe New Mexican article, Madrid's rejuvenation as a destination for art and entertainment O F F E R E D AT

makes the village the perfect artist's enclave.

$489,000

SELLER’S

BARKER REALTY

REPRESENTATIVES

ARTIE GARCIA 505.992.3588 505.690.3818

DIRECT CELL

artiegarcia@barkerrealty.net www.artiegarcia.com

530 S. GUADALUPE • SANTA FE, NM

: MARY GUZMAN 505.992.3591 505.469.0497

DIRECT CELL

mguzman@barkerrealty.net

87501 505.982.9836 • 1.800.586.1032 •

WARREN SACKS 505.992.3593 505.690.0711

DIRECT CELL

wsacks@barkerrealty.net www.thewrs.net

W W W. B A R K E R R E A LT Y. N E T

No representation or warranties either expressed or implied are made as to the accuracy of the information herein or with respect to the usability, feasibility or condition of the property. Subject to change, sale or withdrawal without prior notice of any kind.

MARK Z. MIGDALSKI, D.D.S. GENERAL AND COSMETIC DENTISTRY “DEDICATED

TO PREVENTION, SERVICE & EXCELLENCE”

“The Artist’s Dentist”

465 ST. MICHAEL’S DRIVE, SUITE 204 ENTER OFF HOSPITAL DRIVE

(505) 820-1010

like looksanup” t I t u cle m, b ry Momy “spring ey always t e c i h N e for g.” here t it’s timemarr....w a “good do at Braeat me like tr

Make your appointment today, before the big spring rush!

A Great Grooming Shoppe at the Agora Shopping Center in Eldorado

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ARCHITECTURAL DETAILS

Northern New Mexico Stream PhotoGraPh By B

APRIL 2007

Guy Cross THE

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WRITINGS

Tearing and Mourning By By

Paul Paryski’s poem was inspired by James Perigord’s collage-decollage Tearing and Mourning.

Paul ParysKi

Our proud flag once Red, white, and blue Halls of glory The waving flash of freedom

Now color bled grey by bullets, bombs, invasion, torture

Our sad flag now ripped by greed, lies, arrogance, and spin Halls of hate The waving despised flash of death

58 | THE

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APRIL 2007

as the crow flies

as seen from above as far as I know

as you desire me

as time goes by as you like it

as if by magic

as long as he needs me as the saying goes

as long as it takes

Linda Durham

Contemporary Art

as soon as possible

as the world turns

as is

as much as possible as well as can be expected

as a matter of course as it was in the beginning

as far as the eye can see as you would expect

as pleased as punch

as you might imagine

as deep as the ocean as high as a kite as black as pitch

as you must know

as high as a mountain as light as a feather

as red as a beet

as soft as a babyâ&#x20AC;&#x2122;s bottom

as you can see as white as a ghost as good as gold

as clear as mud

as a matter of fact

as dumb as a doorknob as sick as a dog

as rich as Croseus

as if I give a damn

as stiff as a board

as hard as a rock

as blind as a bat

as sharp as a tack

as quiet as a mouse as sly as a fox

as the law dictates

as fit as a fiddle as you are well aware

as it is written

as pure as the driven snow as God intended

as seen on TV

as the saying goes

1101 Paseo de Peralta Santa Fe, NM 87501 505.466.6600 www.lindadurham.com

as long as it takes as above, so below