THE magazine, July 2014

Santa Fe’s Monthly

JAMES

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of and for the Arts • July 2014

T U R R E L L : L U C I D I N T H E E C S TA S Y O F L I G H T

SHIPROCK SANTA FE FOLK ART MARKET RECEPTION FRIDAY, JULY 11, 1–3 P.M.

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

5 26 30 33 25 39 43 44 52 55 61 69

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letters universe of:

artist Jim Vogel The Servant, directed by Joseph Losey studio visits: David Solomon and Robbi Firestone one bottle: The Jacquesson Champagne Extra-Brut “Cuvée 736” by Joshua Baer dining guide: The Compound and Cafe Fina art forum:

art openings out

&

about

previews: ART Santa Fe at the Santa Fe Convention Center and Temporal Domain at Peters Projects national spotlight: Sarkisian & Sarkisian at the Orange County Museum, Newport Beach, CA feature: James Turrell: Lucid in the Ecstasy of Light

by Diane Armitage critical reflections: Baldessari and Ruscha at Richard Levy Gallery (Alb); Breakthroughs at UNM Art Museum; Digital Latin America at 516 ARTS; Eric Reinemann at GF Contemporary; John Connell at David Richard Gallery; Mike Glier at Gerald Peters; Ramona Sakiestewa at TAI Modern; and Signe Stuart at William Siegal Gallery green planet: John Isaac Gutierrez: Farm to Table Advocate, Naturalist, & Partner in Cheesemongers of Santa Fe. Photo: Jennifer Esperanza architectural details: Reflected Light on Adobe Wall. Photograph: Guy Cross writings: “On a Feast Day” by Joseph Bottone

CONTENTS

Japanese Erotic Art: The Hidden World of Shunga (Thames and Hudson, $75) chronicles the explicit art form, which was taboo to view or collect from the late-nineteenth century to the 1950s, by illustrating and discussing the symbols and motifs found in the images. All strata of Japanese society appreciated the paintings, prints, and illustrations made by artists starting in the seventeenth century. Author Ofer Shagan is also a collector and presents the hundreds of prints and their history in thematic chapters, ranging from amusement quarters to questions of size; from selfsatisfaction to children; old people; ugly people; from violent sex and death to symbolic and educational images.

In this substantial and profusely illustrated tome, Shagan recommends focusing on the imagery to derive meaning, as the translations of the ancient texts, while containing humor, satire, and insider stories, have multiple interpretations.

The prints, although unsigned and consequently unattributed, are thought to have been executed by many of the major u-kiyo-e artists, known for their depictions of the pleasure-seeking “floating world.” Shunga translates as “pictures of spring,” and references sex, not pornography—a concept that would have been very foreign in pre-Modern Japan.

DESERT SERENADE Drones, Fences, Cacti, Test Sites, Craters and Serapes 12 JULY – 31 AUGUST 2014 An exhibition from the Lannan Collection featuring works by

RENATE ALLER SUBHANKAR BANERJEE TREVOR PAGLEN TOM MILLER VICTORIA SAMBUNARIS JAMES TURRELL EMI WINTER

ARTIST RECEPTION Saturday 9 August from 5 to 7pm Lannan Foundation Gallery GALLERY HOURS Saturdays and Sundays noon to 5pm or by appointment 309 Read Street, Santa Fe, NM Tel. 505.954.5149

309 Read Street, Santa Fe, NM 87501 Tel. 505.954.5149

www.lannan.org IMAGE: Emi Winter, Spoonbill, 2003, Oil on Masonite, 90 x 28 inches overall, Collection Lannan Foundation.

LETTERS

magazine VOLUME XXII NUMBER I

WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 and 2006 Top-5 Best Consumer Tabloids P U B L I S H E R / C R E AT I V E D I R E C T O R Guy Cross PUBLISHER/FOOD EDITOR Judith Cross ART DIRECTOR Chris Myers COPY EDITOR Edgar Scully PROOFREADERS James Rodewald Kenji Barrett S TA F F P H O T O G R A P H E R S Dana Waldon Anne Staveley CALENDAR EDITOR B Milder WEBMEISTER

Jason Rodriguez SOCIAL MEDIA Laura Shields

CONTRIBUTORS Teresa Anastasion, Diane Armitage, Joshua Baer, Joseph Bottone, Davis Brimberg, Jon Carver, Jennifer Esperanza, Hannah Hoel, Marina La Palma, Kitty Leaken. Jeff Riley, Richard Tobin, Lauren Tresp, Ruby Trout, and Susan Wider COVER

James Turrell, Twilight Epiphany, 2012 Photograph by Florian Holzherr Courtesy: MOCA. See page 61.

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Jimmy Montoya: 470-0258 (mobile) THE magazine is published 11x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501.

Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: themagazinesf@gmail.com. Web address: themagazineonline.com. All materials copyright 2014 by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable, for any misspellings, incorrect information in its captions, calendar, or other listings. Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel. All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised. THE magazine is not responsible for any claims made by its advertisers for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.

J U LY

2014

Shape Shifter—an exhibition of new paintings by David Solomon on view at Patina Gallery, 131 West Palace Avenue, Santa Fe. Reception: Friday, July 11 from 5 to 7 pm. Show runs through August 23.

TO THE EDITOR:

Yes, editors, you’ve done it again with another fabulous photograph by the “world renowned” Joel-Peter Witkin, this time celebrating female bondage in an image made to look like some old scratched-up print that might have been taken in a late-19th century Paris brothel. It’s a nice tease, isn’t it? At least this time around we were spared the lovely scene with a woman posing by a dead horse, its giant penis standing out prominently.

The question isn’t whether or not we can stand in front of stuff like this and not turn away, or avert our eyes. The question is why should we give space in galleries, museums, and publications like THE magazine to artists who celebrate the lewd and grotesque, along with overt female bondage,?

And this in a time when aggression and violence against women and children is growing around the world. It’s easy to soften a photograph of a woman in chains by dressing it up as a period piece so viewers will say, “That’s not us.” Get real!

The photograph still celebrates domination and torture. So it’s easy to find critics and curators who can intellectualize the weird and the sick as art, and it’s easy for gallery owners to promote it for profit, but isn’t it time for editors and publishers to put some distance between yourselves and the silly charade of promoting this stuff as important art? On the other hand, hang in there. Maybe you’ll be around for a Joel-Peter Witkin estate sale when the closets open and the props of torture spill out for the collectors to snap up and hang along with their expensive photographs. That could be quite a feature spread for THE magazine!

—Carol and David Farmer, Santa Fe, via email TO THE EDITOR:

It is easy, and very tempting, to consider photographer Joel-Peter Witkin a pervert, a label that the reviewer feels is “appropriate.” It is much more difficult to give Witkin and his work the serious consideration they deserve. Setting aside the apparent predilection, these days, for

the pretty and pleasing in art, there seems to be an especially perverse refusal among many to engage with Witkin’s provocative work. Yes, Witkin graphically depicts the “atrocious and disturbing” subjects that the reviewer claims earned him “several grants from the National Endowment for the Arts.” But it is not those subjects per se that have gained him thoughtful, world-wide attention, but his treatment of those themes, which, as the reviewer points out, have historically been the subject of great art. Perhaps we can more readily accept, and even admire, challenging imagery by longago artists, such as Goya and Bosch, who illuminated the “wretched and dysfunctional,” than acknowledge, as Witkin does, that the issues they raised are still very much with us.

As pointed out in the review in THE’s June issue, it is simpler to turn away from the “moral dilemma” presented by Witkin’s photographs than it is to ponder his message “deeply and carefully”—to look beyond the superficial in order to contemplate the ideas of compassion, morality, and spirituality he raises. Perhaps it would be easier to denounce, to ban, to suppress Witkin’s photographs in favor of the merely pretty and pleasing, and be done with it. But who really benefits when Witkin is dismissed as merely a pervert, and a meaningful conversation about his work can’t even take place?

—Susan Campbell, Ph.D., Santa Fe TO THE EDITOR:

Thanks for the intelligent and informative interview with Sanjit Sethi in your June issue.

Word around town is that there have been big changes brewing at the Santa Fe Art Institute since Diane Karp’s departure. After reading the interview I think Mr. Sethi is the right man for the job.

—Andrew Hartz, via email

THE magazine |5

DANA NEWMANN In the Realm of Surrealism: Work from 1969 to 2014

Ed Ruscha, Sunset Strip (Whiskey A-Go-Go), 1966/1995

ED RUSCHA JOHN BALDESSARI

Opening Reception: Friday July 11 from 5 - 8 pm.

PHIL SPACE

June 7 - July 25, 2014

1410 Second Street, Santa Fe 505.983.7945 philspace santafe.com

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

Images, left-right: Valerie Roybal, Heidi Pollard, Carol Chase Bjerke

ADAPTATIONS Dana Burgy-Gautschi Valerie Ro yba l

VISUAL ARTISTS WORK WITH PROFOUND DISEASE AND ILLNESS

He i d i P o l l a r d T a r a M a s s a r s k y

Leigh Anne Langwell

Lea Anderson

Linda Ma e T r a t e c h a u d B a r b a r a C r a w f o r d A m y C l i n k s c a l e s R a n d i G a n u l i n

Andre Ruesch

Patric k N a g a t a n i

Carol Chase Bjerke

Lifelines Group Installation

Through August 24, 2014, SCA CONTEMPORARY, 524 Haines NW, Albuquerque 87102 www.scacontemporary.com Sponsors: Presbyterian Cancer Center, Susan Lewis & Catherine Worth, and Amber Anderson

A N N E

T R U I T T

AT008 Promise, 1989, Acrylic on canvas, 48 x 48 inches

PA I N T I N G S A N D W O R K S O N PA P E R J U N E 2 7 - J U LY 2 7 O P E N I N G R E C E P T I O N : F R I D A Y, J U N E 2 7 T H , 5 - 7 P. M .

CHARLOTTE JACKSON FINE ART Railyard Arts District | 554 South Guadalupe Street, Santa Fe, NM 87501 Te l 5 0 5 . 9 8 9 . 8 6 8 8 | w w w. c h a r l o t t e j a c k s o n . c o m

David Michael Kennedy Photography Studio and Gallery

Mr. Carlos Pacheco, Stanley, New Mexico July 2012

1179 Highway 554 El Rito, New Mexico 87503 575-581-9504 www.davidmichaelkennedy.com open by appointment Come visit David’s Studio and Gallery in the small Northern New Mexico Village of El Rito, about an hour north of Santa Fe and only twelve miles from Ojo Caliente. While there, you will see David’s work—including his marvelous collection of portraits recently acquired by The Smithsonian’s National Portrait Gallery. A visit to El Rito would not be complete without lunch or dinner at El Farolito—a truly old-world Northern New Mexico Restaurant—as David’s guest. David also offers photography workshops and area day trips to take you off the main roads to the magical places and people he has discovered in the twenty-eight years he has called New Mexico his home.

Represented in Taos New Mexico by: Heinley Fine Art 119C Bent Street Taos, NM 617.947.9016 www.heinleyfineartsw.com

JAMES DRAKE PAGES NEW DRAWINGS | 16 JULY – 27 AUGUST 2014 ARTIST RECEPTION WEDNESDAY, JULY 16, 5-7PM

JAMES DRAKE: THE ANATOMY OF DRAWING AND SPACE (BRAIN TRASH) MUSEUM OF CONTEMPORARY ART SAN DIEGO DOWNTOWN, JACOBS BUILDING JULY 10 – SEPTEMBER 21, 2014

JAMES KELLY CONTEMPORARY 1611 PASEO DE PERALTA | SANTA FE | JAMESKELLY.COM TOP: BOOK PAGES #1249 & 1250 & 1251, 2013, GRAPHITE, INK & BOOK PAGES ON PAPER, 57 X 48 INCHES UNFRAMED BOTTOM: MASTER DRAWINGS, DRAWINGS #1243,1244 & 1245 , 2013, GRAPHITE, INK & BOOK COVERS ON PAPER,TRIPTYCH,19 X 72 INCHES UNFRAMED

Richard Tuschman HOPPER MEDITATIONS

Exhibition continues through July 19th

Tom Chambers: Reverie July 25 - September 13

Artist Reception 5-7 pm, Last Friday, July 25th

photo-eye GALLERY New Location!

541 S. Guadalupe St. Santa Fe, NM 87501 Hotel Santa Fe Guadalupe St. entrance Tuesday - Saturday, 10-5:30 or by appointment 505.988.5152 x202

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DARA MARK

“After Wayne #1”, Watercolor on layered synthetic paper, 41 x 42 inches, 2014

daramark.com • ladyminimalists.com • darawayne@cybermesa.com • 505 466 2037

IMPACTS! . 勢み Japanese contemporary art

preVIeW openInG FRIDAY, JULY 25, 5-7 PM GranD openInG FRIDAY, AUGUST 22, 5-7 PM presenteD by zAne benneTT ConTeMPoRARY ART & MIzUMA ART GALLeRY, ToKYo

zane bennett contemporary art 435 S Guadalupe St, Santa Fe, nM 87501 t: 505-982-8111 F: 505-982-8160 zanebennettGallery.coM IMaGe: eGucHI, ayane, unknown Garden, oIl on canvaS, 2014, 76 3/8 x 102 5/16 In.

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Convergence Studios�

Collaborative and individual paintings and constructions by� Riha Rothberg and Wayne Mikosz� The studio is open by appointment during the summer months.� Placitas is located north of Albuquerque, off I-25 at Exit 242.� Video at Convergencestudios-nm.com 505.771.1006�

JUDY TUWALETSTIWA

ruah

June 27–July 22, 2014

Opening Reception June 27, 5 –7

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

HenryJackson halted in transition June 27-July 27. 2014

Untitled (#107-13), 2013, oil & cold wax on canvas over panel, 58" x 48"

Untitled (#59-14), 2014, oil & cold wax on canvas over panel, 28" x 30"

LewAllenGalleries Railyard Arts District 1613 Paseo de Peralta (505) 988.3250 www.lewallengalleries.com info@lewallengalleries.com

july 1 through 31 . wednesday-Sunday . 1pm-5pm

J I M VOG E L Cante Jondo, July 18 – 31, 2014 in Santa Fe Artist Reception: Friday, July 18th from 5 – 7pm

Sueños de Primavera, oil on canvas panel with hand-carved and copper leafed frame, 48" h x 38" w

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

DONALD ROY THOMPSON

MONROE GALLERY

CALIFORNIA COLOR FIELD PAINTER

of photography

STEVE SCHAPIRO

Selma March, Montgomery, Alabama, 1965

July 1 - August 10, 2014

The Blumenschein Museum Taos, New Mexico

taoshistoricmuseums.org

Opening Reception with Steve Schapiro Saturday, July 5 5 - 7 Exhibition continues through September 21 open daily 112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e: info@monroegallery.com www.monroegallery.com

BEN STEELE Art Circus Opening Reception July 4, 5-7pm

BRITT FREDA Home Opening Reception July 25, 5-7pm

Featuring the Equine Sculpture of

SIRI HOLLANDER

A SILVER CITY ARTS & CULTURAL DISTRICT SIGNATURE EVENT

JULY 30 - AUGUST 3, 2014 FOUR HANDS-ON WORKSHOPS CLAYFEST MARKET & DEMONSTRATIONS CLAY GALA FUNDRAISER ARCHAEOLOGICAL & MATA ORTIZ PANEL DISCUSSIONS TWO-DAY LECTURE SERIES ART EXHIBITIONS & RECEPTIONS YOUTH ACTIVITIES LIVE MUSIC, TOURS, YOGA & MUD PIE CONTEST CLAY POKER TOURNAMENT FUNDRAISER JULY 26

CLAYFESTIVAL.COM This festival is made possible in part by a grant from the New Mexico Humanities Council.

