THE magazine November 2006 by FlavorGrafix Design

Santa Fe’s Monthly

The Disappeared

of and for the Arts • November 2007

SITE Santa Fe presents

through January 20, 2008

Art & Culture ART AND DISHONOR LUIS CAMNITZER ARTIST LECTURE Tuesday, November 13, 2007, 6 pm

Camnitzer’s work on view—From the Uruguayan Torture Series—comprises 35 etchings that provide potent visual testimony to the horrors of war in the visceral manner of Picasso’s Guernica and Goya’s The Disasters of War. In his lecture, Camnitzer will discuss his approach to making art about los desaparecidos. Call 505.989.1199 or visit www.sitesantafe.org for tickets. Free Community Days: Sunday, November 18 and Sunday, December 2, 12-5 pm The Disappeared Collaborative Project (DCP) is an unprecedented collaboration by nine regional arts organizations: Center for Contemporary Arts; Center for Contemporary Arts Cinematheque; College of Santa Fe/Documentary Studies Program; College of Santa Fe/Marion Center for Photographic Arts; Institute of American Indian Arts Museum; Lannan Foundation; National Hispanic Cultural Center, Albuquerque; Santa Fe Art Institute; and SITE Santa Fe. Presenting exhibitions, films, lectures, readings, artist workshops, and panel discussions around the theme of “los desaparecidos/the disappeared,” DCP participants have joined forces with the support of the Lannan Foundation to demonstrate the power of artistic expression to evoke the materiality and humanness of real lives and to involve audiences in a process of active remembrance.

For a complete schedule of The Disappeared Collaborative Project events please visit www.thedisappearedsantafe.org

1606 PASEO DE PERALTA SANTA FE, NEW MEXICO 87501 505.989.1199 www.sitesantafe.org Los Desaparecidos is organized by the North Dakota Museum of Art with funding from the Otto Bremer Foundation, The Andy Warhol Foundation and the Lannan Foundation. The Santa Fe presentation of the exhibition is generously supported by the Lannan Foundation with additional support from Zane Bennett Family Foundation, and Nancy Ziegler Nodelman. This exhibition and programs are made possible through the generous support of the Board of Directors 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; The Frost Foundation; 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.

Photo: Luis Camnitzer, From the Uruguayan Torture Series/De la serie de la tortura uruguaya, 1983, suite of 35 four-color etchings, 29 1/2 x 22 inches each, courtesy of the artist.

CONTENTS

Letters

Universe of photographer Andre Reusch

Studio Visits: Derusha and Fionna Buck

Food for Thought: A Game Stall, by Frans Snyders

One Bottle: by Joshua Baer

Dining Guide: Bobcat Bite, Cloud Cliff Bakery and The Railyard Restaurant & Saloon (Boulder, Colorado)

Openings & Receptions

Out & About

Previews: Ed Moses at Charlotte Jackson Fine Arts; Douglas Kent Hall at Riva Yares Gallery; Legends at Legends Santa Fe; Per Mårtensson at Richard Levy Gallery (Alb); R.A.i.R. Works 40 at 516 Arts (Alb); andiRecycle Santa Fe Art Festival at El Museo Cultural

The

2001

Vieux

Télégraphe

National Spotlight: Picturing Eden at The Museum of Photographic Arts, San Diego

Feature: The Artist’s Palette

Critical Reflections: Barbara Erdman at Farrell Fischoff Gallery; Carol Anthony at Gerald Peters Gallery; Catherine Green and Paul Bloch at Zane Bennett Contemporary; Dean Stockwell at RB Ravens (Taos); Dirk DeBruycker at Gebert Contemporary; Fairy Tales Retold at Eight Modern; Fallujah at the Santa Fe Art Institute; Frank Morbillo at Deloney Newkirk Galleries; Helmut Löer at Klaudia Marr Gallery and Shack Obscura; Irving Greines and Elizabeth Opalenik at Verve Gallery of Photography; Lost and Found 2 at Patina Gallery; Pascal at Seven-O-Seven Contemporary; The Disappeared Collaborative Project at various venues; and The Overall Effect at The College of Santa Fe

Architectural Details: Last Leaves of Fall, photograph by Guy Cross

Writings: From “Matriot Acts,” by Anne Waldman

Châteauneuf-du-Pape,

Austrian writer Alfred Polgar described the essence of the literary café as “a place where people want to be alone, but need company to do so.” Since the first European coffee house opened in 1645, artists and writers have adopted cafés as a place where they can eat, drink, smoke, read, gossip, flirt, and discuss artistic and philosophical ideas. The history of the coffee house in Europe is the subject of The Grand Literary Cafés of Europe (New Holland/ACC Distribution, $39.95), written by Noel Riley Fitch and beautifully photographed by Andrew Midgley. The book profiles forty cafés—focusing on the famous writers and artists who frequented them. An informative and helpful section in the back of the book, “Cafés in Literature and the Arts,”sorts the cafés into lists based on interest: literature, music, cinema, and the visual arts, along with contact information for each

R E A D I N G S A N D CON V E R SAT I O N S 2 0 07 – 2 0 0 8

Naomi Klein with Laura Flanders Wednesday 12 December 2007 7 pm Tickets on sale Saturday November 3 RD In praise of Naomi Klein’s The Shock Doctrine: The Rise of Disaster Capitalism “Naomi Klein is an investigative reporter like no other. She roams the continents with eyes wide open and her brain operating at full speed, finding connections we never thought of, and patterns which eluded us. This is a brilliant book, one of the most important I have read in a long time.” — Howard Zinn “Naomi Klein has written a brilliant, brave and terrifying book. It’s nothing less than the secret history of what we call the ‘free market.’ It should be compulsory reading.” —Arundhati Roy "Naomi Klein is in the best tradition of I.F. Stone and Upton Sinclair, a muckraker who digs in where others accept the surface. I love her stuff and as a twentieth-century man, I salute a twenty-first-century woman." —Studs Terkel

All tickets for all events are sold at the Lensic Performing Arts Center. Tickets can be purchased in person, by telephone, or online at: Lensic Performing Arts Center, 211 W. San Francisco Street, Santa Fe, New Mexico Box Office hours: Monday – Friday 10am – 4 pm; Saturday – Sunday Noon to show time Telephone 505.988.1234. www.lensic.com •

All tickets are for reserved seating. Doors open at 6:30 p.m.

•

General Admission $6 and Senior/Student with ID $3. Ticket purchases are limited to four per person.

Proceeds will be donated to the Lensic Performing Arts Center.

www.lannan.org

Lannan is podcasting Readings and Conversations! Please visit our website, www.lannan.org, to learn more, listen, read author biographies and subscribe to have the events automatically downloaded to your computer.

LETTERS

magazine VOLUME XV, NUMBER IV WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005-06 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

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

Oil paintings by Chinese artist Zhiwei Tu will be on view through November at Andreeva Portrait Gallery, 211 West San Francisco Street. Guadalupe Street. Show runs to August 7 to October 23, with an opening recpetion on Saturday, August 11, from 5 to 7 pm.

dana waldon

PReVieW eDiTOR

rinChen lhaMo

CALeNDAR eDiTOR

liz napieralsKi

CONTRiBUTORS

diane arM rMitaG ita e, Joshua Baer, Kristin Barendsen, susanna Carlisle, Jon Carver, Kathryn M davis, anthony hassett, alex ross, liza statton, riChard toBin, and anne waldMan M

TO THE EDITOR: Thank you very much for the thoughtful and sensitive review by Jon Carver in THE magazine. It was an honor to show my work in Santa Fe at the Klaudia Marr Gallery, and to have a critic who understood the work so well. I’m honored to have had such a review in your well-known and excellent art magazine. —Emilia Faro, Catania, Italy

COVeR

The Companions By By MarCelo BrodsKy K Ky

TO THE EDITOR: Thank you very much for the review of the Rufus Wainwright performance by Susanna Carlisle—we were transported to the event by her prose in the October issue, It is rare to read a review that carries as much flavor and presence as this did. We regret that we did not attend that evening, but have put Rufus on our list for future opportunities. The review itself was “an event” to remember. We will look for more from Susanna Carlisle and THE magazine.

TO THE EDITOR: Although both of them are acquaintances at best, I feel I must react to the harsh criticisms given to both Matthew Horowitz and his father Marty (Gold Leaf Gallery) by critic Anthony Hassett. It seems to me that Mr. Hasset had a beef with these artists even before reviewing Matthew’s show. Sure Matthew’s young. He just graduated from college a couple years ago, but he is producing work, and growing as an artist. Does not life make one a better artist? Life takes time. I also felt your “amassed red dots” comment not only insulted Matthew, but insulted the people that were moved by the work and decided to spend some money. As far as your comment about Marty’s sculptures “littering the parking lot,” I think that big dynamite sculpture is amazing. Every time I would drive past it on Paseo (outside Linda Durham) I would think what it was like to have to worry about roadside bombs. As of September 20, 3,792 American soldiers have been killed in this stupid war, with 27,936 wounded. “Wounded” often means one or more limbs blown off or permanent head injuries, mostly due to roadside bombs. What happened to you while driving today, Mr. Hasset? Spill your latté in your lap? Art that makes you think is the truest of all. Kudos to the Horowitzes’ work. This critic gives you a thumbs up.

—Steve Self, Durango, CO ADVeRTiSiNG SALeS

rose darland: 505-577-8728 (MoBile) sheri Mann: 505-989-1214 or 501-2948 (MoBile) sarah ellis: 505-424-7641 the MaGazine: 505-424-7641 DiSTRiBUTiON

JiMMyy Montoya: 470-0258 (MoBile) THE magazine is published by THE magazine Inc. 1208-A Mercantile Rd., Santa Fe, NM 87507. Corporate address: 44 Bishop Lamy Road, Lamy, NM 87540. Phone (505) 424-7641. E-mail:themag1@aol.com. Website: themagazineonline.com. All material copyright 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 autheticity or quality of objects and/or services advertised. As well, THE magazine is not responsible for any claims made by its advertisers; for copyright infringement by its advertisers; and is not responsible or liable for any mistakes in any advertisement.

NOVEMBER 2007

—Greg Robertson, Pecos, NM TO THE EDITOR: I thoroughly enjoyed the review of Rufus Wainwright’s August performance in your October issue. Not simply because it was a well-deserved glowing review of a great performance in a spectacular venue, but because I think it is a long time coming that popular music performances be given that kind of attention in publications such as THE magazine, as it can only help foster growth of the music scene to have these events be given even just a fraction of the ink given the visual arts. Thanks again for your great coverage of the Rufus Wainwright concert. Here’s looking forward to much more of it in the future.

TO THE EDITOR: As visitors to New Mexico for the first time, my wife and I picked up the October issue of your magazine from a box on the Plaza. After reading the “High Road” article, we decided to take the High Road to Taos, following the route your writer took. We stopped at several of the galleries mentioned, as well as at the Sugar Nymph Bistro where we had lunch. Had a blast in Truchas, we visited a host of galleries and artists—some mentioned in the article, and some not. Thanks to your informative and entertaining article, we met many interesting people, and saw good art. Thanks for a good ride.

— Jamie Lenfestey, Fan Man Productions, Santa Fe

— Doug and Kathy Hinkley, Great Barrington, MA

THE

MAGAZINE

Art Born of the Need to Tell

Arte que Nace por la Necesidad de Contar Left: Detail, Untitled #5, 2007 oil pastel on paper, 20 x 15 inches

Stan Berning Unbroken 9 November - 10 December 2007 Opening reception: Friday, 9 November 2007, 5-8 PM

Farrell Fischoff Gallery

Farrell Fischoff Gallery 1807 Second Street #29

1807 Second Street #29 Santa Fe, New Mexico 87505 Santa Fe, New Mexico 87505 info@FarrellFischoff.com Tel 505.995.0620 www.FarrellFischoff.com Fax 505.955.8487 www.FarrellFischoff.com +1.505.995.0620 9 Institutions

Instituciones

7 Exhibitions

Exhibiciones

53 Artists

Artistas

14 Films

Películas

12 Lectures

Discursos

5 Artist’s workshops

Talleres por artistas

Los Desaparecidos / The Disappeared

Khang Pham-New

The theme of the “disappeared” serves as a catalyst for an unprecedented regional partnership—The Disappeared Collaborative Project—presenting exhibitions, films, lectures, readings, workshops, classes, and discussions with artists whose lives have been profoundly affected by the political upheavals in Latin America over the last thirty years.

136 Tesuq

El El Proyecto Proyecto Colaborativo Colaborativo Los Los Desaparecidos Desaparecidos The Disappeared Collaborative Project through January 2008 For a complete schedule of events, please visit

www.thedisappearedsantafe.org Center for Contemporary Arts 505.982.1338 www.ccasantafe.org

Center for Contemporary Arts Cinematheque 505.982.1338 www.ccasantafe.org

College of Santa Fe/Documentary Studies Program 505.473.6341 www.csf.edu

College of Santa Fe/ Marion Center for Photographic Arts 505.473.6341 www.csf.edu

Institute of American Indian Arts Museum 505.983.8900 www.iaiamuseum.org

Lannan Foundation 505.986.8160 www.lannan.org

National Hispanic Cultural Center, Albuquerque 505.246.2261 www.nhccnm.org

“Curvilinearity” marble, 2007 17” x11” x 10”

Santa Fe Art Institute 505.424.5050 www.sfai.org

SITE Santa Fe 505.989.1199 www.sitesantafe.org

Photo: Fernando Traverso, In Memory / En Memoria, 2000–2001 29 silk banners, 10 x 3.5 ft. each

505-820-0008 136 Tesuque Village Rd. (CR73) • Tesuque, NM 87574 • www.GlennGreen.com

ED MOSES PRIMAL AND PRIMARY PAINTINGS 1 9 7 5

NOVEMBER 9 - DECEMBER 9, 2007 O P E N I N G R E C E P T I O N N O V E M B E R 9 , 5 : 0 0 - 7 : 3 0 P. M .

CHARLOTTE JACKSON FINE ART AT T WO V E N U E S : CHARLOTTE JACKSON PROJECT SPACE 7511 MALLARD WAY, SANTA FE, NM 87507, TEL: 505-989-8688 CALL FOR APPOINTMENT CHARLOTTE JACKSON FINE ART, DOWNTOWN GALLERY 200 W. MARCY STREET, SUITE 101, SANTA FE, NM 87501, TEL: 505-989-8688

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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.

A Book of Photographs from

Lonesome Dove

Book signing for Bill Wittliff Saturday, November 10, 2007 - 1-4 p.m. At our 203 W. San Francisco St. location Andrew Smith Gallery hosts a book signing for Bill Wittliff in honor of his new book, A Book of Photographs from Lonesome Dove. Bill Wittliff has had a distinguished career as a photographer, film producer, director, publisher, and screenwriter of such films as The Black Stallion, Raggedy Man, Barbarosa, Country, Legends of the Fall and The Perfect Storm. He is perhaps best known for his screenplay for the Emmy award-winning television miniseries Lonesome Dove, and for creating the only photographic chronicle of the production.

A Book of Photographs from Lonesome Dove is available in two different editions: A trade edition hardback signed by Bill Wittliff is priced at $45.00. A limited edition of 250 which includes 2 original photogravures signed by Bill Wittliff. Of these, we have 40 copies for sale and they are $500.00.

122 Grant Ave., Santa Fe, NM 87501 505-986-3896 • Hours: 10-5 Tue.-Sat.

Classic photographs from Lonesome Dove, as well as never before released images reproduced in the book are available as original photographs. Please call or e-mail the gallery to reserve a copy of the book or to place an order for a photograph.

203 W. San Francisco St., Santa Fe, NM 87501 505-984-1234 • Hours: 10-5 Mon.-Sat.

w w w. A n d r e w S m i t h G a l l e r y. c o m

1.; ;.:6;45. .?9< ;.:6;45. :605.29 ;.:6;45.

