Santa Fe’s Monthly
m
a
g
a
z
i
n
e
of and for the Arts • October 2014
53 Old Santa Fe Trail | Upstairs on the Plaza | Santa Fe, NM | 505.982.8478 | shiprocksantafe.com
C O N T E N T S German art historian Boris Friedewald introduces his book Women Photographers from Julia Margaret Cameron to Cindy Sherman (Prestel, $39.95) by writing, “From the pioneers of photography during the nineteenth century to the shooting stars of today, the work of women photographers is as unique as their life stories—and their gaze.” What distinguishes this beautifully illustrated collection of profiles and contextual essays from previously published work on women photographers is the international array of artists, from the familiar to some that may be unknown to American audiences. The cover features the iconic shot of Margaret Bourke-White atop a gargoyle, aiming her Graflex at the New York City skyscrapers that came to signify the modern era. The table of contents lists fifty outstanding artists, including Lady Clementina Hawarden (whose work Lewis Carroll found more admirable than Julia Margaret Cameron’s), Jitka Hanzlová, Madame Yevonde, Germaine Krull, An-My Lê, letters universe of: artist Gail Rieke art forum: The Family by Paula Rego studio visits: Adria
Ellis and Jennifer Esperanza
ancient city appetite: Epazote on the Hillside one bottle: Ultra Dishmate “Natural Pear” by Joshua Baer dining guide:
Izanami and M.A.M.A.’S World Take-Out art openings out
previews: David
& about
Johns at Zane Bennett Contemporary Art, Dirk de Bruycker at LewAllen Galleries, & Gina Marie Erlichman at Gallery 901 national spotlight:
Judith Lauand: Brazilian Modernist at Driscoll Babcock Galleries, NYC feature: Grab a Hunk of Lightning by Diane Armitage flashback:
Jim Wagner, 1995
out there: Wheel of Fortune by Livinlargephoto critical reflections: Renate Aller at Chiaroscuro; Tom Chambers at photo-eye Gallery; Impacts! at Zane Bennett
5 letters Rinko Kawauchi, and Dayanita Singh. These 18 universe of: artist Gail Rieke lesser-known contemporaries of 22 art forum: The women Family, byare Paula Rego 25 studio visits: Adria Ellis and Jennifer Esperanza Gertrude Käsebier, Imogen Cunningham, Carrie 27 ancient city appetite : epazote at the Hillside 29 one bottle: The 2010 Etienne Sauzet Puligny-Montrachet “La Garenne” Mae Weems, Tina Modotti, Sally Mann, and Nan 31 dining guide: Izanami and M.A.M.A.’S World Take-Out 35 art openings Goldin, who are also included in this volume. In 36 out & about 42 previews : David Johns at Zane Bennett Contemporary and Flor 1932, Madame Yevonde proclaimed, “If we are 45 national spotlight: Judith Lauand: Brazilian Modernist at Driscoll 47 national Lauand: Brazilian Modernist at Driscoll going to spotlight have color: Judith photographs, for heaven’s 51 national spotlight: Judith Lauand: Brazilian Modernist at Driscoll 53 national : Judith Lauand: Brazilian Modernist at Driscoll sake let’sspotlight have a riot of color….” Her images, 55 national spotlight: Judith Lauand: Brazilian Modernist at Driscoll as well as those of her fellow photographers,
Contemporary Art; Jun Kaneko at Gerald Peters Gallery; Cannupa Hanska Luger at Blue Rain Gallery; Prima Materia at Punta Della Dogana (Italy); Gigi Mills at GF Contemporary; Daniel Sprick at the Denver Art Museum; Jeane George Weigel at Hand
provide a broad spectrum of perspectives by
Artes (Truchas); and Women in Cultural Context at Tansey Contemporary green planet: Rick Phelps, photograph by Jennifer Esperanza architectural details: Truchas, photograph by Guy Cross
Writings: “8” by Anthony Hassett. Painting by Hassett.
67 68 70
national spotlight:
Judith Lauand: Brazilian Modernist at Driscoll
national spotlight:
Judith Lauand: Brazilian Modernist at Driscoll
national spotlight:
Judith Lauand: Brazilian Modernist at Driscoll
women whose gaze has contributed to the history of photography.
In Pursuit of Cultural Freedom
A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.
MAX BLUMENTHAL with AMY GOODMAN FRIDAY 10 OCTOBER AT 7PM LENSIC PERFORMING ARTS CENTER
READINGS & CONVERSATIONS brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction and poetry to read from and discuss their work.
ALICE McDERMOTT with MICHAEL SILVERBLATT WEDNESDAY 22 OCTOBER AT 7PM LENSIC PERFORMING ARTS CENTER
In 2000, in one of his last interviews, Edward Said remarked
Alice McDermott has, in the words of The New York Times,
to the Israeli journalist Ari Shavit, “I never use terms like
“staked an impressive claim on a subject matter and a turf—
‘balance of power.’ But I think that even the person doing the
Irish-American Catholic families congregated, for the most
kicking has to ask himself how long he can go on kicking. At
part, in New York City and its suburbs on Long Island.” Her
some point your leg is going to get tired. One day you’ll wake
seven works of fiction include At Weddings and Wakes,
up and ask yourself, ‘What the f- - k am I doing?’”
Charming Billy and Child of My Heart. Her most recent,
Thirteen years later, Israel’s system of institutional discrimination and occupation had only grown more entrenched, with its
Someone, follows the everyday rhythms in the life of Marie, an ordinary Irish-American girl from Brooklyn in the 1930s.
administrators, ambassadors, and arbiters confronting every
One of the great strengths of [Someone] lies in this sense of
challenge thrown in their way with unsentimental determination.
tenderness and intimacy, of empathy for the human condition
—From Goliath: Life and Loathing in Greater Israel © 2013
Max Blumenthal is a journalist and author whose articles have appeared in The New York Times, the Los
. . . The narrative unfolds slowly, through small moments of beauty and vividness . . . The moments are small, but packed with complexity and emotion.
—The Washington Post
Angeles Times, The Nation, The Guardian, Alternet, Mondoweiss and elsewhere. He is the author of Republican Gomorrah: Inside the Movement that Shattered the Party and most recently, Goliath: Life and Loathing in Greater Israel, for
TICKETS ON SALE NOW
which he has received a 2014 Lannan Notable Book Award.
ticketssantafe.org or call 505.988.1234
Ticket proceeds will be donated to Middle East Children’s Alliance.
$6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:
www.lannan.org
LETTERS
magazine VOLUME XXII NUMBER V
WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 and 2006 Top-5 Best Consumer Tabloids P U B L I S H E R / C R E AT I V E D I R E C T O R Guy Cross PUBLISHER/FOOD EDITOR Judith Cross ART DIRECTOR Chris Myers COPY EDITOR Edgar Scully PROOFREADERS James Rodewald Kenji Barrett S TA F F P H O T O G R A P H E R S Dana Waldon Anne Staveley CALENDAR EDITOR B Milder WEBMEISTER
Jason Rodriguez SOCIAL MEDIA Laura Shields
CONTRIBUTORS Diane Armitage, Joshua Baer, Ciel Bergman, Davis K. Brimberg, Jon Carver, Kathryn M Davis, Jennifer Esperanza, Anthony Hassett, Hannah Hoel, Marina La Palma, Richard Tobin, Lauren Tresp, Sarah Weisberg, and Susan Wider COVER
Dorothea Lange with Zeiss Juwel Camera, 1937 ©1937, 2014 Rondal Partridge Archives See page 47.
The Landscape: Real to Abstract: paintings by Martha Mans, Kurt Meer, and Stephen Pentak at Karan Ruhlen Gallery, 225 Canyon Road, Santa Fe. Reception: Friday, October 17 from 5 to 7 pm. Images: Left: Mans. Center: Meer. Right: Pentak.
TO THE EDITOR: We recently read Richard Baron’s letter in the September issue of THE and wanted him to know that we agree with his writing word for word. And there are other people out there who feel the same way he does: that the mission and leadership of SITE needs to be changed. One would think that a community that has such a strong art presence within the nation could do much better than what we are being offered by SITE. We have written letters to SITE and the board members bringing up similar issues we read in Baron’s letter. —Tom and Carole Bowker, Santa Fe Artists TO THE EDITOR: Katherine M Davis releases a convoluted diatribe in her effort to cloud SITEline’s Unsettled Landscapes. Her professionalism is compromised and uncertainty revealed by summoning a cadre of “friends” for backup. She acknowledges the updated biennial response to change while denying the reality of change. A dedicated exhibit of this scope implicitly holds visual and scholarly and emotional value, according to one’s interests, orientation, priorities, and so on. After allowing a few artists to satisfy her particular need for immediate gratification, Davis confronts us with a disabling deluge of confusion and trepidation: May we consent to be “wowed” by The Great Tree that lacks “visual ascendancy?” Do we get a pass “to pore over a lot of verbiage” that appears compelling? Is a permit required to see an exhibit unlike the “old-school” experience? She must recognize this was not conceived as a pictures show and we don’t go to the New Museum to view Vermeer. And “OOMPH” is available in assorted sizes and forms. The leap that powers Unsettled Landscapes is a contemporary iteration of SITE’s bold early initiatives noted by Davis. Alas, her protestations are but a prelude to the audacious command that SITE restructure according to some ill-conceived bifurcation of curatorial and directorial functions. Her lecture is an aggressive and presumptuous conceit. —Nancy Ziegler Nodelman, Santa Fe, via email
ADVERTISING SALES
THE magazine: 505-424-7641 Lindy Madley: 505-577-4471 DISTRIBUTION
Jimmy Montoya: 470-0258 (mobile) THE magazine is published 11x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: themagazinesf@gmail.com. Web address: themagazineonline.com. All materials copyright 2014 by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable, for any misspellings, incorrect information in its captions, calendar, or other listings. Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel. All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised. THE magazine is not responsible for any claims made by its advertisers for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.
This issue is dedicated to Mark Zaplin and Ted Flicker OCTOBER
2014
TO THE EDITOR: When it comes to looking at contemporary art, each viewer is in his or her own parallel universe. Some of those alternate viewing spaces I can relate to and others not so much. Richard Baron claims to have looked at SITE’s biennial Unsettled Landscapes, and moreover he claims to understand just what that biennial is all about. But he got stuck somewhere between his own misunderstandings of Derrida and Foucault and his misunderstandings about the vast territories being discussed in this exhibition, and various artists’ responses to these territories—the ways the territories have been used and abused. So, I wonder if Mr. Baron and I saw the same exhibition—I think not. Mr. Baron appears to have gone to Unsettled Landscapes with his own private agenda in hand, his own superior outlook, ready to dismiss SITE’s ambitious organizing
principle so he could substitute his own, i.e., SITE’s efforts will not change the world of art and help to demonetize its greedy little ways. But Mr. Baron failed to see the forest for the trees and I wonder if he really even saw the trees. What SITE presented is a varied and coherent set of investigations about the Americas and the land that defines these immense geographies and the people who live and struggle there. And, for the artists concerned, this show represents a series of attempts to creatively upend, or re-interpret, the status quo, or present alternative views of historical “facts.” I’ve seen the exhibition multiple times, but never once got bogged down in anyone’s text. There was no need to in order to grasp the variety and the flow of work and the intentions behind it. But this is not to say this show isn’t complex—any exhibition this thoughtful and profoundly layered is bound to be. Is there anything wrong with depth in art? There is indeed a broad overview at work here—a genius loci that has woven together an incredibly worthwhile and visually stimulating set of experiences that, however, require more than a superficial one-off approach to viewing. What’s the problem with that? Serious viewing is its own reward. —Diane Armitage, Santa Fe, via email TO THE EDITOR: I enjoyed the article on Billy Siegal and his history of collecting. Unfortunately, the interviewer did not discuss or ask the hard questions of the moral issues in the acquisition of so much Indian art and history. I went to Bolivia first in 1977 and collected a few pieces of the best quality Indian textiles, but only a handful for personal enjoyment. The conscious choice of not collecting was channeled into commercial handicrafts for export. This approach to commercial Indian textiles and handicrafts was also my choice in working in Ecuador, Peru, and Panama. Later I worked in Senegal and Indonesia with textiles. In all cases I collected small amounts of the finer native art for myself. I have met Billy a few times and know that there was at the time of his acquisitions a small crowd of similarly motivated buyers who were a few steps behind ready to buy the same textiles. All of us on the gringo trail in those years were aware of each other and often crossed paths. But I think Billy probably caught the textile fever well before anyone else and was fortunate to buy and then sell great pieces to museums and collectors. The argument that if the art was not saved it might have been lost is a reasonable argument. Many countries over the years have passed laws to protect their art and history from export. The Andean mountain countries were late in the game in passing such legislation. I credit Billy with recognizing such great art, but wonder if too much of Panama and Bolivia’s textile history passed into private hands and foreign museums and are not available for the viewing of the people who created it. —Peter Jayne, Santa Fe, via email
This issue is dedicated to the lives of Mark Zaplin, Ted Flicker, and Daniel Bish.
THE magazine | 5
JULIE BLACKMON HOMEGROWN
September 26-November 15, 2014 SEPTEMBER 26 - NOVEMBER 15, 2014
An exhibition celebrating Julie Blackmon’s newest book Homegrown published by Radius Books. Signed copies are available. photo-eye Gallery 541 S. Guadalupe St. Santa Fe, NM 87501 505-988-5152 x202 Tuesday-Saturday, 10:00-5:30 In our Bookstore + Project Space, 376 Garcia St.
Brad Wilson: Avian
TONY DEL AP: Selected Works from Fifty Years of Making Art
OCT 17 - NOV 17 |
Reception for the Artist Friday, October 17, 5 - 7 P.M.
CHARLOTTE JACKSON FINE ART 505.989.8688 | 554 South Guadalupe Street, Santa Fe, NM 87501 | www.charlottejackson.com
Film Premiere + Book Signing “Tony DeLap: A Unique Perspective”, a documentary by Dale Schierholt “Tony DeLap,” a book by Art Santa Fe Presents and Radius Books Monday, October 20, 4 - 6 P.M. | Jean Cocteau Cinema, 418 Montezuma Avenue, Santa Fe Please call the gallery in advance to reserve free tickets.
diane burko investigations of the environment
Debra Bloomfield • Journey to Wilderness September 27 - October 24
september 26-november 2.2014
dirk de bruycker logos
LewAllenGalleries railyard arts District 1613 Paseo de Peralta (505) 988.3250 www.lewallengalleries.com info@lewallengalleries.com
Saara Ekström • Careless Water October 31 - December 19 Artist Reception: Friday, November 7, 6-8 pm Richard Levy Gallery • Albuquerque • www.levygallery.com • 505.766.9888
Don’t miss abiquiu views. exhibition Closes oCtober 26.
Miguel Covarrubias: Drawing a Cosmopolitan line/ Trazando una Línea CosmopoLiTa septeMber 27, 2o14 through January 18, 2o15 Working in pen and ink, watercolor, and oil, the dynamic Mexican artist Covarrubias made substantial contributions to modern art. Prolific and endlessly curious, he had a lifelong fascination with cultures both ancient and modern, remote and urban -much like O’Keeffe, both of whom were part of a global network of artists, writers and intellectuals. This exhibition presents his artistic, literary and anthropological accomplishments as a single body of work, and shows the diversity of modernism as it was lived in the first half of the twentieth century. This exhibition and related programming were made possible in part by a generous grant from The Burnett Foundation. Additional support was provided by The Ministry of Foreign Affairs through the Consulate of Mexico in Albuquerque, Linda Marcus, New Mexico Arts, a division of the Department of Cultural Affairs and the National Endowment for the Arts, the Santa Fe Arts Commission and the 1% Lodgers’ Tax.
Miguel Covarrubias, The New Yorker, 6 July 1929, Our Lady of the Lily: Georgia O’Keeffe, © Conde Nast.
=
217 Johnson street
=
5o5.946.1ooo
=
okeeffemuseum.org
RIK ALLEN New glass and metal sculptures, October 3 – 18, 2014 Artist Reception: Friday, October 3rd, 5 – 7 pm in Santa Fe
Soliday Surveyor Blown glass, silver, steel 12" h x 8" w x 8" d
Blue Rain Gallery | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com
The Encaustic Art Institute October Events October 4 to November 2 National Juried Encaustic/ Wax Exhibition
41 nation-wide artists’ works were juried into this show by Merry Scully A Best of Show and Award of Excellence will be announced at the opening.
Opening October 4, 2014 Noon to 5 pm Best of Show and Award of Excellence TBA (also part of the Madrid & Cerrillos Studio Tour)
October 4 - 5 and 11 - 12, 2014
Noon to 5 pm EAI joins Madrid & Cerrillos Studio Tour www.madridcerrillosstudiotour.com
Gallery open to the public weekends from Noon - 5 pm or by appointment April through October Contact Douglas Mehrens at 505-424-6487 A non profit arts organization. For map and information go to
www.eainm.com Diane Kleiss, NM
Thanks to Los Alamos National Bank for their continued support.
www.ArtMattersSantaFe.org
Lisa Bick, IN
18 County Road 55A (General Goodwin Road) 18 miles south of Santa Fe on scenic Turquoise Trail Highway 14
Art Matters | Santa Fe, a series of city-wide art events and lectures sponsored by the Santa Fe Gallery Association to showcase the art galleries and museums in Santa Fe. October 17 - 26, 2014 Participating galleries: David Richard Gallery Ellsworth Gallery Evoke Contemporary Georgia O’Keeffe Museum Matthews Gallery New Concept Gallery Pippin Contemporary Sorrel Sky Gallery SITE Santa Fe Tansey Contemporary Winterowd Fine Art
www.SantaFeGalleryAssociation.org
DAVID JOHNS
BIŁ’ HAHODIISHŁAA
SEPTEMBER 26 - OCTOBER 24, 2014 RECEPTION: FRIDAY, SEPTEMBER 26, 2014, 5-7 PM ARTIST WILL BE PRESENT
ZANE BENNETT CONTEMPORARY ART 435 S GUADALUPE ST, SANTA FE, NM 87501 T: 505-982-8111 ZANEBENNETTGALLERY.COM IMAGE: DAVID JOHNS, OCCURRENCE-4 , 2014, ACRYLIC ON CANVAS, 78 X 60 IN.