John S. Gordon As If Art & Education Still Mattered

Sculpture and Drawings for Sale and Lease

Our Vicious Times

www.johnsgordon.com

Wo o d , S t e e l , S t e r l i n g S i l ve r, Pe w t e r, D r aw i n g o n P a p e r

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• 13”H x 16”W x 8.5”D • 2014

Without Gravity II, 2013-14, oil, linseed oil and alkyd resin on canvas, 84 x 82 inches

Lawrence Fodor Without Gravity July 12 - August 9 Opening: Saturday, July 12, 2-4pm Chiaroscuro Now Representing Lawrence Fodor Exhibition @ Gebert Contemporary, 558 Canyon Rd, Santa Fe

c h i a r o s c u r o www.chiaroscurosantafe.com

505-992-0711

DAVID CRANE AND JOSÉ SIERRA

ROGER GREEN

Series Pentimenti

AUGUST 8 through SEPTEMBER 20

Balancing Act, acrylic on canvas, 48”x 48”

Opening Reception for the Artists Friday, August 8 5:00 - 7:00 pm

Opening Reception: Thurs.,July 10, 6-9 p.m.

Exhibit: July 1-14, 2014 Gallery Hours: Tues.-Sat.11-5p.m.

SANTA FE CLAY José Sierra

CONTEMPORARY CERAMICS

545 Camino de la Familia, Santa Fe, New Mexico 87501 5 0 5 . 9 8 4 . 11 2 2 | w w w . s a n t a f e c l a y . c o m

and by appointment

1114 Central Ave. SW, Albuquerque, NM • 505.243.9267

www.freestylegallery.com

FREESTYLE GA LLERY

The Petrol Series

Composite Photographs

Archival Pigment Prints paldesign@cybermesa.com

Announcing

Now Showing at

203 Water Street Location

“Nez odedju” (Before I Leave) • Etching • 75” x 23”

203 West Water St.

& 713 Canyon Road • Santa Fe, NM 87501

www.casweckgalleries.com • 505.988.2966

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Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers Tax, and made possible in part by New Mexico Arts, a Division of the Department of Cultural Affairs, and the National Endowment for the Arts.

PHOTO: MORGAN SMITH

PHOTO: ROSALIE O’CONNOR

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TELLING STORIES FROM THE HEART I grew up in a family that valued storytelling. My mom loved to tell stories to her children and grandchildren, my granddad as well. Her stories were often allegorical—his were often about old New Mexico. I use my ability to paint to continue the storytelling, pulling from both to compose my paintings. There have been times when a person has approached me and told a story after viewing one of my paintings. I know I succeeded when their version rings more true to me than the one that compelled me to paint it in the first place.

RECORDING EVENTS / TRANSMITTING MESSAGES Many of my compositions start by me seeing a small action or a striking place: a Paciente letting water down into his field from the acequia, a group digging a grave in the camposanto by a car’s headlights, a nighttime thunderstorm.

These are like germs that swirl around in my imagination, growing bigger until I have to draw them. By drawing from memory or an imagined memory, I can distill the image down to what’s important and not get caught up in unnecessary details. This part of the process is like an exorcism—it gets the idea out of my head and onto paper.

INTERTWINING PEOPLE WITH THE LANDSCAPE History runs deep here. People on the land, people building their homes from the land. These ideas seem nostalgic in other places but are still found here today. You may have to look behind the Dollar Stores, Walmarts, and Pulte Homes to find it, but it’s there. I paint like this not to romanticize the past but to remind us to respect what is left of it in the present and preserve it so we can have a future.

ATYPICAL SHAPES OF MY CANVASES AND FRAMES I used to spend a lot of time thinking about painting before I did it for a living. One simple thought that came to me: “I don’t see in squares and rectangles so therefore I will not paint in squares and rectangles.” So I started developing the shape of the painting based on the composition, finding it as I drew. After twenty-plus years, I still enjoy this part of my process. But I must admit that sometimes I paint in squares and rectangles.

THE WORLD OF TECHNOLOGY, SPEED, & FASHION Another very deliberate decision I made during this thinkinga-lot-about-painting-while-I-worked-for-someone-else phase was to represent the invisible people. Our common culture is so obsessed with celebrity, technology, fashion, and such stuff that our media is made of that. I decided to honor the laborers, tradesmen, and farm workers—the invisible people. Another very deliberate compositional choice was to make the hands big to emphasize the fact that these are people who work with their hands. I get asked that a lot so I thought I better mention it. I love using my hands to make beautiful things that require craftsmanship.

UNIVERSE OF

STORYTELLING IS AN ANCIENT ART FORM DATING BACK TO THE PALEOLITHIC ERA —an activity that can engage and empower communities. Jim Vogel is a visual storyteller, one who tells his tales through powerful figurative paintings. He was taught the stories of a bygone New Mexico by his grandfather, his mother, and the elders of the village where he grew up. His paintings are a recording of events in his community—a reflection of sorrows, joys, and desires, and a way of storing and transmitting cultural values. Cante Jondo: New Painting, an exhibition of Vogel’s work, will be on view through July 18 to 31 at Blue Rain Gallery, 130 Lincoln Avenue, Santa Fe. Reception: Friday, July 18, from 5 to 7 pm.

photograph by

J U LY

2014

Dana Waldon

THE magazine | 27

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ART FORUM

THE MAGAZINE ASK ED A C L I NICA L PS YCHOLOGIS T A ND T WO P E O P L E WH O LOV E ART TO SH ARE T HEIR TA KE ON T HIS S T ILL F ROM THE S E R VA N T , A 1963 FI L M D I RECT ED BY JOS EPH LOS EY, S TA RRING DI R K BOG A RD E , J AMES FOX , AND VERA MILES . T HEY WERE S HOWN ON LY T HE I M AG E AND W ERE G I VEN NO OT HER INF ORMAT ION.

fiction writer of the fifties who wrote the Mike Hammer novels. This tempestuous and chaotic photo reminds me of the avant-garde saxophonist and music composer John Zorn, who made an album inspired by Spillane. Time now to listen to Zorn’s album.

—Jeff Riley, Artist, Santa Fe

Sexy, dramatic and mysterious—like a still from a 1940s

Many would argue that Art Forum is, in general, a type of

film noir starring Bette Davis. Low lighting and mirrors

projective test.

Very film noir, but what is going on? Why is he holding a

help to set the mood. Mirrors are known to symbolize

—Davis Brimber, Ph.D., Clinical Psychologist, Santa Fe

purse? Is the old guy she is clinging to crying or hanging his

illusion and duality (as well as narcissism). The idea that

head in shame? What could have happened for her to have

things are not what they appear is classic noir. Overall,

The first thing I observed was that the man whom the

those crazy eyes? Since everyone is dressed, I guess one

this intense scene can be interpreted in two ways: One,

woman is holding onto has what seems to be some sort

can rule out the usual. I think it’s her father she is embracing

the background man is a jealous, perhaps a menacing,

of a digital sea that cuts into his shoulder. The second thing

before her evil “boyfriend” drags her away to a fearful future

lover. The woman is frightened and whispers, “Help me!”

I noticed was that the window way to the right resembles

in something illicit; he’s anxious to get going, which is why

Alternatively, the woman is a femme fatale and the man

either a police department seal or a police badge. The scene

he has her purse at the ready. She is terrified of what will

in the background finds her threatening. Perhaps he is a

seems to involve a school principal (or maybe a cop) and a

happen to her, but probably has no option but to comply. The

plainclothes detective taking her away for questioning?

student. The student, who is in a difficult situation (look at

setting has to be New York or Chicago—big skyscrapers and

Before leaving, she whispers to her co-conspirator,

the sheer terror in her eyes), reaches out to her father in a

the Art Deco–looking window that one sees on the upper

“Say nothing!” The image reminds me of a projective

desperate search for comfort. Somehow this image makes

stories of those buildings. And what is that weird reflection

technique used by psychologists called the Thematic

me ruminate on thirties and forties jazz, like Billie Holiday,

of a venetian blind? Must be a photograph behind glass in

Apperception Test. Examinees are shown ambiguous

Louis Armstrong, and Benny Goodman. When focusing

someone’s house. I am not sure I would want to live with this

black-and-white scenes. It is theorized that people project

on the purely artistic or theatrical elements of this intense

image in my house; could be the stuff of nightmares.

their unconscious, underlying issues onto vague plots.

photograph, I am reminded of Mickey Spillane, the pulp

—Ruby Trout, Interior Designer, Houston, Texas

30 | THE magazine

J U LY

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Dianna Shomaker

CORRALES BOSQUE GALLERY

4685 CORRALES ROAD, CORRALES, NM

www.diannashomaker.com

505-771-3125

OPENING RECEPTION FRIDAY JULY 18TH, 5 - 8 PM

STAN BERNING

STEPHEN BUXTON

DAVID ROTHERMEL CONTEMPORARY CORNER OF LINCOLN AND W. MARCY - 575.642.4981 - DRCONTEMPORARY.COM

STUDIO VISITS

SYLVIA PLATH WROTE, “THE WORST ENEMY TO CREATIVITY IS SELF-DOUBT.” TWO SANTA FE ARTISTS RESPOND. Sylvia Plath’s death was the ultimate expression of self-doubt: suicide. Self-doubt is fear.

Cowardice and confidence shadow all creativity. Cowardice overwhelms and negates, while confidence creates. My spiritual practice is to fiercely face my fears. I skydive. I bungee.

I scuba dive with sharks. I say, “Fuck fear,” and devour life itself. Aware of my weaknesses, I create in spite of the enemy—doubt. My passion is to inspire and empower creativity in women, while fearlessly painting my Spirit Capture Portraits.

—Robbi Firestone Firestone participated in the Santa Fe 2014 Studio Tour in June. Her current project is 12 Global Visionaries in 12 Months—portraits of visionary, bestselling authors, including don Miguel Ruiz, Michael Bernard Beckwith, and Marianne Williamson. Firestone will lead a conversation this month on creativity and empowerment at Cloud5 Project’s Lucent Exhibition (schedule: Cloud5Project. com). RobbiFirestone.com and Inspiring-Women.us

Self-doubt is the lack of self-justice. There are so many reasons to doubt and only one reason not to. At what point do I consider my dues paid for what I am striving toward? When I am caught up in battle with the imagined foes (self-doubt) to my success, I am no longer in flow and I am only fighting myself. I do not feel what is next in my process of creating a painting.

I cannot see the way to grow. To act with abandon, with strength of character, and with fearlessness is the way to produce artwork that contains truth. My imagination is unlimited if I allow it to be. And it does want to be. Of course, it helps if you know your materials inside out and how to get what you want out of a thing. That’s a great place to start.

—David Solomon Solomon’s paintings were shown at the Palm Springs Fine Art Fair with Gerald Peters Gallery in February. He has a one-person show opening Friday, July 11 at Patina Gallery in Santa Fe, and later this year a one-person show at Peter Marcelle Gallery, Southampton, New York.

photographs by

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Anne Staveley

THE magazine | 33

Jeffrey Cannon

Beauty, Art and Inspiration at 8,885 feet

CASA DE LOS ARTES

$475,000

This historic, completely renovated home is perfect for an artist, photographer, or writer— or for anyone in search of a quiet place to live, work, create, or relax. Built in 1932 as the town shops in Alcalde, 45 minutes from Taos and Santa Fe, this three bedroom, two bath home has been lived in by two families of photographers and writers since 1977. Completely modernized with respect for its history, the home includes double

garden with a drip watering system plus an oversize two car garage. MLS # 201303202

BETH STEPHENS 505.501.3088 505.988.8088 Sotheby’s International Realty and the Sotheby’s International Realty logo are registered (or unregistered) service marks used with permission. Operated by Sotheby’s International Realty, Inc., Equal Housing Opportunity.

“Santacafé always feels chic, yet causal— like “Cheers” with class.”

– John Vollersten, Santa Fean

The Perfect Table for Lunch The Compound A Santa Fe Tradition ~ Reinvented!

Lunch • Dinner • Bar

lunch - monday thru saturday sunday brunch dinner nightly

Reservations 505.982.4353 653 Canyon Road compoundrestaurant.com

restaurant bar 231 washington avenue - reservations 505 984 1788

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

photo: Kitty Leaken

e Los L od u ch

ros ce

Ra n

Drink different.

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

ONE BOTTLE

One Bottle :

T he J acquesson C hampagne E xtra -B rut “C uvée 736”

by J oshua Nick (Christopher Walken) is standing in the dark on the street outside a gambling den in Saigon. Crickets are chirping. We hear the sharp report of a pistol followed by the unmistakable sound of applause.

The back door to the gambling den opens. Two burly men bring out

B aer .

“Alas, I am dying beyond my means.” Oscar Wilde (1854-1900), as he sipped Champagne on his deathbed.

“My only regret in life is that I did not drink enough Champagne.”

John Maynard Keynes (1883-1946), on his deathbed.

a corpse, a young American with a hole in his right temple. They dump the

“One holds a bottle of red wine by the neck, a woman by the waist,

corpse next to three other corpses. After the men go back inside, Nick

and a bottle of Champagne by the derriere.” Mark Twain (1835-1910)

stands in the darkness. The crickets resume, and we hear the voice of Julien

Which brings us to the Jacquesson Champagne Extra-Brut “Cuvée 736.”

(Pierre Segui). “You seem disturbed,” he says.

At $65 a bottle, and $179 a magnum, from K&L Wines in San Francisco,

Julien has a thick French accent. He’s sitting in the driver’s seat of a white

Jacquesson’s Cuvée 736 is worth buying in quantities. According to the label,

Austin Healy, with the top down. He has an open bottle of Champagne in

Jacquesson made 9432 magnums and 346 jeroboams. If the Cuvée 736 ages the

one hand and two coupe glasses in the other.

way I think it will—into a Champagne beyond description—those magnums

Nick approaches Julien. He nods at the gambling den. “People inside are doing it for money?”

“Sometimes a great deal of money,” says Julien. “I cannot play this

and jeroboams are going to be worth hundreds, maybe even thousands, of dollars, each, by 2024. This is the best non-vintage Champagne I have tasted.

In the glass, the Cuvée 736 is a shy gold infused with moonlight. The

kind of game myself, but I am always—how do you say?—looking out for

mousse is pure foam. The bouquet displays the same peculiar cat food nose

those things quite different, quite rare.” He offers one of the glasses to

that appeared in Deutz’s vintage Champagnes from the 1980s. Don’t let

Nick. “Champagne, perhaps?”

“No,” says Nick.

Julien pours Nick a glass. “Don’t say no,” he says. “When a man says no to Champagne, he says no to life.”

From The Deer Hunter, 1978, co-written and directed by Michael Cimino.

“Champagne gives you the impression that every day is Sunday.” Marlene Dietrich (1901-1992) “If the aunt of the vicar has never touched liquor, watch out when she finds the Champagne.” Rudyard Kipling (1865-1936) “Champagne with its foaming whirls / As white as Cleopatra’s pearls.” From Don Juan, by Lord Byron (17881824) “Champagne, if you are seeking the truth, is better than a lie detector.” Graham Greene (1904-1991)

it throw you off. It’s a sign of good breeding. On the palate, the Cuvée 736 comes at you from multiple directions. Lemon curd, lemon custard, Meyer Lemon tart—they’re all in there, to one degree or another, but they’re not the whole story. What is the whole story? I think it’s the way the Cuvée 736’s flavors refuse to compete. Instead, they give each other space, emerge from their self-contained reticence, and, somehow, continue to blossom all the way through the flat spot.

It’s rare for any Champagne—vintage or non-vintage—to exhibit this kind of stamina. The finish is instant nostalgia.

“Hardly did it appear, than from my mouth it passed into my heart.” The Abbe de Challieu, regarding his first sip of Champagne, in 1715.

“Champagne is the only wine that enhances a woman’s beauty.” Madame de Pompadour (1721-1764), mistress of King Louis XV.

“There comes a time in every woman’s life when the

“A worried man with a worried mind / No one in front of

only thing that helps is a glass of Champagne.” Bette Davis

me and nothing behind / There’s a woman on my lap and she’s

(1908-1989) in Old Acquaintance.

drinking Champagne…” from “Things Have Changed,” 2000,

“Le Champagne ne se boit pas, il se déguste.”

“Champagne should not be drunk, it should be tasted.”

Colette (1873-1954) “So we came to the Ritz Hotel and the Ritz Hotel was

by Bob Dylan.

“There was music from my neighbor’s house through the summer nights. In his blue gardens men and girls came and went like moths among the whisperings and

divine. Because when a girl can sit in a delightful bar and

the Champagne and the stars.” From The Great Gatsby, by

have delicious Champagne cocktails and look at all the

F. Scott Fitzgerald (1896-1940)

important French people in Paris, I think it is divine.”