125 Lincoln Avenue s Suite 116 s Santa Fe, NM 87501 s Monday – Saturday, 10 am to 5 pm 505-988 -5091 s fax: 505 - 988 -1650 s nimanﬁneart@namingha.com s www.namingha.com

UNIVERSE OF

andré rues uesC Ch Gets around—he holds three passports: aMeri eriC Can, British, and swiss. rues uesC Ch Colle olleG Ge. his

worK wor K has Been shown in

santa fe

The MAKiNG OF PhOTOGRAPhS Certain ingredients are put together to set in motion a somewhat unpredictable outcome. At times this can be difficult to achieve. If you find yourself being slammed against the side of a boat while inside a shark cage with sunscreen burning your eyes and blurring your vision as you try to remove your regulator to throw up as a result of motion sickness, it can be difficult to find a Zen-like relationship through a fogged up mask with a small viewfinder focusing an image while hoping that a Great White will swim into the picture. But such challenges and opportunities usually render great images, in part because the mind becomes unmoored within such chaos. The PhOTOGRAPheR AS PARTiCiPANT OR OBSeRVeR This question has stirred much debate, especially as it pertains to visual anthropology. By observing, the photographer becomes part of the unfolding event. The degree to which such an observing presence influences a given dynamic in a participatory way can vary greatly. It is closely linked to the values of a culture and its familiarity with, and acceptance of, photography. The more accepted and prevalent photography is, the greater the likelihood that a photographer’s presence will eventually be ignored and his or her function becomes primarily that of an observer. Conversely, when producing a camera among people unfamiliar with such technology, its mere presence will make the holder an instant participant, if not the center of attraction. Arguably, any photograph made is also a self-portrait as it contains the cultural and personal intentions, desires, and prejudices locked in the individual wielding the camera. DiGiTAL TAL VeRSUS STRAiGhT PhOTOGRAPhy T From heliography to the inkjet prints of today, photographic history is littered with abandoned technology. This carnage appears to continue unabated into the foreseeable future, where the latest developments of today will seem primitive in short order. It must be acknowledged that many innovations have affected the look and feel of photographs. To single out digital technological advances over arguably more defining ones, such as the ability to photographically represent color, seems arbitrary and will probably be shortlived. If we classify photographs on the basis of which set of tools were used instead of what genre of photography we are considering, like portraiture, we are chronicling the technological history of photography rather than the discipline of photography. How then would we accurately refer to the many hybrid uses of digital technology in photography today? Historic, or so-called alternative processes have enjoyed a veritable renaissance as a result of the ability to print predictable, large-scale, digital negatives that can be used with many contact-printing processes such as platinum, Van Dyke, or cyanotype. Also, we do not say that poetry written on a word processor is distinct from poetry written on a typewriter or with a ball point pen or a quill. And we do not refer to it as digital poetry. The NOTiON OF The PhOTOGRAPh AS A TeAS e e eAS By slicing time into a singular arrested moment, we forever divide everything into what occurred before a particular photograph has been taken and everything that happened subsequently. Few photographic images contain a poignancy that makes them relevant in such an iconic context. Those that do have contributed to changing the path of history in many ways—Lewis Hine’s images of child laborers helped to end the practice in this country a hundred years ago. Fashion and advertising images belong to a genre that relies heavily on implied events that occur before and after a particular moment conveyed by a photograph. Attempts are made to manipulate an audience into believing that their lives will change for the better if they buy this or that. Such images should arguably be referred to as commercial propaganda. Often the absence of certain information is more informative than when it is shown. By inviting a viewer to visually complete a scene in an image, he or she becomes involved with the narrative and subtext of the image at a deeper level with a deeper memory association. While this is nothing new, such strategies on the part of commercial and artistic image-makers are often not understood, especially by young people who are constantly targeted by images that are meant to seduce them. In such a culture, critical thinking skills and an ability to deconstruct images have become important tools of survival for anyone.

auGust Gallery, phil spaC paCe,

and

salon Marr

The PhOTOGRAPh AS “eV e iDeNCe” eV Whose evidence? Evidence of what? For which purpose? At the Fotografie Museum, in Amsterdam, a series of forensic crime scene images, shot in color in the seventies and eighties in Holland, were shown during a recent exhibition. It was unsettling to see evidence of murder and mayhem aesthetically rendered. To recognize elements of composition in abstracted blood spatter, complementing the pattern and color contrast of the wallpaper on which it had landed, was like a Modernist version of the beautiful gore in Renaissance paintings. Several potential layers of evidence were available for consideration. The taste in wallpaper of the murder victim is but one of them, apparently irrelevant, but nevertheless present and informing the viewer of the image. So is the timestamp of the wallpaper, the era in which it was made. The fact that we do not know whether it was the murder victim or a previous occupant who selected the wallpaper points to the complexities involved. It is only by constricting the parameters of an inquiry that we can function and not get bogged down in a philosophical quagmire every time we ask even the simplest of questions. Time also contributes. With enough time, identifying the killer will become less urgent, especially when he or she could no longer be living. Yet, the image may continue to exist, carrying all manner of evidence into the future, much of which will replace the original purpose (of showing specific crime evidence) for which it was made. This has already started to happen by virtue of their being shown to the general public in a museum. Indeed, anything of what it represents to us now may be less important in time than that the image simply exists as an object. ▲

is a fine-art photo photoG Grapher; he Currently runs the

photo hotoG Graphy pro roG Gra raM M at santa fe CoMM MMunity unity

Graf. his show at phil spaC paCe was reviewed in the June/July, 2007 issue of arT in ameri meriC Ca C a. photoGraph By B dana waldon

NOVMBER 2007

THE

MAGAZINE

Interpreting the Human Form â&#x20AC;˘ Physician/ Photographer Dr. P Miller

Photograph Exhibition

The Lofts at

1012

MA RQ UEZ P LACE

BUILDING

1, SUITE 107 A

505.995.9800

33 Years of Serving

Representing

Locally Owned & Operated

From Saguaros, published by Radius Books

MARK KLETT SAGUAROS ARTIST RECEPTION & BOOKSIGNING, DECEMBER 14, 5-7 NOVEMBER 1 - DECEMBER 21, 2007

photo eye G A L L E RY

376 Garcia Street, Suite A, Santa Fe, NM 87501 Tues - Sat 11-5 505.988.5152 x202 gallery@photoeye.com www.photoeye.com/markklett

THE, 11-07:THE, 04/05 1/4

10/23/07

8:21 AM

Page 1

MONROE GALLERY of photography

FOR LOVE OF THE GAME

FAN MAN AND THE SANTA FE REPORTER PRESENT A GREAT SHOW AT

THE LENSIC S A N TA F E ’ S P E R F O R M I N G A R T S C E N T E R

Opening Reception Friday, November 23, 5-7pm

a true jazz legend

HERBIE HANCOCK

Brooklyn Dodger fans celebrating 1955 World Series victory, Flatbush Avenue, Brooklyn, 1955 Martha Holmes ©Time Inc

Thurs., Nov. 15, 7:30 pm

OPEN DAILY

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

TICKETS AVAILABLE AT THE LENSIC BOX OFFICE. CALL 988-1234. ONLINE AT TICKETSSANTAFE.ORG

STUDIO VISITS

LAUReL ReUTeR, CURATOR OF THE DISAPPEARED, ReCeNTLy SAiD,

“The hUMAN SOUL iS FeD By ART.” TWO ARTiSTS ReSPOND TO heR STATeMeNT:

To lose our art is to lose our humanity. Art helps us to strip away our external confusion and access our true consciousness. We are then able to experience our connection to each other. I think it was Goebbels who said that when he heard the word “culture” he reached for his gun. It is now time to reach out to each other with creativity and passion. —fionna BuCK Buck’s work has been exhibited in Santa Fe at the 10th Annual ART Feast and the Farrell Fischoff Gallery, and in Albuquerque at the Albuquerque Museum of Art & History.

photoGraphs By B dana waldon

From cave paintings to Andy Warhol, it’s true, leaving something behind is bigger than money or fame. The idea of the human soul reminds me of accountability. One idea may get you to heaven and the other might get you into an auction house. —derusha Derusha’s work can be seen at seven-o-seven contemporary, 707 Canyon Road, Santa Fe.

NOVEMBER 2007

THE

MAGAZINE

| 19

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a Game sTall T by

Frans snyders

In this oil painting made around 1620, a man holds a dead peacock amidst an array of plumed poultry and game in a market stall. The two dogs appear to be tempted by the tasty morsels on display. Snyder was concerned with the whole effect of color, texture, and feeling, and thus no part of the canvas is free of scrupulous detail, creating a visual gourmet drama that is rendered with great craftsmanship. Snyder painted many hunting scenes and was the first painter to specialize in large compositions featuring fruit, flowers, and dead game. His luscious painting style was highly praised by his contemporaries, including Jacob Jordaens and Peter Paul Rubens, with whom he collaborated to paint the still-life and animal sections of his exuberant hunting scenes. â&#x2013;˛

NOVEMBER 2007

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“While in Santa Fe, my best meal was in an elegant fifteen-table gem called Tulips” -Los Angeles Times

Fine Dining

sgiving Day Open Thank s Required n io t a v r e s e R

Shrimp & Spinach Dumplings w/ Tahini Sauce

Dinner Tuesday - Saturday From 6pm 222 N. Guadalupe

R I S T R A

505.989.7340

www.tulips-santafe.com

Serving Thanksgiving Dinner from 2 pm

548 agua fria open nightly at 5:30pm

Book your Holiday Parties with us! www.ristrarestaurant.com

bar menu

982.8608

the bar @ RISTRA

ONE BOTTLE

One BOttle: The 2001 Domaine du Vieux Télégraphe Châteauneuf-du-Pape By Joshua By

Baer

Our country is addicted to wealth. War creates wealth. The more money our

popularity and power are two different things. Popularity is for narcissists.

country spends on war, the more wealthy we become. And so it should come

Acting on behalf of the wealthiest people on the planet? That’s power.

as no surprise that our country is addicted to war.

In President Bush’s world, wealth is the only constituency that matters.

A year from now, on November 4, 2008, we will vote for a new president. If you think politics is meaningless, take a look at what the old president has accomplished. In seven years, President Bush’s appointments, policies, and religious delusions have changed the world. For the wealthiest families in Bahrain, Dubai, Qatar, Russia, Saudi Arabia, and the United States, the world has changed for the better. For poor people worldwide, the world has changed for the worse.

In a world where money is God and wealth is salvation, who can blame him? He represents his constituents. We should all be so “incompetent.” Which brings us to the 2001 Domaine du Vieux Télégraphe Châteauneuf-du-Pape. In the glass, the 2001 Vieux Télégraphe is a study in understated darkness. The deep garnet color makes you wonder: What am I getting myself into? The

Historically, an acute disparity between a small number of rich people and

answer is, a wine that will change your life. The bouquet is shy at first, then it

a large number of poor people has led to revolution. During a revolution, the

evolves into the promise of greatness. On the palate, the wine delivers layer

underprivileged challenge the status quo of the privileged. Because there is

upon layer of that greatness. Some wines make you feel giddy. The 2001 Vieux

only so much privilege to go around, the underprivileged always outnumber

Télégraphe makes you feel unlimited. The finish lasts so long, it carries you into

the privileged, which is why the underprivileged think they can win. To put it another way, during a revolution, those to whom much has been given can lose their wealth (and, occasionally, their heads) to those from whom much has been taken. Naturally, those to whom much has been given do everything in their power to rig the outcomes of revolutions. During the Paleolithic and Neolithic eras, revolutions occurred

the future. Wine and sacrifice go back a long way. The ancients believed that wine was both human and divine, so they offered wine to their gods as a sacrifice. Jesus turned water into wine and wine into blood. Believers and nonbelievers are still trying to fathom the depths of that sacrifice. These days, we live in the netherworld between the practical and

on either a clan-by-clan or a tribe-by-tribe basis. During recorded

the sacred. We approach wine as an agricultural product. Wine has

history, revolutions have occurred on a country-by-country

a price structure and consumer ratings. We buy it when we buy

basis. These days, we live in a global economy, with one

groceries. Instead of turning water into wine, we turn money into

self-absorbed superpower doing all it can to stay on top. If the

wine. No wonder we have a sneaking suspicion that something is

worldwide disparity between rich and poor becomes more acute,

missing from our lives.

the United States will become the target of a global revolution.

Here’s an idea. It may or may not restore what’s missing

In certain parts of the world, we already are that target. Shakespeare

from your life, but it will reacquaint you with the realm of

said, “Uneasy lies the head that wears the crown.” In the global

sacrifice. The next time you open a bottle of wine, make a

economy, the same might be said for all the king’s horses, all the

toast to the dead. That’s right. Stand up, raise your glass, and

king’s men, and everyone else who marches under his banner.

say a few words about the dead. If you want to honor your

During the next twelve months, we will hear proclamations

dead ancestors, recite their names. If you want to honor the

from Democrats about how to reconcile wealth with poverty.

American soldiers who have died in combat, recite their names.

We will also hear proclamations from Republicans about why it is

If you want to honor the civilian casualties, you may not be able

a matter of national security to protect our country’s wealth from

to recite their names, but don’t let that stop you. Even if you

the rest of the world’s poverty. When you hear those statements,

don’t know their names, you can still thank them for making

ask yourself two questions: “Am I being asked to vote? Or am

the ultimate sacrifice. I know it sounds morbid, to suggest that

I being asked to sacrifice?”

raising your glass to dead people will improve your life, but it

If you’re being asked to vote, the candidate is lying.

makes more sense than looking the other way.

If you’re being asked to sacrifice, the candidate is telling the truth.

If life is sacred, then so is death. If death is sacred, then death

Liars hate to deliver bad news. That’s why liars lie. People who tell

deserves to be celebrated. You and I are alive. The dead are dead.

the truth know that delivering bad news is an unavoidable part

If we don’t thank them for their sacrifices, who will?

of being honest. So, if you want to prolong the madness, vote for one of the liars. But if you want to confront the madness, vote for a candidate who tells the truth. If you can find one. As you listen to the candidates, be careful not to confuse

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

intelligence with popularity. Democrats are fond of saying that President Bush is “incompetent,” which is a Democratic euphemism for “uneducated,” which is in turn a Democratic euphemism for “dumb.” President Bush could care less. He understands that the world is not high school, and that NOVEMBER 2007

THE

MAGAZINE

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Copa De Oro at the Agora Center at Eldorado

Tuesday – Saturday • 5 pm to close Wednesday: Family Night New Menu / New Concept

Reservations

466-8668

DINING GUIDE

They ’re talking “burgers” at

Bobcat Bite Old Las Vegas Highway Lunch/Dinner: Wednesday – Saturday 466-3663

$ 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. $$$ Cuisine: French. Atmosphere: Three intimate rooms—reminiscent of a small inn in the French countryside. Patio dining. house specialties: Earthy French onion soup made with a duck stock; squash blossom beignets; smooth and rich foie gras terrine with poached cranberries; crispy duck; and one of the most flavorful steaks in town. Comments: Super wine bar. AmAvi A RestA Avi estAu AuRAnt 221 Shelby St. 988-2355. Dinner Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Mediterranean. Atmosphere: Intimate and attractive. house specialties: Menu changes depending on what is fresh at the market. We like the tiger shrimp with garlic, shallots, smoked pimenton, and sherry, and the pan-roasted ribeye chop. Recommendations: The bouillabaisse is a must—not to be missed. Comments: The new bar is wonderful. Chef/owner David Sellers is spreading his kitchen wings in the right direction. AnAs AsA As sAzi Azi RestA estAu AuRAnt Inn of the Anasazi 113 Washington Ave. 988-3030. Breakfast/Lunch/Dinner Smoke-free. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American/Southwest. Atmosphere: Subdued room with elegant table settings that make you forget you’re in a hotel restaurant. house Specialties: For starters, order the grilled Mexican prawns with heirloom tomato and avocado salad or the crispy mustard-crusted veal sweetbreads. For your entrée, try the Alaskan Halibut with asparagus corn risotto in a spicy saffron-shellfish broth or the grilled Colorado pepper-crusted rack of lamb. Recommendations: You can rely on the sommelier to pair your food with wine, by the glass or bottle. Comments: The pre-opera menu is perfect for Santa Fe’s busy tourist season. AndiAmO! 322 Garfield St. 995-9595. Dinner Beer/wine. Smoke-free. Patio. Major credit cards. $$ 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. BAleen sAntA ntA Fe At the Inn of Loretto 211 Old Santa Fe Trail 984-7915. Breakfast, lunch, 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 (Dinner to-go) Smoke-free. Major credit cards. $$ Cuisine: American: Atmosphere: Light and bright café with good energy emanating from the wait staff and kitchen. Specialties: Eggs Benedict, organic multi-grain pancakes, southern fried chicken with waffles, chicken in a pot, and sandwiches to die for. Recommendations: The buffalo chicken sandwich is incredible and the burgers are Niman Ranch beef. Comments: Portions are beyond generous. BOBcA cAt cA At Bite RestA estAu AuRAnt Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Smoking. Cash. $$ 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 Sunrise Springs Resort Spa 242 Los Pinos Rd. (La Cienega) 428-3600. Breakfast/Lunch/Dinner/Sunday Brunch Smoke-free. Patio and Dining Room Major credit cards. $$$ Cuisine: Organic and local. Atmosphere: Zenlike setting with fireplaces and Japanese-style sitting in upstairs dining room. The beautiful grounds features a meditation pool. house specialities: Black and white sesame-crusted tuna with mango and lie, star anise-crusted duck breast with crispy polena, peaches and basil, calamari with lime-ginger dipping sauce, and lemongrass crème brulee, Comments: Live jazz on Friday and Saturday nights Book one of their charming casitas and have a romantic vacation with your sweetheart. BumBle Bee’s BAj AjA GRill 301 Jefferson St. 820-2862. Breakfast Daily Lunch/Dinner. Patio and drive-up window. Major credit cards. $$ Cuisine: Mexican Atmosphere: Casual, friendly and bright with handy drive-up for those on the go. house specialties: Soft corn Baja-style fish tacos, featuring mahi mahi; steak burrito grande; and rotisserie chickens. Homemade salsa (bowls of it at the salsa bar) and chips are super. Comments: Chef Chris Galvin (Andiamo!, Coyote Café, and Escalera) is at the helm. The tortilla stew is the best! cAFé PAsqu AsquA squAl’s 121 Don Gaspar. 983-9340. Breakfast/Lunch/Dinner/Sunday Brunch