Steve Elmore Indian Art
Visit
Scotty Mitchell Dialogue with Beauty opENS Nov. 15
Colorful and dynamic plein air pastels celebrate the landscapes of southern Utah and Grand Staircase – Escalante National Monument.
Helen Cordero
Discover 23rd Annual Trappings of the American West Exhibition & Sale Through DEc. 7
Western craftsmanship in paintings, bronze sculpture, photography and gear of the working cowboy. In partnership with Dry Creek Arts Fellowship.
Nampeyo Authentic Southwestern art, Native American jewelry, publications and more...
Shop shops.musnaz.org
Maria and Julian Martinez
elmoreindianart.com
839 Paseo de Peralta Santa Fe NM 87501 505 995 9677
WHEEL OF FORTUNE-TAROT.COM
Double D Limousine, LLC Professional transportation services Licensed & Insured Serving New Mexico Statewide 24 Hour Service
One Way luxury Sedan Service to or From Albuquerque International Airport Santa Fe . . . . . $175 Los Alamos . . . . . $225 Taos . . . . . $400
Daytime 505.315.8774 Evening 505.238.9026 PRC 56557
www.ddlimollc.com doubledlimousinellc@gmail.com
PECOS RIVER CLIFF HOUSE BUILT AT THE EDGE OF A CLIFF OVERLOOKING THE PECOS RIVER
Michael Levy Realty • 505-603-2085 Owner/Broker • msl.riverfront@gmail.com PecosRiverCliffHouse.com MLS # 2014 00989
$469,000
Ten acres with vivid views in all directions •Two bedrooms with attractive expansion possibilites • Radiant heat. Deftly designed for indoor/outdoor living • Private riverfront and bosque • Tiny Studio • 35 minutes from Santa Fe.
Art, everywhere.
TAOS
RANCHOS DE TAOS CHURCH BY GERIANT SMITH
Film, fiber, exhibitions, opera. Surround yourself with all kinds of color. Look + Book TAOS.ORG
888.580.8267
October in Taos means a flurry of creativity, presented to you in all forms and fashions, indoors and outdoors. Walk it, watch it, wear it, wonder at it. Be wowed. See more at TAOS.org/fall2014
Through October 5 Taos Fall Arts Festival, six exhibits various locations in historic district
October 4-5 Taos Wool Festival Kit Carson Park
October 17 & 18 Film: Everything Comes from the Streets The Harwood Museum of Art
Through January 25 ยกOrale! The Kings & Queens of Cool four exhibits at The Harwood Museum of Art
October 10-12 Fall for Antiques Show & Sale Millicent Rogers Museum
October 17-January 9 Taos Wilderness Show Taos Town Hall
October 11 Open House, studio & gardens Couse-Sharp Historic Site
October 24-25 SOMOS Storytelling Festival Taos Mesa Brewing & TCA
October 11 & 18, November 1 Live from the Met: opera at TCA 11am: Verdi, Mozart, Bizet
October 24-26 Taos Mountain Balloon Rally in the skies over Taos
October 11-November 9 Taos Glass Art Invitational exhibits eight gallery locations
November 1-2 Taos Chamber Music Group concerts The Harwood Museum of Art
Through January 31 Fred Harvey & Making of the American West Millicent Rogers Museum October 3- November 17 A Slice of Life, photo journalism exhibit Encore Gallery of Taos Center for the Arts (TCA) October 4 Manhattan Shortz Film Fest at TCA
WORLD TRAVELER GAIL RIEKE IS INTERNATIONALLY RECOGNIZED AS A CONCEPTUAL ARTIST WORKING IN COLLAGE, ASSEMBLAGE AND INSTALLATION, A WRITER, A PHOTOGRAPHER, AND A TEACHER. IN ALL MEDIA RIEKE’S WORK IS THOUGHTFUL AND METICULOUS—NO FLUFF HERE. RIEKE WELCOMES VISITORS BY APPOINTMENT TO HER STUDIO/GALLERY IN SANTA FE. GAIL@ RIEKESTUDIOS.COM OR RIEKESTUDIOS .COM CREATING ENVIRONMENTS My studio/gallery rooms in Santa Fe are ever-changing installation environments. They are a place to begin conversations, to unearth the archeology of experience, and to shelter dreams. Some say they are a collection of collections.
TAKING TIME WITH THE WORK Working on many pieces simultaneously in the drawers of the studio allows the collages and assemblages to magnetize their missing pieces in due time. The works grow organically... through the process of adding and subtracting incorporating artifacts and natural wonders... mundane and enigmatic... until the elements feel as if they have always existed together. Seeking, finding, patience and synchronicity... these are my tools….
SUITCASE TRAVEL JOURNALS The “suitcase wall” is a floor-to-ceiling structure that my husband Zachariah and I began building in 2000. It is the home of many travel journals... Mixed-media assemblages each one layered into antique suitcases, boxes, trunks, and baskets. Each journal is a unique response a complex kaleidoscopic exploration a mnemonic device recalling the intricacies of past adventure a hymn to the unexpected... the imagined becoming real TRAVELING All my life I have desired to travel. Senses alive, camera and journal at hand, I am ready for amazements... outside my back door or in a Zen garden in Kyoto. This moment... this moment... will never come again. photograph by
Dana Waldon
UNIVERSE OF
OCTOBER
2014
THE magazine | 19
BRIAN McPARTLON ROOFING BRIAN McPARTLON ROOFING Safe • Clean • Honest brianmcpartlonroofing.com 982-6256
Distinctive Home and Business Cleaning Services
Galleries, Professional Offices, Beautiful Homes Santa fe, Taos
505.414.9743
clusiau designs
Your source for interior and exterior custom sewing Specializing in slipcovers, cushions, pillows, bancos, curtains, and bedding We carry stock fabrics, custom fabrics, and a large collection of fabric sample books
R
O
M
A
T
I
C
grandeur autumn 2014 collection
Try on the rich, hyper-natural colors of autumn 2014 at aveda.com/myavedamakeover. Explore the season’s Inspiration. Book at aveda.com/haircolor, and book your complimentary consultation with an Aveda artist today. The Lofts at 1012 Marquez Place Ready to renew your look?
Craving a new hair color? Join Us!
901 west san mateo suite w • 505.466.2712 • www.clusiaudesigns.com
N
[date][time]
Find other Aveda locations at 800.328.0849 or aveda.com.
Building 1, Suite 107A
505.995.9800
IN
ART FORUM
THE magazine
asked a clinical psychologist and three people who love art for their take on this 1988 acrylic-on-paper work—The Family—by Paula Rego. They were shown only the image and were given no other information.
the businessman? This painting disturbs because it
frontally placed and triangulated vessel indicating with
contorts our vision of reality. The apparently small and
the dying tulip (two lips) out of water? Was it just laid
weak—the powerless—are having their way with the
down by someone entering the room? I wonder if this
very symbol of authority in our society—the man in a
picture predates the early work of Eric Fischl with its
suit. The innocents have become the aggressors.
similar sadomasochistic sexual overtones? This room
—Sarah Weisberg, Teacher, Santa Fe
has an unpleasant odor in spite of an open widow. If I were to fully project my training in psychiatry, I would
Are they dressing or undressing this boy, smaller
not be surprised if, like de Kooning, this painter had a
husband, father? The bed is not made; the pillow wears
difficult relationship with Mother.
a triangulated bikini! Blowing curtains are covered
—Ciel Bergman, Artist, Santa Fe
in X’s—the genetic sign for the female gender— highlighting a self-satisfied young girl whose eyes engage
Saatchi Gallery Description
the viewer, hand clasped in pleasure at his diminution.
In The Family the absent father and husband returns
We see a sexually and aggressively charged work.
A relaxed adult female (maid) and middle-sized woman
to the picture plane, only to be manhandled by
A frightened man is dominated by three female
(wife), hips thrust back, are aggressively tugging at
his daughter and his wife. As usual, the narrative
companions. Interestingly, the ladies’ ages are left
this sleeves and pants in an overpowering Alpha-hold.
clues are ambiguous, and the story could have
purposefully unclear. They appear like “little people”
But what is that strange lacy muffin shape under his
several endings. Are the women helping the man
with dwarfism in pre-pubescent hairstyles. By playing
restrained right arm? His ugly grimace is amplified by
or hurting him? Who is the little girl at the window?
with age, the artist suggests that female domination
the flaming and angry eyes locked onto the defiant eyes
Do the clues perhaps lie in the Portuguese retablo
occurs throughout all phases of life. One woman/
of the woman facing him—daggers! Meanwhile, Saint
featuring St. Joan, and St. George slaying the dragon?
girl glares sternly into the man’s eyes. It is uncertain
George is still slaying his dragon under the witnessing
Is the man as doomed as the dragon, or will he in
whether she wants to seduce or destroy him. Another
eye of a towering female of royal rank. The entire
fact resurface like the fox, to eat the stork, once
female clutches him so tightly she nearly suffocates him.
picture seems to roil with an oppressive, overbearing
it has removed the bone lodged in his throat?
A third one stands aggressively like a bar’s bouncer
dominance of the negative feminine. But what is that
—Saatchi Gallery, London, England
or doorman. Additionally, the background armoire has an image of a man fighting a monster. This battle echoes the war of the sexes happening in the main scene. Psychologically, there is also an exhibitionistic/ voyeuristic quality to this piece. For example, two of the females stare out at the viewer and invite us to watch the group’s sexual activity. I am reminded of Freud’s famous statement: “He who in the unconscious is an exhibitionist, is at the same time a voyeur.” —Davis K. Brimberg, Ph.D., Clinical Psychologist, Santa Fe As St. Michael raises his sword to strike Satan a finishing blow in this illuminated retablo, he gazes out from behind the performance curtains to watch the real show: a menacing imp begins to remove the pants of a paralyzed businessman while her diminutive partner preps for backup by cracking her knuckles. A wily Satan has managed to escape his stage for a new performance piece he’s been working on: a reversal of power roles, foreshadowed by the lithe crane impaling an upturned fox engraved upon the bureau. The Hopperesque distance in this piece is not physical, but emotional—the characters completely miss each other’s eyes. Even the audience can’t make contact. If we follow the gaze of the oblivious maid and Miss Shadowcaster, we see that their eyes are focused on the pitcher and the limp rose. What ritual are we meant to witness? What do their eyes communicate that their puppet bodies cannot? Is the pitcher an unholy grail with which they have poisoned
22 | THE magazine
OCTOBER
2014
generously underwritten by
presents
UNABRIDGED The 1st Annual Lambda Literary Authors Series Readings and discussions with nationally acclaimed LGBTQ authors:
Ana Castillo is one of the most powerful voices
Justin Torres is author of the best-selling novel
in Chicana literature. She is the author of So Far From God and Sapogonia, both New York Times Notable Books of the Year, as well as The Guardians, Peel My Love like an Onion, and most recently, Give It To Me published by the Feminist Press. She divides her time between Chicago and southern New Mexico.
We the Animals, which won the VCU Cabell First Novelist Award, and has been translated into fifteen languages. He has published short fiction in The New Yorker, Harper's, Granta, Tin House, and The Washington Post. A graduate of the Iowa Writers’ Workshop, he is currently a Cullman Center Fellow at The New York Public Library.
Moderated by
Andrew Holleran is the author of Dancer And From the Dance, a novel about pre-AIDS New York, and, most recently, Grief, a novella set in post-AIDS Washington, D. C. An original member of The Violet Quill, he has written two other novels, a book of stories, and a collection of essays. He teaches Creative Writing at American University in Washington, and currently writes for The Gay and Lesbian Review.
Amy Scholder has been editing and publishing progressive and literary books for over twenty years. Her visionary style has brought high visibility to her authors, and has been praised for its contribution to contemporary literature and popular culture. She has served as editorial director of the Feminist Press, editor-in-chief of Seven Stories Press, US publisher of Verso, founding co-editor of HIGH RISK Books/Serpent’s Tail, and editor at City Lights Books.
SATURDAY 25 OCTOBER AT 7:00 PM The Armory for the Arts Theater
1050 Old Pecos Trail, Santa Fe, New Mexico General admission: $25 / VIP - preferred seating with Authors’ & Moderator’s After Party: $150 Tickets and information please call: 505.984.1370 or www.sfperformingarts.org Autographed copies of the authors’ books will be available for purchase through Garcia Street Books at the event.
presented in association with: sponsored by:
www.lambdaliterary.org
STUDIO VISITS
DIANE ARBUS SAID, “A PICTURE IS A SECRET ABOUT A SECRET. THE MORE IT TELLS YOU THE LESS YOU KNOW.” TWO PHOTOGRAPHERS RESPOND TO ARBUS’S STATEMENT. The beauty of photography for me is that every image is my own secret. The secret begins when my emotions and being respond to what I am seeing. What I love about photography is that it allows me to extract the exact piece that makes me stir. You will rarely know what else is going on. That emotion will always be my secret, and your response will be yours. The beauty is that we are each entitled to have our own experience and for each and every one of us it will be different.
—Adria Ellis In 2014 Ellis’s photographs were shown at BMFA Arts Centre, Ontario, Canada; Holcim Gallery, Toronto, Canada; Mira Forum, Porto, Portugal; MPLS Photo Center, Minneapolis; and the Soho Art House, New York City. www.aconicaoncanyon.com and Instagram ~ @aconica
I must have looked at my Diane Arbus photo book 10,000 times as a young woman—I cherished it. Maybe Arbus felt that way because she moved in her own secret world as she brought images of people who lived outside of “culture” to the forefront of the collective vision. On one hand this is a very romantic quote, yet it is also much like a Zen koan.
—Jennifer Esperanza Esperanza will be co-directing a short film with artist Stephen Auger in late 2014. She will then travel to Oaxaca, Mexico to photograph stills for her daughter Emily Esperanza’s feature art film El Culto De La Muerte with her partner/artist Richard Kurtz, who has a role in the feature. They will then travel to Brazil for a collaborative travel/art project. She will be blogging as they go: jenniferesperanza.com/category/blog
photographs by
OCTOBER
2014
Anne Staveley
THE magazine | 25
CLOUD CLIFF BAKERY at the SANTA FE FARMERS MARKET TUESDAY and SATURDAY
Fragile Waters Ansel Adams Ernest H. Brooks II Dorothy Kerper Monnelly
Las Cruces Museum of Art October 25 - January 10
This exhibition was organized by Photokunst and curated by Jeanne Falk Adams as guest curator. 491 North Main Street Las Cruces, NM, USA las-cruces.org/museums 575-541-2137
Above left: Ansel Adams, Point Sur, Storm; Big Sur, CA, 1946; Gelatin silver print, 19.5x15”; Courtesy Ansel Adams Publishing Rights Trust. Above center: Ernest H. Brooks II, Pirouette; Santa Barbara Island, 1993; Gelatin silver print, 18.25x18.75”, 1998, ed. 1/50; © Ernest H. Brooks II. Above right: Dorothy Kerper Monnelly, Melting Ice; Ipswich River, Boxford, MA; Gelatin silver print, 20x16”, 1994; © Dorothy Kerper Monnelly
ANCIENT CITY APPETITE
Ancient City Appetite by Joshua
Baer
Epazote on the Hillside 86 Old Las Vegas Highway, Santa Fe Open daily, except Wednesdays, from 11:00 am until 2:30 pm. Major credit cards – Reservations suggested 505 982-9944
When you arrive at Epazote on the Hillside, the first thing you want to do is order
Epazote’s horno to 700°F. (Don’t worry about burning your fingers. They bring you
the Rack of Lamb for Two, medium rare, with all the sauces. Order it before you
a pair of tongs.) Each botana also comes with Chef Fernando’s sauces, including his
sit down. If your hostess or waitress asks you if you mean the cordero, or lamb loin,
moles, and with a plate of small tortillas. After grilling each slice on the stone, you
say no. Tell her you want the Rack of Lamb for Two, the one Chef Fernando cooks
peel it off with the tongs, dip it in one, two, or all of the sauces, and eat it either
in the horno and brings to the table, sliced into chops, surrounded by small dishes
by itself or wrapped in a tortilla.
containing each of his sauces, including his inspired moles. Don’t go to Epazote and
neglect to order the Rack of Lamb for Two ($50). And don’t let the price discourage
for Two to your table. The chops will be on a platter, surrounded by small portions
you, either. If Fernando Olea is an artist—and he deserves that reputation—then
of his sauces. If you ask, Chef Fernando will list the ingredients he uses in his sauces,
Epazote’s Rack of Lamb for Two is his masterpiece.
and tell you how and why the flavors of his moles differ from each other. And it
makes sense to ask, because Fernando Olea understands the nature of mole as well
While you’re waiting for your rack of lamb, make sure to order a glass of the
Twenty minutes after you sit down, Chef Fernando will bring the Rack of Lamb
Mango Lemonade ($3.50), and these botanas:
as anyone alive. When you eat the rack, use your hands. Dip each chop into the
Lechón (marinated pork loin) $8
sauces. Indulge. Lose control. And remind yourself, from one bite to the next, that
Pato (Muscovy duck breast) $10
the best flavors live in the meat that lies closest to the bone.
Salmón (wild Pacific salmon) $7
Atun (yellowfin tuna) $6
Ancient City Appetite recommends places to eat, in and out of Santa Fe.
In Spanish, botanas means “snacks.” Epazote’s botanas come to your table
The photograph is by Guy Cross. Send the names of your favorite places
as thin, raw slices, accompanied by a large, black stone that has been heated in
OCTOBER
2014
to places@ancientcityappetite.com.
