THE magazine May 2005

Santa Fe’s Monthly

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of and for the Arts • May 2007

Darren Almond Barry X Ball Stephen Bush Through May 13, 2007

Installation view of Darren Almond, In the Between, 2006, Three screen HD video installation with sound, 14 minute loop, Courtesy of the artist; Matthew Marks Gallery, New York; Galerie Max Hetzler, Berlin; Jay Jopling, White Cube Gallery, London Photo: Eric Swanson

MAY

image: Installation view of Darren Almond, In the Between, 2006, Three screen HD video installation with sound, 14 minute loop, Courtesy of the artist; Matthew Marks Gallery, New York; Galerie Max Hetzler, Berlin; Jay Jopling, White Cube Gallery, London photo: Eric Swanson

Tuesday, May 8, 6 pm, Philosophy of Time Travel

Lecture by Christine Y. Kim, ASSOCIATE CURATOR, STUDIO MUSEUM IN HARLEM Kim will speak about her current project, Philosophy of Time Travel, a collaborative site-specific exhibition including artists Edgar Arceneaux, Vincent Johnson, Olga Koumoundouros, Rodney McMillan, and Matthew Sloly, on view at The Studio Museum in Harlem through July 1, 2007.

Co-sponsored by Bellas Artes Call 505.989.1199 or visit www.sitesantafe.org for tickets.

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

Darren Almond is supported in part by Pat T. Hall; Barry X Ball is supported in part by Margaret Jacoby-Lopez & Tom Lopez and Salon 94, New York; Stephen Bush:GELDERLAND s supported in part by Sutton Gallery, Australia, and Arts Victoria; and Goff+Rosenthal, New York.

SITE Santa Fe will be closed from May 14-June 22 for installation of Hans Schabus: Deserted Conquest, opening on June 23, 2007.

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

Letters

16

Universe of Filmmaker Joe Day

19

Studio Visits

Todd Williams

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005 Sutcliffe Vineyards Syrah, Syrah,

by Joshua Baer

25

Food for Thought: Thought: Bar at the Folies-Bergère

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Dining Guide: Guide: Geronimo and Al Di Là

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Openings & Receptions

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Out & About

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Previews Modern Dimensions: Contemporary American Sculpture Jennifer J. L. Jones at t Klaudia Marr Gallery; at LewAllen Contemporary and the Santa Fe Art Institute; and at William Siegal Gallery

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National Spotlight

43

Critical Reflections Ephemeral Moments at photo-eye

at the Modern Art Museum of Fort Worth

Santa Fe’s Young Curators Spirit Sites of Santa Fe at Klaudia Marr Gallery; Budapest at Museum of Fine Arts, Budapest, Hungary 55 61 62

Feature:: Our War, Our President, and the Artists of Iran Feature

by Joshua Baer Architectural Details Writings:: “Lies,” by Tamara Colleary Writings

Look at the cover of Becoming Judy Chicago (Harmony Books, $29.95) and you will see a young woman leaning against the ropes in the corner of a boxing ring. Her hair is short and dark, her mouth grim, she sports a cool gaze, and wears a sweatshirt adorned with the words Judy Chicago, boxing gloves, laced boots, and shiny satin shorts. This is Judy Cohen/Judy Gerowitz/Judy Chicago in 1970, who was to become one of the most influential and controversial female artists of her generation because of her commitment to feminism and feminist art. Drawing upon letters to Chicago’s friends and critics, as well as from her diaries, the author, Gail Levin, has created a meticulously detailed biography of Chicago’s story. This is particularly timely because of Chicago’s powerful, though much-maligned installation, The Dinner Party, which recently found a permanent home at the Brooklyn Museum. Throughout her career, Chicago has confronted sexism and helped to revolutionize arts education, her stated intention being to “expose what it really was to be female in a society that held the female in contempt.” This is an extremely valuable book about an artist who has always refused to compromise.

Photo: jerry McMillan

CONTENTS 5

LETTERS

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

P U B L I S H E R S / C R E AT I V E D I R E C T O R S

Guy Cross and Judith Cross ART DIRECTOR

Chris Myers

CONTRIBUTING EDITOR

Photograph by Robert Godwin

diane arMitaGe COPy EDITOR

edGar sCully

PROOFREADERS

JaMes rodewald KenJi Barrett

S TA F F P H O T O G R A P H E R

stanley darland

CALENDAR EDITOR

Kathryn M. davis

Memorylines: Voices From a Collective Journey is a contemporary opera celebrating Santa Fe’s unique and diverse cultures.

The group of twenty actors, singers, and dancers are Hispanic, Native American, European, American, Japanese, American-Mexican, and Guatemalan. They range in age from 8 to 87 years. World premiere at the Lensic Center for the Performing Arts on Friday, May 1 at 10 am for students and 7 pm for the public. Two additional performances are scheduled: Saturday, May 12 at 7 pm and Sunday, May 13 at 2 pm. Tickets at the Lensic Box Office, 211 West San Francisco Street, or 988-1234.

CONTRIBUTORS

MiChael aBate BateMar MarC arCo Co, Jan adlM dlMann Mann, diiane arM rMitaG ita e, FranCisC isCo isC Co areChiGa Ga, Joshua Baer, Jon Carver, taM Ga aMara Mara Colleary, rinChen lhaM haMo, and Miranda Foster MerK erKlein Klein COVER

Photograph by Shadi Ghadirian. From the Qajar Series, www.zonezero.com/exposiciones/fotografos/ghadirian

ADVERTISING SALES

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

the QuiCK-QuiCKsilver silver Group THE magazine is published by THE magazine Inc., 1208-A Mercantile Road, Santa Fe, NM 87507. Phone (505) 424-7641. Fax (505) 4247642, E-mail:THEmag1@aol.com. Website: TheMagazineOnLine. com. Copright 2007 by THE magazine. All rights are reserved by THE magazine. Reproduction of contents within are prohibited without written permission from THE magazine. All submissions must be accompnied by a self-addressed, stamped envelope. THE magazine is in no way responsible for the loss of any unsolicited materials. THE magazine is not responsible or liable for any misspellings, incorrect dates, or incorrect information in its captions, calendar, or other listings. The opinions expressed within the fair confines of THE magazine do not necessarily represent the views or policies of THE magazine, its owners, or any of its agents, staff, employees, members, interns, volunteers, or distribution venues. Bylined articles and editorials represent the views of their authors. Letters to the editor are welcome. All letters may be edited for style and libel, and are subject to condensation.

THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity or quality of objects and/or services advertised. As well, THE magazine is not responsible for any claims made by its advertisers; for copyright infringement by advertisers; and is not responsible or liable for any mistakes in any advertisement.

M AY 2 0 0 7

TO THE EDITOR: Re: the FOCA 2008/Biennial Exhibition at the Museum of Fine Arts. A call to the Museum Foundation revealed what was not at all clear in the confusing public announcement: this show is more a continuation of FOCA’s (Friends of Contemporary Art) annual members-only show than it is of the Museum’s popular Biennial. The (we’re sure) well-intentioned effort to continue both shows by blending them together has produced an unfortunate result: an artist not a member of FOCA would need to spend $190 dollars to apply to this show (an individual foundation membership at $65 a year plus a FOCA membership at $100 plus the handling fee of $25.) More than unfortunate: unacceptable. It would be alright if the event were still held, as in previous years, at a private gallery. But to require a payment of that size for the right to apply for a three-month show at a public space is, in essence, to sell the right to display in the museum.

This is an obvious betrayal of what a museum is about—and it’s raising money on the backs of those who, generally speaking, can least afford it. That FOCA and not the Museum itself is the organizer of the show, and that (I’m told) a limited number of “sponsorships” (i.e. scholarships) are available makes it easier to understand how this came about and mitigates to some extent the damage, but does not change the fact that charging that kind of money is plain wrong. FOCA should do the right thing and withdraw the requirement for membership in FOCA. Applicants could certainly be encouraged to join voluntarily.

Artists can call the Museum Foundation at 982-6366 ext.106— and are welcome to contact us at davhom@cybermesa.com —Dee Homans, Andrew Davis, Alice Van Buren & Nat Hesse, Santa Fe

TO THE EDITOR: I am living in St. Barts for a month. Guess where I saw THE magazine and who gave me a bunch of past issues?

Mona at MARLA real estate in St. Barts. Small world.

My wife and I live in Boulder, Colorado for six months and in St. John for the rest of the year. We are spending a month on St. Barts this year and will do so for the next few years. I currently show in Boulder, St. John, St. Thomas, next year in Germany, and probably in St. Barts. And, after the ad I placed in this issue [see page 35], I hope, in Santa Fe. —William Stoehr, Boulder, CO TO THE EDITOR: My opening was a great success: over three hundred guests passed through the doors at Phil Space—and among these worthies, fully a third, a hundred persons at least, were inspired to visit by our fine advertisement in THE magazine. I am grateful to the staff of THE—outstanding service is the rule in that happy place. THE magazine is a wonder, a tasteful and dynamic friend of the arts, supported by ads like mine, and available free for all to enjoy. Who loves you, baby?

I do, that’s who!

—Melodie-Jeanne de Mesterton, Santa Fe THE magazine welcomes your letters and comments.

Letters may be edited for clarity and length. Send letters to: THE magazine, 1208-A Mercantile Road, Santa Fe, NM 87507. Or email: themag1@aol.com

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Landscape Invitational Exhibition May 21- June 17 Opening Reception May 25, 5-7 pm

William Betts

Richard Levy Gallery 217 west san francisco st santa fe, new Mexico 87501 www.andreevag allery.com 505.982.7272

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Study portrait painting in the historic heart of Santa Fe

2007 Workshops

Dan Thompson May 28 - June 1 Long Pose Portrait Drawing & Painting workshop Marvin Mattelson June 4 - 15 a classical approach to contemporary Portraiture Linda Kyser Smith June 11 - 22 women and the Gesture Judith Carducci June 25 - 29 Painting with Pastels, a Different approach Judith Carducci July 2 - 6 Pastel Portraiture from Life Michael Grimaldi July 23 - august 3 oil Painting from Life Margaret Baumgaertner august 6 - 17 creating a timeless oil Portrait Wende Caporale august 20 - 24 Portrait in Pastel David Jon Kassan august 20 - 31 investigating the rhythm & emotion of the Modern Portrait Paul McCormack august 27 - 31 watercolor Portrait workshop David A. Leffel sept. 4 - 6 Portrait oil Painting

Albuquerque www.LevyGallery.com 505.766.9888

info@levygallery.com

MONROE GALLERY of photography

WOMEN WHO SHOT THE 20TH CENTURY Exhibition continues through June 30

Nightview, New York, 1932 Š Berenice Abbott

for full schedule call or visit www.AndreevaPortraitAcademy.com

OPEN DAILY

215 w e st s a n f r a n c i s c o st suite 202 s a n ta f e , n e w M e x i c o 87 5 01 505-992.3330

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

ERIC TILLINGHAST C O LO R E D PA N E L S

MAY 4 - MAY 27, 2007

CHARLOTTE JACKSON FINE ART 2 0 0 W. M A R C Y S T R E E T, S T E 1 0 1 , S A N T A F E , N M 8 7 5 0 1

www.charlottejackson.com

TEL 505-989-8688

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Guilt of Innocence (Postage Due Mr. Lee) “Most of us don’t realize the true cost of the lifestyle we enjoy. There is a price paid by humanity that lives in our shadow. Unfair trade practices have stripped multitudes from their means of subsistence, thus forcing them to bow down to the system that has taken from them a meaningful life. The sculpture, "Guilt of Innocence", depicts the American consumer’s role in this tragedy�.

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Ponderosa Pine, fabricated steel pedestal 52.25" x 14.5" x 14" Š2006 T. Williams

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136 Tesuque Village Road Tesuque, New Mexico (Hwy 285 North, Exit 168)

(505) 820-0008 www.glenngreengalleries.com

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Labyrinth Study: Trace

2007

assembled corten steel

72" H x 75" L x 60" W

LABYRINTH STUDY M A Y

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SANTA FE, NEW MEXICO 87501 www.rivayaresgallery.com

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G A L L E R Y

( 5 0 5 ) 9 8 4 - 0 3 3 0 / FA X ( 5 0 5 ) 9 8 6 - 8 6 6 1

12th Annual

Silver City Blues Festival May 25 - 27 Headliners—Lucky Peterson & John Hammond Most events are FREE 888-758-7289 www.mimbresarts.org

Silver City Grant County Chamber of Commerce Funded by Silver City Lodgers Tax

www.silvercity.org 1-800-548-9378

FERNANDO DELGADO BOTANICALS

placitas studio tour m a y 1 3 -1 4

www.fernandodelgadophotography.com

May 12 & 13 Mother’s Day Weekend 10 am to 5 pm Free Self-Guided Tour

Riha Rothberg #14

Wayne Mikosz #14

Diane Orchard #19

Michael Prokos #23

Susan Gutt #34

Barry McCormick #22

Dianna Shomaker #7

Debby Brinkerhoff #37

Sponsored by the Placitas MountainCrafts Soiree Society FOR MORE INFORMATION: 505-771-1006

Mark Anthony 30 Elizabeth Balco 3 Bunny Bowen 13 Debby Brinkerhoff 37 Althea Cajero 25 Joe Cajero 25 Andi Callahan 6 Arturo Chavez 36 Lisa Chernoff 45 Cate Clark 40 Sonya Coppo 18 Nancy & Jon Couch 44 David Cramer 8 Fernando Delgado 24 Roger Evans 28 Joan A. Fenicle 43 Jim Fish 31 C.E. Frappier 18 Gail Gering 20 Cherrymae Golston 26 Lenore Goodell 42 Ilena Grayson 4 Susan Gutt 34 Lynn Hartenberger 17 Nancy Hawks 32 L. Heath 9 Katherine Irish Henry 47 Karl & Mary Hofmann 27 David Johnson 39

Juliet Jones 48 Jordan Susan 12 Susan Kibel 15 E.T. LaFore 5 Buck Lawton 46 Meg Leonard 11 Peach Malmaud 27 Sarena Man 16 Gene McClain 21 Barry McCormick 22 Wayne Mikosz 14 Diane Orchard 19 Michael Prokos 23 Adrienne Randle 41 Lawrence Randle 41 Judith Roderick 29 Angel Rose 39 Riha Rothberg 14 Adriana Scassellati 2 Karen Melody Shatar 49 Dianna Shomaker 7 William Skees 33 Conrad Sloop 1 Shirley Ann Sloop 1 Cirrelda Snider-Bryan 31 Betty Temple 31 Carolyn Van Housen 20 Vicki Van Vynckt 38 Geri Verble 35 Dawn Wilson-Enoch 10

Tenth Annual Tour • 59 artists and artisans invite you to visit 49 studios in the beautiful rolling hills of Placitas DIRECTIONS: Take I-25 to Exit 242. Drive east 2.2 miles to pick up maps and tour information at the Homestead Village Shopping Center. Follow the signs, and bring MOM—it’s MOTHER’S DAY!

STUART ARENDS WEDGES AND A-SQUARES

“A-SQUARE 3,” 2007 OIL PAINT ON ALUMINUM WITH CLEAR LACQUER, 6 X 6 X 2 1 ⁄ 2 INCHES

APRIL 27 — JUNE 23, 2007

J AM E S K E L LY | C O N T E M P O R A R Y 16 0 1 PA S E O D E P E R A LTA, S A NTA F E, N E W M E XI C O 875 0 1 T 5 0 5.9 8 9.16 0 1 F 5 0 5.9 8 9.5 00 5 J A M E S KE L LY.C O M

South Broadway Cultural Center May 7 - June 22, 2007

NM

DOWN UNDER

John Stermer Robert McCullough Ruben Gonzalez Michael Metcalf Gloria Maya Claude Smith

Reception: South Broadway Cultural Center Friday, May 18 6pm - 8pm.