Beer/Wine. Smoke-free. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: The café is adorned with lots of Mexican streamers, Indian maiden posters, and rustic wooden furniture. house specialties: Hot cakes get a nod from Gourmet magazine. Huevos motuleños, a Yucatán breakfast, is one you’ll never forget. For lunch, try the grilled chicken breast sandwich with Manchego cheese. Comments: Always a line outside. cAFé sAn estevA stev n 428 Agua Fria at Montezuma St. 995-1996. Breakfast/Lunch/Dinner Beer/wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: New Mexican Atmosphere: Old adobe, rustic wooden tables. house specialties: Enchiladas de la Casa de Estevan, Anna’s poblano chile, watercress salad with poached egg and bacon, and probably the best flan you’ll ever have. Comments: Chef Estevan García has taken New Mexican foods and refined them with French influences. 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, and Community.” the cOmPOund 653 Canyon Road. 982-4353. Lunch/Dinner Full bar. Smoke-free. Patio. Major credit cards. $$$ Cuisine: A Contemporary American Atmosphere; Serene, 150-year-old adobe with pale, polished plaster and white table linens. house specialties: Jumbo crab and lobster salad. The chicken schnitzel is flawless. Recommendations: The Bellini or prickly Pear Margarita served at the square bar are yummy. Comments: Chef/owner Mark Kiffin didn’t win the James Beard Foundation’s “Best Chef of the Southwest” award for goofing off in the kitchen. cOPA de ORO Agora Center at Eldorado. 466-8668. Dinner. Take out menu. Full bar. Smoke-free. Major credit cards. $$ Cuisine: American. Atmosphere: Intiimate. house specialties: Heirloom tomato salad; Scallop appetizer with greens; 12-hour pot roast with ancho chile gravy and shallot mashed potatoes; grilled elk tenderloin, and a char-grilled Colorado rack of lamb with green chile cheese grits and prickly pear demi-glace that shows that the kitchen is moving in the right direction. Comments: Wednesday is family night. Written up in Gourmet magazine. Well worth the short ten-minute drive from downtown Santa Fe.

cOunteR cultuRe 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Wine/Beer. Smoke-free. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. house specialties: Breakfast: burritos and frittata. Lunch: sandwiches and salads. Dinner: flash-fried calamari; grilled salmon with leek and pernod cream sauce; and a delicious hanger steak. Comments: Boutique wine list . cOw OwG wGiRl hAll OF FAme 319 S. Guadalupe St. 982-2565 Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio Major credit cards. $ Cuisine: All American. Atmosphere: Popular patio shaded with big cottonwoods. Cozy bar. house specialties: Very “Atkins-friendly.” The smoked brisket and ribs are fantastic. Dynamite buffalo burgers; potato salad (with skins); a knockout Texas onion loaf; and strawberry shortcake. Comments: Beers, beers, and more beers—from Bud to the fancy stuff. cOy OyO yOte cAFé 132 W. Water St. 983-1615. Dinner Full bar. Smoke-free. Major credit cards. $$$ 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 cheek-to-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. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly: Spanish guitar, jazz, and even a wild Tango night. house specialties: Tapas reign supreme, with classics like Manchego cheese marinated in extra virgin olive oil; sautéed spinach with garlic and golden raisins; and flash-fried baby calamari with two sauces. The grilled 14-ounce rib eye steak with chimichurri is outstanding. Paellas are worth the 30minute wait. Comments: Chef/owner David Huertas has brought authentic Spanish cuisine to the high desert of New Mexico. GeROnimO 724 Canyon Rd. 982-1500. Dinner Full bar. Smoke-free dining room. Patio. Major credit cards. $$$$ Cuisine: Contemporary American/ Southwestern Atmosphere: Two-hundredyear-old building with fireplaces, a portal, and a garden room. house specialties: Eric DiStefano masters a complex union of herbs, spices, and fresh ingredients in creating his awe-inspiring meals. Entrées include the seared “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: The wait service is professional and the desserts are totally 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. Comments: Extremely reasonable prices. 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 toomuch-fun Jinja Bar will blow you away. It reads like something out of the 1950s: Mai-Tai, Singapore Sling, Zombie, Kava Bowl, and Volcano drinks. Comments: Great savory soups and wok bowls. continued on page 27

NOVEMBER 2007

THE

MAGAZINE

â&#x20AC;&#x153;I donâ&#x20AC;&#x2122;t think for a minute that I invented a new kind of cuisine or discovered a new approach or way of cooking, only a never-ending quest

13*9 '*9& 4HREE #OURSES FROM THE 0RINTED -ENU 3UNDAY 4 HURSDAY PM

for what is delicious.â&#x20AC;? â&#x20AC;&#x201C;Enrique Guerrero Executive Chef

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Full Bar Exquisite Boutique Wine List Seasonal Patio Dining

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Located in Pojoaque on Highway 84/285 North, Next to the Poeh Museum 15 minutes from Santa Fe 20 minutes from Los Alamos For Reservations Call (505) 455-5065

DINING GUIDE

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

Enjoy breakfast or lunch and a selection of coffee drinks, pastries, and breads at

Cloud Cliff Bakery & Artspace 1805 Second Street, Santa Fe jOsePh’s tABle 108-A South Taos Plaza. 505-751-4512. Lunch/Dinner Full bar Visa & Mastercard. $$$ Cuisine: Modern American / New Mexicoinspired. Atmosphere: Casual. house specialties: Vodka Cured Wild Salmon on Corn Blinis with Canadian Caviar and Pan Seared Foie Gras with Sun Dried Cherry Chutney. Comments: Chef Joseph Wrede is brilliant. kOhnAmi RestA estAu AuRAnt 313 S. Guadalupe. 984-2002. Lunch/Dinner Beer/Wine/Sake. Smoke-free. Patio. Visa & Mastercard. $$ 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. la boca 72 W. Marcy St. 982-3433. Lunch/Dinner Wine/beer. Smoke-free. Major credit cards. $$$$ Cuisine: Spanish/Mediterranean. Atmosphere: Small, busy taverna. house specialties: Over twenty-five tapas to choose from. The grilled eggplant with Manchego cheese, saffron honey, and capers is a marvel of taste and textures. Comments: The soups are outrageous. lA mAnchA A RestA estAu AuRAnt nt & BAR at The Galisteo Inn, Galisteo. 466-3663 Dinner/Sunday Brunch Full bar. Smoke-free. Patio. Major credit cards. $$$ Cuisine: American, with a touch of the Southwest. Atmosphere: Hacienda with a glorious patio and ancient Cottonwood trees. house specialties: Heirloom tomato salad. sweet corn soup, Columbia River salmon with Habanero glaze, and the seared diver scallops with chantrelles and “Manoomin” wild rice. Recommendations: The Cajesta flan is perhaps the best we’ve ever had (no kidding). Comments: Chef Kim Muller, formerly at The Compound, has gained a great venue to stretch her cooking wings and soar. lAmy stA tAti AtiOn cAFé Lamy Train Station. Lamy. 466-1904 Breakfast/ Lunch Major credit cards. $$ Cuisine: American. Atmosphere: 1950’s dining car. house specialties: Fantastic green chile stew; crab cakes with jasmine rice, omlettes, and salads. Comments: It can be a long wait for your food, but it is well worth it. le mOyne O ’s lAndinG 402 N. Guadalupe. 820-2268 Lunch and dinner Beer/wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: Cajun/Creole. Atmosphere: Casual. Specialties: Duck and addouille and turtle and porcini gumbo and the blackened shrimp. lOs mAy AyA yAs As 409 W. Water St. 986-9930. Dinner

NOVEMBER 2007

Full bar. Non-smoking. Patio. Major credit cards. $$ Cuisine: New and Old Mexican. Atmosphere: Intimate, borders on sultry on some evenings. house specialties: Ceviche; turbo fish marinated in fresh lemon and orange juice; and guacamole fresco. Comments: Flamenco every Saturday. mARiA’s new mexicA exic n kitchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $ Cuisine: New Mexican. Atmosphere: Rough wooden floors, hand-carved chairs and tables, and kiva fireplaces set the historical tone. house specialties: Freshly-made tortillas and green chile stew. Pork spareribs in a red chile sauce are a fifty-year-old tradition. Flan with burnt-sugar caramel sauce is the perfect ending. Comments: Margaritas, Maria’s is the place. mu du nOOdles 1494 Cerrillos Rd. 983-1411. Dinner Beer/wine. Smoke-free. Major credit cards. $$ Cuisine: Noodle House Atmosphere: Casual and friendly. house specialties: Try the salmon dumplings with oyster sauce; the Pad Thai; or the Malaysian Laksa 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. $$ Cuisine: American. Atmosphere: CafeteriaMuseum/Cafe-style. house specialties: A wonderful and hearty soup selection, righteous salads, and sandwiches. We also liked the chicken enchiladas. Comments: Healthy, fresh food. O’k keeFFe cAFé 217 Johnson St. 946-1065. Lunch/Dinner Beer/wine. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwest with a French flair. Atmosphere: Ms. O’Keeffeville 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. $$ Cuisine: Italian. Atmosphere: Casual, friendly, and perfectly unpretentious. house specialties: A super selection of antipasti; perfectly prepared veal sautéed in white wine with lemon and capers. Comments: Housemade pastas, and micro-brewery beers. Old hOuse at the Eldorado Hotel 309 W. San Francisco St. 988-4455. Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American meets Southwestern. Atmosphere: Clubby and comfortable. house

specialties: Pan seared Alaskan halibut with Yukon gold potato and lobster cake and peppertomato jam; and the grilled veal chop. Dessert: the warm liquid center chocolate cake with crème anglaise. Comments: Professional service. Pd BeA e n eA

2411 Cerrillos Rd. 473-9092. Breakfast/Lunch Smoke-free $$ Cuisine: American. Atmosphere: Coffeehouse casual. house specialties: Smothered breakfast burrito, an array of sandwiches (our favorite is the “To Die for Tuna Salad”), wraps, and fresh salads. Comments: Wonderful Texas chili and a fantastic cafe latte. Wi-fi in the cafe. RAilyAR ily d RestA estAu AuRAnt & sAlOO l n 530 S. Guadalupe St. 989-3300. Lunch: Monday-Saturday Dinner daily Bar Menu daily Smoke-free. Major credit cards. $$ 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 steaks and chops grab your attention with choices of compound butters that melt on top of the meat. We like the rib-eye with blue cheese and port butter. Other recommendations: Shrimp cocktail and calamari. 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. $$$ Cuisine: American Steakhouse/New Mexican. Atmosphere: Pueblo-style adobe with vigas and plank floors. house specialities: USDA Prime steaks and prime rib. Haystack fries and corn bread with honey butter are yummy sides. The tuna at lunch is superb. Other recommendations: The bar menu features a great fondue and mini hamburgers. Comments: Dessert: Go forb the chocolate pot. RistRA 548 Agua Fria St.. 982-8608. Dinner/Bar Menu Full Bar. Smoke-free. Patio Major credit cards. $$$ Cuisine: Southwestern with French flair. Atmosphere: Elegant new bar with an extensive bar menu, sophisticated and comfortable dining rooms, a charming outdoor patio.house specialties: Black Mediterranean mussels in aromatic chipotle and mint broth; ahi tuna tartare; squash blossom tempura; pistachio crusted Alaskan halibut; and achiote grilled Elk tenderloin. Comments: Extensive wine list, Wine Spectator Award of Excellence 2006. sAn FRAnciscO st. BAR & GRill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: American. Atmosphere: Casual

sAn miquel RestA est uRAnte 802 Canyon Rd. 989-1949. Breakfast/Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$$ Cuisine: New Mexican. Atmosphere: Casual. house specialties: For starters, the Guacamole Fresco prepared tableside is a winner, as is the shrimp cocktail. For your main course, try the chicken breast smothered in mole, the chili rellenos, or the Tacos de Carnitas. Comments: Attentive service and a fun patio. Sit, drink, eat, and watch the tourists on Canyon Road. Breakfast served to 5 pm. sAntA ntAc ntA AcAFé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$$ 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: the perfectly cooked 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. Appetizers at the bar at cocktail hour is 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. 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. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and very friendly. house specialties: Beers brewed on the premise are outstanding, especially when paired with beer-steamed mussels; beerbattered calamari; burgers; or perfect fish and chipss Comments: Kid-friendly. the shed 1131/2 E. Palace Ave. 982-9030. Lunch/Dinner Beer/wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: The Shed—a local institution; some say a local habit)—is housed in a seventeenthcentury 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.

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. t iA s OPhiA ’ 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.” house specialties: Green chile stew. Enormous breakfast burritos stuffed with bacon, potatoes, chile, and cheese. Comments: Authentic Northern New Mexican food. t RAtt RA ORiA n OstRAni 304 Johnson Street. 983-3800. Dinner Wine/Beer. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Northern Italian. Atmosphere: A renovated 1857 adobe with a great bar. house specialties: To start, order the Trio of soups. Main course: try the veal scaloppine with Tuscan vegetable ragu or the grilled hanger steak. Comments: Wonderful selection of wines. The bar has been raised for Italian food. t Ree h Ouse c AFé & P AstRy s hOP at Plants of the Southwest 3095 Agua Fria St. 474-5543. Breakfast and lunch Closed Monday Smoke-free. Garden tables Major credit cards. $$ Cuisine: All organic ingredients. Atmosphere: Light, bright, and cozy. house Specialties: Farmer’s Market salad; soup and sandwich of the day; and quiche. Recommendations: Try the tortilla soup. The mile-high quiche has a flaky whole wheat crust. The baked goods just can’t be beat. Comments: Great wait staff. v Anessie OF s AntA nt F e ntA 434 W. San Francisco St. 982-9966. Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American. Atmosphere: Grand piano bar and oversize everything thanks to architect Ron Robles. house specialties: New York steak and Australian rock lobster tail. Comments: Great appetizers and generous drinks. w hOle B Ody c AFe 333 Cordova Rd. 986-0362. Breakfast/Lunch Major credit cards. $ Cuisine: Mostly organic. Atmosphere: Cafe casual. house specialties: Breakfast burritos, seasonal fruit plates, smoothies, juices, sandwiches, and salads at lunch. z iA d ineR 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ 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 chicken-fried chicken. Comments: Try the hot-fudge sundae with bittersweet fudge sauce.

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shOhkO hk cAFé hkO 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Smoke-free. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar as well as table dining. house specialties: Softshell crab tempura; hamachi kama; sesame seafood salad, and Kobe beef with Japanese salsa. Comments: Chat with the knowledgeable and friendly sushi chefs. s teAksmith At A e l G AnchO Old Las Vegas Highway. 988-3333. Dinner Full bar. Smoke-free dining room. Major credit cards $$ 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. t he t eAhOuse 821 Canyon Rd. 992-0972. Breakfast/Light Fare to 7 p.m.

When in Boulder, Colorado, drop by The Railyard Restaurant & Saloon, 1710 29th St, #1068. Show your New Mexico driver’s license and have a free draft beer or well drink.

