Santa Fe’s Monthly
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of and for the Arts • June 2011
SCHOLDER 53 Old Santa Fe Trail Upstairs on the Plaza Santa Fe, NM 505.982.8478 shiprocksantafe.com
5 Letters 16 Universe of photographer David Michael Kennedy 20 Art Forum: The Cage, oil painting by Doris Cross 23 Studio Visits: John D’Emilio, Lori Swartz, and Willard Wood 25 Food for Thought: Ai Weiwei’s River Crab Banquet 27
One Bottle: The Pierre Gimonnet & Fils Champagne Cuis Blanc des Blancs, by Joshua Baer
29 Dining Guide: Santacafé and Aztec Street Cafe & Restaurant 33 Art Openings 34 Out & About 40 Previews: Colette Campbell-Jones at photo-eye Gallery; Currents 2011at El Museo Cultural de Santa Fe; and Martin Facey at Bright Rain Gallery (Alb.) 43 National Spotlight: Charlotte Salomon at the Contemporary Jewish Museum, San Francisco 47 Feature: A Glove Without a Hand, by Diane Armitage 51 Critical Reflections: Albert Paley at Gerald Peters Gallery; Composing the Image at Monroe Gallery of Photography; Eva Hesse at University of New Mexico Art Museum (Alb.); Hide at the Museum of Contemporary Native Arts; Meow Wolf at the Center for Contemporary Arts, and Roland Reiss at David Richard Contemporary; 63
Green Planet: Tom Shadyac, photograph by Jennifer Esperanza
65
Architectural Details: Old Truck, photograph by Guy Cross
66
Writings: “Bogie Hole,” by Shirley Geok-lin Lim
Jean-Luc Mylayne has devoted thirty years to photographing avian scenes. In each of his images a small songbird can be found—in the foreground, hidden in the topmost corner, or sometimes fading into the tree where it is perched. His techniques are nontraditional: Mylayne uses a large format, eight-by-ten-inch film camera, and has personally designed many of his lenses. This equipment allows him to thoughtfully manipulate his points of focus—each landscape is meticulously composed, alternating between hazy and crystal clear. Mylayne first scouts a location with his wife, Mylène. After discovering an appropriate “set,” the photographer sets up the equipment required for the shot. Then, in a process that sometimes takes up to three months, he slowly accustoms his “actors,” the birds, to his presence. When he takes the final shot, the subject is completely at ease with the situation, barely flinching when the shutter closes. Mylayne believes that “it is necessary to go very softly in order to make these images. It is not only about capturing the likeness of a bird; it’s about understanding ourselves, about how we fit into the life of birds.” Jean-Luc Mylayne ($65, Twin Palms Publishers) is a superb collection of his unique photography, and includes many images taken in New Mexico.
T I C K E T S O N S A L E 7 M A Y at the Lensic box of fice • w w w.lannan.org
211 W. San Francisco St, Santa Fe, NM. Tel 505.988.1234 www.lensic.com
—From Hidden Agendas by John Pilger
TICKETS: $6 general / $3 student + senior with ID. Lensic Performing Arts Center
“It’s not enough for journalists and broadcasters to see themselves as mere messengers without understanding and revealing the hidden agendas of the message and the myths that surround it. We ought never to be agents of power, always of people.”
Lannan is podcasting Readings & Conversations! Please visit www.lannan.org, to learn more, listen, and subscribe to have the events automatically downloaded to your computer.
Wednesday 15 June, 7 pm
R E A D I NG S & CON V E R SAT I O N S R E A D I NG S & CON V E R SAT I O N S
John Pilger with David Barsamian
LETTERS
magazine
VOLUME XVIII, NUMBER IX WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 & 2006 Top-5 Best Consumer Tabloids P ubl i s h e r / C r e at i v e D i r e ctor Guy Cross P ubl i s h e r / F ood Ed i tor Judith Cross A rt D i r e ctor Chris Myers C op y Ed i tor Edgar Scully P roof R e ad e r S James Rodewald Kenji Barrett staff p h otograp h e rs Dana Waldon Anne Staveley Lydia Gonzales Ed i tor i al ass i stant Elizabeth Harball W E B M EI S T E R
Singer/songwriter Terry Diers new album—“Ahretta, Chunky, & the Dark Eyes”—is a mix of down-home blues, rockabilly, Zydeco, New Orleans funk, and gris gris. One thing for sure, Diers has “chops.”Buy online at www.bandcamp.com. Hear Diers on June 5 at the Ore House at Milagro, 6-8:30 pm, and every Wednesday in June at Real Food Nation. 5-8 pm.
Jason Rodriguez C ontr i butors
Diane Armitage, Joshua Baer, Davis K. Brimberg, Jon Carver, Kathryn M Davis, Jennifer Esperanza, Karen Kuehn, Shirley Geok-lin Lim, Alex Ross, and Richard Tobin CoVER
Hilma Af Klint from the series Altered Paintings,1915
TO THE EDITOR:
TO THE EDITOR:
I enjoyed the “Negro Baptizing Scene” in the National Spotlight
After reading the May 2011 issue, I continue to be awed and
section of your April issue. I have the same postcard in my
impressed with the consistent quality and creative imagination.
collection and noticed that even though the image is the same on
THE still holds up after almost twenty years. Jon Carver’s review
my card as the card you published, my postcard has a different
of Ashley and Plichta’s “whackadizzical” exhibit at Eggman and
location—New Orleans. I think this was done by the publisher
Walrus Art Emporium gave me goosebumps. Carver is a funny,
at that time to boost local sales. The caption on the back of my
charming, and daring wordmeister. And then there’s Diane
postcard reads: “This is a common scene among the colored
Armitage’s feature on the Woodmans. once again revealing
population. They are very devout and make a holiday whenever
her grace, intelligence, and insights as a gifted writer into the
it is possible.” (Published by C.B. Mason, New Orleans, LA)
delicate, psychological worlds of Francesca Woodman. Anyhoo–I
—Mister Purple, Albuquerque
obviously love and adore THE, and look forward with great anticipation to the next issue. Goo goo g’joob!!
TO THE EDITOR:
— Kelly McDougald, San Diego, CA
I was recently in Santa Fe visiting a friend for several weeks.
A D V e rt i s i ng S al e s THE magazine: 505-424-7641 Edie Dillman: 505-577-4207 Vince Foster: 505-690-1010 Cynthia Canyon: 505-470-6442 D i str i but i on
Jimmy Montoya: 470-0258 (mobile) THE magazine is published 10x a year by THE magazine Inc., 1208-A Mercantile Rd., SantaFe,NM87507.Corporateaddress:44BishopLamyRoad,Lamy,NM87540.Phone: (505) 424-7641. Fax: (505) 424-7642, E-mail: themagazineSF@gmail.com. Website: www.TheMagazineOnLine.com. All materials are copyright 2010 by THE magazine. All rights are reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. All submissions must be accompanied by a SASE envelope. THE magazine is not respon sible for the loss of any unsolicited materials. THE magazine is not responsible or liable for any misspellings, incorrect dates, or incorrect information in its captions, calendar, or other listings. The opinions expressed within the fair confines of THE magazine do not necessarily represent the views or policies of THE magazine, its owners, or any of its, employees, members, interns, volunteers, agents, or distribution venues. Bylined articles and editorials represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel, and are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity or quality of objects and/or services advertised. As well, THE magazine is not responsible for any claims made by its advertisers; for copyright infringement by its advertisers .and is not responsible or liable for errors in any advertisement.
| j un e 2011
After returning to Boston, and with a bit of reflection,
TO THE EDITOR:
I felt a need to write and protest what I consider a disturbing
Kudos to Diane Armitage. Her article in May on the Woodman
trend in the arts. I am a realist, figurative painter who has
family was outstanding. And I loved the article layout and cover.
made a modest living as an artist for the past twenty years,
— Donald Reeves Nicholson, Las Cruces
augmenting my income with occasional teaching stints. My tendencies are somewhat formal—skills in drawing—
TO THE EDITOR:
important, concepts—very important,
space construction—
Dr. Helen Caldicott got it right in May’s “Green Planet.” It is
important, and color tensions—also important. As I watch the latest
distressing and all too familiar that we only heed admonitions
trends in the visual arts, it seems that all of this is now “old school.”
aobut the dangers of radiation exposure after a catostrophic
Not being born yesterday, I know that the art world is a world of
event such as that that just occured in Japan. The “tsunami” of
trends that come and go. In reading your publication and reading
data coming out now however shows that we and the Japanese
many of the national art magazines as well, I see what I find to be a
knew that Japanese reactors were actually built along fault lines
disturbing tendency toward what I call bright and shiny art—one-
and that the safety valves used in their (and some of our) plants
dimensional works that have nothing to say except that the creator
are of a flawed design and likely to fail. Additionally, it turns out
really scrubbed the surface a lot, installations that make me feel
that there is a culture of secrecy and cronyism in Japan, and
disoriented—if not insane—along with loads of two-dimensional
indeed in many nuclear enegery producing nations, that makes
works somehow loosely attached to comics and bad graffiti art.
reform nigh impossible. Let’s all do what we can to stop our
I label this trend SWS—Surface without Substance.
reliance on nuclear power. NO MORE NUKES!
— Stephen L. Bradstone, Boston, MA
— Nancy Brodie, Crested Butte, CO
THE magazine | 5
K E V I N
T O L M A N
riCK StevenS Potentiality
JUNE 24 – JUly 10, 2011 Opening Reception:
Recent Work: June 24 - July 7, 2011 Artist Reception: June 24 5 - 7 pm
Another Place and Time, 2011, 48 × 48 inches, oil on canvas
Friday JUNE 24, 5 – 7pm
Turning Point / Summer
Hunter Kirkland Contemporary 200 – B Canyon Road, Santa Fe, NM 87501 phone 505.984.2111 fax 505.984.8111 www.hunterkirklandcontemporary.com
66 x 80 inches
acrylic m/m on canvas
KARAN RUHLEN GALLERY 225 Canyon Road • Santa Fe NM 87501 505.820.0807 • www.karanruhlen.com • info@karanruhlen.com
RailyaRd GalleRy
CAROLA CLIFT
RobertNatkin the architecture of atmosphere june 10-july 24, 2011 opening reception: friday, june 10, 5:30-7:30pm
Photography and Paintings
PabloPicasso
JANE COOK
important work on paper june 10-july 24, 2011 opening reception: friday, june 10, 5:30-7:30pm
dowNtowN GalleRy
JohnFincher Paintings
recent work june 3-july 10, 2011 artist reception: friday, june 3, 5:30-7:30pm
May 27 – June 21 Opening Reception Friday, May 27, 5 –7 PM
RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 87501 505.820.3300 | WILLIAMSIEGAL.COM
LewAllenGalleries Railyard: 1613 Paseo de Peralta (505) 988.3250 Downtown: 125 W. Palace Ave. (505) 988.8997 www.lewallengalleries.com info@lewallengalleries.com
BE THERE
J U LY 7 - 1 0 , 2 0 1 1
ART SANTA FE 2011 / AN INTERNATIONAL ART FAIR S A N TA F E C O N V E N T I O N C E N T E R , S A N TA F E , N E W M E X I C O
OPENING NIGHT GALA THURS, JULY 7, 5-8 PM / FRI, JULY 8, 11-7 PM / SAT, JULY 9 & SUN, JULY 10, 11-6 PM
W W W. A R T S A N TA F E . C O M / T E L
505.988.8883
ALL TICKETS AVAILABLE AT THE LENSIC BOX OFFICE 505.988.1234 LEFT TO RIGHT, 1ST ROW: Doris K. Hembrough, Hembrough Gallery, Wisconsin; Peter Weber, Galerie Renate Bender, Germany; Jessica Loughlin, Bullseye Gallery, Oregon 2ND ROW: Regine Shumann Installation, Art Santa Fe Presents in conjunction with Galerie Renate Bender, Germany (Photo: E. Weible); Yayoi Kusama, EDEL, Japan; Leila McConnell, William Reaves Fine Art, Texas 3RD ROW: Myke Venable, Gallery Sonja Roesch, Texas; Hiroshi Nomoto, Sudoh Gallery, Japan; Chris Burden, The Frostig Collection, California
N E W
20th Anniversary
AMERICAN PAINTING AND THE PHOTOGRAPH
project room: selections from Richard Levy’s postcard collection Saturday, June 4, 6:30 - 8:30pm: 20th Anniversary Celebration & Fundraising Auction supporting Seed2Need & 516ARTS please join us 20th Anniversary Online Benefit Auction: Bidding starts Tuesday, June 7 and runs through Sunday, June 26th http://levygallery.com/current/index.html
www.LevyGaller y.com
Richard Levy Gallery
NOW
THROUGH
SEPTEMBER
11,
2O11 Andy Warhol, Jackie, 1964. Acrylic and silkscreen ink on linen, 20 x 16 in. The Andy Warhol Museum, Pittsburgh. Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © 2010 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York.
June 4 - July 29th
•
O P E N !
Shared Intelligence:
What I Saw: Photographs by Richard Levy
Albuquerque
E X H I B I T I O N
217 JOHNSON STREET, SANTA FE 505.946.1000 OKEEFFEMUSEUM.ORG OPEN DAILY 10 AM – 5 PM OPEN LATE, UNTIL 7 PM, THURSDAY – SATURDAY
JOHN SOSINI LOS VAQUEROS
JAMES KELLY CONTEMPORARY JUNE 24 – AUGUST 6 OPENING RECEPTION FOR THE ARTIST FRIDAY, JUNE 24, 5–7 PM 1601 PASEO DE PERALTA, SANTA FE, NEW MEXICO 87501 T 505.989.1601 F 505.989.5005 JAMESKELLY.COM PEDRO 2009 OIL ON CANVAS, 72 X 48 INCHES
JUNE 10 –19, 2011
Fe a t n a S er Discove Artists! Fin th 8 1 e n u J , Saturdaym - 5 pm 10 a ne 19th Ju , y a d n u S pm Noon - 4
Party w e i v e r Free P une 17, 2011 Friday, J m - 7 pm 5p
t See it all a rt and Design sity of A r e v i n U e Santa F ine Arts Gallery e F riv ichael’s D M t n i a S 1600 o meet
opening reception el museo cultural / june 10 / 6 – 9 pm digital dome / iaia / june 11/ 1– 4pm installation & multi-media performance cca / june 11 / 6 –10 pm
ortunity t is an opp Fe. Visit their r u o T io d Fe Stu f Santa The Santa best fine artists o ny artists will be e h Ma some of t d see their work. s. The Free Preview n a ists ique studios eir techn y to meet the art h t g in t ra demonst you an opportunit rk before the tour o d es Party giv ampling of their w e open all weeken b s l a il and see Gallery w up maps. e Fine Arts iew work and pick h T . s in g be on to prev vEnT. as a locati This is a FREE E n and formatio in d e t a d for up e November th r website 1. Check ouave the dates for- Nov 11 - 13, 201 s r u o T Fe, Studio tive Santa Santa Fe m of Crea
performance, workshop, panel discussion and exhibit schedule: currents2011.com
currents
HOURS ALLERY 0 am - 4 pm G D N E WEEK rom 9:3 am - 3 pm ne 18 f u J , :30 y a d from 11 k up maps. Satur 9 1 e n , Ju and pic Sunday ts’ work is
See Art
r.com u o t o i d u ntafest a s . w w w
SFSTJune2011_halfpagehorTHE3.indd 1
2011
santa fe international new media festival
a progra dio Tour is fit Organization tu S e F ta 3 Non Pro The San a 501 (c)
5/16/11 10:06:40 AM
Sponsored by Axle Contemporary, Baillio’s, Center for Contemporary Arts, dotfoil, David Richard Contemporary, El Museo Cultural de Santa Fe, First National Bank of Santa Fe, Institute of American Indian Arts, McCune Charitable Foundation, New Mexico Computing Applications Center, New Mexico Museum of Art, Railyard Company LLC, Santa Fe Complex, Santa Fe Community Foundation, Santa Fe Railyard Community Corporation, Santa Fe University of Art and Design, SITE Santa Fe, Thanksgiving Fund, Winterowd Fine Art, Zane Bennett Contemporary Art ...and many generous individual donors.