The Exhibition will be on view at two locations: โ ข KiMo Art Space - 423 Central AVE. N.W., 505.768-3522, Mon.- Fri 9am - 4pm โ ข South Broadway Cultural Center, 505. 848-1320, Mon.- Fri. 8am - 6pm Made Possible By The City of Albuquerqueโ s Cultural Services Department, South Broadway Cultural Center and KiMo Theatre

1025 Broadway SE, 505.848.1320 or 311 www.cabq.gov/sbcc For Accessibility call 848.1320 (Voice /Relay) NM 1.800.659.8331

Mayor Martin J. Chรกvez

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33 Years of Serving

Representing

Locally Owned & Operated

UNIVERSE OF

Joe Day has been a journalist for most of his seventy years. He was a newspaper reporter and an editor in Milwaukee and Providence for ten years, an on-air reporter and producer in public and commercial television in Boston for twenty-two years, a reporter and producer for public television in New Mexico for almost eight years, and currently is an independent of

producer

documentary

films

dealing with social and environmental issues. At present, Day is at work on a documentary film that will explore the life and the legacy of former Interior Secretary Stewart L. Udall, an ardent environmentalist, an accomplished author and historian, and an impassioned spokesman for a sustainable future for our planet.

Still of Stewart L. Udall from Dayâ&#x20AC;&#x2122;s film.

photograph by

PRINT AND TELEVISION TO FILMMAKING After more than thirty years of daily print and television journalism and eight years of teaching it at the University of New Mexico and the College of Santa Fe, I felt that making documentary films could be a powerful and effective way of telling what I had to report because I consider myself first a reporter, which I define as someone who tries to find out about things and tell others what he or she has found. Sounds simple enough, but of course it’s often much more complex and difficult than that.

I can’t imagine doing anything else.

PAST PROJECTS AND THE UDALL FILM In 2000, with cinematographer Manuel Machuca of KNME-TV, I made a film on the devastating heroin epidemic in Rio Arriba County. In 2003, I produced a film on the endangered Rio Grande and in 2005, a film on New Mexico’s continuing drought.

All have aired on New Mexico public television and in other venues. I am currently producing a film on the life and legacy of Stewart Udall, who lives in Santa Fe and has much to say about global warming, the impending oil crisis, and his view that our lives must change dramatically for the sake of those who follow—these will be among the themes of this film. I believe we can learn from and should honor people such as Stewart Udall, and I want to help make that happen.

M AY 2 0 0 7

Stanley Darland

SOCIAL RESPONSIBILITY AND INVOLVEMENT OF ARTISTS To me, each artist—including filmmakers—obviously chooses his or her own path, and there are as many paths as there are artists. I try to look at any art with an eye to the intention of the artist. I feel that in the art of filmmaking the lines between entertaining and informing often are blurred. My goal is not to entertain, nor is it the goal of an increasing number of young filmmakers who have chosen a path of social responsibility, using their craft to explore and even expose some of the more relevant and difficult elements of our complex world and even our personal lives.

I am proud, at age seventy, to be in their company.

SELF-CRITICISM AND OBJECTIVITY As a reporter/producer—somehow the word “journalist” seems a bit fancy— I try to evaluate my work as others might see it. This is not to say that I try to tailor what I’m doing to reflect how others might judge it, and whether or not they like it, or at least I hope I don’t. But I do try hard to keep in mind that what I’m doing might be seen and heard by many people, and I care very much that they understand it, that it means something to them, and that they somehow are moved by it. That is my goal in doing this work I love. ♦

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OSN I T E C TE

YY LAA P L S IP DDIS

LLASSOCIA O C &

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

STUDIO VISITS

RALPH WALDO EMERSON WROTE, “ARTISTS MUST BE SACRIFICED TO THEIR ART. ART LIKE THE BEES, THEy MUST PUT THEIR LIVES INTO THE STING THEy GIVE.” WE ASKED THREE ARTISTS TO RESPOND TO HIS STATEMENT.

I have always tried to make beautiful paintings and then disturb them. John Cage asked the composer Morton Feldman about a work he had just completed...”How did you write that?” Feldman responded, “I don’t know.”

Cage was thrilled; “He doesn’t know.” For me, this is part of the thrill and part of the sting.

—polly valenzuela Valenzuela works and sells out of her studio. To make an appointment: zvalenz@aol.com

There is an African fable about a scorpion that stung a frog. When that happened, the frog asked him why he did that and the scorpion replied that it was in his nature to do so.

With that in mind, art in its highest form is to sting, to challenge, and to tell the truth about the lies and hypocrisy society tells itself. That would be the artist’s nature to do so. But the sting, the truth, can kill physically and emotionally and many brave artists have lived wretched lives as outsiders because of this.

—iwasKi —

Iwaski’s paintings have been shown in Santa Fe at Santa Fe Contemporary Art and Segretto Contemporary Art, in Taos at the Stables Gallery, and at several galleries in San Miguel de Allende, Mexico. She also does commissions out of her Second Street Studio in Santa fe. To contact her: iwaski@earthlink.net

Ummm, does he mean me? Is this the honeybee that dies after just one sting? I’ll have to Google Emerson and find out his general take on artists. My art is all about avoiding sacrifice. You know, boredom of the 9 to 5, death, and taxes. No, it’s my time, my love, my life. Where is Ralph heading with this?

—todd williaMs Williams has shown his photographs in Santa Fe at the Media Arts Gallery at Santa Fe Community College and The Teahouse. (see review on page??). His work will be on view in a group show at Gallery Zipp in May. Contact Williams at twmsart@mac.com

top riGht photoGraph By

By Guy Cross BottoM two photoGraphs By B stanley darland

M AY 2 0 0 7

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ONE BOTTLE

One BOttle: The 2005 Sutcliffe Vineyards Syrah

by Joshua Baer Language and wine are related. One goes into the mouth. The other comes out of it. When you learn about wine, you learn a language. If you speak about wine in numerical terms, you experience wine as a quantity. If you speak about wine in conceptual terms, you experience wine as an idea.

If you speak about wine in terms of choices and emotions, you experience wine the way you experience life.

In the late 1970s, when I first started drinking good wines, I was introduced to a businessman in San Francisco named Phillip Sammartano. Mr. Sammartano was known in and around the Bay Area for having a remarkable wine cellar.

(These days, anyone with money can buy a remarkable wine cellar. In those days, buying class with money was not so easy. You had to know what you were doing.)

The day we met, I told Mr. Sammartano that I loved drinking wine but felt like I was missing something. Mr. Sammartano asked me what I thought I was missing.

I said I didn’t think I knew enough about wine to know what I was missing.

Mr. Sammartano said to keep drinking. “You’re not missing anything,” he said. “You just think you are.”

I nodded my head like I knew what he meant, but I didn’t.

Mr. Sammartano saw right through me. “The thing to remember about wine,” he said, “is that you don’t have to think about it to enjoy it.”

“Okay,” I said. I still had no idea what he meant.

“Have you meditated?” he said. “Ever done any trance work?

Taken any drugs?”

I told Mr. Sammartano I’d taken some drugs.

“Then you know,” he said.

“I do?” I said.

“When you got high,” he said, “what did you do with your thoughts?”

“Mostly I just let them happen,” I said.

“Did you try to have them?” he said.

“No,” I said.

“Did you try to get rid of them?” he said.

“No,” I said.

“That’s how you want to approach wine,” he said. “You don’t need to know a lot about wine to appreciate it. Just drink it and let it work on you. If it makes you happy, laugh. If it makes you sad, cry. If it makes you think, follow your thoughts.”

“Excuse me,” I said, “but didn’t you just say I didn’t have to think?”

“About wine,” said Mr. Sammartano. “Nobody can stop thinking. But when you drink wine, the less you think about it, the better. Stop trying to be an expert. Keep your brain away from the wine. Thinking about wine can tie you in knots. It’s unhealthy.”

Over the years, I’ve given a lot of thought to what Mr. Sammartano said. Each time I open a magazine and read about a wine that offers “aromas of white peaches, nuanced with hints of blackstrap molasses and overripe elderberries” I remember Mr. Sammartano’s advice.

Each time I see a wine described as “a solid 92+, with potential to the mid-nineties, or higher” I feel lucky to have met him when I did. I’m not saying there’s anything wrong with using food words or numbers to discuss wine. Everyone—myself included—does it. It’s like a code the wine world uses to classify and compare what we drink. All I’m saying is that there’s more to it than that. The way you talk about wine is the way you experience it. Some people say wine tastes like food.

Other people drink by the numbers. I like living wines. That’s why I use experiences to talk about them.

M AY 2 0 0 7

Which brings us to the 2005 Sutcliffe Vineyards Syrah.

Sutcliffe Vineyards is in McElmo Canyon, Colorado. McElmo Canyon is twenty minutes southwest of Cortez, Colorado, and a half hour north of the Four Corners. McElmo Canyon is a farming community that was homesteaded by white people during the 1880s. Apricots, hay, melons, and peaches are the main crops. Before white people came to McElmo Canyon, the Navajo and Ute tribes farmed and hunted there. Sutcliffe Vineyards is on the north bank of McElmo Creek, facing the Sleeping Ute Mountain. Battle Rock, the site of the last battle between the Navajo and the Utes, is directly west of the vineyard. Legend has it that, during the last battle, a band of Utes cornered a group of Navajo women and children at the top of Battle Rock. The Utes backed the women and children to the edge of the cliff that now overlooks Sutcliffe Vineyards. Rather than submit to the Utes, the women and children jumped.

In the glass, the 2005 Sutcliffe Syrah comes right at you. Very few wines can pull off this kind of aggressive behavior. The 2005 Sutcliffe Syrah is the only one I’ve tasted that manages to agitate you and soothe you at the same time.

Syrah is a grape that has been known to produce wines of passion.

Like crimes of passion, wines of passion are difficult to anticipate and even more difficult to control. In Châteauneuf-du-Pape, French winemakers use the traditional cépage of approximately one-third Grenache, one-third Mouvèrdre, and one-third Syrah to temper the nature of the Syrah grape. Sutcliffe Vineyards’ Syrah is one hundred percent Syrah, and I think I know why. In McElmo Canyon, the combination of intense heat, cool evenings, and violent thunderstorms pulls the grapes in different directions.

Instead of getting tempered by other grapes, the Syrah gets tempered by the elements.

More information about Sutcliffe Vineyards can be found at sutcliffewines.com. The stunning pictures on the website make the vineyard look like it’s too good to be true, but when you’re there, the vineyard not only looks like its pictures, it makes you feel as good as it looks. There used to be many places like that. Now they ’re hard to find.

The 2005 Sutcliffe Vineyards Syrah is a wine with a soul.

It is a living wine first and a limited production Syrah from Colorado with the potential to become a cult wine second.

John and Emily Sutcliffe, who own Sutcliffe Vineyards, have a great deal to do with the character of this wine, but so does McElmo Canyon. The landscape has something to say. It speaks the language of loss, redemption, sorrow, and truth.

How could the wine say anything less? ♦ One Bottle is dedicated to the appreciation of good wine and good times, one bottle at a time. The name One Bottle, and the contents of this column, are © 2007 by onebottle.com. If you need help finding a wine or building a cellar, write to Joshua Baer at jb@onebottle.com.

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PHOTO: ROBERT MILLER

CHRISTOPHER THOMSON Sculptor

Designer

Blacksmith-Artist

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

MOTHER’S DAY

BRUNCH May 13, 8am - 2:30pm Reservations Suggested

Bring your Mom for breakfast, we’ll give her a glass of complimentary champagne.

After all, it’s her day!

CLOUD CLIFF B a k e r y • C a f e • A r t s p a c e

1805 Second Street

•

Santa Fe

•

505-983 6254

Second Street Brewery BREW PUB - RESTUARANT

SHOHKO C AFÉ sushi • sake japanese cuisine lunch dinner •

321 johnson street 982.9708 Nothing Beats a Sunny Day on the Patio Fine Foods, Fresh Craft Beers: Pints, Pitchers, Growlers

1814 2nd St.

982-3030 • 1814 Second Street 982-3030

R I S T R A

bar menu from 5:30 pm

548 agua fria open nightly

patio dining

www.ristrarestaurant.com

982.8608

the bar @ RISTRA

FOOD FOR THOUGHT

Bar at the Folies-Bergère paintinG By B

Édouard Manet

In this painting, Manet recreates the brilliant entertainments at the Folies-Bergère—a spectacular café-concert hall that included an outdoor area as well as the indoor area we see in this painting. Along the bar are a brilliant array of drinks, fruit, and bottles of spirits, including champagne, Bass pale ale, and crème de menthe, which in itself constitutes a tour de force of still life painting. These objects, together with the shimmering reflections in the mirror of elegant men and well-known demimondaines contrast with the detached and remote expression on the face of the bar girl, Suzon. It has been speculated that the bottles and fruit may be a metaphor for sexual exchange. They are certainly commodities—is the girl a commodity? Perhaps Manet is simply posing the question to force the viewer to look closely at the painting and to consider its implications.

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kasasoba traditional japanese cuisine

Yakitori - Sake Bar Now Open

LUNCH

•

Monday – Friday

DINNER

•

•

11:30 am – 2 pm

Nightly from 5:30 pm

544 Agua Fria @ Sanbusco Center Reservations 984.1969

DINING GUIDE

Fiery Chile Prawns at

Geronimo 724 Canyon Road Reservations: 982-1500

$ 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!

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

315 315 Old Santa Fe Trail. 986-9190.

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

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

Al Di là 227 Galisteo St. 983-6766.

Lunch/Dinner Beer/wine pending.

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

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

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

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

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

AnDiAmO! 322 Garfield St. 995-9595.

Dinner Beer/wine. Smoke-free. Patio.

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

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

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

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

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

hen, anything with polenta are marvels of flavor.

Other recommendations: If the wedge of choolate pavé is on the dessert menu, go for it.

Comments: Aqua Santa draws a cool crowd.

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

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

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

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

The 13-ounce rib eye steak is juicy and flavorful.

Comments: No desserts. the Blue heROn Restaurant at The Inn at Sunrise Springs 242 Los Pinos Rd. (La Cienega) 428-7613 Breakfast/Lunch/Dinner/Sunday Brunch Smoke-free. Patio.

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

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

Homemade salsa (bowls of it at the salsa bar) and chips are super. Comments: Chef Chris Galvin (Andiamo!, Coyote Café, and Escalera) is at the helm. The tortilla stew is the best!

AsquA squAl’s cAFé PAsqu 121 Don Gaspar. 983-9340.

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

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

House specialties: Hot cakes get a nod from Gourmet magazine. Huevos motuleños, a Yucatán breakfast, is one you’ll never forget. For lunch, try the grilled chicken breast sandwich with Manchego cheese. Comments: Always a line outside.

cAFé sAn estevA stev n 428 Agua Fria at Montezuma St. 995-1996.

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

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

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

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

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

cOPA De ORO Agora Center at Eldorado. 466-8668 Lunch/Dinner Take out menu Full bar. Smoke-free.

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

Breakfast/Lunch/Dinner Wine/Beer. Smoke-free. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal.

House specialties: Breakfast: burritos and frittata. Lunch: sandwiches and salads. Dinner: flash-fried calamari; grilled salmon with leek and pernod cream sauce; and a delicious hanger steak. Comments: Boutique wine list . cOw OwG wGiRl hAll OF FAme 319 S. Guadalupe St. 982-2565.

Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio Major credit cards. $ Cuisine: All American. Atmosphere: Popular patio shaded with big cottonwoods. Cozy bar.

House specialties: Very “Atkins-friendly.” The smoked brisket and ribs are fantastic. Dynamite buffalo burgers; potato salad (with skins); a knockout Texas onion loaf; and strawberry shortcake. Comments: Beers, beers, and more beers—from Bud to the fancy stuff. cOy OyO yOte cAFé 132 W. Water St. 983-1615.

Dinner Full bar. Smoke-free dining room.

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

DAve Ave’s nOt heRe 1115 Hickox St. 983-7060.

Lunch/Dinner Beer/wine. Smoke-free.

Cash. $ Cuisine: American with New Mexican flavor.

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

Comments: Knockout burgers.

DOwnt O O Own suBscRiPtiOn 376 Garcia St. 983-3085.

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

Cash. $ Cuisine: American coffeehouse and newsstand.

Atmosphere: Café society. Over 1,600 magazine titles to buy or peruse. Big room with small tables and a nice patio outside where you can sit and schmooze. House specialties: Espresso, cappuccino, lattes, and pastries.

Comments: As easy as it gets. el FAROl 808 Canyon Rd. 983-9912.