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CONTEMPORARY

Bisbee, AZ, 2007 Ulrike Arnold Raw earth pigments on canvas, 56.5” x 59.5”

Ulrike Arnold : Raw Earth November 23 - December 31, 2007 Please join us for an opening and artist reception on Friday, November 23, 5-7 pm. RAILYARD DISTRICT 5 4 0 S O U T H GUADALUPE STREET SANTA FE, NM 87501 50 5 . 8 2 0 . 3 3 0 0 W WW.WILLIAMSIEGAL.COM INFO@WILLIAMSIEGAL.COM

OPENINGS

november November

FRIDAy, NOVEMBER 2 Art is… OK & Company, 3301 Menaul NE, Alb. 505-883-7368. Through the Looking Glass: ceramics and mixed-media work by Karen and Michael Peters. 6-9 pm. exhibit 208, 208 Dartmouth NE, Alb. 505-266-4292. Figuratively Speaking: paintings and drawings by Ralph Greene. 5-8 pm. Fenix Gallery, 208-A Ranchitos Rd., Taos. 505-758-9120. Day of the Dead Altar–A Holiday Exhibition: group show featuring photographs by William Davis. 5-7 pm. Factory on 5th Artspace, 1715 5th St. NW, Alb. 505-261-3752. Art on the Edge: mixed styles and techniques by various artists. 6-11 pm. LewAllen Contemporary, 129 W. Palace Ave., Santa Fe. 988-8997. Linear Variations: minimalist paintings by Madeleine Kessing, sculpture by Steve Klein, and encaustic paintings by Brad Ellis. 5:30-7:30 pm. Manitou Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Solo Show: oil paintings by Jie-Wei Zhou. 5-7:30 pm. Mariposa Gallery, 3500 Central Ave. SE, Alb. 505-265-7966. Two-Person Show:

paintings by Maude Andrade. Metal sculptures by Mark Garcia. 5-8 pm. Matrix Fine Art, 3812 Central Ave. SE, Suite 100-A, Alb. 505-268-8952. Turning Point: abstract paintings by Susan Reid. Garden of the 12th House: glass by Suzanne B. Stern. 5-8 pm. New Grounds Print Workshop & Gallery, 3812 Central Ave. SE, Suite 100 B. Alb. 505-268-8952. Reverence: etchings by Pamela DiMauro. DiMauro will demonstrate the etching process from 6:30 to 7 pm. Reception: 5-8 pm. inpost Artspace at Outpost Performance Space, 210 Yale SE, Alb., 505-268-0044. Introspection: work by Tara Massarsky, centered around the idea of interconnectedness. 5-8 pm. Riva yares y Gallery, 123 Grant Ave, Santa Fe. 984-0330. Douglas Kent Hall: Forty Images—Forty yyears, A Retrospective View: photographs by the artist. 5-7 pm. Stables Gallery, 133 Paseo del Pueblo Norte, Taos. spitfire4rg@ yahoo.com. ProPulsIon: works by Marianne Fahrney, Nicole Kowalski, and Christina Sporrong. 6-9 pm. Works on Paper, 229-A Johnson St., Santa Fe. 989-1189. Made in China: prints by Gordon Fluke. 5:30-7:30 pm.

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SATuRDAy, NOVEMBER 3 516 ARTS, 516 Central Ave. SW, Alb. 505-242-1445. R.A.i.R. Works 40: selected alumni from forty years of the Roswell artist-in-residence program. Loosely Joined: works by New Mexico artists from the Creative Capital Professional Development Workshop. 6-8 pm. Art is… OK & Company, 3301 Menaul NE, Alb. 505-883-7368. Mystic Earth: mixed-media work by John Boomer. 6-9 pm.

FRIDAy, NOVEMBER 9 box gallery, 1611-A Paseo de Peralta, Santa Fe. 989-4897. Solo Show: drawings and sculpture by Dunnieghe Slawson. 5-7 pm. Café Pasqual’s Gallery, 103 E. Water St. Santa Fe. 983-9340. It’s Only a Paper Moon: paper mache work by Rick Phelps. 5:30-7:30 pm. Charlotte Jackson Fine Arts, 200 W. Marcy St., #101, Santa Fe. The Project Space, 7511 Mallard Way, buildings B and C, Santa Fe. 5-7:30 pm. 989-8688. Ed Moses: Primal and Primary Paintings 1975. Opening reception at both venues. Artist will be at The Project Space, 5-7:30 pm.

Corrales Bosque Gallery, 4685 Corrales Rd., Corrales. 505-898-7203. Oh Tandembaum: holiday group show that includes a tandem bicycle. 5-8 pm. Donkey Gallery, 1415 4th St. SW, Alb. 505-242-7504. unseen: paintings by James Hart. 6-9 pm. Downtown Contemporary Art Center, 105 4th St. SW, Alb. 505242-1983. Provocative Noir: work by Benjamin Winters and guest artist Randy Cooper. 5-9 pm. UNM Art Museum, Center for the Arts, Alb. 505-277-4001. Contemporary Desert Photography: artists portray the landscape, man’s intervention and the impact on our deserts. 5-7 pm. Zane Bennett Contemporary Art, 826 Canyon Rd., Santa Fe. 982-8111. The Holocaust Project–1985-1993: featuring photographs—in collaboration with Judy Chicago—from Donald Woodman’sHolocaust Series. 5-7 pm.

SATuRDAy, NOVEMBER 10 eVO Gallery, 554 S. Guadalupe, Santa Fe. Six Photographs of People I Don’t Know: mixed-media work by Ligia Bouton. 5-7 pm. Munoz-Waxman at CCA, 1050 Old Pecos Trail, Santa Fe. 982-1338.

Los Desaparecidos/The Disappeared: traveling, multi-venue exhibition on the theme of individuals who disappeared under repressive political regimes in Latin America. 5-7 pm.

FRIDAy, NOVEMBER 16 eight Modern, 231 Delgado St., Santa Fe. 995-0231. 3DCG Ronald Davis: Three Dimensional Computer Graphics, 2004-2007: work that reflects Davis’ work with computer graphics. 5:30-7:30 pm. Goldleaf Gallery, 627 W. Alameda, Santa Fe. 988-5005. Two OnePerson Shows: new work by Angela Pennock and Joan Yatsevitch. 5:307:30 pm. harwood Art Center, 1114 7th St. NW, Alb. 505-242-6367. The View From Here: mixed-media collage by Chris Newbill. Colored pencil and ink by Lynda Miller. 5-8:30 pm. Mill Atelier Gallery, 530 Canyon Rd., Santa Fe. 505-989-9213. Art of the Amazon: work by Peruvian children of the Yarapa School. 5-7 pm. Third Street Arts, 711 Third St. SW, Alb. 505-306-0535. Body of Work: oilon-canvas figure paintings by Dennis Liberty. 5:30-8 pm.

The 2007 Dixon Studio Tour takes place on Saturday and Sunday, November 3-4, from 9 am to 5 pm. Over forty artists, including Judith Vejvoda (above image), Mark Saxe, and Mary Saunders-Rhodes will be showing their work. Opening event at the Dixon Community Center on Friday, November 2, from 5 to 8pm. Details: www.dixonarts.org continued on page 33

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Answers to The Artistâ&#x20AC;&#x2122;s Palette Quiz

C: Carol Anthony H: Larry Bell A: Agnes Martin G: Patrick McFarlin J: Randall La Gro B: Carlos Carulo E: Forrest Moses I: Jennifer Nehrbass K: Susan Rothenberg F: James Havard D: Elias Rivera

THE DEAL: $500 full-page ads in the December/January issue for artists without gallery representation in New Mexico. Deadline: Nov. 15. 505-424-7641

OUT & ABOUT Photo: Clix and Jennifer Esperanza

}

Nourish Transform Stretch Ignite Invigorate

your mind.

Master’s Program in Liberal Arts at St. John’s College in Santa Fe. Join us in January. • Learn from Plato, Aristotle, Sophocles, Euclid, Shakespeare, Woolf, Darwin, Dostoevsky, and many others • Study Philosophy and Theology, Politics and Society, Mathematics and Natural Science, Literature, and History • Experience a rigorous curriculum of reading, discussion, and writing • Attend classes two nights a week in fall and spring semesters • Substantial grants available to educators • Excellent ﬁnancial aid packages Contact the Graduate Institute Admissions Office for more information 505-984-6083 giadmissions@sjcsf.edu www.stjohnscollege.edu

OPENINGS

sculptures by visionary artist Vladimir Kush, through December. Contemporary Clay Fair, Santa Fe Woman’s Club, 1616 Old Pecos Trail, Santa Fe, 466-2121. Thirty artists displaying all disciplines of clay from sculpture to functional, soda, wood, high and low fire. Saturday-Sunday, Nov. 10-11, 10 am-5 pm.

The Andrew Smith Gallery, 203 West San Francisco Street, hosts a book signing on Saturday, November 10, from 1 to 4 pm for photographer, producer, and screenwriter Bill Wittliff, who will be signing copies of his new book, A Book of Photographs from Lonesome Dove.

SATuRDAy, NOVEMBER 17

SATuRDAy, NOVEMBER 24

Texture, 2863 Hwy 14, Madrid. 4712457. it’s a confusing land full of peril, but it grows: a mixed-media seeds, bulbs, sprouts, germinating, growth, life source series. 6-9 pm.

Legends Santa Fe, 143 Lincoln Ave., Santa Fe. 983-5639. Legends: First Winter: new concepts in clay from Jody Naranjo and others, including Kevin Red Star, Joe Cajero, and Fritz Cause. 5:30-9 pm.

FRIDAy, NOVEMBER 23 Arthaus 66, 6320 Linn Ave. #C, NE, Alb. 505-830-9653. Grand Opening. Magic Letter: painted wall hangings by Eliza M. Schmid. 5-8 pm. Chiaroscuro Contemporary Art, 439 Camino Del Monte Sol, Santa Fe. 992-0711. Polychrome: work by William Betts. Double Life: work by Mateo Galvano. 5-7 pm. hahn Ross Gallery, 409 Canyon Rd., Santa Fe. 984-8434. Portraits of the Blues: thirteen portraits by Dirk Kortz inspired by blues musicians of the 1930s and 40s. 5-7:30 pm. Marigold Arts, 424 Canyon Rd., Santa Fe. 982-4142. Holiday Weaving Show: tapestries, wearable art, rugs, and fine weavings for home interiors. 5-7 pm. Monroe Gallery, 112 Don Gaspar, Santa Fe. 992-0800. For Love of the Game: survey of more than fifty photographers on the world of sports. 5-7 pm. Waxlander Gallery, 622 Canyon Rd., Santa Fe. 984-0643. Holiday Group Show: work by gallery artists. 5-7 pm. William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. Landscapes Paintings: abstract landscapes using raw Earth pigments by Ulrike Arnold. 5-7 pm.

SATuRDAy, NOVEMBER 30 Gebert Contemporary, 544 S. Guadalupe St., Santa Fe. 983-383. Solo Exhibition: paintings, drawings, and monumental sculpture by Xavier Mascaró. 5-7 pm. Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe. 984-1122. Group Show: Wayne Bronum, Suze Lindsay, Douglas Ramkin, Will Ruggles. 5-7 pm.

CALL FOR SuBMISSIONS 20th Annual Willard Van Dyke Memorial Grant in Photography: Seeking entrants for this grant awarded by the New Mexico Council on Photography. Award $2,000.00. No entry fee. Deadline: Saturday, Nov. 17. Contact: info@nmphotocouncil. org or www.nmphotocouncil.org Call for artists: Santa Fe Collector’s Choice Awards Professional Online Juried Blind Art Competition, open to all styles and mediums, is currently accepting submissions. Winners will be announced in March. Details: www.santafeartworld.com Call for artists: The Teahouse on Canyon Road seeking artists of varying media for monthly showings and events. Details: Sariya: 795-3041.

Call for art: New Mexico Feminist Art Competition and Exhibition seeks feminist art. Exhibition juried by Judy Chicago. Exhibition dates: March 3– May 30, 2008. Details: 505-864-4080 or www.throughtheflower.org.

SPECIAL INTEREST AiD & Comfort Gala, Eldorado and Hilton Hotels, 309 W. San Francisco St. and 100 Sandoval St., Santa Fe. Benefit for the AID & Comfort Fund at the Southwest CARE Center. Saturday, Nov. 24, 8 pm. Details: 989-9255 or www.southwestcare.org

Contemporary hispanic Winter Market, El Museo Cultural de Santa Fe, 1615-B Paseo de Peralta, Santa Fe. 992-0591. Artists show how tradition can influence contemporary work while celebrating the best of Hispanic culture. Details: www. elmuseocultural.org Damian Velasquez, 3212 Stanford Drive NE, Alb. 505-884-5200. Studio Sale: new work and scratch-and-dent modern handcrafted furniture. FridaySunday, Nov. 23-25, 10 am-5 pm. eldorado Fall Arts & Crafts Show. Work by Eldorado artists, including those on the Spring Studio Tour. Saturday-Sunday, Nov. 10-11, 10 am5 pm. Directions and details: www. eldoradoarts.org Gala holiday Ornament Auction, Richard Levy Gallery, 514 Central Ave., SW, Alb. Fundraiser by Friends of Art, University Art Museum.

Friday, Nov. 16, 6-8 pm. Details: Anne Englehardt at 505-255-3534 or Lou Liberty at 505-345-3254. Gallery 401 Antiques & interiors, 401 12th St., Carrizozo. 575-648-2598. Dia de los Muertos: reception for Polly E. Chavez. Friday, Nov. 2, 6-8 pm. history with a Pulse. St. John’s College Art Gallery, Peterson Student Center, 1160 Camino Cruz Blanca, Santa Fe. 984-6104. Lecture, reception, and booksigning for Hampton Sides, author of books Ghost Soldiers and Blood and Thunder. Tuesday, Nov. 13, 7 pm. La Cienega Studio Tour. The artists of La Cienega open their homes to exhibit their latest work. SaturdaySunday, Nov. 24-25, 10 am-5 pm. Details: www.golondrinas.org Museum of international Folk Art, 706 Camino Lejo, Santa Fe. 476-1200. Gee’s Bend Quilts and Beyond. An in depth look at Mary Lee Bendolph’s creative visions in quiltmaking. Thursday, Nov. 15 through Mar. 15. Reading the Phenomenology of Spirit. St. John’s College Art Gallery, Peterson Student Center, 1160 Camino Cruz Blanca, Santa Fe. 9846104. This lecture will provide an overview of The Phenomenology of

Andrew Smith Gallery, 203 W. San Francisco St., 984-1234. Book signing on Saturday, Nov. 10, 1 to 4 pm for photographer, producer and screenwriter Bill Wittliff, who will be signing copies of his new book, A Book of Photographs from Lonesome Dove. More details: www. andrewsmithgallery.com Annual Santa Fe Art Auction, Eldorado Hotel, 309 W. San Francisco St., Santa Fe. The largest auction of Classic Western American Art in the Southwest. Preview: Nov. 9, 5-8 pm. Auction: Saturday, Nov. 10, 1:30 pm. Details: www.santafeartauction.com Carving With Wax and Water, Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe. 984-1122. A workshop with Ryan McKerley on how to make interesting surface textures on pottery. SaturdaySunday, Nov. 10-11, 9:30 am-4 pm. Details: www.santafeclay.com Chalk Farm Gallery, 729 Canyon Rd., Santa Fe. 983-7125. An Artist’s Odyssey: prints, paintings, and

The Donkey Gallery, 1415 4th Street SW, Albuquerque, presents unseen: Paintings by James Hart. Opening reception on Friday, November 9, from 6 to 9 pm.