Colette Hosmer SCULPTURE
Holly Roberts NEW MEDIA June 24 through July 22, 2011 O P E N I N G R E C E P T I O N : Friday, June 24th, 5–7 pm
ZANEBENNETT CONTEMPORARY
ART
435 South Guadalupe Street, Santa Fe, NM 87501 505 982-8111 www.zanebennettgallery.com Monday–Saturday 10–5, Sunday 12–4, or by appointment Railyard Arts District Walk last Friday of every month
FRANCIS DI FRONZO the earth’s sharp edge
Utah, oil over watercolor on panel, 32 x 66 inches
03 june | opening reception friday 5 - 7 pm through 30 june 2011
EvokeContemporary.com
When it comes to photography, David Michael Kennedy is decidedly old school. Instead of embracing digital photography, Kennedy shoots his photographs on film and prints them using the palladium platinum process—of which he is one of the acknowledged masters. Platinum prints are made using a handcoated, UV-light sensitive contact printing process. The final prints are the same size as the negative used and possess a beauty, depth, and permanence valued by photographers, collectors, and museums. (Some historical platinum photographers include Alfred Stieglitz, Paul Strand, and Edward Steichen.) Kennedy made his mark in New York City in the seventies and eighties photographing music icons such as Bob Dylan, Muddy Waters, and Bruce Springsteen, among a host of others. As well, as making photographs for many advertising agencies and magazines. After moving to New Mexico in the late eighties, he concentrated on photographing the people and landscapes of the state, as well as creating a riveting series of photographs of the sacred dances of the Lakota and the Eight Northern Pueblo tribes. Kennedy—who lives in El Rito—does limited commercial work, but is accepting portrait commissions. Rock and Roll: My High-Rolling Days New York in the seventies and eighties was the place to be creative—cheap rent, great drugs, and a community of young artists working together, exploring and developing their work. The music industry was in full swing then—album covers were 12 ¾”x 12 ¾”, with no budget or creative restrictions. Just listen to the music and make photographs. The opportunity to work with some of the greatest musicians of my time was mind blowing. Photographing Bob (fuckin’) Dylan. What could be better?
Why I moved to New Mexico I’d never planned on staying in New York City—went there for back surgery, ended up broke and stayed eighteen years. It was all too much fun. But in the late eighties, the photography industry there was changing, as was everything else. The community of artists was becoming the antagonism of artists. Watching my two-year-old son play with the rats in the playground in Washington Square Park told me it was finally time to leave. A twomonth road trip brought us to New Mexico. As I crossed the Texas-New Mexico border my spirit and the land merged—I knew I was home.
My Process I work in the platinum-palladium process. It is an analog process—still using film and the wet darkroom. It can take days to make one image. I visit my girlfriend and the next day she emails me photographs she shot digitally, while the photographs I did are still negatives hanging to dry in the negative cabinet. I fight constantly about film/digital issues, but somehow film is photography for me. Some days, I wish I could go digital. I constantly ask myself: Is it about the process or the finished work? Perhaps I am just a dinosaur.
The Importance of the Sacred Native Dance series It is all about doing the work. Around me I see the destruction of our planet, our cultures, and our very existence. We have lost sight of what is real and have lost sight of our purpose. It is necessary for me to see, experience, and share some of the old ways. Perhaps a glimmer of hope still exists, even as we sit on the eve of destruction. Perhaps there is hope.
On the Road: Traveling the USA The year was 2004, and I was lost. My house burned down. I got divorced, and America was in turmoil. I went looking for something. Traveling the back roads, I found the America I remembered. Industrious and creative people finding ways to overcome a society built on greed and corruption. Landscapes that still spoke of the balance and beauty that the Great Spirit gave us. Two years, twenty-five hundred negatives, and seventy thousand miles later, I came home. Now I just have to print the work.
The New Work It is about finding a way to finish the old work. I am photographing the people of El Rito, and creating a series on the musicians of New Orleans.
UNIVERSE OF
Photograph by Karen Kuehn | june 2011
THE magazine | 17
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MOROCCANOIL
ART FORUM
THE magazine asked three members of our art community, and a clinical psychologist, to share their thoughts and possible interpretations of this 1949 oil painting. They were shown only the image—they were not told the name of the artist or the title of the painting. They were given just twnety-four hours to reply. Their responses follow. Doris Cross, The Cage, oil on canvas, 16” x 20”, 1949
Deeply intense and emotionally conflicted, this painting asks the viewer a critical question:
the Princess who, alas!, lost her head (for reasons best left unclear) and was compelled
Is freedom possible? The two entwined women to the right are molded together; chained
to languish in an allegorical prison of her own choosing—as paint was pushed hither and
for life, like Siamese twins. They share one body, but have two separate minds. Thus,
thither by an anonymous brush-wielding artist, and ideas were considered and discarded,
although they might think freely as individuals, they will never live separately. These
and a double-headed vessel watched while five cones stood waiting.
women cannot fully experience individualism. In their symbiosis, however, they are also
—LINDA DURHAM, FREELANCE CULTURAL EXPLORER, SANTA FE
shielded from the difficulties inherent in making one’s own life choices. Perhaps it is all a bit easier if someone, or something, else dictates our decisions? Removing the burden of
As a result of many purple ray Chromotherapy sessions, my faithful partner and dog,
choice might make life simpler, no? The notion of conflict is further underscored by the
Annie, chats with me frequently…she in many ways is more articulate than I am these
fact that one of the women’s heads stays inside the cage, while the other appears outside.
days…she wanted to respond to the image… so go ahead Annie. Annie….Day…
In this portion of the image, the artist asks, “Who has the better deal?”
night…sisters…precarious…gasping bosoms fertility…need…desire…female…within a
The featured solo woman seems literally turned upside down by the thought of all
cage…topsy turvy…or abekobe ni mechkucha…here I go…pitter patter…hotsy totsy…
this. A bird, a strong symbol of freedom, pokes at her head and sits curiously upon her.
eager beaver…wango tango…betsy wetsy…toritsuku koto…mohan…gyakusetsu…
Although the bird invites her to live freely, the cage behind her reminds us that human
yogen…fushishi…maho…kamen-geki…shikaku
freedom may be an illusion. In this painting, you are asked to consider the complexity
love…strength…death…probing at the forehead to plant a seed…vision…thought…
of free will. Living authentically requires the courage to listen to oneself. It means having
bit more blue than red…blue…feminine, recalls childhood, inner life, seized by love,
the audacity to speak one’s mind and live in ways that may not be popular or even
quiet, cold, wet, repose, mental depression, transparent, introspective, recessive, distant,
understandable to others. With all our social constraints and heavy notions of morality, is
water,
freedom attainable?
charm, warm, ardent, power, hot, dry, opaque, restless, tension, love, hate, compassion,
—DAVIS K. BRIMBERG, PH.D., CLINICAL PSYCHOLOGIST, SANTA FE
counteracts melancholia, sensual, erotic, Jungian: blood, fire, surging and tearing emotion.
mournful…Jungian
Patrick: The bird…key…freedom…
thinking…red…strength…virility…masculinity…brutal…
Yes Annie…PARADOX or GYAKUSETSU. I do not know if I like this painting or not. I’m leaning toward “not.” I have never seen
—PATRICK NAGATANI, ARTIST, PHOTOGRAPHER, & TEACHER, ALBUQUERQUE
the original. And I’m wondering if it is possible to judge (fairly) the quality and/or the personal appeal of a never-before-seen painting (by an unknown artist) merely by viewing
How many times must I reconsider the situation? The little bird on my shoulder nibbles at
an image of it through the “looking glass” of an unreliable computer screen—and with
the obvious. The thin line between blue dream and red awakening morning trembles in
the additional challenge of knowing neither the scale nor the medium! In my opinion,
the background. What can I carry forward from the floorboards of intuition into conscious
No! If this Alice-in-Wonderlandish painting is “sofa size,” I would not want it to hang over
action? Bright ideas poke up like white witches’ hats beneath the bed. In the upside-down
my couch. However, if it is very, very small (and if a lovely person gave it to me) I would
moment of revelation, I pause. Uncaged, but cautious, I move forward. Still hesitating and
definitely find a place for it in my house. As time passed, I would make up stories about it.
now of two minds, I wonder: just what will the consequence of the next step be?
For example: I would imagine how the caged bird sang its way to freedom by enchanting
—ANN FILEMYR PH.D., DEAN AT IAIA, SANTA FE
20 | THE magazine
| june 2011
Randy Miller © 2011 Daniel Quat
portraits 505-982-7474
www.danielquatphoto.com
GLASS + KILN = ART Bullseye Resource Center, Santa Fe CLASSES
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DEMONSTRATIONS
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SUPPLIES
F R E E P R E S E N TAT I O N
Class
W h a t I s K i l n-glass? Ju n e 1
Thinking in Glass with Silvia Levenson June 27–July 1
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S u r v e y o f K iln-glass Ju n e 6 – 1 1
F R E E A R T I S T TA L k
Silvia Levenson July 6
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In t r o t o F u sing & Slumping Ju n e 2 1 – 2 2 & 24 is te r a il to r e g C a ll o r e m
805 Early Street, Building E 505- 467-8951 santafe@bullseyeglass.com www.bullseyeglass.com/santafe
STUDIO VISITS
“ The best art is
the maintenance of some kind of balance.” Agree or disagree? Why?
—THE magazine
Balance is mediocre. Commit or don’t bother. You can’t please everyone with a little of this or that. Go fully for what you want to create and get cleanly to the point.
—Lori Swartz Swartz’s paintings are on view at Max’s Restaurant, Guadalupe Street in Santa Fe. An exhibition of her work will take place on Friday, June 10 at Range West, 2861 Hiway14 in Madrid, NM. www.lorimetals.com
Maintaining balance is a true art form, one that requires precious cultivation on a daily basis. Within my daily routine, whether I’m creating a one-of-a-kind custom art piece or sweeping the floor, I find satisfaction in knowing it is not just the end product that is valued, but the articulation of the time and space it took to get there as well. All aspects and elements of our craft and life require fine-tuning and discipline—perfection through repetition or wear.
—Willard Wood To contact Wood: ironwood505@gmail.com
The phrase “The best art is the maintenance of some kind of balance” makes me ask: Is there more than one kind of balance? Does the worst art lack balance? I see life as if through a moving magnifying glass—sometimes focused, sometimes out of focus. My life (and, I expect, my art) has never been in any kind of balance. My life and my art are in constant motion, quietly changing, and erupting with creative energy.
—John D’Emilio D’Emilio will be having a show and sale of paintings done over the past thirty years on Saturday, June 18, from 10 am to 4 pm at his studio—522 Sandia Street, Santa Fe. 505-331-9461.
photographs by
| june 2011
Anne Staveley
THE magazine | 23
MARK NANNEY
Mark Nanney, Al Fresco, acrylic on canvas, 48” x 56”
Jay Etkin Gallery | Contemporary and Ethnographic Works of Art The Artyard (behind Warehouse 21) 703 Camino de la Familia, #3103, Santa Fe, New Mexico 505 983 8511 | jayetkingallery.com
Peter Rogers: A Painter’s Progress June 18, 2011 - January 29, 2012 Reception: Saturday, June 18, 5-7 pm
RMAC ROSWELL MUSEUM AND ART CENTER
Photo: Courtesy: Rachel Marsden
fo O D F O R T H O U G H T
Ai Weiwei’s River Crab Banquet: Where Politics and Food Meet Ai Weiwei, the brilliant 54-year-old Chinese artist is best known for creating the Sunflower Seed installation, which is comprised of 100 million porcelain facsimiles of tiny black-and-white sunflower seeds in London’s Tate Modern, and for his work on Beijing’s Bird’s Nest Stadium for the 2008 Olympics. Ai has become one of China’s most prominent political activists, speaking out against what he considers to be a repressive government through his blog, films, visual art, and food. Last November, over eight hundred people gathered at Ai’s studio in Jiading, China, to participate in the River Crab Banquet, despite the conspicuous absence of their host. The banquet was organized in honor of the impending demolition of Ai’s studio by the Chinese government. In an attempt to prevent the banquet from occurring, Ai was placed under house arrest two days before the banquet. He was not released until the morning after the event. Local police warned the public not to attend, but the banquet proceeded as planned. As people ate their meal, they chanted, “The harmonious society is eating river crabs!” Why river crabs? The Mandarin word for river crab, “hexie,” sounds similar to the Chinese word for “harmony,” a term used ironically by Chinese dissidents to refer to government censorship. The serving of crab symbolized their protest of Chinese censorship and their support for political activism. Even more exciting was the handing out of ceramic kui huazi (sunflower seeds) from Ai’s exhibition at the Tate Modern. Ai’s studio was demolished on January 11, 2011. He was detained by government authorities on April 3, and for over a month his whereabouts were unknown. On May 15, Ai was allowed a visit from his wife. At this writing he has not been charged with a crime, nor has he been told the status of the government’s investigation. Many human rights organizations, art groups, and foreign governments have denounced Ai’s confinement. D
| june 2011
THE magazine | 25
lunch - monday thru saturday sunday brunch dinner nightly
Santacafe’s World-Famous Calamari “Elegant, yet informal, with sucessfully inventive dishes, it is widely considered to be the city’s finest restaurant.” —Travel & Leisure
231 washington avenue - reservations 505 984 1788 gift certificates, menus & special events online www.santacafé.com
See Ya at The Zia!
s ’s to ta ji i o ar es M rg & ak a h M ks
Specials Daily
il M
Bar, Patio
Happy Hour 3-6
Kid’s menu
326 S. Guadalupe •
988-7008 • www.ziadiner.com
BREAKFAST - LUNCH - DINNER International cuisine with southwestern accent, serving wine and beers. Fixed price dinner menu every day $20 Happy hour on the patio from 3 to 5pm Free parking at Garrett’s Desert Inn Open very day from 7am to 9pm Ideally located at 311 Old Santa Fe Trail Reservations at 505-984-8500
ONE BOTTLE
One Bottle:
The Pierre Gimonnet & Fils Champagne Cuis Blanc de Blancs by Joshua Baer Are you paradox-intolerant? If you think you are, then you probably aren’t,
the 1990 Cristal over a tablespoon of Crème de Cassis, and then add a twist
but if you think you aren’t, then you probably are. Many people make the
of lemon, you separate yourself from the chance to taste the 1990 Cristal as
mistake of thinking that a paradox is like a riddle. Once you know the
it was intended to be tasted. In other words, you try (and fail) to improve
answer, the question makes sense. In fact, a paradox is the opposite of
a Champagne that cannot be improved.
a riddle. Even after you know the answer, neither the question nor the answer makes sense.
Fortunately, there is a common sense solution to the Paradox of the Kir Royale. The best Kir Royale is not made with the best Champagne. It is
Here is a fast paradox: Answer the following question truthfully (yes or no): Will the next word you say be “no”?
made with a Champagne that is, paradoxically, good enough not to be great. Which brings us to the Pierre Gimonnet Champagne Cuis Blanc de Blancs.
Here is a slow paradox: Years ago, in the Land of Egypt, there was
Cuis is a village in the Champagne-Ardenne region of France, ninety
a crocodile who lived on the banks of the Nile. One day, the crocodile saw
minutes northeast of Paris and fifteen minutes south of the city of Reims.
a mother and her child walking along the banks. In an instant, the crocodile
The Champagne-Ardenne’s chalky soil is the same vein of calcium carbonate
snatched the child from his mother. “Please give him back,” said the mother.
that appears 200 miles northwest of Champagne, in England’s Cliffs of
“He’s my only son.” The crocodile winked at the mother. “If you guess correctly
Dover. In Champagne, the chalky soil is a double attribute: The vines that
what I will do with your son,” he said, “I will give him back. But if you guess
grow in Champagne’s chalk struggle just enough to produce grapes of
incorrectly, I will eat him.” What did the mother say?
character, and the underground cellars burrowed into the chalk provide
The
word
“paradox”
comes
from
the
Latin
paradoxum,
“a statement that is absurd but true,” which comes from the Greek paradoxos, “contrary to expectations.” The roots of the word are the
the balance of humidity, stability, and temperature that is ideal for aging the Champagnes made from those grapes. In the glass, the Pierre Gimonnet Champagne Blanc de Blancs is
Greek para, “contrary to,” and doxa “opinion.” However, para can also
the color of frost with a hint of celadon worked into the crystal-clear
be translated as “from,” “of,” “at,” “besides,” or “near.” No wonder
background of that frost. On the palate, the flavors are direct but
para ended up as the key ingredient in the word “parable.” In the wine world, paradoxes abound. One of the great paradoxes of wine is expressed by the Winemaker’s Cliché: “We make our wines in the vineyard.” What the cliché means
not obvious. Each sip is a journey through the Land of Incomplete Dreams. The finish is nervous, but nervous in a good way, like the moment of hesitation before a first kiss. In Santa Fe, you can buy the Pierre Gimonnet Champagne
in layman’s terms is, “We grow the best grapes we can grow,
Cuis Blanc de Blancs at Liquor Barn for $47, at Whole Foods for
then we let the wine make itself.” The paradox lies in the
$50, and at Kaune’s for $58. You can buy the Edmond Briottet
netherworld between doing and being: How do you make
Crème de Cassis at the world’s greatest neighborhood liquor
something better by leaving it alone?
store, Cliff’s Liquors on Old Pecos Trail, for $30 a bottle.
