Santa Fe’s Monthly
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of and for the Arts • September 2014
FINE NATIVE AMERICAN ART
53 OLD SANTA FE TRAIL UPSTAIRS ON THE PLAZA SANTA FE, NM 505.982.8478 SHIPROCKSANTAFE.COM
Contents
35 36 42 5 letters 44 18 universe of: photographer Robert Stivers 47 22 art forum: Untitled drawing by Martin Ramírez 49 25 studio visits: Matthew Chase-Daniel and Erika 53
art openings
& about previews: Erin Currier at Blue Rain Gallery and Florence Miller Pierce at Charlotte Jackson Fine Art flashback: RC Israel and Mary Ironeyes, 2000 international spotlight: Biography: works by Elmgreen & Dragset at the National Gallery of Denmark feature: Spotlight on France by Susan Wider critical reflections: Dana Newmann at Phil Space; Christopher Benson at LewAllen Galleries; James Drake at out
James Kelly Contemporary; Meridel Rubenstein at David Richard Gallery; Roger Green at FreeStyle Gallery (Alb); Tasha
Wanenmacher
27 29
ancient city appetite: Shake Foundation
31
dining guide:
one bottle: The 2010 Etienne Sauzet Puligny-Montrachet
“La Garenne” by Joshua Baer epazote on the Hillside and Counter
Ostrander at Gebert Contemporary; Terminal Domain at Peters Projects; and Unsettled Landscapes at SITE Santa Fe
67 69 70
green planet: Katherine Maxwell, photograph by Jennifer Esperanza architectural details: Indian Summer, photograph by Guy Cross writings: “Surrender” by Sasha LaPointe
Culture In an age that is witnessing the decline of print media, many still look to the photographs on the front page of The New York Times for a pictorial sense of the daily news. Fred Tomaselli: The Times (Prestel, $49.95) is filled with Tomaselli’s manipulations of these photos, conveying his myriad interpretations of the events of the day. The imagery is pure Tomaselli, rich in color and graphic impact, continually imaginative and visually compelling. The original photographic elements remain in the compositions amid the alterations. This is visual storytelling, with the series of stills
serving as a time capsule. Each transformed image is framed by the conservative and familiar masthead, headline, and photo caption from the original. Tomaselli’s gouache and collage interventions expand on the formal and ideological content of the originals. He uses the repetition of the Times’ format and strikingly graphic and psychedelic interventions to reimagine the incidents for us, rendering the formerly documentary pictures more than memorable: they become works of art that reflect the times we live in. Lawrence Weschler, director emeritus of The New York Institute for the Humanities at NYU, former staff writer for The New Yorker, and a contributing editor to McSweeney’s, centers his text on a smart and insightful interview with the artist, which presents Tomaselli’s perspective on the work. These images are the diaries of an acknowledged news junkie who told Weschler, “It is by experimenting with media and just playing around that I end up finding my way in order to make things I haven’t yet seen.”
2014 –2015 EVENTS
17 SEPTEMBER
Alfredo Corchado with Melissa del Bosque
10 OCTOBER
Max Blumenthal with Amy Goodman
[FR I DAY]
22 OCTOBER
Alice McDermott with Michael Silverblatt
12 NOVEMBER
Ann Jones with Andrew Bacevich
10 DECEMBER
Gary Shteyngart with Mary Karr
28 JANUARY
Karen Russell with Porochista Khakpour
4 FEBRUARY
James Baldwin Tribute Evening
4 MARCH
Kevin Barry with Ethan Nosowsky
18 MARCH
Noam Chomsky with David Barsamian
8 APRIL
Ta-Nehisi Coates
15 APRIL
Wallace Shawn with Michael Silverblatt
29 APRIL
Naomi Klein with Katharine Viner
6 MAY
Claudia Rankine with Saskia Hamilton
LETTERS
magazine VOLUME XXII NUMBER III
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, Rebecca Bidus, Davis K. Brimberg, Jon Carver, Kathryn M Davis, Jennifer Esperanza, Carl German, Astrid Giblin, Christopher Guider, Hannah Hoel, Marina La Palma, Sasha LaPointe, Robert Stivers, Richard Tobin, Lauren Tresp, and Susan Wider COVER
Man Carrying Round Object photograph by Robert Stivers See page 18.
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Jimmy Montoya: 470-0258 (mobile) THE magazine is published 11x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: themagazinesf@gmail.com. Web address: themagazineonline.com. All materials copyright 2014 by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable, for any misspellings, incorrect information in its captions, calendar, or other listings. Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel. All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised. THE magazine is not responsible for any claims made by its advertisers for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.
SEPTEMBER
2014
A$$holes on Cellphones: works by Marc Dennis on view at Zane Bennett Contemporary Art, 435 South Guadalupe Street. Reception: Friday, August 29, from 5 to 7 pm. Exhibition runs to September 20.
TO THE EDITOR: Have you seen the fabulous press for Unsettled Landscapes, SITE’s new unbiennial-biennial? On the Web you will find articles and reviews heralding this revolutionary, cutting-edge, envelope-pushing exhibition that will become the new standard to which all future biennials everywhere will be compared. It will change the art market and the way we talk about art, and it will leave its viewers committed to a heightened sense of social responsibility. This I had to see. I’m always up to having my world upturned and my landscape unsettled, so I went, twice. After consideration, I’m compelled to make a couple of grandiose pronouncements of my own. Unsettled Landscapes and its six-year plan is not going to alter the conception of other biennials. The Whitney, Venice, or the dozens of other biennials going on nonstop around the world are not frantically scrambling to rework their own upcoming exhibitions upon hearing of this biennial in Santa Fe. Not one person will exit Unsettled Landscapes committed to a heightened sense of social responsibility. It will incite exactly no social or political change anywhere in the world. Any political ideas that might be gleaned from the dour visuals or convoluted texts are either vacuous or hackneyed. The work in this show reflects the mutterings of people with MFA’s, not the musings of inspiring political thinkers. If someone will bet me, I’ll lay down cash that Unsettled Landscapes will not “demonetize the art world.” Can that even be stated with a straight face? David Zwirner, Larry Gagosian, Jeff Koons, et al. are not shaking in their boots at Unsettled Landscapes, I promise. Despite the inclusion of some regional artists, Unsettled Landscapes will do nothing to make “the community” feel that it and SITE are any less detached from each other than ever. To most Santa Feans—even to most of its contemporary artists—SITE sits like a pod in the center of town, occupied by aliens who have taken our shape and learned our language but speak it as foreigners. They mount exhibitions of mundane objects and pictures, accompanied by lengthy wall texts that tell us they are inspired insights by visionaries that offer us the opportunity to better understand ourselves, if only we are hip enough. In an introduction, Lucy Lippard writes that Unsettled Landscapes merges the aesthetic joys we expect from art with socially responsible steps we can follow to institute meaningful social change. I hate to pop Lippard’s balloon, but there are
precious few aesthetic joys in Unsettled Landscapes, only relational aesthetics, and none of it forges a path to social betterment. When viewers leave the exhibition and walk out of SITE’s doors they have not been stirred to action. They’ve probably already forgotten the show because there’s nothing urgent about any of it, much less rousing and revolutionary. Finally, this work is not “cutting edge,” it’s at least a generation behind. Unsettled Landscapes is the same old same old we’ve been seeing in non-profit or university galleries, and some museums for at least the last thirty years, and it’s about as settled as it gets. This is what’s taught in art school. This is the stuff that gets grants and is reviewed in ArtForum. This is the academy. It’s the stodgy old insider establishment, in a dress and make-up, and it cannot, by definition, be both establishment and cutting-edge art at the same time. Passionately arguing Derrida aand Foucault in college during the 80s and 90s may have been great fun, but it doesn’t mean that Theory, with a capital T makes for the basis of a significant art exhibition in the two thousand teens. And Unsettled Landscapes is the proof. —Richard Baron, Santa Fe, via email TO THE EDITOR: In reference to Richard Tobin’s review of David Solomon’s recent show Shape Shifter, it has been well over a hundred years since Walter Pater wrote “The School of Giorgione.” When it comes to looking at art— painting included—I thought we’d come a little farther than quoting Victorian adages. At least Tobin recognizes the antiquity of Horace, who was born in 65 BC. We will always learn from the classics, but today an art critic is antiquating himself by thinking that what defined painting in 1877 defines painting today. If we hold painting to Victorian standards—even Modernist standards—we are missing out on the excitement of new work and, dare I say, the avant-garde. Tobin recognizes that Pater was revolutionary, but it seems that Tobin could stop relying on innovators from the turn of two centuries ago and recognize those of the now. As someone who has been following Solomon’s work for quite a while— through his transition from canvas to aluminum— I can say that Solomon’s facture is impeccable, ever deliberate, and that his “intuitive” process does not qualify him as an Abstract Expressionist. P.S. Abstract Expressionism happened over seventy years ago.
—Kristin Russell,
via email
THE magazine | 5
COLOR FALL
David Ivan Clark, Willy Richardson and Cornelia Thomsen
August 29 – September 23, 2014
Opening Friday August 29 5–7pm
RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 875 01 505.820.3300 | WILLIAMSIEGAL.COM
FLORENCE PIERCE
IN THE LIGHT SEPTEMBER 5 - SEPTEMBER 27, 2014 Opening Reception Friday, September 5th, 5-7 P.M.