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16, 17, 8 pm. Details: 505-724-4771 or www.ticketmaster.com Herbie Hancock. The Lensic, 211 W. San Francisco St., Santa Fe. 988-1234. This musical genius combines funky experimental sounds with enough pop to broaden his appeal. Nov. 15, 7:30 pm. Details: www.lensic.com

A preview exhibit of cradles from the Cradle Project—a nonprofit fundraiser benefiting orphans of sub-Saharan Africa—will be on view from November 16-24 at Zane Bennett Gallery, 836 Canyon Road. Details: www.thecradleproject.org

Spirit, focusing on the concepts of freedom, knowledge, and spirit. Friday, Nov. 2, 8 pm. Jenny Hannifin: 984-6104. Recycle Santa Fe Art Festival, El Museo Cultural de Santa Fe, 1615-B Paseo de Peralta, Santa Fe. 992-0591. Local artists recycle old throwaways into art. Friday-Sunday, Nov.16-18. Details: www.recycelsantafe.org Santa Fe Woman’s Club, 1616 Old Pecos Trail, Santa Fe. 466-2121. Contemporary Clay Fair: group show of work by New Mexico potters and clay artists. SaturdaySunday, Nov. 10-11, 10 am-5 pm. Santa Fe Art Institute, 1600 St. Michael’s Dr., Santa Fe. 424-5050. Artist Talk: Native American visual artist Edgar Heap of Birds will speak on Monday-Tuesday, Nov. 5-6, 6 pm. Workshop Tuesday-Friday, Nov. 6-9. Details: www.sfai.org Santa Fe Film Festival, various locations, Santa Fe. This nonprofit event offering roughly two hundred independent films of all lengths—documentaries, narratives, international films, films about the artistic process, gala presentations of films from major distributors, retrospective screening of Tributee’s works, as well as educational workshops. Wednesday-Sunday, Nov. 28–Dec. 2. 988-7414. Details: www. santafefilmfestival.com Santa Fe Indian Market Winter Showcase, Scottish Rite Temple, 463 Paseo de Peralta, Santa Fe. 983-5220. The premier Native art market in the world shows its goods in the winter. Friday-Sunday, Nov. 23-25. Details: www.swaia.org

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Second Annual Burro Serenade & Auction, Gallery 408 & The Studios, 401 12th St, Carrizozo. Thirty-two life-size burros for sale, each painted by New Mexican artists. Saturday, Nov 17, 5 pm. Details: 505-648-2598 or gallery408@ tularosa.net Sumner & Dene, 517 Central Ave., NW, Alb. 505-842-1400. Home for the Holidays: Funny ornaments, unusual menorahs, Sherman Martin’s whimsical lifesize reindeers, unique jewelry and gifts, plus Jim Shore’s Christmas. Reception: Friday, Nov. 2, 5-9 pm. Details: www.sumnerdene.com Touch and Be Touched by Photography. University of New Mexico Art Museum, UNM Center for the Arts, Alb. 505-277-7312. Guest curator Shawna Cory Reeves explores the sense of touch using passages from the Oxford English Dictionary and nineteenth- and twentieth-century photographs from the UNM Art Museum collection. Tuesday, Nov. 27, 5:30 pm. Tyranny, Totalitarianism and the Reading of Plato. Ault Evers Room, Meem Library, St. John’s College Art Gallery, 1160 Camino Cruz Blanca, Santa Fe. 984-6104 Wednesday, November 7, 3 pm. Visiones Gallery, 212 Gold Ave. SW, Alb. 505-242-9267. Quienes Son Los Animales?: Altars to Lives Sacrificed to Human Greed: an installation commemorating the lives of animals tortured and killed for cosmetics, entertainment, fur coats, and cheap eats. Students from Truman and Washington Middle

Schools, Del Norte, Manzano and Valley High Schools participate. Friday, Nov. 2, 6-8 pm. Details: Bethany Collins: 505-242-9267 or visitwww.workingclassroom.org Vox Performa Center for Contemporary Arts, Moving Image Lab, 1050 Old Pecos Trail, Santa Fe. 982-1338. Poet Anne Waldman and social activist/poet Margaret Randall explore ideology and its sociopolitical impacts. Thursday, Nov. 8, 7pm. Zane Bennett Gallery, 826 Canyon Rd., Santa Fe. 982-8111. Preview exhibit of cradles from the Cradle Project, a nonprofit fundraiser benefiting orphans of sub-Saharan Africa. Friday, Nov. 16 to Saturday, Nov. 24. www.thecradleproject.org

High Mayhem Studios, 1703-B Lena St., Santa Fe. MV and EE with Willie Lane (Vermont) and Trilobite (Albuquerque), Tuesday, Nov. 3 at 9 pm. The High Mayhem Youth Show, Saturday, Nov. 10, 3-6 pm. Come check out some of the brightest, most talented young performers that Santa Fe has to offer. Saturday, Nov. 17: Max Mayhem’s birthday, and a “lower the rent” spaghetti dinner. More details: www. highmayhem.org Po’ Girl. GiG Performance Space, 1808 Second St., Suite H, Santa Fe. Canadian acoustic group whose style derives from jazz, folk, and country with a tinge of punk attitude. Thursday, Nov. 8, 7 pm and 9:30 pm. Details: Rene Pfefer: 914-273-0007l or www. gigsantafe.com Ravel, Bartók, & Beethoven. The Lensic, 211 W. San Francisco St., Santa Fe. 988-1234. Pianist Joel Fan plays pieces by the three masters with the Pro Musica Chamber Orchestra. Sunday, Nov. 4, 3 pm. Details: www. santafepromusic.com

St. John’s College, Great Hall, Peterson Student Center, 1160 Camino Cruz Blanca. 984-6104. Concert with Christine Chen, violin, and David Bolotin, piano, playing works by Mozart, Beethoven, and Brahms. Wednesday, Nov. 7, 7 pm. Details: 505-984-6104. Santa Fe Art Institute, 1600 St. Michael’s Dr., Tipton Hall, Santa Fe. 424-5050. SFAI’s Visiting Artist Lecture and Workshop Series, “Comfortzone” presents The Jerusalem Women Speak Tour. The Jerusalem Women Speak tours were designed from the very beginning to bring the voices of women from the Jerusalem area and from the two national communities and three religious groups directly to Americans in their own hometowns. Tuesday, Nov. 6, 6 pm. Details: www.sfai.org The Well-Tempered Acordian. Scottish Rite Temple, 463 Paseo de Peralta, Santa Fe. 474-6601. Master accordion player Guy Klucevsek’s compositions on this unlikely instrument will redefine your thoughts on music. Friday, Nov. 9, 7 pm. Details: www.sfnm.org Tim Reynolds. Santa Fe Brewing Co., 27 Fire Place, Santa Fe. 9881234. Best known for his work with Dave Matthews, guitar genius Reynolds has been known to play his instrument onstage with his teeth. Friday, Nov. 2, 7:30 pm. Details: www.ticketsantafe.com

Music & Performing Arts Circus Luminous. The Lensic, 211 W. San Francisco St., Santa Fe. 988-1234. Wise Fool New Mexico presents a high-flying circus act complete with stilt walkers, acrobats, original music, and dance. Nov. 23-25, 7 pm. Details: www.wisefoolnm.org Chris Smither, GiG Performance Space, 1808 Second St., Suite H, Santa Fe. This guitarist and songwriter sings folk and blues. Thursday, Nov. 15, 7 pm and 9:30 pm. Details: 413-5870713 or www.gigsantafe.com Fiesta Flamenca! Hispanic Cultural Center Roy E. Disney Center for the Performing Arts, 1701 4th St. SW, Alb. Presentation of the traditional, passionate Spanish dance. Thursday, Nov. 15, 7 pm. Saturday-Sunday, Nov.

The Karan Ruhlen Gallery, 225 Canyon Road, will be presenting The BIG Show—an exhibition of large paintings and sculptures. Artists include Kevin Tolman, Pauline Ziegen, Daniel Phill, Sally Hepler, Paula Castillo, Tim Squires, and Michael Freed (above image). Opening reception on Friday, November 16, from 5 to 7 pm.

NOVEMBER 2007

T H U R S D AY, N O V E M B E R 2 9 , 7 P M

www.okeeffemuseum.org

The Modernist Spirit: Women Photographers and the Stieglitz Circle

Cultures on the Edge A National Geographic All Roads Photography Exhibition Nov. 28th through Dec. 2nd in conjunction with Santa Fe Film Festival

Photographer’s Reception, followed by a festival film Wednesday. Nov. 28th 5-6:30 p.m.

Photographer’s Presentation of Works

N N E

505.577.1555 W W W . A N N E H AY U N G A . C O M •

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•

O R T R A I T

H O T O G R A P H Y

At the Center for Contemporary Arts 1050 Old Pecos Trail in Santa Fe (505) 982-1338

Friday, Nov. 30th 10:30 a.m.-Noon

Author, curator, and editor, Susan Ehrens, will discuss the work of Anne Brigman, the pictorialist photographer who celebrated wilderness, sexual freedom, and the human body with her images. This lecture will focus on Brigman’s contributions to the development of photography as an art form and consider her work in relation to that of her contemporaries in the circle of photographer and art dealer, Alfred Stieglitz. LECTURE CO-SPONSORED BY APERTURE WEST.

St. Francis Auditorium, New Mexico Museum of Art, 107 W Palace Avenue $5, Members free. Reservations suggested: 505.946.1039 Anne Brigman, Soul of the Blasted Pine, 1907, platinum print, 7 1/2 x 9 9/16 in. The Metropolitan Museum of Art, New York, Alfred Stieglitz Collection 1933 (33.43.111). Photo © 2005 The Metropolitan Museum of Art.

PREVIEWS

Per Mårtensson, untitled (#45), 2007

Per Mårtensson October 19 to November 30 Richard Levy Gallery, 514 Central Avenue SW, Albuquerque. 505-766-9888 Opening reception: Saturday, November 3, 6 to 8 pm. Richard Levy Gallery will present a selection of new paintings by Swedish artist, Per Mårtensson. Beginning with a concept of a painting, which is usually a meditation on the abstract nature of painting, this artist then formulates its details: its media, style, and form. Works in this show, from the Version series, are based on images of installations, that is, rooms in a gallery. Thus, these artworks present viewers with a reference for the very setting in which they are viewing them, the gallery. Mårtensson re-presents images of the gallery in pristine, painted form as a reference point for both art viewing and art making. In this way, the work comments on the connection between the white cube of the gallery and the white canvas of the painter. These small, meticulous paintings resonate with the Northern European tradition of interior paintings as well as referencing contemporary sources, such as Ed Ruscha’s photographs of gas stations and parking lots, and William Anastasi’s photographs of empty walls of galleries.

Scott Greene, Clear Channel, 3-plate color etching, 13 ¾” x 17”, 2006

R.A.i.R. Works 40 and Loosely Joined November 3 to December 29 516 Arts, 516 Central Avenue SW, Albuquerque. 505-242-1445 Opening reception: Saturday, November 3, 6 to 8 pm. These two concurrent shows will be presented on two separate floors in the gallery. R.A.i.R. Works 40 will exhibit the work of selected former participants in the year-long, artist-in-residence program that has taken place in Roswell, New Mexico over the last forty years. This program supports visual artists from all over the world, offering an isolated situation away from the demands and distractions of the urban world while encouraging the free exploration of new directions in contemporary art. Curated by program director Stephen Fleming, the exhibition features the work of twelve nationally and internationally renowned artists who live in, or have ties to, New Mexico. Loosely Joined will show the work of twenty-two New Mexico artists who participated in last year’s Creative Capital Professional Development Workshop at the Santa Fe Art Institute. This national program acts as a catalyst for the development of adventurous and imaginative ideas by supporting artists who pursue innovation in form and/or content in the performing and visual arts. Curated by Diane Karp, director of the Santa Fe Art Institute, the exhibition includes the work of artists working in painting, photography, sculpture, drawing, video, poetry, music, and furniture design.

Ed Moses: Primal and Primary Paintings 1975 November 9 to December 7 Charlotte Jackson Fine Arts, 200 West Marcy Street, Suite 101, Santa Fe. 989-8688 Also: The Project Space, 7511 Mallard Way, buildings B and C, Santa Fe. 989-8688 Opening reception at The Project Space (with the artist): Friday, November 9, 5 to 7:30 pm. Ed Moses believes in engaging directly with the phenomenal world, and his chosen means to do so is through painting. The painter calls his monochromatic paintings “monos,” and like Barnett Newman’s work, the subject is pure and vibrant color applied to a surface. However, Moses goes one step further, reducing his surfaces to murmured discourses about the nature of painting itself. One could say they are illusions of paintings, and serve to identify a mass of pigment and form upon a two-dimensional scaffold as painting. Moses sees his job as reducing everything to one color, one surface, one painting. And he does so obsessively, over and over, with two assistants helping him in the studio, constantly working “wet on wet,” like a geneticist ever in pursuit of that spark of life that activates our DNA. What is it, Moses would have the viewer ask, that characterizes a painting? Regarding these “monos” that Moses painted in the sixties, which will be exhibited here in November, gallerist Charlotte Jackson notes, this “reductivist deconstruction of the surface was groundbreaking” for that era, and generations have followed in his footsteps, exploring what Jackson calls “the faint dialog” under the scraped surfaces of monochromatic paintings. Ed Moses, Gonal, acrylic on canvas, 84” x 60” continued on page 39

NOVEMBER 2006

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CHRISTOPHER THOMSON Sculptor, Designer, Blacksmith-Artist

800-726-0145

DAVID O. MARLOW/SF CATALOG

w w w. c t i r o n . c o m sdlivermore@plateautel.net

SANTA FE

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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PREVIEWS

Recycle Santa Fe Art Festival November 16 to November 18 El Museo Cultural, 1615 Paseo de Peralta, Santa Fe. 992-0591 Event hours: Friday, November 16, 5 to 9 pm. Saturday, November 17, 9 am to 5 pm. Sunday, November 18, 10 am to 5 pm. Working with Keep Santa Fe Beautiful and their efforts to educate people about recycling, this event, now in its ninth year, has been a great draw for art lovers and the eco-conscious holiday gift-giver. More than fifty artists, hailing from New Mexico, Colorado, California, and Arizona, all of whom use a minimum of seventy-five percent recycled materials to create their work, will be offering their art for sale. This will include lampshades, mirrors, jewelry, sculptures, collaged objects, and Joe Buffalo Nickels’ one-of-a-kind clocks. The weekend also features a Trash Fashion & Costume Contest—a runway show of Santa Fe’s finest retread fashions and costumes, all created from recycled materials. Anyone can participate and compete for cash and prizes in a variety of categories. www.recyclesantafe. org for more details.

Mitch Berg, Writer Leaps, bed spring, typewriter keys, lock nut, reclaimed copper, wire, fused glass, 10” x 9”, 2006

Douglas Kent Hall: Forty Images—Forty yyears, A Retrospective View: 1968-2007 Riva Yares Gallery, 123 Grant Avenue, Santa Fe. 984-0330 November 2 until the end of the year Opening reception: Friday, November 2, 5 to 7 pm. Douglas Kent Hall often photographs people, ranging from portraits of urban dwellers in Albuquerque to iconic rock stars such as Jimi Hendrix and Jim Morrison, to bodybuilders and rodeo cowboys, to prison inmates and countercultural heroes. He finds his subjects all over the world, from New York to the Southwest, from Russia to Japan, Brazil to Mexico, as well as Morocco and the Outer Hebrides Islands, and he is known for consistently regarding his subjects with delicacy and respect, no matter how unconventional or otherwise exploited they may be. A master observer and one of the great documentarians of his generation, Hall has been photographing and writing about New Mexico’s unique blend of places and people, a broad representation that includes ancient sites and Spanish churches, Indian ceremonial dances, portraits of artists and writers, vecinos, and vagabonds. Shooting both in color and black-and-white, Hall has branched into digital imagery and sometimes prints fine art color photographs on handmade watercolor paper. The artist will be present at the opening reception and will sign copies of his newest book, In New Mexico Light.

Douglas Kent Hall, Rancho de Taos, silver gelatin print, 18” x 13”, 1980

Legends: First Winter November 24 to January 14 Legends Santa Fe, 143 Lincoln Avenue, Santa Fe. 983-5639 Opening reception: Saturday, November 24, 5:30 to 9 pm. Legends Santa Fe is presenting a large-scale exhibition that will feature the work of its most prominent artists. The opening reception will showcase two extraordinary new concepts in clay created by renowned potter Jody Naranjo, and paintings by Malcolm Furlow that include vibrant portraits painted in the artist’s hallmark electrifying colors. Ed Archie NoiseCat, who works in a variety of media including glass, bronze, metal, and wood will show work inspired by both his mother’s people, the Shuswap Indians, and his father’s people, the Stlitlimx. He creates works of both large and smaller scales, including totems, rattles, and puppets. Goldsmith Melanie Kirk-Lente, who learned Native American jewelry design from her father, has successfully interpreted those traditional designs to create work that conveys a contemporary elegance. Other artists represented in this show are Upton Ethelbah, Joe Cajero, Carol Hagan, Penny Singer, Rudi Backart, Fritz Casuse, Nocona Burgess, Althea Cajero, Darrell Jumbo, and Adrian Wall.

Jody Naranjo, Contemporary Wedding Vase, Santa Clara clay, 14 ¼” x 14”, 2007

NOVEMBER 2007

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11/2007

Artist, Teacher, ACTIVIST Hock E Aye VI Edgar Heap of Birds 11/5 Artist’s Talk, 6pm Tipton Hall. $5 general, $2.50 student/senior/member 11/6 – 9 Public Art Intervention Workshop, SFAI. Call for scholarship and pricing

Hock E Aye VI Edgar Heap of Birds is an important Native American visual artist working to reveal the deeply entrenched racism of his white audiences – and the injustice of their forebears...

Jerusalem Women Speak -- 11/6, 6pm Tipton Hall, free admission

Art & the peace process in the Middle East Loosely Joined -- New Mexico artists from the Creative Capital Professional

Development Workshop. Please visit: www.516arts.org Open Studio -- 11/29, 5:30pm SFAI, Artists and Writers in Residence >COMFORTZONE< a season focusing on the role of the arts in activism

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% Lodger's Tax. It is made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs.