A related question is posed by the Paradox of the Kir
Yogi Berra, the Hall of Fame Yankees catcher, is the
Royale. The French serve an aperitif called a Kir, which is
modern master of the paradox. Berra—who grew up as
a glass of white wine (traditionally, an Aligote; these days,
Lawrence Peter Berra, in St. Louis, and was nick-named
more often than not, a Chablis) poured over a teaspoon
“Yogi” because of his resemblance to a Hindu holy man—
of Crème de Cassis, the liqueur made from blackcurrants.
is widely appreciated for his Paradox of Correspondence:
The French being French, they cannot leave well enough
“Never answer an anonymous letter,” for his Paradox of
alone, so they also serve an aperitif called a Kir Royale, which
Direction: “When you come to a fork in the road, take
is a glass of Champagne poured over a teaspoon of Crème de
it,” and for his Paradox of Metaphysics: “It’s like deja vu all
Cassis. A twist of lemon is added at the last moment.
over again.” As brilliant as those paradoxes are, they pale in
Kirs Royaux are addictive. As your addiction grows, you begin to experiment, as addicts often do, with your
comparison to Yogi’s remark about Ruggeri’s Restaurant in St. Louis: “It’s so crowded, nobody goes there anymore.”
ingredients. The best Crème de Cassis I have tasted is
What would Yogi have said to the crocodile? I don’t
the Edmond Briottet, from Dijon, which is made with
know, but I do know this: The mother said, “After you give
blackcurrants from Burgundy. The best lemon twist I have
him back to me, my son will grow up and save the world.”
used in a Kir Royale is a hair-thin peel from the skin of a Meyer lemon. And the best Champagne? Now we arrive at the heart of the Paradox of the Kir Royale. If you want to make a great Kir Royale, you use the best Champagne you can afford, right? Well, actually, no. Let’s assume that you are wealthy and that you already
Absurd, yes, but also true. D
One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. The name “One Bottle” and the contents of this column are ©2011 by onebottle.com. For back issues, go to onebottle.com. You can write to Joshua Baer at jb@onebottle.com
own cases of vintage Salon, Krug, or Cristal. The problem with using a world-class Champagne to make a Kir Royale is that you corrupt the purity of your key ingredient. If you pour
| june 2011
THE magazine | 27
DINING GUIDE
A Santa Fe Tradition: Dining Under the Stars at
Santacafé 231 Washington Avenue Reservations: 984-1788
$ KEY
INEXPENSIVE
$
up to $14
MODERATE
$$
$15—$23
EXPENSIVE
$$$
VERY EXPENSIVE
$24—$33
$$$$
Prices are for one dinner entrée. If a restaurant serves only lunch, then a lunch entrée price is reflected. Alcoholic beverages, appetizers, and desserts are not included in these price keys. Call restaurants for hours.
$34 plus
EAT OUT MORE OFTEN!
Photos: Guy Cross
...a guide to the very best restaurants in santa fe and surrounding areas... Aztec Cafe & Restaurant 317 Aztec St. 820-0025. Breakfast/Lunch/Sunday Brunch. Dinner soon. Smoke-free. Major credit cards. $$ Cuisine: Organic comfort food. Atmosphere: Casual and friendly. House specialties: For our breakfast, we love the Smothered Vegetarian Breakfast Burrito and the Organic Egg Sandwich. Lunch favorites include the “real deal” Philly Cheesesteak Sandwich and the super-fresh Garden Salad. Super ffruit Smoothies and delicious housemade ice cream. Comments: Chef de Cuisine, Aidan Maloney knows his stuff.
311 Cafe on the Trail 311 Old Santa Fe Trail. 984-8500. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: International. Atmosphere:
Casual. House specialties: For breakfast, have La Fruits Rouges Crepe (mixed berries and whipped cream) or the Stuffed and Toasted French Croissant. For lunch, choose from any of the homemade quiches or wonderful salads. Tempting dinner entrees include the Grilled Flat Iron steak and the Seared Duck Breast and Glazed Turnips Comments: Authentic French bistro fare. 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: Reminiscent of an inn in the French countryside. House specialties: Earthy French onion soup made with duck stock; squash blossom beignets; crispy duck; and one of the most flavorful steaks in town. Comments: Recently expanded and renovated with a beautiful new bar. Superb wine list. Amavi Restaurant 221 Shelby St. 988-2355. Dinner/Sunday Brunch Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Mediterranean. Atmosphere: Elegant. House specialties: The tapas appetizer thrills and the pollo al mattone, marinated for two days and served with pancetta, capers, and house preserved lemon, may be the best chicken dish you’ve ever had. Also try the tiger shrimp. Comments: Farm to table. Chef Megan Tucker is doing it right. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236 . Breakfast/Lunch/Dinner Smoke-free. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American cuisine. Atmosphere: A casual and elegant room evoking the feeling of an Anasazi cliff dwelling. House specialties: We suggest any of the chef’s signature dishes, which include blue corn crusted salmon with citrus jalapeno sauce, and the nine spice beef tenderloin. Comments: Attentive service.
Andiamo! 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Good wines, great pizzas, and a sharp waitstaff. Bobcat Bite Restaurant Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Smoking. Cash. $$ Cuisine: American. Atmosphere: This is the real deal—a neon bobcat sign sits above a small, low-slung building. Inside are five tables and nine seats at a counter made out of real logs. House specialties: The enormous inch-and-a-half thick green chile cheeseburger is sensational. The 13-ounce rib-eye steak is juicy and flavorful. Body Café 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual. House specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Asian Curry for lunch or the Avocado and Cheese Wrap. Comments: Soups and salads are marvelous, as is the Carrot Juice Alchemy. Cafe Cafe Italian Grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad; the tasty specialty pizzas or the grilled eggplant sandwich. For dinner, we loved the perfectly grilled swordfish salmorglio and the herb-breaded veal cutlet. Comments: Very friendly waitstaff. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Smoke-free. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: The café is adorned with lots of Mexican streamers, Indian maiden posters, and rustic wooden furniture. House specialties: Hotcakes get a nod from Gourmet magazine. Huevos motuleños, a Yucatán breakfast, is one you’ll never forget. For lunch, try the grilled chicken breast sandwich with Manchego cheese. The Compound 653 Canyon Rd. 982-4353. Lunch/Dinner Full bar. Smoke-free. Patio. Major credit cards. $$$$ Cuisine: Contemporary American. Atmosphere: 150-year-old adobe with pale, polished plaster walls and white linens on the tables. House specialties: Jumbo crab and lobster salad. The chicken schnitzel is flawless. Desserts are absolutely
perfect. Comments: Seasonal menu. Chef/ owner Mark Kiffin didn’t win the James Beard Foundation’s “Best Chef of the Southwest” award for goofing off in the kitchen. Copa de Oro Agora Center at Eldorado. 466-8668. Lunch/Dinner 7 days a week. Take-out. Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: International. Atmosphere: Casual. House specialties: Start with the mussels in a Mexican beer and salsa reduction. Entrees include the succulent roasted duck leg quarters, and the slowcooked twelve-hour pot roast. For dessert, go for the lemon mousse or the kahlua macadamia nut brownie. Comments: Well worth the short drive from downtown Santa Fe. Corazón 401 S. Guadalupe St. 424-7390. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Pub grub. Atmosphere: Casual. House specialties: You’ll love the thincut grilled ribeye steak topped with blue cheese, or the calamari with sweet chili dipping sauce; or the amazing Corazón hamburger trio. Comments: Love music? Corazón is definitely your place. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Smoke-free. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Breakfast: burritos and frittata. Lunch: sandwiches and salads. Dinner: flash-fried calamari; grilled salmon with leek and Pernod cream sauce, and a delicious hanger steak. Comments: Boutique wine list. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: All-American. Atmosphere: Popular patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are fantastic. Dynamite buffalo burgers and a knockout strawberry shortcake. Comments: Lots of beers Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: For your main course, go for the grilled Maine lobster tails or the Southwestern Rotisserie, or the grilled 24-ounce “Cowboy Cut” steak. Comments: Good wine list. Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Smoke-free. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room with small tables inside and a nice patio outside where
you can sit, read periodicals, and schmooze. Over 1,600 magazine titles to peruse. House specialties: Espresso, cappuccino, and lattes. El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Smoking. Patio. Major credit cards. $$$ Cuisine: Spanish. Atmosphere: Wood plank floors, thick adobe walls, and a postage-stamp-size dance floor for cheekto-cheek dancing. Murals by Alfred Morang. El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego cheese marinated in extra virgin olive oil; sautéed spinach with garlic and golden raisins. Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Smoke-free dining room. Patio. Major credit cards. $$$$ Cuisine: French–Asian fusion fare. Atmosphere: Kiva fireplaces, a portal, and a lovely garden room. House specialties: Start with the superb foie gras. Entrées we love include the green miso sea bass, served with black truffle scallions; and the classic peppery Elk tenderloin. Comments: Tasting menus are available. Il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Smoke-free. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Arugula and tomato salad; grilled hanger steak with three cheeses, pancetta and onions; lemon and rosemary grilled chicken; and the delicious pork chop stuffed with mozzarella, pine nuts, prosciutto, and rosemary wine jus. Comments: Try the “Enoteca” menu—antipasti or gorgonzola fondue or baked stuffed mushrooms, with a choice of coffees, ports, and dry and sweet vermouths, served Mon,-Fri., 2-5 pm. Prix fixe menu seven nights a week. Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Smoke-free. Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Basic cafe-style. House specialties: We love the tasty Jerk chicken sandwich. Try the curried chicken salad wrap; or the marvelous phillo stuffed with spinach, black olives, feta cheese, roasted red peppers and chickpeas served over organic greens. Comments: Obo was the executive chef at the Zia Diner. Josh’s Barbecue 3486 Zafarano Dr., Suite A. 474-6466. Lunch/Dinner Beer/Wine
Major credit cards. $$ Cuisine: Barbecue. Atmosphere: Casual, House specialties: Delicious woodsmoked meats, cooked low and very slow are king here. Recommendations: We love the tender red-chile, honey-glazed ribs, the tender brisket, the barbecue chicken wings, the smoked chicken tacquitos, and the spicy queso. Comments: Seasonal BBQ sauces. Josh’s was written up in America’s Best BBQs. Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Smoke-free. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; soft shell crab; dragon roll; chicken katsu; noodle dishes; and Bento box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake. It is clear, smooth, and very dry. Comments: New noodle menu. Friendly waitstaff. La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Hiway 285 / Vista Grande Breakfast/Lunch/Dinner/ Beer/Wine. Smoke-free Major credit cards. $$ Cuisine: Salvadorian Grill. Atmosphere: a casual open space. House specialties: Loroco omelet and anything with the panfried plantains. Try the Salvadorian tamales and the poblano del dia. Everything is fresh. Recommendations: The buttermilk pancakes are terrific. Comments: Chef Juan Carols and family work hard to please. Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual and friendly. House specialties: Start with the Pho Tai Hoi, a vegetarian soup loaded with veggies, fresh herbs, and spices. For your entree, we suggest the Noung—it will rock your taste buds. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Smoke-free. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: A gorgeous enclosed courtyard with skylights and hand-painted windows exudes Old World charm. House specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad with baked New Mexico goat cheese. For your entrée try the Braised Lamb Shank, served with a spring gremolata, roasted piñon couscous, and fresh vegetables. Comments: Seasonal menus Mangiamo Pronto! 228 Old Santa Fe Trail. 984-2002. Lunch/Dinner Beer/Wine/Sake. Smoke-free. Visa & Mastercard. $$ C uisine : Italian. A tmosphere : Casual. H ouse specialties : Great pizzas—we suggest the Pesto pizza, with roasted chicken, basil pesto, red bell peppers,
continued on page 31
| june 2011
THE magazine | 29
Taste the New Southwest Chef Charles Dale’s modern rustic cuisine introduces a Contemporary American fare that is regionally inspired by Northern New Mexico and infused with local and organically sourced ingredients.
T R ADIT IO NAL JAPAN E S E RA M E N H O U S E
shibumi R
A
M
E
N
Y
A
Lunch: 11:30 am – 2:30 pm Monday – Friday Dinner: 5:30 –10 pm Monday – Saturday Kaiseki / Izakaya Dinner: Last Thursday of the Month 26 Chapelle Street, Santa Fe, NM 87501 505.428.0077 ■ shibumiramen.com Fragrance Free
877.262.4666
198 State Road 592, Santa Fe
■
Parking Available
encantadoresort.com
Stop in or call ahead for your pool-side & pic-nic lunches and ice-cream specials. Get a coupon on the back of your Eldorado Supermarket receipt! Such a deal! NEW! Gene’s Outdoor Grill near the Tap Room serving Angus Burgers, Nathan’s Dogs, Johnsonville Brats and Frito Pies!
Carry Out and Eat In 466-4206 LA TIENDA, Eldorado Monday–Saturday 11 am – 7 pm
Copa de Oro courtyard, where community wines and dines together! With our fabulous new pasta specials and traditional fish & chips, consider these selected choices: Featured Wines
McManis Cabernet Sauvignon Budini Malbec Varas (Portuguese table wine) Lot 205 Zinfandel Napa Valley
Featured Beers
Stella Atrois (Belgian Original) Old Speckled Hen (Amber, English Fine Ale) Weather permitting — live music 6-8pm, weekends. Reservations and take-outs available.
466-8668
CopaDeOro.net Summer Hours: 11:30 am – 3 pm and 5 – 8:30 pm AT THE AGORA IN ELDORADO
DINING GUIDE
House specialties: Start with the delicious cornmeal-crusted calamari. For your main course, we love the Santa Fe Rotisserie chicken, the Rosemary and Garlic Baby Back Ribs, and the Prawns à la Puebla. Comments: Chef Carlos Rivas is doing a yeoman’s job in the kitchen. Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Smoke-free. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily chef specials, gourmet and build-your-own sandwiches, wonderful soups, and an excellent salad bar). Comments: Breakfasts, organic coffees, and super desserts. Family-run.
Breakfast / Lunch / Dinner Soon
Aztec Street Cafe & Restaurant 317 Aztec Street, Santa Fe • 820-0255
caramelized onions and mozzarella cheese or the Fritzo pizza, with spicy sausage, capiccola ham, roasted peppers, and provolone cheese. C omments : For dessert, choose from the pasteries, cookies, pies, cakes, and gelato. M aria ’ s N ew M exican K itchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: Freshly made tortillas, green chile stew, and pork spareribs. Comments: Perfect margaritas.