C H A R LOT T E J AC K S O N F I N E A R T Tel 505.989.8688 | 554 South Guadalupe St., Santa Fe, NM 87501 | www.charlottejackson.com
TOM BERG
REGINA FOSTER
FRIDAY. SEPTEMBER 12. 2014 On view through Tuesday,October 7, 2014 217 W. Water Street Santa Fe, NM 87501 phone: 505. 660. 4393 w w w. wa d e w i l s o n a r t. co m
11am - 5pm Tuesday - Saturday
MATT MAGEE RECENT PAINTINGS AND SCULPTURE AUGUST 29 – OCTOBER 25 JAMES KELLY CONTEMPORARY |
1611 PASEO DE PERALTA | SANTA FE | JAMESKELLY.COM LOCUS 2013, OIL ON PANEL,10 X 16-1/4INCHES
ALL EX H I B I T I O N S O N V IE W SEPTEMBER 13 — DECEMBER 20
DAVID MAISEL BLACK MAPS
AMERICAN LANDSCAPE AND THE APOCALYPTIC SUBLIME
An exhibition organized by the CU Art Museum, University of Colorado Boulder
OPENING RECEPTION FOR A L L E X H I B I T I O N S F R I DAY, S E P T E M B ER 12, 6–8 PM
“BEAUTIFUL, DISINTEGRATING OBSTINATE HORROR DRAWING” AND OTHER RECENT ACQUISITIONS AND SELECTIONS FROM THE UNM ART MUSEUM’S
PERMANENT COLLECTION
THE GIFT LUZ RESTIRADA MUSEUM HOURS
Tuesday–Saturday: 10 – 4 Closed on Sundays, Mondays, and major holidays ADMISSION FREE and open to the public. A $5 donation is suggested to help support exhibitions. FOR MORE INFO Please visit: www.unmartmuseum.org or call 505.277.4001.
L ATIN AMERICAN PHOTOGRAPHY F ROM THE UNM ART MUSEUM David Maisel (American, b. 1961) The Lake Project 15, 2002 (detail); pigment print, 2012; 48 48 inches; A / P; Image courtesy of the artist; © David Maisel
×
Andy Warhol (American,1928–1987) ; Queen Ntombi, 1985; from the series Reigning Queens (Royal Edition ); Screenprint and diamond dust on Lenox Museum Board; 39 3/8 31 1/2 inches; Gift of The Andy Warhol Foundation for the Visual Arts, Inc.; © The Andy Warhol Foundation for the Visual Arts, Inc.
×
MARC DENNIS
A$$HOLES ON CELLPHONES RECEPTION FRIDAY, AUGUST 29, 5-7 PM THROUGH SEPTEMBER 20
ONGOING: IMPACTS! . 勢み JAPANESE CONTEMPORARY ART UPCOMING: DAVID JOHNS: BIŁ’ HAHODIISHŁAA
THROUGH SEPTEMBER 22
RECEPTION FRIDAY, SEPTEMBER 26, 5-7 PM
ZANE BENNETT CONTEMPORARY ART 435 S GUADALUPE ST, SANTA FE, NM 87501 T: 505-982-8111 ZANEBENNETTGALLERY. COM
That’s Where You Need to Be William Betts • Xuan Chen • Maria Park • Willy Bo Richardson August 2 - September 19
PILAR STUDIO TOUR
Morning-glory Vessel by Carl Gray Witkop
Photo: Craig Bennett
Cloudfire pottery Carl Gray Witkop
Xuan Chen, Screens Set2 #9, 2014, mixed media on aluminum panel
Debra Bloomfield • Journey to Wilderness September 27 - October 24 Saturday, September 27, 6:00 - 8:00 pm: Opening Artist Reception, Book Signing & New Mexico Wilderness Alliance Fundraiser
Mary Witkop Coffield, Paintings. Monita Witkop, Images. Stephen Kilborn, Pottery and Paintings Anita Bauer, Silk Paintings and Wearable Art Bruce Gourley, Watercolor and Pastel Drawings PattyMara Gourley, Pottery, Ceramic Art, and more Georgia Neuman, Pottery. Marsha Blumm, Watercolors and Monoscreen Prints GEORGE CHEROPOV OILS, TOUR MAPS AND INFORMATION AT PILAR YACHT CLUB.
http://pilarstudiotour.weebly.com/ 575.751.3042 VILLAGE OF PILAR AT THE ENTRANCE TO RIO GRANDE DEL NORTE NATIONAL MONUMENT ON NM HWY 68, 29 MILES NORTH OF ESPANOLA
Richard Levy Gallery • Albuquerque • www.levygallery.com • 505.766.9888
September 6th & 7th, 10:00AM until 5:00PM
MONROE GALLERY of photography
STEVE SCHAPIRO Once Upon A Time In America
Martin Luther King Marching for Voting Rights with John Lewis, Reverend Jesse Douglas, James Forman and Ralph Abernathy, Selma, 1965
Exhibition continues through September 21 open daily 112 don gaspar santa fe nm 87501 992.0800 f: 992.0810
e: info@monroegallery.com
www.monroegallery.com
ERIN CURRIER From Taos to Laos, September 12 – 27, 2014 Artist Reception: Friday, September 12th, 5 – 7 pm in Santa Fe
Miss Siam, acrylic and mixed media collage on panel, 36" h x 24" w
Blue Rain Gallery | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com
SHEILA MAHONEY KEEFE Tales of Tenderness September 18 to October 20 Reception, Saturday, September 20, 3 to 5 pm.
“THERE IS NO WHY HERE” Karl Koenig’s Photographic Reflections of the
Holocaust Prisoners’ Entrance to Auschwitz
Exhibition on view through September 30
Train Entrance to Auschwitz
The Albuquerque Photographer’s Gallery 303 Romero Street, NW Suite N208 Plaza Don Luis, Albuquerque 505-244-9195 • abqphotographersgallery.com
Unknown Story 3, 30” x 30”, 2014
Unknown Story 4, 24” x 24”, 2014
HAND ARTES GALLERY 505-689-2443 • handartes@latieera.com • handartesgallery.com
Shonto Begay Map of My Heart Through Oct. 26
Journey through contemporary Navajo life with Diné artist Shonto Begay. This exhibition spans 30 years of the artist’s career and celebrates his close relationship with family, culture and the land he calls home.
Tree of Seven Hearts, Shonto Begay
Fine Arts Tradition Two Riders, Howard Post
23rd Annual Trappings of the American West Exhibition & Sale • Opens Sept. 28 Members’ Preview Sept. 27 Celebrate this award-winning exhibition of contemporary paintings, photography, bronze sculpture and exquisitely crafted gear of the working cowboy. All work is available for purchase.
Shops
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New items at shops.musnaz.org
Flagstaff • 928.774.5213 • musnaz.org
PREcognition I REcognition:
Examining the Reciprocal Gaze in Godfrey Reggio’s Film VISITORS
Y
ou are cordially invited to attend an exhibition of still photographs selected from Godfrey Reggio’s latest film VISITORS. Conceived as a corollary to the film, this exhibition will provide audiences an opportunity to experience the images outside the cinematic environment and consider the precognitive responses activated by the reciprocal gaze. James Rutherford, Curator
September 11 to October 8, 2014 Santa Fe Community College Visual Arts Gallery Public Reception Thursday, September 18, 5 to 7 p.m. Followed at 8 p.m. by a special free screening of VISITORS at The Screen at Santa Fe University of Art & Design Major funding for this exhibition provided in loving memory of Larry Silvers. Photographs for the exhibition printed by Elliott McDowell.
School of Arts, Design, and Media Arts • Visual Arts Gallery • Mondays through Fridays, 8 a.m. to 5 p.m. • 505-428-1501 • www.sfcc.edu
6401 Richards Ave. Santa Fe, NM 87508
Art, everywhere. Experience extraordinary art —indoor, outdoor, counterculture, high-brow, on the walls, off-the-wall, on stage, in the parks, in your ears, projected on sidewalks. Art is everywhere, here, this fall. See more at TAOS.org/fall2014
INDOOR Through January 31, 2015 Fred Harvey & the Making of the American West Millicent Rogers Museum
OUTDOOR August 30–September 1 TAO Studio Tour 35 artists throughout Taos County
September 7 Couse Lecture: Artists' Gardens Harwood Museum of Art
September 4–6 Michael Hearne’s Barndance Music Fest Taos Ski Valley
September 13–14 Taos Chamber Music Group Concert Harwood Museum of Art
September 6 Open House, studio & gardens Couse-Sharp Historic Site
September 20–January 25 ¡Orale! The Kings & Queens of Cool four exhibits at Harwood Museum of Art
September 13 Oktoberfest Celebrations Taos Ski Valley
September 26–October 5 Taos Fall Arts Festival, six exhibits various locations in historic district
September 20 ¡Orale! exhibit openings & street party Harwood Museum of Art & Ledoux Street
September 26 Taos Fall Arts Openings The Paseo Outdoor Art Festival throughout historic district September 27 Quick Draw & Art Auction Taos Center for the Arts & various locations downtown
September 20 Taos Rotary Chile Challenge & Beer Fest art auction & golf tournie Taos Country Club
MURAL BY GEORGE CHACON PHOTOGRAPHED BY HOWIE ROEMER
September 20–21 & 27–28 High Road Art Tour, open studios High Road to Taos
September 27–28 Old Taos Trade Fair Hacienda de los Martínez September 30 San Geronimo Day Taos Pueblo October 4–6 Taos Wool Festival Kit Carson Park
TAOS
Festivals, fairs, studio tours. Surround yourself with all kinds of color. 888.580.8267
Look + Book TAOS.ORG
PHOTOGRAPHER ROBERT STIVERS
began his career as a dancer and a choreographer. But in the early 1980s he suffered a back injury that brought that career to an end. Stivers’ subject matter is comprised of nudes, botanicals, faces, landscapes, and distressed objects where no object appears in sharp focus and no foreground-background relationship suggests even the possibility of a progressive clarification. Stivers writes, “My photography is a personal search for a more philosophical and spiritual surrender.” A new book, entitled The Act of Ruin (Twin Palms), will be available in October. Stivers’ photographs have been exhibited in many galleries—locally, regionally, and nationally; his work is in the collections of many institu, including the Bibliothèque Nationale, the Getty Museum, and the Los Angeles County Museum of Art. robertstivers.com
UNIVERSE OF
THE COVER:
Man Carrying Round Object was part of a figurative series in the 1990s that
dealt with myth, dreams, memory, and the subconscious. The image on the cover of this issue is unique in that it is slightly more literal than most of the images I’ve made—but only if the viewer knows what to look for.
unknown, and an opportunity for the imagination to roam. I don’t use it so much anymore, but manipulating the focus of a sharp negative will always be one of my tools.