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

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

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

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

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

GeROnimO 724 Canyon Rd. 982-1500.

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

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

Atmosphere: Two-hundred-year-old building with fireplaces, portal, and a garden room.

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

Lunch/Dinner Full bar. Smoke-free.

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

continued on page 29

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

Santa Fe’s Sole Recipient -Gourmet Magazine’s 2006 Top 50 Restaurants in the U.S.

patio opens may 15 join us for our new spring menu 3o4 Johnson Street in Downtown Santa Fe Monday - Saturday 5:3o - 1o pm Reservations 983.38oo or www.trattorianostrani.com Ample Parking Available

Copa De Oro at the Agora Center at Eldorado

Regional Mexican Cuisine Steaks Burgers Seafood Barbeque Tostadas Enchiladas Vegeterian Dishes

Kid-Friendly Reasonable Prices

Take-Out Menu Reservations

466-8668

Lunch & Dinner • Tuesday - Sunday • Noon to 8 pm Reservations accepted on Friday and Saturday nights

DINING GUIDE

Excellent wood-fired pizzas and homemade pastas at

Al Di Là

227 Galisteo Street, Santa Fe. Reservations: 505-983-6766 - Open 7 days 11am-10 pm. jinjA 510 North Guadalupe St. 982-4321.

Lunch/Dinner Full Bar. Smoke-free.

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

It reads like something out of the 50s: MaiTai, Singapore Sling, Zombie, Kava Bowl, and Volcano drinks. Comments: Great savory soups and wok bowls. jOsePh’s tABle 108-A South Taos Plaza. 505-751-4512 Lunch/Dinner Full bar Visa & Mastercard. $$$ Cuisine: Modern American / New Mexicoinspired. Atmosphere: Casual. House specialties: Vodka Cured Wild Salmon on Corn Blinis with Canadian Caviar and Pan Seared Foie Gras with Sun Dried Cherry Chutney.

Comments: Chef Joseph Wrede is brilliant.

Butterfly Bar opens at 5:30 pm. Extensive wine list. Lunch on Saturday only. juliAn’s 221 Shelby St. 988-2355.

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

Visa & Mastercard. $$ Cuisine: Japanese bar food. Atmosphere: Casual and subdued. Movie posters on walls. House specialties: Miso soup with lobster, sake steamed striped bass with enoki mushrooms; vegetable tempura; uni-crusted sea scallops; and maki sushi rolls.

Comments: A wonderful selection of sake. kOhnAmi RestA estAu AuRAnt 313 S. Guadalupe. 984-2002.

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

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

House specialties: Miso soup; ramen; sea weed salad; soft shell crab; dragon roll; chicken katsu; noodle dishes; and the Bento box specials.

Comments: Good selection of sake and beers.

For dessert, opt for the wonderful tempura ice cream—ginger, red bean, green tea, or vanilla.

Friendly folks. lAmy stA tAti AtiOn cAFé Lamy Train Station. Lamy. 466-1904 Breakfast/ Lunch Major credit cards. $$ Cuisine: American. Atmosphere: 1950’s dining car. House specialties: Fantastic green chile stew; Teriyaki chicken bowl with veggies; burgers, and salads. Comments: . It can be a long wait for your food, but it is well worth it.

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le mOyne O ’s lAnDinG 402 N. Guadalupe. 820-2268 Lunch and dinner Beer/wine. Smoke-free. Patio Major credit cards. $$ Cuisine: Cajun/Creole. Atmosphere: Casual.

Specialties: Duck and addouille and turtle and porcini gumbo; blackened shrimp atop coconut and black pepper grits, Creole-spiced Dungeness crab; and voodoo poboy fried chicken breast.

Comments: Easy on the wallet. lOs mAy AyA yAs As 409 W. Water St. 986-9930.

Dinner Full bar. Non-smoking. Patio.

Major credit cards. $$ Cuisine: New and Old Mexican. Atmosphere: Intimate, borders on sultry on some evenings.

House specialties: Ceviche; turbo fish marinated in fresh lemon and orange juice; guacamole freso, and “Taste of Santa Fe” award-winning Chile en Nogada. Comments: Flamenco every Saturday. mARiA’s new mexicA exic n kitchen 555 W. Cordova Rd. 983-7929.

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

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

Dinner Beer/wine. Smoke-free.

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

Lunch/Sunday Brunch Major credit cards. $$ Cuisine: American. Atmosphere: CafeteriaMuseum/Cafe-style. House specialties: A wonderful and hearty soup selection, righteous salads, and sandwiches. We also liked the chicken enchiladas. Comments: Healthy, fresh food. Manager and host John Margraff (of Salon Mar Graf fame) is your ticket to a great meal.

O’k keeFFe cAFe 217 Johnson St. 946-1065 Lunch/Dinner Beer/wine. Smoke-free. Patio.

Major credit cards. $$$ Cuisine: Contemporary Southwest with a French flair. Atmosphere: The walls are dressed with photos of Ms. O’Keeffe herself.

House specialties: A silky smooth foie gras served with orange muscat is an inviting appetizer. For your main, try the Northern New Mexico organic poquitero rack of lamb with black olive tapenade. Comments: Nice wine selection.

OsteRiA D’Assisi A 58 S. Federal Place. 986-5858.

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

OlD hOuse at the Eldorado Hotel 309 W. San Francisco St. 988-4455.

Dinner Full bar. Smoke-free.

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

Atmosphere: Clubby and comfortable.

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

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

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

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

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

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

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

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

Atmosphere: Open, spacious, and bustling.

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

RiO chAmA steA te khOuse 414 Old Santa Fe Trail. 955-0765.

Sunday Brunch/Lunch/Dinner/Bar menu.

Full Bar. Smoke-free dining rooms.

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

Atmosphere: Pueblo-style adobe with vigas and plank floors. House specialities: USDA Prime steaks and prime rib. Haystack fries and corn bread with honey butter are yummy sides. The tuna at lunch is superb. Other recommendations:

The bar menu features a great fondue and mini hamburgers. Comments: For dessert, try the chocolate pot.

tempura; hamachi kama; sesame seafood salad, and Kobe beef with Japanese salsa.

Comments: Chat with the sushi chefs.

RistRA 548 Agua Fria St.. 982-8608.

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

Atmosphere: Elegant new bar with an extensive bar menu, sophisticated and comfortable dining rooms, a charming outdoor patio.House specialties: Black Mediterranean mussels in aromatic chipotle and mint broth; ahi tuna tartare; squash blossom tempura; pistachio crusted Alaskan halibut; and achiote grilled Elk tenderloin.

Comments: Extensive wine list, Wine Spectator Award of Excellence 2006.

steAksmith At A el GAnchO Old Las Vegas Highway. 988-3333.

Dinner Full bar. Smoke-free dining room.

Major credit cards $$ Cuisine: American. Atmosphere: Family restaurant with full bar and lounge. House specialties: Aged steaks and lobster. Great pepper steak with Dijon cream sauce.

Comments: They know steak here.

sAn FRAnciscO st. BAR & GRill 50 e. san FranCisCo st. 982-2044 Lunch/Dinner Full bar.

Major credit cards. $$ Cuisine: American. Atmosphere: Casual with art on the walls. House specialties: At lunch try the San Francisco St. hamburger on a sourdough bun, with red onion, tomato, lettuce, and pickle; the grilled salmon filet with black olive tapenade and arugula on a ciabatta roll; or the grilled yellowfin tuna nicoise salad with baby red potatoes. At dinner, we like the tender and flavorful twelve-ounce NY Strip served with a chipotle herb butter or the Idaho Ruby Red Trout served with a grilled pineapple salsa. Comments: They’ve been around since 1985. Visit their sister restaurant at Devargas Center. sAntA ntAc ntA AcAFé 231 Washington Ave. 984-1788.

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

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

Atmosphere: Minimal, subdued, and elegant. House specialties: For starters, the crispy calamari with lime dipping sauce will never disappoint. Favorite dinner entrées include: grilled rack of lamb; pan-seared salmon with olive oil crushed new potatoes and creamed sorrell; miso marinated halibut with lemongrass.

Comments: If available, you must order the tempura shrimp. Righteous cocktails, super appetizers, and a knockout crème bruleé. Appetizers at the bar at cocktail hour is always a lot of fun. sAveu A R 204 Montezuma St. 989-4200.

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

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

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

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

Atmosphere: Casual and very friendly.

House specialties: The beers brewed on the premise are outstanding, especially when paired with beer-steamed mussels; beer-battered calamari; burgers; perfect fish and chips; spicey green chile stew or the truly great grilled bratwurst.

Comments: A kid-friendly place and very generous portions. the sheD 1131/2 E. Palace Ave. 982-9030.

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

Major credit cards. $ Cuisine: New Mexican. Atmosphere: The Shed—a local institution; some say a local habit)—is housed in a seventeenth century adobe hacienda just a heartbeat from the Plaza. House specialties: Stacked red or green chile cheese enchiladas with blue corn tortillas are the real deal. The posole is a knockout!

Comments: Avoid long lines, go to sister restaurant, La Choza, for the same classic New Mexican food. shOhkO hk cAFé hkO 321 Johnson St. 982-9708 Lunch/Dinner Sake/Beer. Smoke-free Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine.

Atmosphere: Sushi bar as well as table dining. House specialties: Softshell crab

the teAhOuse 821 Canyon Rd. 992-0972 Breakfast/Light Fare to 7 p.m.

Patio.

Major credit cards. $ Cuisine: Contemporary with a French flair. Atmosphere: Casual cafe. House specialties: Lovely salads and an absolutely amazing selection of teas by the cup or in bulk. Comments: A bit of old Europe on Canyon Road. tiA sOPhiA’s 210 W. San Francisco St. 983-9880.

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

Major credit cards. $ Cuisine: New Mexican. Atmosphere: The “real deal.” Old wooden booths or tables.

House specialties: Green chile stew (known to cure the common cold). Enormous breakfast burritos stuffed with bacon, potatoes, chile, and cheese. Comments: Famous for their world-class margaritas.

Only authentic Northern New Mexican food served here. tRAtt RA ORiA nOstRAni 304 Johnson Street. 983-3800.

Dinner Wine/Beer. Smoke-free dining rooms.

Wine/Beer Patio.

Major credit cards. $$$ Cuisine: Northern Italian. Atmosphere: A renovated 1857 adobe with a great bar.

House specialties: To start, order the Trio of Crostini: duck pate, wild boar, and roasted plum tomato or the fried calamari, shrimp, and whitefish. The crépes with salt cod puree and shrimp reduction is delicious. For you main course, you cannot go wrong ordering the veal scaloppine with Tuscan vegetable ragu and orzo; the grilled hanger steak with fried potatoes; or the grilled Colorado rack of lamb. Comments: Large selection of Italian and French wines.

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

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

Atmosphere: Light, bright, and cozy.

House Specialties: Ultra-fresh Farmer’s Market salad; soup and sandwich of the day; quiche, tart, and a vegetable quesadilla.

Recommendations: The delicious tortilla soup is crunchy, warm and cozy; the mile-high quiche has a flaky whole wheat crust. The cakes, cupcakes, brownies, scones, muffins, actually all of the baked goods just can’t be beat. And a great wait staff. vAnessie OF sAntA ntA Fe ntA 434 W. San Francisco St. 982-9966.

Dinner Full bar. Smoke-free dining room.

Major credit cards. $$$ Cuisine: American. Atmosphere: Grand piano bar and oversize everything thanks to architect Ron Robles. House specialties: New York steak and Australian rock lobster tail. Comments: Many daily specials. whOle BODy OD cAFe 333 Cordova Rd. 986-0362.

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

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

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

Atmosphere: Down home and casual.

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

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

CONTEMPORARY

WE’RE P R O U D T O A N N O U N CE T H E G R A ND OPENING O F O U R N E W R A I LYA R D D I S T R I C T G ALLERY WITH THE OPENING EXHIBIT

THEN & NOW MASTERPIECES from the WILLIAM SIEGAL COLLECTION 5000 Years of Art from The Americas, Africa, and Asia

: CONTEMPORARY ARTISTS of NEW MEXICO Polly Barton Carlos Estrada-Vega Colette Hosmer Signe Stuart Tom Waldron

PLEASE JOIN US S AT U R D AY M AY 1 9 , 2 0 0 7 3 - 7 PM

: 5 4 0 S O U T H G U A D A L U P E S T R E ET ( O N T H E W E S T S I D E , B E T W E E N P E R A LTA & M A N H AT TA N )

540 S G U A D A L U P E S T S A N TA FE, NM 87501 505 820 3300 www.williamsiegal.com info@williamsiegal.com

OPENINGS

may FRIDAY, MAY 4 chARlOtte jAcks A On Fine ARt R , 200 W. Marcy St., Suite 101, Santa Fe. 9898688. Colored Panels: painted steel by Eric Tillinghast. 5-7 pm. cOlleGe OF sAntA ntA Fe Fine ARts ntA R GAlleRy R , 1600 St. Michael’s Dr., Ry Santa Fe. 473-6508. Paramnesia: BFA student show. 5-8 pm. eiGht mODeRn, 231 Delgado St., Santa Fe. 995-0231. Modern Dimensions: Contemporary American Sculpture: work by seven American sculptors.

5:30-7:30 pm. hAnDs & heAR eARt ARt, 150 Washington St., Santa Fe. 820-9912. FELTWERKS/Fleece with Flair: hand-felted clothing and accessories by Marjo Hebert. 5-7 pm.

ventA ent nA A Fine ARt R , 400 Canyon Rd., Santa Fe. 983-8815. Sea Season’s Launch: all-gallery artists’ exhibition. 5-7 pm. yAle ARt R centeR, 1001 Yale Blvd. SE, Alb. 242-1669. LOKAMISA: paintings and works on paper by Wayne Hopkins and Cathy Wysocki. 6-9 pm.

SATURDAY, MAY 5 GAlleRy R lOulOu, 70 Ranchos Plaza, Ry Taos. 751-7390. Proof of Johnny Cash: honoring Johnny Cash. 4-7 pm.

SUNDAY, MAY 6 DOnkey nkey GAlleRy R , 1415 4th St., SW, Alb. Ry

art openings May

4

—

242-7504. Inside Out: work by Malcolm Stuart, video by Bec Stupak. 6-9 pm.

May

26

Z. Jacobson. 5-7 pm.

museum OF inteRnAti A OnAl Ati l FOlk lk ARt R , 706 Camino Lejo, Santa Fe. 476-1200.

Needles and Pins: Textiles and Tools: textiles from the collection. 1:30-3:30 pm.

G eORGiA O’k eeFFe m useum eDucA ucAti ucA AtiOn Annex, 123 Grant Ave., Santa Fe, 946-1017.

Santa Fe High School Student Exhibition: 5-7:30 pm.

FRIDAY, MAY 11

hAhn ROss GAlleRy R , 409 Canyon Rd., Ry Santa Fe. 984-8434. Renewal: pastels

by Margaret Nes. 5-7:30 pm.

ADDisOn ARts R , 209 Galisteo St., Santa Fe. 992-0704. Line Paintings: mixedmedia paintings by Seth Anderson. In the Woods: photographs by Gunnar Plake. 5-7 pm. cOllABORA llABORAti llABORA ABORAtiOn GAlleRy R , 539 Old Ry Santa Fe Trail, Santa Fe. 9929983. Evolution 3.0: ceramics by

jOnsOn GAlleRy R , Ry University of New Mexico, 1909 Las Lomas NE, Alb. 505-277-4967. Holding Stillness: work by Sara Magnuson.

5-7 pm.

OwinGs-Dewey nORth OR , 120 E. Marcy St., Santa Fe. 986-9088. Ni Una Más:

two-part exhibition inspired by the ongoing crimes against women in the Ciudad Juarez border area. 4-6 pm.

Public vigil on the Plaza 6:30-8:30 pm.

Riva yares y Gallery, 123 Grant Ave., Santa Fe. 984-0330. Labyrinth Study: contemporary steel and metal sculpure by Rico Eastman. 5-7 pm. thiRteen R Rteen mOOns GAlleRy R , 652 Canyon Ry Rd., Santa Fe. 995-8513. Ceramic Vessels: by Avital Sheffer. 5-7 pm. veRve R Rve Fine ARt R , 219 E. Marcy St., Santa Fe. 982-5009. Side Canyons and Grid Portraits: Stu Lev. Facing Silence (0lladas del Silencio): José Caruncho.