NATIONAL SPOTLIGHT

UnTiTled T Tled #1 By B rUUd Van empel Organized by the George Eastman House, Picturing Eden examines the many facets of paradise, from a place of contemplation and restoration to a site of loneliness and despair. The show is presented in four sections: Paradise Lost, Paradise Reconstructed, Despairing of Paradise, and Paradise Anew. The photographs explore the development and changing styles of the garden, and include work by more than thirty artists, including Michael Kenna, Sally Mann, Ruud Van Empel, Han Nguyen, and Doug and Mike Starn. The exhibition will be on view at the Museum of Photographic Arts, 1649 El Prado, San Diego, through January 13, 2008. NOVEMBER 2007

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A B The Artist’s Palette Ever since the first prehistoric artist picked up a smoldering chunk of charcoal from a fire pit to draw on the cave wall, artists have faced the same questions: “What materials or combination of colors will work the best for what I am trying to do? And how do I look at all of them to make a decision?” The answer can be found in the palette, which, simply stated, is a tool used by painters that affords them a flat surface to mix paints on before applying them to a canvas or another surface. The range of colors—mixed or not—on a palette is characteristic of an artist’s particular interest at a specific time, and almost all palettes are in a constant state of flux. Visit any of the artists’ studios whose palettes are included in this article and you will find decidedly different palettes than the eleven palettes on these pages. Match each palette to an artist’s number, and find out if you are “art smart.” To Play: Match the letters to artists below. Answers on page 30. Photos: Guy Cross

H I ___ Carol Anthony

___ Larry Bell

___ Agnes Martin

___ Patrick McFarlin

___ Randall La Gro

___ Carlos Carulo

___ Forrest Moses

___ Jennifer Nehrbass

___ Susan Rothenberg

___ James Havard

___ Elias Rivera

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Two Pears Gallery Now enrolling gallery & artist Members for 2008 THE 22nd AnnUAL issue

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The Collector’s Guide 505·245·4200 800·873·4278 jill@collectorsguide.com colleen@collectorsguide.com www.collectorsguide.com/brochure

Two Pears Gallery The Village at Eldorado 7 Caliente Rd. Ste. B-1 Santa Fe, NM 87508 505-466-2139 www.twopearsgallery.com

Two Pears features the work of nearly 50 artists, most of which are from northern New Mexico. Currently, we are showing jewelry, ceramics, decorative textiles and clothing, glass, woodwork, stonework, decorated gourds, handmade books, and art for the wall in a variety of media. We even have locally made, eco-friendly wooden toys. Start your Christmas shopping early. Take advantage of the wide selection of lovely gifts at Two Pears and support the local art community at the same time. Hours Monday-Saturday 10:00-5:00 Join us at our open house to celebrate the Eldorado fall art show Nov. 10-11th.

Call for Artists We are currently searching for artists in all media, and especially jewelers. The terms for our artists are on our website: www.twopearsgallery.com.

CRITICAL REFLECTIONS

The DisappeareD 1606 paseo

siTe T sanTa Te T Fe Ta peralTa T , s anTa Ta T Fe Ta

Disappeared refers to individuals who were kidnapped, tortured, and killed by Latin American military regimes that came to power during the latter decades of the twentieth century. Disappeared means that these people were murdered, but the tactics implemented by these regimes were designed to prolong uncertainty and terrorize everyone: victims, their families, and entire populations. Laurel Reuter of the North Dakota Museum of Art curated this show whose intention, at least in part, is to honor the thousands of disappeared people whose lives were disposed of in gruesome but essentially anonymous ways. Dying is a lonely affair, regardless of circumstance, but we as human beings have evolved an instinctual capacity to mourn “the other” and our means of doing so are couched in ritual. By provoking our active recollection of these disappeared people, this show provides that means of ritual. Luis Camnitzer’s thirty-five, four-color photo etchings are collectively titled FFrom the uruguayan Torture Series. Each of these etchings, grainy, elliptical, and therefore slightly mysterious, is captioned with an ambiguous phrase, by no means meant to be a literal explanation of the image. Put together, they enter a zone of mental stimulation and then snap into a focused perception. Examples include a close-up of a pock-marked surface which may or may not be a portion of a wall. The phrase below reads: “He tried to count the stars.” Other etchings are less ambiguous when paired with their captions, such as one that depicts a hand, one of whose fingertips is covered with a silver, daintily carved thimble. The caption reads: “the vacancy was effectively concealed.” Another work imparts the poetry of unlikely pairings: a wall of pink bricks, one of them bearing the imprint of a deeper red, coupled with the jarring phrase “gradually the tune became a razor.” Some of these works have the power to transform from one thing into another, conveying a kind of fluid magic, mostly one of implied menace. Collectively, they make an impartial statement about the intimacy of the phenomenon of torture. In Chronicle of an Escape, a film shown at CCA, a blindfolded prisoner is asked what his last wish might be. He wonders if he might see the face of his executioners. Most of us can only speculate in the abstract about what curious, primal bonds may be forged between the oppressed and the oppressor in such non-usual circumstances. Cildo Meireles’ Insertions into Ideological Circuits are Coca-Cola bottles that the artist stamped with “Yankee Go Home” in small white print before recycling them. This tidy, ingenious statement brings together elements of discrete humor and irony, and an ingenious strategy for inculcating awareness by utilizing an already existing consumer venue. When Marcelo Brodsky returned to Buenos Aires after living in exile for many years, he combed through family and school photographs and reworked and contextualized them in such a way as to create moving testimonies to the undeniable power of disappeared faces when combined with our present- Nicolas Guagnini, 30,000, vinyl decal on armature, 10’ x 10’ x 10’, 1998-2005 tense reception of those gazes from the past. In The Companions, a class photo taken in 1967 when he and his classmates were thirteen years old, Brodsky circled the faces of those no longer present, and drew a line through the circle of two students who had been killed by the regime. The crossing out of young faces is especially poignant because their “marked” presences express negation in the context of hopeful anticipation of a future that went awry, as well as the absence that occurs when something/someone that was once a part of something else has been forcibly removed from his community. The title of Oscar Munoz’ installation of five video screens, Project for a Memorial, implies an exercise in remembering the dead but it is more about the impossibility and futility of holding on to their individual existences to begin with. Each screen shows the artist’s hand sketching a portrait. The sketch, executed on hot stone with a brush dipped in water, is completed within a minute or two, and disappears just as rapidly. This is a skillful marriage of concept (impermanence) with a most radically elemental means to express it (water imprinting on rock). The disappeared people go on being disappeared, over and over again, and over and over again each viewer recollects their existence by the simple act of paying attention to their faces. These portraits reflect impermanence and absence on the spot, rather than having to contrive or imply them. Nicolas Guagnini, son of the prominent Argentinean journalist who was kidnapped and disappeared in 1977 in the wake of a military coup, created 30,000, a work that is composed of twenty-five, ten-foot tall, squared poles, arranged to effect a square shape. Altogether the armature supports a perpetually fragmented and partially readable decal portrait of the artist’s father. The deceased journalist comes together and falls apart, always there but not really there, and in this way he speaks for the thirty thousand disappeared citizens of Argentina, most of whose abrupt departures from the fabric of their lives were never acknowledged. The viewer’s tenuous perception and the placement outdoors of this solidly constructed piece that speaks only of the ephemeral—these are elements that make the work effective in a forever timely and timeless way. Thirteen artists collaborated on Identity, an installation of an uninterrupted line of photographs of the disappeared parents in Argentina, each set coupled with a mirror as a stand-in for their missing child who was born in captivity and subsequently subsumed into the military. The idea is that maybe someone will look at the photos, read the accompanying epigraph below, and discover his or her lost identity in the mirror. Walking through this piece is an example of what Nicolas Guagnini in his talk at SITE called “activating the spectator.” We walk through the entire work, read the circumstances and dates of the kidnappings, the sites of detention, and repeatedly come face-to-face with our mirror reflections. The power of confronting the parents’ faces and reading their names may surprise you. It cuts deeply. I watched people reading epigraph after epigraph, the litany of facts differing only slightly from those preceding it, but there was this compulsion to read them anyway. There seemed to be some necessary dignity in the act of doing so, a feeling that the whole collaborative gesture in all its aspects could in some way seal acts of devastation with a final tender regard and somehow force truth to come into focus.

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Curves Zane BenneTT TT C onTemporary a rT 826 Canyon roaD, sanTa T Fe Ta

historians writing of the dissolution of De Stijl

inform us that Mondrian’s departure from the group was largely provoked by Theo van Doesburg’s development of elementarism––a concept whose basic premise was the destabilizing merit of diagonal lines. In one sense, this widely accepted reading suggests that twentieth-century Holland’s best known and most influential artistic movement fragmented over an issue predicated upon little more than a question of whether one should or should not draw perpendicular to a canvas’ edge. In another sense, van Doesburg’s championing of the willfully unstable inclinations of the diagonal plane presented a profound challenge not only to traditional neoplasticism’s rigid rectilinearity, but also to the numinous calm and unobstructed simplicity that stood as the goal of many of its practitioners’ experiments. Regardless, in an age that upholds heterogeneity over purity, and the open-ended over the absolute, such idealist concerns strike many as retardataire if not also naïve. Not so Zane Bennett Contemporary Art, whose two-person exhibition Angles and Curves manifests a refreshing curatorial gesture in its extolment of sheer form. Citing Mondrian as a predominant influence––notably his imperative to “bring into play the whole sensual and intelligent register in the inner life”––Catherine Greene rigorously balances compositions that navigate the divide between his productive reductions and van Doesburg’s heightened dynamism. In Painting 2006-5, nonintersecting, symmetrical bars of richly applied cornelian, black, rose, chocolate, and navy witness Greene’s command of subtle color harmonies and a formal restraint that affords each planar element an independent and unobstructed existence. Alternately, her collages––skewed reconfigurations of black-and-white photographs co-opted from an undisclosed 1950s French magazine of arts and architecture––employ the wild imbalance of oblique slants and indefinite spatial relations to impart rhythmic syncopation and tense ambiguity. Where Greene’s artistic foci are angularity and color harmonies as manifest in two dimensions, Paul Bloch’s three-dimensional, monochromatic stone sculptures engender a fitting counterpoint informed by volumetric acuity and a concentration on sinuous curvatures. In After Wright, a tribute to Frank Lloyd Wright’s final major work, Idaho travertine marble assumes the unexpected architectonic harmonies of New York’s Solomon R. Guggenheim Museum. Conspicuously opposed to mutuality between medium and motif, the virtuoso sculpture climbs, twists, and dives in a self-enclosed ribbon that summarizes the building’s synthesis of loose spirals and taut perpendiculars. Also included were the artist’s recent bas-reliefs inspired by NASA’s Voyager Mission imagery of Jupiter’s moon Europa. Evincing micro-macro ambiguities and the collision of the animate with the inorganic, Planet Surface I contrasts the patterned chaos of splintered ice with overlain abstractions of sprawled vegetal forms. Though suggesting that abstract art succeeds best when associations appear to be out of reach, the reliefs––like all other works in Angles and Curves––confirm the continuing merit of works in which lineation supercedes limning.

Paul Bloch, Passagio Nero Mongoliano, Mongolian black marble, 10” x 14” x 8”, 2007

Dirk DeBruy ruyC ker geBerTT ConTemporary 558 Canyon roaD, sanTa T Fe Ta

The purpose of art is to bring spirit to matter.

Night blooms in the ultraviolet center of a poppy—red, blue-black raven’s beating wing. A migrating monarch butterfly psyche traverses the lobed edges of temporality in search of a space without time. In our era, it is becoming increasingly clear that intuition precedes an increasingly dubious rationality. The physically grounded dismemberment of the body finds an invisible correlate in the flight of the soul. The workman’s work blooms from the prismatic satisfactions of the tulip; clear from the ground, all up to the red all over. Images of antique watermarks, moths, mandalas, and mustard stains emerge from the colors of your tie. Do you tip and tilt your Gnostic impulse? Does it take years of practice to make the best mess, or more like a super-nova nano second? How would you like your cup of liquid time; stirred with cinnamon, over easy, extra large and elegant like your eyes? Or more like the red poppy center of expanded ecstasy that grants primacy to process and direct experience over the limits of specific thoughts? We can dance if you want to. At the core of your psyche is a very nice revolving restaurant. DeBruycker gives us, as onlookers, the opportunity to travel. Sincere generosity is the palimpsest of the soul in flight to the next world and back. Wings now white were grey, were grey, were red, were red, were white before. The middle of the charged floor space of the artist’s studio captures the “gasp” of the same thinned glazes, acknowledges the unknowable, and has the salient features of a listening eye. From Aristotle to the super-string theorists there is a remarkable ease and grandeur here derived from human uncertainty. He thinks with the floor of his room. Put all the stars back up in the sky, put the gods back in the Pantheon, put the dandelions on the table by the door. Your sweet breathing, burning with the bright orange and violet edges cocooned inside the sun, you weep the cosmos. Let my body lead my mind with all five hundred thousand senses. Let me feel my way into each movement; let my skin encompass me like a skin. Let me fill the bathtub with love. Intuition is your prophecy, your fate, your guiding goddess, and your point of origination. Let the water fall on the rocks. Who doesn’t love you anymore?

jOn cARve AR R

Dirk DeBruycker, Red Pool II, asphalt, gesso, cobalt drier, oil on canvas, 84” x 72”, 2007

helmuT löhr: sCore For (a (a) a) spaCe: The exhiBiTion anD The ConCerT

CRITICAL REFLECTIONS

klauDia marr gallery 668 Canyon roaD, sanTa T Fe Ta

Score for (A) Space served not only as the title

for Helmut Löhr’s exhibition of collages, but also as the working title of a related concert given at Shack Obscura on a mellow Indian summer afternoon in September. Music, whether in virtual or actual space, tied these events together. Sydney Davis, composer and keyboard player, was joined by cellist Lory Pollina and vocalist Annette Cantor. Davis has worked with Löhr before, composing from the artist’s sheet-music collages in a concert at St. Francis Auditorium several years ago. This recent concert was, for all intents and purposes, wholly improvised, and it sought to reflect a certain mood as opposed to any predetermined interpretations of Löhr’s work. An attentive, overflow audience gave enthusiastic applause at the end, and for good reason. The three musicians seemed as if they had been a trio playing together for years, and the music felt as natural in that space as the cracks on the floor. Being that Score for (A) Space belongs to the genre of new and experimental music, the work has basically itself to refer to. One cannot say it sounds like John Cage or Philip Glass or John Adams, for example. If there is any resemblance to type, one could think of the vocalization work of Joan La Barbara, but the actual piece falls somewhere between acoustic chamber music and avant-garde electronics. Santa Fe has a music scene for sure, but live improvisations of this kind are few and far between, especially in eccentric, yet highly versatile, spaces like Shack Obscura—the venerable old shed that is part of the Klaudia Marr Gallery; it is the alternative venue that everyone loves to love. The trio, however, did not have the space exclusively to itself there was a subtle installation of Löhr s in it as well. Both the concert and Löhr s work explored the concept of space and presence, and both managed to do so in understated, elegant fashion. The three musicians were less like performers than like a living sound sculpture with moving, integrated parts, and rarely has a cello looked so fabulous as an object and so righteous within a context of rust and old wood. (Besides being an accomplished cellist, Pollina is also an accomplished artist.) In counterpoint to the various levels and textures of the neo-chamber music, Löhr’s installation needed the clarification of careful scrutiny at another time because his pieces were almost eclipsed by the strong personality of Shack Obscura and the concert. However, Löhr’s work in the main building was less in homage to a specific architectural space and more calculated to please as pure visual art. And really, how can you lose with the intensely graphic quality of old classical sheet music with its repeated lines and scattering of whole, half, quarter, and eighth notes? Löhr’s music has been taken from such sources as Beethoven’s Ninth Symphony and then delicately restructured to look like, say, the lost language of cranes dancing in the sand. Of course there is an astringent, shabui-like visual snap to Löhr’s collages—an oriental crispness embedded in the folded sheets that fan out from a void in the center of the collage Helmut Löhr, untitled 9, collage, 8” diameter, 2006 or spiral away from it in controlled measures—literally and figuratively. There is something timeless and universal in Löhr’s reliance on repeated patterns and the viewer does not give a fig if the artist drops a few famous names: Mozart, Beethoven, Haydn, Schubert. What Löhr attempts to do is create visual and concrete equivalents to the vastly complex and ultimately abstract experience of music and the art of listening. I wish I could read music well enough to “hear” what Löhr’s collages intimate in terms of singing or orchestration. I am sure that there are some people who see this work and who can do both: Take in the reconfiguration of notes and internalize snippets of music in the process. Pianissimo. Andante. Molto moderato. Allegro ma non troppo… One of Löhr’s more visible pieces in Shack Obscura is called Journey through nine dimensions, and in many ways this title symbolizes a way to think about this particular confluence of the visual and the aural coming together at right angles to a physical ambience of great depth and purpose. Score for (A) Space, in both its guises, was a work for cobwebs and tar paper, broken frames and dirty glass, weathered beams and corrugated tin—a decidedly winning combination all the way around.