From Gentlemen Prefer Blondes, by Anita Loos (1889-1981) “Champagne is the wine of civilization and the oil of government.” Talleyrand (1754-1838) “Well, my dear fellow, what did you expect, Champagne?” Grover Cleveland (1837-1908) to John Finley, who complained that there was water in the cellar of the house he had rented from Cleveland.

J U LY

2014

“The half-empty Champagne bottle is the enemy of mankind.” Ernest Hemingway (1899-1961) One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. All content is ©2014 by onebottle.com.

If you can’t find a wine, write to me at jb@onebottle.com.

THE magazine | 37

DININGDINING

Fine Dining at

The Compund 231 Canyon Road, Santa Fe Reservations: 982-4353

$ KEY

INEXPENSIVE

$

up to $14

MODERATE

$$

$15—$23

EXPENSIVE

$$$

VERY EXPENSIVE

$24—$33

$$$$

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

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

$34 plus

EAT OUT OFTEN photo :

K itty L eaken

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

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

Dinner Full bar. Patio.

Major credit cards. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: Generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence.

Watch for special wine pairings.

Andiamo 322 Garfield St. 995-9595.

Lunch/Dinner Beer/Wine. Patio.

Major credit cards. $$ Cuisine: Italian.

Atmosphere: Casual. House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Great pizza.

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

Breakfast/Lunch/Dinner. Full bar.

Valet parking.

Major credit cards. $$$$ Cuisine: Contemporary American with a what we call a “Southwestern twist.” Atmosphere: A classy room.

House specialties: For dinner, start with the Heirloom Beet Salad.

Follow with the flavorful Achiote Grilled Atlantic Salmon. Dessert: the Chef’s Selection of Artisanal Cheeses.

Comments: Attentive service.

Body Café 333 Cordova Rd. 986-0362.

Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual. House specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Avocado and Cheese Wrap.

Bouche 451 W. Alameda Street 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare.

Atmosphere: Intimate with an open kitchen. House specialties: Standouts starters are the “Les Halles” onion soup and the Charcuterie Plank. You will love the tender Bistro Steak in a pool of caramelized shallot sauce, the organic Roast Chicken for two with garlic spinach, and the Escargots a la Bourguignonne. Comments: Menu changes seasonally. Chef Charles Dale and staff are consummate pros.

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

Lunch/Dinner Beer/Wine.

Major credit cards. $$

Cuisine: Italian. Atmosphere: Casual.

House specialties: For lunch, the classic Caesar salad, the tasty specialty pizzas, or the grilled Eggplant sandwich.

For dinner, the grilled Swordfish.

Café Fina 624 Old Las Vegas Hiway. 466-3886.

Breakfast/Lunch. Patio Cash/major credit cards. $$ Cuisine: Call it contemporary comfort food. Atmosphere: Casual. House specialties: For breakfast, both the Huevos Motulenos and the Eldorado Omlet are winners. For lunch, we love the One for David Fried Fish Sandwich, and the perfect Green Chile Cheeseburger. Comments: Annamaria O’Brien’s baked goods are really special.

Try them. You’ll love them.

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

Breakfast/Lunch/Dinner Beer/Wine.

Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian maiden posters. House specialties: Hotcakes got a nod from Gourmet magazine. Huevos motuleños—a Yucatán breakfast—is one you’ll never forget.

Chopstix 238 N. Guadalupe St. 982-4353.

Lunch/Dinner. Take-out. Patio.

Major credit cards. $ Atmosphere: Casual.

Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, Kung Pau Chicken, and Broccoli and Beef. Comments: Friendly owners.

Counter Culture 930 Baca St. 995-1105.

Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. Comments: Good selection of beers and wine.

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

Breakfast/Lunch/Dinner Full bar. Patio.

Major credit cards. $$ Cuisine: Good old American. fare.

Atmosphere: Patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are the best. Super buffalo burgers.

Comments: Huge selection of beers.

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

Dinner Full bar.

Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: Main the grilled Maine Lobster Tails or

the classic peppery Elk tenderloin.

beer on draft, and great service.

Doc Martin’s Restaurant 125 Paseo del Pueblo Norte.

575-758-2233.

Lunch/Dinner/Weekend Brunch Full bar.

Major credit cards. $$$ Cuisine: Regional New American.

Atmosphere: Down home. House specialties: For lunch try Doc’s Chile Relleno Platter or the Northern New Mexico Lamb Chops. Dinner faves is the Pan Seared Whole Boneless Trout.

Comments: Great bar.

Harry’s Roadhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner 7 days Full bar.

Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Down home House specialties: For breakfast go for the Scrambled Eggs with Smoked Salmon, Cream Cheese, or the French Toast. Lunch: the All-Natural Buffalo Burger. Dinner the Ranchero Style Hanger Steak or the Grilled Salmon Tacos. Comments: Friendly.

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

Lunch/Dinner Beer/Wine/Sake. Patio.

Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: The sushi is always perfect. Try the utterly delicious Ruiaku Sake

Dr. Field Goods Kitchen 2860 Cerrillos Rd. 471-0043.

Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: New Mexican Fusion.

Atmosphere: Casual and friendly.

House specialties: Starters: Charred Caesar Salad, Carne Adovada Egg Roll, and Fish Tostada. Mains: El Cubano Sandwich, Steak Frite, and the Pizza Margartia. Comments: Nice portions and you leave feeling good. Real good.

Il Piatto Italian Farmhouse Kitchen 95 W. Marcy St. 984-1091.

Lunch/Dinner Full bar.

Major credit cards. $$ Cuisine: Italian.

Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad; the Lemon Rosemary Chicken; and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to Table, all the way.

the 24-ounce “Cowboy Cut” steak.

Comments: Great bar and good wines.

Downtown Subscription 376 Garcia St. 983-3085.

Breakfast/Lunch No alcohol. Patio.

Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room where you can sit, read periodicals, and schmooze.. House specialties: Espresso, cappuccino, and lattes.

El Faról 808 Canyon Rd. 983-9912.

Lunch/Dinner Full bar. Patio.

Major credit cards. $$$ Cuisine: Spanish Atmosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-to-cheek dancing. House specialties: Tapas, Tapas, Tapas. Comments: Murals by Alfred Morang.

El Mesón 213 Washington Ave. 983-6756.

Dinner Beer/Wine. Patio.

Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego Cheese marinated olive oil.

Geronimo 724 Canyon Rd. 982-1500.

Dinner Full bar. Patio.

Major credit cards. $$$$ Cuisine: French/Asian fusion.

Atmosphere: Elegant and stylish.

House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass served with black truffle scallions, and

Izanami 3451Hyde Park Road. 428-6390 Lunch/Dinner Saki/Wine/Beer Major credit cards. $$$ Cuisine: Japanese-inspired small plates. Atmosphere: A sense of quitetude.

House specialties: For starters, both the Wakame and the Roasted Beet Salads are winners. We also loved the Nasu Dengaku—eggplant and miso sauce and the Butakushi—Pork Belly with a Ginger BBQ Glaze. Comments: A wonderful selection of Saki and very reasonable prices.

Jambo Cafe 2010 Cerrillios Rd. 473-1269.

Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers, Comments: Chef Obo wins awards for his fabulous soups.

Joseph’s Culinary Pub 428 Montezuma Ave. 982-1272 Dinner.

Beer/Wine Major credit cards. $$$ Cuisine: Innovative. Atmosphere: Intimate. House specialties: Start with the Butter Lettuce Wrapped Pulled Pork Cheeks or the Scottish Fatty Salmon Sashimi. For your main, try the Lamb & Baby Yellow Curry Tagine or the Crispy Duck, Salt Cured Confit Style. Comments: Produce is procured locally. The bar menu features Polenta Fries and the New Mexican Burger.

Wonderful desserts, excellent wine,

La Plancha de Eldorado 7 Caliente Road at La Tienda.

466-2060 Highway 285 / Vista Grande Breakfast / Lunch / Dinner / Sunday Brunch Beer/Wine.

Major credit cards. $$ Cuisine: An Authentic Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian tamales. Comments: Sunday brunch.

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

Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: Pho Tai Hoi: vegetarian soup. Comments: Friendly waitstaff.

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

Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Casual House specialties: Start with the Tomato Salad. Entrée: Braised Lamb Shank with couscous. Comments: Beautiful courtyard for dining.

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

Lunch/Dinner (Thursday-Sunday) Beer/wine. Patio.

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

Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: House-made Tortillas and Green Chile Stew. Comments: Perfect margaritas.

Midtown Bistro 910 W. San Mateo, Suite A. 820-3121.

Lunch/Dinner Beer/Wine/ Patio.

Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Large open room with mirrors.

House specialties: For lunch: the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrée: Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop.

Comments: Good dessert selection.

continued on page 41 J U LY

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THE magazine | 39

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

Fresh Seafood when you want it!

oySterS

live Ster b o l e n i ma

Smok troued t

Squid

mexica n Shrimwhite p halibut

jonaha wS l crab c ScallopS

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

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

DINING GUIDE

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

Atmosphere: Casual ajnd Friendly.

House. specialties: For brakfast, go for either the Sheepherder’s Breakfast: new potatoes with jalapeno and onion, topped with red and green chile, melted chees, and with two eggs any style or the perfect Eggs Florentine: two poached eggs with hollandaise and an English muffin or the made-from-scratch pancakes.

Lunch favorites are the Carne Adovada Burrito; the Green Chile Stew; the Tostada Compuesta; and the Frito Pie. Comments: No toast is served at Tecolote. Why? It’s a Tecolote tradition, that’s why.

n New Locatio

Cafe FIna’s Chicken Enchalada Mu Du Noodles 1494 Cerrillos Rd. 983-1411.

Dinner/Sunday Brunch Beer/Wine.

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

House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic.

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

Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. Comments: Deli platters to go.

Plaza Café Southside 3466 Zafarano Dr. 424-0755.

Breakfast/Lunch/Dinner 7 days Full bar.

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

Atmosphere: Bright and light. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile.

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

Brunch/Lunch/Dinner/Bar Menu.

Full bar. Smoke-free dining rooms.

Major credit cards. $$$ Cuisine: All-American, all the way.

Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs and Burgers. Haystack fries rule Recommendations: Nice wine list.

Ristra 548 Agua Fria St. 982-8608.

Dinner/Bar Menu Full bar. Patio.

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

House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare.

Comments: Nice wine list.

Rose’s Cafe 5700 University W. Blvd SE, #130, Alb. 505-433-5772 Breakfast/Lunch. Patio.

Major credit cards. $ Cuisine: A taste of the Yucatán with a Southwest twist. House specialties: We love the Huevos Muteleños and the Yucatán Pork Tacos. Comments: Kid’s menu and super-friendly folks.

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

Atmosphere: Large room with a Sushi bar. House specialties: Sushi, Vegetable Sashimi and Sushi Platters, and a variety of Japanese Tapas.

Comments: Savvy sushi chef.

S an F rancisco S t . B ar & G rill

50 E. San Francisco St. 982-2044.

Lunch/Dinner Full bar.

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|

624 Old Las Vegas Highway 466-3866

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

Santacafé 231 Washington Ave. 984-1788.

Lunch/Dinner Full bar. Patio.

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

Atmosphere: Minimal, subdued, and elegant House specialties: The world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Panseared Salmon with olive oil crushed new potatoes and creamed sorrel.

Comments: Happy hour special from 4-6 pm. Half-price appetizers.

“Well” cocktails only $5.

Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033.

Lunch/Dinner Full bar. Patio.

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

Atmosphere: Casual and friendly.

House specialties: Cornmealcrusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs.

Comments: Easy on the wallet.

Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800.

Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare.

Atmosphere: Contemporary and hip.

House specialties: Tuna Steak, the Chicken Fried Chicken with mashed potates and bacon bits, the flavorful Ceviche, the New York Strip with a Mushroom-Peppercorn Sauce, and Ruby Red Trout. Desserts are on the mark. Comments: A great selection of wines from around the world.

Happy hours 3 to 6 pm and after 9 pm.

Saveur 204 Montezuma St. 989-4200.

Breakfast/Lunch Beer/Wine. Patio.

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

Atmosphere: Casual. Buffet-style service for salad bar and soups.

House specialties: Daily specials, gourmet sandwiches, wonderful soups, and an excellent salad bar.

Comments: . Do not pass on the Baby-Back Ribs when they are available.

Second Street Brewery 1814 Second St. 982-3030.

Lunch/Dinner Beer/Wine. Patio.

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

Atmosphere: Real casual. House specialties: Beers are outstanding, when paired with the Beer-steamed Mussels, Calamari, Burgers, or Fish and Chips.

Comments: Sister restaurant in the Railyard District.

Shake Foundation 321 Johnson St. 982-9708.

Lunch/Early Dinner - 11am-6pm Major credit cards. $$ Cuisine: All American. Atmosphere: Casual with outdoor table dining.

House specialties: Green Chile Cheeseburger, the Classic Burger, and Shoestring Fries Comments: Sirloin and brisket blend for the burgers.

Take-out or eat at a picnic table.

Shohko Café 321 Johnson St. 982-9708.

Lunch/Dinner Sake/Beer.

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

Atmosphere: Sushi bar, table dining.

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

Comments: Friendly waitstaff.

Station 430 S. Guadalupe. 988-2470 Breakfast/Lunch Patio Major credit cards. $ Cuisine: Light fare and fine coffees and teas. Atmosphere: Friendly. House specialties: For your breakfast, get the Ham and Cheese Croissant. Lunch fave is the Prosciutto, Mozzarella, and Tomato sandwich. Comments: Many Special espresso drinks. at El Gancho Old Las Vegas Hwy. 988-3333.

Lunch/Dinner Full bar.

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

Comments: They know steak here.

Steaksmith

Sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner.

Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods.

Atmosphere: Large open room.

House specialties: In the morning, try the Mediterranean Breakfast— Quinoa with Dates, Apricots, and Honey. Our lunch favorite is the truly delicious Indonesian Vegetable Curry on Rice; Comments: For your dinner, we suggest the Prix Fixe Small Plate: soup, salad, and an entrée for $19.

Wines and Craft beers on tap.

Tecolote Café 1203 Cerrillos Rd. 988-1362.

Breakfast/Lunch

Soon

Teahouse 821 Canyon Rd. 992-0972.

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

Major credit cards. $$ Cuisine: Farm-to-fork-to tableto mouth. Atmosphere: Casual.

House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox. A variety of teas from around the world available, or to take home.

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

Breakfast/Lunch/Dinner Full bar. Patio.

Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties: For breakfast, we love the Blue Corn Bueberry Pancakes. For dinner, start with the sublime Beet and Goat Cheese Salad.

Follow with the Pan-Seared Scallops with Foie Gras or the delicious Double Cut Pork Chop. Comments: Chef Andrew Cooper partners with local farmers to bring fresh seasonal ingredients to the table. A fine wine list and top-notch service.

The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive. 505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: Local flavors. Atmosphere: Casual, calm, and friendly. House specialties: At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, foillow with the Trout with a Toa sted Piñon Glaze. Comments: Nice wine bar.

The Compound 653 Canyon Rd. 982-4353.

Lunch/Dinner Full bar. Patio.

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

Atmosphere: 150-year-old adobe.

House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef/owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award.

The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: Modern Italian Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch: the Prime Rib French Dip. Dinner: go for the Scottish Salmon poached in white wine, or the Steak au Poivre.

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

Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club Sandwich.

For dinner, Steak Dunigan or the SanFried Shrimp Louisianne.

Comments: Cocktails and nibblles at cocktail hour in the Dragon Room is a must!

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

Lunch/Dinner Beer/Wine. Patio.

Major credit cards. $$ Cuisine: New Mexican. Atmosphere: A local institution located just off the Plaza. House specialties: If you order the red or green chile cheese enchiladas. Comments Always busy., you willnever be disappointed.

The Ranch House 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: BBQ and Grill.

Atmosphere: Family and very kid-friendly.

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

Comments: The best BBQ ribs.

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

Breakfast/Lunch

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

Atmosphere: Easygoing and casual.

House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese. Lunch: choose from the daily specials. Comments: This is the real deal Tune-Up Café 1115 Hickox St. 983-7060.

Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home. House specialties: For breakfast, order the Buttermilk Pancakes or the Tune-Up Breakfast.

Comments: Easy on your wallet.

Vanessie

of

Santa Fe

434 W. San Francisco St. 982-9966 Dinner Full bar. Smoke-free.

Major credit cards. $$$ Cuisine: American. Atmosphere: Piano bar and oversize everything, thanks to architect Ron Robles.

House specialties: New York steak and the Australian rock lobster tail. Comments: Great appetizersgenerous drinks.

Vinaigrette 709 Don Cubero Alley. 820-9205.

Lunch/Dinner Beer/Wine.

Major credit cards. $$ Cuisine: American. Atmosphere: Light, bright and cheerful. House specialties: Organic salads. We love all the salads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: NIce seating on the patio. In Albuquerque, visit their sister restaurant at 1828 Central Ave., SW. Zacatecas 3423 Central Ave., Alb. 255-8226.

Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Slow Cooked Pork Ribs. Over 65 brands of Tequila.

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

Breakfast/Lunch/Dinner Full bar. Patio.

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

Atmosphere: Casual.House specialties: The perfect Chile Rellenos and Eggs is our breakfast choice. At lunch, we love the Southwestern Chicken Salad and the Fish and Chips. Comments: A wonderful selection of sweets available for take-out. The bar is most defintely the place to be at cocktail hour.

THE magazine | 41

Gregory Botts, “...Blue Remembered Hills.” #6, 2001, Oil and acrylic on canvas, 84” x 51”

GREGORY BOTTS SELECTIONS FROM THE MADRID GROUP July 18 - August 23, 2014

LANDSCAPES AND CLOUDSCAPES: SEEN THROUGH GESTURAL ABSTRACT PAINTING July 1 - August 23, 2014 Featuring: Ward Jackson Beatrice Mandelman Wolf Kahn Forrest Moses Matsumi Kanemitsu Jon Schueler

Forrest Moses, Stream Near Cundiyo: Rocks and Water #2, Oil on canvas, 42” x 60”

Opening Reception: Friday, July 25th 5:00 - 7:00 PM

DavidrichardGALLEry.com DAVID RICHARD GALLERY

The Railyard Arts District 544 South Guadalupe Street, Santa Fe, NM 87501 (505) 983-9555 | info@DavidRichardGallery.com

OPENINGS

JULYARTOPENINGS FRIDAY, JULY 4

The Contemporary Tapestry Gallery

New Guinea Art: traditional art forms dating

the

Studio 17, 835 W. San Mateo Rd.,

from the 19th to mid-20th century. 12-5 pm.

metaphoric qualities of light. 7-11 pm.

at

Blue Rain Gallery, 130 Lincoln Ave.,

Santa Fe. 438-0012. 51 American Cities: 51

Santa Fe. 954-9902. Year of the Horse:

tapestries by LaDonna Mayer. 3-6 pm.

new works by Rimi Yang and Shelley

physics,

sensory

traits,

and

The Couse Foundation, 146 Kit Carson

Exhibit/208, 208 Broadway SE, Alb. 505-

Rd., Taos. 575-751-0369. E. I. Couse,

450-6884. New Work: gallery installation by

the Painter and His Craft: examples of

Susan Wing. 5-8 pm.

Muzylowski Allen. 5-7 pm.

SATURDAY, JULY 5

David Rothermel Contemporary, 1807

203 Gallery, 203 Ledoux St., Taos. 575-

drawings, and studies, by a founder of the

Marigold Arts, 424 Canyon Rd., Santa

2nd St., #41, Santa Fe. 642-4981. Insight

751-1262. The Legacy Continues: graphite

Taos Society of Artists. 3-5 pm.

Fe. 982-4142. Robert Highsmith—New

Out: paintings by David Rothermel. 5-8 pm.

drawings by E.I. Couse’s great-grandson,

painting techniques including photographs,

Watercolors: paintings of New Mexico and The Gallery ABQ, 8210 Menaul Blvd.

Dustin Leavitt. 5-7 pm.

Colorado landscapes. 5-7 pm.

NE, Alb. 505-292-9333. New Inspirations:

Giacobbe-Fritz Fine Art, 702 Canyon Rd., Santa Fe. 986-1156. Art Circus: rein-

Blumenschein Museum, 222 Ledoux St.,

water-media paintings by Jo Schuman and

Mark White Fine Art, 414 Canyon Rd.,

terpreted classic artworks by Ben Steele.

Taos. 575-758-0505. Donald Roy Thompson:

metal art by Travis Cochran. Artist insights

Santa Fe. 982-2073. Brainstorm: paintings

5-7 pm.

paintings by the California color field artist.

with Jo Schuman, 4 pm. Salon exhibit:

by Javier López Barbosa and bronze sculp-

4-6 pm.

The Camino Real 8: group show. 3-6 pm.

tures by jd Hansen. 5- 8pm.

Matthews Gallery, 669 Canyon Rd., Santa Fe. 992-2882. Hannah Holliday

Monroe

Stewart—An Artistic Legacy Rediscovered:

112 Don Gaspar Ave., Santa Fe. 992-

Gallery

abstract sculptures by Stewart. 5-7 pm.

0800. Once Upon a Time in America:

FreeStyle Gallery, 114 Central Ave.

son—Sailing to Byzantium: pattern-based

documentary

SW, Alb. 505-243-9267. Series Pentimenti:

pigment prints. 5-7 pm.

of

Photography,

photographs

by

Steve

New Concept Gallery, 610 Canyon Rd.,

THURSDAY, JULY 10

Santa Fe. 795-7570. Roger Arvid Ander-

Schapiro. 5-7 pm.

paintings by Roger Green. 6-9 pm.

sculpture and works on paper by Victor

Museum

FRIDAY, JULY 11

Teng. 5-7:30 pm.

Ft. Valley Rd., Flagstaff. 928-774-5213. 81st

Patina Gallery, 131 W. Palace Ave., Santa

Page Coleman Gallery, 6320-B Linn Ave.

Fe. 986-3432. La Vaca Loca: life-size cow of

Northern Arizona, 3101 N.

NE, Alb. 505-238-5071. Natural Process and Abstraks: woven wire structures by

Annual Hopi Festival of Arts and Culture: a

Canyon

4th of July tradition since the 1930s. Sat.

Canyon Rd., Santa Fe. 983-0433. The Barn as

and Sun., July 5 and 6, 9 am-5 pm.

a Portrait: pastels by Kathy Beekman. 5-7 pm.

show the persistent influence of religion or

Taylor Dale Tribal Art, 129 W. San

Cloud 5, 1805 2nd St., Santa Fe.

Fe. 986-3432. Shape Shifter: oil on aluminum

myth on human cultures. 5-7 pm.

Francisco St., 2nd Fl., Santa Fe. 670-3488.

954-1274.

paintings by David Solomon. 5-7:30 pm.

Tansey

Contemporary, 652 Canyon

Rd., Santa Fe. 995-8513. The Persistence

Road

Contemporary,

403

Maria Ross and pigment prints by Anne Farrell. 5-7 pm.

Patina Gallery, 131 W. Palace Ave., Santa

of Religion: group exhibition of works that Lucent:

inquiry

into

Pages—new drawings by James Drake at James Kelly Contemporary, 1611 Paseo de Peralta, Santa Fe. Reception: Wednesday, July 16 from 5 to 7 pm.

continued on page 46 J U LY

2014

THE magazine | 43

Honey Harris in Conversation with THE magazine on Thursday, July 10 at 10:30 am 98.1 FM KBAC

THE DEAL

For artists without gallery representation in New Mexico.

Full-page B&W ads for $750. Color $1,000.

Reserve space for the August issue by Tuesday, July 15.

505-424-7641 or email: themagazinesf@gmail.com

WHO SAID THIS? “You have succeeded in life when all you really want is only what you really need.�

Warren Buffett or Hunter S. Thompson or Thomas Merton or Maya Angelou

OUT AND ABOUT photographs by Mr. Clix Linda Carfagno

Jonas Povilas Skardis

Mac (and PC) Consulting 速

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

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

OPENINGS

Fe. 988-3888. Reformations: new paintings THURSDAY, JULY 17

Jean Cocteau Cinema Gallery, 418

by Mark Spencer. 5-7 pm.

SATURDAY, JULY 19

Montezuma Ave., Santa Fe. 466-5528. It’s Showtime: cinema-inspired prints by Linda

Framing Concepts Gallery, 5809-B Juan

Hunsaker and Eleanor Rappe. 5-7 pm.

Tabo Blvd., Alb. 505-294-3246. Dog Daze:

FRIDAY, JULY 18

Offroad Productions, 2891-B Trades W.

oil paintings by Katy Widger. 1-4 pm.

Rd., Santa Fe. 670-9276. Heart & Soul/Hard Blue Rain Gallery, 130 Lincoln Ave., Ste.

& Sole: 16 artists offering works about the

C, Santa Fe. 954-9902. Cante Jondo: new

reality of love. 6-8 pm.

paintings by Jim Vogel. 5-7 pm.

SITE Santa Fe, 1606 Paseo de Peralta,

Top: The International Folk Art Market takes place from Friday to Sunday, July 11, 12, and 13 on Museum Hill in Santa Fe. The Market features the work of over one hundred fifty folk artists from sixty countries.

Tickets and details: folkartalliance.org Bottom: Reverie—photographs by Tom Chambers at photo-eye Gallery, 541 South Guadalupe Street, Santa Fe. Reception: Friday, July 25 from 5 to 7 pm.

David Rothermel Contemporary, 1807 2nd

Santa Fe. 989-1199. SITElines.2014—

St., #41, Santa Fe. 642-4981. Stan Berning and

Unsettled Landscapes: reimagined biennial

Stephen Buxton: new paintings. 5-8 pm.

with a new focus on contemporary art from the Americas. 2-5 pm.

Ellsworth Gallery, 215 E. Palace Ave., Santa Fe. 989-7900. Sight Lines: new works

The Encaustic Art Institute, 18 County

by Arin Dineen and Jeff Juhlin. 5-7 pm.

Rd. 55A, Cerrillos. 505-424-6487. The Art of Nature and All That is Natural: themed

Gerald Peters Gallery, 1011 Paseo de The New Gallery at Fogelson Library at

MoCNA, 108 Cathedral Park, Santa Fe.

Santa Fe University of Art and Design,

424-2300. T.I.M.E. (Temporary Installation

1600 St. Michael’s Dr., Santa Fe. Water

Made for the Environment): 3-D model-

Spirits Walking on the Land: new paintings,

ing of “Pull of the Moon,” a collaborative

photographs, and an installation by Cate

project by Ai Weiwei and Bert Benally, a

Moses. 5-7 pm.

live performance with artists Robert Henke and Bert Benally, and the premier of a

Turner Carroll Gallery, 725 Canyon Rd., Santa Fe. 986-9800. Bio-Morphed: works interpreting the natural world by Shawn Smith, Rex Ray, and Josh Garber. 5-7 pm.

Winterowd Fine Art, 701 Canyon Rd., Santa Fe. 992-8878. Art Spectacular— Ten Year Anniversary Exhibition: works by the gallery’s 18 artists. 5-7 pm.

SATURDAY, JULY 12

Chiaroscuro, 558 Canyon Rd. Santa Fe. 992-0711. Without Gravity: new paintings by Lawrence Fodor. 2-4 pm.

Gaucho Blue Fine Art Gallery, 14148 State Rd. 75, Peñasco. 575-587-1076.

Copy-Riot: new and provocative works by Nick Beason and Gerd Bianga. 4-8 pm.

WEDNESDAY, JULY 16

James Kelly Contemporary, 1611 Paseo de Peralta, Santa Fe. 989-1601. James Drake—Pages: drawings by Drake. 5-7pm.

documentary film of the project. 5-7 pm.

national members’ show. Noon-5 pm.

Peralta, Santa Fe. 954-5700. Temporal Domain: a division of the gallery, Peters

FRIDAY, JULY 25

Projects, features works by Lynda Benglis, James Lee Byars, Harmony Hammond, Ag-

Blue Rain Gallery, 130 Lincoln Ave., Ste.

nes Martin, John McCracken, and Roxy Paine,

C, Santa Fe. 954-9902. Solo Show: new

six prominent artists with a history of living

works by Ed Sandoval. 5-7 pm

and working in the Santa Fe area. 5-7 pm.

David Richard Gallery, 544 S. Guadalupe Nüart Gallery, 670 Canyon Rd., Santa

St., Santa Fe. 983-9555. Selections from the Madrid Group: paintings by Gregory Botts. Landscapes and Cloudscapes—Seen Through Gestural Abstract Painting: group show. 5-7 pm.

Eye

on the

Mountain Art Gallery, 614

Agua Fria St., Santa Fe. 928-308-0319.

Grand Opening and Garden Party: works by Dewey Nelson. Live music by DJ Dievolve at 8 pm. Opening: 6-9 pm.

Giacobbe-Fritz F ine A rt, 702 Canyon Rd., Santa Fe. 986-1156. Home: paintings of endangered species by Britt Freda and equine sculptures by Siri Hollander. 5-7 pm.

GVG Contemporary, 202 Canyon Rd., Santa Fe. 982-1494. The Language of Paint: new works by Blair Vaughn-Gruler. 5-7 pm.

Hunter Kirkland Contemporary, 200B Canyon Rd., Santa Fe. 984-2111. Two Artists: bronze and steel sculptures by Ted

continued on page 48

46 | THE magazine

J U LY

2014

TANSEY CONTEMPORARY SHERYL ZACHARIA ~ PEOPLE PLACES & THINGS July 25 - August 19

Opening Reception, Friday, July 25, 5 - 7 pm

“CITYSCAPE” ~ Ceramic sculpture ~ 22" x 17" x 5"

OPENINGS

SPECIAL INTEREST

333 Montezuma Arts, 333 Montezuma Ave., Santa Fe. 988-9564. The Deeper the Southern Roots: works by Thornton Dial and Lonnie Holley. 333montezumaarts.com ARTScrawl, Alb. Citywide, self-guided arts tour, Fri., July 4-Sun., July 6. East Mountain ARTScrawl: Sat., July 5, 10 am-5 pm.

Northeast Heights Artful Saturday: Sat., July 19, 3-6 pm. artscrawlabq.org Blumenschein Museum, 222 Ledoux St., Taos. 575-758-0505. Donald Roy Thompson: paintings by the California artist. Through Sun., Aug. 10. taoshistoricmuseums.org CCA Cinematheque, 1050 Old Pecos Tr., Santa Fe. 982-1338. Santa Fe Top: The Persistence of Religion—a multi-media group exhibition—demonstrates the pervasive and timeless impact of religion and myth on cultures both old and modern.

On view at Tansey Contemporary, 652 Canyon Road, Santa Fe. Reception: Friday, July 4 from 5 to 7 pm. Image: The Gathering by Patrick McGrath Muñiz.

Jewish

Film

Festival:

Tinghir-Jerusalem:

Bottom: SITElines: New Perspectives on Art of the Americas—Unsettled Landscapes will look at the urgencies, political conditions, and historical narratives that inform contemporary artists across the Americas. Public reception: Saturday, July 19 from 2 to 5 pm. Other events and details: sitesantafe.org

about the Berber Jews of Morocco, Tues.,

Echoes from the Mellah, a documentary July 29, 7 pm. El Gusto, a story of the so-called Algerian Buena Vista Social Club,

Gall and acrylic paintings sewn with cotton

including over 25 local artists. 11 am-4 pm.

Thurs., July 31, 7 pm. santafejff.org

by submitting proposals to use her

threads by Michael Madzo. 5-7 pm.

FRIDAY, AUGUST 1 photo-eye

Angel—exhibiting in Digital Latin America—

Gallery, 541 S. Guadalupe St.,

immersive video installation at the entrance

Chiaroscuro

of 516 ARTS. Proposals for interactive

702½ Canyon Rd., Santa Fe. 992-0711.

Contemporary

Art,

Santa Fe. 988-5159. Reverie: photographs

Turner Carroll Gallery, 725 Canyon Rd.,

video, video mapping, and sound design

Australian Contemporary Indigenous Art III:

by Tom Chambers. 5-7 pm.