In the Scheinbaum & Russek Room: Elliot Porter & Walter Chappell.

5-7 pm. victORiA A PRice cOntemPORARy PORARy ARt PORARy R & DesiGn, 550 S. Guadalupe, Santa Fe. 982-8632. Altered Perceptions: new work by Matthew Chase-Daniel and Jennifer Joseph. 5-7 pm.

inPOst ARtsPAce At A OutPOst PeRFORmAnce sPAce, 210 Yale SE, Alb. 268-0044.

FOUR: group exhibition. 5-8 pm. klA l uDiA mARR Gallery, 668 Canyon Rd., Santa Fe. 988-2100.

Quiet Ground: paintings by Robert Peterson. New Work: charcoal, pastel, and watercolor on paper by Steven Graber. 5-7 pm.

zAne Bennett GAlleRy R , 826 Canyon Ry Rd., Santa Fe. 982-8111. Sin and Soul: mixed-media works by Holly Roberts with limited edition prints by Helen Frankenthaler. 5-7 pm.

mARiPOsA A GAlleRy R , 3500 Central SE, Ry Alb. 268-6828. Many Colors: work by women artists. 5-8 pm.

SATURDAY, MAY 12 DwiGht hAckett PROjects, 2879 All Trades Rd., Santa Fe. 474-4043.

I See a Red Door and I Want to Paint it Black: drawings and sculpture by Cooper. 3-5 pm.

mAt A Rix ix Fine ARt R , 3812 Central SE, Alb. 268-8952. Tres Amigos: paintings

by Frank McCulloch, collage by Carlos Quinto Kemm, and terra cotta sculpture

by Sara d’Alessandro. 5-8 pm.

GhOst POney ney GAlleRy R , Ry 104-A County Rd. 75, Truchas. 505-6891704. Inaugural Exhibition: work by Trish Booth and Leonardo Pieterse.

4-7 pm.

new GROunDs PRint wORkshOP & GAlleRy R , 3812 Central SE, 100-B, Alb. Ry 268-8952. Tacos & Grits: gravure and photography by Diane Alire. 5-8 pm.

PAlette cOntemPORARy PORARy ARt PORARy R & cRAFt, 7400 Montgomery Blvd. NE, Alb. 855-7777. Immersion Travel Art: new paintings by Daniel North. 5-8 pm.

jhs GAlleRy R , 302 Camino de la Ry Placita, Taos. 758-0280. Who Do You Say That I Am? Visions of Christ, Gender, and Justice: six artists interpret Christ consciousness. 6-8 pm.

RichARD levy GAlleRy R , 514 Central Ry SW, Alb. 766-9888. View from the Panopticon: surveillance video series

by William Betts. 6-8 pm.

PARks GAlleRy R , 127-A Bent St., Taos.

Ry 5751-0343. Bent on Sin: watercolors

by Victoria Carlson. 4-6 pm.

ROxA x nne swentzell tOweR xA R GAlleRy R , Ry 78 Cities of Gold Rd., Pojoaque. 4553037. Journey Me: recent work by Rose Bean Simpson. 5-8 pm.

SUNDAY, MAY 13 jewish cOmmunity centeR, 5520 Wyoming NE, Alb. 829-3601.

Landscape Reflections: work by Erica Kane and Walter Yoder. 2-4 pm.

the teAhOuse, 821 Canyon Rd., Santa Fe, 820-0763. The Guest List: paintings

by Mark Frossard. 4-7pm. tOuchinG stOne, 539 Old Santa Fe Trail, Santa Fe. 988-8072. In Search of the Essence: monoprints by David Cost. 5-7 pm.

FRIDAY, MAY 18 BOx GAlleRy R , 1611-A Paseo de Peralta, Ry

Rose Bean Simpson will be showing recent work— work—Journey Me—at the Roxanne Swentzell Tower Gallery—78 Cities of Gold Road, Pojoaque.

Opening reception on Friday, May 4, from 5 to 8 pm.

Santa Fe. 989-4897. Boomerang: oil paintings by Trent Edwards. 5-7 pm.

continued on page 34

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WHO SAID THIS? â&#x20AC;&#x153;Contemporary art challenges us. it broadens our horizons. It asks us to think beyond the limits of conventional wisdom.â&#x20AC;? A.) Dave Hickey B.) Eli Broad C.) Louis Grachos

DEAL: $500 full-page ads in the June issue for artists without gallery representation in New Mexico. Deadline: MAY 16. 424-7641.

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

OPENINGS

FARRell FischOFF GAlleRy R , 1807 Ry Second St. #29, Santa Fe. 995-0620.

Deus ex Paper: group invitational of works on or with paper. Fionna Buck, Danielle Shelley, Izabela Riano, Blaise Henrion, Priscilla Robinson, Stan Berning, and others.

5-8 pm.

GOlD leAF GAlleRy R , 627 Alameda Ry St., Santa Fe. 988-5005. Mask Show: a collection of masks created by John A. Kurtz, Mark Winter, and Dirk Wales.

5:30-7:30 pm. hARw AR OOD ARt R centeR, 1114 7th St., NW, Alb. 242-6367. Marked Difference, New Works by Teens, Honor Thy Mother, and Dwelling: four exhibitions open in conjunction with Artscrawl. 5-8:30 pm. museum OF Fine ARts R , 107 W. Palace Ave., Santa Fe. 476-5072. Flight of Fancy: artists explore man’s fascination with flight. Performance by Sheilah Wilson at 6 pm on opening night.

5:30-7:30 pm.

SATURDAY, MAY 19 williAm sieGAl GAlleRy R , 540 S. Ry Guadalupe St., Santa Fe. 820-3300.

Then & Now: group show combining ancient textiles and objects with contemporary art. Curated by Bunny Conlon. 3-7 pm.

FRIDAY, MAY 25 Blue DOme GAlleRy R , 307 N. Texas St., Ry Silver City. 534-8671. American Woodfire: new ceramics by twelve potters.

4-7 pm. cAnyO ny n ROAD cOntemPORARy nyO PORARy ARt PORARy R , 403 Canyon Rd., Santa Fe. 983-0433.

The Influence of Imagination: oil paintings by Heidi Goodyear. 5-7pm. cAsA nOv OvA vA, 530 Guadalupe St., Santa Fe. 983-8558. The Broken Cradle: photographs of Kenyan children by Naomi Natale. 5-7 pm.

GAleRie zuGeR, 120 W. San Francisco St., Santa Fe. 984-1555. Art in Honor of Animals: benefit for Assistance Dogs of the West. 5:30-7:30 pm.

GeORGiA A O’keeFFe museum, 217 Johnson St., Santa Fe. 946-1000.

Circling Around Abstraction: fifty works

by O’Keeffe based on the motif of the circular form. Georgia O’Keeffe, Illuminated: twenty-seven photographs

by Tony Vaccaro. 5-8 pm. hAhn ROss GAlleRy R , 409 Canyon Ry Rd., Santa Fe. 984-8434. Talking Trees: paintings by Charles Keiger and Chris Richter. Sculpture by Geoffrey Gorman. 5-7:30 pm.

hunteR-kiRklA kl nD klA cOntemPORARy PORAR , PORARy 200-B Canyon Rd., Santa Fe. 9842111. Soliloquies: oil and mixed-media work by Jennifer J. L. Jones. 5-7 pm.

P At A RiciA c ARlisle F ine A Rt , 554 Canyon Rd., Santa Fe. 820-0596.

Essences: paintings by Jim Alford. 5-7 pm. selBy By By FleetwOOD GAlleRy R , Ry 600 Canyon Rd., Santa Fe. 992-8877. All Artists Spring Show: gallery gardens and new paintings. 5-7 pm. silveR sun GAlleRy R , 656 Canyon Rd., Ry Santa Fe. 983-8743. Group Show/Two Local Artists: work by Reiko Anderson and Ray Audain. 5-7 pm. ventA ent nA A Fine ARt R , 400 Canyon Rd., Santa Fe. 983-8815. La Serie Femenina: paintings and sculptures by Robert T. Ritter. 5-7 pm. w inteROwD Fine ARt, 701 Canyon Rd., Santa Fe. 992-8878. A Distant Horizon: paintings by Jim Bagley.

5-7 pm.

SATURDAY, MAY 26 Act 1 GAlleRy R , 218 Pueblo del Ry Norte, Taos. 758-7831. Solo Exhibition: plein-air paintings by Stephen C. Datz. 5-7 pm.

DARnell nell Fine ARt R , 640 Canyon Rd., Santa Fe. 984-0840. You’re Getting Warmer: encaustics by Shawna Moore. 5-7 pm.

516 ARts , 516 Central SW, Alb. 242-1445.

Patrick Nagatani: Confessions of a Tapist: solo exhibition downstairs. Upstairs: Attention to Detail: group exhibition inspired by Nagatani’s work. 6-8 pm.

GRimshAw Aw Fine ARt Aw Rt GAlleRy R , 132 Kit Ry Carson Rd., Taos. 758-4949. Taos Spring Arts Celebration Poster Artist: reception for Nancy St. Lawrence. 1-4 pm.

SPECIAL INTEREST AnnuAl AuctiOn: hARw AR OOD ARt R centeR OF escuelA scuel Del sOl mOntessORi, 1114 7th St., NW, Alb. 242-6367. At Albuquerque Museum.

Call for details.

BAllROOm mARFA, 108 E. San Antonio St./Highway 90 West, Marfa, TX. 432729-3600. Gloria: dance performance

by Maria Hassabi on Friday, May 11 and Saturday, May 12. An Evening with Angela McCluskey and Paul Cantelon: musical performances on Saturday, May 12, 9 pm. Both performances at Liberty Hall. Details: www. ballroommarfa.org BeneFit

FOR

AssistA ssistAnce DOGs

OF

Boomerang,, a show of oil paintings by Trent Edwards will be on view at box gallery, 1611-A Paseo de Peralta. Opening Reception on Friday, May 18, 5 to 7 pm.

the west, Galerie Zuger, 120 W. San Francisco St., Santa Fe. 984-1555. Art in Honor of Animals: silent auction and cocktail party. Sunday, May 27, 6-8 pm.

Governors courtyard, on the Plaza.

476-5094. Promotes literacy and freedom of speech among children.

Saturday, April 28, 10:30 am-4 pm.

BOOkk FAiR. St. John’s Cathedral hosts pre-Mother’s Day sale. Preview on Wednesday, May 9, 6:30-8:30 pm at 318 Silver SW, Alb. 344-9382.

elDORADO stuDiO tOuR. 466-6245.

16th Annual Tour. Saturday and Sunday, May 18 & 19, 10 am-5 pm. Preview gallery at El Dorado Elementary School on Avenida Vista Grande and Avenida Torreon. Call for details.

BuilDinG A cultuRe OF PeAce A . TwoAce day event hosted by City of Santa Fe, May 16-17 at the Santa Fe Hilton. 8276461 or email marjorie.mann@state. nm.us. cAllinG All ARtists AR . Juried show for the SW states: oil, acrylic, and mixed media. $3,500 cash and prizes.

Digital images due by June 1. Email: fthorsen@comcast.net. Rio Grande Art Association, PO Box 53307, Alb. 293-3811. cAll FOR entRies. Originals 2007: juried and invitational exhibition sponsored by the New Mexico Committee for the National Museum of Women in the Arts, Washington, DC. Entry deadline Saturday, May 12.

Application: 986-9695. centeR FOR cOntemPORARy PORARy ARts PORARy R , 1050 Old Pecos Trail, Santa Fe. 982-1338.

Final Cut Pro Digital Video Editing Class begins on Tuesday, May 1, on Tuesdays and Thursdays from 1-4 pm. Digital Video Workshop for Teens on Saturday and Sunday, May 12-13, 10 am-4 pm.

Deadline for video submissions for Megabytes 6 is Wednesday, May 16.

Dialog 360: Artists in Conversation— “Documenting Family”—on Thursday, May 17, 6 pm. Megabytes 6 video screening on Tuesday, May 22, 7:30 pm. Call for details.

FRee lectuRe. Mimbres Painted Pottery, Museum Exhibitions, the Art Marketplace and the “Law of Unintended Consequences” by Dr. J. J. Brody, Maxwell Museum of Anthropology, 1 University of New Mexico, Alb. 2775963. Thursday, May 10, 7 pm.

FRee PAnel symPOsium/DiscussiOn. Featuring experts on the unsolved Juarez murders. Hotel Santa Fe. For details contact 988-1951 or email nbenkof@aol.com. Saturday, May 12.

Glenn GReen GAlleRies, 136 Tesuque Village Rd., Tesuque. 820-0008 Ongoing.

G O! 2007 A Rt F estivA estiv l . Accepting applications from artists. Also seeking sponsors, volunteers, food vendors, and entertainment for weekend of September 28-30.

Contact goartists@downtownabq.

Application form. 262-0075.

hiGh mAyhem A stuDiOs, 1703-B Lena St., Santa Fe. New Band! New Book!: launch party for Adobe Gillis and the release of Gary Glazner’s book, How To Make A Life As A Poet.

9 pm. jAv AvA vA jOe’s cAFé, Rodeo Plaza, Santa Fe. 474-5282. Magic Places: paintings and encaustic works by Eliza M. Schmid, May 1-31.

Kerouac is Back, Jack! Museum of New Mexico, Palace of the Governors courtyard, on the Plaza, Santa Fe. 476-5094. Free lecture by José de La Isla. Sunday, May 27, 2 pm. mAxwell A museum OF AnthROPOlOGy, 1 University of New Mexico, Alb. 277-5963. North by Southwest: Bering Sea Communities, Collaborations, and Collection: Seventy-fifth anniversary commemorative exhibit. millicent ROGeRs museum, 1504 Museum Rd., 4 miles north of Taos.

758-2462. Best of the Southwest: celebrating fifty years at the MRM, extended through August. nAti A OnAl hisPAnic cultuRAl centeR, 1701 Fourth St. NW, Alb. 246-2261.

The African Presence in New Mexico: From Yanga to the Present: show runs through August 5, 2007.

cORRAles ARt R stuDiO tOuR continues through May 13, with approximately sixty artists. Contact Third Moon Gallery, 4655 Corrales Road, Corrales, 899-2046, to arrange for a tour date with a light lunch in the gallery courtyard.

DelGADO stReet GAlleRies at Canyon Rd. Ongoing fourth-Friday exhibitions through October. Contact: 216-5328 for dates. 5-7 pm.

DiA De lOs ninOss/DiA De lOs liBROs, Museum of New Mexico, Palace of the

Casa Nova—530 South Guadalupe Street in Santa Fe—will be presenting The Broken Cradle, a show of photographs by Naomi Natale illustrating the grim realities that children in Kenya are facing. Opening reception on Friday, May 26, from 5 to 7 pm.

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OPENINGS

nORth OR AmeRicAn institute conference on energy independence for North America: An Alternative Future. Bishop’s Lodge Ranch Resort & Spa, May 29-30. Call 982-3657 or email Sharon@northamericaninstitute.org PhOtO-eye GAlleRy R , Ry

376 Garcia St., Santa Fe. 988-5159. Photo-Eye Project Wall: photographs by Kevin O’Connell,

through May 26. Ephemeral Moments: photographs by David H. Gibson and Don Hong-Oai, through June 22.

PORt OR FOliO shARinG. One hundred photographers share their work.

Saturday, May 18, 7 am-9:30 pm at El Museo Cultural, 1615 Paseo de Peralta. Call 984-8353 or email mblanchard@visitcenter.org

Rush cReek eDitiOns, 315 Johnson St., Santa Fe. 983-8293. The Box Set at Rush Creek: group show of limited edition box set portfolios. Ongoing. teen inteRns wAnteD. Zona del Sol has openings for five teen interns.

Duties include: community program planning, art projects, event planning, and assistance in designing new

Flight of Fancy at the Museum of Fine Arts, 107 East Palace Avenue, features three contemporary artists—Jamie Hamilton, William Lamson, and Robert and Shana ParkeHarrison—who explore man’s fascination with flight. Opening reception on Friday, May 18, from 5:30-7:30 pm.

