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
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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
photoeye.com/richardtuschman
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.
Above:� ( triptych, 45 in. X 140 in. detail ) � Right:� mixed media sculpture� by Wayne Mikosz and Riha Rothberg�
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
|
jsgordon.saf@gmail.com
• 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
PRESENTING SPONSOR
SEASON PRESENTING SPONSOR
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SANTA FE
Juan Siddi
ASPEN SANTA FE BALLET
Juan Siddi Flamenco Santa Fe July 18 & 27, August 3 & 9
Aspen Santa Fe Ballet July 11 & 12, August 30 All shows at 8:00pm
All shows at 8:00pm
For more information visit
For more information visit
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SEE EXTRAORDINARY DANCE AT Tickets: 505-988-1234 or online at www.aspensantafeballet.com CORPORATE SPONSORS
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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
www.aspensantafeballet.com
ROMANCE DRAMA FUN
SEASON
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Mark Nohl photo
JUNE 27 - AUGUST 23
CARMEN
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Bizet
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Donizetti
Beethoven
DOUBLE BILL
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THE IMPRESARIO Kate Russell photo
LE ROSSIGNOL
AN INCREDIBLE SETTING Arrive early with a tailgate supper to enjoy the sunset and spectacular mountain views. Tickets start at $32! New Mexico Residents: Ask about a special first-time offer when you call. SantaFeOpera.org
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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
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505-771-3125
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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!
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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
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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.
J U LY
2014
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
UPTOWN
Paseo Del Norte Blvd NE
ALBUQUERQUE, NEW MEXICO
Central Ave N
E
Louisiana Blvd NE
Candalaria Rd NE
ABQ Uptown
*Uptown 40
Menaul Blvd NE Indian School Rd NE Constitution Ave NE
Lomas Blvd NE
Juan Tabo Blvd NE
Lomas Blvd NE
*
Coronado Mall
July 1–28, 2014
Comanche Rd NE
Wyoming Blvd NE
University of New Mexico
40
San Pedro
25
Carlisle Blvd NE
to Santa Rosa
San Mateo Blvd NE
Montgomery Blvd NE
Northeast Heights
Tramway Blvd NE
25
thegalleryabq.com
New Inspirations
to Santa Fe
Academy Rd NE
to Gallup
12611 Montgomery NE, Suite A-4, NM 87111 | 505-265-4066 Monday–Saturday, 10–6 | highdesertartandframe.com
ARTScrawl Receptions Saturday, July 5, 3–6pm Saturday, July 19, 3–6pm
GALLERY DISTRICT 1 mile 1 km
5
Eubank Blvd NE
4
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
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Nob Hill
8210 Menaul Blvd. NE (Hoffmantown), NM 87110 505-292-9333 | Monday–Saturday, 10–5
to Airport
Central Ave NE Central Ave SE Rte 66/Turquoise Trail
Albuquerque International Sunport
to Santa Rosa & East Mountains
Imprints of Home
Works on Paper | Prints + Poems II
June 6 – July 25, 2014
Fine art, fine american crafts. A creative environment featuring exquisite jewelry, diverse works: glass, metal, wood, tapestry, clay, limited edition prints, paintings, handmade fine art books. Specializing in Japanese approach to porcelain and anagama wood-fired ceramics.
Our innovative gallery is dedicated to the artistic expression of the optics and precision metalworking technologies. Meet our talented artists and learn how they use their creativity and technology to create their amazing works of art!
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3100 Menaul Blvd. NE, NM 87107 | se-oc-rightbraingallery.com 505-816-0214 | Tuesday–Saturday, 11–5 or by appointment
2
2935-D Louisiana NE, NM 87110 | 505-883-7410 | weyrichgallery.com Tuesday–Friday, 10:30–5:30 | Saturday: 11-5:30 | Monday by appointment
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
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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
www.ginnyhogan.com
www.ashleybinderart.com
www.josefskye.tumblr.com
www.donacalles.blogspot.com
www.graceberge.com
www.fourseasonspress.com
Judy Boyd
Janice Bicho
www.clairdelunefineart.com www.mariannehornbuckle.com
Major Credit Cards Accepted
www.marybethpizzoli.com
For information call: 505•926•1497
www.paulbasilephotography.com www.mariakenarova.com www.rogerdenham.com
www.richardwelkerart.com www.michaelmatsil.com
www.sandraduranwilson.com
Ron Patterson
www.mirokenarov.com
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
www.spencerkimballgallery.com
www.shaktikroopkin.com www.yennycocq.com www.guilloume.com
www.karenwatersart.com www.madinacroce.com
AnaMaria Samaniego www.mariannehornbuckle.com
Visit our website: www.santafesocietyofar tists.com
www.michaelprotiva.net
ANNOUNCING
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ArtStacks 713 Canyon Road
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Santa Fe, NM 87501 www.casweckgalleries.com • 505.988.2966
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D iane A rmitage
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
SWAIA
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POLDI STUDIO / Workshops
Connie Deschamps, Ice Caves #2, acrylic on paper, 16” x 20”
Connie Deschamps, Ice Caves #4, acrylic on paper, 16” x 20”
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
jpoldi.com • 3600 Cerrillos Road • Studio #739 • Santa Fe
THE DEEPER THE SOUTHERN ROOTS: THORNTON DIAL & LONNIE HOLLEY C U R A T E D
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montezuma arts 333 333 Montezuma Ave. Santa Fe / (505) 988-9564 www.333montezumaarts.com
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 By Appointment Unless the Gate is Open
“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
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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
2014
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
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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
Santa Fe Scout Collection available at
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GREEN PLANET
John Isaac Gutierrez Farm to Table Advocate • Naturalist • Partner in Cheesemongers of Santa Fe
“The most significant aspect of the work I do is to connect consumers on a daily basis with the producers of authentic, wholesome, and flavorful foods that are skillfully crafted with the utmost regard for the preservation of thousands of years of traditional practices, together with the welfare of the land and animals on which these individuals and all our communities depend. Every interaction is a pungent opportunity to re-establish real cheese as a treasured and exciting part of our collective culinary and cultural history, and as a reality in our present food landscape— something that can be ordinary in our lives, yet extraordinary to eat.” 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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A R C H I T E C T U R A L D E TA I L S
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
j u ly 1 8 2 0 1 4 i n s a n ta f e inaugural exhibition
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