THE magazine | 27
“Santacafé always feels chic, yet causal— like “Cheers” with class.” – John Vollersten, Santa Fean
New look New menu! The Compound A Santa Fe Tradition ~ reinvented!
lunch - monday thru saturday sunday brunch dinner nightly
Lunch • Dinner • Bar
restaurant bar 231 washington avenue - reservations 505 984 1788
photo: Kitty Leaken
e Los L od u ch
ros ce
Ra n
gift certificates, menus & special events online www.santacafé.com
Reservations 505.982.4353 653 Canyon Road compoundrestaurant.com
Drink different. Small Batch Heirloom Spirits from the Great Southwest www.kgbspirits.com
ONE BOTTLE
One Bottle :
E arth F riendly P roducts U ltra D ishmate “N atural P ear ” by J oshua We had a friend, a holy man, who used to come over and make pizzas.
B aer . Around nine-fifteen, the holy man would go outside, turn off his oven,
He had his own portable propane oven. On the days leading up to the
come back inside, put his hand on my shoulder, and say, “Josh, I have to be up
nights when he made pizzas, he would arrive at two in the afternoon
at four, so I’m going to go.” After the holy man left, my wife and I would sit
with his oven, a picnic cooler, and five bags of groceries. The cooler was
around the table with our guests and reminisce about the pizzas. There was
full of Ziploc bags. Each bag contained a softball-size lump of fresh
never room for dessert. Couple by couple, our guests would hug us,
pizza dough. After we unpacked the groceries, the holy man
thank us for the evening, go out to their cars, and make their way
and my wife and I would prep until all of the cheeses,
down the driveway and into the night. Sometimes my wife
sauces, and toppings were ready. At six-fifteen, the
would help me clear the table. Other times, I would find
holy man would light his oven. At six-thirty, after
her asleep in her chair, with a gentle expression on her
his oven got to 700°F, he would roll out a ball of
face. At that point, I would lift her from her chair, walk
dough until it was fourteen inches wide and one
her into our bedroom, tuck her into bed, and return to
inch thick, then he would toss it into the air. We
the kitchen to face the dishes.
have Polaroids of the holy man tossing the dough. In
Which brings us to Earth Friendly Products Ultra
some of the Polaroids, the space between the top of
Dishmate “Natural Pear.”
his forehead—he’s waiting for the dough to come down,
Earth Friendly Products also makes Almond, Apricot,
so he can catch it—and the underside of the spinning
and Grapefruit dish soaps. As much as I like the Apricot,
dough reaches a distance of no less than four feet.
I can’t go more than a day without using the Natural Pear.
His first pizza was always the Gambas Borrachas,
You can buy Earth Friendly Products’ dish soaps at Whole
or Drunken Shrimp. The holy man would paint the
Foods, Kaune’s, or La Montañita Co-op.
dough with a chipotle-tomato-beer sauce, cover the
If you like to cook, you like to eat, and if you like to
sauced circle with shredded Muenster cheese, and
cook and eat, you like to cook dinner for your friends.
then dot the surface with shrimp, cooked bacon, and
Nothing brings a smile to people’s faces like a dinner
scallions. As soon as the pizza went into the oven, all
cooked especially for them. And when you introduce
of our guests would arrive. I could never explain this
eight or nine bottles of great wine to that equation,
phenomenon, and still can’t. It was like they were
chances are, your guests will be telling stories about
parked in formation at the bottom of our driveway,
that dinner for the rest of their lives. The only
noses into the wind, waiting for that first, ineffable
downside is the dishes. Somebody has to do them,
whiff of bacon flash-fired with shrimp.
and that somebody might as well be you.
By the time the first pizza was ready, all the
If I could wash the plates, pots, pans, and
guests were seated at the table with their napkins
silverware, take three Aleve, and go to bed, that
unfolded in their laps and their forks and knives
would not be so bad. My problem is, after I finish the
clenched in their hands. After removing the pizza
dishes, I turn around and look at the table, which is
from the oven, the holy man brought it into the
covered with wine glasses. To leave them for the next
kitchen, transferred it from the pizza peal to a cutting
morning strikes me as heresy, like leaving the dead and
board, sliced it into twelve sections, drizzled the sections with salsa verde, and
wounded on the battlefield. Those glasses held the wines in their clear, precise
brought the sliced pie to the table, where it was greeted with a collective gasp.
bodies. They delivered the sights, smells, textures, tastes, and sounds of those
Five minutes later, all twelve sections were gone, and the second pizza was in the
wines. They deserve to go to bed clean and shiny, within and without.
oven. On a good night, eight of us would go through six or seven pizzas.
Putting Riedel wine glasses in the dishwasher also strikes me as heresy.
I use the term “holy man” because our friend was a religious man, a man whose
That’s why, some time after midnight, I empty the sink, wipe it out, and refill
life was, is, and will always be devoted to practice. When he talked about his life,
it with hot water, a dash of Comet, and a generous helping of the Ultra
he used the word “practice,” though he never said “my practice,” “the practice,”
Dishmate “Natural Pear.” After I wash each glass, checking each rim for lipstick,
or “practice, practice, practice” the way doctors, lawyers, and musicians do. It was
I empty the sink, refill it with warm water, rinse the glasses, dry them with
just “practice.” Not “practice makes perfect”—more like “practice makes practice.”
paper towels, and put them back in the cupboard where they spend
Most of the time, the holy man talked about the expressions on our guests’ faces. Because this was, as you may have guessed, metaphysical pizza, transcendental
their downtime. And then I go to bed, in a house where the air holds the scent of ripe pears.
pizza, pizza that nourished body and soul. At least once during each of those evenings, a guest would finish eating a slice of Gambas Borrachas, catch the holy man’s eye, and say, “How did you do that?” To which the holy man would reply, “Bacon is God.” OCTOBER
2014
One Bottle is dedicated to the appreciation of good wines, good times, and good dish soap, one bottle at a time. All content is ©2014 by onebottle.com. You can write to Joshua Baer at jb@onebottle.com.
THE magazine | 29
DINING GUIDE
Marvelous Food + Tranquility =
IZANAMI at 10,000 Waves 3451 Hyde Park Road Reservations: 428-6390 $ K E Y
INEXPENSIVE
photos :
$
up to $14
MODERATE
$$
$15—$23
EXPENSIVE
$$$
$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.
VERY EXPENSIVE
$$$$
$34 plus
EAT OUT OFTEN
G uy C ross
...a guide to the very best restaurants in santa fe, albuquerque, taos, and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: Generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. Watch for special wine pairings. Andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Great pizza. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236 . Breakfast/Lunch/Dinner. Full bar. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American with a what we call a “Southwestern twist.” Atmosphere: A classy room. House specialties: For dinner, start with the Heirloom Beet Salad. Follow with the flavorful Achiote Grilled Atlantic Salmon. Dessert: the Chef’s Selection of Artisanal Cheeses. Comments: Attentive service. Bouche 451 W. Alameda Street 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: Standouts starter is the Charcuterie Plank. You will love the tender Bistro Steak in a pool of caramelized shallot sauce and the organic Roast Chicken for two with garlic spinach. Comments: Chef Charles Dale is a consummate pro. Cafe Cafe Italian Grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad or the tasty specialty pizzas, or the grilled Eggplant sandwich. Dinner: the grilled Swordfish. Comments: Friendly. Café Fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch. Patio Cash/major credit cards. $$ Cuisine: Call it contemporary comfort food. Atmosphere: Casual. House
specialties: For breakfast, both the Huevos Motulenos and the Eldorado Omlet are winners. For lunch, we love the One for David Fried Fish Sandwich, and the perfect Green Chile Cheeseburger. Comments: Annamaria The baked goods are really special. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian maiden posters. House specialties: Hotcakes got a nod from Gourmet magazine. Huevos motuleños—a Yucatán breakfast—is one you’ll never forget. Chopstix 238 N. Guadalupe St. 982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, Kung Pau Chicken, and Broccoli and Beef. Comments: Friendly owners. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. Comments: Good selection of beers and wine. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: Good old American. fare. Atmosphere: Patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are the best. Super buffalo burgers. Comments: Huge selection of beers. Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: Main the grilled Maine Lobster Tails or the 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines. Dr. Field Goods Kitchen 2860 Cerrillos Rd. 471-0043. Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: New Mexican Fusion. Atmosphere: Casual and friendly. House specialties: Starters: Charred Caesar Salad, Carne Adovada Egg Roll, and Fish Tostada. Mains: El Cubano
Sandwich, and Steak Frite, . Comments: You leave feeling good. Real good. Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room where you can sit, read periodicals, and schmooze.. House specialties: Espresso, cappuccino, and lattes. El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish Atmosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-to-cheek dancing. House specialties: Tapas. Comments: Murals by Alfred Morang. El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego Cheese marinated olive oil. Hillside 86-B Old Las Vegas Highway. 982-9944 Lunch: 11-2:30. Closed Wednesday. Major credit cards. $$$ Cuisine: Inspired New World cuisine. Atmosphere: Spacious and bright. House specialties: Botanas: meats and seafood that you cook at your table on hot rocks. The botanas are accompanied by delicious small corn tortillas, moles, and oils. The “New Mexico” Mole with infused oils is utterly spectacular. Chef Fernando Olea’s Popocatepetl—a black pepper–encrusted Angus beef tenderloin is perfection. Comments: Epazote offers innovative cuisine. epazote on the
Georgia 225 Johnson St. 989-4367. Patio. Aprés Lunch and Dinner - Full bar. Major credit cards. $$$$ Cuisine: Clean and contemporary. Atmosphere: Friendly and casual. House specialties: Start with the Charcuterie Plate or the Texas Quail. Entrée: The the Pan-Roasted Salmon. Good wine list and a bar you will love. Comments: Aprés Lunch: served from 1:30-5:30. Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: We call it French/Asian fusion. Atmosphere: Elegant and stylish. House specialties: Start with
the superb foie gras. Entrées we love include the Green Miso Sea Bass served with black truffle scallions, and the classic peppery Elk tenderloin. Comments: Wonderful desserts. Harry’s Roadhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Down home House specialties: For breakfast go for the Scrambled Eggs with Smoked Salmon, Cream Cheese. Lunch: the All-Natural Buffalo Burger. Dinner: the Ranchero Style Hanger Steak. Comments: Friendly. Il Piatto Italian Farmhouse Kitchen 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad; the Lemon Rosemary Chicken; and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to Table, all the way. Izanami 3451Hyde Park Rd. 428-6390. Lunch/Dinner Sake/Wine/Beer Major credit cards. $$$ Cuisine: Japanese-inspired small plates. Atmosphere: A sense of quietude. House specialties: For starters, the Wakame is a winner. We loved the Nasu Dengaku, eggplant and miso sauce, and the Butakushi, Pork Belly with a Ginger BBQ Glaze. Comments: Super selection of Sake. Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers, Comments: Chef Obo wins awards for his fabulous soups. Joseph’s Culinary Pub 428 Montezuma Ave. 982-1272 Dinner. Beer/Wine Major credit cards. $$$ Cuisine: Innovative. Atmosphere: Intimate. House specialties: Start with the Butter Lettuce Wrapped Pulled Pork Cheeks or the Scottish Fatty Salmon Sashimi. For your main, try the Lamb & Baby Yellow Curry Tagine or the Crispy Duck, Salt Cured Confit Style. Comments: The bar menu features Polenta Fries and the New Mexican Burger. Wonderful desserts, excellent wine selection, beer on draft, and great service.
Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: Love the Sake. La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast / Lunch / Dinner / Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: An Authentic Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian tamales. Comments: Sunday brunch. Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: The Vegetarian Pumpkin Soup is a blend of lemongrass, lime leaf and tofu with a red curry spice. Fave entree is the BoTai Dam: Beef tenderloin w/ garlic, shallots, and lemongrass .Comments: Friendly waitstaff. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Casual House specialties: Start with the Tomato Salad. Entrée: Braised Lamb Shank with couscous. Comments: Beautiful courtyard for dining. M.A.M.A.’S World Take-Out 3134 Rufina St. 424-1116/ 989-8028. Breakfast/Lunch: 9am-3 pm. $$ Cuisine: Middle Eastern, American, Mexican, Asian, and Salvadoran. House specialties: Falafel, Sandwiches, Breakfast Burritos, Pad Thai, Pupusas, and the world-famous Hiram’s Hot Dog. Comments: Grab, go,and enjoy. Midtown Bistro 910 W. San Mateo, Suite A. 820-3121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Large open room. House specialties: For lunch: the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrée: Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop. Comments: Good dessert selection.
continued on page 33 OCTOBER
2014
THE magazine |31
Authentic French Food & Wine in Downtown Santa Fe chef/Owner louis Moskow’s classically prepared French fare has received notable praise from Wine Spectator, Esquire, Zagat, Bon Appétit, Food & Wine, Fodor’s, The New Mexican & The Albuquerque Journal.
e New auTuMN MeNu uSiNg lOcally SOuRced iNgRedieNTS awaRd -wiNNiNg wiNe liST exTeNSive SelecTiON OF wiNeS by The glaSS Full baR / lOuNge aRea wiNe diNNeRS pRivaTe ROOMS available
Sun-Thur, 5:00-9:00pm u Fri-Sat, 5:00-9:30pm 315 Old Santa Fe Trail u Santa Fe, NM www.315santafe.com u Reservations:(505) 986.9190
DINING GUIDE
Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. Atmosphere: Large open room. House specialties: In the morning, try the Mediterranean Breakfast— Quinoa with Dates, Apricots, and Honey. Our lunch favorite is the truly delicious Indonesian Vegetable Curry on Rice; Comments: For your dinner, we suggest the Prix Fixe Small Plate: soup, salad, and an entrée for $19. Wines and Craft beers on tap.
M.A.M.A.’S World Take-Out | Food to Go | 3134 Rufina Street Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic. New York Deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. Comments: Deli platters to go. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile. Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American, all the way. Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs and Burgers. Haystack fries rule. Recommendations: Nice wine list. Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Patio. Major credit cards. $$$ Cuisine: Southwestern with a French flair. Atmosphere: Contemporary. House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Nice wine list. Rose’s Cafe 5700 University W. Blvd SE, #130, Alb. 505-433-5772 Breakfast/Lunch. Patio. Major credit cards. $ Cuisine: A taste of the Yucatán with a Southwest twist. House specialties: We love the Huevos Muteleños and the Yucatán Pork Tacos. Comments: Kid’s menu and super-friendly folks. San Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ Cuisine: Japanese Sushi and Tapas. Atmosphere: Large room with a Sushi bar. House specialties: Sushi, Vegetable Sashimi and Sushi Platters, and a variety of Japanese Tapas. Comments: Savvy sushi chef. S an F rancisco S t . B ar & G rill
50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar.
OCTOBER
2014
Major credit cards. $$ Cuisine: As American as apple pie. Atmosphere: Casual with art on the walls. House specialties: At lunch try the San Francisco St. hamburger on a sourdough bun; the grilled salmon filet with black olive tapenade and arugula on a ciabatta roll; or the grilled yellowfin tuna nicoise salad with baby red potatoes. At dinner, we like the tender and flavorful twelve-ounce New York Strip steak, served with chipotle herb butter, or the Idaho Ruby Red Trout, served with grilled pineapple salsa. Comments: Visit their sister restaurant at Devargas Center.
on the mark. Comments: A great selection of wines. Happy hours 3-6 pm and after 9 pm.
Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Southwest Contemporary. Atmosphere: Minimal, subdued, and elegant House specialties: The world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Pan-seared Salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Happy hour special from 4-6 pm. Great deals: Half-price appetizers. “Well” cocktails only $5.
Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Pub grub. Atmosphere: Real casual. House specialties: We enjoy the Beer-steamed Mussels, the Calamari, and the Fish and Chips. Comments: Good selection of beers
Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmealcrusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet. Santa Fe Bite 311 Old Santa Fe Trail. 982-0544 Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: For breakfast, go for either the Huevos Rancheros or the Build Your Own Omelette. Can’t go wrong at lunch with the 10 oz. chuck and sirloin Hamburger or the Patty Melt on rye toast. At dinner (or lunch) the Ribeye Steak is a winner. Good selection of sandwiches and salads (we love the Wedge Salad with smoked Applewood Bacon). And the Fish and Chips rivals all others in Santa Fe. Comments: The motto at The Bite: “Love Life – Eat good.” We agree. Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. Atmosphere: Contemporary and hip. House specialties: Tuna Steak, the Chicken Fried Chicken with mashed potates and bacon bits, Ceviche, and the New York Strip with a MushroomPeppercorn Sauce. Desserts are
Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily specials, gourmet sandwiches, wonderful soups, and an excellent salad bar. Comments: . Do not pass on the Baby-Back Ribs when they are available.
Shake Foundation 321 Johnson St. 982-9708. Lunch/Early Dinner - 11am-6pm Major credit cards. $$ Cuisine: All American. Atmosphere: Casual with outdoor table dining. House specialties: Green Chile Cheeseburger, the Classic Burger, and Shoestring Fries. Comments: Sirloin and brisket blend for the burgers. Take-out or eat at a picnic table. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff. Station 430 S. Guadalupe. 988-2470 Breakfast/Lunch Patio Major credit cards. $ Cuisine: Light fare and fine coffees and teas. Atmosphere: Friendly. House specialties: For your breakfast, get the Ham and Cheese Croissant. Lunch fave is the Prosciutto, Mozzarella, and Tomato sandwich. Comments: Many Special espresso drinks. El Gancho Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant House specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce. Comments: They know steak here. Steaksmith
at
Sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner. Sunday Brunch
Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to tableto mouth. Atmosphere: Casual. House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox. A variety of teas from around the world available, or to take home. Terra at Four Seasons Encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties: Breakfast: Blue Corn Bueberry Pancakes. Dinner, start with the sublime Beet and Goat Cheese Salad. Follow with the PanSeared Scallops with Foie Gras or the delicious Double Cut Pork Chop. Comments: Chef Andrew Cooper partners with local farmers to bring seasonal ingredients to the table. An excellent wine list The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive. 505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: Local flavors. Atmosphere: Casual, calm, and friendly. House specialties: At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, and foillow with the Trout with a Toa ste Piñon Glaze. Comments: Nice wine bar. The Compound 653 Canyon Rd. 982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American Contemporary. Atmosphere: 150-year-old adobe. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef and owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award. The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: Modern Italian Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch: the Prime Rib French Dip. Dinner: go for the Salmon poached in white wine, or the Steak au Poivre. Comments: Super bar. The Pink Adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club Sandwich. Dinner:the Steak Dunigan or the Fried Shrimp Louisianne Comments: Cocktails and nibblles at cocktail hour in the Dragon Room is a must! The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner
Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: A local institution located just off the Plaza. House specialties: If you order the red or green chile cheese enchiladas. Comments Always busy., you will never be disappointed. The Ranch House 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: BBQ and Grill. Atmosphere: Family and very kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: The best BBQ ribs. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$ Cuisine: Traditional New Mexican. Atmosphere: Easygoing and casual. House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese. Lunch: choose from the daily specials. Comments: Real deal. Tune-Up Café 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home. House specialties: For breakfast, order the Buttermilk Pancakes or the Tune-Up Breakfast. Comments: Easy on your wallet. A true local hangout. Vanessie
of
Santa Fe
434 W. San Francisco St. 982-9966 Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American. Atmosphere: Piano bar and oversize everything, thanks to architect Ron Robles. House specialties: New York steak and the Australian rock lobster tail. Comments: Great appetizersgenerous drinks. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: Light, bright and cheerful. House specialties: Organic salads. We love all the salads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: NIce seating on the patio. When you are in Albuquerque, visit their sister restaurant at 1828 Central Ave., SW. Zacatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Slow Cooked Pork Ribs. Over 65 brands of Tequila. Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: All-American diner food. Atmosphere: Real casual. House specialties: The perfect Chile Rellenos and Eggs is our breakfast choice. At lunch, we love the Southwestern Chicken Salad, the Fish and Chips, and any of the Burgers Commets: A wonderful selection of sweets available for take-out. The bar is most defintely the place to be at cocktail hour.