SELF-TRANSFORMATION: If I take a moment to read old interviews and journal entries I observe a near obsession with self-transformation—getting from here to there. I don’t think
FROM DANCE TO PHOTOGRAPHY:
It’s been many years now since the shift
I am obsessed with this anymore. Now I know that life will unfold and each day I can choose
occurred. There was a dark period when I left dance and hadn’t yet picked up a camera. I felt I
to make decisions about how I will perceive the “goings on.” I don’t mean to sound fatalistic
was an abandoned soul on the River Styx. Then there was a magical period when photography and
or resigned; I just want to take things a little easier. In terms of making work, I am very devout
dance merged and complemented each other. The photograph: the final product being still in time
and demanding, and thoroughly embrace the idea of allowing the work to grow and transform.
and space. The dance: taking place over time. Both were immediately accessible and visceral. One
Perhaps I am a hypocrite.
stimulated the other. In fact, it seemed for a period that one could not exist without the other. Present time: I haven’t choreographed or danced for over seven years. I don’t think anything is “missing” per se in my photographs, but I will say that the work is different. Perhaps this is simply artistic evolution.
SEEING:
I love the notion of “seeing”—truly seeing. Diane Arbus said something to the
effect that if she didn’t photograph then people would never see this other world that she had discovered. I aspire to “see” what is hidden, covered, trapped, and bring it to the surface. I need
SOFT FOCUS:
I started relatively late in the field of photography. I was thirty-five, with
virtually no background in the medium. I had an old Hasselblad camera and a friend gave me
to know what lurks inside and needs to be released.
some basic darkroom instruction. I wanted to give the impression that I was capable, so I shot
DREAMS: About fifteen years ago I spent a year in Jungian therapy. My assignment was to keep
everything in sharp focus and printed full frame. After a few years making sharp, full-frame
a dream journal every day. Once a week, the therapist and I would delve into great detail about the
images, I began to wonder if I had boxed myself in. I began to explore throwing the image out
meaning of the dreams and their relevance in my life. At that time, I would cautiously suggest that
of focus in the darkroom. I developed a certain way of doing this that achieved a disquieting
my dreams impacted my work to some degree. Otherwise, I have not consciously sought to infuse
quality, which I immediately embraced, as the technique helped to achieve a mystery, a curious
my work with the themes of memory and/or dreams. They arise through no deliberate act or intent.
photograph by
SEPTEMBER
2014
Dana Waldon
THE magazine | 19
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ART FORUM
THE
magazine asked a clinical psychologist and three 9th grade students from St. Michael’s High School for their take on this crayon-and-pencil drawing by Martin Ramírez. They were given no other information.
The artist’s use of perspective draws the viewer in.
day that he just sits there, expressionless, as though
his hands on a desk, with a train in the background. But
Two walls open just wide enough... psychologically, this
he isn’t fully conscious. Is he at a station, awaiting
it can’t be that simple, can it? Oddly, the man seems
sense of depth provides a feeling of intimacy. Indeed, we
the aforementioned train that will bring him home?
to take no notice of the train in the background. He
are seeing something private here. Perhaps this scene
Is he the artist, waiting for his muse to arrive? Or is
simply fiddles with his fingers, a smile on his face. The
is a dream. Alone at the table, the man may be longing
he everyman, twiddling his thumbs until bedtime?
artist communicates this solitude and focus through an
to take the train in the distance. He may want to visit
—Rebecca Bidus, High School Student
array of lines directed toward the central figure. Trains,
a loved one or even explore a new city. His isolation is
characterized by the loud noise they generate, represent
echoed by the fact that there is only one chair present.
This painting’s message is complex, yet its appearance
anything that annoys and requires attention. The artist
No other person is expected to join him any time soon.
is simple. Elements converge: a train, a man at a desk,
must distance himself from these worldly sounds with
Interestingly, although the train appears to be moving, it
and a wooden plank setting. This artist’s puzzle reveals
walls and water—symbols of emotional separation and
does not have a blowing smoke stack. Symbolically, the
something about himself—the constant struggle to create
distance. After understanding the painting, the message
train is caught between stillness and motion, and this may
art in a world of noise. The man’s face seems too simple.
becomes even simpler. This artist is able to be happy
reflect the man’s internal world. He may feel stuck, as if
Perhaps the artist meant for his face to be simple, because
alone, even with the distractions in the background.
he is metaphorically walking in place. Another possibility
he or she didn’t want the viewer to spend too much time
The message tells us that solitude is more a state of mind
is that the man is playing a piano on stage and the walls
focusing on the face. Instead, our attention is directed
than an actual location.
are not opening but are, in fact, closing in on him. In
toward the train. At first glimpse, the train, and especially
—Carl German, High School Student
this circumstance, he feels trapped by his life choices.
its tracks, are not instantly visible. Once we recognize
Overall, the piece has an anxious quality due to the lines’
them, the picture becomes obvious: it’s a man on a dock,
This image of a man playing a piano depicts the
opposing directions. Dreams are often a
twisted dystopia that the music industry
mixture of fears and wishes. They express
is built upon. In front of the piano, sharp
emotional conflicts.
lines create the effect of doors closing
—Davis K. Brimberg, Ph.D.,
in on him. This shows how the artist is
Clinical Psychologist, Santa Fe
forced into a brutal environment and is confined to only music, isolated from the
This image portrays a mixture of
rest of the world. When an artist is in
conflicting themes. In the background,
the music industry, eventually the battle
the colors are calming and the textures
to attain fame and attention becomes
wooden, creating a feeling of homey
too strenuous and the passion for art
security within its walls. The train is
and music shrivels away. Behind him, the
bringing its sleepy passengers to their
floor is black, showing that he cannot
destination in the dark night. Surely it
change what he made of the past—
will bring them there safely. Under the
leaving him even more imprisoned by his
train tracks are lights that shine rays of
career. Before him lies an empty stage,
a darkened rainbow across a calm body
which seems to be his only fate. His
of water. The dreamlike darkness, water,
destiny is composed of lonely stages and
and train set a soothing backdrop for the
repetitive music. A train is approaching
focal point of the image: the man—our
in the background, coming to whisk the
wide-awake dreamer who is different
artist away once again from any sort of
from the three-dimensional diorama that
moderately stationary and normal life.
surrounds him. He seems to be a paper
The music industry is romanticized to
cutout. He and his furniture appear as a
be a beautiful, adventurous career, when
colorless cross-section. One may at first
in reality it is a brutal, solitary lifestyle.
think of this staging as a way to show his
The artist loses any ability to disconnect
isolation from his surroundings, yet he
from his or her profession. This makes
seems perfectly at home, a marionette
for an isolated, lonely life of constant
on a stage. The man seems to be lost in
judgment. This image subtly portrays this
thought, or scarier, in no thought at all.
concept using different artistic methods.
He might be so exhausted from a long
—Astrid Giblin, High School Student
22 | THE magazine
SEPTEMBER
2014
Experience the Elemental
Jeff Laird | Perforated Triangles SE-OC RIGHT BRAIN GALLERY
3100 Menaul NE, Albuquerque, NM 87107 | Tue - Sat 11-5 505-816-0214 Info@SE-OC-RightBrainGallery.com First Friday ARTSCrawl from 5 - 8 pm | artscrawlabq.org
In Santa Fe and Taos, view by appointment 505-384-5290 | JeffLaird.net Lt: Coral Pink, 2014, powder coated, perforated aluminum, 49” x 30”, 18 lbs. Rt: Purple Martin, 2014, powder coated, perforated aluminum, 49” x 30”, 18 lbs.
Painting: Gary Larson
10 am to 5 pm • Sunday 10 am to 4 pm • Closed Wednesday 86-B Old Las Vegas Highway • Santa Fe • 505.982.9944 www.santafehillside.com
STUDIO VISITS
FRANCIS BACON WROTE, “ALL ART IS AN ACCIDENT. BUT IT’S ALSO NOT AN ACCIDENT, BECAUSE ONE MUST SELECT WHAT PART OF THE ACCIDENT TO PRESERVE.” TWO SANTA FE ARTISTS RESPOND. Whether art (or anything else) is a result of accident or free will or divine plan is a big old question, one that doesn’t really interest me. However, the second part of the quote rings true. I see much of my work as that of an editor. As an artist, I choose from among thousands of ideas that course through me, of which there are few that I try to make. Among those few that I begin, I choose even fewer to finish. Among the few that I finish, I choose even fewer to share with others. The work of an artist requires talent, mastery of craft, time, perseverance, and most importantly, the willingness to keep looking for meaning in unusual places, engaging with our strangest notions, and welcoming the unfamiliar, accidental, and unknown with open eyes and a sharp knife.
—Matthew Chase-Daniel Chase-Daniel will participate in a group show—Signs of Life—at Sturt Haaga Gallery at Descanso Gardens, Pasadena, California. The show runs September 9 to November 23. Dollar Distribution, a conceptual art piece in which one thousand five hundred one-dollar bills will be dropped at random around Santa Fe, opened on August 22 and closes on September 15. Follow on Twitter @dollarxdollar. In 2015, Chase-Daniel will have a solo exhibition of photo-assemblages from the Monterey Bay Wildlife Refuge at Craig Krull Gallery, Santa Monica, California. chasedaniel.com
Well, that works for me right now. It’s the material asserting its presence. It takes away a bit of my control, which is a very good thing.
—Erika Wanenmacher Wanenmacher will be having an exhibition—Incorporate—opening on October 31 at Phil Space, 1410 Second Street, Santa Fe. As well, she will be showing work in the Art C.A.R.S. show at the Center for Contemporary Arts in November.
photographs by
SEPTEMBER
2014
Anne Staveley
THE magazine | 25
VIENNA / SANTA FE Frank Ettenberg 2003 to the Present
September 12 – October 10
Reception: Friday, September 12, 5-8pm
PHIL SPACE
1410 2nd Street, Santa Fe 505.983.7945
CLOUD CLIFF BAKERY at the SANTA FE FARMERS MARKET TUESDAY and SATURDAY
ANCIENT CITY APPETITE
Ancient City Appetite by Joshua
Baer
Shake Foundation 631 Cerrillos Road, Santa Fe Daily, from 11:00 am to 6:00 pm. Major credit cards 505 988-8992 Everything on the menu is delicious, but it would be a shame to miss these dishes:
Double Green Chile Cheeseburger with Jack Cheese and Garlic Mayonnaise: $6.50
Santa Fe Bite, formerly the classic Bobcat Bite out on Las Vegas Highway, now
Fried Oyster Sandwich with Red Chile Mayonnaise: $5.50.
relocated to the southeast corner of Alameda and Old Santa Fe Trail, understands
Green Chile Stew: $3.50 Regular, $5.50 Large.
that simplicity is the key ingredient in a great burger. The double green chile
Adobe Mud Shakes: $5.75; with Malt, $6.25
cheeseburger at Bert’s Burger Bowl, on the northeast corner of Guadalupe and
Affogato: $4.50.