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The all over eFFeCT College oF sanTa T F e F ine a rTs Ta T g allery Ts 1600 sainT miChael’s Drive, sanTa T Fe Ta

“i am now forced to admit that anxiety is my true ccondition ondition, occasionally intruded on by work, pleasure, melancholy, or despair.” So wrote Cyril Connolly in 1957. Little more than a decade later, the majority of New York’s art Cyril world w orld seemed to echo his self-analysis. The era witnessed the ascendancy of Carl André’s Spill pieces, Smithson’s Non-Sites, and the first of Heizer’s monolithic Complex structures. Indeed, the fall of Modernism brought to the fore the irresoluble tensions between rigid geometries and intractable amorphousness, between systems and shambles. Ours, as well, is a time of uncertainties and disaffection. Moreover, the same contradiction of posited conceptual orders and experienced ground-level disorder remains a dominant issue in contemporary art. As ready evidence, take The All Over Effect—an exhibition organized by David Leigh, co-founder of Albuquerque’s Donkey Gallery and Director of CSF’s Fine Arts Gallery—which encompasses the work of three artists whose shared focus is the politics of cartography and physical survey. Entering the exhibition, one first encounters Lisa Corradino’s The Island (with Brie Spatter). Pressed between two sheets of Plexiglas, a mosaic of Hawaiian topographic maps, sunny tropical photographs, and subtle shading applied in colored pencil provides a jocose riposte to cartographic objectivity. Where the expected orthogonal array that once contributed to the original maps’ legibility has been excised, the viewer is granted a direct glimpse of the wall behind the work––one on which traces of Brie remaindered from the exhibition’s festive opening rest as snickering reminders of the grit of present-tense experience.

Spencer Stair, August 9th, 2007 in 59 Parts, video still, 2007

Reinforcing the show’s rejoinder to the self-assured schematics of both Modernist aerial views and the supposed impersonality of satellite imagery, Colin Zaug’s Do Over (My World) possesses an intense satirical potency. The artist’s photographic surveys of a planet of his own construction––an irreverent assemblage comprising little more than a flashlight, a coffee mug, chicken wire, and carefully modeled butcher paper––simultaneously replicate and reprimand accepted modes of geo-documentation. Effectively mimicking surveillance technologies that range from aerial photography to Doppler imaging, his work apprises us to the extent of our tendency to trust that which we are shown over that which we see. Restoring the primacy of direct observation, Do Over (My World) transforms slyly reclaimed debris d’atélier into trompe l’oeil of global scale and relevance. Continuing The All Over Effect’s expressions of technology’s defamiliarizing agency, Spencer Stair manipulates photographic and video documentation of Southwestern landscapes into data that inhabit the divide between shapelessness and instant comprehensibility––thus asserting the role of memory and imagination in rendering meaning from the uncertain. Warping Sandia Mountain into a blur of burnt sienna peaks and taluses, his photographs implore us to decrypt the image with the aid of nothing more than our reconfigured memory of past vantages. In August 9th, 2007 in 59 Parts, video footage from a hill-perched camera rotating in place through the course of a single day is spliced and shifted to present every stage of daylight simultaneously. A twenty-first-century reinterpretation of Monet’s haystacks––replacing tents of wheat with ragged mesas––the video constitutes no less haunting a study of the transience of light and the nuances of perception. If Corradino and Zaug fracture our faith in the tools of contemporary vision, it is through Stair that they find redemption.

Alex ROss

pasCal: 12 signs

oF The

ZoDiaC seven-o-seven ConTemporary 707 Canyon roaD, sanTa T Fe Ta

“Like a salon in Paris, Pascal’s Gala Opening will have people talking…. Santa Feans are truly disappointed when they hear they have missed a party at Seven-O-Seven Contemporary.” —Gallery press release

if you love Pascal’s art, don’t read any further. If you’re a big fan of most “contemporary art” galleries in Santa Fe, stop here. If This T his exhibition of sculptural mixed-media works by the French artist Pascal rrepresents epresents everything that is wrong with contemporary art as a commercial ccommodity. ommodity. And this is not merely a critique of Canyon Road as a mover of product: everything that’s about to be written here applies equally to Scottsdale, Aspen, San Francisco, Santa Monica, Chicago, and yes, even New York. Pascal’s work is perfect as the model for such a critique because it is technically well made, graphically attractive, and god-awfully kitschy in its lack of profundity. J ust like too much work in too many contemporary art galleries across the nation, it’s easily understood and would look good in most homes. It is pleasant, undemanding, even likeable. There is nothing provocative about it; your cocktail party guests will not be disturbed by it and your grandchildren won’t ask embarrassing questions about it. No one would say that it’s ugly or that their kid could do it. It’s salable, and that is the bottom line. Meaningful discourse on the commodification of art and culture is better left to the artists holed up in their schools and studios and quaint little underground scenes where gallery clients don’t have to be bothered unless they’re feeling extra daring. I am sick to death of art like this and the galleries that show it. I wish I could work up a good fit of hate for Pascal’s art, but it’s simply too agreeable for that kind of passionate response. By the way, if you’re confused about the difference between a salon and a party, visit Seven-O-Seven during an opening reception. The wine’s not bad and the food’s decent. The conversation is about who you know and what they’re up to. That’s a perfectly good party, decorated with perfectly good art. Next time, I think I’ll just stay home.

kAth AthRyn R m dAvis A

Pascal, Capricorn 1, mixed media, 33” x 33”, 2007

Carol anThony: presenCe

CRITICAL REFLECTIONS

aBsenCe geralD peTers gallery 1011 paseo De peralTa T , s anTa Ta T Fe Ta

emptiness, say the Buddhists,

has nothing to do with nothingness. Emptiness is not the existential void; nor is it a sense of alienation leading to flat affect, altered sleep patterns, or reduced sexual interest. Rather, emptiness is the philosophy that all things are empty of a separate self. All things are made up of all other things. So a ceramic bowl may appear “empty,” but it was made from earth and water, shaped by an artisan, fired by fire, and sold by a shopkeeper; it sits on a table now, reflecting the sunlight and cradling the air inside it. Independently of any of these elements, the bowl cannot exist in its current form. Therefore, the bowl is not empty, but full of the universe. As Avalokiteshvara famously states in the Heart Sutra, “Form is emptiness, emptiness is form.” This philosophy extends even to us humans. Who you are at this moment arises from an infinity of factors—your physical body, emotions, thoughts, perceptions—many of which will change by the time the next moment rolls around. Independent of these factors, there is no separate self. True realization of this is an experience of enlightenment. Carol Anthony’s paintings seem born from this understanding of emptiness. Vessels without fruit and rooms with no people exude a sense of being, as a strange glow imbues objects and landscapes with a non-corporeal presence. A communion table waits in expectation, bathed by light from a small window. In an otherwise dark room, a skylight floods one of a pair of twin beds. The latter piece is likely a reference to the artist’s late twin sister, who no doubt has presence even in her absence. Thus, the paradoxical title of the show is not a paradox at all—in Anthony’s work, what’s not there is just as palpable as what is there, yet it remains mysterious, unknown. These atmospheric paintings of rooms, the titles of which begin with “Inner Room,” are windows onto the soul. Inner Room: Autumn Sunset merges outer and inner landscapes. An interior space is defined by vigas above and checkerboard tile below, yet the tile becomes an illuminated pathway to the sunset while ghostly trees mark the border, the membrane, between inside and out. Light is a gesture drawing the eye through the piece, here and in other works that depict the metaphorical journey of the soul as pathways curving through stretches of New Mexican fields at sunset. Elsewhere, lone piñons are backlit with the last brilliance of the fading light, recurring like Monet’s haystacks in autumn and winter, mist and sunset. Anthony’s meditation on light updates Impressionism, though with a different technique: on panel or paper, she applies several layers of oil crayon and blends them in swirls with her fingertips, creating a waxy surface that she works until it’s gritty with scratches and fingerprints. Her surface becomes the smudged window glass of memory, the scratched negative of a photograph. With her muted but luminous palette, Impressionism gives way to the emotive and gestural qualities of Expressionism. These paintings are less about place than about the emotion of place. Anthony’s still lifes also pay homage to art history, though her cropping of the subject is unusually intimate, with objects such as Very Large Pear and Very Large Egg in Nest filling the frame. The latter is a colossal, almost planetary egg in a scribbled nest, with an eerie radiance behind it—a mutant child of the atomic age, or the second coming of the dinosaurs? Think Very Large Array. In contrast to her empty rooms is Anthony’s celebration of the fullness, even lusciousness of ripe fruit, which betrays more longing and desire than the Carol Anthony, Inner Room: Autumn Sunset, oil crayon on panel, 17 ½” x 18”, 2007 Buddhists would admit to. One Great Watermelon Slice has been bitten into, suggesting that the show’s produce aisle of pears, tomatoes, apples, and grapes are also ripe for the biting. These womanly shapes have an orange fire in their bellies. Against dark backgrounds, they shine almost as light sources in themselves, engaging not just sight, but all our senses. A Carol Anthony piece on a living room wall would reveal itself slowly over time, sometimes coming alive, vibrating, in the way that a Rothko does—even if Rothko took as his inspiration the nihilistic definition of emptiness. Anthony’s work embraces a more inclusive sense of being, inviting us to listen with awareness until we feel the presence in the present.

NOVEMBER 2007

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Frank morBillo

roBerTT Dean sToCkwell: Collages & Bones

Deloney newkirk galleries 634 & 669 Canyon roaD, sanTa T Fe Ta

Mr. Prolific is at it again. Frank Morbillo presents a new body of consummately

crafted work in which he twists again around the themes of his obsessions. The work falls crafted rroughly oughly into three categories. There are pieces inspired by ancient weaponry, mostly hatchets, aaxe xe heads, and tomahawks. There are “twists’ in which two pieces of the same material are jjoined oined by a center section of a second material, then twisted, turned, or torqued so that they seem dangerously close to coming apart. And thirdly, there are new wall reliefs in which two or four similar irregularly trapezoidal forms in steel or bronze are pushed up next to each other. In the gap where these forms collide, Morbillo pours molten glass in luminous colors. These last pieces have a kind of plate tectonics feel that is particularly satisfying. Morbillo works mostly in bronze, steel, stone, and cast glass (all the rage), and most of his pieces combine elements in at least two mediums if not more. As a former supervisor at Shidoni, his work has a level of craftsmanship that is unsurpassed. His thematic concerns remain consistent. His work almost always suggests some kind of arrested movement. His love of twisting forms must derive from the great sculptor of the Florid Baroque, Bernini, and recalls a similar passion demonstrated in the stonework of local sculptor Paul Bloch. While it’s no fun when your panties are involved, twisted forms in sculpture almost always resonate because they create a dynamic of movement that is assisted as the viewer circles the work. This dynamic seems to be Morbillo’s main pursuit, and the tensions of mass and space are often powerfully kinesthetic while remaining resolutely abstract. To be critical, since that’s the gig here, there is a sense that Morbillo believes perhaps a bit too much in an idea of “abstract sculpture” as opposed to uncategorizable art. As long as

221 paseo

Del

rB ravens gallery pueBlo norTe, Taos

emerging from his earlier collaborations

with digital technique, artist Robert Dean Stockwell has returned to the materially cut and assembled thing that collage unapologetically is. It is by now a given that collage can no longer command respect as an audacious and flexible avant-garde tool, what with the entire world morphing into a shabby and venal pastiche of parody, historical amnesia, and political montage; but good collage in the right hands can still disclose, and uncover, much of the strange discontinuity, hypocrisy, and beauty of contemporary culture. Here Stockwell succeeds. A guardian of Dada inheritances, Stockwell excels in cutting the cognitive cord that binds us to the glamorized underbelly of mass-media images, especially those sober and robotic images so beloved of LIFE magazine in its heyday. Detached and repurposed from their authoritarian fizz, these images become psycho-geographical journeys into a century of unfortunate lunacy, and everybody’s in the picture: all the stuffed eagles and chickens of the twentieth century and, of course, the triumph of man’s freedom, and so on and so forth, delicately crowded into a convulsive, hallucinatory space, with each image carefully chosen for compatibility with light source, scale, and tonality. While none of these pieces is tendentiously political (none of them explicitly address anything political), much tension is to be found in the textual overlay. It is hard not to look at them and see a sequence of pressure points, juxtaposed for your viewing pleasure, but nevertheless following a rich vein that becomes increasingly varicose, and which inevitably leads to the cultural health we enjoy today. Another expression of the artist’s explorations into real or fantastic structural schemes can be found in the new series of sculptures constructed from dice. Here, the dice function as a perfect metaphor for indeterminacy, interchangeability, and metamorphosis—the very credentials of collage. Each structure has an elegance and suggestiveness that renders astonishing the fact that this is a brand new medium for the artist. As in the early days of Cubist experimentation, play, celebration, connotative displacement, and improvisatory skill serve to provide an abrupt lurch back to where the whole story of assemblage began; when a pixel set was a “poor” material that could be transformed into an object of interest.

AnthOny hAssett

Frank Morbillo, Portal/Port-Hole, stainless steel and cast glass, 29” x 19” x10”, 2007

one accepts “abstract sculpture” as a category of formalism that needs no justification, there is nothing here to critique. Again, Morbillo has killer technique, sensitivity to materials, mythic references in the weapon-inspired pieces, and all the work here is formally successful. Still, one wonders about the box he’s chosen. In the hands of a lesser artist his approach might produce forms that are purely decorative. Morbillo’s intensity and sensibility allow him to escape this pitfall, but just barely. One wonders if “art for art’s sake” really cuts it these days. But maybe that’s just my twisted panties talkin’.

jOn cARve AR R Dean Stockwell, Start Here, collage, 23” x 27”, 2005

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FounD 2: missing

CRITICAL REFLECTIONS

plain sighT paTina gallery 131 wesT palaCe avenue, sanTa T Fe Ta

Lost and found: In Book 19 of Homer’s Odyssey, the poet describes a touching domestic encounter. The returning

Greek hero, having barely survived his epic sea voyage from Troy and now forced to pose as a stranger in his own home, ssubmits ubmits to having his feet washed by the unsuspecting household servant, in keeping with ancient customs of hospitality to gguests. uests. The servant Euryclea was the hero’s childhood nurse. On seeing his youthful scar from a boar’s tusk she instantly rrecognizes ecognizes her long absent master. Odysseus restrains her cry of joy and presses the old nurse to keep silent. An affecting scene, but b ut what’s striking about this appearance in the poem of a character clearly outside the ruling class is its rarity in the Homeric epics, even more so in the later, classical tradition of ancient Greco-Roman literature as a whole. Even here, the nurse’s role is simply to serve (literally in the role of a servant) a narrative of the life and feelings of dramatis personae from the ruling class. Erich Auerbach begins Mimesis, his classic study of “the representation of reality in Western literature,” with this episode from The Odyssey, in which “we see how the quietly depicted, domestic scene of the foot-washing is incorporated into the pathetic and sublime action of Odysseus’ home-coming.” Homer completely subordinates the nurse’s existence to the elevated narrative populated only by members of the “heroic” class. Beyond that purpose, the poet has no interest in the personal life of the servant. To Odysseus and his peers, and hence to the poet, the commoner simply doesn’t count. The servant is virtually invisible. Auerbach retraces the subsequent evolution of later European literature to show that only with its integration with the Judaeo-Christian world view do we see this classical Greco-Roman literary style gradually expand its narrow conception of “reality” to embrace the middle and then the lower classes—eventually admitting women, servants, slaves, the mentally ill—in short, the disenfranchised. A domestic episode from The Odyssey might seem an odd start to any critical reflection on Missing in Plain Sight, Patina Gallery’s recent group exhibition curated by Kathryn M. Davis. The invited artists were asked to explore the “themes of visibility and identity in northern New Mexico”—in concert with concurrent exhibits at several Santa Fe art venues focusing on desaparecedos, named for those who fell victim to various Latin American countries’ death squads from the 1970s and 1980s. The premise of Missing is “that ongoing societal tradition has forced millions of `illegals’ to become invisible—in fact, to `disappear’ themselves for their own safety”—the salient tip of a larger reality in which those of different ethnicity, economic class, religious belief, sexual orientation—any divergent subset of mainstream culture—are “invisible” by tacit choice of a society that chooses to not “see” them. Theme-driven group shows mapped by curators often yield mixed results. An artist’s choice of a preexisting piece to match the theme may fall wide of the mark, while a predetermined theme can overwhelm a new work commissioned to fit it. The challenge is heightened in Missing by the exhibit’s powerful themes of identity and invisibility. Marie Romero-Cash’s KOY-OHTEH (El Viaje, El Coyote, y Libertad) is on the mark. The toy-like character of this carved and painted wood tableau captures the immigrant child’s point of view, underscoring the immigrant’s vulnerability and dependence during the fearful and dangerous border crossing. The torch of the Statue of Liberty beckons beyond a wall that belies Marie Romero-Cash, El Viaje, El Coyote, y Libertad, carved and painted wood, 20” x 25” x 26”, 2007 its promise, blind to the immigrant’s plight. In Meridel Rubenstein’s Los unidos, from her 1980 Lowriders series, the arc or corona over the image of the negative retrieved from a lab fire in 1982 is an apt metaphor of a subculture’s refusal to be “invisible”—what the artist describes as a symbol of the “secular and sacred passion and desire that these cars embody.” The photo images of the Arizona-Sonora desert of Delilah Montoya’s C-print triptych (Humane Border) document the perilous journey of the Mexican immigrant. The beauty of its vast desert panoramas masks the danger of the journey. The visual anchor of the show is Bob Haozous’s twelve-foot carving of a Healing War Club. In a postmodern parallel to the“ swords into plowshares” conceit, the globe that replaces the weapon’s head evokes the biblical image’s reference to a time when “nation will not lift up sword against nation.” Missing in Plain Sight underscores a critical role of literature and the arts: it compels society to recognize what it otherwise could not—or would not—see. That’s a lesson that even history cannot teach.