THE magazine | 33
NANCY DWYER
SELECTIONS: THEN AND NOW
WHAT
October 17 - November 22, 2014
October 24 - December 6, 2014
Artist Reception: Friday, October 17th | 5:00 - 7:00 PM
Artist Reception: Friday, October 24th | 5:00 - 7:00 PM
Eugene Newmann, Riff 2, 2013, Oil on linen, 22.25” x 19”
Nancy Dwyer, Everybodys Angry, 2013, Oil on papier maché, 74” x 50” x 44”
EUGENE NEWMANN
David Richard Gallery is participating with three in-gallery discussions: Figuration and Abstraction in Contemporary Painting with artists Eugene Newmann and Gregory Botts Saturday, October 18, 2014 2:00 - 3:00 PM The Paintings of Salvatore Emblema: Transparency through Color and Light Panel includes: Peter Frank, Critic, Huffington Post; Andrew Connors, Curator, Albuquerque Museum of Art; and Suzan Woodruff, Los Angeles-based Artist Sunday, October 19, 2014 2:00 - 3:00 PM Nancy Dwyer Discusses “WHAT”, Her Newest Sculptures and Exhibition Panel includes: Nancy Dwyer, Artist; Libby Lumpkin, Professor, Art History, University of New Mexico; Merry Scully, Curator, New Mexico Museum of Art; and Edie Tsong, Artist Saturday, October 25, 2014 2:00 - 3:00 PM
DavidrichardGALLEry.com The Railyard Arts District
DAVID RICHARD
544 South Guadalupe Street, Santa Fe, NM 87501
GALLERY
(505) 983-9555 | info@DavidRichardGallery.com
OPENINGS
OCTOBERARTOPENINGS FRIDAY, OCTOBER 3
Henington Fine Art, 802 Canyon Rd., Santa
hand-woven rugs and tapestries by Connie
The Gallery ABQ, 8210 Menaul Blvd.
Fe. 577-8339 or 690-9160. West By Southwest:
Enzmann-Forneris. 5-7 pm.
NE, Alb. 505-292-9333. 2 Perspectives: oil
Blue Rain Gallery, 130 Lincoln Ave., Suite
paintings by SJ Shaffer and photographs by
C, Santa Fe. 954-9902. Solo Show: new works
Peter and Kim Robbins. 5-8 pm.
paintings by Jean Porter and watermedia M atrix
G allery, 3812 Central Ave.
SE, Alb. 505-268-8952. PSNM Signature
by Rik Allen. 5-7 pm.
and drawings by Jerry Love. Salon exhibit: Rebecca Nolda. 5-8 pm.
Intrigue Gallery, 238 Delgado St., Santa
Membership Exhibit: the Pastel Society of
Brigitte Bruggemann Studio, 667 Canyon
Fe. 820-9265. Face It: new work by Pamela
New Mexico’s exhibition of 33 members
Ventana Fine Art, 400 Canyon Rd., Santa
Rd., Santa Fe. 614-5762. L’Arte e Poesia:
Frankel Fiedler that concentrates on the face.
of distinction. 5-8 pm.
Fe. 800-746-8815. Ladronas: pastels by Mary
abstract paintings by Bruggemann. 5-7 pm.
5-7 pm.
Silverwood. 5-7 pm. Monroe Gallery
of
Photography, 112 Don
Eggman & Walrus, 130 W. Palace Ave., 2nd
Liquid Outpost @ Inn
Loretto, 211
Gaspar Ave., Santa Fe. 992-0800. Joe McNally:
Weyrich Gallery, 2935-D Louisiana Blvd.
Fl., Santa Fe. 660-0048. The Grand Finale
Old Santa Fe Tr., Santa Fe. A Walk Through
works by photojournalist McNally including 45
NE, Alb. 505-883-7410. Homage: porcelain
Show—Moving to Utah!: paintings by Nonnie
Southern France: photographs by Michael
photographs and life-size Polaroids. 5-7 pm.
works by Kathryne Cyman. 5-8:30 pm.
Thompson and John Barker. 5:30-9 pm.
Gallagher. 4-6 pm. Patina Gallery, 131 W. Palace Ave., Santa
SATURDAY, OCTOBER 4
Gallery 901, 901 Canyon Rd., Santa Fe. 559-
Manitou Galleries, 123 W. Palace Ave.,
Fe. 986-3432. Measure of Days—Drawn to the
304-7264. Kimono: sculptural works by Gina
Santa Fe. 986-0440. Roger Hayden Johnson &
Wall III: third exhibition in a series, abstract
Act 1 Gallery, 218 Paseo del Pueblo
Marie Erlichman. 5 pm.
Liz Wolf: architectural landscapes by Johnson
paintings by Daniel Kosharek. 5-7:30 pm.
Norte, Taos. 575-758-7831. Mark Horst
at
and sculptures by Wolf. 5-7:30 pm.
Solo Exhibition: paintings by Horst. 4-6 pm. Peyton Wright Gallery, 237 E. Palace Ave.,
Harwood Art Center, 1114 7th St. NW, Alb. 505-242-6367. Small Works—Ghost of Sea: plains
Marigold Arts, 424 Canyon Rd., Santa Fe.
Santa Fe. 989-9888. Absolute Conviction:
Encaustic A rt I nstitute, 18 County Rd.
paintings by Alan Paine Radebaugh. 6-8 pm.
982-4142. Wind Maps and Mind Shadows:
paintings by Paul Burlin. 5-7 pm.
55A, Cerrillos. 424-6487. National Juried Encaustic/Wax Art Exhibition: 43 artists, juried by Merry Scully, Head of Curatorial Affairs at the N.M. Museum of Art. 12-5 pm. Taos Artist Collective, 106-A Paseo del Pueblo Norte, Taos. 575-751-7122. Two-Person Show: encaustic works by Mary Stratton and mixed-media abstract paintings by Danielle Domenic. 4-7 pm. FRIDAY, OCTOBER 10
Blue Rain Gallery, 130 Lincoln Ave., Suite C, Santa Fe. 954-9902. Solo Show: new works by Doug West. 5-7 pm. Canyon Road Contemporary, 403 Canyon Rd., Santa Fe. 983-0433. Wild Things: polymer clay sculptures by Adam Thomas Rees and watercolors by Travis Bruce Black. 5-7 pm. EXHIBIT/208, 208 Broadway, SE, Alb. 505-450-6884.
In
The
Telling:
street
photography by Adrian Panaro. 5-8 pm. Gebert Contemporary, 558 Canyon Rd., Santa Fe. 992-1100. Solo Show: new works by Xavier Mascaro. 5-7 pm. Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. Imagínate: abstract work exploring internal landscapes by Peter Burega. 5-7 pm. Homegrown: photographs by Julie Blackmon on view at photo-eye Gallery, 541 South Guadalupe Street, Santa Fe. On view through November 15. OCTOBER
2014
continued on page 38
THE magazine | 35
WHO WROTE THIS? “The past is just a story we tell ourselves.� John Slattery or Spike Jonz or Shekhar Kapur or Monica Bielanko
THE DEAL
For artists without gallery representation in New Mexico. Full-page B&W ads for $750. Color $1,000.
Reserve space for the November issue by Monday, October 15 505-424-7641 or email: themagazinesf@gmail.com
Honey Harris Show with THE magazine Thursday, October 9 10:30 am
98.1 FM KBAC
OUT AND ABOUT photographs Mr. Clix Lisa Law Linda Carfano Jennifer Esperanza
Jonas Povilas Skardis
Mac (and PC) Consulting 速
Training, Planning, Setup, Troubleshooting, Anything Final Cut Pro, Networks, Upgrades, & Hand Holding
phone: (505) 577-2151 email: Pov@Skardis.com Serving Northern NM since 1996
OPENINGS
James Kelly Contemporary, 1611 Paseo de
SUNDAY, OCTOBER 19
Peralta, Santa Fe. 989-1601. Inside Out: works created by Santa Fe artists being treated for
David Richard Gallery, 544 S. Guadalupe
mental illnesses. Preview: 5-7 pm.
St., Santa Fe. 983-9555. The Paintings of Salvatore Emblema: Transparency Through
Marfa Contemporary, 100 E. San Antonio
Color and Light, with Peter Frank: gallery
St., Marfa, TX. 423-729-3500. Ulysses: works
discussion (part of Art Matters). 2-3 pm.
by New York artist Spencer Finch. 4-7 pm. FRIDAY, OCTOBER 24
Mark White Fine Art, 414 Canyon Rd., Santa Fe. 982-2073. Mark White—New
David Richard Gallery, 544 S. Guadalupe
Paintings and Sculpture: new works by the
St., Santa Fe. 983-9555. What: sculptures by
artist. 5-8 pm.
Nancy Dwyer. 5-7 pm.
Nüart Gallery, 670 Canyon Rd., Santa Fe.
Zane Bennett Contemporary Art, 435 S.
988-3888. Modiste: new paintings by Erin
Guadalupe St., Santa Fe. 982-8111. Eros and
Cone. 5-7 pm.
Thanatos: new work by Michael Petry. 5-7 pm.
Pippin Contemporary, 200 Canyon Rd., Santa Fe. 795-7476. Painted Meditations on the Landscape: works by Michael Ethridge. 5-7 pm.
SATURDAY, OCTOBER 25 Shape- ol- o -gy: photographs, prints, and altered books by Will Karp at Tybie Davis Satin Gallery, 145 Washington Street, Santa Fe. Reception: Friday, October 10 from 4 to 6 pm. Sculptures and abstract oil paintings by Mark White on display at Mark White Fine Art, 414 Canyon Road, Santa Fe. Reception: Friday, October 10 from 5 to 8 pm.
David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Nancy Dwyer
Sorrell Sky Gallery, 125 W. Palace Ave.,
Discusses What, Her Newest Sculptures and
Santa Fe. 501-6555. Carrie’s West: paintings
Exhibition: gallery discussion (part of Art
by Carrie Fell. 5-7:30 pm.
Matters). 2-3 pm.
Tybie Davis Satin Gallery, Santa Fe Main
SPECIAL INTEREST
Public Library, 145 Washington St., Santa Fe. 955-6781. Shape-ol-o-gy: two- and three-
516 Arts, 516 Central Ave. SW, Alb. 505-
dimensional artworks by Will Karp. 4-6 pm.
242-1445. Floyd D. Tunson—Son of Pop: survey of Tunson’s works addressing cultural identity,
SATURDAY, OCTOBER 11
American social history, race, class relations, pop culture, art history, and the beauty of
James Kelly Contemporary, 1611 Paseo de
pure abstraction. Through Sat., Dec. 15.
Peralta, Santa Fe. 989-1601. Inside Out: works
516arts.org
created by Santa Fe artists being treated for mental illnesses. Fundraiser. 4-6 pm.
Abiquiu Studio Tour, Galeria Arriba at the Abiquiu Inn, Hwy. 84, Abiquiu. Works by 80
Placitas Community Library, 453 Hwy.
artists. Sat., Oct. 11-Mon., Oct. 13. 10 am-5
165, Placitas. 505-867-3355. Still Here, Then
pm.
and Now—Women Artists of Placitas from the 1940s to the 1970s: artworks and history of 15 local artists. 2-4 pm.
Albuquerque Museum, 2000 Mountain Rd. David Richard Gallery, 544 S. Guadalupe
SATURDAY, OCTOBER 18
St., Santa Fe. 983-9555. Selections: Then THURSDAY, OCTOBER 16
NW, Alb. 505-242-4600. Gods and Heroes: masterpieces from the École des Beaux-Arts,
and Now: work by Eugene Newmann.
David Richard Gallery, 544 S. Guadalupe
Paris. Sat., Oct. 11 through Sun., Jan. 4, 2015.
5-7 pm.
St., Santa Fe. 983-9555. Figuration and
albuquerquemuseum.org
Jean Cocteau Cinema, 418 Montezuma Ave.,
Abstraction in Contemporary Painting, with
Santa Fe. 466-5528. Dark Places: photographs
Ellsworth Gallery, 215 E. Palace Ave.,
Eugene Newmann: gallery discussion (part of
Art Matters, Santa Fe. The Santa Fe Gallery
and jewelry by Sam Atakra Haozous and
Santa Fe. 989-7900. Beyond Reason: new
Art Matters). 2-3 pm.
Association hosts the second annual series
Melissa Dominguez. 5-7 pm.
works by william dubby fuqua and Lisa
of city-wide arts events at local galleries
Rainbird. Artist talk: 3-4 pm. Reception:
SCA Contemporary Art, 524 Haines Ave.
and museums. Fri., Oct. 17-Sun., Oct. 26.
FRIDAY, OCTOBER 17
5-7 pm.
NW, Alb. 505-228-3749. The Collective is
artmatterssantafe.org
Canyon Road Contemporary, 403 Canyon
Karan Ruhlen Gallery, 225 Canyon Rd.,
exhibition wherein the collective appropriates
Artists’ Materials Expo, Buffalo Thunder
Rd., Santa Fe. 983-0433. Historic Canyon
Santa Fe. 820-0807. The Landscape—Real
the structure of a group show. Closing
Resort and Casino, 30 Buffalo Thunder Tr.,
Road Paint Out & Sculpt Out: 8 painters and
to Abstract: oil paintings and watercolors
reception: 5-8 pm. Water Projects Fundraiser:
Santa Fe. Creative Fusion: 3 days of consumer
3 sculptors in conjunction with the Canyon
by Martha Mans, Kurt Meer, and Stephen
works by Basia Irland. 5-8 pm (and on Sun.,
art materials show and 4 days of workshops.
Road event. 5-7 pm.
Pentak. 5-7 pm.
Oct. 19, 10 am-2pm.)
Thurs., Oct. 16-Sun., Oct. 19. expoartisan.com
Closer to the Truth Collective: multi-media
continued on page 40
38 | THE magazine
OCTOBER
2014
TANSEY CONTEMPORARY “RE-CONNECTING TO THE PAST” By Patrick McGrath Muñiz October 24, 5 - 7 pm
Tansey Contemporary Gallery Event
Patrick McGrath Muñiz ~ “THE UNINVITED” ~ 24" x 36 ~ Oil on canvas
Patrick discusses his work and the unique opportunity contemporary art provides to help us connect to and learn from Humanity’’s collective past. Muñiz will speak at the gallery, addressing the evolution of his work, inspirations and ideas behind it, and his thoughts on what role art might play in raising awareness about social and environmental injustices. The Gallery will show a selection of Patrick’s works.
ARTScrawl, Alb. Citywide, self-guided
Open Studio, 58 & 59, CR 159, Abiquiu.
arts tour, Fri., Oct. 3, 5-8 pm. The Heights
The First Ever Open Studio: individual and
Artful Saturday, Sat., Oct. 18, 3-6 pm.
collaborative work, in sculpture, jewelry, and
artscrawlabq.org
painting by Abiquiu artists Doug Coffin, Joseph Hall, and Walter Nelson. Sat., Oct. 4 and Sun.,
Center
for
Contemporary Arts, 1050
Oct. 5, 10 am-4 pm.
Old Pecos Tr., Santa Fe. 982-1338. Autumn in the Gallery: public events throughout
Open Wound Horror Film Festival at Santa
the fall—lectures, parties, and star-gazing.