Catron, is as much a part of Santa Fe culture as Fiesta, metallic dark red Monte
Santa Fe offers the green chile cheeseburger aficionado a variety of good options.
Carlos, skin-tight jeans, and Zozobra. At the corporate, professionally slick, sports The first time you go, don’t expect to be overwhelmed. If you go between noon
bar end of the spectrum, 5 Star Burger, in the De Vargas Shopping Center at the north
and one, you might have complaints about the line, or about how long it took to fill
end of Guadalupe Street, offers what they call a “gourmet burger.” The green chile
your order. The second time you go is when the pleasant surprises begin. Each bite
cheeseburger version of 5 Star’s gourmet burger holds its own against every other
of the double green chile cheeseburger is better than the one before it. The red
burger in town. But when it comes to the dependable joy of eating a green chile
chile mayonnaise in the fried oyster sandwich is a franchise all by itself. If you order
cheeseburger on a daily basis, Shake Foundation stands out, in a prima inter pares kind
a regular green chile stew and sip the broth from the paper cup while you wait for
of way. Warning: Shake’s food grows on you. It creates cravings. If you go at three
your burger you’ll appreciate why New Mexico green chile enjoys worldwide acclaim.
or four pm on a fall afternoon, you’ll be back for more at the same time the next day.
Many of the regulars at Shake Foundation drink their shakes while they eat their
burgers. An equally valid approach is to have the burger as your entrée and your shake
Ancient City Appetite recommends places to eat, in and out of Santa Fe.
or affogato as dessert. After a ten or fifteen minute wait, good things happen to the
The photograph is by Guy Cross. Send the names of your favorite places
ice cream. It doesn’t melt so much as age into something rich and special.
to places@ancientcityappetite.com.
SEPTEMBER
2014
THE magazine | 27
“Santacafé always feels chic, yet causal— like “Cheers” with class.” – John Vollersten, Santa Fean
Under the Rainbow A Perfect Table The Compound A Santa Fe Tradition ~ Reinvented!
lunch - monday thru saturday sunday brunch dinner nightly
restaurant bar
Lunch • Dinner • Bar
Reservations 505.982.4353 653 Canyon Road compoundrestaurant.com
231 washington avenue - reservations 505 984 1788
gift certificates, menus & special events online www.santacafé.com
photo: Kitty Leaken
ONE BOTTLE
One Bottle :
T he 2010 E tienne S auzet P uligny -M ontrachet “L a G arenne ” by J oshua
For as long as I can remember, love has been the answer. The question
B aer .
when I tell myself that my work is a labor of love, but love costs me more
doesn’t matter. One way or another, sooner or later, inside or outside,
than it makes me, so it’s up to my working self to cover my loving self’s
love will play its hand. And when love shows its cards, there will be
action. These are crass, commercial thoughts, to be sure, but in the absence
no doubt about the winner, because love conquers all.
of calculation, money disappears into thin air.
Philosophers can argue about its manifestations and meanings. Poets can rhapsodize about its mercurial nature. Singers can swoon
Which brings us to the 2010 Etienne Sauzet Puligny-Montrachet “La Garenne.”
over its power, gurus can proclaim its rightful place on the path to
Puligny-Montrachet is a village in Burgundy, and is the most celebrated
enlightenment, Hamlet can personify its doubts. Jesus can abandon
of the villages associated with white Burgundy. “Garenne” translates as
the tomb and assure us that love survives death. John Lennon can
“An underground system of interconnected tunnels occupied by
remind us that love is all we need. We can change the story as often
rabbits”—what we call a rabbit warren. In France, one thing is always a
as we like. We can change it into other places and other times, into
version of something else. The nose is the heart of the face. The eye is
other voices in other rooms. We can relocate its magic to a parallel
the window to the soul. Milan is the Lyons of Italy. In Burgundy, they
universe. No matter how much or how little we try to challenge
call La Garenne the Chablis of Puligny-Montrachet. The reference
love with cleverness, love is, was, and will always be the only
alludes to the dry, flinty, marginally salty flat spot that characterizes
game in town.
a classic Chablis, and makes a cameo appearance in Puligny’s La
If you want to know how great love is, use “love” in a sentence in place of “money.” People manage money. Have you ever met anyone who knew how to manage love? Money is a store of value, a currency you earn, save, and spend.
Garennes. Of those La Garennes, Sauzet’s is regarded as the one where that cameo approaches the sublime. In the glass, Sauzet’s La Garenne displays more gold than silver, and the depth of its gold gives you some idea of how
Try earning love some time. Try saving it, spending it,
the wine will look after a decade of aging, not that any
or exchanging it for some foreign love. Many of us waste
lover of wine has the discipline to cellar it for that
money, occasionally on love. Try to waste love. The
long. The bouquet is the reason why you can never
moment you think you’ve wasted it, love invades your
have enough good white Burgundy in your cellar. If
heart. People own money, or believe that they do.
there are clouds in heaven, they smell like this wine.
Love is not for sale.
On the palate, the attack is simultaneously playful
My relationship with love began years ago, on
and somber. The wine ignores your bloodstream.
a beach in Andalucía, about an hour south of
It moves into your heart as you taste it. The finish
Málaga. I was looking out to sea, imagining that I was
extends the bouquet’s message. You do your best
a passenger, maybe even a sailor, on one of the ships
to stay with it. You tell yourself that staying with
on the horizon, when it hit me. Life was a gift, but
it is your soul’s right, your predestined obligation,
I had no choice about when that gift would be taken
but the finish is gone before those desires become
from me, no more than I had chosen when to receive
thoughts. Gone but not forgotten, except that
it. The only thing I could keep was the love—for the
memory cannot do justice to the experience that
sunlight, for the wet sand, for the sound the waves
just escaped from your glass.
made before they broke, for my parents, for being
People—men and women—have accused me of
their child. Life, I told myself, will betray you. Love
being in love with love. Guilty as charged. Bring me
will keep its promise.
something better to love than love itself. Show me the
These days, my relationship with love is more
mature alternative. Deliver it to my house. I will trade
complicated, which is to say that it has become more
it for all the wine in my cellar. Being in love with love
of a guess than a conclusion, which is to say that
has its solipsistic pitfalls, to be sure. Any lover worth
my conclusions are more fragile than they were on
his salt will admit to that. But life is short—too short
that beach. As much as I love people—and I love the
to look love in the eye and blink.
people in my life the way a priest loves the divine— life has taught me that love is not enough. It may be the only game in town, but playing that game does not pay my bills. I love my work, and there are times
SEPTEMBER
2014
One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. All content is ©2014 by onebottle.com. You can write to Joshua Baer at jb@onebottle.com.
THE magazine | 29
DINING GUIDE
New World Cuisine at
epazote on the Hillside 86-B Old Las Vegas Highway, Santa Fe Lunch: 11:00-2:30 Closed Wednesday Reservations: 982-9944
$ KEY
INEXPENSIVE
$
up to $14
MODERATE
$$
$15—$23
EXPENSIVE
$$$
VERY EXPENSIVE
$24—$33
$$$$
Prices are for one dinner entrée. If a restaurant serves only lunch, then a lunch entrée price is reflected. Alcoholic beverages, appetizers, and desserts are not included in these price keys. Call restaurants for hours.
$34 plus
EAT OUT OFTEN photos :
G uy C ross
...a guide to the very best restaurants in santa fe, albuquerque, taos, and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$ 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 starters are the “Les Halles” onion soup and the Charcuterie Plank. You will love the tender Bistro Steak in a pool of caramelized shallot sauce 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 O’Brien’s baked goods are really special. Try them. You’ll love them. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian maiden posters. House specialties: Hotcakes got a nod from Gourmet magazine. Huevos motuleños—a Yucatán breakfast—is one you’ll never forget. Chopstix 238 N. Guadalupe St. 982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, Kung Pau Chicken, and Broccoli and Beef. Comments: Friendly owners. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. Comments: Good selection of beers and wine. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: Good old American. fare. Atmosphere: Patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are the best. Super buffalo burgers. Comments: Huge selection of beers. Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: Main the grilled Maine Lobster Tails or the 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines. Dr. Field Goods Kitchen 2860 Cerrillos Rd. 471-0043. Lunch/Dinner Beer/Wine Major credit cards. $$$ 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. $$$ Cuisine: Inspired New World cuisine. Atmosphere: Spacious and bright. House specialties: Botanas: meats and seafood that you cook on hot, hot rocks. The botanas are accompanied by delicious small corn tortillas, moles and oils. The “New Mexico” Mole with infused oils is utterly spectacular. Chef Fernando Olea’s Popocatepetl—a black pepper–encrusted Angus beef tenderloin is perfection. All of the salads are made with fresh, local ingredients. Comments: Attention to detail is the word here. Epazote offers its diners a unique dining experience. epazote on the
Georgia 225 Johnson St. 989-4367. Patio. Aprés Lunch and Dinner - Full bar. Major credit cards. $$$$ Cuisine: Clean and contemporary. Atmosphere: Friendly and casual. House specialties: Start with the Charcuterie Plate or the Texas Quail. Entrée: We suggest the Pan-Roasted Salmon or the Talus Wind Ranch Rack of Lamb. Good wine list and a bar you will love. Comments: Aprés Lunch: served from 1:30-5:30. Nice bar menu. Chef Brett Sparman knows his stuff, for sure.
Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: We call it French/Asian fusion. Atmosphere: Elegant and stylish. House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass served with black truffle scallions, and the classic peppery Elk tenderloin. Comments: Wonderful desserts. Harry’s Roadhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ 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. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad; the Lemon Rosemary Chicken; and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to Table, all the way. Izanami 3451Hyde Park Road. 428-6390 Lunch/Dinner Saki/Wine/Beer Major credit cards. $$$ Cuisine: Japanese-inspired small plates. Atmosphere: A sense of quitetude. House specialties: For starters, both the Wakame and the Roasted Beet Salads are winners. We also loved the Nasu Dengaku— eggplant and miso sauce and the Butakushi—Pork Belly with a Ginger BBQ Glaze. Comments: A wonderful selection of Saki. 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. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: The Vegetarian Pumpkin Soup is a blend of lemongrass, lime leaf and tofu with a red curry spice. Our fave entree is the BoTai Dam: Beef tenderloin w/ garlic, shallots, lemongrass, limeleaf, basil, slow-cooked and served with noodles. Comments: Friendly waitstaff. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ 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. Midtown Bistro 910 W. San Mateo, Suite A. 820-3121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Large open room. House specialties: For lunch: the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrée: Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop. Comments: Good dessert selection.
continued on page 33 SEPTEMBER
2014
THE magazine | 31
on the Hillside
Inspired New World Cuisine
Fresh Seafood when you want it!
oySterS
live Ster b o l e n i ma
Smok troued t
Squid
mexica n Shrimwhite p halibut
jonaha wS l crab c ScallopS
t h g SoFt cauon d Sh l wi Salm crab ell S
Lunch: 11:30 to 2:30 • Closed Wednesday 86-B Old Las Vegas Highway • Santa Fe 505.982.9944 • www.santafehillside.com
Sun-Thur, 5:00 - 9:00 pm u Fri - SaT, 5:00 - 9:30 pm 315 Old SanTa Fe Trail u SanTa Fe, nm u www.315 SanTaFe.cOm reServaTiOnS recOmmended: (505) 986.9190
DINING GUIDE
Beer/Wine Major credit cards. $$$ 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.
Counter Culture | Ahi Tuna Tacos | 930 Baca 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.
SEPTEMBER
2014
•
995-1105
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
SILVIA LEVENSON A SUBJECT TO AVOID August 29 - October 11, 2014
Silvia Levenson, Until Death Do Us Part II, 2009, Kilncast glass, 11.75” x 20.5”
Artist reception: Friday, August 29, 5:00 - 7:00 PM
SALVATORE EMBLEMA TRANSPARENCY: COLOR AND LIGHT September 12 - October 18, 2014 Opening Reception: Friday, September 12, 2014
Salvatore Emblema, Untitled 0307, 1976, Tinted de-threaded burlap, 78.75” x 59”
DavidrichardGALLEry.com The Railyard Arts District
DAVID RICHARD
544 South Guadalupe Street, Santa Fe, NM 87501
GALLERY
(505) 983-9555 | info@DavidRichardGallery.com
OPENINGS
SEPTEMBERARTOPENINGS FRIDAY, AUGUST 29
Casweck Galleries, 713 Canyon Rd., Santa Fe. 988-2966. Solo Show: new paintings by Chuck Volz. 5-7 pm. David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. A Subject to Avoid: works by Sylvia Levenson. 5-7 pm. David Rothermel Contemporary, corner of Lincoln and Marcy, Santa Fe. 575-6424981. Juxtaprose Series: paintings by David Rothermel. 5-8 pm. James Kelly Contemporary, 1611 Paseo de Peralta, Santa Fe. 989-1601. Recent Paintings and Sculpture: new works by Matt Magee. 5-7 pm. NMSU University Art Gallery, D.W. Williams Hall, 1390 E. University Ave., Las Cruces. 575646-2545. Off the Wall: exhibition inspired by the minimal wall drawings and sculptures of Sol LeWitt, featuring Allie Rex, Judith Braun, Christie Blizard, and Nathan Green. 5-7 pm. Peters Projects, 1011 Paseo de Peralta, Santa Fe. 954-5800. Suzanne Caporeal: recent paintings. Laura Wilson: photographs. 5-7 pm. TAI Modern, 1601 Paseo de Peralta, Santa Fe. 984-1387. Zen: collaboration between bamboo artist Tanabe Shochiku and lacquer artist Wakamiya Takashi. 5-7 pm.
Mariposa Gallery, 3500 Central Ave. SE, Alb. 505-268-6828. And the Big Storm Began: drawings and paintings by Greg Tucker. Goldie Garcia: paintings by the iconic jewelry artist. 5-8 pm. New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Landscapes: Southwest expressionist paintings by Cecilia Kirby Binkley. 5-7 pm. Sorrel Sky Gallery, 125 W. Palace Ave., Santa Fe. 501-6555. Wisdom Keepers: works by Star Liana York. 5-7 pm. The Gallery ABQ, 8210 Menaul Blvd. NE, Alb. 505-292-9333. Visions of Nature: photographs by James Janis. Encaustics by Carol Lopez, and watercolors by Tricia H. Love. Salon exhibit: work by Michael Meyer. 5-8 pm.
Blue Rain Gallery, 130 Lincoln Ave., Suite. C, Santa Fe. 954-9902. From Taos to Laos—New Works by Erin Currier: mixed-media works inspired by the artist’s travels. 5-7 pm. David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. A Transparency— Color and Light: works by Salvatore Emblema. 5-7 pm. David Rothermel Contemporary, corner of Lincoln and Marcy, Santa Fe. 575-642-4981. Landscapes from the Archives: paintings by David Rothermel inspired by the Southwest landscape. 5-8 pm. Exhibit/208, 208 Broadway SE, Alb. 505450-6884. Full Circle: work by Dana and Ruth Kleinman. 5-8 pm.
SUNDAY, SEPTEMBER 7
Albuquerque Museum of Art and History, 2000 Mountain Rd. NW, Alb. 505-2424600. Local Treasures: awards ceremony by the Albuquerque Arts Business Association honoring eight exceptional artists. 1-3 pm.
by Maisel of the American West. Beautiful Disintegrating Obstinate Horror Drawing and Recent Acquisitions from the UNM Art Museum’s Permanent Collection: includes works by Richard Diebenkorn, Damien Hirst, Raymond Jonson, Georgia O’Keeffe, Beatrice Mandelman, Louis Ribak, and Andy Warhol, among others. Luz Resestirada— Latin American Photography from the UNM Art Museum: photographs by Pedro Meyer, Flor Garduño, Manuel Álvarez Bravo, Luis González Palma, Joel-Peter Witkin and Vik Muniz. The Gift: graphic interpretations of events in the life of Christ by John Tatschl (1906-1982). 6-8 pm. Wade Wilson Art, 217 W. Water St., Santa Fe. 660-4393. Delicate Beauty: new paintings by Regina Glassman Foster. 5-7 pm. SATURDAY, SEPTEMBER 13
PHIL Space, 1410 2nd St., Santa Fe. 9837945. Vienna/Santa Fe: works by Frank Ettenberg from 2003 to the present. 5-8 pm.
FRIDAY, SEPTEMBER 12
Placitas Community Library, 453 Hwy. 165, Placitas. 505-867-3355. Dana Patterson Roth: nature-based photographs by Patterson Roth. 5-7 pm.
Aconica, 556 Canyon Rd. (behind the Pushkin Gallery), Santa Fe. 988-2979. Modernity, Mobility, Simplicity: unique photographs by Adria Ellis. 5-7 pm.
UNM Art Museum, 1 University of New Mexico, Alb. 505-277-4001. David Maisel/ Black Maps—American Landscape and the Apocalyptic Sublime: large-scale photographs
Rio Bravo Fine Art Gallery, 110 N. Broadway Ave., Truth or Consequences. 575-894-0572. Fiberart 2014—A Mixed Bag: invitational exhibition featuring works by thirty-six fiber artists. 6-9 pm. FRIDAY, SEPTEMBER 19
Giacobbe-Fritz Fine Art, 702 Canyon Rd., Santa Fe. 986-1156. Craig Kosak— Warpaint: paintings representing solitude’s path. 5-7 pm.
Wheelhouse Art, 418 Montezuma Ave., Santa Fe. 919-9553. Here and Now, Now and Then: installation, sculpture, and photography by Margaret Denney. 5-7 pm.
Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. Two-Person Show: encaustics by Laura Wait. Scuptures by T. Barney. 5-7 pm.
Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. A$$holes on Cellphones: new drawings by Marc Dennis. 5-7 pm.
New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Landscapes: paintings of northern New Mexico by Linda Petersen. 5-7 pm.
FRIDAY, SEPTEMBER 5
Nüart Gallery, 670 Canyon Rd., Santa Fe. 988-3888. Alberto Galvez: new works from Spain. 5-7 pm.
Charlotte Jackson Fine Art, 554 S. Guadalupe St., Santa Fe. 989-8688. Florence Miller Pierce—In the Light: survey of several decades of Transcendentalist works by Pierce. 5-7 pm.
The Jonathan Abrams MD Art Gallery, University of New Mexico Hospital, 5th Fl., Ambulatory Care Center, 2211 Lomas Blvd. NE, Alb. Impressions—Paintings by Jill Christian: color-field paintings by Christian. 4-6 pm.
Chiaroscuro Contemporary Art, 702 Canyon Rd., Santa Fe. 992-011. Ocean | Desert: photographs by Renate Aller. 5-7 pm. Gallery 901, 901 Canyon Rd., Santa Fe. 559304-7264. Logos in the Next Dimension: works by artist and designer Wilfried Haest. 5-8 pm. Marigold Arts, 424 Canyon Rd., Santa Fe. 982-4142. The Spirit of New Mexico: turnedwood vessels by Jim McLain. 5-7 pm.
SATURDAY, SEPTEMBER 20
Delicate Beauty: new works by Regina Glassman Foster on view at Wade Wilson Art, 217 West Water Street, Santa Fe. Reception: Friday, September 12, from 5 to 7 pm. Exhibition runs through October 5.
Hand Artes Gallery, 137 County Rd. 75, Truchas. 505-689-2443. Tales of Tenderness: new mixed-media work by Sheila Mahoney Keefe. 3-5 pm. continued on page 38
SEPTEMBER
2014
THE magazine | 35
WHO SAID THIS? “There’s no retirement for an artist, it’s your way of living so there’s no end to it.” Joseph Albers or Cy Twombly or Henry Moore or Mark Rothko
THE DEAL
For artists without gallery representation in New Mexico.