Max’s 401½ Guadalupe St. 984-9104. Dinner Beer/Wine. Non-smoking. Major credit cards. $$ Cuisine: Contemporary. Atmosphere: Intimate and caring. House specialties: Specializing in “sous vide,” a method that maintains the integrity of the ingredients. Start with the Baby Beet Salad. For your main, try the Pan Seared Day Boat Scallop or the Sous Vide Chilean Sea Bass. For dessert, we love the Dark Chocolate Globe. Comments: Chef Mark Connell is making magic. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: Noodle house. Atmosphere: Casual and friendly. House specialties: Salmon dumplings with oyster sauce, and Malaysian Laksa. Museum Hill Cafe Museum Hill, off Camino Lejo. 984-8900. Breakfast/Dinner Beer/Wine to come. Smoke-free. Major credit cards. $$ Cuisine: American, Mediterranean and Mexican. Atmosphere: Casual and friendly. House specialties: The Thai Beef Salad is right on the mark. Try the Smoked Duck Flautas—they’re amazing. Comments: Menu changes depending on what is fresh in the market. Nostrani Ristorante 304 Johnson St. 983-3800. Dinner Beer/Wine. Smoke-free/Fragrance-free Major credit cards. $$$$ Cuisine: Regional dishes from Northern Italy. Atmosphere: A renovated adobe with a great bar. House specialties: For your main, treat yourself and try the Stuffed Gnocchetti with Prosciutto and Chicken, or the Diver Scallops. Comments: European wine list. Frommer’s rates Nostrani in the “Top 500 Restaurants in the World.” O’Keeffe Café 217 Johnson St. 946-1065. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwest with a French flair. Atmosphere: The walls are dressed with photos of O’Keeffe. House specialties: Try the Northern New
| june 2011
Mexico organic poquitero rack of lamb with black olive tapenade. Pho Kim 919 E. Alameda. 820-6777. Lunch/Dinner Sake/Beer. Smoke-free. Major credit cards. $$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: Stir Fry beef w/ Broccoli, Rice Vermicelli Noodles w/ Grilled Chicken, Broken Rice w/ Grilled Pork Chop, and the Crispy Sea Food Bird Nest. Comments: Good food that is simply prepared. Easy on the wallet. Pizza Centro Santa Fe Design Center. 988-8825. Agora Center, Eldorado. 466-3161 Cash or check. No credit cards. $$ Cuisine: Real New York-style pizza. Atmosphere: Counter service and a few tables. House specialties: The Central Park and the Times Square thin-crust pizzas are knockouts. Comments: A taste of the Big Apple. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light, colorful, and friendly. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. The Brisket Taquito appetizer rules. Try the green chile stew. Rasa Juice Bar/Ayurveda 815 Early St. 989-1288 Major credit cards. $$ Cuisine: Organic juice bar. Atmosphere: Calm. House specialties: Smoothies, juices, teas, chai, cocoa, coffee, and espresso. Rasa offers a varied selection of the above, made with organic ingredients. If you love smoothies, try the Berry Banana or the Going Green—you will love them. If juice is your thing, our favorites are the Shringara (love and passion), made with beet, apple, pear and ginger, and the Bhayanka (inner strength), made with spinach, kale, carrots, celery, and lemon. As well, Rasa has vegan thumbprint cookies, granola, and Congee (a traditional rice soup). Comments: Add to this mix vintage clothing, handmade jewelry, Ayurvedic herbs and treatments. Rasa is an expansion of Spandarama Yoga Studio, and serves to support and inspire a healthy and mindful lifestyle. Real Food Nation Old Las Vegas Hwy/Hwy 285. 466-3886. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: Farm to table with an on-site organic garden. Atmosphere: Cheery, light, and downright healthy. House specialties: A salad sampler might include the red quinoa, roasted beets), and potato with dill. Muffins and croissants are baked in-house. Recommendations: Inspired breakfast menu. Restaurant Martín 526 Galisteo St. 820-0919. Lunch/Dinner/Brunch Beer/Wine
Major credit cards. $$$ Cuisine: Contemporary American fare. Atmosphere: Casual. House specialties: For your main course we suggest you try the grilled Berkshire pork chop with shoestring tobacco onions and peach barbecue jus, or the mustard-crusted Ahi tuna. Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Sunday Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American classic steakhouse. Atmosphere: Gorgeous Pueblo-style adobe with vigas and plank floors. House specialities: USDA prime steaks and prime rib. Haystack fries and cornbread with honey butter. Recommendations: For dessert, we suggest that you choose the chocolate pot. Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Southwestern with French flair. Atmosphere: Elegant bar with a nice bar menu, sophisticated and comfortable dining rooms. House specialties: Mediterranean mussels in chipotle and mint broth is superb, as is the ahi tuna tartare. Comments: Ristra won the Wine Spectator Award of Excellence in 2006. San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: As American as apple pie. Atmosphere: Casual with art on the walls. House specialties: At lunch, do try the San Francisco Street hamburger on a sourdough bun or the grilled yellowfin tuna nicoise salad with baby red potatoes. At dinner, we like the tender and flavorful twelve-ounce New York Strip steak, or the Idaho Ruby Red Trout served with grilled pineapple salsa. Comments: Visit their sister restaurant at the DeVargas Center. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwestern. Atmosphere: Minimal, subdued, and elegant. House specialties: For starters, the calamari with lime dipping sauce never disappoints. Our favorite entrées include the perfectly cooked grilled rack of lamb and the panseared salmon with olive oil crushed new potatoes and creamed sorrel. Comments: The Chocolate Mousse with Blood Orange Grand Marnier Sauce is perfect. Appetizers at the bar during cocktail hour rule. Santa Fe Bar & Grill 187 Paseo de Peralta. 982.3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly.
Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers are outstanding when paired with beersteamed mussels, calamari, burgers, fish and chips, or the grilled bratwurst. Second Street Brewery at the Railyard 1607 Paseo de Peralta. 989-3278. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers here are truely outstanding, especially when paired with beersteamed mussels or the beer-battered calamari, burgers, fish and chips, or the truly great grilled bratwurst. Comments: Fun bar and great service. The Pink Adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: Try the Creole Mary—a Bloody Mary made with Stoli, finished with a skewer of celery, olives, and pickled okra. For lunch in the Dragon Room, we love the Gypsy Stew with cornbread and the Pink Adobe Club—smoked turkey breast, bacon, lettuce and tomato, and fresh sprouts topped with spinach mayonnaise, For dinner, you cannot go wrong ordering the classic Steak Dunigan—a New York cut smothered with green chile and sauteed mushrooms. Comments: Great pour at the bar. Let’s celebrate: The Pink is nearly 70 years old. The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: This local institution is in an adobe hacienda just off the Plaza. House specialties: You an’t go wrong ordering the stacked red or green chile cheese enchiladas. Comments: Try their sister restaurant, La Choza. Shibumi 26 Chapelle St.At Johnson St. 428-0077. Lunch/Dinner Smoke-free/Fragrance-free Cash only. $$. Parking available Beer/wine/sake Cuisine: Japanese noodle house. Atmosphere: Elegant and Zen-like. Both table and counter service. House specialties: Start with the Gyoza—a spicy pork pot sticker or the Otsumami Zensai (small plates of delicious chilled appetizers), or select from four hearty soups. Shibumi offers sake by the glass or bottle, beer, and champagne. All of the salads—delicious! Comments: On Thursday during the day, and each evening, you can order off the splendid “Izakaya” menu. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Smoke-free. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell crab
tempura; sushi, and bento boxes. at El Gancho Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Smoke-free dining room. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant with full bar and lounge. House specialties: Aged steaks; lobster. We suggest you try the pepper steak with Dijon cream sauce. Comments: They know steak here.
S teaksmith
Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork. Atmosphere: Casual. House specialties: We love the Salmon Benedict with poached eggs, the quiche, the gourmet cheese sandwich, and the Teahouse Mix salad. Terra at Encantado 198 State Rd. 592. Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: Contemporary. Atmosphere: Elegant, with great views from the dining room and the bar. House specialties: Enjoy cocktails with appetizers like the Smoking Nachos in the cozy ambience of the bar. At lunch, our favorite is the always teriffic Encantado Burger with perfect Pomme Frites. For dinner, if available, start with the Risotto with Shaved Truffles or the Guajillo Glazed Jumbo Prawns. You cannot go wrong at dinner ordering the perfectly-cooked Harris Ranch Beef Tenderloin served with foie gras butter and brandy sauce, or the exquisite Fish of the Day—both are simply delicious. Comments: The service is excellent, enthusiastic, and unobtrusive. Chef Charles Dale certainly knows what “attention to detail” means. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch No alcohol. Smoking/non-smoking. Major credit cards. $ Cuisine: New Mexican. Atmosphere: This restaurant is absolutely a Santa Fe tradition. House specialties: Green chile stew and the huge breakfast burrito stuffed with bacon, potatoes, chile, and cheese. Comments: Tia Sophia’s is the real deal. Tree House Pastry Shop and Cafe 1600 Lena St. 474-5543. Breakfast/Lunch Tuesday-Sunday Smoke-free. Major credit cards. $$$ Cuisine: Only organic ingredients used. Atmosphere: Light, bright, and cozy. House specialties: You cannot go wrong ordering the fresh Farmer’s Market salad, the soup and sandwich, or the quiche. Tune-Up Café 1115 Hickox St.. 983-7060. Breakfast/Lunch/Dinner Major credit cards. $$ Cuisine: American, Cuban, Salvadorean, Mexican, and, yes, New Mexican. Atmosphere: Down home, baby. House specialties: Breakfast faves are the scrumptious Buttermilk Pancakes and the Tune-Up Breakfast. Lunch: the El Salvadoran Pupusas are the best. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: Call it farm-to-table-tofork. Atmosphere: Light, bright and cheerful. House specialties: All of the salads are knockouts— fresh as can be. We love the Nutty Pear-fessor salad—it rocks! Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: All-American. Atmosphere: Down home. House specialties: Huevos Rancheros is cannot miss breafast choices. For lunch or dinner, we love the meat loaf, chicken-fried chicken, and the fish and chips. Comments: Friendly waitstaff. The hot fudge sundaes are always perfect and there are plenty of dessert goodies for take-out.
THE magazine | 31
RED
FoR c E FiElDs
marCia lyons June 1 - 26, 2011 | opening reception, Friday, June 3, 5:00 - 7:00 p.m.
Jim Campbell leo Villareal ben Weiner Project space
Woody Vasulka
marcia lyons, Force Fields, 2011, live feed interactive dual projection, seismic activity, sound.
davidrichardcontemporary.com 130 lincoln avenue, suite d, santa Fe, nm 87501 | p (505) 983-9555 | f (505) 983-1284 info@davidrichardContemporary.com
RED ElEMENTs
June 1 - 26, 2011 | opening reception, Friday, June 3, 5:00 - 7:00 p.m.
merion estes, Lost Horizons #45, 2009 mixed media on paper, 44 x 30 “
daWn arroWsmith philip baldWin & moniCa GuGGisberG laura de santillana merion estes roland reiss ben seWell Charles stronG
ART OPENINGS
JUNE
ART OPENINGS
SATURDAY, MAY 28 Bright Rain Gallery, 206 ½ San Felipe NW, Alb. 505-843-9176. Pluck: paintings by Martin Facey. 4-8 pm.
St., Santa Fe. 989-8688. Survey: works by James Howell. 5-7 pm.
Fe. 988-8997. Recent Work: paintings by John Fincher. 5:30-7:30 pm.
David Richard Contemporary, 130 Lincoln Ave., Suite D, Santa Fe. 983-9555. Red (Force Fields); Red (Elements): group show. 5-7 pm.
Manitou Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Works by Roger Hayden Johnson and Jim Eppler. 5-7:30 pm.
Eggman and Walrus, 130 W. Palace Ave., Santa Fe. 660-0048. Paintings/sculptures by Caleb Weintraub; paintings by Walter Meyers. 5:30-9 pm.
Marigold Arts, 424 Canyon Rd., Santa Fe. 982-4142. New Mexico Landscape Paintings: group show. Pastels by Lura Brookins. 5-8 pm.
Evoke Contemporary, 130 Lincoln Ave., #F Santa Fe. 995-9902. The Earths’s Sharp Edge: paintings by Francis Di Fronzo. 5-7 pm.
Mariposa Gallery, 3500 Central Ave. SE, Alb. 505-268-6828. Shapeshifter: mixed-media works by Cynthia Cook. Watercolor, encaustic, and tin works by Mari Thomas. 5-8 pm.
FRIDAY, JUNE 3 105 Art Gallery, 105 4th St. SW, Alb. 505-2383491. Doing Time—Art in the Aftermath: paintings by Molly Geissman. Photographs by Pat Berrett. A Journey of Healing: work by Lahn Jung JuLes. Crime and Punishment: group show. 5-8 pm. Artspace 111, 202 E. Palace Ave., Santa Fe. 699-0058. Artspace111—Ascension: Grand opening. 5-8 pm. Axle Contemporary Art Van, 670-5854. Borderlines: Non-Rational Narratives: group show. axleart.com for location. 5-7 pm. Blue Rain Gallery, 130 Lincoln Ave., Suite D, Santa Fe. 954-9902. The Blue Series: new portraits by Sean Diediker. 5-7 pm. box Gallery, 1611-A Paseo de Peralta, Santa Fe. 989-4897. Consumed: paintings by Michael Freitas Wood. 5-7 pm. Charlotte Jackson Fine Art, 554 S. Guadalupe
Hydra Gallery, 4312 Lomas Blvd. NE, Alb. 630-362-7122. Traces: works by Noah Gelb, Caroline Liu, and Inka Markowski. 5-9 pm. Inpost Artspace at the Outpost Performance Space, 210 Yale SE, Alb. 505268-0044. Pausing at Intersections: works by Cindi Gaudette. 5-8 pm.
New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Art for Animals: benefit for Española Valley Humane Society. 5-7 pm. Palette Contemporary, 7400 Montgomery Blvd. NE, Alb. 505-855-7777. Sign of the Times: A Modernist Exhibition. 5-8 pm.
Las Cruces Museum of Art, 491 N. Main St., photo-eye Gallery, 376-A Garcia St., Santa Fe. Las Cruces. 575-541-2137. lived:living: works 988-5159. Stories from Underground: photographs by Isadora Stowe and Jordon Schranz. Lost by Colette Campbell-Jones. 5-7 pm. Connections: works by Monique Jansen-Belitz. Cut It Out—altered books by Joy Campbell. Angles, Lines andSPoints—digital paintings by Bill Sherman anta Fe Art Collector Galleryat, 221 W. Clay and Smoke: works by Sandria Hu. 5-7 pm. ViVO Contemporary, 725 Canyon Road. Reception: San Francisco St., Santa Fe. 988-5545. Friday, June 3, from 5 to 7 pm. Image: Joy Campbell. Journey Lewallen Galleries, 125 W. Palace Ave., Santa with the Easel. 5-8 pm.
Santa Fe Editions, 1660-C Cerro Gordo Rd., Santa Fe. 982-8793. New photographs by Timothy Hearsum. 5-7:30 pm. Stranger Factory, 109 Carlisle Blvd. NE, Alb. 505-508-3049. Modern Vintage Narrative: group show. 7 pm. Touching Stone, 539 Old Santa Fe Trail, Santa Fe. 988-8072. Moments of Grace: sumi-e works by Fumiko Kurokawa. 5-7 pm. ViVO Contemporary, 725 Canyon Rd., Santa Fe. 982-1320. Angles, Lines and Points: digital paintings by Bill Sherman. Cut It Out: altered books by Joy Campbell. 5-7 pm. Weyrich Gallery/The Rare Vision Art Galerie, 2935-D Louisiana Blvd. NE, Alb. 505883-7410. Book of Seasons—A Year of Woodblock Prints+Poems: group show. 5-8:30 pm.
SATURDAY, JUNE 4 516 Arts, 516 Central Ave. SW, Alb. 505-242-1445. Worlds Outside This One: group exhibition. Across the Great Divide: photography by Roberta Price. 6-8 pm.
FRIDAY, JUNE 10
Cut It Out—altered books by Joy Campbell. Angles, Lines and Points—digital paintings by Bill Sherman at ViVO Contemporary, 725 Canyon Road. Reception: Friday, June 3, from 5 to 7 pm. Image: Joy Campbell.
continued on page 36
| june 2011
THE magazine | 33
WHO SAID THIS? “The only difference between paradise and hell is the preference of the self-deceiver ” 1. David Remnick 2. Balthus 3. Donald Lehmkuhl 4. Louise Bourgeois 5. Vicki Goldberg 6. Joel Sternfeld
HERE’S THE GREAT DEAL! $500 B&W full-page ads ($800 for color) in the July issue for artists without gallery representation in New Mexico. Reservations by Monday, June 13. 505-424-7641
Street homeless animal project Summer Under the Tent Event Santacafé – 231 Washington Ave
Sunday June 26th 2011 3:00pm – 6:00pm Silent Auction
Our Mission: - To assist homeless people in obtaining vVeterinary care for their companion animals - To spay and/or neuter companion animals
Hor D’oeuvres, Wine and Treats Cash Bar Available
Admission $50.00 per person To RSVP for tickets and/or make a donation, please call 505-690-4706 Proud Event Sponsors:
- To provide food, vaccines and licensing - NON PROFIT ORGANIZATION
Ellen B. Cain
Allene Lapides
OUT & ABOUT Photos: Mr. Clix, Lydia Gonzales, Dana Waldon, Lisa Law,
and Jennifer Esperazana
ART OPENINGS
Chiaroscuro, 702 ½ Canyon Rd., Santa Fe. 9920711. Mapping: work by Seth Anderson. 5-7 pm. The Darkroom, 910 W. San Mateo Rd. Suite O, Santa Fe. 820-7777. Sex, Death and Beauty: photographs by Patti Levey. 5-7 pm. Exhibit 208, 208 Broadway SE, Alb. 505-450-6884. Ambiguous Incidence: photographs by Daniel Peebles. 5-8 pm. LewAllen Galleries, 1613 Paseo de Peralta., Santa Fe. 988-3250. Picasso: works on paper. Robert Natkin: recent paintings. 5:30-7:30 pm. Meyer East Gallery, 225 Canyon Rd., Santa Fe. 983-1657. The Dordogne Paintings: works by Kent Lovelace. 5-7 pm.