Fe Comic Con, Buffalo Thunder Resort and
ccasantafe.org
Casino, 30 Buffalo Thunder Tr., Santa Fe. Fri., Oct. 24-Sun., Oct. 26. openwoundfilms.com
Chiaroscuro, 702 Canyon Rd., Santa Fe. Paa-ko Fine Artists Art Show & Sale, Paa-
992-0711. Group Show. Runs Oct.11-Nov. 22.
ko Event Center, 232 Paa-Ko Dr., Sandia Park. Dixon Studio Tour, Dixon. 33rd annual
505-286-0897. 10% of all sales benefit the
tour. Meet the artists, Fri., Oct. 31, 5-7
East Mountain Food Pantry. Sat. and Sun., Oct.
pm at the Dixon Community Center. Tour:
18 and 19, 11am-5 pm. paakoartists.com
Sat. and Sun., Nov. 1 and 2, 9 am-5 pm. Pagosa Makers Expo & Tour, Fri. and
dixonarts.org
Sat., Oct. 11 and 12. Two-day interactive Galisteo Studio Tour, Galisteo. 27th annual tour, featuring over 30 artists. Sat., Oct. 18 and Sun., Oct. 19, 10 am-5 pm. galisteostudiotour.org
Journey to Wilderness—photographs by Debra Bloomfield on view through Monday, October 24 at Richard Levy Gallery, 514 Central Avenue SW, Albuquerque. An exhibition of paintings—Measure of Days—by Daniel Kosharek on view at Patina Gallery, 131 West Palace Avenue, Santa Fe. Reception: Friday, October 3 from 5 to 7:30 pm.
experience in Pagosa Springs, Colorado providing “makers” an opportunity to bring their creative endeavors from the basement, garage, and kitchen table out for public viewing and consumption. Details: pagosamakers.org
Georgia O’Keeffe Museum, 217 Johnson St., Santa Fe. 946-1000. Miguel Covarrubias—
Quilt Fiesta, Santa Fe County Fairgrounds
Drawing a Cosmopolitan Line: works tracing
Exhibit Hall, 3229 Rodeo Rd., Santa Fe. Classic
the breadth of Covarrubias’s intellectual
to contemporary quilts at this bi-annual festival.
and artistic interests as well as his friendship
Fri. and Sat., Oct. 10 and 11, 10 am-5 pm, Sun.,
with O’Keeffe. Through Sun., Jan. 18, 2015.
Oct. 12, 10 am-4 pm. $5 admission. nmqg.org
okeeffemuseum.org Red Dot Gallery, 820 Canyon Rd., Santa GF Contemporary, 707 Canyon Rd., Santa
Fe. 820-7338. Faculty Art Exhibition: works
Fe. 983-3707. Paint Out with Justin Skillstad,
by faculty members from Santa Fe University
Rachel Darnell, and Eric Reinemann on Sat.,
of Art and Design and Santa Fe Community
Oct. 18, 10 am-5 pm.
College. Through Fri., Oct. 24. red-dot-gallery. com
Giacobbe-Fritz Fine Art, 702 Canyon Rd., Santa Fe. 986-1156. Paint Out with Nocona
Richard Levy Gallery, 514 Central Ave. SW,
Burgess and Siri Hollander on Sat., Oct. 18,
Alb. 505-766-9888. Journey to Wilderness:
10 am-5 pm.
large-scale photographs by Debra Bloomfield. Reception, book signing, and New Mexico
Greg Moon Art, 109A Kit Carson Rd.,
Wilderness Alliance Fundraiser. Through Fri.,
Taos. 575-770-4463. New Mexi-Low: survey
Oct. 24. Careless Water: new work by Saara
of lowbrow art in New Mexico. Through
Ekström. On view Oct. 31-Dec. 10. Reception:
Fri., Oct. 31. gregmoonart.com
Fri., Nov. 7, 6-8 pm. levygallery.com
Historic Canyon Road Paint Out & Sculpt
Lannan Speaker Series, Lensic Performing
Peralta, Santa Fe. 988-3250. Diane Burko—
Santa Fe Botanical Garden, 715 Camino
Out, Canyon Rd., Santa Fe. Artist receptions,
Arts Center, 211 W. San Francisco St., Santa
Investigations of the Environment: photographs
Lejo, Santa Fe. Origami in the Garden: outdoor
“en plein air” painting, an art flash mob, and
Fe. 988-1234. Max Blumenthal with Amy
of landscape and geology by Burko. Through
sculpture exhibition by Kevin Box. Through
performance by Santa Fe Public Schools’
Goodman, Fri., Oct. 10, 7 pm. Alice McDermott
Sun., Nov. 2. lewallengalleries.com
Sat., Oct. 25. santafebotanicalgarden.org
Music Education Program. Fri. evening, Oct.
with Michael Silverblatt, Wed., Oct. 22, 7 pm.
17 and Sat. afternoon beginning at 12 pm,
Tickets by phone or online: lensic.org.
Matthews Gallery, 669 Canyon Rd., Santa
SITE Santa Fe, Armory for the Arts Theater,
Fe. 992-2882. Collector’s Forum—An Insid-
1050 Old Pecos Tr., Santa Fe. “Shared
Las Vegas Art Studio Tour, Las Vegas, NM.
er’s Guide to the Art World: free workshops
Authority in the Art Museum—Precedents,
IAIA MoCNA, 108 Cathedral Pl., Santa
505-425-1085. Sat. and Sun., Oct. 25 and 26,
on buying, selling, and caring for fine art with
Process, and Propositions”: an Innovative
Fe. 428-5907. Artist Talk: Ric Gendron and
10 am-5 pm. Details: lasvegasarttour.com
curators, appraisers, and conservators. Fri.,
Thinker Lecture by Kim Kanatani about the
Oct. 17 and 24, 5-7:30 pm. Reserve a seat:
shifts in museums toward accessible art and
992-2882.
democratic practices. Fri., Oct. 10, 6 pm.
Oct. 18. visitcanyonroad.com
Courtney Leonard on Thurs., Oct. 23, 6-7 pm, in the main museum gallery.
LewAllen
Galleries,
1613
Paseo
de
OPENINGS
St. John’s College, 1160 Camino Cruz Blanca,
516 A rts , 516 Central Ave. SW, Alb. 505-
B allroom
Santa Fe. 984-6000. Dean’s Lecture Series
242-1445. Hearts and Minds: storytelling,
Mimms Ranch, Marfa, TX. The Marfa
and Dean’s Concert Series through Oct. Full
poetry, music, and theater about youth
Triptych—Three
listing:
mentorship and legacy in the context of
Texas: part two, “The Desert,” is a
S pecial G uest , A gu , Art studio/home
the exhibition Floyd D. Tunson—Son of
solo performance for layered piano by
of Ciel Bergman and Ed Okun, 3202
Pop. Sat., Oct. 11, 7 pm. 516arts.org
composer Graham Reynolds. Sat., Oct. 4,
Calle Marie, Santa Fe. Sat., Oct. 18, 7:30
sjc.edu/programs-and-events/santa-fe-
community-calendar
M arfa , The Overlook at Portraits
of
West
7:30 pm. Tickets: ballroommarfa.org J ami S ieber & S teve G orn
in
C oncert ,
Tansey Contemporary, 652 Canyon Rd.,
pm. Reception following the concert.
Santa Fe. 995-8513. A Broader Interpretation
Tickets:
of Southwestern “Landscapes”: new and iconic
jamisieber.com
brownpapertickets.com
Info:
works from gallery artists. Through Tues., Oct. L ambda
21. tanseycontemporary.com
L iterary
A uthors
S eries ,
Armory for the Arts Theater, 1050 Old Taos County Historical Society, Kit Carson
Pecos Tr., Santa Fe. 984-1370. Unabridged:
Electric Boardroom, 118 Cruz Alta Rd., Taos.
3 nationally acclaimed LGBTQ authors
Who Are the Harvey Girls?—The Inside Story: free
read from their current works and have
public lecture by Liz Mikols. Sat., Oct. 4, 2 pm.
a conversation about their work, their
taoscountyhistoricalsociety.org
community, and being LGBTQ. Sat., Oct. 25, 7 pm. Tickets: sfperformingarts.org
Tarnoff Art Center, Wildflower Rd., Rowe. Psychology
L as P lacitas A rtists S eries , Las Placitas
and Embodiment in Art” lecture by Dean
Presbyterian Church, Hwy. 165, Placitas.
Howell. Sun., Oct. 12, 5-7 pm. ABRACADABRA:
505-867-8080. ZOFO duet—Piano Four
workshop on the myths and truths about the
Hands:
making of art with Howell. Fri., Oct. 17, 6-8 pm
Keisuke Nakagoshi perform Gershwin,
and Sat. and Sun., Oct. 18 and 19, 10 am-3 pm.
Debussy, Riley, and more. Sun., Oct. 19,
Flowing Grasses—The Life of Artist Dean Howell:
3 pm. Tickets: placitasartistsseries.org
505-919-8888.
“Perception,
Eva-Maria
Zimmermann
and
full length documentary. Sun., Oct. 26, 4-7 pm. N ational H ispanic C ultural C enter
tarnoffartcenter.org
P erforming A rts S eason , 1701 4th St. The First Ever Open Studio
for
Abiquiu
Artists: 58 & 59 County Rd. 159, Abiquiu. 505-685-0504. Doug Coffin, Joseph Hall, and Walter Nelson show new work in sculpture, jewelry, and painting on Fri. and Sat., Oct. 4
SW, Alb. 505-246-2261. This season Inside Out is an exhibition of works created by Santa Fe artists being treated for mental illness. Fundraiser preview: Friday, Octobaer 10, from 5 to 7 pm at James Kelly Contemporary, 1611 Paseo de Peralta, Santa Fe. Open to the public: Saturday, October 11 from 9 am to 6 pm. Reception: 4 to 6 pm. All sales will go directly to the artists. Image: Helen Lane. 516 Words: Hearts and Minds—meditations on youth, mentorship, and legacy in response to the artwork of Floyd D. Tunson (above). Event takes place at 7 pm on Saturday, October 11 at 516 ARTS, 516 Central Avenue, SW, Albuquerque. Image: Floyd D. Tunson. 516arts.org
and 5, 10am-4pm.
includes Siembra, the first Latino theater festival,
with
dance
performances,
musical concerts, and more. Schedule: nhccnm.org P erformance
S anta
Fe,
Lensic
The Gallery ABQ, 8210 Menaul Blvd. NE,
Performing Arts Center, 211 W. San
Alb. 505-292-9333. Poetry at Four: New Mexico
Francisco St., Santa Fe. 988-1234. Berlin
poets sharing their poems and stories from
Philharmonic
the Beatlick Press’s award-winning La Llorona
Nakamatsu: Sun., Oct. 12, 4 pm. Tickets:
Anthology. Costumes encouraged. 3-6 pm.
performancesantafe.org
Thoma
Foundation,
Art
House,
231
Wind
Quintet
with
Jon
SCA C ontemporary A rt , 524 Haines
Delgado St., Santa Fe. 995-0231. Luminous
Ave.
Flux: contemporary digital and geometric
Collective is Closer to the Truth Collective:
art.
multi-media exhibition in the collective
Through
Sat.,
March
21,
2015.
thomafoundation.org
NW,
Alb.
505-228-3749.
The
appropriates the structure of a group show. Evening of performance: Fri., Oct.
Wheelhouse Art, 418 Montezuma Ave., Santa
3, 7-8 pm. scacontemporary.com
Fe. 919-9553. Persistence of Vision: narrative paintings by Dirk Kortz. Through Mon., Oct.
CALL FOR ARTISTS
27. wheelhouseart.com Currents, New Media Festival: deadline Zane Bennett Contemporary Art, 435
for 2015 submissions is Mon., Dec. 1, 2014.
S. Guadalupe St., Santa Fe. 982-8111. Bił’
Submit online: currentsnewmedia.org.
Hahodiishłaa: paintings by David Johns. Through Fri., Oct. 24. zanebennettgallery.com
ALL LISTINGS FOR THE NOVEMBER CALENDAR DUE BY OCT. 16. EMAIL:
PERFORMANCE
OCTOBER
2014
THEMAGAZINESF@GMAIL.COM
THE magazine | 41
PREVIEWS
David Johns: Bił’ Hahodiishłaa Zane Bennett Contemporary Art 435 South Guadalupe Street, Santa Fe. 982-8111 On view through Friday, October 24, 2014 Artist David Johns draws upon his Diné (Navajo) heritage
Gina Marie Erlichman: Kimono Gallery 901 901 Canyon Road, Santa Fe. 780-8390 October 3 to October 24, 2014 Reception: Friday, October 3, 5-8 pm.
in a series of abstract paintings that express a spiritual
The geometry of the kimono form is as pleasing as the
the unknown that resides in the depth of the soul. By
Golden Mean. The former utilizes a vertical rectangle
directing his attention to that which is hidden, he is able to
flanked on each side by squares that run half the length
create works that speak to essence while allowing viewers
of the rectangle creating a horizontal and vertical balance.
their individual responses. Traditional Navajo symbolism
That said, whether one sees the work in Gina Marie
can be seen in the choice of colors that represent the four
Erlichman’s exhibition as non-objective geometry or
cardinal directions, the four seasons, and the paths of life.
and emotional state that he likens to prayers in color and light. The exhibition’s title, Bił’ Hahodiishłaa, translates as “This is how I made it, this is how it came to be.” Johns’ painterly concerns are directed at revealing or unearthing
Johns says, “Everything I do I hope comes from a place of
accents echoing tonal values that reflect their materials.
Dirk de Bruycker: Logos LewAllen Galleries 1613 Paseo de Peralta, Santa Fe. 988-3250 September 26 to November 2, 2014 Reception: Friday, September 26, 5-7 pm.
The works are enriched by the depth and density of the
The abstract canvases of Dirk de Bruycker are created
Johns has a long and impressive career in the arts, including
encaustic medium, a wax mixed with pigment in a layering
from layered patterns of luminous oil paint washes
teaching, national and international exhibitions and solo
process affording multiple permutations and the ability to
and stained sepia that float above under-painted forms
shows, and an honorary Doctorate in Humane Letters
create textural effects. The imagery is subtle, incised or
rendered in asphaltum, a natural tar-like substance used
from the University of Northern Arizona, he values his
embossed on compiementary shapes. This solo exhibition
in printmaking or as a thin glaze finish. These color-field
work primarily as a spiritual journey that is guided by his
is Erlichman’s first at Gallery 901, which opened in July
works have become the signature style of the artist’s
lifelong studies and work as a practitioner of Diné tradition
of this year. Gallery owners and artists John Schaeffer
thirty-five-year career. The compelling presence of
and culture.
and Sherry Ikeda share Erlichman’s affinity for encaustic.
these paintings seems to emanate from the force of
Erlichman’s kimonos present examples of this process in
brooding and struggle that opposes the sublime beauty
combination with a variety of media.
of the amorphous images. Reflecting on his notions
reads them as kimono designs, the imagery is abstract and textured. Erlichman’s approach to the kimono reflects her interest in leather, clay, glass, painting, metal, and encaustic. The colors are sometimes iridescent, with dignified
harmony. When my mind, body and spirit are in balance, then I can produce an image which reflects my truth…. It is not the form that touches our deepest longing, but rather the story my images evoke in the viewer.” Although
David Johns, Occurrence-4, acrylic on canvas, 78” x 60”, 2014
of beauty, de Bruycker states, “Throughout the years Gina Marie Erlichman, Midnight Butterfly Kimono (triptych), mixed media on cradled board with clay, grass, plaster, bronze patina, and pastel, 34” x 40” x 2”, 2014
I have searched for a tactile but fragile beauty, a kind of dangerous beauty, a fleeting one. This tragic beauty interests me.” De Bruycker’s pursuit of beauty results in paintings that suggest universal emotions while leaving space for personal meaning. The show’s title, Logos, in
the
artist’s
interpretation,
refers to “the Greek word for non-mathematical, non-scientific, non-linear
order,
rather
an
intuitive, subjective, and complex order,
but
nevertheless
an
order.” As process pieces, these works
evolve
spontaneously,
perhaps subconsciously, as the materials own
resolve
order.
De
into
their
Bruycker’s
palette is vibrant, reflecting the influence of this Northern European artist’s seasonal residence in Nicaragua. De Bruycker has received recognition from the National Endowment for the Arts and his works are included in numerous public and private collections throughout the United States and Europe. Dirk de Bruycker, Winter, mixed-media, oil on canvas, 30” x 24”, 2014
42 | THE magazine
OCTOBER
2014
15 years of publishing excellence. albuquerque art
+ design + architecture + cuisine |
abqtrend.com Volume 0 Number 0
THROUGH A GLASS BRIGHTLY
Robert Reck photographs Albuquerque’s past, present, and future
DUKE CITY BEGUILED A youthful, cooperative energy permeates the local art scene
15 years of style and sophistication. SANTA FE
The
Passion of thePalate
Volume 0 Number 0
Fashion of the West
santafetrend.com
NEW MEXICO’S CULINARY INSPIRATION
PHOTO BY PETER OGILVIE
ADVERTISE Publishing quarterly in 2015 ALBUQUERQUE TREND • Spring TREND • Summer • regional art meets design TREND • Fall • architecture design and high cuisine SANTA FE TREND • Winter • annual fashion magazine Each issue will inspire your creative soul and passion in art, design, architecture, and cuisine.