Zona del Sol Teen Center. $8.30/hr.

Application: Katherine Sienicki at 4706776 or 474-6859. Or zonadelsol@ gmail.com tRuth OR cOnsequence’s 58th AnnuAl FiestA iest . May 4-6 in historic downtown Truth or Consequences.

Parade, carnival acts, live music, stilt walkers, food, and more. Free. Theme of the Fiesta is Truth or Consequences Fiesta 2007: Heroes. Details: 505-4963266, torcfiesta@gmail.com yOuth vOlunteeRs wAnteD for Warehouse 21. Details: www.myspace. com/warehouse21productions

MUSIC AND PERFORMING ARTS cOntemPORARy PORAR OPeRA. Memorylines: PORARy Voices from a Collective Journey.

Sponsored by the Santa Fe Opera and the Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe. Friday, May 11, 10 am for students, 7 pm for general public. Two additional performances: Saturday, May 12, 7 pm and Sunday, May 13, 2 pm.

Tickets: 988-1234. elDORADO chilDRen’s theAte A R. Teen Ate players bring Godspell to James A. Little Theater, May 18-20. 466-4656 for tickets, times, and prices. iAiA POetRy R Ry niGht. Presented by the Center for Contemporary Arts and the Institute of American Indian Arts at CCA, 1050 Old Santa Fe Trail, 983-1338. Tuesday, May 1, 7:30-9 pm.

Ashes: The Alchemy of Hope is a multi-media performance involving movement, film, shadow puppetry, and live music. Opens May 24 and run May 25, 26, 27 and June 1, 2, 3 at the Wise Fool Studio: 2778 Agua Fria Unit D, Santa Fe. Tickets: 992-2588 or www.wisefoolnm.org or Backroad Pizza (955-9055) or at the door.

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nAnci GRiFFith, mARy AR GAuthieR mORe. First Annual Santa Fe

AnD

Women’s Celebration on Saturday, May 19, 3-10 pm. All ages outdoor at Santa Fe Brewing Company, 2 Fire Place Rd., off Hwy 14. Tickets: 988-1234 or thirstyearfestival.com new mexicO wOmen’s chORus AnD the new mexicO GAy A men’s chORus. Three performances of A Lifetime of Love, in Santa Fe and in Albuquerque. Details: 296-9215 or email topclef@aol.com quADstOck. Four performances at the College of Santa Fe on May 5, 12-7 pm. 473-6511 for tickets. stuDent viDeO niGht, The Film Center, 1616 St. Michael’s Dr., Santa Fe. 988-7414. Digital film shorts by Santa Fe Community College Media Arts students. Thursday, May 17, 6:30 pm. Contact Anne Farrell at SFCC for more details: 428-1693, or afarrell@sfccnm.edu theAt A Re-in-the-mAkinG At yOuth PeRFORmAnce wORkshOP. The Tempest: performed by young actors, age 10 through high school. The play wrestles with issues of revenge and redemption. At the Kimo Theatre, 423 Central Ave., NW, Alb. May 2-6. Tickets: 505-768-3522 or www.tickets.com the GuthRie FAmily leGAcy tOuR. Presented by TCA, May 3-4, 7:30 pm. Tickets and details: 758-2052. wARehOuse 21 PResents: Cinco de Mayo Hip-Hop Fiesta at the former Club Luna, 510 Cerrillos Rd., on Saturday, May 5, 2-11 pm.

Free admission.

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Deus ex Paper Works with or on paper Arlene Becker Stan Berning Carol Rose Brown Fionna Buck Izabela Riano Priscilla Robinson Danielle Shelley more...

Danielle Shelley - "Tai Chi 23.V.05-1," ink on paper, 9.5 x 13 inches.

18 May â&#x20AC;&#x201C; 18 June 2007 Opening Reception: Friday, 18 May 5 - 8PM

Farrell Fischoff Gallery Farrell Fischoff Gallery 1807 Second Street #29

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

Colette Hosmer, Fish, green granite, 19” x 10” x 6” each, 2006

Then & Now May 19 to June 27 William Siegal Gallery, 540 South Guadalupe Street, Santa Fe. 820-3300 Opening reception: Saturday, May 19, 3 to 7 pm.

This occasion marks the opening of the William Siegal Gallery in its new location: a sumptuous, 5,000 square-foot space in the Railyard district. The gallery returns to its tradition of combining ancient textiles and objects with the contemporary work of some of New Mexico’s most outstanding artists. The opening exhibition, Then & Now, curated by Bunny Conlon, will feature highlights from Siegal’s world-class antiquities collection, as well as the work of sculptor Colette Hosmer, painter Carlos Estrada-Vega, textile artist Polly Barton, minimalist sculptor Tom Waldron working in steel, and Signe Stuart who works in a variety of media. Both Siegal and Conlon have long believed that the complementary juxtaposition of ancient and contemporary art expresses a visual language that bridges time, place, and cultural identity.

David Cost: In Search of the Essence May 4 to May 30 Touching Stone Gallery, 539 Old Santa Fe Trail, Santa Fe. 988-8072 Opening reception: Friday, May 4, 5 to 7 pm.

Touching Stone Gallery continues its celebration of its eighth season with the second of seven shows that all explore the essence of Japanese aesthetics as they are expressed through various media. Printmaker and poet David Cost will exhibit fifteen monotypes whose images embrace various effects such as the layering of earthy tones, calligraphic markings, and bold glazes, yet, in the artist’s words, “still preserve a sense of restraint and understatement common to Japanese ceramics… My images surface out of the unexpected in the deep reaches of the mind. It is a process of ‘indeterminancy’—meaning that since little is planned, energies summon and reveal the underlying poetry in things. This search for essence requires a willingness to listen and respond to the silent, guiding, and intuitive voices suggesting a path to follow.”

David Cost, Essence No. 6, monoprint, 15” x 15”, 2007

A Weekend Symposium: The Dinner Party by Judy Chicago: Its Historical Significance and Influence May 11 to May 13 LewAllen Contemporary, 129 West Palace Avenue, Santa Fe. 988-8997 Santa Fe Art Institute (and Tipton Hall), 1600 Saint Michael’s Drive, Santa Fe. 424-5050 Opening reception: Friday, May 11, 5:30 to 6:30 pm.

The enormous importance of Judy Chicago’s iconic installation The Dinner Party is the subject of this exciting symposium that will bring the artist together with Dr. Elizabeth Sackler and other leading thinkers about this extraordinary work of art. Sponsored by the Santa Fe Art Institute and LewAllen Gallery, in association with Through the Flower, the symposium will offer a series of lively and informative discussions that will illuminate the historical significance of The Dinner Party as symbol, its place in art history, and the role it has continued to play in effecting personal and social transformation. An exhibition at LewAllen Contemporary reveals Chicago’s gradually unfolding vision for The Dinner Party and includes more than two dozen test plates that she created between 1975 and 1978. Call the gallery and the SFAI (numbers listed above) for a schedule of events and enrollment fees.

Judy Chicago, Theodora, Test Plate #7, china paint on porcelain, 28½” x 28½” framed, 1975-1978

PREVIEWS

Modern Dimensions: Contemporary American Sculpture May 4 to June 30 Eight Modern, 231 Delgado Street, Santa Fe. 995-0231 Grand opening: Friday, May 4, 5:30 to 7:30 pm.

Eight Modern celebrates its grand opening with an exhibition that brings together the work of seven sculptors. Walter Dusenbery’s sculptures are at once classicallyinspired and wholly innovative, while Ming Fay’s elaborate, multi-media constructions are derived from organic sources such as seed pods and other biomorphic forms. By using a repoussé technique, Robert Lobe sculpts sheets of aluminum to the spatial outlines of landscape configurations and Robert Mangold explores the notions of time and space as expressed through movement in sculpture. Celeste Roberge’s assemblages of river rocks, nineteenth-century furnishings, and stainless steel investigate colliding polarities such as the comfortable vs. the threatening and the ephemeral vs. the enduring. By translating vegetal forms into industrial materials, John Ruppert invests his sculptures with abstract qualities by having stripped them of their original colors and details. Nancy Youdelman’s mixed-media assemblages integrate personal artifacts and natural materials with female clothing, thus eliciting feelings of adoration, nostalgia, and lost hope.

Walter Dusenbery, Study for Aurora, yellow travertine, 34 ¼ x 36” x 5”, nd

Patrick Nagatani: Confessions of a Tapist Group Exhibit: Attention to Detail May 26 to July 21 516 ARTS, 516 Central SW, Albuquerque.

505-242-1445 Opening reception: Saturday, May 26, 6 to 8 pm.

Patrick Nagatani’s Confessions of a Tapist is a series of photographs created over the past twentythree years that incorporates an obsessive and meticulous use of masking tape. These mixedmedia pieces utilize painting, photography, collage, and assemblage, so that they might, in the artist’s words, “have a life of their own and… change very slowly in time, much like mummies from ancient Egypt have lasted through the centuries but nonetheless have changed. The work might be seen as an evolving entity.” Attention to Detail, an accompanying group exhibition that was inspired by the Tapist series, brings together artists working in a variety of media and celebrates the transformative and healing process involved in these artists’ obsessive approaches to their work, as well as the beauty of their meditative achievements.

Jennifer J.L. Jones: Rapture, mixed media on wood panel, 48”x 48”, 2007

Jennifer J. L. Jones: Soliloquies May 25 to June 11 Hunter Kirkland Contemporary, 200-B Canyon Road, Santa Fe. 984-2111 Opening reception: Friday, May 25, 5 to 7 pm.

In her new series entitled Soliloquies, mixed-media artist Jennifer J. L.. Jones explores the emotional language of color to convey the connections we feel to the natural world.

Using colors ranging from vibrant reds that evoke the southwestern skies, to the blushing pink of cherry blossoms, to the silky green of new growth, to the deep blue of midnight skies, Jones creates dreamy images and textures on wood panels that invite the viewer to dismantle conditioned ideas and thought patterns. The artist works with various media including oil, acrylic, textured papers, asphalt, wood stain, glue, charcoal, wax, and metal.

Patrick Nagatani, Ghosts, photograph, masking tape, archival enhancing medium, 41” x 27”, 2003

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Lines 05-105, 2005, mixed media on wood, 30” x 30”

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

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

seth anderson line paintings

gallery hop 6-9 pm, saturday, may 12

May 11 – June 9 Reception Friday, May 11, 5 – 7 pm

  a contemporar y gallery

look for us on the web at www.torcart.com Sponsored by the TorC/Sierra County Chamber of Commerce. Paid for in part by TorC Lodgers Tax

209 Galisteo Street Santa Fe 505-992-0704 www.addisonarts.com

“ground zero hour” photo/ad work: rob miller graphic design

A N D R E W S M I T H G A L L E RY, M a s t e r p i e c e s

o f

P h o t o g r a p h y

INC.

Visit us at either of our two locations: 203 W. San Francisco St. Santa Fe, NM 87501 505-984-1234 • Hours: 10-5 Mon.-Sat. And announcing our new location: 122 Grant Ave. Santa Fe, NM 87501 505-986-3896 • Hours: 10-5 Tue.-Sat.

Annie Leibovitz, June Carter Cash And Johnny Cash, Hiltons, Virginia, 2001 ©2001 Annie Leibovitz

The Andrew Smith Gallery is the leading gallery for classic 19th and 20th Century work of the American West including Ansel Adams, Edward S. Curtis, William Henry Jackson, Laura Gilpin, A. C. Vroman and F. J. Haynes. In addition the Andrew Smith Gallery features the work of Alfred Stieglitz, Timothy O’Sullivan, Edward Weston, Annie Leibovitz, Carleton Watkins, John K. Hillers, Joseph Sudek, Laura Gilpin, Henri Cartier-Bresson, Arnold Newman, Jerry Uelsmann, Jack Spencer, Paul Caponigro, and regional photographers: Miguel Gandert, Joan Myers, David Michael Kennedy, Alan Ross, Jody Forster, Victor Masayesva, and Patrick Nagatani. w w w . A n d r e w S m i t h G a l l e r y. c o m

NATIONAL SPOTLIGHT

photoGraph By B

loretta lux

For centuries, the image of the child has been a symbol for innocence. Since the Victorian era, the idea of the innocent child has been reinforced collectively not only in paintings, prints, and photography, but also in literary works such as Lewis Carroll’s Alice’s Adventures in Wonderland. But what was thought by some simply to depict childhood innocence might just as easily be seen as repressed symbolism relating to sexuality and death. However hidden or overt this symbolism was to the Victorians, our own recent history makes it difficult, if not impossible, to overlook the wide-ranging connotations provoked by images of children. Pretty Baby, organized by curator Andrea Karnes, explores various notions of childhood identity in contemporary art. The exhibition will be on view at the Modern Art Museum of Fort Worth—3200 Darnell Street, Fort Worth, Texas—through May 27, 2007.

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JENNIFER J.L. JONES SOLILOQUIES MAY 25–JUNE 11, 2007

VICTORIA CARLSON Bent on Sin: New Watercolors May 12 - June 4, 2007 Reception Saturday, May 12, 4-6pm Sin of Lack of Concentration, watercolor, 22.75 x 15 inches

PARKS GALLERY

Photographed by Jesse.

Juried Student Exhibition Spring 2007

127 Bent Street, Taos, New Mexico 87571 505 751-0343 parksgallery.com

Book Arts Drawing Ceramics Color Theory Jewelry NM tinwork Painting Photography Printmaking Santero Carving Sculpture 2D Design 3D Design

Garden Totems, 2007, Mixed Media on Wood, 6 panel set, 40" × 5" each

Opening Reception: Friday, May 25th 5 to 7 pm

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

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

(505) 428-1501 • www.sfccnm.edu/gallery 6401 Richards Ave., Santa Fe, NM 87508

Linda Durham, juror Owner, Linda Durham Contemporary Art May 17, 2007 to August 8, 2007 OPENING RECEPTION • Thursday, May 17 • 4:30 to 6 p.m.

Awards for the juried student show provided by: Artisan/Santa Fe, Alpine Builders Supply, Santa Fe Camera Center, New Mexico Clay, Mesa Steel and Santa Fe Jewelers Supply

CRITICAL REFLECTIONS

I

Van GoGh

in

Budapest dózsa GyörGy

utca

MuseuM of fine arts 41, Budapest, hunGary

I want something more concise, more simple, more serious; I want more soul and more love and more heart.

—Vincent van Gogh, from a letter dated 11 December 1882

Is there anything left to say about Vincent van Gogh? Does everyone know his favorite color was yellow? That he cut off all, or a part, of his ear and gave it to a prostitute? That he was a manic-depressive? That he painted one of the most perfect works in the history of art? cut IIt’s t’s called The Starry Night yet the artist himself felt it was a failure because he had been “led astray into abstraction.” Historians have declared that van Gogh nnever ever sold one painting in his lifetime, but he did sell one in the last year of his life, 1890, to an Anna Boch who purchased The Red Vineyard. Compared to prices ffor or his work now, she got it for less than a song. About van Gogh’s last painting Wheat Fields with Crows he wrote, “They are vast fields of wheat under troubled skies, and I did not need to go out of my way to try to express sadness and extreme loneliness.” No you didn’t, Vincent, and may you now rest in eternal peace —or at least not roll over in your grave every time one of your paintings is re-sold.

On May 2 of this year, one of six portraits of Madame Ginoux, done by van Gogh, will go on the auction block at Christie’s and it is expected to fetch at least 40 million dollars. The Madame Ginoux portrait going to auction is wonderful—all the portraits of her are—but it isn’t as wonderful as the two in the Budapest exhibition. Referred to as L’Arlésienne—the woman from Arles—Madame Ginoux, with her husband, was the proprietor of the Café de la Gare that van Gogh frequented and made famous in his work The Night Cafe.

Van Gogh had an extraordinary gift for portraiture, whether he painted himself or others, and the Budapest Fine Arts Museum positioned the two Madame Ginoux works—one with a face angled to the right, one to the left—in a most auspicious way. They were separated by a space through which viewers walked in order to proceed through the rest of the exhibit. It felt like Madame Ginoux was a guide escorting you into deeper realms of van Gogh’s artistic process as well as his progress as a painter. By the time you had reached her, you had traversed the first eight years of van Gogh’s career as an artist, and he would only have two left.