Rio Rancho Inn, 1465 Rio Rancho Drive SE, Rio Rancho. 505-474-5846. Landscapes of the Mind: group show. 2-5 pm.
MONDAY, JUNE 13 New Mexico Museum of Art, 107 W. Palace Ave., Santa Fe. 476-5072. Kamilo (Twisted Waters): video installation and talk by Robert Gaylor. 12 pm.
FRIDAY, JUNE 17 Eight Modern, 231 Delgado St., Santa Fe. 995-0231. The Truth Hurts: paintings by Bart Johnson. 5-7 pm. Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5719. Light, Form, and Reverie: group show. 5-7 pm.
Meyer Gallery, 225 Canyon Rd., Santa Fe. 7797387. Ted Polomis and Rich Bowman. 5-7 pm.
SATURDAY, JUNE 18
Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1122. Decorum: functional pottery group show. 5-7 pm.
Roswell Museum and Art Center, 100 W. 11th St., Roswell. 575-624-6744. A Painter’s Progress: paintings by Peter Rogers. 5-7 pm.
SATURDAY, JUNE 11
FRIDAY, JUNE 24
Dorothy Rogers Fine Art, The Design Center, 418 Cerrillos Rd., Santa Fe. 9551984. The Figure: a thirty-year retrospective of studio drawings of the male and female nude by Dorothy Rogers. Noon onwards.
GVG Contemporary, 202 Canyon Rd., Santa Fe. 982-1494. Flood: paintings by Nicholas Gadbois. 5-7 pm.
Hunter Kirkland Contemporary, 200-B Canyon
Contemporary Landscapes by John Fincher on view at LewAllen Contemporary, 129 West Palace Avenue. Reception: Friday, June 3, from 5 to 7 pm.
Rd., Santa Fe. 984-2111. Potentiality: paintings by Rick Stevens. 5-7 pm. Karan Ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-0807. Recent works by Kevin Tolman. 5-7 pm. Meyer East Gallery, 225 Canyon Rd., Santa Fe. 983-1657. Beautiful Dirt: paintings by David Jonason. 5-7 pm. Nüart Gallery, 670 Canyon Rd., Santa Fe. 988-3888. Ut Pictura Poesis: new paintings by Francisco Benítez. 5-7 pm.
Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-3432. Neo-Primitives: sculptures by Ralph Prata. 5-7 pm. Santa Fe Editions, 1660-C Cerro Gordo Rd., Santa Fe. 982-8793. Timothy Hearsum, New Work: photographs. 5-7:30 pm. Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Colette Hosmer: sculptures; Holly Roberts: photocollages. 5-7 pm.
SATURDAY, JUNE 25 Worlds Outside This One & Across the Divide at 516 ARTS, 516 Central Avenue SE, Albuquerque. Reception: Saturday, June 4, from 6 to 8 pm. Photograph: Jen Lind.
Dorothy Rogers Fine Art, The Design Center, 418 Cerrillos Rd. Santa Fe. 9551984. The Figure: a thirty-year retrospective of studio drawings of the male and female nude in pencil, charcoal, pastel, and paint, as well as etchings by Dorothy Rogers. Noon onwards. Nedra Matteucci Galleries, 1075 Paseo de Peralta, Santa Fe. 982-4631. Seasons: landscapes by Walt Gonske. 2-4 pm.
SPECIAL INTEREST 333 Montezuma Annex, 333 Montezuma Ave., Santa Fe. 982-8889. Loving the Dubious—A Conversation in Poems: poetry with Lauren Camp, Barbara Rockman, and Anne Valley-Fox. Fri., June 24, 7 pm. 516 Arts, 516 Central Ave. SW, Alb. 505-2421445. The Construction of the Counterculture—The Role of Women & the Place of Architecture: panel discussion. Sat., June 4, 2 pm. Info: 516arts.org
36 | THE magazine
june
2011 |
Art for Animals A Benefit for the
EspaÑola Valley Humane Society June 3 - July 4, 2011 Opening Reception: Friday, June 3, 5 to 7 PM Animal Sculptures by: David Ross Deborah Martin Richard Swenson Raffle of Animal Art also Being Held!
New Concept Gallery 610 Canyon Road • Santa Fe 505-795-7570 newconceptgallery.com
TaosArtCalendar:June2011
Taos See more at TaosWebb.com/artcalendar
HARWOOD
TCA
SOMOS
Ongoing Exhibits
Encore Gallery Exhibits
Literary Events
Agnes Martin painting installation Ken Price altar installation
june 11-august 7 The Art of Order, installation by Natalie Carlton, Siena Sanderson, and Community Collaborators
june 2 Helen Phillips and Magdalene Smith Reading at Lenny Foster’s Living Light Gallery june 30 Summer Writers Series Natalie Goldberg and Dr. Ann Filemyr Harwood Museum of Art july 7 Summer Writers Series Teresa Dovelpage and Jacqueline St. John Harwood Museum of Art
to june 19 New Mexorado: Artists in NM and CO Ongoing Events
Children’s Art Classes, Saturdays and Sundays Museum Store Trunk Shows, Saturdays Yoga in Agnes Martin Gallery, Wednesdays Selected Events
june 2 & 4 Verse-Converse Poetry Festival
june 8 Nora Ephron, Live from NY’s 92nd Street Y june 11 The Magic Flute From Teatro alla Scala in HD
june 17 Backstage at the Kirov, film by Derek Hart june 25 Robert Wilson’s Orpheo From Teatro alla Scala in HD
HARWOOD MUSEUM OF ART, UNIVERSITY OF NEW MEXICO harwoodmuseum.org 575.758.9826
Ongoing Events
Film Series, Sunday afternoon, Monday and Tuesday evenings Events
june 3, 4, 9, 10, 11 Working Class Shakespeare Working Class theater june 8 & 17 The Importance of Being Earnest Roundabout Theatre Company in HD june 16 Puccini’s Madame Butterfly Live from the Met in HD Encore june 19 & 26 Taos School of Music Chamber Music Festival concerts june 30 Donizetti’s Don Pasquale Live from the Met in HD Encore
TAOS CENTER FOR THE ARTS tcataos.org 575.758.2052
Ongoing
Used Book Sale at SOMOS office, first Saturdays of the month, 10am-1pm Monday-Friday SOCIETY OF THE MUSE OF THE SOUTHWEST somostaos.org 575.758.0081
MARK YOUR CALENDAR: september 23-october 2 37th Annual Taos Fall Arts Festival Two comprehensive exhibitions: Taos Select and Taos Open Taos Convention Center open 10am-5pm taosfallarts.com
ART OPENINGS
Albuquerque Film Festival at the Kimo Theater, 423 Central Ave. NW, Alb. 505768-3522. The Cool School: film and Q & A with Larry Bell. Tues., June 7, 7 pm. Info: abqfilmfestival.com Creative Santa Fe, P.O. Box 2388, Santa Fe. 983-6021. Santa Fe Studio Tour. Sat., June 18, 10 am-5 pm. Sun., June 19, 12-7 pm. Info: santafestudiotour.com
Luna Circle Gallery, 925 Luna Circle NW, Alb. 505-948-3840. Marcellin Simard. Info: lunacirclegallery.com Nedra Matteucci Galleries, 1075 Paseo de Peralta, Santa Fe. 982-4631. Buccellati— Exquisite Treasures: jewelry from the house of Buccellati. Mon., June 27 through Sat., July 2. Info: mateucci.com
The Darkroom, 910 W. San Mateo Rd., Suite O, Santa Fe. 820-7777. Photography workshops and seminar series throughout June. Info: thedarkroomsantafe.com
New Mexico History Museum, 113 Lincoln Ave., Santa Fe. 476-5200. Women of the West: The Other Side of History: four exhibits featuring women in the American West. Through Nov. 2011. Info: nmhistorymuseum.org
Darnell Fine Art, 640 Canyon Rd., Santa Fe. 984-0840. Undercurrents: landscapes by Susan Morosky. Through Mon., June 13. Info: darnellfineart.com
Parallel Studios at various venues in Santa Fe. 216-9638. Currents 2011: 2nd Annual Santa Fe International New Media Festival. Fri., June 10 through Sun., June 19. Info: currents2011.com
Doña Ana Arts Council, P.O. Box 1721, Las Cruces. 575-523-6403. Career Art Path Program: classes for middle-school students interested in the arts. Mon., June 6 through Fri., June 17. Info: las-cruces-arts.org
Richard Levy Gallery, 514 Central Ave. SW, Alb. 505-766-9888. What I Saw—Photographs by Richard Levy: silent auction to benefit 516 Arts and Seed2Need. Sat., June 4, 6:30-8:30 pm. Info: levygallery.com
Dwight Hackett Projects, 2879 All Trades Rd., Santa Fe. 474-4043. Micaela Amateau Amato, Lynda Benglis, Heather McGill. Through Sat., July 2. Info: dwighthackett.com
SantaCafé, 231 Washington Ave., Santa Fe. 690-4706. Street Homeless Animal Project— Summer Under the Tent Event: silent auction to benefit the companion animals of the homeless. Sponsored by SantaCafé, Ellen B. Cain, and Allene Lapides. Sun., June 26, 3-6 pm. Info: newmexicostreetanimals.org
Gebert Contemporary, 558 Canyon Rd., Santa Fe. 992-1100. Alter-Native Signs: works by John Randall Nelson. Through Sat., June 25. Info: gebertcontemporary.com James Kelly Contemporary, 1601 Paseo de Peralta, Santa Fe. 989-1601. New Paintings: works by Jill Moser. Through Sat., June 18.
Santa Fe Art Institute, 1600 St. Michael’s Drive, Santa Fe. 424-5050. Postcommodity will hold the following events: Performance: Fri., June 10, 7 pm. Workshop: Sun., June 12, 10 am-4 pm. Lecture: Fri., June 17, 6 pm. Info: sfai.org
Shapeshifter, mixed-media works by Cynthia Cook at Mariposa Gallery, 3500 Central Ave SE, Albuquerque. Reception: Friday, June 3, from 5 to 7 pm. Photo: Margo Geist.
Santa Fe Photographic Workshops, 50 Mount Carmel Rd., Santa Fe. 9831400. Question of Power Fundraising Rally: presentation by Carlan Tapp. Sun., June 5. Info: motherroad2011.org
Wage Urban Art Fair, 928 Shoofly St., Santa Fe. Directions: Baca St. to Flagman Way to Shoofly St. Better Than Etsy: Cool art, crafts, jewelry, clothing, and food. Sat., June 25, from 10 am-5 pm. Sun., June 26, from noon-3 pm.
Santa Fe Watershed Association, 1413 Second St., Suite 3, Santa Fe. 820-1696. Fifth Annual Santa Fe River Festival and Fishing Derby. Sat., June 4, 6 am-12 pm. Info: santafewatershed.org
William R. Talbot Fine Art, Antique Maps & Prints, 129 W. San Francisco St., Santa Fe. 982-1559. Southwestern Landscapes: 20th century paintings and prints. Fri., June 3 through Sat., July 9. Info: williamtalbot.com
Southwest Environmental Center, 275 N. Downtown Mall, Las Cruces. 575-522-5552. Raft the Rio: annual Rio Grande raft race. Sat., June 11. Info: wildmesquite.org
William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. Resonance and Reverberation: photographs and paintings by Carola Clift. Wildscape of the Mind: works by Jane Cook. Through Tues., June 21. Info: williamsiegal.com
Southwest Stoneworks, P.O. Box 248, Dixon. 505-579-9179. 11th Annual Sax Stonecarving Workshop: seven-day session with Nicholas Fairplay and Mark Saxe. Sat., June 11 through Fri., June 17. Info: saxstonecarving.com St. John’s College, 1160 Camino Cruz Blanca, Santa Fe. 984-6000. Faculty lectures, seminars and concerts throughout June. Info: stjohnscollege.edu
Postcommodity—an indigenous arts collective—will have the following events at the Santa Fe Art Institute, 1600 St. Michael’s Drive. Performance on Friday, June 10, at Tipton Hall. Workshop on Sunday, June 12, 10 am-4 pm. Lecture on Friday, June 17, at Tipton Hall, 6 pm. Details: sfai.org
PERFORMING ARTS Albuquerque Theatre Guild, at various venues in Albuquerque during June. 505-710-9325. Info: abqtheater.org
CALL FOR ARTISTS The Creative Capital/Warhol Foundation, 65 Bleecker St., New York, NY. 212-387-7555. The Creative Capital/Warhol Foundation Arts Writers Grant Program. Deadline: Wed., June 8. Info: artswriters.org Girls Incorporated of Santa Fe, 301 Hillside Ave., Santa Fe. 982-2042. 39th Annual Girls Inc. Arts & Crafts Show. Deadline: July 8. Info: girlsincofsantafe.org Las Comadres, 228-A Paseo del Pueblo Norte, Taos. 575-737-5323. Seeking full-time members and guest artists. Info: lascomradesgallery.com Pastel Society of New Mexico, P.O. Box 3571, Alb. 505-895-5457. Pastel Society of New Mexico 20th Annual National Pastel Painting Exhibition. Fri., Nov. 4 to Sun., Nov. 27. Info: pastelsnm.org Santa Fe Arts Commission, 120 S. Federal Place, Room 323, Santa Fe. 955-6707. Common Ground: City of Santa Fe art exhibition and prize. Deadline: Mon, Aug. 15. Info: santafeartscommision.org
38 | THE magazine
june
2011 |
Anthony Hansen
CELEBRATING THE VISUAL, PERFORMING AND CULINARY ARTS
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PREVIEWS
Colette Campbell-Jones: Stories from Underground June 3 to July 30 photo-eye Gallery, 376-A Garcia Street, Santa Fe. 988-5159 Opening Reception: Friday, June 3, 5 to 7 pm. The last coal mine in South Wales was shut down in 2008, signaling the end of an era that began during the Industrial Revolution. Mining was the dominant industry in Wales for the greater part of the nineteenth and twentieth centuries. Despite severe occupational dangers and frequent strikes, mining communities in the isolated valleys of South Wales developed a unique culture, rich in camaraderie and lore. Photographer Colette Campbell-Jones became fascinated with this culture after visiting her husband’s family in Ton Pentre, Wales. She collected miners’ stories and recreated them in photographic collages, seamlessly combining digital imagery and photographic fragments using a technique called “hybrid process printing.” Campbell-Jones explains: “I combine documents with manipulated digital imagery to construct linkages between contemporary stories and their universal counterparts existing in oral and visual story telling, archetype and myth.” Her images are as dark as the mines themselves, evoking the miners’ fear of never again returning to the surface. However, darkness does not completely consume her images, and the characters in her photographic “fairy-tale” rise luminously from the murk. Campbell-Jones received her Master of Fine Arts from the San Francisco Art Institute and has since received numerous awards for her work, including the Graduate Fellow Residency at the Headlands Center for the Arts. Stories from Underground will be Campbell-Jones’ first exhibition in Santa Fe. Top: Colette Campbell-Jones, Coal Door, archival pigment ink print, 22” x 22”, n.d. Left: Martin Facey, Seed No. 100 Thorn Acacia, fiberglass, and acrylic fabric on wood, 40” x 42”
Pluck: New Paintings by Martin Facey May 28 through June 30 Bright Rain Gallery 206½ San Felipe NW, Albuquerque. 505-843-9176 Reception: Saturday, May 28, 4 to 8 pm. Like most people these days, Martin Facey has a Facebook page. It lists his degree (Master of Fine Arts, UCLA), where he has worked (the University of New Mexico), and his favorite musicians (Ry Cooder, Philip Glass, Yusef Lateef). What makes his page singular, however, is what he has recorded under the “Activities and Interests” category: “Jett is my son; he is almost eleven. Wherever we go, we collect seeds of all sizes and shapes. We sometimes break them open, and we wonder: ‘how does life generate from this little mess of debris?’” Facey’s Seed paintings are the result of this childlike fascination. Each work is nearly abstract—but so vibrant with color, layered patterns and materials that it perfectly expresses the massive energy potential contained in each tiny seed. Typically six feet high and four feet across, the paintings take on large proportions in order to visually maximize the complexity and interconnectedness of life’s beginnings. He is the recipient of painting fellowships from both the Guggenheim Foundation and the National Endowment of the Arts. After serving as the Art Department Chair at the University of New Mexico, Facey moved to Vista, California, to concentrate on his work. He will return to New Mexico for the exhibition at Bright Rain Gallery.