505-988-5007
trendmagazineglobal.com
Paintings on Plywood Clockwise from top: The mysterious lure of the desert oil on plywood 75 x 200 cm, 2014 David’s left eye (David Bell, Mellow Velo) oil and varnish on plywood 7.5 x 6.2 cm (full size), 2014 The truth about cuts and dogs oil on plywood 60 x 160 cm, 2013 Lines No. 4 graphite, oil and plywood strips on plywood 40 x 48 cm, 2014
Swedish artist Gordon Skalleberg • www.gordonskalleberg.com • email: gordon.skalleberg@eyemagine.se
N AT I O N A L S P O T L I G H T
Untitled by Judith
The acknowledged Modernist canon of artists is strongly dominated by Europeans and Americans. We now know that postwar abstract painting was also happening all over the globe, and there were a number of pioneering artists working in Central and South America who made significant contributions. Judith Lauand: Brazilian Modernist, 1950s-2000s is the first New York City solo exhibition of one of the most celebrated Brazilian artists. Lauand began producing geometric abstractions, precise objective and mathematical constructions that identified her with Concretism, in the early 1950s. She was the only woman invited to show with the Grupo Rutura, formed in São Paulo, and became identified with the Brazilian avant-garde by mid-century. In the succeeding decades she experimented with figural and popular representation, OCTOBER
2014
Lauand assemblage, and optical color contrasts. Lauand continues to work today in vibrant color, investigating the multiplicity of structural forms that can be created on canvas. Her work has been exhibited in Europe, shown numerous times at the Bienal de São Paulo, and in 2011 she was given a major retrospective at the Museu de Arte Moderna de São Paulo. The New York exhibition was curated by Aliza Edelman, Ph.D., whose research and publications have focused on the postwar modern woman, geometric abstraction, and Abstract Expressionism in the Americas. A book by Edelman accompanies the exhibition honoring the artist’s prolific achievements. The exhibition is on view at Driscoll Babcock Galleries—525 West 25th Street, New York City—from October 23 through December 20, 2014. THE magazine | 45
Hand turned from New Mexican cottonwood
Picture Frame Specialist since 1971
Randolph Laub studio 2906 San Isidro Court
3
Santa Fe, NM 87507
www.laubworkshop.com
3
505 473-3585
F E AT U R E
Grab a Hunk of Lightning by Diane Armitage
D
orothea
Lange’s
granddaughter
the project as ill health began to swallow ever-larger
and walked with a limp. In spite of being given the label
Dyanna Taylor has made an absorbing
chunks of her energy. As images and negatives are
of “lame,” first by her mother and then by herself, Lange
documentary, Dorothea Lange: Grab
pulled out of her archive, the film moves back and forth
grew up to be a singularly attractive and charismatic
a Hunk of Lightning, an eloquent depiction of the
in time in effortless fashion, and Lange’s career as one
young woman. Not only that, she was adventurous
photographer’s illustrious life, for the PBS American
of the greatest American documentary photographers
to a fault, levelheaded, courageous, hardworking,
Masters series. Taylor, a Santa Fe resident and award-
is revealed in her deeply rooted commitment and
and determined. The second decade of the twentieth
winning cinematographer and videographer, centered
compassion for the world.
century saw the first heady wave of women’s liberation
her film on Lange’s final years in the 1960s, as Lange
Lange, born in 1895, decided she was going to be
organizes a lifetime of work for a retrospective at
a photographer before she ever got a camera, but what
the Museum of Modern Art curated by the legendary
exactly inspired this idea isn’t clear. Did it have something
Lange had her own portrait studio in San
champion of photography John Szarkowski. This
to do with the nature of appearances, and the fact that
Francisco by 1919, and it came about by a fluke.
exhibition would be the first retrospective ever given
she might have thought that her own appearance was
She and a friend had set out from the East Coast to
to a woman photographer. At that point in her life,
less than acceptable? Lange had contracted polio at the
travel around the world but had their money stolen
however, Lange was racing against the clock to finish
age of seven and thereafter she had a deformed foot
in San Francisco, so it was there that Lange settled.
in America, and Lange embraced its freedoms with an open-minded enthusiasm.
continued on page 48 OCTOBER
2014
THE magazine |47
She got a job doing over-the-counter photographic processing for a company which led her in no time to open her own studio at the age of twenty-four. She photographed wealthy and successful individuals and their children and established her credentials as a photographer with a particularly sensitive eye for portraiture. Lange’s empathy for the plight of humanity would grow over time so that images of the wealthy would eventually be supplanted by some of the most iconic and heart-grabbing portraits of individuals trapped in various extremes of deprivation. Her portrait of Florence Owens Thompson—the woman in Lange’s most recognized photograph, Migrant Mother, Nipomo, California, from 1936— continues to haunt the consciousness of America because the life of migrant workers is still fraught with problems. The magnetic quality of this image emanates from a deep well of privation and inequity and symbolizes a timeless universal condition—this starving and beset mother could be from anywhere in the world yesterday, today, or tomorrow.
Lange made heartgrabbing portraits of individuals trapped in various extremes of deprivation
In addition to incorporating still images from Lange’s extensive body of work, Dyanna Taylor’s movie also uses archival film material from the first half of the twentieth century and of Lange herself—in her Berkeley studio or at the family beach cottage on the Pacific that she shared with her second husband, Paul Taylor, and their respective children, stepchildren, and grandchildren. The archival material that features Lange reveals her as a small, elegant, and pixieish woman with a child’s wispy voice who nevertheless had often recorded head-on various rough-and-tumble situations—such as San Francisco longshoremen involved in a series of violent waterfront strikes as they faced an armed police force. As Lange increasingly took her attention away from her affluent clients, she faced the conditions of the Great Depression and its horrific consequences. That stark reality was compounded by the Dust Bowl migrations into California of people looking for a better life—The Grapes of Wrath in the flesh—and Lange’s natural sensitivity to the human condition found its pathway into a visual dialectical embodiment. Willard Van Dyke chose some of her
F E AT U R E
images for a gallery show, and they were subsequently
stoicism with which the Japanese-Americans met their fate.
world. Although Paul Taylor is doing research that doesn’t
seen by Paul Taylor, a labor economist, who wanted to
The mystery is that the existence of the internment camps
include a need for Lange’s photography, she brings her
use one of them for a project he was working on. Lange
would be buried away from the American public for a long
camera along and creates a stunning and luminous series
and Taylor began to go into the field together, she taking
period of time. This is one body of work by Lange that
of images from places like India, Southeast Asia, Pakistan,
photographs and he writing about the conditions of the
would not make its way into the mainstream of post–World
Japan, and Korea. On this trip Lange’s drive to explore the
farm workers in the Imperial Valley. Though married to
War American history for many years. And after the fact,
many faces of the human condition took precedence over
other people at the time—Lange’s first husband was
one can only ask about the internment camps, as Lange did
her own ill health. On this trek through foreign lands and
the painter Maynard Dixon—they fell in love, left their
herself, “How did this happen?”
multiple lifestyles, she felt finally able to say to herself, “I’m
spouses, and got married in 1935, forming one of the
Throughout Grab a Hunk of Lightning, Lange works
beginning to be an artist.” Lange would not live to go to
most formidable partnerships in the world of American
with her young assistant, Richard Conrad, in preparing the
the opening of her retrospective in New York, in January
arts and social research.
work for her retrospective, and we see them grouping and
1966; she passed away three months before that. But the
Lange and Taylor produced a classic work of agricultural
regrouping images in pairs or in related series, and we feel
viewers of this film, along with the granddaughter who
history together, a book called An American Exodus: A Record
privileged to be witnessing this intimate process. At one
made it, are there, if not exactly in her place, then as her
of American Erosion, from 1939, and it’s filled with searing,
point, Lange says to Conrad, “Sometimes images come
posthumous guides in a final chapter where the work of
revelatory images of agrarian dystopia. However, during
together and make a loud noise,” and then she knows she
Dorothea Lange still lives in all its ravishing determination.
World War II, Lange would work on her own again and
has arrived at some visual relationship that is just right. Of
—Diane Armitage
become immersed in the life of Japanese-Americans in
all the things Lange had to say about her life and career,
California who were rounded up and forced to move to
I found that statement one of the most memorable.
internment camps, such as Manzanar in the Owens Valley
Somehow, at the last stage of her life, riddled with
of California. Lange’s deeply felt response resulted in one
health problems as she was, Lange was able to go on
of the first records of these ruined lives and the profound
one final journey with her husband—a trip around the
OCTOBER
2014
First Page: Rondal Partridge, Dorothea Lange with Graflex, gelatin silver print, 1937. Photo: ©1937. 2014 Rondal Partridge Archives This Page: Rondal Partridge, Dorothea Lange in her Bay Area home studio, gelatin silver print, 1964. Photo: ©1964. 2014 Rondal Partridge Archives
THE magazine |49
JIM WAGNER AT THE BAR AT THE TAOS INN, CIRCA 1995
FLASHBACK 1995
OCTOBER
2014
THE magazine | 51
WHEEL OF FORTUNE
BY LIVINGLARGEPHOTO
OUT THERE
installation An interactive art ajor Arcana based on the 22 M d by Anne of the Tarot create therland. Staveley and Jill Su e� “Wheel of Fortun 2014 Burning Man Honorarium Art Installation
What door would you choose or which door will choose you? m livinlargephoto.co rot.com wheeloffortune-ta
pho
OCTOBER
2014
by tograph
Anne Stavel
ey
THE magazine | 53
Gallery 901 October 3–28, 2014 Artist Reception October 3 5–8PM
Neptune’s Kimono Mixed media on cradled panel with plaster, kiln glass, bronze patina and pastel 46.5 x 61.5 x 2 inches (Triptych)
K I MONO
G I N A M ASR IE ERLICHMAN CULPTURAL MIXED MEDIA
GALLERY
901 C a n yo n R oa d · S a n ta F e N M 87501 · 505 780 8390
CRITICAL REFLECTION
Gigi Mills: This Life
GF Contemporary 707 Canyon Road, Santa Fe
GIGI MILLS WAS RAISED IN A FAMILY OF CIRCUS-MEN, HAS NO FORMAL ART training, and developed a painting style that’s unavoidably
these formal divisions illuminate Mills’s slightly macabre,
grey rectangles with the same grand but bleak instrument.
derivative of Milton Avery, who painted in the early twentieth
sometimes superimposed world with a certain limelight.
We see a sitting chair in the foreground with a quickly
century. At times, Mills and Avery are differentiated only by
The Pianist’s Birthday is particularly dark and looks more
rendered paisley pattern and the back of a cloaked woman.
each other’s timeliness. Avery was considered the American
like a funeral than a party, despite the birthday cake, but even
All three objects take equal precedence and their dynamic
Matisse (with whom he was close friends) and aided in the
that looks anything but celebratory. It’s a black blob that
is aloof while the whole image verges on abstraction. The
transition from representation to color-field abstraction. Mills
doesn’t even pass for chocolate and is decorated by dabbed
paint is thin and the composition is lyrical but removed, even
learned by studying the masters and resumes this artistic
white flowers. The pianist is downcast and barely notices
anachronistic. Not even Avery, who was born in 1885, uses
legacy today with an echoing repertoire typically composed
this single notion of nativity before him. His female comrade,
such specific cultural codes, and in fact his figures look more
of, as Mark Rothko said of Avery, “a domestic, unheroic cast.”
though next to him, does nothing to engage socially. Her back
contemporary than Mills’.
There are superficial similarities: both artists sign their
faces us and her black sleeveless dress announces her skin
Collaged additions are obvious and charmingly awkward
name with sgraffito marks rather than additional paint and
with vampiric paleness, white and ghostly. The piano declares
in the upturned fingers and dress hem of the black female
both reference their immediate surroundings through flat,
an uninterrupted silence without its player. The most jovial
saint in Saint and Dog/Field of Birds. The heroine looks more
reduced, geometric shapes painted in thin layers with little
gesture cannot ignite this party, which lacks actions and has a
childlike than saintly and is homely dressed, holding two doves
detail, and still, nearly anonymous figures. Mills distinguishes
complacent and fashionable decadence characteristic of the
against a scribbled yellow backdrop that’s punctuated by the
herself through spare and well-incorporated collaged
Victorian fin de siècle.
whole flock of shiny white birds. It’s a particularly action-
elements, and although Avery occasionally used muted
The grand piano features in a few other paintings,
colors, Mills uses them consistently. Her recent show, This
where a wistful woman faces it with mysterious gravity.
Life, is nearly monochromatic with a few color accents, and
Piano, Chair and Woman shows a bare room blocked out in
packed scene by Mills: the birds flutter around, the saint eyes the canine, and the canine braces for interaction. Avery’s concern with color clearly pioneered modern abstraction and his domestic, unheroic cast were almost pawns in the process. Sketchers by the Stream (1951) and Maternity (1950) are great examples of this transition from figuration to color-blocked abstraction. Mills’ painting Sleeping Near the Shallows is the piece most closely teetering on this, at times, very thin line. With a few less sgraffito marks, there would cease to be a man or dog. Her concern with reducing objects to their basic form is clear and she says that painting should also have a “psychological and aesthetic weight to hold the viewer, to entice them to keep coming back.” Her composition and palette bear this burden that is relieved by the whimsical Matisse patterning and her playful layers of collage. This Life is both dour and innocent and illustrates an idealistic, oddly Victorian Arcadia that is curiously posited as contemporary—it is not this life at all. Her paintings express a childlike facture that’s decoratively morbid and almost her own.
—Hannah Hoel
Gigi Mills, Sleeping Near the Shallows, oil on linen, 16” x 20”, 2014
OCTOBER
2014
THE magazine |55
MONROE GALLERY of photography
Opening Reception for Acclaimed Photojournalist Joe McNally Friday, October 3 • 5-7pm
A young girl takes to an abandoned building for the shade in January of 1999, Mumbai, India
Exhibition continues through November 23 open daily 112 don gaspar santa fe nm 87501 992.0800 f: 992.0810
giacobbefritz.com
e: info@monroegallery.com
www.monroegallery.com
505-986-1156
702 Canyon Road
featuring artists
SIRI HOLLANDER NOCONA BURGESS
HISTORIC CANYON
ROAD PAINT & SCULPT OUT Saturday, October 18th 10am-2pm
gfcontemporary.com 505-983-3707 707 Canyon Road
featuring artists
ERIC REINEMANN JUSTIN SKILLSTAD RACHEL DARNELL
CRITICAL REFLECTION
Tom Chambers: Reverie
photo - eye G allery 541 South Guadalupe Street, Santa Fe
“The whole is other than the sum of the parts.” –Kurt Koffka
IN HIS RECENT EXHIBITION AT PHOTO-EYE GALLERY, REVERIE, TOM CHAMBERS’ photomontage
constructions
depict
scenes
of
the effect is not undesirable, the images are robbed
The image feels so contrived that its impact is
between
of the impact of the process of their creation. The
magnified; the curiousness of the composition makes
young women and wild animals—and fleeting
fact that this is photography is lost in translation,
it powerfully unconvincing. The envisioned world
moments of intrigue. Mostly comprised of works
and becomes moot.
of girls and animals frolicking and communing as in
surreal,
unsettling
interactions—often
from his Animal Visions and Illumination series, the
However, the work shines in the moments
fairytales becomes flimsy and corrodes. The gestalt
images are insights into the artist’s personal visions,
and gestures that inadvertently betray the artist’s
cracks at its seams, and becomes a melancholic veil.
inspired by his musings, dreams, and travels. The
construction. Unlikely proportions and slightly
The artist’s hopeful reverie falls prey to the harsh
scenes, despite their naturalism, are fantasies
mismatched lighting are subtly disturbing without
truth: images culled from the real world can never
containing the wonder and whimsy of youth, and
being obvious. For example, in Daybreakers (2013), a
fulfill constructed dreams. The viewing process of
the unsettling juxtapositions of innocent youth and
girl walks in a foggy field with three fawns. The field
these iterations of contemplation and fantasy is both
wild beast.
is heavily misted and pictorially flat. The foreground
potent and disarming.
Chambers achieves these fantastic tableaux
bearing the subjects is so short that it defies
—Lauren Tresp
through digital photomontage. He begins with a very
credibility, yet the fawns are clear and volumetric.
loose concept sketch. These small schemata are
The contrast between the painterly backdrop and
dramatically sparse, with very few details beyond
the protruding creatures is stark and disconcerting.
Tom Chambers, Daybreakers, archival pigment ink print, 20” x 20”, 2013
the subjects involved and a sense of composition. From this vague conception the artist photographs each of the necessary elements separately, including backgrounds, figures, animals, objects. The elements are then pieced together in Photoshop to construct the final image. The process from start to finish takes a month or more for each artwork. Elaborate and time-consuming to be sure, the technique of photomontage is nothing new. It predates the digital age of Photoshop by a century, and first required cutting and piecing together film negatives and composite printing. Photomontage, the process of combining two or more photographs into the illusion of a single image, was pioneered by mid-Victorian photographers Oscar Rejlander (The Two Ways of Life, 1857) and Henry Peach Robinson (Fading Away, 1858). These early experiments often fell into the genre of the tableaux vivants in which actors were costumed, staged, and theatrically lit. The tableau is distinct in art photography in its constructedness and unsettlingly unsuccessful imitation of painting. Chambers’ photo-constructions fall into this lineage of the tableau. Picturesque, Old World settings, atmospheric, sepia-toned palettes, and girls in long, draped dresses create scenes of irrepressible
Romance
verging
on
affectation.
Though these staged moments first seem to be “fleeting” (a girl toppling on a ladder, or perched precariously on a bridge), their staginess leaves them devoid of unpredictability, the usual province of the camera. Highly refined surface textures and an unnaturally saturated palette create an illusion closer to painting or CGI than photography. While
OCTOBER
2014
THE magazine | 57
Ocean|Desert
Chiaroscuro Contemporary Art 702½ Canyon Road, Santa Fe
THE ILLUSION OF SEPARATENESS IS THE TITLE AUTHOR JANET DEES CHOSE for her essay in the monograph Ocean|Desert, a premiere
Intrigued by the notion that White Sands National
deeper narrative. In this sense, I understand Aller’s
of photographer Renate Aller’s latest body of work
Monument in New Mexico and Colorado’s Great Sand
preferences for the Romantic painters, especially
published by the ever-impeccable Radius Books. It’s a
Dunes National Park are physically aligned, Aller came to
Caspar David Friedrich, whose Nature with a capital N
lovely and informative essay, which, mercifully, doesn’t
this part of the country to photograph the “Desert” part
is sublime, and humans the ephemeral aberrance, or at
presume to tell the reader what to think, while at the
of the exhibition. The large-scale photograph, #079, of
best mere witnesses to a greatness they cannot begin
same time affording intellectual access to Aller’s pairing
the Great Sand Dunes, minus its “Ocean” counterpart,
to apprehend. When we consider what the men from
of ocean with desert. The two are not readily similar, on
carried a monumental presence that brought to
the Manhattan Project wrought in these ethereal dunes,
a human scale at least, unless we shift to the geological
mind Georgia O’Keeffe’s Black Place paintings with
we sense the impossibility of our own humanity. The
perspective of time and consider the fact that much of
their dramatic extremes of bright and dark. Aller has
individuals in the pictures gain a simple virtuousness in
our earth has been covered by the sea, and plenty of
O’Keeffe’s ability to convey the visual allure of abstracted
contrast to a history they seem unaware of. They are
fossils of some of the earliest seashells are found in the
land and sky, yet the photographer does not mimic the
immigrants in the Land of Plenty at a Price.
desert. As Aller states, “You can measure the existence
painter; nor does Aller’s work hint at being anything like
Meanwhile, the ocean waits to reclaim the land. In
of the ocean in the desert.”
an Homage to Georgia, which we see all too often here
Aller’s diptychs, the sandscapes could be the beaches
Chiaroscuro
in Santa Fe. Rather, it is the case that the human mind
behind the sea, as if the photographer took her ocean
Contemporary Art, was equally as lovely as the book, and
seeks to make similarities and comparisons, comparisons
pictures, then turned around and shot the scene behind
saved from being simply repetitious by gallery director
that the land provides and good artists re-present.
her. But there is a gravitas here that belies such an
Ocean|Desert,
the
exhibition
at
John Addison’s installation choices. Large-scale prints
The White Sands pictures are conspicuous because
instinctive first impression, a tension that lends a slight
of the sandscapes have an impact that is quite different
of the people who populate them. Photographing on
sense of foreboding to these compositions. Despite the
from the diptychs that comprise Aller’s vision. “The idea
an Easter Sunday, Aller was surprised to discover that
frank beauty of her single vistas—#135, White Sands is
was to marry the ocean and the desert because they
families come there to celebrate holidays. The potency
so classic, so pristine, that I can’t imagine anyone not
carry each other’s memory,” says the artist, who has
of white as a metaphor for the purity and renewal of
wanting to own it—the twin views of water and sand,
been photographing the Atlantic Ocean from the top of
Easter increases when the viewer realizes that White
the latter oddly populated, carry the weight of the show.
her house on Long Island for fifteen years. Her house is
Sands is the home of the first A-Bomb blasts. Ever silent,
This is a planet that will forever be strange to us, no
on stilts, and that gives her a vantage point that seems
the constantly changing hills of gypsum grains do not
matter how closely we observe it. We are of this earth,
to make the ocean more manageable. As Aller describes
reveal their secrets; they may be radioactive still, but
but have become so alienated from it. The loneliness of
it, “up close, the ocean almost towers over” its human
they are undeniably gorgeous.
our human predicament inhabits these photographs, like
visitors. In the artist’s photographs, the Atlantic looks
The people here seem as interior, as quiet, as the
elegant and remote, like someone’s wealthy, proper
place itself. Theirs is not a posed or pretentious stillness,
grandmother from another era. No one surfs, swims,
but a natural, if temporary, co-habitation between
or fishes in Aller’s ocean; it is comforting and close, left
children, their parents, and the sands. Innocence abides,
alone to its elegiac dreaming.
not only on the surface of the picture, but within its
children in the sand dunes.