Santa Fe. 986-5027. Survival: group exhibition

are welcome. Deadline: Thurs., July 17, by

third biennial in association with Vivien

celebrating artists who escaped the oppression

midnight. Submission info: 516arts.org

Anderson Gallery in Melbourne. Through

T ai M odern, 1601 Paseo de Peralta, Santa Fe.

of their birthplace. Work by Traian Filip, Hung

984-1387. Cosmos: bamboo work by Fujitsuka

Liu, Nele Zirnite and others. 5-7 pm.

Shosei. 5-7 pm. Demo: Sun., July 27, 2-4 pm.

Sun., Aug. 3. chiaroscurosantafe.com The Corrales Bosque Gallery, 4685 Corrales

CALL FOR ARTISTS

T he M atthews G allery, 669 Canyon Rd., Santa Fe. 992-2882. POV—New Paintings by

516 ARTS

Jamie Chase: paintings and landscapes. 5-7 pm.

Collaborate with Colombian artist Jessica

and

UNM ARTS LAB,

Corrales.

Rd.,

Mercado

de

505-898-7203.

Mayo,

Contemporary

Hispanic

Market,

Accepting

Lincoln Ave., Santa Fe. 28th annual

applications in all categories of art.

Market with over 100 artists exhibiting

Deadline for applications: Fri., July 11 by 5

contemporary

pm. corralesbosquegallery.com

as sculpture, oil paintings, jewelry,

innovative

art

such

William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. -3300. Balandran Ponchos from the Giles Mead Collection: weavings of the Aymara people in Bolivia. 5-7 pm.

SATURDAY, JULY 26

Greg Moon Art, 109-A Kit Carson Rd., Taos,. 575-770-4463.Visions and Mirages: paintings by Marvin Moon. 5-7 pm.

SAT., JULY 26 & SUN., JULY 27

Gallery Zipp, I-25N to Valencia Exit 297, left under fwy., right to gate and private rd., straight up road to end, first driveway on left.

757-6428. Used: all media, recycled-art event, continued on page 50

48 | THE magazine

J U LY

2014

BrainstorM

featuring javier L贸pez barbosa and jd hansen july 11- August 25, 2014 Artist reception: july 11, 2014, 5-8pm

OPENINGS

woodwork and other media. Sat.

paintings by Edwina Milner. Through

T he G allery ABQ, 8210 Menaul

and Sun., July 26 and 27, 8 am-5

Mon., July 7. newconceptgallery.com

Blvd. NE, Alb. 505-292-9333. New

pm. Preview at Santa Fe Convention Center: Fri., July 25, 5:30-8 pm. Free.

David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555.

A Mind to Obey Nature: survey of nature and meditation-inspired paintings, drawings, and sculptures by John Connell. Through Sat., July 12.

L ew A llen

G alleries

at

the

Railyard, 1613 Paseo de Peralta,

Inspirations: poetry readings by N üart G allery , 670 Canyon Rd.,

Joanne Bodin and Kenneth P. Gurney.

Santa Fe. 988-3888. Flow and Drift:

Sat., July 19, 4 pm.

works by Nina Tichava. Through V erve

Sun., July 6. nuartgallery.com

G allery

of

P hotography , 219 E. Marcy P lacitas C ommunity L ibrary , 453

St., Santa Fe. 982-5009. Five

Hwy. 165, Placitas. 505-867-3355.

Decades and Nepal, 1975-2011:

The Art of Ann Pollard: paintings

photographs by William Albert

from the heart. Through Thurs.,

Allard, and Kevin Bubriski. Women

July 31. placitaslibrary.com

in the West: photographs by Greg Mac Gregor. vervegallery.com

Santa Fe. 988-3250. Henry Jackson— Halted in Transition: paintings by

SCA C ontemporary A rt , 524

the artist. Through Sun., July 27.

Haines Ave. NW, Alb. 505-228-

V i VO

lewallengalleries.com

3749.

C ontemporary,

725

Exhibition

Canyon Rd., Santa Fe. 982-1320.

About Survival: visual artists work with

In The Mood: musical works paired

M ariposa G allery , 3500 Central

profound disease and illness. Through

with visual art inspired by music.

Ave. SE, Alb. 505-268-6828. One

Fri., Aug. 22. scacontemporary.com

Live music on Fridays, June 27-Aug.

Adaptations—An

Thing or Another: paintings by Eric

29, 5-7 pm. Exhibition runs through

McCollon, Jason Smith, and Angelia

S ilver C ity C lay F estival, Silver

Santistevan. Big Top Blues: new works

City. Workshops, demonstrations,

by Sam Esmoer. Through Thurs., July

live music, youth activities, and

31. mariposa-gallery.com

more. Wed., July 30-Sun., Aug. 3. ballets by Norbert de la Cruz III, Jií

Santa Fe. 424-2300. Brown Bag It:

SITE

eat your lunch as IAIA archivist

de

Flahive

S anta Peralta,

F e , 1606 Paseo

Kylián, and Nicolo Fonte. Fri., July

Santa

11, Sat., July 12, and Sat., Aug. 30

Fe.

989-

actor

1199. SITElines.2014: Unsettled

Vincent Price and his connection

Landscapes: reimagined biennial

to IAIA in the 1960s. Wed., July

with a new focus on contemporary

23, Noon-1 pm.

art from the Americas. Opening

Festival, six-week event featuring

weekend events: Thurs., July 17-

a blend of contemporary music and

Sat., July 19. sitesantafe.org

masterworks of the chamber music

M useum

of

discusses

PERFORMANCE

A spen S anta F e B allet , Three

clayfestival.com M o CNA, 108 Cathedral Park,

Ryan

Tues., Sep. 2. vivocontemporary.com

N orthern A rizona ,

3101 N. Ft. Valley Rd., Flagstaff.

928-774-5213.

Brushstrokes

on

C ontemporary,

652

Canyon Rd., Santa Fe. 995-8513.

Museum’s Fine Arts Collection and

Power Objects: blown-glass sculptures

Shonto Begay—Map of My Heart:

by Noel Hart. Through Tues., July 15.

masterpieces by Native and Anglo-

tanseycontemporary.com

Americans, and 30 years of works by T han P ovi F ine A rt G allery , 6 Banana Ln., Santa Fe. 455-9988.

N ew

C oncept

G allery ,

610

Gerald “New Deer” Nailor: paintings,

Canyon Rd., Santa Fe. 505-795-7570.

prints, and jewelry. Through Sun.,

Golden Paths: acrylic and gold-leaf

Aug. 21. thanpovi.com

50 | THE magazine

Santa

Fe

Chamber

Music

repertoire. Sun., July 20 to Mon., Aug. T ansey

the Plateau—Highlights from the

Diné artist Shonto Begay. musnaz.org

at 8 pm. aspensantafeballet.com

25. santafechambermusic.com

Ben Steele’s Art Circus Show July 4 to July 20 at Giacobbe-Fritz Fine Art, 702 Canyon Road.Reception: Friday, July 4 from 5 to 7 pm.

Cinema-inspired prints by Linda Hunsaker and Eleanor Rappe y at the Jean Cocteau Cinema Gallery, 418 Montezuma Avenue.

Reception: Thursday, July 17 from 5 to 7 pm. Image: Eleanor Rappe.

Halted in Transition: paintings by Henry Jackson at LewAllen Contemporary at the Railyard, 1613 Paseo de Peralta, Santa Fe. On view through Sunday, July 27.

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Dog Daze

J U LY S H O W

Retrospect

Solo show for artist and animal lover

Katy Widger

Daniel Ludwig

A maker of mixed-media fiber art and fine art quilts for over 20 years, Katy has many works in public and private collections worldwide. Now painting in oils, Widger brings a unique and unconventional approach to her artwork, combining hand-dyed fabrics with oil medium. We invite you to be our guest to a fresh look at man’s best friend as well as other oil paintings.

5809-B Juan Tabo Blvd, NM 87111 | framingconceptsgallery.com Monday–Friday 10–6 | Saturday 10–4 | 505-294-3246

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Daniel Ludwig is a watercolor artist based in the Desert Southwest. He was raised surrounded by the red rocks outside of Las Vegas, Nevada, spent his college years in Cedar City, Utah, and has lived in New Mexico most of his adult life. Daniel hopes to involve the viewer in his paintings by suggesting the feeling or emotion of a place rather than recording in exact detail what he is observing. At times, exact forms are left up to the imagination.

featured artists:

Jo Schuman | Watermedia e Travis Cochran | Metal Art h July Salon Exhibit: The Camino Real 8 Group Show July 5 4pm – Artist Insights: Jo Schuman July 19 4pm – Poetry by J. Bodin, K. Gurney

3

Nob Hill

8210 Menaul Blvd. NE (Hoffmantown), NM 87110 505-292-9333 | Monday–Saturday, 10–5

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Imprints of Home

Works on Paper | Prints + Poems II

June 6 – July 25, 2014

Fine art, fine american crafts.

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PREVIEWS

forms that have evolved over her forty-

artists represented in this important

five-year career. Harmony Hammond,

exhibition will offer an opportunity to

a Galisteo resident long associated

reexamine the importance of place and

with the feminist art movement, has

the subsequent unique manifestations

developed a body of mixed-media

that emerged.

ART Santa Fe 2014, the International Folk

Temporal Domain: work by Agnes Martin, James Lee Byars, John McCracken, Lynda Benglis, Harmony Hammond, and Roxy Paine Peters Projects, 1011 Paseo de Peralta, Santa Fe. 954-5761 Friday, July 18 to Sunday, August 24 Reception: Friday, July 18, 5 to 7 pm

Art Market, and SITE Santa Fe’s biennial

New Mexico has long been known as

the now-defunct College of Santa

exhibition Unsettled Landscapes. ART Santa

the home of artists working in many

Fe,

Fe features contemporary art exhibitors

genres. Temporal Domain demonstrates

machines to make art. Witnessing

from across the United States, Costa Rica,

this artistic freedom by presenting six

the power and vital expression of the

Japan, Spain, and Turkey. The vernissage is

extraordinary contemporary artists

sponsored by Art and Antiques magazine

who have created groundbreaking

and takes place on Thursday, July 10, from 5

work in a variety of media. What is

to 8 pm at the Santa Fe Convention Center.

it about this place that nurtures the

The Art in America party is hosted by Zane

creative spirit in such a way as to

Bennett Contemporary Art. A highlight

produce powerful, tangible work that

of the fair is “Children of the Sixties,”

hovers in the realm of the spiritual?

a lecture by James Meyer, Associate Curator

James Lee Byars’ reductive objects,

of Modern Art at the National Gallery of

often circular in form and emitting

Art in Washington, D.C. and professor of

a golden, ethereal light, match the

Art History at Johns Hopkins University.

transcendentalism of Agnes Martin,

His keynote address occurs on Saturday,

a Minimalist known for her lines and

July 12 at 6:30 pm at the Convention

grids, painted in soft colors that float

Center and will focus on the art of the

across the canvas. John McCracken’s

sixties and its meaning in the development

lacquered geometric sculptures that

of art and culture. Artist demonstrations

rest against the wall also seem to unite

will take place throughout the weekend.

form and spirit by drifting between

There’s much to see at this fair, and this

two worlds. These three artists came

year’s version promises opportunities to

to the Land of Enchantment and

view many examples of contemporary

worked here until their deaths. Lynda

art, including installations and work by

Benglis explores diverse textures and

emerging artists. Details: artsantafe.com

materials to create organic abstract

ART Santa Fe 2014 Santa Fe Community Convention Center, 201 West Marcy Street, Santa Fe. 988-8883 Thursday, July 10 to Sunday, July 13 Vernissage: Thursday, July 10, 5 to 8 pm In July Santa Fe will host the Art Trifecta—

52 | THE magazine

work that is densely layered, textured, and bold. And Roxy Paine spent a short time here in the eighties studying at designing

and

programming

Top: Miroslav Antic, Untitled (Roy Rogers and Trigger), oil on canvas, 26” x 32”, 2013. Courtesy Kidder Smith Gallery, Boston.

Bottom: Lynda Benglis, Figure 6, aluminum, 48 ½” x 102” x 29”, 2009

J U LY

2014

Cast Bronze Sculpture paldesign@cybermesa.com

www.shutterandbrushfineart.com

6021 983 505

TEENA ROBINSON Encaustic, Watercolor, Mixed-media

DAVE ROBINSON Digital Fine Art Photo Illustration

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

Cup’a Joe by

Peter Sarkisian

“Like father, like son” does not always apply when speaking about artists.

However, artists often come from creative families, albeit working in different genres and attaining varying degrees of recognition. The exhibition Sarkisian & Sarkisian at the Orange County Museum presents twenty-two video sculptures by Peter Sarkisian and a dozen paintings by his father Paul. Known for his trompe l’oeil work in the ’60s and ’70s, Paul Sarkisian’s meticulously produced art works were shown at Ferus Gallery and the Pasadena Art Museum, two pivotal venues for West Coast art at the time. His move to New Mexico saw him shift from the illusionary world he had been making on canvas towards monochromatic abstractions in a variety of materials, including car enamels and multiple layers of wax. These later works were rarely seen outside of his studio, but are featured in this exhibition along with earlier J U LY

2014

pieces like the hyper-detailed Untitled (El Paso), a life-size rendering of the facade of a shoe shop in Texas. Peter Sarkisian began his twentyyear career making video art that transforms physical objects into receptacles for projected imagery. His work evolved into explorations that usually include a central actor within the projected narrative.

A molded fiberglass automobile body frames a video of Sarkisian driving through chaotic scenes (with a cameo appearance by his father).

Smaller works feature the artist scribbling messages across the pages of a dictionary or floating facedown in a cup of coffee. Humorous and insightful, his video sculptures contrast with and are complemented by the monumental mixed-media works of his father. The exhibition runs through Sunday, July 27 at the Orange County Museum of Art, 850 San Clemente Drive, Newport Beach, California.

THE magazine | 55

www.kara-young.com www.gdkartist.com

Pat Berger www.intothewestphotos.com

www.josephcomellasgallery.com

Dominique Samyn

Ginny Zipperer

www.christinehauber.com

See fine art in its best light, the clear blue skies of Santa Fe, New Mexico.

Our weekend Outdoor Show season runs until October 18-19, 2014

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Judy Boyd

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Major Credit Cards Accepted

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For information call: 505•926•1497

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Ron Patterson

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Individual artists galleries are located in the First National Bank Lot, 122 W Palace Avenue. Show times are 9:00am to 5:30pm Sat. and Sun.

santa fe society of artists

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www.shaktikroopkin.com www.yennycocq.com www.guilloume.com

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F E AT U R E

James Turrell: Lucid in the Ecstasy of Light

Compare the dreamy sorcery of Turrell’s installations with the blunt self-evidence of the fluorescent fixtures of Flavin’s light pieces. At no other time have the sensibilities of America’s Atlantic and Pacific cosmopolitan antipodes stood in sharper contrast, while sharing a generational bent for rigorously reductive aesthetics.

—Peter Schjeldahl “Seeing and Disbelieving,” The New Yorker, July 1, 2013

IN AUGUST OF 1989, I WAS IN SANTA FE ON A VISIT, PRIOR TO MOVING BACK, AND IT WAS A FLAWLESS EVENING ON THE GROUNDS OF THE CENTER FOR CONTEMPORARY ARTS. With me were Linda Klosky—who was then the Co-Director of CCA—and the late Stuart Sherman, a performance artist visiting from New York, and we were about to experience the Skyspace by James Turrell, a work that had been constructed the year before.