From this point, you left all the early drawings behind—stunning in their simplicity and moodiness and skill. I wasn’t at all familiar with van Gogh’s first drawings and the fact that, once he had made up his mind, in 1880, to be an artist, he seemed to have emerged in his work with fully formed sensibilities—an expert at graphic composition and the rendering of atmosphere. His early paintings are somber, drenched in earth tones and earnest in their evangelical celebration of country life and village landscapes. After he moved to Paris, however, van Gogh would embrace the radiant color theories of the Impressionists and his palette would jump into another electron orbit with its luminous and, at times, hallucinatory brilliance.

An early painting, from 1881, is an uncanny still life with a straw hat as a central organizing principle. It gave me a chill to see it because it was as much a telling selfportrait as any we are now familiar with; his recognizable straw hat nearly floats off the canvas like a disembodied spirit searching for its phantom lost self. Still Life with Straw Hat would presage van Gogh’s penetrating ability to see into things and people and the landscape and, like Orpheus journeying into the underworld to escort his muse back to the center of his artistic process, van Gogh went again and again into another realm in search of something that was clearly beyond the act of representa- Vincent van Gogh, L Arlésienne: Madame Ginoux, oil on canvas, 1890 tion—something beyond form, yet somehow attainable and that could eventually be rendered as a constellation of emotions that made life bearable.

Painting was a threshold experience for the artist—an attempt to create what the poet Robert Frost described as “momentary stays against confusion.”

For van Gogh, being at the threshold meant all or nothing at all. It meant the glory of ecstatic madness channeled into precise brushstrokes of illuminating, expressionistic color fused with intense feeling, or it was funneled into the depths of despair that then found its equivalent in violent outbursts, a hand with a razor, a smashed glass, a gun to the chest.

One hundred seventeen years, and millions upon millions of dollars later, what does van Gogh still mean to us? Is he a dollar sign only, a major investment that confers prestige, pride of ownership, and an ersatz power of greatness by association? Or is he one of the most haunted and haunting individuals ever to burn across the cosmos of art and come to rest in a body of work almost beyond description in its emotional impact? Perhaps van Gogh was put here as a test for modern humanity. If we can accept the hallucinatory give and take at the core of his work as an extreme form of moral and visual calculus—with its immense, but largely untranslatable rewards—then perhaps we can enter with greater confidence our postmodern world where everything has its price and what we thought was stable, progressive, and dynamic in a mostly positive way, is really just a series of endlessly steep inclines, inversions, and unspeakable cruelty. “I want something more concise, more simple, more serious; I want more soul and more love and more heart.” What else is there to add to that?

DiAne ARmitAG mit mitAG e

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A S T I L L I Professional Services for the Protection & Preservation of Fine Art

ARC H I VA L S E RV I C E S Museum Quality Storage Facility Archival Wrapping, Packing and Boxing for Storage or Transport Digital Image Documentation Museum Standard Documentation Database Inventory System Condition Checking Expert Art Handling Artspace / Viewing Areas

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CRITICAL REFLECTIONS

set, suBset santa fe coMMunity colleGe Visual arts Gallery 6401 richards aVenue, santa fe

“It could have been a train wreck.” That’s what John Boyce, one of the three sculpture instructors at the Community Colllege ege who conceived of and executed this exhibition, had to say about imagining how the whole thing would come together—or not.

Now, I’m a big fan, in theory at least, of artist-curated exhibitions. I am also a big fan of grassroots democracy, the basic principles of anarchy, and lloving oving my neighbor. However, those concepts haven’t often reached their highest manifestation in this world of ours. So, despite my principles, I remain sskeptical keptical of populist, collaborative ventures, and find that there is something to be said for the role of the curator as a sort of benevolent dictator, even though, within the hierarchically inclined institution of art, the curator can come across as the voice of authority rather than the handmaiden of aesthetics.

Despite their best intentions, curators are usually art historians (in the interest of full disclosure, I must confess that I, too, am an art historian) practicing within an atmosphere of one-upmanship, and their shows tend to come across as so much academia. That’s where the education crew has to step in and mop up. Yep, curators, whether solo or as a group, can leave a real mess.

It’s this basic concern—how will the damned show function based on looks alone?—that faces a curatorial body as it puts together exhibitions of real things in real time and space. Facing this concern may cause joyful anticipation or looming dread, or a bit of both, but it should be transacted with a unified vision based on intellectual and aesthetic curiosity. This kind of singularity need not reflect one-dimensionality—though it often does in museums and especially in galleries, where the vision pretty much runs along commercial interests.

A good curator, in my opinion, puts together a show based on his or her willingness to A: ask a great question, and B: provide art that suggests intriguing variations on that question, rather than one pat answer.

Boyce, with Jack Slentz and Erika Wanenmacher, did just those things.

Which is rather amazing, when you consider the exponential array of possible directions this flow chart of a show might have gone.

Here’s how it worked: each instructor picked three artists based on the “artistic relationship” (according to the curatorial statement) of their choice. Slentz’s set focused on the artist as worker—thus he wound up choosing six artists: three sets of two artists each. In each set, one artist works for the other. Let me spell it out. Greg Joubert works for John Geldersma and makes his own art as well. Ditto for Kim Hargrove with Peter Joseph, and Elissa Beaton with Connie Mississippi. Got it? Next, Wanenmacher’s theme was family. Her set consisted of a father, Pat Simpson; a mother, Roxanne Swentzell; and their daughter, Rose Simpson. And Boyce was interested in students, but not your typical first-year types. These were three professional artists, each of whom had taken a class with Boyce, and from whom he felt he had learned as much as he had taught. Boyce’s set consisted of Celia Rumsey, Laird Hovland, and Susan York. Like he said, with these assorted relationships, it could’ve been a real train wreck.

I witnessed no wreckage, just the harmony of curatorial and artistic conviction. I have always been mad for Pat Simpson’s elegant and mysterious freestanding steel boats. They looked great against Geldersma’s majestic wood totems, which were, in turn, terrific with Mississippi’s laminated plywood pieces. The connections were unaffectedly obvious.

Swentzell’s and Rose Simpson’s clay works held their own against the other mostly nonfigurative works—mischievous sentinels of the artist as self, especially in Simpson’s Hang, in which clay figures cling, monkeylike, to a woven-twine hoop. Rumsey’s works in the language of medical pathology—marvelously compelling because they do more hinting than illustrating—were mediated by the simple beauty of York’s graphite pieces. Joseph’s video, Flights of Failure, was highly sculptural, with Pat Simpson, Tower Boat, steel and bronze, 78” x 44” x 8”, 1993 bisected stealth jets appearing and disappearing against a New Mexico landscape. Beaton’s impressive works reminded me of Ken Price—and her ceramic blobs did double-duty as objects and as concepts, allowing for an ebb and flow between them and their fellow artworks. These organic forms worked well with the Swentzell and Simpson clay pieces, yet as abstracted vessels they connected with the rather spare vision of this show as a sculptural installation. Leave it to sculptors to intuit negative space when planning an exhibition. Mostly vertically oriented, the experience of walking through the show was like being in a momentarily still fairy-tale forest—delightful and just a little bit shivery, because it turned out so right when it all could have been so wrong.

kAth AthRyn R m. DAvis A

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sfai

6-8/2007

>COMFORTZONE< Under the thematic rubric “Comfort Zone” SFAI brings to Santa Fe an outstanding group of artists and writers whose practice focuses on the role of the arts in activism: social, cultural, and environmental.

David Maisel 6/18 6/19 - 22

Lecture, 6pm, Tipton Hall Master Class, SFAI

Coco Fusco 7/9 7/10 - 13

Lecture, 6pm, Tipton Hall Master Class, SFAI

Mel Chin 8/6 8/7 - 10

Lecture, 6pm, Tipton Hall Master Class, SFAI

Lecture ticket prices: $5 general public, $2.5 students and seniors Master class prices $100/day, scholarships available!

PLEASE NOTE: Laurie Anderson will not be coming in August due to last minute scheduling conflicts. Look for her as part of the 2008 SFAI Visiting Artist season!

WWW.SFAI.ORG, (505) 424 5050, SANTA FE ART INSTITUTE, 1600 ST MICHAEL’S DRIVE, SANTA FE, NM 87505 This series is partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax. It is made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endowment for the Arts.

Friday, May 11th 5:00pm-7:30pm

OPENING RECEPTION

Featured artists: Joel Nakamura David Cost Carrie Quade Della Johnson Alexandra Eldridge Mac Read

505.982.9875 located within the 2nd Street Studios

1807 2nd Street Santa Fe, NM 87505 info@mesaphotoarts.com Celebrating New Management & Renovation!

W

see it in Black

CRITICAL REFLECTIONS

and

White linda durhaM conteMporary 1101 paseo de peralta, santa fe

While the premise for

April’s presentation at Linda Durham Contemporary may not be much more than a convenient catchall for an off-season show (what gallery couldn’t rummage around in storage and find sufficient material for a “black-and-white show”?), the assemblage an Durham D urham presented was of such high caliber that her selections breathed considerable life into what otherwise could have been a rather pedestrian project.

Much of the show was given over to pure drawing, and as we all know, drawing is the touchstone of the plastic arts. Ruminating at Durham’s, amidst a congeries of paintings, sculpture, assemblage, and conventional drawings, I recollected that Santa Fe’s own John Sloan repeatedly told his amidst pupils that “drawing and composition are the same thing.” “Draw with the brush. Carve the form. Don’t be carried away by subtleties of modeling and nice pigmentation at the expense of losing the form,” Sloan advised.

Moving from an arresting sculpture in pure, stygian graphite (one of those knockout, dark “Diamond” pieces by Peter Joseph, from which, as with black holes, “little light escapes”) to a towering oil-and-wax diptych on canvas by Richard Hogan, any viewer ought to be able to see that both of these artists most likely captured his basic image or form in drawing on paper or canvas.

The two large canvases by Hogan, Rapunzel and Black Velvet, are abstract tone poems in close-hued black, white, and gray—with suave passages of taupe, mauve, and bronze—whose impact is very powerful precisely because of the artist’s restrained palette, which permits the paintings to work almost wholly graphically. (This viewer, with a rather long memory of twentieth-century abstraction, saw distinct echoes of the shallow space and closely packed collaged canvases of Conrad Marca-Relli in the two Hogan tours de force.)

Looking somewhat like aerial photos of a dun-colored, wintry landscape where flat, biomorphic forms drift about or lock together like ice floes in black water, these canvases demonstrate that really accomplished abstraction can appear disarmingly effortless. It is as though Hogan was determined not to let us see him sweat, the compositions are so damnably suave and assured.

Mounting a show in black and white allowed Durham to give airing to the new young talent, Laura Scandrett, whom Durham discovered while teaching a gallerist issues course at Santa Fe Community College.

Scandrett appears to be pursuing some highly personal, elliptical, and allusive research in a weighty “Book of Knowledge,” since a number of her recent drawings are titled, like the one exhibited at Durham, Book of Knowledge, No. 9. In this instance, her composition pairs the rational and irrational in art and nature by contrasting an asymmetrical, gnarled tree trunk or vine, done in velvety blacks—reminiscent of the drawings of Van Gogh—against a phantom image of a great work of classical architecture—Rome’s Pantheon, in point of fact. The essence of this pairing is the wild and willful nature of Nature—the contorted, ancient tree trunk—overlaid on the eminently rational forms of classic architecture.

For this viewer, the most riveting inclusion in Durham’s black-andRichard Hogan, Rapunzel, oil and wax on canvas, 102” x 75”, nd white potpourri has to have been a bagatelle anyone could be forgiven for overlooking entirely: i.e. a small, cast-resin multiple created by the redoubtable Kiki Smith, entitled The Siren.

In addition to Smith’s well-known preoccupation with the human figure (both its outer form and inner plumbing), I have always admired her interest in the more idiosyncratic byways of art history, like anatomical curiosities and mythological beasts.

In the case of The Siren, a simple, eight-inch-tall figure of a mythical harpy, half woman, half rapacious bird, Smith has resuscitated a very potent image from the bizarre bestiary of Art Nouveau or Symbolism, the femme fatale figure that beguiles and then destroys men.

Her Siren’s song (which lures the hearer to destruction in the original myth) emanates from a tiny music box embedded in the base of the sculpture, a haunting snatch of piano music triggered by passing light or motion near the work of art. (The plaintive little phrase, rather like Proust’s “Vinteuil Sonata,” a tinkling rivulet of sound composed by Donald Rubinstein, appropriately suggests the music of Debussy or Ravel.)

Smith’s little dusky sphinx, to all intents and purposes a throwaway in the larger Durham exhibition, had as much resonance and presence as some far larger and more ambitious works of sculpture—like seeing a great Egyptian sphinx or chimera. Regrettably, before this viewer could whip out his checkbook, the work vanished from the shelf.

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CRITICAL REFLECTIONS

neW W y ork , n eW y ork Is the Big Apple still the navel of contemporary art?

Jacob Dahlgren, Heaven is a Place on Earth, dimensions variable, 2007

New York is currently centrality-challenged

by Los Angeles and the rise of a New Regionalism, a global scattering of equally important epicenters. Yet, the art star in Zimbabwe or Guatemala G uatemala still requires a solo show in Manhattan to take it to the next level. And the Peruvian transplanted to Brooklyn probably has a better b etter shot at big-time art status than her homegrown compadres de arte, no? Plus, global nomads still spend more time looking at contemporary p orary art in “The City” than anywhere else.

A retrospective of the wacky work of Gordon Matta-Clark and his spectacular architectural interventions delivered at the Whitney.

As did a screening of Johan Grimonprez’s film Dial H-I-S-T-O-R-Y from 1998. This clever compilation of news clippings, old Cold War propaganda, and doctored documentary concerning the phenomena of airplane hijacking was scary funny and chilling in light of 9/11.

The new escalator-laden MOMA works. Matisse and Mondrian look fantastic in their new locations, and the Comic Abstraction show was great. The realm of cartoon imagery is still providing a rich field of exploration for contemporary artists. A retrospective by light-box pioneer Jeff Wall illustrated that the intersection between advertising and art also remains fecund. Though best was revisiting the Pipollotti Rist video in which she pleasantly smashes car windows with a large tropical flower.

The gallery scene in Chelsea is a letdown. As contemporary art at auction shoots through the roof, the specter of market forces and commodification casts a pall over the district, making the vibe in these cavernous white cubes cold and snooty. The smaller upstairs spaces are as schlock-full as Santa Fe’s Canyon Road, and in the big deal galleries the strongest art is usually the brushed steel and frosted glass entryways. Architecture seems everywhere on the rise while the art lags behind. Still, there where some notable exceptions.

At Paula Cooper Gallery, Pierre Bismuth presented enormous versions of the exhibition’s two-page ad in Artforum. These bigger-than-billboard-size monochrome squares were squeezed into the space at strange angles in a hairsplitting pop strategy where advertising, art, and architecture were collapsed into each other to cynically suggest that promotion of the artist is the only Art left.

Piero Golia, at Bortolami Dayan Gallery, displayed a machine set to periodically send skeet smashing against the wall along with a machine set to a motorized broom that endlessly swept away the seconds. This neo-conceptualist from Naples has found funny ways to mark time in New York.

Another highlight was the new Chelsea Art Museum and a show called Dangerous Beauty. The vibe here was friendlier, and pieces concerning body image and the cruelties of fashion intrigued. Entering the show one walked across a Carl Andre–type grid of bathroom scales, all of which registered slight differences in weight, thanks to artist, Jacob Dahlgren.

The best thing in Chelsea had to be the photo-collage figurative sculptures at Max Protech by artist Oliver Herring. They raise cool questions about how we situate the real, while videos of his audience-performed interventions recall the strategies of Rirkrit Tiravanija.

Finally, the moment was all about Global Feminisms at the Brooklyn Museum. Truly a great attempt to cover the whole world, it remains light on South American and Islamic nations. What? Women don’t make art in Paraguay? While reviews have been tepid, there are some great pieces here. Bulgarian artist Boryana Rossa’s digitally altered video of two hilariously hysterical women reacting to unseen stimuli is a short and sweet pleasure, though whether it constitutes a critique or a celebration of female emotiveness is up for grabs. Sperm Thing by Sarah Lucas amuses as an attempt to deal with the realities of the male role in reproduction. Patricia Piccinini’s bizarre hyperrealist Big Mother sculpture of a larger than life Neolithic monkey mama is poignant and disturbing.