—Kathryn M Davis
Renate Aller, Ocean|Desert #61 White Sands March 2013, #62 Atlantic Ocean May 2013, archival pigment print, 19” x 43”, 2014
CRITICAL REFLECTION
Cannupa Hanska Luger
Blue Rain Gallery 130 Lincoln Avenue, Suite C, Santa Fe
CANNUPA HANSKA LUGER FIRST IMPRESSED US WITH HIS BEGUILING SHOW OF feathered boom boxes, which he later publicaly smashed on
not stuffed animals. Their inspired visages, stoic little bodies,
Cowardly Lion. Once Upon a Time There Were Humans:
the floor. This daring usurpation followed by the enthralling
and anthropomorphic surprises encourage imagination
Owl’s mask is downright Neolithic in black porcelain
civic destruction left the Santa Fe art world and the Native
nonetheless. Once Upon a Time There Were Humans:
that’s primitively shaped and attached to the brown felt
community at large in keen anticipation of his next move.
Antelope looks like a funny little Frenchman with a black
head with a piece of string.
This town is still full of dogged Native stereotypes and we
upturned mustache and beady eyes. His figure is bulbous
Luger’s new work is an expertly executed consideration
are thirsty for a fresh Native artist to destroy them.
and meets the ground with no feet. Grey rectangles slump
of Native identities that does not tease out specific traditions
Emerging from a family of artists, Luger never felt that
as arms and his ceramic face looks more like a tooth than
in any educative way, but then again, Luger is fond of using
art was beyond reach. In 2011, he graduated with honors
a man. Almost abashedly revealing are Antelope’s gracefully
stereotypes. By representing the very thing that the artist
from the Institute of American Indian Arts, where the
long horns wrapped in bright stripes of red, white, and grey
aims to shatter, and by doing so with poignancy and whim,
idea of a Native singularity appeared screamingly defunct.
felt. He is mythic and allegorical.
he communicates to a broader cultural audience in the same
The lack of descriptors for “Native American” is a huge
Once Upon a Time There Were Humans: Lion also
way that Takashi Murakami iconizes his own Japanese cast
driver for Luger’s socially conscious work. Native identities,
has a mustache, but his is stubborn and downturned
of characters. In Luger’s newest work, animals and humans
informed by a multitude of landscapes and histories, are as
beneath a broad triangular nose. Layered squares
tango in a singularly Native enigmatic web and stereotypes
varied as America itself. Luger himself was born in North
and triangles of felt radiate from his face to create a
that aren’t stale are no longer stereotypes.
Dakota, in 1979, on the Standing Rock Reservation and
bountiful mane that flowers from his stout, cylindrical
—Hannah Hoel
sites his “genetics” as Mandan, Hidatsa, Arikara, Lakota,
body. A red tail loops around from his backside. He is
Austrian, and Norwegian, possibly with an amalgam of
gruff, but encourages sympathy—reminiscent of the
Cannupa Hanska Luger, Once Upon a Time There Were Humans: Narwhal, ceramic, felt, and steel, 11” x 6 1/2” x 8”, 2014
additional European blood. Americans are predominantly mutts, and yet, embarrassingly, there is still a challenge in accepting indigenous artistic tradition or innovation into the mainstream consciousness without oversimplifying it to a fault—mostly from lack of education and resources—and Luger is proudly opening the floodgates. He does it with humor, artistic maturity, and a candid affect that’s not just unintimidating but contagious. Over Indian Market, Blue Rain Gallery had a notably rigorous production of daily shows, amid which Luger debuted two new bodies of work—both of doll-size ceramic and felt humanoids. The first series, Regalia, categorizes ceremonial animal masks worn on human bodies. Each figure wears a different animal, for which he or she is named, and something about these frank classifications feels purposefully simple. Regalia: Wolf is a black female, naked, with claws. Her arms are reaching up to the gods or ether. A wolf’s head in white porcelain, circled by a burly brown coif, covers her head. She is part wolf, part woman, absolutely mythical and talismanic as she waves into the air. Regalia: Lynx is a proud warrior whose puffed chest pushes upward, and although he has a man’s body, his extremities are also animalistic: furry feet, claw fingernails, and a feline face framed by orange feathers. He has the defiance of a rapper and the face of a sage—a caricature, and yet dead serious—who offers himself as a target verging on martyrdom. Luger says of the Regalia series that the “regalia itself has a life and purpose more than simply the object being worn; it is an extension of a way of being.” The characters thus fully assume their embodiments. Ironically, Luger intends the second series, Once Upon a Time There Were Humans, to be in the far future when we humans are extinct and animals try to honor us. The fairytale title immediately prompts folklore and a fabled heritage. The dolls are solid and heavy and their sewn felt exterior makes them unbearably tactile, but disappointingly
OCTOBER
2014
THE magazine | 59
Women in Cultural Context: A multi-media group exhibition
Tansey Contemporary 652 Canyon Road, Santa Fe
WOMEN IN CULTURAL CONTEXT PRESENTS THE WORK OF TEN MALE AND FEMALE artists who all choose to explore women’s responses to
dress that is really all of those things. The bodice is
tresses, butterflies, insects, flowers, and a fluffy rabbit.
society’s expectations of them across cultures. The work
glass and the flapper-style skirt concealing the lighting
He appears above one of the vase’s legs and his color
spans various media as well, from stoneware to glass
mechanism is constructed of strands of chandelier
scheme continues down that leg. The other side of the
to raw silk. Susan Taylor Glasgow can transform glass
glass elements and Pollyanna prisms. This is unabashed
vase features birds painted in exquisite colors and even
into just about anything. Beauty First is Cinderella’s glass
femininity meets cold, hard constraint. It’s very hard to
in relief. Zaytceva’s Madame Butterfly takes the feminine
slipper on the prince’s royal glass presentation pillow,
look at the slipper, the flapper dress, and Loves Me, Loves
notion of tea service to a whole new level. Here is Chio
straight from the fairy tale. Both slipper and pillow
Me Not, a glass brassiere formed from at least twenty-
Chio San, reclining with knife in hand, and her body is
feature creamy peach tones contrasting with black.
eight pieces of glass, without wondering what it would
created from four separate tea cups. Again Zaytceva’s
Glasgow uses iridescent ribbon to bind components
feel like to try to wear them.
skill as a natural history illustrator prevails. Every detail
of the glass pillow together and to outline the edges
The fairytale theme continues with the work of
is present. The hair sticks and knife are not painted on;
of the shoe’s foot bed. She has even fused lace to the
Irina Zaytceva. Hers are delicate porcelain sculptures
they are separate pieces of porcelain. And there is a
underside of the pillow to make the glass look lacey. And
painted with the detail of a natural history illustrator
tiny fan, painted in bright, happy colors on the ground
how does the shoe stay atop the pillow without sliding
à la Maria Sibylla Merian. Primavera Vase is much too
near Butterfly’s right hand. Three detailed cranes are
off? Tiny indentations in the surface of the glass pillow,
gorgeous to ever hold flowers. The vase stands on five
painted into the folds of her kimono. This play on tea
just enough to prevent a shattered disaster. Glasgow’s
short legs, each ending in a delicate curl. The nature
sets echoes Glasgow’s play on clothing.
Golden Queen is hard to believe. It’s a hanging chandelier
scene includes a maiden with painstakingly painted
Stephanie Trenchard sculpts and paints objects within her glass creations and the elements can be combined in various ways to tell multiple stories. Material Culture in the Studio comprises four nested sand-cast glass blocks, each with a painted inclusion. These domestic images are of an antique yellow settee; a royal blue flower; a red, yellow, and blue floral-motif teapot; and a cozy green house. They float in the rigidity of the glass blocks, linked by a watery, glass-distorted rendition of the painting that Trenchard executes on the back of each block. As with Glasgow’s glass pieces, gentle feminine images are constrained within the structure. Twentieth Century Muses combines nine glass blocks stacked in three rows of three, but there are many possibilities for different configurations. Five of the blocks have painted images that represent Georgette Magritte, Alice B. Toklas, Camille Claudel, Anna Akhmatova, and Marie-Thérèse Walter. The other four blocks depict orange, blue, red, and white flowers, which Trenchard describes on the gallery’s website as representing “the bloom of life.” The show was installed by gallery owner Jen Tansey and gallery sales associate Paige Diem. And they really got it right. There is a peach theme that flows through the gallery from front to back. It begins in Krista Harris’s Beauty Sleep painting; continues through Sheryl Zacharia’s two large sculptures, Half Woman Half Man and Do I Look Fat in This (complete with hidden feminist messages on the back); moves through Zaytceva’s Madame Butterfly and Glasgow’s Cinderella slipper; and comes full circle on the rear wall in another Harris painting called Advice for a Rainy Day (inspired by rainy day activity suggestions from women in Harris’s life). This theme guides the eye and creates a beautiful sense of unity in the art.
—Susan Wider Susan Taylor Glasgow, Beauty First, slipper on glass pillow, 7” x 16” x 16”, 2014
CRITICAL REFLECTION
Jeane George Weigel: Painting Truchas
Hand Artes Gallery 137 County Road 75, Truchas
“The land of New Mexico makes it possible to be an abstractionist.” – Beatrice Mandelman
FOR ARTIST JEANE GEORGE WEIGEL, RELOCATION TO NEW MEXICO turned her from a realist painter to an abstractionist, and
mountain town on the High Road between Santa Fe and
“My experience of Truchas hasn’t been easy. I’ve been
she has never looked back. The New Mexico landscape
Taos. Established by a Spanish land grant in 1754, the
both compelled and repelled by it. It is my hope that my
is contagiously raw. It is itself stripped down to pure
eight-thousand-foot-high village has remained remote
art reflects that kind of push-pull….” A perusal of her
essence; it facilitates the cracking open of pretentions
over the centuries. Situated on a spectacular ridge,
writings offers many intimate insights into this woman’s
and the emergence of inner realities. For those ready to
the town’s location, geography, and history make it a
psyche, and opens doors into her powerful, abstracted
receive it, the Northern New Mexico landscape offers
unique destination for an artist seeking solitude and crisp
landscape paintings.
bitter truth, hard living, and the stark beauty of sunlight
mountain air.
Weigel also writes about the cultural legacy of the
The artist writes about the hardness and sweetness
area, and cites some of her influences. She is inspired
The experience of life in Truchas, New Mexico, is a
of life in Truchas in her blog, high-road-artist.com. In
by the Taos Moderns, and in particular the influence of
pivotal experience and inspiration for Weigel. Her work
it she documents her Southwestern journey of self-
painter Beatrice Mandelman—who relocated from New
is deeply rooted in specificity of place and it merges
discovery (now going on ten years), contemplates the
York City to Taos in 1944—is obvious. However, while
her love of the light, colors, shapes, and rich history
processes of the working artist, profiles other artists and
the Taos Moderns avoided figural representation in favor
of her home. Truchas is a small, somewhat decrepit
neighbors, and celebrates local history. Weigel writes,
of abstraction, Weigel’s work does not shy away from
falling across sublime open space.
representing the striking forms that fill the surrounding vistas. Her abstractions are landscapes that capture the essence of effervescent light meeting jagged mountain and gritty earth. A recurring motif is the wood and wire fences that crisscross the land, built and rebuilt, pieced and parsed over generations of land ownership and land use. The sharp geometries of human activity intertwine with the sweeping lines of mountains and valleys and provide the compositional structure for Weigel’s loose brushwork. Blocky planes of color make up hillsides, adobe structures, and patches of vegetation. Much is left up to the paint itself; neutral, textured expanses lie bare and raw. Although the subject matter is rather romantic, the paintings are not picturesque. Idealization is avoided through choice of palette. Dusky blues dominate some panels; sunrise purples dominate others. Some panels capture the sun’s ability to wash out color in the heat of high noon. But all are pierced with sketchy dark delineations that serve as constant reminders of the realness of life high in the mountains. Weigel’s work does not seek to represent the land so much as it emanates a deeply personal portrait of her experience. “This land demands something of me,” she says, “I’m not allowed to be passive on it…. I know, now, that I came here to heal, to be healed, to be embraced and sheltered and nurtured by this tough place. Because this place knows something of grief, and it also knows about compassion.” Anyone who has visited Truchas will resonate with the essence of the High Road in these intuitive paintings. For those who haven’t, the paintings are standing invitations, beckoning to seek your own truth amid the mountaintops.
—Lauren Tresp
Jeane George Weigel, End of Day, Truchas, acrylic on canvas, 24” x 24”, 2014.
OCTOBER
2014
THE magazine | 61
Daniel Sprick’s Fictions: Recent Works
Denver Art Museum 100 West 14th Avenue Parkway, Denver
THE SELF IS LARGELY A CONSTRUCT, YET FUNDAMENTALLY REMAINS one of the most powerful fictions to which humans are prey.
Living and working in Denver, Sprick embodies for
We constantly invent ourselves, and others invent what they see
me something of the Rocky Mountains, though he does
of us. Daniel Sprick’s oil portraits ratify the immanence of the
not specifically portray the majestic nature we associate
individual while positing identity as a mysterious mix of essence,
with rugged western wilderness. For some years Sprick
chance, and choice. The use of Fictions as the title of the show
painted primarily still lifes. The Denver Art Museum
suggests the artist is as exhilarated by the freedom to invent as
owns one, a large memento mori painting—Release Your
he is bound by the duty to reproduce what he sees.
Plans—which is on display in a room near this exhibition.
Sprick’s technical mastery is the result of his being
Included is an adjoining reconstruction of some of the
deeply rooted in an academic tradition of painting that goes
painting’s mysterious elements and a video of the artist
back to the Renaissance. His respect is for the craft of artists
talking about his work. Release Your Plans embodies an
who, as he says, “painted with no limit on the amount of labor
enchanted space with the quality of a Vermeer interior,
[the work would] take to accomplish.” Especially intriguing
but with a subtle but palpable animation—as if some
is seeing this commitment alongside a confidence and
kind of force were whirling through the space. (Imagine
freedom that are utterly of the moment. Sprick’s precisely
the hair and draperies of Botticelli’s figures—Venus or
rendered models practically shimmer within a thoroughly
Spring’s dancing Graces—and how they seem to flow
contemporary field of vision that gracefully points to its own
in an imaginary wind, a zeitgeist.) Some of the figures
effacement without hitting us upside the head with irony.
of Fictions, for example Moses, Homeless, reside in a
Expressionistic brushwork in the background foregrounds the
similarly animated environment of their own. Ketsia
lucidity of representation, tempering photographic perfection
seems to be morphing, not like Bernini’s Daphne, into
with seamless swerves into expressionistic scufflings at the
a tree to escape Apollo’s lust, but rather dancing in the
edges of the figures, their hair trailing off into wisps, clouds,
sheer joy of being, between the worlds of photorealism
jangles of paint flung outwards.
and abstract painting. All the images in this show are striking. There are skulls, a reclining nude, a reclining skeleton, a window with mirror, a partial view of a figure in a chair, a painting called Jared showing a young man in dreadlocks, which has been acquired by the museum. The paintings portray people of both sexes, and a wide range of ethnicities, ages, body types, and apparent social circumstances. Beijing Man and Chief Ironshell were two of the figures I found most captivating, perhaps as they were more “exotic” in the sense of being farther from my own sketchy identity tags (white, female). On the other hand, a painting called Tom M., which shows a remarkable physiognomy, was even more intriguing to me precisely because I am slightly acquainted with the individual portrayed. In resonance with what he refers to in an interview as “complete conviction… a real palpable belief in the importance of the work” that motivated artists such as Holbein, Vermeer or nineteenth century landscape painters, Sprick’s gravitas in the handling of oil paint is evident both in precision and looseness, truly manifesting a kind of painterly middle way. We are fortunate to have access to such a fine intersection of disciplined craft and that masterful whim sometimes called grace.