RichARd tOBin NOVEMBER 2007

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siah armajani: Fallujah

sanTa T F e a rT i nsTiTuTe Ta 1600 sT. miChael’s Drive, sanTa T Fe Ta

One day, so the story goes, a German officer, both bully and secret admirer, paid Picasso a visit. Picking up one of the Guernica postcards, he turned on the painter and asked him accusingly, “Did you do this?” “Oh, no,” said the artist, “you did!” —Simon Schama, The Power of Art

Picasso’s masterpiece was an anguished cry

protesting the 1937 bombing of the Basque city of Guernica by the Germans and the occupation by Franco’s F ranco’s troops. The destruction of Guernica was the beginning of terrorizing and killing ccivilian ivilian populations from the air. Unfortunately the indiscriminate and inhumane massacre off innocent people continues to this day. In November 2004, the U.S. Operation Phantom o Fury destroyed the Iraqi city of Fallujah, razing more than 20,000 homes, demolishing sixty Fury of two hundred mosques, and killing thousands. In his installation Fallujah, Iranian-born American artist Siah Armajani follows the revolutionary footsteps of Picasso by showing his outrage and indignation at the bombing of a city and its inhabitants. Fallujah is Armajani’s tribute to Guernica. Although his installation incorporates elements from the painting, he uses the psychology of a three-dimensional space to reveal emotion. Picasso’s work is a densely charged composition of grieving women, suffering warriors, and animals, portraying pain, fear, and death. In contrast, Armajani has chosen to suggest—not explicitly represent—the deliberate military brutality inflicted on ordinary people. He has made a pristine, almost empty, small two-story glass house in which the top floor has collapsed on to the one below. The house is off-kilter with contents askew, but its structure is intact—no twisted columns or beams and no shattered glass. A neatly placed disarray of crushed and overturned objects—a chair, a table, a shoe, three mattresses, and pillows—are evident. Armajani evokes the unseen—the calculated inhumanity of the U.S. Operation, which fills the architecture with a chilling presence, paralleling the drama of suffering in Guernica. Although humans are not seen in Armajani’s house, we sense the ghosts of three people. Were a mother, father, and child crushed under the weight of the second floor? A tiny mattress rests on the floor above. Could the undamaged mattress suggest a baby has survived—a symbol of hope? The horse in Guernica has been replaced by a rocking horse in the installation. Picasso painted a fallen warrior below the horse, symbolizing chaos and death. Armajani’s toy horse and absent rider allude to the plight of many young soldiers and civilians who have lost their childhoods, their innocence and, possibly, their lives in Fallujah. Other elements in the house—flames from a burning building and a light bulb centered in an eye—are taken directly from Guernica. Does the illuminated, observant bulb eye become a potent contemporary reference to modern day surveillance? Armajani’s pristine glass house turns us into voyeurs as well. His transparent architecture succeeds in urging us to observe and examine the vulnerability of ordinary people and to question the destruction and immeasurable pain our country imposed on a city and continues to impose on much of the world.

BarBara erDman works 1959 To The presenT

paper:

Farrell FisChoFF gallery 1807 seConD sTreeTT #29, sanTa T Fe Ta

i have a great deal of respect for Malin Wilson-Powell, so when I

discovered she had curated a show at Farrell Fischoff Gallery, I made a mental note to check iitt out. When the artist, Barbara Erdman, passed away the day after her exhibition opened, I knew I had to see the show. Since I was not familiar with the artist, I wondered, were tthe he two old friends? Was this someone who Wilson-Powell believed deserved attention because of the quality of the work, or had curating the exhibition served as a gracious because gesture to an ailing woman who had never gotten much recognition from the art world? The answer, I suspect, lies somewhere in between. The exhibition was obviously a gesture of respect for an artist whose work was of minor importance to the history of mark-making, painting, and modernism itself. Erdman, who died at the age of seventyone, was of a generation that studied at the Art Students League, made a Grand Tour of Europe, and was deeply influenced by Willem DeKooning. In short, she was a painter of modern ideals, a master of her mediums. Her monoprints can, in my view, tend toward muddiness, but there is a facility in her vocabulary of marks under the smeared pigment that is compelling. And some of the prints are simply wonderful: Sick to Death of Santa Fe Hype (1994) is quite effective, with slashing brown strokes that seem to cancel out the lush pinks and turquoises that form the underlying foundation of the piece. Erdman’s sculptures, geometric paper and plexi pieces, reveal the influence of her friendship with Red Grooms, and, due to a certain self-consciousness, range in effectiveness from low to medium. However, the stars of the show weren’t even in the show, at least not officially. Thanks to Robert Fischoff, I was able to view two of Erdman’s paintings, the ye y llow Rose of Texas (1990) and Who Knows What Evil Lurks in the Hearts of Men (1988). Both of these works were clearly DeKooning-esque, pregnant with the tension of layering slashes of paint onto the canvas. Erdman’s strength was plainly her sense of color and her willingness to use it unpredictably. This was a woman whose “life was her art,” as Fischoff put it. She came from a time when American art was sure of itself, and it was honorable and especially courageous for a woman to call oneself an artist. This alone is show-worthy. It is not without problems as a curator’s theme, to be sure, but it made for quite a respectable exhibition.

kAth AthRyn R m dAvis Avis

susA us nnA cARlisle

Fallujah installation view. Courtesy: Lannan Foundation

Barbara Erdman, Sick to Death of Santa Fe Hype, mixed media on monoprint, 30” x 22”, 1994

CRITICAL REFLECTIONS

onCe There was, onCe There wasn’T: Fairy Tales reTol T D Tol eighT moDern 231 DelgaDo sTreeTT, sanTa T Fe Ta

Once upon a time there was a little art gallery that could,

and did, and managed to present a themed show that made sense and hit all the marks it set for itself. I know it’s hard to believe, my little dear ones, but it truly, truly, can happen. And once upon a time a big bad art critic with fangs got to see a bunch of Fay Ku’s fairy tale inspired drawings and a Paula Rego print, and some fairytale prints by David Hockney. And he ate them up the way you would eat chocolates, my best beloved, and they were tasty, ’specially Fay Ku. And there were a bunch-a-lot of ’em, all about naughty little girls fighting with each other and plotting rituals of spite and revenge. This is a subject matter sandlot she shares with Rego, and more recently with painter Dana Schutz, a playground haunted visually by the ghosts of Darger and Balthus, and in literature by the spirits of Bataille and Nabokov, though it’s maybe the kinda playground where a separation between a boys’ side and a girls’ side might prove analytically sensible, since we’re all, and I mean all of us, at such sensitive ages. In contradistinction to the boys’ side of the line, Schutz, Fu, and Rego don’t go in for the heavy eroticism. Fu’s every-girls are not especially sexualized, they are just naturalistically drawn images of fit young women being mostly mean and bad to each other, suffering and attacking, winning and losing, as they rise without conscience up the space of the image. Does that sound like any of the grown-up children we know? In Furies, her hierarchical protagonists are sprouting wings and claws and going for each others’ jugulars and eyeballs. Concisely drawn with no small skill, they are lovely little debutantes no longer, as if they ever were. Why only female youths? An act of graphic separatism? This artist’s comfort zone? Most likely, an appropriation of a cultural signifier, the idealized teen female who prances half-clad through the grand media-induced desire warp of the corporatocracy. While Fu’s tiger grrrls and top girls are her characters, and therefore in some regard must be versions of the artist’s self, they are more importantly a modular (and model) type (of the one that all eyes—male, female, etc.—are upon) whom Fu poses for her allegorical cultural critiques, my little kooky headed nettle mud pie makers, just as you play with your dolls. In Curses a mother and daughter vomit snakes and worms. Here are some sick little pictures for a sick little society. Her drawing talent is the sugar for the medicine. Adela Leibowitz treads a similar artistic path, but with more ambiguity. Where Fu’s fairy world is blatantly violent and in your face, Leibowitz goes in for a more restrained sense of haunting menace. Her oil-on-linen paintings are done in a blue grisaille, which gives them a melancholy mood and lends them a slight sense of speculation, as if they were blueprints for images that might be more fully realized later. In each landscape image an Alice in Wonderland figure consorts with robed, animal-headed humans, as if participating in some spooky ritual. These robed humans are both the talking animals of cartoons and fairytales and the high priests of ancient Fay Ku, Top Girl, graphite, watercolor and ink on grey paper, 50” x 38”, 2006 cultures, though I don’t believe Egypt or Assyria had a bunny-headed god or goddess. Leibowitz’s actors are the fluffy, stuffed animals of the nursery being necessarily wicked. Or not. Maybe this is all consensual—here again the ambiguity. They are all wolves, my teensiest, wolves dressed in sheeps’ clothing. Beware. And once upon a time, Kansas City artist Peregrine Honig made six lithographs called Father Gander in which she took the visual world of old-school Mother Goose illustrations and recut and edited them to heighten the sexual provocation implicit in all those surreal stories of princesses kissing frogs, bold pussy cats and cocks, and the foxy fox in grandma’s bed. The appeal of the fairytale, and what makes it ripe for timeless plucking, is the intersection of childhood with the elements of psychology—the subconscious, sexuality, and collective archetypes. Honig honors an old surrealist practice with his clever juxtapositions. The lifting of Red Riding Hood’s hood untells the tale by retelling the psychosexual subtexts. Try saying that three times fast. That, that, that and that’s almost that. The strength of the show was the triad of Fu, Leibowitz, and Honig. The requisite blue-chip stuff was mixed. Hockney’s always fabuloso. Rego was under-repped. Tuttle tuttles. Kiki Smith is right there actually, though somehow she benefits least from the group show intermix strategy going on here inside the magical grownup fairy world which is Eight—still need to stick a post in here somewhere— Modern. Goodnight my little firefly, time to put out the light and start counting sheep. There’s nothing to be scared of.

jOn cARve AR R NOVEMBER 2007

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CRITICAL REFLECTIONS

irving greines: urBan B Ban wilDerness anD eliZ liZa ZaBeTh T opalenik: poeTi Th T C graCe Ti verve gallery oF phoTography 219 easT marCy sTreeTT, sanTa T Fe Ta

in today’s digital world, we’re all image-savvy connoisseurs.

Technology has made us suspicious of words such as singular or authentic that attempt to describe images, especially photographs. “Photoshopping”—slang for suspicious digital d igital photo editing—allows users to manipulate images to their heart’s content. Through Photoshop we can add toner, change the fformat, ormat, and remove those garish red eyes from any photo in an instant. With access to these kinds of editing tools, we fancy ourselves masters m asters of the digital domain—we control the outcome of the image, right down to the very last pixel. For contemporary arts photographers imaging technology is both a blessing and a curse. On the one hand, it allows them to push the boundaries of traditional photographic processes, which, in effect, alter our modes of perception by revealing what otherwise cannot be seen (photos by Eadward Muybridge, Sally Mann, Thomas Struth, and even the Hubble Space Telescope come to mind). Yet, on the other, the accessibility to digital imaging technology further complicates our notions of hand-craftsmanship and the real ideas to which we still assign aesthetic and monetary values. What’s interesting then is how Elizabeth Opalenik and Irving Greines, photographers whose work is currently on exhibit at Verve Gallery, attempt to undermine the prevalence of digitally manipulated imagery by employing traditional and unconventional photographic processes in their works. Opalenik’s exhibition, Poetic Grace, functions like a retrospective—it includes a variety of gelatin silver prints from the artist’s thirty-year long career. In terms of subject matter, the photographer is intently focused on all things feminine: floral still-lifes, female nudes, and images of the natural landscape prevail. With the exception of a few hand-colored prints in the exhibition, Opalenik’s relatively monochrome palette is comprised of charcoal grays, burnished silvers, inky blacks, and deep burgundies. Her spare use of color, along with its varying tonalities, lends a dreamy, atmospheric quality to the images and captures the same notions of desire and sensuality evoked by Opalenik’s flawless nudes. Beauty lies at the heart of Opalenik’s photography, and her dedication to both capturing and celebrating it is pervasive. What is often most compelling about the works, however, are not the subjects themselves, but the photographic processes Opalenik uses to make such ubiquitous imagery engaging. She employs mordançage, a rarely used nineteenthcentury practice to add physical dimensionality to her work. The evidence of this process lies in the drapery surrounding the female figure in Changer la Femme #3 (1999) and in the darkened areas of the bloom and leaves in Tulip, Westport, Connecticut (1992). A labor-intensive technique, mordançage involves using an acid copper bleaching solution to dissolve away the darkest portions of the silver image, leaving the print in reverse relief. By gently rubbing the surface, she removes the gelatin layer, leaving behind whites where the darks once were. Using water to float the emulsion, the artist then transfers it onto the surface of the print. For Opalenik Opalenik, mordançage allows her to create a unique image within a reproducible medium that emphasizes the fragile beauty of her forms. It also adds ambiguity to the image: at times the darkened areas look like they were made from other artistic techniques such as watercolor, calligraphy or etching—media that involve a trace of the artist’s hand and thus, a singularity. In contrast to the fragility, intimacy, and pallor of Opalenik’s work, Irving Greines’s large-scale photographs are raw, impersonal, and enlivened with color. Elizabeth Opalenik, Changer la Femme #6, archival pigment print, 1999 In urban Wilderness–Chaos Transformed, Greines presents a series of mediumformat photographs from a decade-long project he began in the 1990s that involved shooting anonymous locales in dilapidated urban environments. As different areas in New York, Paris, and Los Angeles were in the process of renewal, Greines spent hours observing and then capturing the cities’ slowly shifting landscapes. Outfitting his Hasselblad camera with a macro lens, Greines is able to take close-ups so saturated with color that they appear to have been digitally enhanced. The titles of the works indicate the time and place that the photograph was taken— taken—54 Mercer Street, Manhattan, 9-1-97 and Quai de la Gare, Paris, France, 10-29-00 are two examples—revealing Greines’s documentary-style approach to his subject matter. His untouched photographs of locks, doorknockers, disintegrating advertisements, and graffiti tags are isolated fragments of found imagery that attempt to communicate about a world in flux. Despite his realist eye, Greines has a penchant for the painterly—his attention to texture, surface, pattern, and form is consistently striking. Moreover, the large-scale format, colors, and pop culture imagery speak of materialism and consumption—familiar subjects to pop figures such as Andy Warhol, Richard Hamilton, and James Rosenquist. The two seemingly unrelated exhibits work best in tandem. Considered together, the photographers create compelling dialogues about the processes of image-making through contrasts in style, form, and subject matter. What unites them is a delight in discovery and a search for beauty in a chaotic world.

lizA iz stA tAtt AttOn NOVEMBER 2007

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lasT leaVes V oF Fall Ves F photoGraph By B NOVEMBER 2007

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WRITINGS

From “Matriot Acts” by

Anne WAldmAn

Women are the weapons of history, we are the symbolic representations of compassion and decency. —Carrie Mae Weems invoke the hyena in petticoats! laughing hyena, spotted hyena, striped— all stalk the charnel ground amidst microscopic & telescopic worlds a step ahead of what is to come in lineage in gratitude, in naming las madres les femmes, all those against war look for reclamation, sniff it out— in a voice not my own but all of them the wizened ductile face of slumbering female memory: beginning of time, the timepiece of time she who was the mother of a ghost ship ship-of-locked-awe and subjugated dream she who could never be reduced to a “gender issue” she who announced a talismanic bond to planet who saw vole tracks in the snow once on the radical poet’s tiny death plot Lorine, Lorine! you can come out now— and Mina and Hilda and Gertrude of all grammar’s mind who salvaged a blow dryer for the art people while they sold the rights to textures of paper, of glass (touch me, touch me with crenellated beauty now) particles in the sunlight, a democratic grace who documented hurts and slights & transmuted them to poetry, to flesh, to the wink after sex she was a challenge in all my hearts, the penultimate maker did you have any animals around you from the start? she asked did you enjoy yourself a lot? how old were you when you started this running around?

photoGraph of Gertrude stein By Carl van veChten Anne Waldman is a poet, performer, curator and cultural activist, and is considered an inheritor of the Beat literary movement. Waldman will be reading from her work on Thursday, November 8, at Vox Performa at the Center for Contemporary Arts, Santa Fe, and on Friday, November 9, at the Outpost in Albuquerque. This poem is excerpted from Outrider: Poems, Essays, Interviews (La Alameda Press, $18).

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NOVEMBER 2007

THEN MAYBE WE COULD

IF ALL THE WORLD WOULD PRAY AND RAVE

IT CAUSES SOME TO MISBEHAVE

THE ART OF WAR IS VERY GRAVE

Linda Durham

Contemporary Art

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