Currents 2011: The Santa Fe International New Media Festival June 10 through June 19 El Museo Cultural de Santa Fe 1615-B Camino de La Familia, Santa Fe. 992-0591 Reception: Friday, June 10, 5 to 10 pm. Artists swiftly embrace new forms of visual expression as media evolve, discovering in them new opportunities to manipulate sound, movement, and image. Currents 2011 is an opportunity to experience the latest in video and other new-media art. The work of sixty local, national, and international artists— including Ellen J. Wetmore and Shen Yi Elsie—will be on display. Wetmore’s video work is a humorous blend of Surrealist and Feminist art. She toys with images of her own body, manipulating them into absurd states—in a work entitled Visiting Dora Maar, her scattered facial features gape, sniff, and blink as she reassembles them into a cubist tribute to Picasso’s lover. Sleep Deprivation Will Be Televised is a self-portrait, capturing the delirium of motherhood, in which a muddled, nodding television replaces Wetmore’s head. In The Neon God, Beijing-based artist Shen Yi Elsie documents the lives of young migrant workers in China, illuminating their inner strength as they labor in the darkness. Currents 2011 also includes works in animation, art-gaming, interactive video, and single-channel video. All exhibits are free to the public.
40 | THE magazine
Ellen J. Wetmore, Sleep Deprivation Will Be Televised, 30 seconds, single channel, 2009
| june 2011
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N AT I O N A L S P O T L I G H T
Gouache from “Life? or Theatre?” by
Charlotte Salomon
At the beginning of the Second World War, a despairing twenty-three-year-old Jewish woman named Charlotte Salomon was contemplating suicide. With the rise of Hitler’s regime, her hopes for the future had been destroyed, and members of her family were being sent to concentration camps. Then, she remembered the words of a man she had once admired: “first fathom yourself in order to reinvent yourself.” Salomon was suddenly overcome with a feeling of new hope. She writes, “And, with dream-awakened eyes, she saw all the beauty around her, saw the ocean, felt the sun, and knew: she must disappear for a time from the human surface, and sacrifice everything for this—to recreate herself from the depths of her world.” For the next two years, Salomon devoted herself to the creation of more than one thousand vibrant gouache paintings, which are described by the Contemporary Jewish Museum as “a sort of autobiographical operetta on paper.” Salomon entitled her work “Life? or Theatre?” Her paintings contain “actors,” “dialogue,” and “musical numbers,” all uniting to tell the dramatic coming-of-age tale that was Salomon’s life. The artist and her new husband were captured by the Nazis shortly after the work was completed. In 1943, five months pregnant, she was killed in Auschwitz. “This lifetime of work, created in such a short space of time with no promise or even hope of recognition, speaks so deeply to how essential an act of art making can be,” says the director of the Contemporary Jewish Museum, Connie Wolf. Selected works from “Life? or Theatre?” are on display through July 31 at the Contemporary Jewish Museum, 736 Mission Street, San Francisco. D
| june 2011
THE magazine |43
Jill Moser Lipstick and Cigarettes, 2011 Aquatint with spitbite, drypoint & pochoir on Hahnemuhle copperplate paper Plate: 16" x 18" Paper: 22 3/4" x 24 3/4" Edition of 30 Published by Wade Wilson Art Printed by Burnet Editions
4411 Montrose Blvd. Suite 200 Houston, Texas 77006 p: 713.521.2977 f: 713.521.2975 www.wadewilsonart.com
F E AT U R E
A Glove Without a Hand D A by
iane
rmitage
At those times when the soul tends to be choked by material disbelief, art becomes purposeless and talk is heard that art exists for art’s sake alone. Then is the bond between art and the soul, as it were, drugged into unconsciousness…. It is very important for the artist to gauge his position aright…. He must search deeply into his own soul, develop and tend it, so that his art has something to clothe, and does not remain a glove without a hand.
Wassily Kandinsky —Concerning the Spiritual in Art
Wassily Kandinsky, Cool Concentration, oil on board, 195 /16” x 149 /16”, 1930
The last hundred years has been the century for self-introspection, and our analytical
composition became vehicles for philosophical debate—for a magical convertibility
findings have swung back and forth between the material and the non-material
into experiences of cosmic consciousness. Enter Kandinsky and his book Concerning
worlds of identity. Somewhere between Kant and Kandinsky, the practice of art
the Spiritual in Art.
became as good as any other system of thought for teasing out our intimations
Why write about Kandinsky at this particular moment? A few months ago,
of the absolute and the ineffable. And Marx’s dialectics seeded the ground for
THE magazine received a letter from Santa Fe artist Dominique Mazeaud who
other kinds of formal thinking about being in the material world. Then in the early
brought up the fact that 2011 marked the hundred-year anniversary of Kandinsky’s
part of the last century, Malevich’s careful placement of squares, rectangles, and
incredibly influential book—a work that was not only of its time, but would prove
triangles would act as a representative for art as a mirror of supreme states of
to have a long shelf life. Concerning the Spiritual in Art is undoubtedly one of the
consciousness—for art on a higher plane achieved by a thoughtful economy of
most quoted texts for a thirsty era of artists and theoreticians who keep gravitating
means that relied on color, form, and composition. God was dead, some of the
to more meaningful levels of art practice and its accompanying discourse. Yet
pundits cried, but long live art and the mystical imperative!
many individuals believe that the desire for spiritual experience within a work of
The early-twentieth-century artworld saw quite a few “isms” come into being,
art is hopeless or merely hokum—that art speaks only to and about itself. Still,
splitting apart not only the picture plane but concepts of time, matter, and energy in
when Kandinsky wrote his book about art as a potentially pure and highly distilled
a frantic and prolonged dance of interchangeability; artists, even if they didn’t know
response to an “inner necessity”—that art could or should be an abstract mirror of
the specifics of Einstein’s Theory of Relativity, were keen to make visible what is in
a “mystical inner construction”—his ideas were definitely part of a not-uncommon
essence an invisible process. Who can ever experience the speed of light squared?
slipstream of spiritual longings and occult preoccupations that had not gone out of
And if you could, would you even want to? All you would do is explode. But cultural
fashion since the alchemical heydays of the Renaissance.
explosions were part of the zeitgeist at that time, even if some of them meant
From the Theosophical writings of Helena Blavatsky and Rudolf Steiner to the
embracing ideas about the transcendent and the mystical. And so color, form, and
charismatic illustrations of thought forms by Annie Besant and Charles Leadbeater, continued on page 46
| june 2011
THE magazine | 45
Kandinsky believed that the artist’s path involved unlocking the visible to reveal what is inside it Hilma Af Klint, No. 4 February-March, oil on canvas, 145/ 8 ” x113 / 8 ”, 1920
Kandinsky’s book gleaned ideas from the various spiritualist environments
The startling work of Swedish artist Hilma Af Klint (1862-1944), whose painting
that thrived in the late-nineteenth and early-twentieth centuries. He wasn’t
is on the cover of this issue, came out of the bifurcating tributaries of metaphysical
the only artist, however, who responded to the deep metaphysical undertows
influences, as did the work of artists like Piet Mondrian, Kazimir Malevich, Arthur
that seemed to rock everyone’s boat as the art of the Impressionists, Post-
Dove, Georgia O’Keeffe, Agnes Pelton, Suzanne Duchamp, and her brother Marcel,
Impressionists, Cubists, and variously assorted avant-garde-ists grappled with the
who translated the most important passages of Kandinsky’s book from German into
immensely important turn towards abstraction. Those were the salad days for art’s
French. Many individuals might be surprised to learn that the great ironic trickster
claim on “inner vibrations” or responses to pure feeling. Kandinsky believed that
figure of twentieth-century art, Marcel Duchamp, would conceive of his cryptic
human emotion consists of subtle energetic fields and that these are set in motion
and endlessly fascinating work The Large Glass just three months after reading
by our experiences of nature and exterior phenomena. He wrote, “Words, musical
Concerning the Spiritual in Art. Anyway, Kandinsky’s ideas didn’t stop when they got
tone, and colors possess the psychical power of calling forth our vibrations…
to Marcel.
ultimately bringing about the attainment of knowledge…. In Theosophy, vibration
In 1985, the Los Angeles County Museum of Art presented one of the most
is the formative agent behind all material shapes, which are but the manifestation
highly regarded exhibitions of the last twenty-five years—The Spiritual in Art:
of life concealed by matter.” In a nutshell, Kandinsky believed that the artist’s
Abstract Painting 1890-1985. In its monumental catalogue, one can trace, besides
path involved unlocking the visible to reveal what is inside it, like the truths that
the very present ghost of Kandinsky, the breadth and depth of the historical impulse
might reside there for the sole purpose of being given some kind of outward form.
toward abstraction in Modern Art along with its varied consequences. Of course,
The artist’s inner life was the prima materia for the creative process. Hence, the
abstract artists did not have to be card-carrying spiritualists with claims to the
abstract image and the spiritual quest, fused together, were the mystical inner
supernatural like Hilma Af Klint, with her inner “gurus,” “leaders,” and “guides.”
construction incarnate.
But many of the pioneers of abstraction such as Malevich, and painters who came
F E AT U R E
Kandinsky believed that the artist’s path involved unlocking the visible to reveal what is inside it Agnes Martin, Untitled, ink on paper, 9” x 9”, 1963
later like Barnett Newman, Mark Rothko, and Agnes Martin, openly professed a
It is our destiny to be double. Light itself is both a particle and a wave. We are
spiritual basis in their work. In one of the essays in the catalogue, “Concerning
matter and, on the atomic level, we are also a lot of empty space just waiting to
the Spiritual in Contemporary Art,” Donald Kuspit wrote, “The most significant
give and receive emanations, vibrations, and a host of projections about the nature
abstract art today reflects an inner conflict between the socially encouraged will to
of what is. We gravitate to experiences that the material world presents to us, such
conventional communication and the personal will to spiritual experience.” This is
as food, shelter, clothes, people, artwork, a flowing river, sunsets, a sky full of stars.
a thought that perhaps resonates even more profoundly today.
But there is more to life than that. Our destiny of being double sometimes seems
There is an even later generation of inter-media artists—for example Joseph Beuys, Anselm Kiefer, Eric Orr, Robert Irwin, and Ann Hamilton—who
like a curse, and yet if we tilt mainly toward the material world, where does that leave the huge body of evidence for things not seen?
demonstrated their own clear links to a quest for provoking in viewers higher
Dominique Mazeaud wrote in her letter, “Kandinsky believed that the highest
levels of awareness arrived at by the artists’ conscious choice of color, form,
purpose of art is to renew the age which spawns it.” In regards to what is characterized
and the judicious implementation and placement of materials. A new alchemy
as the art of our time, does Contemporary Art have something to clothe, or does it
came into being and was accentuated by new technologies that provided
excel at cloning garments of emptiness and vapidness and a long narcissistic cell line
born-again crucibles for turning lead into gold. What lives inside the visible is indeed a
of objects and spectacles applauded by gloves without hands? It’s up to each one of
kind of “spirit world” and it’s nothing if not elastic. This inner world comprises belief
us who seriously care about the evolution of culture to decide what is the sound of
systems, values, attractions, repulsions, sources of inspiration, ideas both specific and
one empty glove clapping, or what induces genuine feelings of awe and a desire to
vague, and emotions of every conceivable type. Who can say there is no such thing
investigate further the complexity of the depths within us. D
as a spirit world? It is from this wholly abstract inner space that the desire rose to concretize the abstractions, and so began the Modernist agenda.
| june 2011
Diane Armitage is a video artist and writer who also teaches art history at the Santa Fe Community College.
THE magazine | 47
2011 Art Spot Workshops June Classes Call 505-954-4179 To reserve a class.
14 01 M a c l o v i a S t re e t
June 1, 2 & 3 Oil Painting in Plein Aire: Joseph Breza
Wednesday thru Friday, 9:30 AM to 4:30 PM • $300 + materials list www.josephbreza.com
June 6, 7, 8 & 9 Textures, Transfers and Layers: Sandra Duran Wilson Monday thru Thursday, 9:30 AM to 4:30 PM • $400 + materials list www.sandraduranwilson.com
June 11, 12, 13 & 14 4-Day Intensive: Thematic Evolution/Revolution: Diane Rolnick
Saturday thru Tuesday, 9:30 AM to 4:30 PM • $300 + materials list www.dianegrolnick.blogspot.com/
June 15, 16 & 17
Account minimum $1 million
The Emotional Power of Light: Paul Murray
Wednesday thru Friday, 9:30 AM to 4:30 PM • $300 + materials list www.murrayfineart.com
June 20, 21, 22, 23 & 24
Five in One Workshop: Substrates, Surface Techniques, Embellishing, Image Transfers and Finishing: Darlene Olivia McElroy Monday thru Friday, 9:30 AM to 4:30 PM • $500 + materials list www.darleneoliviamcelroy.com
June 27, 28, 29 & 30
Plein Aire Painting: A Limited Palette on Location in Santa Fe: Don Finkeldei Monday thru Thursday, 9:30 AM to 4:30 PM • $395 + materials list www.finkeldeistudio.com
GET YOUR SUMMER WORKSHOPS SCHEDULE
Visit: www.artisan-santafe.com (and follow the ART Spot tab)
STO R E P R O M OTI O N : J U N E 1-19
Pre-Stretched Canvas
Buy one, get one of equal or lesser value free. (While supplies last.)
2601 Cerrillos Road
505.954.4179 Store Hours: Mon-Sat 9am-6pm, Sun 12-5pm
R O B E R T
Plumbago and Gypsophila
S T R I F F O L I N O
oil/canvas
72 x 72
www.striffolinostudio.com
S a N T a F E . B O U L D E R . P a L M D E S E R T K a N S a S C I T Y . O J a I . H O U S T O N
The Blue Series
SEAN DIEDIKER
June 3–25, 2011 in Santa Fe Artist Reception: Friday, June 3 from 5–7pm
Asleep, oil on canvas, 16"h x 24"w
Blue Rain Gallery | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com Blue Rain Contemporary | 4164 N Marshall Way, Scottsdale, AZ 85251 | 480.874.8110
A
CRITICAL REFLECTIONS
Meow Wolf: The Due Return Are you tired of the endless daily grind of three-
dimensional reality? Longing for something beyond the relentless heights, widths, and depths that seem to have come to dominate your temporal-spatial conditions? Isn’t it high time you had a truly mega-dimensional, meta-galactic getaway? Imagine lounging on the deck of a retrofitted interstellar transport unit gazing at the pulsating light trees luminously fluming through multiple color gradients, exploring hand-in-tentacle with your favorite copulator the cool mud caves and crustaceous crevices of an unalienated alien netherworld, interacting with bright and brilliant star-fields on your own terms while imbibing bizarre elixirs— just like in the bygone days when you used to take all those fun drugs and still knew how to tell the boss-man to inter-penetrate himself. Well, wait no more. You’re about to get The Due Return. Luckily for you, on Friday, May 13, 2011—courtesy of a visionary collective (resistance is futile) of amazing imaginationpalpitators known universally as Meow Wolf—an extradimensional portal in the easternmost narthex of the Muñoz Waxman Gallery of the Center for Contemporary Arts succeeded in spiraling into existence. Entry times have been established and the temporal lock abandoned. As a result civilians are free to come and go from the lovely, human-healthy, environment of TD31*, a thirty-first-dimensional planetoid that is the current docking locus for a large nineteenth century space-sailing vessel that has journeyed the skies for lo, the past 200 years. The starship is a marvelously outrigged outrigger that has gathered in its passage from the seas to the stars over the past two centuries an eclectic assortment of technologisticalities and abstract equipulations. It houses comfy, multi-bunk, sleeping quarters, a stunning upper-deck lounge area (TD-31’s
Center atmosphere is such that the stars seem almost close enough to touch) and visitors are encouraged to peruse an extensive archive of the ship’s many dockings and interlockings over its illustrious history. The geodesic Captain’s Bridge is a marvel of consoles, QR codes, levers, touchpads, buttons, bulbs, and ever blinking gizmos—the centerpiece of which is an antique gyrodirectional unit which amazingly still functions as the ship’s main steering device. Will wonders never cease? The ship and TD-31 environs have been carefully calibrated and made fully compatible with contemporary gadgetry for the ease and pleasure of the earth-derived tourist. Through a custom-made iPhone and Android app specific to the project, travelers plug in with this fascinating thirty-first dimensional world, downloading extensive information about surroundings and interfacing with the interplanetary control units and light harvesting systems on multiple platforms. QR codes accessible in various localities throughout the interior of the 2,500 square foot vessel make gathering data on the ship’s past voyages and elaborate historiography a gentle breeze, while a Global Positioning System adds micro detailing to specific rooms. Additionally, ongoing mobile alerts transmit vital audio intelligence on a need-to-know basis. Whether you’re making the pilgrimage solo, with that extra-special APU (automated pleasure unit), or with a full family of reproductoids, there’s more than enough enticing info and interactivity for all. Funding and material support for this massive undertaking (it’s not as easy to expand the CCA into thirty-one dimensions as you might think) was made possible by the generosity of numerous businesses including InstaMorph moldable plastics, Thing M ubiquitous computing products, and most notably,
Contemporary Arts 1050 Old Pecos Trail
for
SITE Santa Fe’s awesome new micro-granting process, SPREAD, in which pay-what-you-can participants in an open-to-the-public dinner kindly hosted by SITE vote to give the monies raised by their meal tickets to hungry artists of their choice. Modeled on FEAST in Brooklyn and Chicago’s inCUBATE, this is a great way to generate financial support for artistic innovation directly from the local community. The Meow Wolf artists’ collective (some one hundred personages worked on The Due Return) is the inaugural recipient of this initiative, and on the basis of the splendid, mind-boggling results, Kienholzian results, it seems everybody’s been well fed by this first foray (though licking the light trees without adult supervision is not encouraged). So what are you waiting for? Escape the doldrums of your planetary restrictions, shake off the shackles of your ho-hum 3-D days, and exponentially expand your mental apparatus and your view of what art and the Santa Fe art scene can be. Set your sensory intake valves to their maximum apertures and prepare to ooh and awe. Take a temporal vacation, watch the cast and crew of The Due Return bringing the drama of TD-31 to life in a multiplicity of elaborately staged performances, or just recline on the chaise in the upper-deck lounge and feast your eyes on infinity. *The exact relationship of TD-31 to Baskin-Robbins’ original 31 flavors is completely unestablished at this point, but there are signs of some loose connective tissue in terms of deliciousness, vibrant chromatics, and a positive interface with offspring (both larval and mammalian) in the early and mid-adolescent stages of development. For information consult renowned Sporpian author Fluuvy Spivetsnizzler’s seminal text The Intergalactic Creamery.