Full-page B&W ads for $750. Color $1,000. Reserve space for the October issue by Monday, September 15 505-424-7641 or email: themagazinesf@gmail.com
Honey Harris Show with THE magazine Thursday, September 11 at 10:30 am
98.1 FM KBAC
OUT AND ABOUT photographs by Mr. Clix
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
SUNDAY, SEPTEMBER 21
Las Placitas Presbyterian Church, 7 Paseo de San Antonio, Placitas. 505-8678080. Placitas Artists Series September Artist Reception: photography, fiber art, and painting by four New Mexico artists. 2-3 pm. FRIDAY, SEPTEMBER 26
Blue Rain Gallery, 130 Lincoln Ave., Suite. C, Santa Fe. 954-9902. Solo Show: new paintings by Deladier Almeida. 5-7 pm. Canyon Road Contemporary, 403 Canyon Rd., Santa Fe. 983-0433. Lingua Franca— Modular Designs in Fused Glass by Doug Gillis: glass works by the artist. 5-7 pm. David Rothermel Contemporary, corner of Lincoln and Marcy, Santa Fe. 575-642-4981. Inheritance by Osmosis: paintings by David Rothermel revealing the artist’s stylistic influences from living American masters. 5-8 pm. Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Don Coen: works by Coen. 5-7 pm. GF contemporary, 707 Canyon Rd., Santa Fe. 983-3707. Après Museé: new works by Pascal. 5-7 pm. GVG Contemporary, 241 Delgado St., Santa Fe. 982-1494. Invention and Re-invention: group show with work by gallery artists. 5-7 pm. Karan Ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-0807. Grand Cru of Color: Twenty-five mixed-media and acrylic works by Daniel Phill. 5-7 pm. LewAllen Galleries, 1613 Paseo de Peralta,
Santa Fe. 988-3250. Dirk de Bruycker— New Work: new abstract work by de Bruycker. Diane Burko—Investigations of the Environment: paintings and photographs by Burko. 5-7 pm. photo-eye
Gallery, 541 S. Guadalupe St., Santa Fe. 988-5159. Homegrown: large-scale color photographs by Julie Blackmon. 5-7 pm. Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1122. Greetings from North Carolina: work by nine potters from North Carolina. 5-7 pm. Tansey Contemporary, 652 Canyon Rd., Santa Fe. 995-8513. A Broader Interpretation of Southwestern “Landscapes”—works by Mark Bowles, Judith Content, Geoffrey Gorman, Hilario Gutierrez, Krista Harris, Carol Shinn, and Sheryl Zacharia. 5-7 pm. SATURDAY, SEPTEMBER 27
516 Arts, 516 Central Ave. SW, Alb. 505242-1445. Floyd D. Tunson—Son of Pop: survey of Tunson’s works addressing cultural identity, American social history, race and class relations, pop culture, art history, and the beauty of pure abstraction. 6-8 pm. Gaucho Blue Gallery, 14148 State Rd. 75, Peñasco. 575-587-1076. High Road Art Tour: select gallery artists and tour participants. 10 am-5 pm.
include Dennis Larkins, Esteban Bojorquez, Conrad Cooper, Joel Nakamura, Brandon Maldonado, Leah Saulnier, Greg Moon, and others. 5-7 pm.
Local Treasures awards at the Albuquerque Museum of Art and History, Sun., Sept. 7, 1-3 pm. Old Town ARTScrawl, Fri., Sept. 19. Listings and maps: artscrawlabq.org
Richard Levy Gallery, 514 Central Ave. SW, Alb. 505-766-9888. Journey to Wilderness: large-scale photographs by Debra Bloomfield. Reception, book signing, and New Mexico Wilderness Alliance Fundraiser. 6-8 pm.
CCA Cinematheque, 1050 Old Pecos Tr., Santa Fe. 982-1338. Santa Fe Jewish Film Festival: The Sturgeon Queens—a documentary about the family behind New York’s legendary deli emporium, Russ and Daughters. Complimentary brunch and live klezmer music following the screening. Sun., Sept. 7, 11 am. santafejff.org
SPECIAL INTEREST
17th Annual Pilar Studio Tour, 575-7513042. Sat and Sun, Sept. 6 and 7, 10 am-5 pm. Info and map: www.pilarstudiotour.com 34th Annual Whole Enchilada Fiesta, Las Cruces. Enchilada-eating contest, local entertainment, carnival rides, and more. Fri., Sept. 26-Sun., Sept. 28. enchiladafiesta.com
Creative Santa Fe, James A. Little Theater, 1060 Cerrillos Rd., Santa Fe. 988-1234. Tony Hsieh—Lecture and Dialogue with Geoffrey West: lecture by the Zappos CEO, in partnership with the Santa Fe Institute and St. John’s College. Wed., Sept. 3, 6-7 pm. creativesantafe.org
333 Montezuma Art, 333 Montezuma Ave., Santa Fe. 988-9564. The Deeper the Southern Roots: work by Thornton Dial and Lonnie Holley. Through Dec. 31.
Encaustic Art Institute, 18 County Rd. 55A, Cerrillos. 424-6487. 6th Annual Afternoon Gala and Art Auction: silent and live auctions, encaustic art demos for kids and adults, wonderful food, and live jazz. Sun., Sept. 14, 2-6 pm. eainm.com
516 Arts, 516 Central Ave. SW, Alb. 505242-1445. Floyd D. Tunson—Son of Pop: survey of Tunson’s works addressing cultural identity, American social history, race and class relations, pop culture, art history and the beauty of pure abstraction. Artist/curator talk, Thurs., Sept. 25, 6 pm. 516arts.org
EL Gallery & Studio, 95 County Rd. 75, Truchas. 505-689-1018. On the High Road: “sur-folk” paintings by Eric Luplow. Part of the High Road Art Tour, Sept. 21, 22, 27 and 28. ericluplow.com
Ghost Pony Gallery, 1634 State Rd. 76, Truchas. 505-689-1704. High Road Art Tour: Pearce preview with Trish Booth and new works by Leonardo Pieterse. 10 am-5 pm.
Albuquerque Photographer’s Gallery, 303 Romero St., Alb. 505-244-9195. There is No Why Here—Fragments of the Holocaust: photographs by Karl P. Koenig. Through Tues., Sept. 30. abqphotographersgallery.com
Greg Moon Art, 109-A Kit Carson Rd., Taos. 575-770-4463. New Mexi-Low: a survey of lowbrow art in New Mexico. Artists
ARTScrawl, Alb. Citywide, self-guided arts tour, Fri., Sept. 5. East Mountain ARTScrawl, Sat., Sept. 6, 10 am-5 pm. 2014
From left to right: Homegrown—large-scale color photographs by Julie Blackmon on display at photo-eye Gallery, 541 South Guadalupe Street, Santa Fe. Reception: Friday, September 26 from 5 to 7 pm. Après Museé—new works by Pascal at GF Contemporary, 707 Canyon Road, Santa Fe. Reception: Friday, September 26 from 5 to 7 pm. And the Big Storm Began—oil-on-panel paintings by Greg Tucker at Mariposa Gallery, 3500 Central Avenue SE, Albuquerque. Reception: Friday, September 5 from 5 to 7 pm.
continued on page 40
38 | THE magazine
SEPTEMBER
2014
TANSEY CONTEMPORARY A BROADER INTERPRETATION OF SOUTHWESTERN “LANDSCAPES”
Hilario Gutierrez ~ “RUSH TO SUMMER” ~ 54” x 45” ~ Acrylic on canvas
September 26 - October 21, 2014 Opening Night, Friday, September 26, 5 - 7 pm
A diverse group of artists’ work demonstrates that landscape inspired work can come in any form and meduim. Artists include: Mark Bowles, Judith Content, Hilario Gutierrez, Krista Harris, Carol Shinn, and Sheryl Zacharia
OPENINGS
FUZE-SW, 476-1162. Food and folklore festival including cooking demos, lectures, and tastings, Fri., Sept. 12-Sun., Sept. 14. Details: fuzesw.museumofnewmexico.org Georgia O’Keeffe Museum, 217 Johnson St., Santa Fe. 946-1000. Miguel Covarrubias— Drawing a Cosmopolitan Line: works tracing the breadth of Covarrubias’s intellectual and artistic interests. okeeffemuseum.org Harwood Museum of Art, 238 Ledoux St., Taos. 575-758-9826. ¡Orale! The Kings and Queens of Cool: works from the Post-Pop or Lowbrow, that grew out of West Coast surfer, car, and street culture. Sat., Sept. 20, 2014Sun., Jan. 25, 2015. harwoodmuseum.org Heart Gallery of New Mexico Foundation, Las Campanas Clubhouse, 132 Clubhouse Dr., Santa Fe. Cocktail mixer with hors d’oeuvres, raffle, and live auction to benefit New Mexico’s foster youth. Sat., Sept. 13, 6-9 pm. heartgallerynmfoundation.org High Road Art Tour, High Road to Taos Scenic Byway between Santa Fe and Taos. 888-8663643. Seventeenth annual tour of galleries and artist studios in Northern New Mexico. Sat. and Sun., Sept. 20-21 and 27-28, 10 am-5 pm. highroadnewmexico.com Jean Cocteau Cinema, 418 Montezuma Ave., Santa Fe. 466-4428. Before Bataan: New Mexico’s 20th Coast Artillery: from the Palace of the Governor’s photo-archives. Sept. 15-Oct.12. Museum of Northern Arizona, 3101 N. Ft. Valley Rd., Flagstaff, AZ. 928-774-5213. 23rd Annual Trappings of the American West Exhibition and Sale: art and goods by eighty artists from fourteen Western states. Member preview sale: Sat., Sept. 27, 5:30 pm. Public opening: Sun., Sept. 28 at 10 am. Through Sun., Dec. 7. Works by Diné artist Shonto Begay, through Sun., Oct. 26. musnaz.org New Mexico History Museum, 113 Lincoln Ave., Santa Fe. 476-5200. Symposium for Painting the Divine—Images of Mary in the New World: learn more about the veneration of Mary in the Americas from scholars and art historians. Sat., Sept. 27 and Sun., Sept. 28. Exhibition through March 29, 2015. More events: nmhistorymuseum.org Pilar Studio Tour, 575-751-3042. Seventeenth annual tour showcasing works in oil, acrylic, ceramic, fiber art, and more. Sat., Sept. 6 and Sun., Sept. 7, 10 am-5 pm. pilarstudiotour.com Pojoaque River Art Tour, 505-455-3496. Twenty-first annual tour, Sat. and Sun., Sept. 20 and 21, 10 am-5 pm. Artists’ reception and silent auction at Than Povi Fine Art Gallery, Fri., Sept. 19, 5-8 pm. Maps: pojoaqueriverarttour.com
40 | THE magazine