Fortunately, most of the videos in this video-heavy exhibit are in white rooms rather than black (it really helps). And curators Linda Nochlin and Maura Reilly include tags with running times so you know what you’re in for. My personal favorite came courtesy of the French artist Aude du Pasquier Grall from her series Male Cycle in which we first see a female photographer shooting an unseeable male subject followed by another fifteen minutes focused solely on his nude posing and arousal. The reversal of the gaze is refreshing and held intriguing conundrums. Especially telling was the body language of the women watching the video. As our boy became erect they took stances of rapt neutrality, stances that seemed like nothing so much as the passive, protective but attentive poses most men assume at strip clubs, say. Maybe we aren’t so different after all. Fifty years from now the Sackler Center for Feminist art can be re-named the Artistic Center for Gender Role Dialogue, and everybody can show off his or her belly button.

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epheMeral MoMents: daVid GiBson photo - eye G allery 376 Garcia street, santa fe

In David Gibson’s photographs,

nebulous formations invoke a primordial potential of space and form. Plaits of smoke suggest the stirring of form, like a creative alchemy rising from a shadowy unconscious. The starkness of the work draws on of tthe he dialectical tension of opposites. Light-dark. Absence-being. Advancement-recession. Delicate structures loom in an arrested state of becoming b ecoming and dissolution. Gibson captures an implicit rhythm in the arabesque poise of the fibrous patterns.

While the pictorial wonder of the frozen image that expounds the secret world of process no longer holds sway, Gibson’s work appeals to our contemporary sense of design. His photographs, like Picasso’s Guernica, become more expressive when you scale into the dense matrix and discover eloquent moments within the coiling diaphanous fabric. Tired of clean, bracketed visual experiences, our eye is naturally excited by a glimmer of chaos. Gibson frames the caprice of the sprawling forms, which are further reified in the mirroring. At times a crisp binary fractal blooms from an invisible horizon. At others, the turbulence of the surface registers a streaky ghostly double.

Unfortunately, half of the pieces don’t show a great deal of artistic control or discrimination. Where Gibson is successful, the work conjures cascading celestial realms or elegant minimalist constellations. Where he is unsuccessful, a deluge of smoke engulfs the composition and befuddles the tonal range—even the most meditative phlogiston philosopher would be stretched to find any aesthetic fascination.

When he flubs the illusion, making his studio pyrotechnics painfully apparent, the selective charm of his abstraction is dissipated.

Considering the cogency of Gibson’s abstraction when he clinches his concept, it is difficult to defend the debacle of smoke and mirrors that he included to inflate the collection. All of his variations involving a single flare and its wavering reflection are underwhelming.

Next to some of the more convoluted pieces, flooded with billows of smoke, these sparse compositions offer refreshing relief. Unfortunately, they sputter out quickly. The lack of dynamic range, simplicity, and repetition of the theme taxes even its minimalist validity.

Where Gibson strikes upon something fresh, he captures a breathtaking array of textures and evolving forms. His inspired moments are remarkably affecting, making me wish he had invested the studio time to skillfully round out the collection. His abstraction is pure magic when he calls up exotic forms with precision and nuanced treatment of light and contrast. In the collection, as with the individual pieces, the sweet spot is somewhere between less and more.

FRAnciscO ARechiGA David Gibson, Ephemeral Moments 06 2949, photograph, 2006

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site santa fe’s younG curators: Vices & Virtues MuseuM of fine arts 107 West palace aVenue, santa fe

Those kids couldn’t have

Christian and Platonic messages resound in these pages, and so do the occasional fresh gusts of philosophy.

Richelle Gribble’s thoughtful statement addresses the content of Choice, a mixed-media installation: “The mask and shadow remain unoccupied because everyone has to make the choice and select the path for their own identity.”

On opening night, the Museum of Fine Arts, SITE Santa Fe, and the Santa Fe Rotary Foundation for the Arts awarded a $2,500 scholarship to Alima Lopez, a high school senior from Northern New Mexico who is committed to pursuing a career in the visual arts. Lopez describes the “sin” of lust as “a beautiful characteristic of human nature.” Struck by the way her Polaroid transfers danced in the water bath, Lopez attempted to mimic that effect by pasting the two-dimensional images on threedimensional panes of glass. The result is five fleshy photos peeling at the edges like torn, sooty lace on a vintage dress.

Seeing the work of these artists stands as a powerful example of what is lost when young people are denied the formal opportunity to develop artistically. Both the artists and curators prove in this exhibit that these youths have good eyesight.

composed artwork worthy of years of experience and technique.

They didn’t curate their own show either; artists did. Vices & Virtues, an exhibition presented by SITE Santa Fe’s Young Curators program at the Museum of Fine Arts, showcases a wide range of talent by twenty Northern New Mexico and Idyllwild, California high school students, in addition to one College of Santa Fe artist, Harper Stone, a skilled oil painter.

The key piece in the show is a steel-and-nylon sculpture entitled The Weight of Virtue. The gravitational balance of the piece inspires minutes of thoughtful inquiry, and Taylor Wilson in his artist statement writes that the laws of physics are clear: “Unless we impose unnatural control, the earth moves toward a state of disorder and chaos.” Wilson then goes on attesting to the burden of Christians to “organize the world against entropic instincts.”

Ahem. Despite the critical state of the world as acted upon by faltering human hubris, Wilson’s sculpture speaks for itself and is open for interpretation on a number of meaningful planes: is it virtue that droops heavily from the human soul? Or, does virtue fly us above the hideous face of impermanence?

One place to address these heavy questions is in the art. The other is in the binder of artists’ statements at the top of the stairway, an integral part of the show. Common

miRAnDA DA FOsteR meRklein Taylor Wilson, The Weight of Virtue, mixed media, 2006

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CRITICAL REFLECTIONS

Mary shaffer: Visions Gerald peters Gallery 1011 paseo de peralta, santa fe

In the 1970s,

Mary Shaffer developed a process of working with plate glass called “mid-air” slumping. In her pieces, glass is allowed to slump, bend, and sag against, through, and around metal objects of hand-forged steel and hard wire with a minimal amount of manipulation. At least, that is the effect. In other pieces, man-made tools interact strangely, but not unnaturally, with pooled hot glass that holds them upright, at attention, as if they are ready to speak, to tell their stories. Perhaps they appear this way because hand-forged tools, relics from an naturally, naturally iindustrial ndustrial society well past its prime, develop unique characters over time. Such is the case in one piece, Animus, a wrench whose rusted surface, pitted and scarred, transforms it from mere ttool ool into a serpentine being casting a horned shadow, a writhing appendage ending in a forked tongue. Animus seems possessed of a secret history, animating it, giving it life.

We tend to view much that is man-made as being somehow devoid of nature or opposed to it. But this is no more true of glass and metal than of wood, rock, or cotton fiber. That is to say, it is not true at all. Both are very much a part of the earth as is a sculptor’s clay. Still, Blue Rain-Curtain, a solid sheet of cast glass that dominates the first room of the exhibit, left me feeling strangely uneasy. It is as though Shaffer had cut a slice of frozen waterfall with a laser, and placed it incongruously into an interior space.

It seems unreal in the manner of a ghostly presence. It is beautiful, but so is the call of a siren. A luminous piece, Blue Rain-Curtain asks us to reconsider our relationship to the natural, primal world that we often desperately try to hold at bay, to keep it from coming inside. Ultimately, we cannot escape it for it is so alluring.

A similar disquiet met me while viewing Nail Pillow. This piece, comprised of layers of slumped glass embedded with nails under every layer, might sound, judging by the title, a little sadistic. But consider an actual pillow, whose soft contours and cotton folds betray nothing of the nightmare dreams hidden within. Nail Pillow is like that. But unlike the pillow on your bed, it is revealing. You can see what it contains within: industrial dreams, perhaps, from a cold, chiseled reality.

If it were not for the capacity of light interacting with the glass to illuminate and reflect the conjoined metal, we might forget that Shaffer’s work isn’t about nature lost to indifference but about bringing nature back, or understanding that it never left. Like pools of hardened tears, glass clings to the tools of a modern age because those tools are human and what is human evokes sympathy. They are fabricated by human hands, as are all arts, and possessed of vision.

michAel ABAtem BA ARcO

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Mary Shaffer, Nail Pillow, slumped glass and nails, 16” x 16” x 10”, 1975. Photo: George Ermil

susan Mcdonnell: still liVes: neW W W ork klaudia Marr Gallery 668 canyon road, santa fe

The lovely, muted subtleties

ous space whose laws of nature seem foreign. Painted

of the colors in Susan McDonnell’s paintings on panels have an intensity that conveys the luminosity of space. Surfaces both of light and of shade seem to vibrate internally, as if the egg tempera–based pigments have been enabled to hold their colors, undiminished in their essence. Birds, grasshoppers, frogs, turtles, and spiders populate some of these fantasy pastorals, and in some cases McDonnell plays with the convention of borders in such a way as to evoke the delicate patterning of Indian miniature painting. Or else, as in Natural History (also bordered) one thinks of a mini Wunderkammer, or “cabinet of curiosities.” In this painting there is a beetle, an egg, a somewhat forlorn daisy “specimen,” a dragonfly, and a centrally positioned eucalyptus pod. Small in scale and painted in painstakingly detailed exactitude, each member of this small assemblage of objects demands close attention. There doesn’t have to be an overarching theme or reason for their presence; it is enough that the artist chose to lavish her attention on them and set them apart for our scrutiny. In Desert Still Life the central presence is a yucca estrada that is situated in an ambigu-

in tiny, countless strokes, the yucca seems to vibrate beneath slightly ominous aqua skies. It is as if the fluorescent, lunar atmosphere carries the painting in the direction of a kind of narrative mysticism. Meadow is populated with stylized flowers rendered as jewel-like mandalas. They bristle with an energy that belies their seemingly decorative effect. The surface of Down the Garden Path is composed of tiny facets that stir the picture into life: the translucent colors seem to loosen the picture plane and give birth to its central occupant—a single, intricately rendered flower. In fact, in all of these paintings, there seems to be a use of ornamentation that suggests both the spiritual and the popular nature of images that are, on the face of it, wholly decorative. The artist appears to use the process of painting as a way to unleash the radiance of color and convey its intrinsic properties, at once rich and transparent. The colors thus have a physical vibrancy and resonance that make McDonnell’s pictures come alive.

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

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CRITICAL REFLECTIONS

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todd WilliaMs the teahouse 818 canyon road, santa fe

“A good artist creates, a great artist steals.”

— Pablo Picasso

We dream each other’s dreams so now our dreams are real. Photographer Todd Williams appropriates the creative efforts of others as the basis for his own work. His

images of outdoor artworks in and around Santa Fe are surprisingly strong considering that such a project could easily lapse into kitsch. Appropriation runs a continuum from homage to ironic commentary. On one end of this spectrum the works of others are lifted in an attitude of honor and respect and at the other end the same works may be ripped off in order to deride, satirize, or demean. Williams is definitely on the homage side of this polemic, treating the sculptures and other outdoor artworks that are the subject of his photography with immense respect, and often bringing them to life in unforeseen ways. Still there is some irony in his pictures of sculpted Native Americans in front of real estate offices.

Grand Wapiti is a print of a metallic deer by sculptor Francois-Xavier Lalanne, digitally doubled. The photograph is called Face to Face in Time: the two deer, one silvery and the other bronze, turn back to face each other as they head in opposite directions. Shot just outside the Gerald Peters Gallery, this stunning print is surreally pristine and hauntingly pure. This is an example of Williams’s remarkable ability to present the “aha” moments of art viewing.

A big part of his art is his talent for fixing photographically the pleasures of looking at art. Descendent is an equally lovely image of Stacey Neff’s Breathing Stone in situ at Linda Durham Contemporary. The light bouncing off this translucent object creates a subtle halo, which Williams masterfully captures. Or does he create it?

His digital prints raise intriguing questions about the nature of the real. For centuries sculpture was the mode of naturalism in Western Art (see Praxiteles). Beginning in the fourteenth century, oil painting became the medium that signified “reality,” but it was quickly replaced by photography a few centuries later. Today we still tend to privilege the photograph as the first choice for exact mimesis of reality, but this is rapidly shifting. While it matters not at all in judgments of quality whether Williams’s images are digitally altered, one has to wonder. What “straight” photographer isn’t tempted to add, subtract, tweak, or enhance his pictures once they’re inside the machine? In light of such developments, we find ourselves at a junction where the bounds between the virtual and the real are increasingly blurred. This is part of why our government can lie to us, but on the plus side it holds incredible creative possibilities. In this sense Williams’s work elegantly takes part in a revolution in the way we conceive the heretofore separate categories of truth and fiction.

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Todd Williams, Time Traveler, photograph, 2007

WilliaM Betts: VieW

froM the

panopticon richard leVyy Gallery 514 central aVenue sW, alBuquerque

These six paintings, rendered in strictly regimented, mechanically applied acrylic

dots of approximately 3/8” in diameter, inspire an immediate curiosity about the process involved in their creation. A resident of Houston, William Betts obtained a license that allows him to view surveillance videotapes created by the city’s department of transportation. He spends hours pouring over the footage to select a frame that has sufficient tonal contrast and an arrangement of elements that will ultimately render an interesting picture. He then applies a software-controlled process he developed that assigns a specific color to each tone in the black and white video still.

Spot by spot (totalling about 40,000 individually applied drops of paint), the picture is systematically reinterpreted into a cohesive, colored one. Each dot of color corresponds to an enlarged pixel within the frame.

When looking at these paintings, distance enhances comprehension of the image. Always ambiguous and partial, with few specific visual clues other than a time-date stamp inscribed in an upper or lower corner, the paintings invite the viewer to infer whatever narrative he/she likes. Moreover, the colored dots become subsumed with distance: the dots vanish and the colors diminish, making the painting look like a grainy photograph.

Implicit in Betts’s methodolgy of interpreting an image as a collection of dots is the idea that visioning isn’t a solid enterprise; it is incremental and disparate. This aspect of these paintings is more interesting than the sociological and philospohical implications of surveillance as a machinery of control in the twenty-first century.

The artist has said that this series of paintings was inspired by the late -eighteenth -century English philosopher Jeremy Bentham’s concept of a Panopticon: a circular prison wherein each inmate would be seen but himself not

see beyond the walls of his cell. He would always be the object of information, never a subject sharing in communication. In this show, “panopticon” is presumably a metaphor for modern society’s inclination to observe the anonymous individual through the policing function of a discreet surveillance system. But what is the aim of generalized surveillance mechanisms, after all? This anonymous, paper-tiger power is so distanced as to render it almost meaningless… which is the same way I felt about the supposed narratives that one might manufacture looking at these paintings. In the same way that an overhead shot in a movie will subtlely disempower someone, the aerial views of surveillance cameras inherently “vulnerize” the object of the camera’s gaze. But unlike in the pantopticon where the inmate knows he/she may be being observed at any given time, the power of modern surveillance methods is really only an assumed one, imputed by the rather clumsy attempt being made to partition human behavior. Gone is Bentham’s principle of the supreme importance of the viewed knowing that he/she is being viewed. I think of Jean Genet’s remarkable Un Chant d’Amour, made in 1950. Set in a prison, the film shows a warden who assumes the role of voyeur, peering through keyholes at prisoners pleasuring themselves, the latter totally aware of the onlooker’s own frustrated erotic longing to communicate. Either way: in the context of a fully functioning, post 9/11, ubiquitous surveillance system, or in the sordid yet intimate setting of a prison setting, where the surveillance is acutely felt by all (and manipulated), the mechanics of observation and its ability to penetrate into people’s behavior is, thankfully, questionable and unpredictable.

Rinchen lhAmO

William Betts, Followed, acrylic on canvas, 40” x 54”, 2007

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FEATURE

OURWAROUR OURWAR OUR WAROUR WAR OUR PRESIDENTAND PRESIDENTAND THEARTISTS THE ARTISTSOF ARTISTS

IRAN

By

j OshuA B AeR

“God told me to strike at Al Qaeda and I struck them, and then He instructed me to strike at Saddam, which I did.”