—Jon Carver
Installation views
| June 2011
THE magazine | 51
Melissa Morgan “sweet Dream”
www.not-so-ladylike.com
This Artist’s page sponsored by Santa Fe Capital Management, LLC A Fee Only Financial Planning & Investment Advisory Practice (Investments $500,000 and up) Sam DeLuca, CFP • 3600 Rodeo Lane, Santa Fe, nM 87507 • Phone 505-820-1177 • Fax 505-216-5242 sam@sfcapmgt.com • www.santafecapitalmanagement.com
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CRITICAL REFLECTIONS
Eva Hesse Spectres 1960 When I teach the history of American art after
World War II, I look forward to preparing the section on the emergence of Post-Minimalism, defining it, loosely, as Minimalism in fuzzy slippers. The chief reason I enjoy this period of art is because it is almost entirely composed of works, made from roughly 1966 to ’70, by the artist Eva Hesse, an escapee from Nazi Germany. Her mature sculptures made of fiberglass—which probably killed her, its toxicity an unknown element when she began working in the medium—polyresin, latex, rope, and the like, pose a strong sense of the presence of the artist without being literally autobiographical. The humor she used, as evidenced in her writing, collides with the sensuous, lush qualities of her forms. But this is not a violent collision, rather a subtle tension arising out of the polarity between the erotic and the absurd. Lucy Lippard, who knew Hesse well and wrote a monograph on her, said that her work conveys an “unconsciously wistful quality.” We cannot help but
1 University conflate Hesse’s art with her tragically short life. She died of a brain tumor in 1970 at the age of thirty-four, having worked as an artist for ten short years. Her piece Contingent appeared on the cover of Artforum, published just days before her death. We got to know her only as she was dying. Even the severely academic Rosalind Krauss wrote about Hesse in a poetic fashion: “From [her] position at the edge—the boundary between… formalized conventions—there emerges an experience of matter that is both bewildering and beautiful…. Form and matter are given the real possibility of eclipsing one another….” In a theoretical tour de force E. Luanne McKinnon, director of the UNM Art Museum, pulled together nearly two score of Hesse’s paintings from her first year as a professional artist after graduating with her B.F.A., from Yale, in 1959. These are all untitled, abstracted figures, painted in the dark palette of serious Modernism. Her application of paint is as deliberately messy, and slightly
of
UNM Art Museum New Mexico, Albuquerque
naughty, as Robert Rauschenberg’s Bed. Obviously influenced by Willem de Kooning, Hesse’s paintings are robust but not, I would argue, outstanding on their own merit. I felt the strongest kinship with the selfportraits: Mischievous and haunted, Hesse’s background and psychological makeup lend themselves to insertion into her art, and seeing her peep out of the canvas is a provocation, flirtatious and poignant. Ever ready to slip away, she is a phantasm captured in a moment of painterly generosity. As noted in the exhibition brochure, Hesse fought with her instructors Josef Albers and Rico Lebrun during school critiques; she challenged herself in her diary to “Paint yourself out, through and through, it will come by you alone.” That period after graduation was spent finding her way to herself, discovering and disassembling her identity in the materials of canvas and thick, rubbery paint—a precursor to what would come out of her studio within a few years. In an era dominated by the cult of machismo, Hesse struggled with what it meant to be a female artist in New York in 1960, and several of these paintings could be described as coy. At the same time, they are decisively and unabashedly bold: Here I am, she tells the viewer; what’re you gonna do about it? Again and again, I returned from Spectres—an exhibition of paintings that any student of her age and geography would have made—to the fact that I was face to face with the artist who inhabited her later, PostMinimalist works. This first-time grouping of paintings will travel later this year to the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. I suspect they will speak volumes there to what McKinnon calls “an intense personal reckoning” that imploded the handsoff, hard-edge industrial Minimalism of Donald Judd and Sol LeWitt—both of whom championed Hesse—into the process-oriented, personal, organic art of PostMinimalism. While Robert Ryman might have pointed a way into Process Art, it was a woman—a deeply traumatized and highly energetic woman—who subverted the tenets of Minimalism through a budding feminism. Art critic and curator Bruce D. Kurtz asserted: “Wrapping represents ‘women’s work’ and formally narrates a difference between women’s and men’s roles. Women are usually the care-givers of the family. Wrapping connotes the bandaging involved in caring for the sick, as well as the emotional care-giving of enfolding, encircling, and protecting…. Women were permitted expression through sewing, knitting, decorating, and other domestic handicrafts. Wrapping gifts, coiling balls of yarn, threading needles—actions associated with domestic handicrafts—these parallel the use of string, wire and strips of cloth that formed part of the process of artworks by…Eva Hesse, who deliberately employed the ‘women’s work’ connotations these actions and materials possess.”—Contemporary Art 1965-1990 It turns out the ghostly girl in the picture would have a great impact on the physical world she so passionately, yet briefly, inhabited.
—Kathryn M Davis Eva Hesse, Untitled, oil on canvas, 36” x 36”, 1960
| June 2011
THE magazine | 53
A N D R E W S M I T H G A L L E RY, I N C . MASTERPIECES of PHOTOGRPRAPHY Current Exhibition:
Happy 70th Birthday Robert Allen Zimmerman Photographs of Bob Dylan by David Michael Kennedy, Lisa Law, Baron Wolman, and Guy Cross. Continues through June 25, 2011.
Upcoming Exhibition:
Louviere + Vanessa Exquisite Collaborations Bob Dylan, The Castle Solarium, Los Angeles, CA, 1966 © Lisa Law
Artist Reception: July 1, 2011, 5 - 7 p.m. Exhibition Dates: July 1 - September 10, 2011
122 Grant Ave., Santa Fe, NM 87501 Next to the Georgia O’Keeffe Museum
A Natural Lust for Condemnation, 2011© Louviere + Vanessa
• 505.984.1234 • www.AndrewSmithGallery.com
M SaA NsT At FeE rC OpMiM eU NcI TeY sC O L LoE GfE
P h o t o g ra p h y
| SCHOOL OF ARTS & DESIGN
Santa Fe, New Mexico | August 1-12, 2011 A Safer, Greener, Etching Method with Alan May | Carving Techniques for Wood Sculpture with Mark Gardner Marquetry with Craig Vandall Stevens | Drawing by Seeing with John Torreano Intensive Monotype with Alan May | Action Theatre Training with Ruth Zaporah
Ruth Zaporah
JohnTorreano, Orion’s Edge
Mark Gardner, Untitled
Alan May, Thinking Up Spring
www.sfcc.edu/summer_arts (505) 428 -1676
the
Artist
In the words of the great storyteller
Eudora Welty, “a good snapshot stops a moment from running away.” Capturing someone on film is a tricky business, particularly when that someone is a famous author or artist. The skill and agility of the photographer is elegantly evidenced in Composing the Artist, an exhibition currently on display at Monroe Gallery. This diverse survey offers an intimate glimpse into some of the past century’s most iconic art personalities. Abstract artists who emerged in the middle of the twentieth century introduced not only new ways of making art, but in fact encouraged us to look at the very concept and convention of art with fresh eyes. In Helen Frankenthaler, New York (1969) Frankenthaler is in a deep downward bend, pouring a bucket of paint onto a canvas spread out across the floor. She wears an expression of almost otherworldly serenity on her face—an aspect that stands in sharp contrast to the revolutionary physicality of her actions. This photograph of the incongruously graceful Frankenthaler is placed near an image of Jackson Pollock, who is crouched down in characteristic paint-flinging insouciance with a cigarette dangling from his mouth. Deeply personal portraits like these underscore the intimate and sometimes sensual act involved in the process of a painting’s creation and make us momentarily privy to the very human activity of artistic expression. Even a cursory familiarity with the creative luminaries of the past century is helpful in appreciating this show. For example, a 1967 shot of Truman Capote—dapperly dressed and jauntily posing outside the Holcomb, Kansas post office—seems playful at first glance; knowing that sleepy Holcomb is the town made infamous by Capote in his crime novel In Cold Blood adds depth and interest to this otherwise lighthearted composition. Fans of Matisse will swoon over Robert Capa’s 1950 portrait of the celebrated abstractionist. The stout eighty-one-year-old painter is holding up a thin, long brush that’s roughly the length of his body and gently applying paint to a large sheet of paper taped to the wall. The image’s caption informs us that Matisse is making sketches for the murals of the Chapelle des Dominicains, in Paris. To hold a brush of this length would be an awkward feat for even the most able-bodied young man. It’s clear, however, that Matisse’s advanced age doesn’t hinder him from his creative endeavors in the slightest. The artist’s calm agility creates a composition of remarkable impact. Pablo Picasso and Françoise Gilot pictures the couple walking along a beach. A beaming Picasso is holding a parasol above Gilot, his longtime muse and lover, and one recognizes in their carefree smiles the sort of sun-soaked giddiness that comes with spending a romantic day at the beach. The frayed rim of the straw hat worn by the radiantly beautiful Gilot is offset by the fringed tassels on the parasol carried by Picasso, adding further visual intrigue to the happy scene. A riveting 1958 portrait of Vladimir Nabokov taken by Carl Mydans captures the author leaning out of a car window, looking over his shoulder with his hair mussed and his eyeglasses halfway down his nose. His eyes twinkle with mischief, and his quiet smile is both disinterested and amused. The subject’s disheveled appearance contrasts mysteriously with his cunning countenance, making the simple act of looking at a photograph a strangely private experience. A portrait of Ernest Hemingway on a hunting trip with his son in Sun Valley, Idaho, in 1941, is absolutely stunning. The ten- or eleven-year-old boy is lounging
| June 2011
Monroe Gallery of Photography 112 Don Gaspar, Santa Fe nonchalantly against a bridge, his clean bare feet flexed, and it’s clear that this comfortable pair is taking a break from the day’s activities. The calm, casually postured Hemingway adds a quality of mellow serenity to a scene that is at once unplanned and composed. This quiet look at a moment of relaxation between father and son stops just short of being sentimental, and contains that rare quality that makes photography such a singularly personal and moving art form.
The exhibition standouts are plenty, and Monroe Gallery does a fine job of including a wide range of complex, fascinating characters. Perhaps that clichéd concept of “the good old days” is a largely exaggerated one, but these photographs nevertheless leave one feeling an almost intoxicating nostalgia for a bygone era marked by creative vigor and intellectual ingenuity. —Iris McLister
Steve Schapiro, Truman Capote, Holcomb, Kansas, gelatin silver print, 1967
I
Composing
CRITICAL REFLECTIONS
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MONROE GALLERY Santa Fe Art Institute
of photography
June
HISTORY'S BIG PICTURE Opening Reception Friday, July 1 Exhibition continues through September 25
Indigenous arts collective
Postcommodity 6/10 Performance, 6pm Tipton Hall 6/17 Lecture, 6pm Tipton Hall 6/12 Workshop, 10am – 4pm SFAI 6/3 Screening, 6pm Tipton Hall
Libby Spears’ film Playground a documentary about child sex trafficking 6/23, 5:30pm SFAI
Artists and Writers in Residence Open Studio
Ed Clark: Navy CPO Graham Jackson Plays “Goin’ Home” as President Roosevelt’s Body is Carried From The Warm Springs Foundation, Where He Died From a Stroke the Previous Day, Georgia, April 13, 1945 ©Time Inc.
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Celebrating Ten Years in Santa Fe
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The Dream Keeper, 60” x 90”, Daniel Blagg
Appoinment Gallery 505.699.0058 art@artspace111.com www.artspace111.com 202 East Palace Street, Santa Fe, NM
I
Hide: Skin
CRITICAL REFLECTIONS
as
Material
and
Metaphor
In the realm of visual art the eye is privileged, but our first and realest contact with the world is through touch. Skin is how we first feel the world around us long before we ever open our eyes. We know each other best, we are most compassionate ,where and when skin meets skin. Hide is a potent title for an exhibition of contemporary Native art given the role that skins, both human and animal, play in both traditional indigenous cultures and in oppressive colonial constructs. The pun is well employed with its double meaning of concealment and disguise versus nakedness, and the implied laying bare of skin. The word skin itself is especially charged in this context, associated with traditional scarification rituals of many indigenous peoples on one hand, and the fetishization of the bodies of Native Americans by Eurocentric anthropologies. “Skin” is also a slang term sometimes used by Natives to refer to one another. As metaphor one could hardly imagine a more fecund theme, and on a material level, animal skin (and viscera) are used here to produce the most powerful pieces in a generally strong exhibition. Authenticity is often accessed based upon links to tradition. If this is how something was done a thousand years ago it must be real. While this standard is potentially as bogus as any other, in the case of the artwork of Sonya Kelliher-Combs it seems to be half-accurate. One aspect of the positive feeling of authenticity that her work evokes is derived from her extensive use of the materials used by her ancestors. In fifteen years of writing about contemporary art this is the first time I’ve written about personal expression that entails the entrails and pelts of
Museum of Contemporary Native Arts 108 Cathedral Place, Santa Fe
walruses, seals, and reindeer. What’s new to me, though, is hardly new to the indigenous people of Northern Alaska. The other half of what makes Kelliher-Combs’ work really real however is an utter contemporaneity. In fact, much of the power of her work is derived from a finely drawn tension between mainstream painterly abstraction and her Inupiaq and Athabascan traditions. The rectangular frames upon which she stretches her “hides” stand as obvious signifiers of contemporary painting. The inclusion of synthetic paints, nylon threads, and metal grommets also signifies significant departures from the past, while the reoccurring empty pouch motif and the careful use of human hair and marine mammal stomachs and intestines tie directly to the artist’s traditional culture. But the powerful sense of poignancy, heartfelt loss, and ambiguous redemption that emanates from Kelliher-Combs’ pieces is what matters most. Some artists are respected for unique expressions of their specific ethnicities or cultures. Some are appreciated for the universality of their work, and we only discover later a particular ethnic affiliation. And the rare artist, like Sonya Kelliher-Combs, balances perfectly between both categories, neither pigeonholing herself in an ethnic art ghetto, nor compelled to deny (or hide) her background in any way. She simply makes strong, subtle, superb work from the real and metaphorical places and persons, old and new, that sustain her sensitivity and soul. Some of us are more thick-skinned than others, but we all bleed just the same when something gets under our skin. And when we heal, when those cuts don’t kill us, we scar. Some
display scars like badges of honor, like wars fought, like enemies vanquished, like narrowly made escapes from death, destruction, and dismemberment. Others hide and conceal their scars, hoping you won’t see them, keeping wounds to themselves, covered up, in shame, repentance, or remorse, like silent signs of suffering long gone but always present, written on the surfaces of the psyche. Nadia Myre presents Scar Project. Since 2005 the artist has held workshops in which participants are invited to alter, cut, and suture a ten-inch square of stretched canvas to represent their scars, and are asked to write down their stories. A large group of these metaphorical human hides hangs on the wall, and in the center of the gallery the accompanying writings and drawings are presented in a large-format book. Part art therapy, part profound exploration, these canvases and stories of lost loves and lives have a raw emotional impact, making personal pain into a collective experience, and offering the possibility of healing through expression and compassion. Additional work in photography and video is intriguing. Terrance Houle’s photographic insertion—in his Urban Indian series—of ceremonial regalia into the everyday life of today’s mainstream culture amusingly questions issues of aboriginal identity and cultural conformity, while his video, Metrosexual Indian, boldly raises the specter of Natives themselves perpetuating stereotypes. The works of the other artists in this essentially excellent exhibition are also well worth visiting. Given the healing power of art, it’s fair to say that viewing this show, on display through July 31, just might save your skin.