Klosky had the keys and she knew exactly how the recessed lighting, ensconced invisibly around the opening square in the ceiling, had to be adjusted before viewing. She also followed Turrell’s other directive—we were meant to sit inside the Skyspace one hour before sunset until one hour after. However, viewers didn’t have to stay glued to their seats. People were free to get up and go outside and compare their impressions of the changing color of the sky within the space with the actual changes in the sky outside; trust me, the first comparison was enough to understand that something about our perceptions was being ever so subtly tweaked. continued on page 62

J U LY

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THE magazine | 61

In order to experience the full impact of the

The intensity of the slowly changing colors in the

hijacking tools from the military-industrial complex

Turrell piece, it was never simply a matter of sitting

former piece seemed to permeate the floor, ceiling,

in order to re-purpose them for the exploration of

inside the Skyspace at any old time. Yes, it was a

and walls and made you feel as if you were moving

perceptual thresholds in an age of the dematerialization

wonderful place to visit, in and of itself, but random

through a physical medium that had weight and

of the art object.

encounters and hit-and-run perceptions of the sky—

depth. You couldn’t move through the room without

In the last analysis, what you get in a Turrell

without the investment of time and a commitment to

the sensation that you were about to bump into the

installation is far more than what you see. A viewer

the artist’s parameters of viewer participation—wasn’t

residues of your own held breath finally exhaling in a

enters into a whole other network of associational

what Turrell intended. Ideally, one had a two-hour

mad embrace with Turrell’s “dreamy sorcery.”

meanings that are a kind of effusion, a byproduct of

date with the great magus of alchemical light; and the

Of all the pieces at LACMA, it was Breathing Light

uncanny calculations. In the carefully orchestrated

experience in question would yield the juxtaposition

that was the most intense and disconcerting. It wasn’t

rooms at LACMA, the first piece a viewer encountered

of a virtual perception of the sky seen within the

just an environment of manipulated light; the room

was Afrum (White), from 1966. In the darkened gloom,

Skyspace, compared with the actual color of the sky

provided an entire light bath. Everywhere you looked

an all-white “cube” seemed to hang suspended in a

outside it. The key to the different impressions was

and walked, you moved through a thick ether of color

corner. It was like a huge, dazzling, perfectly formed

in the recessed lighting which caused the square of

that morphed into other colors—a vivid pink was

piece of ice, hovering there in a temporal-spatial sleight

visible light above your head to appear denser, darker,

transformed almost imperceptibly into violet and then

of hand. Anyone who saw it wanted to go over and run

and closer to the viewer—it was an almost palpable

blue; and when you looked back at the wide doorway

his or her hands along the surface of this perceived

azure blanket hanging over you, just out of reach.

through which you entered, it appeared like a curtain

solid. The magic behind any Turrell experience is

Going outside and doing a reality check of the actual

of translucent green. The number of people allowed

that his pieces are created by hidden lights installed

sky made you realize there was a trick being played

in the room was pre-determined—only seven people

with mathematical precision and projected through a

LIGHT CONJURES FEELINGS THAT RUN FROM THE TRANSCENDENT TO THE TERRIFYING on your ability to perceive; in short, the two views of

at a time were allowed to enter this large, elevated

calculus of illusions. The hovering object isn’t real—its

light were not the same. Alas, Turrell’s observatory

space after walking up a series of steps. Those waiting

apparent density is a matter of photons manipulated

had a one-year lifespan and that particular evening in

their turn below sat on a banco watching the dazed

just so—and the reality behind each work is beyond

August was the last time that Skyspace would provide

movements of those in the privileged area. I say dazed

the reach of your rods and cones; meaning that what

its highly controlled brush with wonder.

because that is exactly how it felt inhaling this flood

hardware is responsible in each installation doesn’t

Those lucky enough to have seen Turrell’s

of optical phenomena. The chromatic ether was

begin to explain what your eyes are apprehending.

installation Aten Reign at the Guggenheim Museum

incredibly present and incredibly absent at the same

Cause and effect run delightfully counter to each other,

last year (I did not get to see this) or James Turrell: A

time—you tried to touch it but there was nothing

even as delight is mixed with perplexity. As Schjeldahl

Retrospective at the Los Angeles County Museum of

there. Turrell has stated, “We drink light” and the

wrote, “… your looking engages in an intimate quarrel

Art (which I did get to see) can attest to the uncanny

phenomenology behind the Ganzfeld series, with

with knowing what you see.”

phenomena that the artist creates just by lighting a

its intense drenching of space by way of the waves

Our associations with the experiences of light

space in a particular way. Turrell can overload your

(or is it particles?) of light, has no other corollary in

are legion. Light conjures feelings that run from the

visual receptors with manipulated particles (or are

contemporary art. Turrell is his own avatar at play in

transcendent to the terrifying. For example, there

they waves?) of light and cause something called

the relics of time.

is the crystalline clarity of a New Mexico sky, the

the “Ganzfeld effect”—this happens when a person

Turrell took his college degree in Perceptual

occluded light of fog and smoky haze, and Homer’s

stares for a long period of time at a uniform field of

Psychology and was part of the famous “Light and

“rosy fingered dawn.” Then there is Henry David

color. One’s eyes get saturated with artificial light of a

Space” movement in Southern California in the 1960s,

Thoreau’s observation about the pale-green blush that

certain hue that can also stimulate the viewer to feel

along with artists like Robert Irwin and Doug Wheeler.

appears on the horizon at sunset, which he described

a paradoxical sensory deprivation, instigating some

The critic Jeffrey Kastner wrote in ArtForum, in 2014,

as “paler than the juice of limes,” and if you watch for

very odd and contradictory sensations, like faulty

about a recent Wheeler immersive environment at

it the green is definitely there. I thought of Thoreau’s

depth perception. You can be overwhelmed with

David Zwirner in New York. He stated that these

words when I was in the installation Key Lime.

feelings of a spiritual nature in one moment, and in

artists “emerged from a peculiarly Californian mix of

As ordinary humans busy with mundane matters, it’s

the next you can feel a little unhinged and queasy. This

observational naturalism, psychedelic searching and

easy to take qualities of light for granted. But if you’re

was definitely the case in Turrell’s expansive room-

détourned military-industrial technology.” The French

fortunate, you might find yourself someday in a room

size pieces Breathing Light and Key Lime at LACMA.

adjective refers to the concept of hijacking—as in

with a blend of fuchsias, pinks, and purples as in the

F E AT U R E

work Raemar Pink White, and you might fall under the spell of its mysterious aftereffects. It isn’t hard to convince yourself that you might be hallucinating when, against the wall, the thin frame of white light surrounding a rectangle of pink seems to be turning blue around its edges, but only intermittently. Is the thin blue line really there, or just an afterimage from the blending of light? Does the blue exist or is it a deeply embedded perceptual byproduct whose reality the viewer can neither prove nor disprove?

After a few minutes of staring hard at this wall and turning my head back and forth quickly, watching the blue line blink on and off, I turned my back to the piece and began laughing when I saw a guard watching me with a big smile on his face. Immediately, I went up to him and asked, “What’s going on with this?” The guard, fully immersed in Turrell’s work, laughed with me because he knew exactly what I was groping for in terms of understanding this phenomenon. “Yes,”

he said, “I know—it’s there but it isn’t there and it’s marvelous, is it not?”

Turrell is hyper-attuned to the elasticity of nature and human nature, and his understanding of the many dimensions of light has tempted him to try to embrace the entire celestial vault, bringing it down to earth so it will hover over us like a dome we think we can reach out for, press against, and drink in.

This is where the artist’s incredibly ambitious project, Roden Crater, comes in—Turrell’s magnum opus, which defies an easy summary. His naked-eye observatory out in the Arizona desert will provide the viewer with experiences of limitlessness—glimpses of infinity made to feel as concrete as a floating azureto-dense-indigo disk of a substance never before seen or described. In Turrell’s long day’s journey into the realm of alchemical light, he is always lucid in the ecstasy of his illusions.

Diane Armitage is an artist and writer and she teaches at the Santa Fe Community College.

Previous spread: James Turrell, Breathing Light, LED light into space, dimensions variable, 2013. Courtesy Los Angeles County Museum of Art. © James Turrell. Photo: © Florian Holzherr This page: James Turrell, Afrum (White), cross corner projection, 1966.

J U LY

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THE magazine | 65

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POLDI STUDIO / Workshops

Connie Deschamps, Ice Caves #2, acrylic on paper, 16” x 20”

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JULY OPEN STUDIOS Thursday-Saturday 11 am-4 pm or by appointment Poldi: 505.603.1456 Deschamps: 314.707.1456 Julianna Poldi, The Journey, acrylic on canvas, 100” x 40”

Reception: Thursday, July 24, 5-7 pm

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CRITICAL REFLECTION

Mike Glier: Glenorchy

Gerald Peters Gallery 1011 Paseo de Peralta, Santa Fe

MIKE GLIER’S PAINTINGS ARE (NEO) ROMANTIC IN THE TRUEST SENSE OF THE (un-prefixed) art-historical term, both in rich painterliness

of etiquette. In February 15, 2012: Rees Valley, New Zealand, a

undoubtedly sing with it, is that through a sublime collusion of

and environmental concern. The truths and consequences of

large abstract white armature of gently curving lines describes,

naturalism and abstraction he is able to create images of place

the Romantics’ expressions of budding environmentalism and

with a satisfying redundancy, the illusory space of the image.

that are both physical and metaphysical. Images that can take

egalitarianism are more relevant now than ever. The problems

Like picturing a possible Christo installation, or simply a

you there if you want them to—there being Glenorchy, New

they faced and warned about appear to be ever more pressing.

conceptual armature describing the space of the landscape,

Zealand; Jane Campion and Lord of the Rings lake country in

The dream of reason has indeed produced monsters.

this set of white lines, so boldly destructive of the scenery, also

this case—while also conveying the universal human spirit of

The birthplace of plein air painting is in Turner’s cult of

brings its full emptiness to life. As in numerous other works

Glier’s thoughtful and inventive touch and tone. Most of all,

nature. Turner had no oil paints in tubes to take outside, but

in this flawless exhibition, Glier achieves a perfect synthesis

these empathic images of the landscape are intended to evoke

he did paint extensively in the open air with watercolors, and

between depiction and abstraction. There are passages in the

a deeply human experience of the land and water we live on.

had himself strapped to the mast of a sailing ship for some six

paintings, especially the rocks and mountain forms, that from

They are spiritual and physical objects. They are as objectively

hours or so of thunderously violent weather, all the better

certain distances read as almost photographic renderings,

depictive as possible and simultaneously purely formal and

to observe the effects of wind and water, to capture in his

pressed up against wild bravura skies, or scraped down “wind

abstract. They reveal mystic truths about the natural world

mind’s eye and memory’s ear nature in her power and raging

shapes.” Glier’s recent fascination concerns pondering the

and how humans see and interact with it, and they carry those

glory. Similarly harmonizing wild abandon and consummate

paradox of “how to draw the wind.”

truths forward for whoever is willing to look. The world is ever changing. Mike Glier’s paintings change with it, and maybe in

craft, Glier pushes paint into stunningly tight yet expansive

Meander Because You Can’t See Much at a March is the

compositions of orchestrated color that amplify the pleasures

title of his next exhibition, a thirty-five-year survey show with

the process his paintings are also changing the world.

of painting and place. Tomorrow’s Pissarro, he takes to the

a catalogue including an essay by New Mexico local Lucy

—Jon Carver

land and water by whatever rig or conveyance to see, smell,

Lippard. It opens at the Opalka Gallery of The Sage Colleges

taste, touch, hear, draw, and envision the natural world. And

in Albany, New York, on October 22. The really wonderful

like the Modernist master Cezanne, a fellow pioneer of shifting

thing about Glier’s work, and this upcoming survey show will

Mike Glier, February 15, 2012: Rees Valley, New Zealand, oil on aluminum panel, 60” x 60” x 1½”, 2010

landscape paradigms, Glier articulates a subjective response to his environment that is both uniquely personal and abstractly universal. His image of Mt. Alfred, in Glenorchy, New Zealand, is nearly an homage to Cezanne’s favorite subject, though Glier makes the old composition marvelously new again, and entirely his. As Picasso put it: “A good artist creates, a great artist steals.”

But Glier is not putting down roots on Mont Sainte-Victoire because he longs for the glory days when plein air painting in the sun was the orb around which the Beaux Arts revolved.

Glier’s work branches to include all the late twentieth century and early twenty-first century responses, reconstructions, and revisions to Turner’s nature cult. Georgia O’Keeffe’s Abiquiu lies glowing herein along the cliffside with Clyfford Still’s sense of freedom, scale and color. Glier resembles a less bombastic Neil Welliver in some of that artist’s work, though he is a more complex and rigorous painter. His vision of saving landscape through subjective empathy, and drawing travel lines around the planet, is on a par with Mel Chin’s Revival Fields, though corn and datura in contaminated dirt might be easier to evolve than human beings trodding on the surface of the same. Even the make-my-mark-upon-the-earth artists like Robert Smithson, Walter De Maria, the god-himself Michael Heizer, and New Mexico’s undersung Charles Ross (see Star Axis) are subsumed within the arc of Glier’s plein air work. Like James Turrell, he exhibits a passionate love of illuminated space and chroma, but unlike Turrell, he paints, and beautifully.

He remains primarily a painter and drawer, and in Glenorchy, the latest installment of his ongoing Antipodes project at Gerald Peters, this is everywhere apparent. “Drawing is the probity of art,” said Ingres, and Glier’s paintings and drawings have exactly the elegance and ease that comes from that kind

J U LY

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THE magazine | 69

Sight Lines

Arin Dineen | Jeff Juhlin

July 18 -August 27th, 2014, Opening Reception July 18, 5-7pm

Aria, 20 x 36 in., o/c

Strata and Flow #9, 12 x 12 in.

Celedon Moment, 22 x 30 in.

215 East Palace Avenue, Santa Fe, NM | www.ellsworthgallery.com | 505.989.7900

ANGEL WYNN & AMERICAN INDIAN PHOTOGRAPHY AND ENCAUSTIC STUDIO

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“Handmade”, 24 x 24 inches

1036 CANYON ROAD, SANTA FE 505-819-1103 Angel@Nativestock.com MarilynAngelWynn.com

CRITICAL REFLECTION

John Baldessari: National City Ed Ruscha: Archi-Props

Richard Levy Gallery 514 Central Avenue SW, Albuquerque

WORK BY TWO PIONEERS OF CONTEMPORARY ART ARE CURRENTLY ON VIEW in a deceptively simple collection of sixteen pieces at Richard

taken in the 1990s. Neither photographs nor paintings,

not. The familiar, easily glossed-over images are re-made into

Levy Gallery. The two portfolios—National City by John

Baldessari’s works are tools to disrupt viewers’ preconceptions

pictorial puzzles. The flat gray balls of paint break the “fourth

Baldessari, and Archi-Props by Ed Ruscha—contemplate themes

when engaging with these typically disparate media. The flat

wall” of photography, the “window” through which viewers

of typified visual language, the built landscape, and the potential

circles of gray paint are applied directly onto the surface of the

glimpse the world on display within the frame. The graphic,

of words and images to communicate narrative content.

photographs, obscuring the visual material lying underneath.

geometric application of paint disrupts and interrogates this

Baldessari and Ruscha are influential conceptual artists whose

Viewing these altered images is both frustrating and humorous.

codified and conventional approach to photography by making

work has been informed by Southern California culture and

As the viewers’ eyes scan the photograph for information,

the literal, plastic surface of the medium a tactile and actively

landscape, as well as by the complexities of coordinating visual

we are unable to see and make sense of these scenes. If we

malleable part of the artwork. In National City #5, the only

and linguistic signs with what they stand for. With minimal,

think of visual language as a learned technique, a codified skill

image containing figures, the dark gray sphere not only obscures

graphic approaches, the bodies of work on display contemplate

of looking and of culling information, these images challenge

visual access to the central area of the picture plane, it is also

visual language as a learned and a socially informed technique

that technique and force viewers to direct their efforts to

a flattened, minimalist form that contrasts with the aged and

for observing and discerning the world around us. Each artist

contemplate what is visually available.

fading print. This contrast highlights the impact the conditionality of the print has on our perceptions of the content.

interrogates the tenuous distinction between viewing art and

In some of Baldessari’s most iconic works, he placed

observing the “real” world, and pushes his viewers to transcend

colored dots over the faces of figures in photographs, obscuring

Archi-Props, Ruscha’s portfolio of eight lithographs made

conventional imagery and signage.

the usual point of focus in images of humans. In National City,

from 1993 to 1997, is a collection of gray scale geometric

Baldessari’s National City is a portfolio created from

however, these large gray circles are placed arbitrarily in front

drawings of utilitarian urban structures that investigate the

1996 to 2009, comprised of eight photographic images with

of urban scenes, obscuring intersections, auto body shops,

appearance and function of the built landscape. In order for

hand-painted circles in gray-scale acrylic. The photographs are

and ambiguous commercial structures. It is effectively unclear

these sparse, monotonous buildings to communicate their

snapshots of the artist’s hometown, National City, California,

whether there is important information beyond the paint or

functions and purposes, their façades are forced to intersect with language: each building bears text like MUFFLERS, UPHOLSTERY, and TIRES. One building is given a generic sign

reading PARTS that fails to communicate much about what “parts” we would find within; however, social experience and convention indicates that it is likely automobile parts, rather than parts for model planes. Even the building titled LIBRARY is a far cry from the grand civic structures traditionally used for public libraries.