—Marina La Palma
Daniel Sprick, Moses, Homeless, oil on board, 21” x 20”, 2012. Photo: Wes Magyar & WM Artist Service Daniel Sprick, Ketsia, oil on board, 20” x 24”, 2012. Photo: Wes Magyar & WM Artist Service
CRITICAL REFLECTION
Jun Kaneko
Gerald Peters Gallery 1011 Paseo de Peralta, Santa Fe
“I CALL IT THE SPIRITUAL SCALE. I AM TRYING TO…PULL THE VIEWER INTO IT. Then the physical scale is not the issue. You become one with it.” It is understandable if viewers are confused to find that this comment by artist Jun Kaneko and the accompanying ceramics and glass works, on view last month at Gerald Peters Gallery, hail from Omaha, Nebraska. Born in Nagoya, Japan in 1942, Kaneko was sent at age seventeen to Los Angeles by his painting teacher to study with ceramicist Jerry Rothman. He never turned back. Schooled at the Chouinard Art Institute, at UC Berkeley under Peter Voulkos, and at Claremont Graduate School under Paul Soldner, Kaneko pursues his long and prolific career from a vast studio space in Omaha, NE, where he also serves as co-founder of the Bemis Center for Contemporary Art.
If the core of Kaneko’s ceramic work—the large and very large tuberous, closed forms which he calls dangos (“dumpling” in Japanese) seem out of place in Nebraska, they seem oddly at home in the Southwest, where the dangos evoke both the columnar and the cushion-shaped barrel cactus of the high desert, and where by now they merit a place within a region rich in a heritage and living history of Pueblo pottery. Kaneko is most widely known for some two dozen public art commissions where he employs a literally monumental scale with which, as an August 2013 CBS Sunday Morning feature put it, “the Japanese-born artist has been rewriting the rules on the size and shape of ceramic art.”
Glimpses of his public art could be seen in the recent exhibition at Gerald Peters Gallery here in Santa Fe, with the futuristic pair of monumental bronze, enamel and stainless steel heads facing each other in mutual selfabsorption—ambassadors of the much larger outdoor versions of his public projects weighing more than half a ton. These metal versions of his “head” pieces here convey an ominous sci-fi feel akin to the giant, art deco idols of Ridley Scott’s Prometheus, an effect that is absent in Kaneko’s colossal heads whose beautiful monochrome or patterned glazed surfaces and placid features—highly individual or thoroughly abstracted—neither infer a dystopian future nor recall some ancient Olmec past. In the gallery’s garden are several examples of one of the more recent additions to Kaneko’s monumental repertory, his larger-than-life tanuki, based upon the badger-like East Asian raccoon dog that has become a beloved character in Japanese folklore. Each ceramic tanuki, requiring a year to make, stands seven feet high and has a color scheme of a piñata. Winnie the Pooh it’s not, but the tanuki is a magnet for children who respond to its wide-eyed innocence and delight in petting its rich polka-dot and polychrome shape. The exhibition includes his tall, pensive, kilnformed glass plinths that lean against the wall like 1960’s Mimimal artist John McCracken’s planks of fiberglass and pigmented polyester resin. But here there is an ethereal gravitas in the glass that is decidedly lacking in McCracken’s surfboard steles. There are also several examples of the glazed raku ceramic wall slabs from the last few years. These easel-size wall panels with parallel vertical strips of intense contrasting hues explore a modernist tradition of juxtaposing geometric shapes of pure saturated colors that runs from Piet Mondrian to Ellsworth Kelly. What Kaneko adds to such inquiry is the sheer visual beauty of the objects that pervades the earlier experiments with the kiln-formed glass. As visually and mentally engaging as the more recent work comes across in the show, the viewer never fails to be drawn to the disarming simplicity and luminous colors of the drago forms. These hand built, glazed forms employ the ancient raku technique—modernized by ceramicist Paul Soldner and Kaneko—to yield unique, unexpected effects, such as the spider-web, crackled glazed surfaces and black unglazed clay surfaces. Viewers leave the show with a deeper appreciation, not only for Kaneko’s works, but for all ceramic forms. “Universal” is often a hallmark of enduring art, and here is no exception. But in the case of Kaneko’s closed-form ceramics and glass works on view here in Santa Fe, while they are evidently at home anywhere, clearly they belong here.
—Richard Tobin
Jun Kaneko, Untitled, glazed raku ceramic, 24 ½” x 15 ½” x 10”, 2010
OCTOBER
2014
THE magazine | 63
Impacts!: Japanese Contemporary Art
Zane Bennett Contemporary Art 435 South Guadalupe Street
YOU GO SOMEWHERE ELSE TO FIND OUT WHERE YOU COME FROM. ZANE Bennett Contemporary Art’s exhibition of objects made by
“Tokyo is part of the West” was a phrase I heard over
imaginary landscape paintings. The paint application is as
contemporary Japanese artists says more about Santa Fe than it
and over from Japanese natives last year when I had the
deliberate and varied as his palette is spooky and sophisticated.
does Japan. Presented in conjunction with Mizuma Art Gallery
opportunity to visit Japan. This show does nothing to challenge
In Unknown Garden Boschian figures of mini-giant (uh huh) bears
of Tokyo, and organized by Zane Bennett’s sales director, Shinji
this notion. There is a plethora of interesting, edgy, powerful
and kitties populate a mountainous, mushrooming candyland.
Ochiai, the show seems overly calculated for ZBCA’s exclusive
art currently being made in Japan that doesn’t find its way here.
Ishii Toru’s traditional Yuzen dyeing on silk is astounding in its
clientele rather than revealing anything new about the state of
Some of the best work I saw there combined a traditional
intricacy and brilliance. On the Crossroad is a controlled explosion
Japanese contemporary art. Here the real face of artistic Japan
Japanese meticulousness and attention to aesthetics with
of riotous color and form about crossing cultures and the street.
hides herself behind a pretty fan, like some modest princess
powerful political subtexts, or messages of legitimate social
Kan-no Sakan’s urethane and acrylic tondos demonstrate a
from the eleventh century Tale of Genji. Santa Fe’s best-heeled
transformation. The common theme of Impacts! was escapism.
similar intricacy, a hallmark of much of the work in the show,
galleries are primarily visions of our capitalist hallucination and
Oddly, the exhibition has no reference whatsoever to
but update it to pure abstraction. An animated video by Kondoh
must behave as such. The paradigm is commercial and profit-
the Fukushima power plant disaster, WW II, or radioactivity
Akino presents yet another interesting and ambiguous fantasy
driven, which could be fine in moderation, but as with the rest of
in general. This seems like deliberate sugarcoating. What if a
world, but figurative sculptures by Tanada Koji had the most
the mainstream cultural machine, the one-percenters’ economy
client who favors the deadly stupid concept of nuclear energy
impact of all.
sets rigid parameters for legitimate cultural exchange, except
or civilian murder might be offended? Yet one immediate and
These intimate, smaller than life-size figures, carved in
when it is consciously opposed, or deliberately ignored—
obvious association of the word “impacts” in conjunction
wood and polychromed, have beautifully pensive expressions
something that neither gallery, on either side of the globalized
with Japan and the United States are the impacts suffered by
and a timeless simplicity that goes on and on. Reminiscent of the
reality sees any real value in doing. This critique applies equally
Hiroshima and Nagasaki. Am I wrong? The Japanese title for
similarly stylized puppets of local ZBCA artist Armond Lara and
to all big players on the current SF gallery scene: Chiaroscuro,
the exhibition, Hazumi! meaning bounce or bounce-back, with
medieval effigies like the Gero Crucifix, these figures transcend
Charlotte Jackson, the new LewAllen, etc. All might look a little
a second meaning of a lively or “impactful” conversation or
ethnicity or national affiliation by resting simply on the universal
more deeply at just how humans profit from art.
exchange that lends its energy to a future venture, has better
and perennial appeal of a felt and well-sculpted presence.
Frankly, I’m surprised since ZBCA’s recent show of
interpretive possibilities.
So, capitalism can’t invalidate everything, but we do see
contemporary Native American work was powerfully political and
The worst moments in this show come from the washed-
the strain that the paradigm of endless wealth accumulation
revelatory. Among Santa Fe’s more deeply pocketed commercial
up “impact” of manga (graphic novels) and anime upon the
inevitably imposes. It leaves the wealthy out of touch, yet
spaces, Zane Bennett has perhaps more than any other tended to
Japanese art world. Ironically placing this visual language in a
still encumbered, as Foucault delighted in pointing out,
present shows of conceptual merit. So the sense of disappointment
high-art setting (can you say Murakami?) is today a tired trope.
and it leaves the rest of us looking any- and everywhere
here is keener. Santa Fe needs at least one dealer to step into the
If there’s one princess who ought to withdraw behind her shoji
for real meanings. Because without them, we don’t know
empty shoes left by the likes of Elaine Horwitch, Arlene LewAllen,
screen it’s that wide-eyed anime girl whom middle school
who we are, where we come from, or where we’re going.
and Linda Durham—dealers whom one felt put the advancement
students in the U.S. have been doodling for a generation or two.
—Jon Carver
of art above profit because they recognized that as the only way
Manga is better art in its original context.
to truly succeed. What the world and our little art town need now is more true art and less art marketing.
Yet, there are a number of strong artists at work here who deserve mention. Eguchi Ayane presents big, truly weird,
Nanami Ishihara, Lucky Dragon No. 5, Japanese pigment, acrylic gouache on cotton, mounted on panel, 75 9/16” x 153 7/8”, 2012
CRITICAL REFLECTION
Prima Materia
Punta Della Dogana Dorsoduro District, Venice, Italy
IT’S RARE TO HAVE AN EXHIBITION THAT SEEMS TO BE THE PERFECT “ALCHEMICAL” marriage of artwork and the spaces in which it is situated.
from the intensity and artistry of the work, with its underlying
This is the case, though, with Prima Materia—a show both
theme of the transformation of matter into concept.
Boetti’s piece Catasta (Stacked), made from fibercement tubes, paired well with Merz’s neon text piece
conceptually sumptuous and subtle that features the work
For contemporary artists, an engagement with
that read: se la forma scompare, la sua radice è eterna
of thirty-two artists. Prima Materia was curated by Michael
materials is indeed an alchemy based on discourse, and in
(if the form disappears, its root is eternal). This concept is
Govan, Director of the Los Angeles County Museum of
this case there is the added dialogue between the work and
part of the arcane science and philosophy of alchemy that
Art, and Caroline Bourgeois, an administrator for the
the extraordinary environment of polished concrete floors,
deals with the transmutation of materials, and it informs
François Pinault Collection, from which all of the work was
brick walls, trussed ceilings, and a palette of hues found in
this entire exhibition. Merz’s incantation ties all the work
drawn. Members of the well-known Arte Povera group
the bricks from which the walls are made: colors that range
together in some strange and exciting way, as does the
are represented, along with artists such as Sherrie Levine,
from a dull blood-red to various shades of pink and chalky
exquisite architecture. And David Hammons’ video Phat
Theaster Gates, Marlene Dumas, Llyn Foulkes, David
white. It almost feels like the architecture itself gave birth
Free created a particularly poignant alchemical union with
Hammons, Diana Thater, and Roman Opalka. And I can’t
to all the work—whether it was Levine’s twelve chillingly
the space as his piece was projected directly against a brick
imagine a more sublime venue for showing their or anyone
precise crystal skulls in a pristine grid; the eight paintings of
wall so that the underlying grid created a complex visual
else’s work. The Punta Della Dogana is an astoundingly
Dumas, with their themes of love, death, grief, and fatalistic
texture for the haunting journey of the protagonist in the
beautiful building whose historical underpinnings have been
acceptance; or Roni Horn’s round blocks of tinted cast-glass
video.
largely left intact, though expanded upon by the Japanese
that suggested solidified chunks of water.
The main action in Phat Free was a man slowly walking
The work of the Italian Arte Povera artists, along with the
down an urban street kicking a large can, and all that
Opened in 2009, the Punta Della Dogana—once one
Japanese Mono-ha cohort—the two groups echoing certain
could be heard was the sound of the can careening along
of two customs houses in Venice—has a triangular shape
sensibilities—looked particularly stunning in the huge galleries
the asphalt. The camera was handheld, the motion often
and is at the tip of land on the island of Dorsoduro; on one
of the Dogana. Individuals such as Mario Merz, Alighiero
deliberately blurry, and a feeling of disconnected tensions
side is the beginning of the Grand Canal and on the other are
Boetti, and Michelangelo Pistoletto dovetailed provocatively
was paramount. In a final gesture, the man kicks the can up
the open waters of the San Marco Basin. What are normally
with artists such as Kishio Suga and Susumu Koshimizu—all
into his hands and then the video loops back to an empty
incredibly busy, noisy, and even chaotic waterways, become a
of whom shared an aesthetic concerning the paradoxical
street and the sound of metal scraping against a poetic
silent pantomime of marine activity inside the ravishing brick
combination of materials. There were Suga’s zinc squares
emptiness. For Hammons’ piece, the walls became part of
and concrete galleries. There are many large, half-moon-
and rectangles in a floor installation that also incorporated
the skin of his work, supporting, containing, and protecting
shaped windows throughout the building and as a viewer
hunks of similarly sized granite. Koshimizu’s large paper cube
the artist’s evocative discourse on futility bonded to the act
looks up and out, the traffic patterns of boats of all description
placed on the floor was open on top and inside nestled a large
of turning lead into creative gold.
dominate this liquid environment, but inside you can’t hear
square boulder—the paper and the rock in a dialogue with
—Diane Armitage
a thing. Close by and diagonally across the water to the left
each other that concerned ideas about the nature of lightness
is Piazza San Marco, with its thousands and thousands of
and the ephemeral in contrast to the heaviness of obdurate
tourists engaged in taking thousands and thousands of selfies,
stone. Another rock piece, by Lee Ufan, the main theorist
yet the din from the piazza is entirely muted within the serene
of the Mono-ha artists, had its own magnetic properties as a
Mario Merz (left), se la forma scompare, la sua radice è eterna (if the form disappears, its root is eternal), neon tubing and mixed media, 1982. Alighiero Boetti (right), Catasta (Stacked), fiber-cement tubes, 1967. installation view.
and elegant Dogana. There is nothing to distract the viewer
large rock rested on an expanse of shattered glass.
David Hammons, Phat Free, video projection, 1995-2000
architect Tadao Ando.
OCTOBER
2014
THE magazine | 65
Jennifer Esperanza Photography www.jenniferesperanza.com ~ 505 204 5729
Santa Fe Scout Collection available at
1219 Cerrillos Road (across from Recollections) and
Santa Fe Dry Goods
on The Plaza
Dana Waldon 505.660.6442 • santafescoutcollection.com
GREEN PLANET
RICK PHELPS
PA P E R M AC H E , E C H O M AG I C I A N , ARTIST WHEN I decided to focus on paper the world entered my art work through its imagery and waste. I like existing on the edge of folk/funk, punk/pop, minimal/baroque, fine/commercial art, and incorporating craft at the intersection of culture and commerce and chocolate.
MY process and materials are borrowed from Nature; layer upon layer the way a tree grows. My scraps of paper are recycled in my gardens. For the most part, my pieces themselves
are
compostable,
returning
to source. My work has always reflected the cycles of the seasons. Recycling and composting are valuable tools in the universal struggles of entropy versus evolution.
Photograph by Jennifer Esperanza
Phelps’s work is represented by Cafe Pasqual’s Gallery and Todos Santos Chocolate in Santa Fe. Location: Gallery Zip • Valencia NM OCTOBER
2014
THE magazine | 67
ERIKA
WANENMACHER THE PREMIER COMPANION FOR YOUR ART JOURNEY
“INCORPORATE” SCULPTURES/PAINTINGS FRIDAY OCTOBER 31, FROM 5 PM
BE THERE, IT MATTERS PHIL SPACE
1410 Second Street, Santa Fe 505.983.7945
MARK Z. MIGDALSKI, D.D.S. GENERAL AND COSMETIC DENTISTRY
An
ANNUAL GUIDE for
ART LOVERS featuring galleries and artists across New Mexico Available FREE at art venues throughout the state
To order your copy visit www.NorthLightShop.com or call 800.258.0929
“DEDICATED TO PREVENTION, SERVICE & EXCELLENCE”
A R C H I T E C T U R A L D E TA I L S
T ruchas , N ew M exico photograph by
OCTOBER
2014
Guy Cross THE magazine | 69
WRITINGS
8
by
Anthony Hassett has lived a life of unceasing and courageous philosophical inquiry, flagrant rebellion, and the relentless pursuit of the Real. “8” is from Gazette (CSF Publishing, $19.99). Hassett studied with William Burroughs and Allen Ginsberg, whose refined and incomprehensible insults continue to inspire his own dream to produce his own degree of oblivion, or minor literature, or both. When in the United States, Hassett resides in Santa Fe, New Mexico.
70 | THE magazine
A nthony H assett
Silence and the sun so clear I sought clover where I could find Only thorn and salt… But for the knowing of those nervous Coils of ore, menacing carbons would set Me back or snare where farther down sheers Anthropos, shut in on itself Like an unborn child… Where the quiet laurel breathes in these Hard dry hillsides, untouchable, This little bit of wind, this small spun Bloom of violets, and unsure fingers Made suddenly sure. And of all the ends, that end. And of all the hours to pass away Let this one’s lulls be rarer still. And your tenderness, too: the slow Shade, the piece of suffering Torn out of us by other beings, The clover that even you might believe Motive enough, for an instant Of bright enchanted heat…
OCTOBER
2014
Fa r r e l l B r i c k h o u s e ligia Bouton eric ganduno M at t M c c l u n e Jason MiddleBrook
OctOber 17 – December 21 1 0 1 1 pa s e o d e p e r a lta s a n ta F e n m t 505.954.5800
petersprojects.com
XAVIE R M A S C A RO
Oc t obe r 10 - Novemb er 10 O p e n i n g Re ception: October 10, 2014, 5-7pm
G E B E R T C O N T E M P O R A RY 558 CANYON RD, SANTA FE, NM
505-992-1100
G E B E R T C O N T E M P O R A R Y. C O M