—Jon Carver
Sonya Kelliher-Combs, Small Secrets, (detail), Walrus stomach, human hair, glass beads, and nylon thread, 2009
| June 2011
THE magazine | 57
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A
CRITICAL REFLECTIONS
Albert Paley At its best, public art amplifies and analyzes the symbolic, political, and economic operations of its targeted site—emphasizing a specific space as a uniquely practiced place. Nonetheless, such emphatic humanization also threatens to provoke alienation through excess. Most at issue is a sense of scale, for it is necessary to gauge the degree to which monumentality reflects a bureaucratized aesthetic, social practice stumbles under the weight of grandiose selfexhibition, and public access is received as patronizing private extravagance. Eroding the genre’s promise for the future, it continues to stutter an uncritical reassertion of traditional sculptural materials that have begun to overstay their lengthy residency in the sphere of the institutionally ratified and commoditized. As Richard Flood has famously proposed, “formalism and traditionalism have become elite and moribund; like jewel-freighted dowagers struggling from the porte-cochère to the limo, they are not in step with the pace of our time.” Too often and too loudly, public art rears its head to proclaim, as if they were ineluctable, stabilities that no longer persist. Having attained early renown as an influential goldsmith within the studio art movement, Albert Paley has translated a meticulous attention to craft issues into the foundation for public commissions of elephantine proportions. That the exaggerated curvatures, intricately interlocking
Gerald Peters Gallery 1011 Paseo de Peralta, Santa Fe forms, and zoological and botanical allusions that individuate his jewelry designs remain largely intact comes as no surprise. The transition from urbane glitz to urban glitz—from bodily ornament to public ornament—conforms to the perceived needs of state and real estate architecture. In an era of unparalleled touristic consumption, compensating for the loss of social representation in urban architecture is most readily achieved through the reification of pseudo-memory. Perhaps Paley’s most ambitious artwork, a one hundred twenty foot long entryway sculpture for the St. Louis Zoological Park, testifies to this condition—replacing recognition of the city’s complicity in the area’s displaced indigenous ecologies with a sense of the teeming abundance of natural life synthesized in steel. By means of a canny sleight of visual logic, the work’s florid Art Nouveau aesthetic registers an opposition to depersonalized industrial efficiency—simulating criticality even as it colludes with the ongoing isolation of artistic practice from salient public issues and the application of this sterilizing proceduralism within the public domain. Nonetheless, once divested of its role in perpetuating a distinctly bureaucratic aestheticism, the spirited stylization of Paley’s art extends and contemporizes the formal lineage of Art Nouveau as well as the style’s intended colonization of the domestic sphere. Offering insights into the development of Paley’s works and exemplifying the expanded technical capacities of contemporary metal fabrication, the artist’s current exhibition features drawings, monotypes, furniture, household accessories, sculpture, and original maquettes for his public works. Merging the elongated forms and vegetal motifs of Louis Majorelle with the industrial allusions and forceful, AbEx-inflected gesturality of Mark di Suvero, the majority of Paley’s compositions on view synthesize seemingly opposed structural conventions to achieve unexpected effects. As the artist himself has remarked, “This exhibition … reflect[s] my ongoing dialogue with iron and steel. Plastic and fluid, yet rigid and inorganic, these forms reflect paradox and a complexity of contradictions as they move through space.” Although the exhibition’s maquettes for sculpture are charged with the potential for growth, the works’ comparatively modest scales, relative to their public counterparts, encourage a contemplation of formal principles that might otherwise be marginalized through the privileging of size over particularity. Critically, material specificity proves especially significant in works whose subject matter’s naïveté and construction’s finesse find themselves at odds. In Giraffe Pair, a freestanding study for the St. Louis sculpture, the malleability of milled steel permits for the creation of undulant ribbons, rococo curlicues, and supple arcs teasing out the very limits of their medium’s capacities; their service to representation reads as disservice to their formal ingenuity. Ditto for Heron, Elephant with Birds, Zebras with Toucan… you get the gist. When Andrea Zittel fashions a perfume, Vik Muniz editions an ashtray, or Karen Kilimnik batches out a beach towel, we are prone to perceive these efforts as footnotes to the crux of their studio practices. Paley’s functional designs, however, may stand as his most accomplished efforts. Untethered from mimetic protocols, their materials are freed to direct compositions that embody, rather than solely allude to, the robust and untamed. Thick fronds spear upward in dramatic accentuation of a presentation table’s legs, but its cynosure lies in its central plank, which attunes viewers to subdued differences between the contrasted properties of blackened steel and stone. Elsewhere, forged fireplace tools are animated with dynamic swerves that suggest a tendency to recoil from the heat of fire; playing on the conventional bifurcation of art and design, they personify the inanimate to suggest a simultaneous capacity and reluctance to realize their purpose-driven nature. Surprisingly, the artist’s forays into pure abstraction reveal a greater facility with twodimensional media than with non-objective sculpture. Though boasting complex arrangements of splayed and cantilevered forms, Double Cross and Arched Progression are compacted into planar elements that sustain David Smith’s hesitation to break with a compressed frontality— encouraging the stability, and also the passivity, of their observers. Proscenium (Red) and Proscenium (White), executed in slickly painted steel, obliterate traces of the hand that might have tied them more productively to the heritage of action painting that their brusque and agitated forms connote. However, while his sculptures are keen to retreat toward painterly conventions, his monoprints are enriched with unexpectedly sculptural effects. Pilchuck Series #18 and San Jose Series #11, in particular, belie the expected flatness of their media through richly textured impressions that evoke nearly cavernous depths behind their pulpy surfaces. A grouping of objects in which the most humble prove to be the most persuasive, the exhibition may unintentionally upend viewers’ previous understandings of Paley’s importance. Far from committing urban prettification, it lies in the artisanal functionalism of objects designed for private use.
—Alex Ross Albert Paley, Giraffe Pair, steel, 63½” x 29” x 34”, 2006
| June 2011
THE magazine | 59
RO U N DSTON E STUDIO
GALLERY
2nd St Studios SANTA FE NM 505.919.9354 Photography of Norman F.Carver Jr. normancarver.com Architecture of Mitch Witkowski roundstonedesign.com Artifacts of the Ancient World
R
CRITICAL REFLECTIONS
Roland Reiss Reiss’s Pendulum:
These two series from 2000 and 2001 by renowned Los Angeles artist Roland Reiss are a rare opportunity to revisit both the strength and the challenge of nonobjective painting. I recall a review by critic Robert Hughes of a major Guggenheim millennial exhibition featuring twentieth-century abstract art. In the review Hughes noted that abstraction had dominated the century’s critical discourse about Modern Art, yet in the end its manifold expressions fell far short of both its universalist and utopian aspirations. The pure, or total, abstraction of nonobjective painting embodied a common aim—buoyed by formalist and social aesthetics—for its Modernist proponents: to find a new way of seeing the world. By mid-century the utopian social currents had played out, leaving the formalist aesthetic of the New York School, heavily inflected by the personal mythologies and mysticism of its Abstract Expressionists. The final decades of the century would submit abstraction to an exploration of the elements
Roland Reiss, Apertures—Viewpoints, acrylic on canvas, 44” x 44”, 2000
| June 2011
David Richard Contemporary 130 Lincoln Avenue, Suite D, Santa Fe of communication itself, of the nature of language. A curious effect of this postmodern shift from aesthetics to semiotics was to effectively align nonobjective painting with its formalist/structuralist roots in Cubist abstraction (the linguist Saussure’s third and final course on semiotics was given in 1911, and his seminal study on semiotics was published in 1916—a period that parallels the Cubist epoch). If Roland Reiss’s luminous acrylic-on-Mylar paintings from 2004 evoke Gerhard Richter’s abstract canvases of the early 1980s—in which works like Richter’s Abstract Picture (1984) are a semiotic reprise of AbEx gestural painting—the high visual appeal of Reiss’s mid-decade Mylar paintings likely have their source in the earlier, more cerebral studies in this show, namely the Apertures series of 2000 and the Short Stories series of 2001. In this work we see the communicative force of pure abstraction informed by Reiss’s semiotic probing of its capacity to achieve it. The challenge, then, is to do painting that,
however much it might demand of the viewer, is in the end visually engaging. The exhibiting of the Apertures series from 2000 side by side with his 2001 Short Stories cycle of paintings underscores a common visual device linking total abstraction’s two major currents, geometric and biomorphic. That link is the grid format, a compositional device that is explicit in his geometric Apertures and implied in his biomorphic Short Stories paintings. In Apertures, the grid functions simultaneously as surface skein and Cubist screen. In a seminal piece in the series entitled Seeking Certainty, the grid reads as an excavated ground plan of a Pompeian house, while the grid motif in each of the remaining Apertures compositions is coextensive with the canvas and one with its surface. In these paintings, there is a kind of inverse parts-for-the-whole synecdoche at work between the grid’s integrity and the bold outline squares— rendered with a largely primary palette of bright magenta, cyan blue, and yellow—that purportedly comprise it. Reiss uses their complementary contrasts to create the effect of windows, or apertures, for some of the squares, thus breaching the grid lattice, while others lie quiet on the surface. The allover grid is further compromised by thicker lines and truncated graph fragments that fray or dissolve the grid’s integrity at the same time as they assert its surface identity. The effect of this investigative, or heuristic, manipulation of the grid format is to energize an otherwise inert pattern through iridescent play of color complements against a pictorial tension of opaque square and recessive window. The erratic energy of the Apertures grid paintings reads as a lyrical rendering of a downtown L.A. street map—Reiss’s riff on the New York grid in Mondrian’s Broadway Boogie Woogie. In the Short Stories cycle, the grid goes to ground, represented in absentia by bright swatches of primary and secondary painted surfaces that were taped off and built up as curved strips and parallel bands. Their edges meet to form open or closed biomechanical volumes clustered at points that define key invisible nodes, or horizontal-vertical intersections, on the gird lattice. Here the grid functions as storyboard as each cluster’s unique configuration and chromatic pairing yield their own visual narrative—film clip segments, abetted by titles like Fast Forward, Only in Dreams, Poets First, and The Beautiful Stranger. The compositions recall the stenciled gouache patterns of Malevich’s Design for a Suprematist Fabric, but in Short Stories the variation in form and color interaction of each cluster creates selfcontained expressive narratives. What makes these highly abstract investigations of visual language as engaging as they are cerebral is Reiss’s mastery of his medium, his capacity to hone high craft with profound intuition, the product of decades of trial and error. That is manifest in these two series through his, by now, innate sense of the pendulum swing in pure abstraction between its geometric and biomorphic expressions, at the locus of heuristic and aesthetic pursuit, where the best in abstract painting can be found.
—Richard Tobin
THE magazine | 61
JENNIFER ESPERANZA P H O T O G R A P H Y
nothing is original! steal from anything that resonates with inspiration or fuels your imagination.
Devour old films, new films, music,
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poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds,
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select only things to steal that speak directly to your soul.
if you do this, your work (and theft) will be authentic.
authenticity is invaluable; originality is nonexistent.
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celebrate in it if you feel like it. in any case, always remember what Jean-Luc Godard said:
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Tom Shadyac Hollywood Director Producer & Writer
“We change the world every day
and everything around us shifts based on who we are. The question is: How do we change it? I want I AM to wake people up to how powerful they are.” Tom Shadyac has directed some of the most successful comedies in Hollywood: big budget mainstream slapstick films like Ace Ventura, Pet Detective, Bruce Almighty and the Nutty Professor. To date his movies have grossed just short of two billion dollars. Shadyac was living the American Dream with a mansion in Beverly Hills filled with art and expensive objects, many other properties, multi-million dollar homes, and private jets. Yet with all of his success he felt empty. He began to ask questions about his life, the American culture of materialism, and the suffering in the world. For years, he was on a personal quest— reading mystics and spiritual masters—trying to get a handle on his big life. In 2007 Shadyac suffered a head injury from a bicyle accident and almost lost his life. On his blog he wrote, “Simply put, the accident knocked me from my head to my heart and gave me the courage to speak publicly about the principles that had inhabited me and changed me over the course of a decade.” When Shadyac recovered, he set out to make a very personal documentary—called I AM—which explores the reasons why the director believes humankind has lost its spiritual compass—the materialism, the dearth of compassion, and the despoliation of the planet. Shadyac interviewed scientists and philosophers, including Desmond Tutu, Noam Chomsky, Howard Zinn, Coleman Barks, and Lynne McTaggart. He set out to make a film about what was wrong with the world and ended up with an uplifting film about what is right with the world. Shadyac has given much of his money to people and non-profits. He sold his huge homes and moved into a 1,000 square foot doublewide mobile home in Malibu. Shadyac is the founder of The Foundation—For I Am—a non-profit that supports organizations like Free The Slaves, Invisible Children, St. Jude Children’s Hospital, and The Heaven. Ultimately, the goal of The Foundation is to help to usher in a more loving, kind, compassionate, and equitable world for all. D
www.Iamthedoc.com
P hotographed | june 2011
on
A pril 30, 2011, S anta F e , N ew M exico . © J ennifer E speranza THE magazine | 63
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A R C H I T E C T U R A L D E TA I L S
Old Truck Photograph by Guy Cross | june 2011
THE magazine | 65
WRITINGS
BOGIE HOLE by Shirley
Geok-lin Lim
Before that old crone, arthritis, Comes down on me, I walk up Newcastle Beach To Bogie Hole. What power, I ask, peering Over the handrails at the sea-moss Slime-slippery steps cut into the cliff face Steep down to rock hold, studying As if a text the heart skips over, Falling in love with falling, before Backing off from the salt savor. Not yet, feet say, stepping away. Today for the first time I see dolphins Jumping above the surf line, black fins Racing over the Pacific, natural As feet walking in sunshine on Bather’s Way. What has brought me to Newcastle no one Knows, least of all me. Blue skies and ocean air The same as home, leaving home is mere practice For leaving all, all the leavings learned Again and again, until goodbye becomes Addictive, last look behind, first look forward, What you carry everywhere. What childhood taught, Packing up, sleeping on others’ mattresses, Always hungry for the new morning And night to be endured, sharp as a knife Peeling another brown spot.
Shirley Geok-lin Lim is the award-winning author of Among the White Moon Faces, Crossing the Peninsula, and What the Fortune Teller Didn’t Say. Born in Malacca, Malaysia, she is currently Professor of English at the University of California, Santa Barbara. “Bogie Hole” is from her latest poetry collection—Walking Backwards—published by West End Press, Albuquerque.
66 | THE magazine
june
2011 |
light, Form and Reverie T h o m a s a q u i n a s D a ly W a lT E r m aT i a
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ElizabETh WaDlEigh lEary
Thomas quinn
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J o h n T. s h a r p
Clockwise from top left: Thomas Quinn, Turning Bull, watercolor on paper, 10 1/2 x 11 inches. John T. Sharp, Two Steelhead, cherry wood, 27 x 8 1/2 x 3 inches. Elizabeth Wadleigh Leary, The Old Watering Can and Grain Bag, acrylic on panel, 23 x 28 inches. Walter Matia, Sun Burst, Quail Fire Screen, 29 x 38 x 6 inches. Thomas Aquinas Daly, Summer Clouds, watercolor on paper, 12 1/4 x 17 1/2 inches. Š 2011 all artists, courtesy Gerald Peters Gallery.
J u n e 1 7 - J u l y 2 3, 2 0 1 1 O p e n i n g R e c e p t i o n : J u n e 1 7 t h f ro m 5 - 7 p m F o r f u r t h e r i n fo r m a t i o n c o n t a c t M a r i a H a j i c , D i re c t o r o f N a t u r a l i s m , m h a j i c @ g p g a l l e r y. c o m T O v i e w M O R e w O R k s i N T H i s e x H i b i T i O N p l e a s e v i s i T w w w.g p g a l l e R y.c O M
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