Each is an instantiation of a cultural narrative in which visual imagery has been superseded by language. Language and text have become the primary means of communication of information, resulting in visual forms devoid of unique signifying elements. Each Archi-Props structure represents the collectively inherited, constantly recurring motifs found in our urban landscapes. However, unlike archetypes that carry symbolic weight, these forms are devoid of meaningful content. Like props used in movie sets, their content and value shift as easily as they are relabeled. Paired together, these two collections present challenging examinations of visual culture and preconceived techniques for looking at art, observing the visual world we inhabit, and the intersection between these two— usually distinct—ways of seeing. By un-making references and disturbing the viewers’ point of access to the visual content, each body of work highlights the social dimension of viewing as an act that takes place within a particular context, continually informed by artistic and visual practice and the place of these in human interest.

—Lauren Tresp

John Baldessari, #2, from the portfolio National City, color photograph with acrylic paint, 19” x 18 3/4”, 1996/2009

J U LY

2014

THE magazine | 71

A NDR E W S M I T H G AL LERY I NC.

CLASSIC AND HISTORIC, MASTERPIECES OF PHOTOGRAPHY

LAST MONTH TO VIEW!

ANSEL ADAMS photographs from THE DAVID H. ARRINGTON COLLECTION Th i s i s t h e great est A ns e l A d a m s e x h i b i t i o n in t h e wo rld .

The David H. Arrington Collection of Ansel Adams photographs is one of the most comprehensive ever assembled and constitutes the largest privately owned collection with over 600 photographs. The Andrew Smith Gallery exhibitions present over a 100 of these original Ansel Adams photographs including the very first printing of Moonrise, Hernadez, NM.

Rose and Driftwood, Ca. 1932 © 2014 Trustees fo the Ansel Adams Publishing Rights Trust

Next to the Georgia O’ Ke e f f e M u s e u m a t 1 2 2 G ra n t Ave . , S a n t a Fe , N M 8 7 5 0 1 505.9 8 4 .1234 • www. A n d r e w S mi th G a l l e r y. c o m • H o u r s : 1 1 - 4 , M o n d ay - S a t u r d ay.

MARINA BROWNLOW STUDIO

Sculpture

www.marinabrownlow.com

Printmaking

brownlowmarina@gmail.com

CRITICAL REFLECTION

Signe Stuart: Continuum

William Siegal Gallery 540 South Guadalupe Street, Santa Fe

CONTINUUM IS AN APT TITLE FOR THIS EXHIBIT. THE TWO EARLIER WORKS included testify to Signe Stuart’s ongoing exploration of

the connection of the lines across panels, creating a net pulsat-

rivets our attention. In Red Shift a forest of vertical lines repeat-

issues that have unfolded across the central Western artistic

ing with a seemingly inner light of hot pink and blue. The re-

edly transforms from wavy stitched lines in earthen tones to

enquiry: what does it mean to apply paint to a canvas surface

cent works are mostly horizontal canvases with one dramatic,

“merely” painted bright blue lines. Thus we are pulled into rec-

and what happens in the viewer’s eye and brain in response?

contrasting line. Or rather, it reads as a line upon first glance.

ognizing that a line has multiple meanings and ways of being a

We are used to our assumption about how light bounces

Approaching the work, one notices that it is a small fold that has

line. Materiality has drawn us into the realm of the abstract.

back to us from paint on canvas, and to the various ways an

been stitched into a ridge that could be thought of as the repair

In one of my favorite moves, the ample fold of Lux

artist may alter that by use of paints with different luminosi-

of a wound or a sort of deliberate scarification. In other cases

VIII, which is bright yellow, the yellow paint has also been

ty, by adding layers and textures, and so on. Stuart is instead

it is more pronounced, a pleat that stands up and, from some

spilled onto the area along what would be the ridge’s

altering the ground by subtly pulling it into a third dimension.

angles, casts a shadow. Like the traces of migration patterns

shadow if one were looking at the painting from a distance

Stuart works with canvas whose surface has been pulled up,

traveled by indigenous peoples, these lines have no ambiguity,

and a particular angle. The yellow of the raised line-like

with great finesse, into a fold or ridge and then stitched.

no ambivalence. They carry a powerful charge, an authority,

portion of the canvas is in strong contrast to the cloudy

The canvas is otherwise perfectly flat on its stretcher bars.

as if they could be no other way. Yet there is no feeling of a

gray background. But in most of these works, the darker,

This allows for some playful interaction between the viewer

meandering movement over time or in response to landscape.

subdued background color is underpainted with the same

and the painting, varying along with one’s distance from and

Stuart’s line is more like a hummingbird’s sharp trajectory to-

brilliant tone as the ridge, reinforcing their kinship. This is

angle to the canvas. It is pleasant to find that your eye has

ward the feeder than the flocking pattern of a colony of birds.

particularly effective with the scarlet ridge against purple

been gracefully tweaked.

Simplicity here allows for drama. Stuart speaks of her “dance

background in Lux XIII.

Chance (1977) and Quinacra Crossings (1982) are each

with paint,” and indeed the isolation of a determined graphic

One place Stuart can be located on the web is the Lady

composed of five panels that are assembled into one compo-

gesture has a certain attractive grace. But her engagement with

Minimalists’ Tea Society. The prissy or domestic associations

sition. Quinacra Crossings builds a rhythm with repetition and

the minutiae of the materiality of canvas and of paint is what

with “tea society” may not fit exactly (though I believe that group is using it ironically), and Minimalism is often associated with works by the likes of Carl Andre or Donald Judd (big, in-your-face, inscrutable objects). Stuart is indeed a Minimalist: hers is an intensity of purpose, a practice of reduction in order to bring focus, not for its own sake. Born in 1937, she has been wrestling for over half a century with the intimate confrontations and engagements involved in making and viewing paintings.

For centuries almost all women’s creativity was circumscribed within the realms of Kinder Kuche Kirche (children, kitchen, church, as the Germans put it—both during the Nazi era and after the war, for somewhat different ideological purposes). Or at most their sphere could encompass an embroidery hoop. One rejoices that today a woman can explore the aesthetic questions she is led to pursue on whatever size canvas she chooses and treat that canvas (perhaps simultaneously) as a delicate sewing project, a field of battle, and a sky full of possibilities.

—Marina La Palma

Left: Signe Stuart, Red Shift, acrylic on sewn canvas, 18” x 30”, 2014 Bottom: Signe Stuart, Lux V, acrylic on sewn canvas, 15” x 70”, 2014

J U LY

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magazine || 73 THE THE magazine

Visit Shonto Begay Map of My Heart Through Oct. 19

Jul. 5 & 6 81st Annual Hopi Festival of Arts & Culture Aug. 2 & 3 65th Annual Navajo Festival of Arts & Culture

Authentic Southwestern art, jewelry, publications and more...

Shop shops.musnaz.org

DAVID SOLOMON

The Downfall of the Flower Prince, 2013, Oil on aluminum, 48” x 36”

Celebrate

SHAPE SHIFTER July 11 – Aug 23 2014 Artist Reception July 11 5-7:30

PATINA GALLERY 131 W. PALACE AVE, SANTA FE 986.3432

CRITICAL REFLECTION

John Connell: A Mind to Obey Nature

David Richard Gallery 544 South Guadalupe Street, Santa Fe

JOHN CONNELL’S SHOW A MIND TO OBEY NATURE coincides with a summer-long exhibition at the Harwood Museum in Taos. According to Brendan

perhaps imperfect objects for contemplation.

Wabi-sabi’s

emphasis

on

nature

and

its

Connell, the artist’s son, Connell rarely showed a

transience makes the title, A Mind to Obey Nature,

piece more than once unless it was part of a traveling

seem like a nonthreatening witticism on Connell’s

exhibition, and thus the recently exhibited works are

subject and materials. His use of iron oxide makes

mostly new to the public. This past October at Jamie

abstract surfaces like Again Big Tree and Flare-up Go

Hart’s Phil Space, Connell’s drawings hung alongside

Inside Now appear topographical, volcanic, and even

the work of lifelong friend and collaborator Eugene

brittle—ready to break or erupt. Its earthy texture of

Newman. A book by local powerhouse Radius Books

ocher, burnt reds, and browns evokes Anselm Kiefer

that was started during the artist’s life was recently

canvases, and Connell likewise uses earth amid the

finished by his son and is going into print any day

powdered oxide and pigments on paper. In smaller

now. It’s an exciting year to contemplate the legacy of

drawings, like Buddha and Man with Staff, Connell’s

the artist—who passed away in 2009—and who was

deft hand scribbles skeletal bodies sitting cross-

so stoically integral to New Mexico’s visual landscape.

legged or standing with a staff amassed from black

Forty years ago, Connell was a key member of a

lines that share similarities to Newman’s figurative

Santa Fe group of abstractionists that included Newman,

scrawls. At times, it’s absolutely clear that Newman

Sam Scott, Frank Ettenberg, and Reg Loving. New

and Connell were in dialogue over the brevity of the

Mexico has risen to the occasion of commemorating

body. Four larger works at just over thirteen feet are

and disseminating the work of this great painter and

feats of gesture drawing. Fighting Man I and II face

sculptor. Connell attended Brown University in the

each other in crippled recoils of black spray paint,

late fifties and emerged from New York City’s Art

oil stick, and charcoal, looking more like defenseless

Students League in 1961, at the end of its Modernist

effigies than aggressive enemies. Past the thick black

legacy. According to Connell’s son, the artist came to

lines of Taoist I and II are well-postured solemn men

New Mexico, like many others, to escape a mainstream

turning away from us. There is something totemic

adherence to any particular “school.” Since then, his

about these four figures requiring aerial observation.

work has been collected by New York’s Metropolitan

Connell’s sculptures recall Giacometti’s bronze figures with their rough and pinched surfaces.

Museum of Art, among others. with

Sleeping Man (1987) is a life-size bronze cast from

New Mexico’s abstractionists, the artist shares a

ephemera, including crushed paper and wood. The

predilection for wabi-sabi, the Japanese aesthetic

figure, curled on its side on the gallery floor, could

that shares a few broad sensibilities with Modernism.

be dying or sleeping. Its calves and forearms, built

Both wabi-sabi and Modernism are strong reactions

originally from wooden planks, suggest discarded

against the dominant, established atmospheres

building material and thus some sort of recycling or

of their time. Both eschew any decoration that is

repurposing of the body, its physical mass inciting a

not integral to the artwork’s structure while also

confused empathy for something that’s in passing.

In

addition

to

Connell’s

association

being generally abstract, nonrepresentational ideals

Raven IV (maquette) also looks like crumpled

of beauty. That being said, Connell represents

paper. Its matte exterior, though entirely bronze,

the figure often, and there are many in this show.

could easily be clotting debris and tar that weighs

These portraits are less about decorating a visage

down the wings of this lopsided crowing bird. Out of

than about capturing a moment or an ephemeral

the four small animal sculptures in the show, Raven IV

ideal. His drawings, sculptures, and paintings reside

(maquette) presents a model of imperfect origami—

somewhere between American abstraction and

as if Connell wanted to push the perfection of paper

Eastern rusticity. According to Leonard Koren,

folding to another extreme that proposes something

who started WET magazine, the closest American

messy, unkempt, unpredictable, but equally as

translation of wabi-sabi is “rustic,” defined partly as

beautiful.

“simple, artless, or unsophisticated… with surfaces

—Hannah Hoel

rough or irregular.” Although Connell escaped overt labeling, his embrace of Buddhist ideals deeply pervades his art practice and offers frankly raw and

J U LY

2014

John Connell, Fighting Man I, spray paint, oil stick, and charcoal on paper, 164 ½” x 48”, 1987

THE magazine | 75

Jeff Riley Oil Paintings (415) 279 8426 jeffrey.riley2013@yahoo.com By Appointment

CRITICAL REFLECTION

Ramona Sakiestewa: Tangram Butterfly & Other Shapes 1601 Paseo

de

Tai Modern Peralta, Santa Fe

A TANGRAM IS A CHINESE PUZZLE CONSISTING OF A SQUARE WHOSE AREA is subdivided into seven geometric shapes—five triangles,

square of the tangram box. The progression of areas of the four

of cell growth in nature (enabling living organisms to grow without

a square, and a parallelogram—that are disassembled from

squares, expressed in terms of the module triangle, is 2>4-8-16

changing their shape) as well as a certain flight path of insects.

their containing square format and regrouped to create many

(box). Likewise, the internal square among the seven shapes can

Thine eyes glaze over by now. And what do I know?

different patterns. One such pattern—contrived by artist

be taken as that overall square, and the spiral can be reversed.

Whatever Sakiestewa was thinking, what matters is that her

Ramona Sakiestewa—is the tangram butterfly, and its appeal

That is precisely what the artist does.

artistry and creative intellect shaped a rich vicarious experience

relies on its ability to capture a biomorphic form while retaining

Thus the great beauty of Sakiestewa’s lithographs of her

of what the artist herself felt as she informed the diverse patterns

the tectonic identity of its seven constituent geometric shapes.

Tangram Butterfly rests not only on her inventive arrangement of

with universal, cryptic narratives that engage and move the

This formal dialectic at play in the puzzle serves as the leitmotif

the seven geometric shapes to create her butterfly, but her decision

viewer. The pottery shards of her childhood and the patterns

and aesthetic paradigm of Ramona Sakiestewa’s recent show at

(conscious or intuitive) to assign the butterfly’s scale and location

of the tangram puzzle have informed the visual tension and

Tai Modern, Tangram Butterfly & Other Shapes.

so that its equivalent square format (comprised of its seven shapes)

counterpoint between biomorphic and tectonic forms that

Visitors to the show with no knowledge whatever of

totals half the area of the internal square within which it is inscribed.

pervade the paired masses of her China Gate Shape and the

the tangram puzzle, or the source of the tangram butterfly

Thus her butterfly becomes the new generative shape in the

elegant harmonies of her blue, red, and black shape series, much

design (the artist), or the choice of a chain link, a China gate,

progression of squares leading to the overall tangram box square:

as they do in the exquisite lines and delicate tapestries of her

Southwest pottery, or even Sakiestewa’s intention in doing these

1>2-4-8-16-32. This generative or “gnomic” feature of rectangles

butterfly lithographs. It is left to the fortunate viewers to inform

series, arguably could come away with as much as viewers who

dates back to Greek geometry, most famously expressed by

these emotive vessels with their own experience.

availed themselves of the gallery press release and the artist

the golden rectangle, but most appropriately expressed here

—Richard Tobin

statement containing such information. Sakiestewa’s paper-

by the square, whose ratio of side to diagonal generates a spiral

collage monoprints and lithographs speak for themselves at

progression of squares, each of whose areas is double that of the

the level of engagement—much as the haunting, pensive piano

previous square. This snail-like spiral mimics the logarithmic spiral

Ramona Sakiestewa, Tangram Butterfly/blue, lithograph, 28” x 22 1/2”, 2014

compositions of Erik Satie’s Gymnopédies enchant listeners well before they learn to what the pieces refer or what influenced their creation.

That said, in a creative interaction familiarity breeds content. We cannot replicate Sakiestewa’s own experience as a child collecting pottery shards that she would, on occasion, rework by rubbing the edges against sandstone, and whose shapes and patterns would stay with her over the years. Nor do most of us likely share the artist’s abiding fascination with the ancient Chinese tangram puzzle game that led to her discovery of a new figure—the butterfly—among some 1,600 patterns already devised from the game’s square box of seven geometric shapes, or tans, concealed as silhouette puzzles to be revealed by a player’s correct arrangement of all seven pieces touching each other. Yet these contributing factors, while unique to Sakiestewa’s personal history, can inform and enhance the vicarious experience for the viewers of her prints.