Richard Levy Gallery, 514 Central Ave. SW, Alb. 505-766-9888. That’s Where You Need to Be: works by William Betts, Xuan Chen, Maria Park, and Willy Bo Richardson. Through Fri., Sept. 19. levygallery.com Sandia Heights Art Studio Tour, 505-2809772. Eighteen artists show at the eleventh annual tour. Sat., Sept. 6 and Sun., Sept. 7, 10 am-5 pm. Details: sandiaheightsart.com SITE Santa Fe, SITE center at the Armory for the Arts Theater, 1050 Old Pecos Tr., Santa Fe. “Unsettled Landscapes? What This Means to an Anthropologist”: Marcus Hamilton, Santa Fe Institute Fellow, explores this concept from an archaeological, anthropological, and ecological perspective. Tues., Sept. 23, 6 pm. sitesantafe.org Taos County Historical Society, Kit Carson Electric Boardroom, 118 Cruz Alta Rd., Taos. “From Josiah Gregg to Edward Abbey—Book Trails Across New Mexico”: free lecture by author Dr. David Farmer. Sat., Sept. 6, 2 pm. Teacher Open House, The Museums on Mountain Rd., Alb. 505-841-2861. Open and free events and resources for local educators. Wed., Sept. 17, 5:30-8 pm. TEDxABQ, Popejoy Hall, University of New Mexico, 203 Cornell Dr., Alb. 505-277-8010. “Ahead of Its Time—A Visionary Architect for Native Drama”: lecture on the history of the Paolo Soleri Amphitheater by architect Conrad Skinner. Sat., Sept. 6. More talks: tedxabq.com The Paseo: Multimedia Outdoor Art Installations, 40th Annual Taos Fall Arts Festival, Taos. Twenty-two artists will present seventeen outdoor art installations that will change the landscape of Taos art. Fri., Sept. 26. paseotaos.org PERFORMANCE
National Hispanic Cultural Center, 1701 4th St. SW, Alb. 505-242-5289. Siembra: New Mexico’s first-ever Latino theater festival, including works by Pulitzer Prize winner Quiara Alegría Hudes, and New Mexico author Rudolfo Anaya. Sept. 2014-May 2015. nhccnm.org Telluride Blues and Brews Festival, Telluride Town Park. Celebration of blues music and microbrews: Fri., Sept. 12-Sun., Sept. 14. Info and passes: tellurideblues.com From top to bottom: Grand Cru of Color—mixed-media acrylic paintings by Daniel Phill at Karan Ruhlen Gallery, 225 Canyon Road, Santa Fe. Reception: Friday, September 26 from 5 to 7 pm. Show runs through October 9. Modernity, Mobility, Simplicity—Adria Ellis exhibits unique photographs at Aconica, 556 Canyon Road (behind the Pushkin Gallery), Santa Fe. Reception: Friday, September 12 from 5 to 7 pm. Wisdom Keepers—works by Star Liana York on view at Sorrel Sky Gallery, 125 West Palace Avenue, Santa Fe. Reception: Friday, September 5 from 5 to 7 pm. AUGUST
2014
PREVIEWS
Florence Miller Pierce: In the Light Charlotte Jackson Fine Art 554 South Guadalupe Street, Santa Fe. 989-8688 September 5 to 30, 2014 Reception: Friday, September 5, 5 to 7 pm. The subject of light has fascinated artists throughout the centuries. Florence Miller Pierce (19182007)—the name change from Florence Pierce is by request of the estate—created works that are profound examples of the primal significance of light in modern and contemporary art. In the Light surveys the development of the artist’s output over several decades. From painted geometric forms on canvas to her later radiant resin sculptures with surfaces varying from matte to gloss finishes, Miller Pierce created a body of work that is represented in numerous museum collections and noteworthy exhibitions. Miller Pierce arrived in Taos in 1936 and studied with Emil Bisttram. She joined the Transcendental Painters Group, whose members included Raymond Jonson, her husband Horace Pierce, and Agnes Pelton, the only other woman artist in the group. In the course of her development she worked with ink on rice paper and sculpted in stone and balsa wood. By accident, she discovered the play of light on resin when she spilled a few drops on foil. This led to years of experiments with the medium while refining her techniques. Miller Pierce retained her early interest in creating geometric sculptural forms, transformed by the luminous colors achievable through the use of resin on Plexiglas. The artist’s personal favorites were the white resin pieces with their minimal, elegant appearance.
Erin Currier: From Taos to Laos Blue Rain Gallery 130 Lincoln Avenue, Suite C, Santa Fe. 954-9902 September 12 to 27, 2014 Reception: Friday, September 12, 5 to 7 pm. Erin Currier is a traveler whose work incorporates aspects of her trips in multiple ways. She collects discarded ephemera and trash found on her journeys to use in her collaged and painted mixed-media portraits. Currier is a keen observer and conducts research on the people, cultures, and histories of the places she visits. All of this material colors the journal entries and finished art works she creates. Her studies have enabled her to see the commonalities shared by humans, although class, race, and ideologies may differ. For her new series, From Taos to Laos, Currier discovered numerous similarities between the American Southwest and Southeast Asia. She finds many aspects—from economic and ecological concerns to a preference for spicy food to deep-seated spiritual traditions relevant to a sense of place in both cultures, and incorporates them into her dense visual imagery, allowing viewers to join her in making cultural connections. Ultimately, the figurative work pays homage to those living outside of authority. As Currier says, “The discarded waste is re-transfigured into, hopefully, something of beauty in the same way the cast off discarded human beings who are the subject of many of my portraits are, themselves, re-contextualized through the privileged position of portraiture historically relegated to oil barons and kings.”
Top: Florence Miller Pierce, Untitled, resin relief, 70” x 30”, 1985 Bottom: Erin Currier, Kwan Yin, acrylic and mixed-media collage on panel, 36” x 24”, 2014
42 | THE magazine
SEPTEMBER
2014
Photography: Craig Clark
CHUCK VOLZ
Artist Reception August 29, 5-7pm 713 Canyon Road
713 Canyon Road
& 203 West Water St.
Santa Fe, NM 87501 www.casweckgalleries.com • 505.988.2966
FLASHBACK
RC Israel and Mary Iron Eyes at the Tony Price Memorial, Synergy Ranch, March 9, 2000 SEPTEMBER
2014
THE magazine | 45
HirosHi Yamano
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.
Branches August 8-sePtembeR 21
pedro surroca ALFREDO CORCHADO with MELISSA
DEL BOSQUE
WEDNESDAY 17 SEPTEMBER AT 7PM LENSIC PERFORMING ARTS CENTER
jesse blancHard amalgams of color August 29-sePtembeR 21
My cell phone vibrated in my jeans pocket…It was July 2007. The last time I felt safe in Mexico. I recognized the low-pitched voice on the other end: a longtime trusted source, a U.S. investigator with informants inside some of the most brutal drug cartels in Mexico. I grabbed a pen and notepad and slipped into my bedroom. I closed the door… I spoke his secret code name and joked, “Hey --------, Qué onda? What’s up?” He got to the point: “Where are you?” “In Mexico”. “Where exactly?” “In my apartment. Why?” “They plan to kill an American journalist within twenty-four hours,” he said. “Three names came up. I think it’s you. I’d get out.”
— From Midnight in Mexico: A Reporter’s Journey Through a Country’s Descent into Hell© 2013
Alfredo Corchado, Mexico bureau chief for the Dallas Morning News, is a noted expert on immigration, drug violence, and U.S.-Mexico foreign policy. He has reported on many topics, from the disappearance and murders of women in Ciudad Juárez, to the exodus of Mexico’s middle class to the United States, to the exposure of government corruption and the reach of Mexican drug traffickers into U.S. communities. TICKETS ON SALE NOW
ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:
LewAllenGalleries Railyard Arts District 1613 Paseo de Peralta (505) 988.3250 www.lewallengalleries.com info@lewallengalleries.com
www.lannan.org
I N T E R N AT I O N A L S P O T L I G H T
INSTALLATION VIEW by
Elmgreen & Dragset
The artist duo Michael Elmgreen and Ingar Dragset have been working together for twenty years, creating sculpture, installations, and performances that they describe as filmic scenographies with viewers actively participating. Biography, at the National Gallery of Denmark, consists of fifty works that address issues of maintaining a personal identity in a celebrity-driven culture by utilizing the ability to create self-staged identities made possible through social media. The exhibition allows visitors to play a major role in these theatrical constructions as they peek into the banal homes of fictional tenants or make their way through institutional spaces such as a homeless shelter, a public restroom, and a morgue. Elmgreen and Dragset alter the spaces through the use of humor, poetry, and visual devices, allowing new realities to unfold. Their works address the challenge of finding the freedom to be a SEPTEMBER
2014
non-conformist within the rigid constraints of a society that is riddled with fear and controlled by consensus. To house this exhibition, the ground floor of Denmark’s largest museum will be physically transformed. Alongside Prada Marfa, a full-scale replica modeled after the faux Prada boutique in the dry plains and highway landscape near Marfa, Texas and other wellknown installations from previous exhibitions, there will be site-specific works. Welcome consists of a full-scale Airstream caravan crushed by a giant WELCOME TO LAS VEGAS sign. Elmgreen and Dragset have shown work at the Serpentine Gallery, Tate Modern, and biennials around the world, including Berlin, São Paulo, Istanbul, and Venice. On view at the National Gallery of Denmark, Sølvgade 48-50, Copenhagen, from September 19, 2014 to January 4, 2015. THE magazine | 47
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
SPOTLIGHT ON FRANCE Des accidents Happy Accident Number One
by Susan Wider
heureux
Pippa is the creation of publishing executive
to one hundred other independent publishers. The
If you are heading down rue du Sommerard off Boulevard
and humanitarian Brigitte Peltier, who founded the
basement houses an art gallery that presents exhibitions
St. Michel, in Paris’s Latin Quarter, it is hard to miss Pippa.
organization in 2006. Pippa’s own publishing arm
(painting, sculpture, photography, engraving, etc.)