– President George W. Bush (in conversation with Mahmoud Abbas, Prime Minister of Palestine, June, 4, 2003) Ronald Reagan negotiated with Mikhail Gorbacev. John F. Kennedy negotiated with Nikita I use the words “our,” “us,” and “we” because the war in Iraq is our war. President Bush Khrushchev. While those negotiations occurred, the Soviet Union had thousands of nuclear missiles started the war, and he made it into the disaster it is today, but we enabled his $200 million-a-day aimed at the United States. Through negotiations, President Kennedy persuaded Premier Khrushchev habit. We voted for the Democrats and the Republicans who funded the war. We continued to to remove nuclear missiles from Cuba. Through negotiations, President Reagan persuaded Premier vote for them after they borrowed $500 billion from our grandchildren and gave it to President Gorbachev to dismantle thousands of nuclear warheads aimed at Western Europe and the United Bush so he could do God’s will. We supply money for our war each time we pay income tax or buy States. Three years after President Reagan’s negotiations with Premier Gorbachev, the Berlin Wall fell. gasoline. We have the power to demand impeachment hearings. We have the power to demand The Soviet Union fell with it. that Donald Rumsfeld, Alberto Gonzales, Vice President Cheney, and President Bush be investigated President Bush is a born-again Christian. He believes that a god he calls “God” wanted him for the war crimes committed at Abu Ghraib, Guantánamo Bay, and the “black sites” in Afghanistan, to run for president, and that the same god wanted him to fight a war on terror. President Bush Romania, and Syria. We have that power. Why don’t we use it? President Bush’s answer to the does not negotiate. According to President Bush, in this war, “You are either for us or against us.” world’s problems is to borrow money, cut taxes, and kill people. That’s insane. Are we insane?

In 2003, in an address to the cadets at West Point, President Bush said: If we’re not insane, what’s stopping us from stopping him?

“We are in a conflict between good and evil. And America will call evil Comfort, that’s what. We invaded Iraq four years ago. How many people do you know who are worth less than they were in 2003? by its name.”

Comfort is the enemy of freedom. As long as we’re comfortable, we’ll If George W. Bush’s presidency is God’s will, then God must want His designated leader of the free world to come out of this let President Bush play Russian roulette with our freedom. We have looking like an idiot. God may work in mysterious ways, but there is enough to eat. We buy gasoline whenever and wherever the needle nothing mysterious about the Bush presidency. The legacies of the hits empty. How many military families do you know? How many Bush presidency are its disasters. For most presidents, Katrina, the funerals have you attended? How many of your daughters and sons budget deficit, the Jack Abramoff scandal, the Scooter Libby trial, are serving their third or fourth tours in Iraq?

Maybe you don’t believe in this war. Maybe you pray for peace. Maybe the Walter Reed Hospital scandal, the Alberto Gonzales scandal, you have a bumper sticker that says “My child is an honor student but my and the freedom of movement currently enjoyed by Osama bin president is a moron.” All well and good. But if you live here, in these Laden would be enough to warrant low approval ratings, if not United States, you fund this war. This is our war. And until we decide impeachment hearings or resignation. But this president is no that war itself is our enemy, our war will continue. Do you really think ordinary underachiever. For President Bush, the war in Iraq is the President Bush is going to end it for you? Or Hillary? Or John McCain? legacy around which all other legacies revolve. The war in Iraq is Mahmoud Ahmadinejad, the president of Iran, likes to play chicken. the war to start all wars. It is the mother of all disasters.

He has met his match in President Bush. President Ahmadinejad is Because President Bush thinks he is God’s man on earth, he cannot admit that he is wrong. In January of 2007, he admitted that what you might call a born-again Muslim. He wants to move Israel “mistakes have been made.” He also said that “responsibility for those to Europe. He says the Holocaust never happened. His regime funds mistakes rests with me.” But he could not admit that he was wrong. suicide bombers. His regime funds Hezbollah. His regime funds Shia He could not admit that our military occupation of Iraq has been the jihadis who cross the Iran/Iraq border to blow up Americans.

Like Saddam Hussein, President Ahmadinejad is more than a little wrong strategy for Iraq, for the Middle East, and for us. What kept Stone Relief Panel, Assyria, circa 883 - 859 B.C. bit crazy. He may not have six thousand ICBMs aimed at our country, him from admitting he was wrong? Pride. Had President Bush admitted but he has evil, murderous intentions. If he is not already a threat to the that he was wrong, he would have had to admit that the god he calls people of the United States, he is doing his best to become one. However, President Ahmadinejad “God” was wrong. People who believe in that god don’t do that.

The good news is, the war in Iraq has stretched our military resources to the point where is willing to negotiate. He has invited President Bush to Tehran. Unfortunately, President Bush neither the Army nor the Marines are capable of invading another country. The bad news is, refuses to listen to people who disagree with him, much less negotiate with them. This increases President Bush and his God still have our Navy and our Air Force at their disposal. Plans have the chances that our Air Force and our Navy will bomb Iran. When the bombs explode, the White been drawn up for the bombing of Iran. We have three aircraft carriers at anchor in the Persian House will issue statements about “nuclear test facilities” and “military targets.” There will be no Gulf, waiting for Iran to make a mistake. Both the Pentagon and the White House have the civilian casualty lists, just as there are none for Iraq. But nuclear test facilities and military targets will means, motive, and opportunity to stage air strikes on Iran within twenty-four hours of receiving a not have their arms, legs, or heads blown off. Iranian people will.

“Go” order from their underachiever-in-chief. Put yourself in our president’s shoes. One thing he The artists on the following pages are Iranian artists. They do many of the same things American can do is stage a good distraction. The day after we bomb Iran, how many members of the liberal artists do. They eat. They sleep. They question authority. They make art. And they wonder about the future. Because of who they are, and because of who we are, their future is in our hands. ♦ media will ask tough questions about Iraq? continued on page 56

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SADEGH TIRAFKAN www.tirafkan.com

Sadegh Tirafkan, center, facing the camera.

Sadegh Tirafkan was born in Tehran in 1965. He is an Iranian photographer and conceptual artist who goes back and forth between Tehran and Toronto. His photographs and works of conceptual art have been exhibited in London, Paris, Toronto, New York, and Tehran.

On March 7, 2007, Mr. Tirafkan posted the following statement on Iranian.com: “March 19th marked the 4th anniversary of the U.S.-led war against Iraq.

Regardless of whether you are for or against the invasion, it is a contentious matter with many opinions. As an artist, the widespread violence and crisis in the Middle East has been a basis to inspire me to express myself through these images. Although there has been a lot of attention focused on the combat part of the war, the fighting and violence, I feel very little or no attention has been paid toward the thought that a civilization and culture is being destroyed. These civilizations are thousands of years old and people living in the Middle East have been struggling to keep and save what they have left of their culture and identity. This has been difficult to do, because the regimes in power have no interest in protecting cultural identity. Their only care is putting their own interests ahead of that of the people and their country. Is there hope to save these civilizations from extinction? Without a plan, how can we hope to save the people... the culture, before it is completely gone? With war and killing, there is no communication, no future. There can only be death and destruction.”

—Sadegh Tirafkan

From Sadegh Tirafkan’s Whispers of the East series, 2006-2007. © Sadegh Tirafkan

FEATURE

NINA GHAFFARI www.ninagh.com

GIZELLA VARGA SINAI

www.gizellavargasinai.com

Nina Ghaffari is an artist and a fashion designer who lives in Iran.

“Please remember when you see my pictures, my work is against the government and if I were caught for the things I did in these pics, I would be in jail now. Many of my designer friends and models are in jail and I am always under pressure. I am a fashion designer/artist. I’ve been working now for a while, since childhood, and now I have made it a business. [I have] been working seriously about two years now. Yeah, it’s a living and a very dangerous one, but I love it and I would never give it up. Non-religious people here do not find my clothing revealing enough and on the other side the religious people find it outrageous and strange and sometimes offensive. There is an underground war here and it’s fought with fashion, it’s the way people here have pushed for freedom, so I feel I am doing my part. I am half-American. I was born and raised in Mississippi. The people of Iran are no different than Americans. All of us live and work and love. It’s really a shame that things are the way they are. I hope I can bring some knowledge to the United States. Terrorism is the stupidity of closed-minded people. And terrorism is not only in the Middle East. It is under our noses everywhere. Terrorism has nothing to do with specific race or color or clothing. It comes from lack of knowledge and is caused by hate. How can you stop hate in people? It’s much deeper than it seems.”

Left: A photograph of Gizella Varga Sinai in 1967, at her first exhibition at the Modern Art Gallery in Tehran.

Right: Gizella Varga Sinai today with her paintings, in Tehran.

Gizella Varga Sinai was born in Hungary in 1944. She went to college in Vienna, where she met her Iranian husband. In 1967, they married and moved to Iran.

“English is my fourth language which I know and it is the most weak of all. Excuse if I answer in a childish way. Ever since my childhood I was preoccupied with our own Hungarian stories, which date back more than one thousand years. Historians presume that we came from the East. Our famous poets and painters have created works expressing this nostalgia for the Orient as an ancestral homeland. With this background, I came to Iran, where a powerful and heroic past is sensed. It was my duty as an artist to pursue the tie between the past and the present and to show it in my paintings. Where did the old myths, fables, and stories come from? How can we express that they are still alive in us, that they now exist, and will continue in the future?”

—Gizella varGa sinai

Fashion designer Nina Ghaffari

Nina Ghaffari’s designs from a 2006 fashion show in Tehran. © ninagh.com continued on page 58

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REZA KHATIR

www.kargah.com/reza_khatir/about

Photograph by Reza Khatir. From The Oblivion Series, 1996. © Reza Khatir

Reza Khatir was born in Tehran in 1951. In 1968, he moved to London and started taking photographs. In 1981, he established his own photography agency in Locarno, Switzerland. In 1986, he launched a magazine called FLAIM, in Switzerland. He later co-published Chiaroscuro photo-magazine in Milan. In 1996 and 1997, Mr. Khatir did a series of photographs called The Oblivion Series. In conjunction with The Oblivion Series, he wrote: “The memory is the only oblivion that you cannot cancel.”

“Oblivion 1996 (non-digital black-and-white silver prints mechanically manipulated in the darkroom) is a series shot in Switzerland, and apart from its apparent aesthetic aspects, my concept was to demonstrate that photography can completely change the reality and falsify one’s perception of the truth (just by using a piece of cloth I changed a European environment and turned it into a typical Oriental scene).”

Photograph of Reza Khatir

“Those who were born dead or perhaps never born at all did not fear the sword and not even the womb they were granted the unforeseen in the gardens of Kavous the conquered rest in peace as orphans wave the black flag in morning light.”

–Reza Khatir

FEATURE

SHADI GHADIRIAN

www.zonezero.com/exposiciones/fotografos/ghadirian sh_ghadirian@yahoo.com

Portrait of Shadi Ghadirian by Masoud Soheili. © 2007 by Masoud Soheili.

Shadi Ghadirian was born in Tehran in 1974. She is one of the most respected photographers working in Iran. Her Qajar-Like every Day series explores some of the differences between traditional Persia and modern Iran. Ms. Ghadirian made the following statements about her photographs: “I am a woman and I live in Iran. I am a photographer and this is the only thing I know how to do. I began work after completing my studies. Quite by

From the Qajar-Like Every Day series. © Shadi Ghadirian

accident, the subjects of my first two series were ‘women.’ However, since then, every time I think about a new series, in a way it is related to women.

It does not make a difference to me what place the Iranian woman has in the world because I am sure no one knows much about it. Perhaps the only mentality of an outsider about the Iranian woman is a black chador; however, I try to portray all the aspects of the Iranian woman. And this completely depends on my own situation.”

“When I did the Qajar series of photographs, I had just graduated and the duality and contradiction of life at that time provided the motive for me to display this contrast: a woman who one cannot say to what time she belongs; a photograph from two eras; a woman who is dazed; a woman who is not connected to the objects in her possession. It was very natural that after marriage, vacuum cleaners and pots and pans find their way into my photographs; a woman with a different look, a woman who no matter in what part of the world she is living, still has these kinds of apprehensions. This time the woman is convicted of a daily repetitive routine and for this reason I named the series Like Every Day.” “Now I know what I wish to say with my photographs. Until now I have had many photographs which show women as second class citizens or depict the

From the Qajar-Like Every Day series. © Shadi Ghadirian

censorship of women. I wish to continue speaking of women because I still have a lot to say. These are my words as a woman and the words of all the other women who live in Iran,where being a woman has its own unique system.

Although ultimately I create these photographs in my personal studio, however I follow social issues. The photographs are not authentic documentations but deal with current social issues.”

—shadi Ghadiarian

From the Qajar-Like Every Day series. © Shadi Ghadirian

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

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El Cheapo Liquor Store, Marfa Texas, 2007 photoGraph By B JaMes

M AY 2 0 0 7

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61

WRITINGS

LIES, LIES, LIES B By

taMara ara Colleary

Lies are absolutely a matter of fact Lies are the way of the betrayed Lies are the one sure thing that won’t work Lies are living proof of disguise

Disguise hides one’s face Disguise is lies great lie

Lies are non-refundable But are erasable The way to erase a lie Is to tell the truth

If you lie about your lie You are a double liar

Lies, Lies, Lies I’ve heard them all “Lies” is from a work in progress by Colleary, who received a grant from the Stephen Nunn Foundation. She is the winner of the 2006 Emily Lynn Cowell Award for her poetry collection In the Shade of the Shaman’s Dream.

Photograph: Vincent Merchant

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Linda Durham

Contemporary Ar t

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

Show ) ( An Idea for a Reality TV T EN ID ES PR BE SO YO U WAN T TO

s sixteen tion of the country, thi en att the ed tur cap ve ision shows ha e non-voters, apathetic that other reality telev wers. It will also introduc vie can eri In much the same way Am of ay arr States. It will invite the attention of a wide process of the United al litic po tic cra week show will capture mo de the WAN T TO BE s and future voter s to would make SO YO U ne alo is Th . try un voter s, uninformed voter co re. s of the t there is more, much mo re involved in the politic crammed networ ks. Bu wsho people to become mo lity rea the to mely valuable addition PR ES ID EN T an extre iety of disciplines k: nel of experts from a var pa a by ted ec sel Here is how it would loo lly efu , car letes…) would pre-qualified contestants rs, therapists, poets, ath me far s, list nta me Twenty (more or less) on vir U.S. Presneurs, en n/goal of becoming the ists, mechanics, entrepre tio art , en ers int nk the ba th rs, wi sso e ofe nc (pr litical significa gent, age-appropriate, mpetitive program of po be (of course) an intelli uld wo ate appear weekly on a co did can ch Ea d this Nation into e Reality Party ticket. sincerely wanted to lea o wh r cte ara ch idential Candidate on Th of n perso g the appliperienced and telegenic process used in choosin the like un t no er nn completely qualified, ex ma shed in a Hundreds of tion would be accompli an open Internet call. ec th sel wi e s Th gin be es. ts tim r an tte cip be rch for parti TIC E in which the sea cants on TH E AP PR EN t call. tackling a new task ll (absolutely) answer tha and points of view by es iliti ab ir the e thousands of people wi rat nst litically germane the candidates will demo ilities in a variety of po ab s’ ate did can Each week of the show, the e monstrat ers.” These tasks will de devised by the “Produc follows: areas. They might be as llege students. l debt or the IMF. cord with a group of co Ac oto Ky the ss scu the topic of the nationa Di on ■ ers nk ba of up gro a e and/or the a round table talk with ir view of the importanc the on rs ■ Participate in me far of up of a gro liver a speech in front ■ Prepare and de future of small farms. tial staffers. ice and inter view poten off ign pa cam a up t Se ■ points. including logo and bullet gan slo home and family. ign pa cam a te ea ■ Cr a personal tour of their ing lud inc — me ho ir the chat” from ■ Give a “fireside uation. bate on the Iraq crisis /sit de a in ■ Participate ed one in combat. of a family that lost a lov ■ Visit the home ws conference.

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