The tangram puzzle owes its dynamic, generative quality to two features. First, its seven geometric shapes comprising a square are in fact reducible to a module embodied by each of the two smallest of the five triangles. We can express the seven shapes in terms of this module: the five triangles consist of four modules for each of the two largest triangles, two modules comprising the third triangle, and two modules for the last two triangles; the internal square is made up of two modules, as is the parallelogram.

Thus a tangram square comprises sixteen triangles, which the game has already combined into seven geometric shapes.

One of those seven shapes—the internal square—is the second feature of the puzzle’s dynamic shape-shifting. It serves as the “gnomon” or generative shape whose diagonal becomes the side of a larger square, creating a spiral progression of squares, the fourth and (here) final of which is the actual, overall

J U LY

2014

THE magazine | 77

The Art of Jerome Kuhl a

retrospective

exhibition

Dioramas, Figures, Cars, Airplanes, Embroidery & Erotica

MARVIN MOON

“Visions and Mirages” Exhibition Featuring Paintings That Reveal the True Zen of the American West

Detail of Paris street scene diorama: carved wood figures, 4.5” tall with pen & ink background

July 1 – August 31, 2014 Antiques + Interiors on Grant

136 Grant Avenue • Santa Fe, NM • 505.983.0075 Gallery Hours: Monday – Saturday, 10–5

Late Bloom Encaustic Diane Kleiss • NM

The Encaustic Art Institute The Art of Nature; and all that is Natural Opening: Sat. July 19th from noon to 5 Nation-wide members of the non-profit Encaustic Art Institute, working in encaustic/wax medium, have entered this themed show with the subject being the actual portrayal of nature, but by no means limited to that. It can include the 3D affect of nature, or the abstract interpretation of what is “natural”.

A wide variety of styles and creative interpretations are the result.

There are local artists represented as well as artists from across the nation.

The show will remain up in the gallery through Sept. 1

Gallery open to the public weekends from Noon - 5 pm or by appointment.

Contact Douglas Mehrens at 505-424-6487. March through October EAI is a 501C3 non profit arts organization. For map and information go to.

www.eainm.com

Thanks to Los Alamos National Bank for their continued support.

18 County Road 55A (General Goodwin Road) Cerrillos NM 87010 18 miles south of Santa Fe on scenic Turquoise Trail, 2 miles north of Cerrillos

July 26th – August 16th Opening Reception July 26th, 5 – 7 PM

Greg Moon Art

109A Kit Carson Road, Taos, New Mexico gregmoonart.com 575.770.4463

CRITICAL REFLECTION

Breakthroughs

University

of

New Mexico Art Museum, Raymond Jonson Gallery UNM Center for the Arts, Albuquerque

THE FUTURE OF CREATIVITY IS SAFE AND SOUND, AND THE EVIDENCE IS IN THIS year’s juried graduate exhibition at the University of New Mexico

actual climbing foot- and handholds capable of supporting up to

painter’s masking tape, and a paint pan and roller on the gallery

Art Museum. The lower level Raymond Jonson Gallery is the right

one hundred and forty pounds. It’s hard to view them and not

floor next to a wall. They are all made entirely of felt. Dripping

kind of intimate for this art. The gallery’s low ceiling and small

get caught up in trying to figure out how to use them to scale the

down the wall is a long swathe of turquoise paint. Okay, felt paint,

size make it easy to gain a sense of the ensemble. Sixteen student

wall. The choice of lighting causes them to cast shadows on the

but the viewer’s first reflex is to question whether a maintenance

artists are represented by works ranging from image transfer

“climbing wall” that range from organic shapes to angelic ones.

crew forgot to tidy up.

on steel to cut Xerox paper to sewn felt. Exhibition curator

Tamara Wilson takes basic, everyday objects—pencils,

Natalie Smith’s Blue Gingham Drawing does indeed have a

and juror Miranda Lash (Curator of Modern and Contemporary

cans of paint, a paintbrush—and recreates them in sewn felt.

fabric feel. At first. But stare for a while at this grid of blue colored

Art, New Orleans Museum of Art) discusses graduate students

Never have pencils had personalities like these. In Pencils she

pencil squares and they begin to zigzag and dart and fly around.

and the future in the exhibition catalogue. “I often find visiting

fashions twenty-seven felt replicas of the standard yellow-with-

Diagonal lines and patterns wiggle in the negative space. Colors

graduate students’ studios to be exhilarating,” she writes, “not

pink-eraser office variety, each a different length, each bent or

emerge. Smith creates extreme movement out of a simple, old-

because the artwork is always fully realized, but because it is like

curled in impossible ways. They extend from the wall on pins,

fashioned design. On a nearby wall Sarah Vosmus’s Solid Series

peering through an airplane window into the distant horizon.”

erasers skyward, and the shadows they cast on the wall crisscross

No. 4 joins in the dance. Vosmus takes paper that has a Xeroxed,

Russell Bauer’s three Climb Hold Paintings are anchored

and intertwine in what could almost be watery calligraphy. The

zebra-like design on it and cuts and layers it, assembling it only

with nails and brackets on a wall beneath the stairwell. Intentional

combination of the pencils’ soft texture and their lovely soft

very loosely with nails and wire to leave room for motion, which

or not, the climbing imagery works. Bauer paints bits of wood

shadows is surprisingly calming. Wilson’s second felt installation

hardly makes it solid like its title. It is hard to tell where the paper

and metal discarded from other projects and fashions them into

in the exhibition, Paint, assembles paint cans, a paintbrush, blue

leaves off and its shadows begin. Contemplating how the network of paper strips connects is a bit like trying to conquer a maze.

And as the paper rustles ever so slightly with the air movement in the gallery, it evokes a nest-like structure that complements the movement in Natalie Smith’s gingham.

Staci Page’s three vertical steel panels Bloodknot, Sennet Chain, and True Lover’s Knot showcase image transfers of three different technical knots onto the metal surface. The frayed rope looks impossibly real and the knots seem sad and cold against the metal.

Behind the knots, in a room often used to show videos, Logan Bellew has installed three thousand freestanding test tubes to form a sea of glass and reflected light. The installation of 3000 Untitled Test Tubes took Bellew ten hours. Visitors tread gently in the small space for fear of somehow knocking over one test tube and initiating a domino effect. Even breathing seems dangerous. Sneezing or coughing? Downright terrifying. But the beauty of the glass clusters and shapes is addictive. Stand up and they have one configuration, sitting on the nearby bench reveals another. An angled view from either side of the room alters things again. The shadows change.

The look of the glass changes. The combined effect of seeing some tubes through others changes the entire look of the piece. It’s hard to walk away without glancing back for one final view.

—Susan Wider Logan Bellew, 3000 Untitled Test Tubes, glass test tubes, 2013. Photo: Justin Nolan Tamara Wilson, Pencils. felt. 2012. Photo: Justin Nolan

J U LY

2014

THE magazine | 79

Eric Reinemann: Quiet Observations

GF Contemporary 707 Canyon Road, Santa Fe

FROM HIS QUIET OBSERVATIONS ERIC REINEMANN HAS CREATED LAYERED, and inviting because of Reinemann’s whimsical layering.

Jello-like illusions that encourage the viewer to look deeply

pulling the viewer in while countering the active vibrancy of

into his paintings and to consider the vibrational spaces

movement with the softness of layers of color. His paintings

Reinemann’s landscapes are ever bounding with

around them. His layers have a bouncy, 3-D effect. Reinemann

are about angled interior settings and bubbling landscapes.

prismatic pastels, boldly sketched shapes, and uplifting blue

may begin a drawing or painting while quietly observing,

The style of the recent work is different from his earlier

and turquoise skies. These exuberant landscapes allow us a

but ultimately his passionate creations are lively, inventive,

abstract paintings. Some of his older paintings remind me

glimpse of the artist’s smiling soul. When you slip into the

even noisy—a hypnotic juxtaposition of casual settings and

of certain Jackson Pollock pieces; they have a retro feel—

room off the main gallery you encounter two vertical stacks

kaleidoscopic layers.

bright and dancy. However, they do not have the depth of

of his scaled-down paintings and sketches. Some coincide

the work in this exhibition.

with the exhibition, such as CR Writing. His black-and-white

Reinemann looks not just at solid forms, but also at the space floating around and within those forms—negative

The drawing Self Portrait is a showstopper. It is more

sketches illustrate his prowess with the pencil. Reinemann’s

space with a surging energy that gives structure and color

than just a picture of Reinemann; in it he is showing/telling

show may start with quiet observations, but it erupts with

to the formless in an eye-opening style that is very alive. At

us his philosophy of art: depth, angles, the ecstatic vibes that

his intuitive and raucous executions—his work is a collage of

the heart of his paintings is his mastery of the fluid pencil

interact with us, that, in his words “… give new visual meaning

technique and wit. The work is emotional and playful. Take

line. His talent for drawing is the reward that lies beneath

to what has been observed.” In Interior #10 we see a woman

the time to study his drawings and paintings and you will have

his vivid layers of color and shapes. “Perceptual drawing is

on a couch in a room. The slant of the room is refracted,

your own “ah-ha” moment. Look deeply.

the core of my work,” says Reinemann. Viewing his paintings

as if we’re looking through a fish-eye lens. The room is alive

—Teresa Anastasion

is like looking at and through the surface of soft, rippling

with color, abstractions, and multi-layering, and except for the

colored water to a world beneath. His use of vivid pastels

pillow on the sofa—a restful island amid all that energy—it is

gives a subtle veneer to the movement of each work,

no longer a casual setting. Patio #3 is less hectic, yet still jigglly

Eric Reinemann, Interior #10, acrylic on panel, 36” x 46”, 2014

CRITICAL REFLECTION

Digital Latin America

516 Arts 516 Central Avenue SW, Albuquerque

DIGITAL LATIN AMERICA IS AN EXHIBITION WHOSE FOUNDATIONS REST ON technological and intercultural hybridity and the meshing of

cloth diagrams of electrical circuits, matrix bar code insignia

more corporeal realm. Here, the word is made flesh in a

languages—both spoken and digitally coded. In this show, not

to be read by a smartphone, and a video that unfolds the

simple act of eating visual symbols that are abstract in their

only do you find an esoteric investigation into the lost languages

parameters of this multilayered work—part performance

meaning yet become concrete in the deliberate process of

of the Quipu tribe of South America, there is also the lingua

piece, part documentation of work for pay, part informal

their transubstantiation.

franca of smartphones’ interactive media, straightforward

dialogue with the workers involved. And then there

In this exhibition, with all its extremely clever,

digital video, and other forms of coded electronica—that

is the matrix barcode that serves as a portrait of each

thoughtful, and complicated electronic underpinnings, it

vast cascade of zeros and ones to which we are all tethered,

person who worked on a piece of embroidery for money.

isn’t hard to single out the most captivating piece of all—

willingly or not. All the work in Digital Latin America is political

Muñoz’s business model was a mobile cart pedaled through

Javier Villegas’s Herbaceous, an interactive video projection

in nature, either directly or obliquely, and the underlying

neighborhoods as he searched for workers who would blend

that reads the physical presence of a viewer standing in

political thrusts have a broad range, emphasizing many of

high-tech electronic circuits with artisanal handcraft. Using

front of the screen and transforms that person into a leafy

the cultural, geographic, economic, or social conditions to

conductive threads, each worker engaged in a traditional

portrait—as if the viewer had been interpolated and then

which we all are linked, no matter what part of the Americas

craft that had the ability to convey information well beyond

reconstituted into an aggregate of leaves still retaining an

we’re from. The issues raised in this exhibition are now

the realm of the purely visual. These schematic textiles were

essential face and figure—enough to be recognized as

part of our collective identity in a wired world, even if we

not meant to be decorative items but links to the global

that particular individual. The computer program for the

don’t all possess the same kind of cell phone. And apropos

world of commerce and our ubiquitous interconnectivity.

interactivity assembled each portrait on the fly. It tracked

of that, because I don’t have a smartphone I missed out on

Besides being conceptually complex, MR4 was a kind of

your every move and turned arms into branches or legs

some pertinent experiences, especially in William Wilson’s

celebration of human labor and individual identity in a world

into tree trunks and your face into a very intriguing arboreal

installation of photographs Talking Tintypes.

run amok with disembodied, meaningless chatter driven by

mirror of yourself that hung suspended as part of a tree in

endless streams of digital code.

an unchanging background image of a generic landscape.

Wilson’s four large tintypes are lush with rich tonalities.

They also exude a certain level of irony from the combination

The installation Pica focused on Paula Gaetano-Adi’s

Villegas’s brilliant algorithms—he’s an engineer by trade—

of an old fashioned form of photography with contemporary

attempts to learn English by literally eating her words.

provided a playful and thoroughly enchanting interlude in a

digital processes that allow Wilson’s images to literally

The artist used a Spanish-English dictionary and every

show marked by a variety of intense experiences that were

“speak”—the photographs have an audio component that

day she cut out a word from the book, memorized it,

definitely rewarding if not always easy to surrender to.

can be activated with a smartphone. Wilson photographed

slowly put it in her mouth, then chewed and swallowed it.

—Diane Armitage

singer and songwriter Nacha Mendez; choreographer Rulan

Accompanying this piece is wall text stating: Pica: a behavior

Tangen; the poet Demetria Martinez; and violinist Carla

beyond accepted cultural traditions, consisting of constant

Kountoupes. However, as beautiful as these photographs

(for more than one month) ingestion of inedible substances,

Left: Paula Gaetano-Adi, Pica, video of performance, 2009

are to look at, I missed out on an important aspect of the

which are inappropriate for that developmental stage or age

Below: Javier Villegas, Herbaceous, interactive video still, 2012

work—Wilson’s attempts to showcase and preserve cultural

(American Psychiatric Association, 1994

stories from his select group of indigenous protagonists.

DMS IV). The installation itself was

There was another set of native speakers who could

simple: a video monitor showing the

be heard through ordinary headphones, however, in Amor

artist performing the eating of language,

Muñoz’s piece Maquila Región 4 (MR4). There are several

a dictionary on a shelf, and headphones.

parts to this work: a hand-built wooden cart that can be

Gaetano-Adi’s ritual ingestion of words

attached to and moved by a bicycle, two hand-embroidered

brings the whole idea of logos into a

J U LY

2014 J U LY

2014

THE magazine | 81 THE magazine | 81

JENNIFER ESPERANZA P H O T O G R A P H Y

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J U LY

2014

Look for Cheesemongers of Santa Fe ‘s opening this summer in downtown Santa Fe. John Gutierrez with student farmers and a baby goat at The Camino De Paz Farm School in Santa Cruz, New Mexico, May 2014 Photographed by Jennifer Esperanza

THE magazine | 83

Michael Motley

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Reflected Light on Adobe Wall photograph by J U LY

2014

Guy Cross THE magazine | 85

WRITINGS

On a Feast Day

by Joseph

Bottone

Tonight, a feast day I decided not to enter the dining room with monks’ good stories and desert Fathers’ and Mothers’ strong wisdom to feast on.

There will be desserts, plenty of wine at the tables....

Tonight in my room,

a piece of wind, a turn in the story,

the North Star fixed to my brow, I hear the wild mallards at their quieting.

Down on the river, coyotes near hysteria laugh

with as many surrenders as dry reeds rustling round the pond in nightshade desolation.

Tonight, alone with abandoned doves,

with the lake of light with loons as vigil for the frightened and new dead,

time does not pass and crystalline water will not sparkle nor quench their thirst.

Tonight, in the secluded vacancy of my lost unsaid words in as many places at once casting my line in the choppy seas, trolling for the new Jerusalem on a clear frost of stars....

Wild Honey: Encounters with the Divine (Tate Publishing, $10.99) is a collection of poems about divinity, nature, and the human spirit by Joseph Bottone whose poems are a sacrament of emotional fulfillment through the poetic word.

86 | THE magazine

The pond that I dug yesterday is full of moonlight and I am alone in my room.

J U LY

2014

Lynda Benglis James Lee Byars Harmony Hammond Agnes Martin John McCracken Roxy Paine

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