The tomato-red storefront begs you to approach. And
produces three collections: one on travel, one on
throughout the year.
when you’re close enough to read the sign on the front
children’s literature, and one called, quite conveniently,
A recent gallery exhibition, Autour du conte (Around
of the building you see Edition Librairie Papeterie Galerie
collection généraliste. The ground-floor bookstore offers
the Story), organized by French independent publisher
(Publisher Bookstore Stationery Shop Gallery). Perfect.
Pippa’s own publications along with books from close
and story specialist Flies France, brought together the
SEPTEMBER
2014
continued on page 50
THE magazine | 49
work of eight artists from throughout Europe. Each artist
snakeskin, even giraffes’ knees.
What they don’t tell you about is the gallery hiding
is known for his or her work in fine art, but each one also
While many bookstores have the obligatory cat,
inside. I start up the stairs from the gift shop to look
illustrates children’s books, and these illustrations are the
Pippa has an artist in residence. He is François Pouch—
at a book display and discover I’m in an art gallery. The
focus of the exhibition. There are drawings, engravings,
known simply as Pouch in France. At age seventy he is one
exhibition is as beautiful as it is unusual. Called simply O,
watercolors, collages, pen and ink, and more. Based in
of France’s noted press illustrators and has branched out
it comprises twenty-six paintings by artist and Pauillac
Florence, mixed-media artist Brunella Baldi hints at her
into book illustration. In Bulles de Musique (Music Bubbles),
resident Laurent Valera. He is known throughout France
former career as a choreographer in every one of her
a collaboration with French poet and oboist Daniel Py,
for his innovative installations, sometimes incorporating
paintings. Rabbits’ ears sway in unison with dune grasses.
his gentle line drawings of figures from all corners of
light reflected on water to transform the shapes of
Houses roll on wheels. Bunnies cycle downhill on unicycles
the Parisian music scene capture poignant moments
continents; or blending ladders, trap doors, and mirrors
made of pink seashells. The flight of giant shadowy green-
in the lives of street musicians, opera singers, nightclub
to challenge our sense of constraint; or creating raku
gray birds in a white sky pulls the buildings off their
performers, and even the local crickets and magpies.
carapaces shed by unknown creatures.
foundations in the city below. Everything in Baldi’s work
Second Happy Accident
For O, Valera needed only plastic drinking glasses,
dances. Warsaw native Joanna Boillat incorporates twenty
Duplication is far from being identical.
paint washes, and white Canson paper. He fills each glass
years as a designer at Pierre Cardin into her art. Embellir
—Laurent Valera
with diluted acrylic-tinted water, then empties it. When he
ce qui nous entourne (embellish what surrounds us) is
The village of Pauillac lies partway up the Médoc
places each glass upside down on the paper the remaining
key in her stated philosophy. Her current preference for
peninsula north of Bordeaux. This is wine country and
color trickles down the glass and bleeds onto the paper.
gouache with colored pencil brings us a conniving, stitched
the vineyards infiltrate the town wherever they can.
He imprints each sheet with twenty-five circles, or O’s, in
together charcoal-gray coyote with roses for eyes and
Why have an empty lot on the corner when you could
five rows of five, created from twenty-five glasses. (The
near-human hands. Anastassia Elias uses ink impressions
just as easily grow some grapes there? Off-season, on the
romantic in me wanted them to be wine glasses or even
of her fingertips to create textures that at first glance look
sleepy little main street, the Maison du tourisme et du vin
the bottom circles of some nice bottles of Bordeaux.) As
like engravings. She applies this detail in a turtle’s back, a
is exactly that, the tourism and wine office. Combined.
soon as glass number twenty-five is in place, he returns to
F E AT U R E
the first glass and removes all glasses in the same order.
building by architect Firmin Bourgeois and his successor,
hallway nearly as long as the building itself presents nearly
The manner in which he lifts each glass creates different
Ludovico Visconti, was indeed built to house the Tuileries
two-dozen paintings by Auguste Renoir, many of which
effects. Sometimes there is a little burst of color outside
Gardens’ orange trees. Today the upstairs galleries are
were in his studio at the time of his death. The effect of so
the circle. Sometimes two colors mix. The paper reacts to
a chapel of sorts for Claude Monet’s mural ensemble
many ornate gilt frames extending along one long wall feels
the water and distorts, playing its role in the finished piece.
Les Nymphéas (Water Lilies). Created for the building’s
over the top yet compelling, even before looking inside
The colors diffuse as they respond to the rippling of the
transformation to a museum, the eight compositions
the frames. Halfway along the wall there is a clever cut-
paper. “It’s magical, fascinating,” says Valera, “still today,
(1914-1926) fill two oval rooms. The devotional hush
out that creates a peephole into the next set of galleries.
even after having made so many of them.” The letter O
in these spaces keeps people from doing anything but
The opening is a perfect frame for André Derain’s Arlequin
rhymes with eau, the French word for water, and for
whisper. Visitors are surrounded by wall-size views—
à la guitare, a teaser of what is still to come. This next series
Valera the O also represents the circular form—each an
at different times of day—of Monet’s lily pad pond at
of galleries brings groupings of Matisse, Modigliani, Utrillo,
individual world expressing multiple points of view from
Giverny, his home in Normandy. There could hardly be a
Rousseau, Picasso, and more. And there are surprises, like
the simple element of unpredictable traces left behind by
better way to understand Monet’s process than by sidling
Marie Laurencin with her vertical brushstrokes, underwater
a glass of water on immaculate paper.
up to these enormous brush strokes.
colors, and rosy pinks, hidden and otherwise; and Chaïm
The downstairs level at the Orangerie is something else
Third Happy Accident
entirely. Here the calm of Monet’s inner sanctum—what
Of course the Louvre and the Musée d’Orsay and
he himself called an oasis—is replaced with extravagance,
Beaubourg and Versailles are delicious places to discover
multiple artists, and wonderful variety. The Jean Walter and
art, but I like hunting down the less-visited gems. I decided
Paul Guillaume Collection is the museum’s other anchor,
to give the Orangerie a go on my last morning in Paris, and
and the second half of its identity. Paul Guillaume was an
it was perfect. Located at the extreme western end of
art dealer in the 1920s, who made a promise to himself
the Tuileries Gardens at Place de la Concorde, this 1852
that he would create a modern art museum for Paris. A
SEPTEMBER
2014
Soutine, whose buildings, trees, and even people’s noses lean and sway precariously in their frames. Fourth happy accident? That’s for my next visit. First page: Pippa, photo courtesy of Brigitte Peltier. This page, left to right: Laurent Valera, O (detail), diluted acrylic on paper, 50 x 70 cm, 2014, courtesy of the artist. Joanna Boillat, Le coyote et le cèdre (The Coyote and the Cedar), gouache and colored pencil on paper, 40 x 27 cm, 2010, courtesy of the artist. Marie Laurencin, Portrait de Mademoiselle Chanel, oil on canvas, 92 x 73 cm, 1923.
THE magazine | 51
après musée
BLUE SENSE 1 diptych 30x30 each mixed media
pascal
Reception for the Artist September 26 5-7pm
707 Canyon Road, Santa Fe, NM 87501 gfcontemporary.com 505.983.3707
CRITICAL REFLECTION
Temporal Domain 1011 Paseo
de
Peters Projects Peralta, Santa Fe
W E OWE M A LRAUX F O R TH E N O TI O N O F A RT A S A M OVEA B LE FEA ST. Perhaps the most enduring contribution of André Malraux’s
The formless molten mass of aluminum of Lynda
artistry over the course of a long and distinguished
magnum opus, The Voices of Silence, is its core insight about a
Benglis’s Figure 6 is emblematic of a very different
career, marked by the artist’s unerring sense of what
work of art’s capacity to adapt itself to different contexts and
approach to specific objects, one that, for her, celebrates
divides art from design.
thus be informed with new meaning over time. Otherwise,
their shared organic identity. The power and perverse
The three large ink-on-paper drawings and the
art of the past would be only that: art history. Titian’s Man
formal appeal of Benglis’s lumpen skulptur is on a par
mounted steel and enamel wall sculpture by Roxy Paine
with a Glove, relocated from its original setting to that of
with the antithetical elegance of Ken Price’s equally
do not engage at the level of the work by the other artists
the museum, becomes simply “a Titian.” The risk is that we
amorphous ceramic work.
in the show. That said, Paine’s RDA, a pyramid of pain
don’t look beyond its celebrity status. The reward can be
Two
easel-scale
paintings
from
Harmony
divided into eighteen compartments illustrating devices
Hammond’s Aperture series—monotypes on Twinrocker
for torture and ascending from medieval to modern
The summer show at Peters Projects features six artists
paper with grommets—have the convincing look and
variants, is a potent indictment of our contemporary
who have links to northern New Mexico—mostly to Santa
feel of oil on canvas, while her large oil and mixed media
culture of violence.
Fe or, in the case of Agnes Martin, to Taos. More to the point,
on canvas Frazzle comes across as matte monotype.
Agnes Martin’s 1973 portfolio of screen prints, On a
and save for one artist, the work in the show represents
Common to these three works is Hammond’s abiding
Clear Day, appeared a year or so before the artist would
our discovery of new import.
the signature styles that each developed
resume a career in painting that she had
in the 1960s and 1970s. This was the
abandoned in 1967, when personal crisis
period of late Modernism marked by the
led her to leave her studio and New
rise of diverse movements that broke
York City to travel in the Southwest,
away from the long Modernist tradition
where she would settle and build a new
culminating in Abstract Expressionism.
studio, in Cuba, New Mexico, in 1974.
The fact that many of the works in the
Each print in the series is a variation of
show were done after 2000—decades
a gray grid drawn in graphite on cream-
after their “prototypes”—shows that
colored rag paper. On a Clear Day is a
these artists continued or continue to find
rare opportunity to witness Martin’s
them meaningful.
understanding of “inspiration” as a
Minimal artist John McCracken’s
mode of intellection, however intuitive.
painted planks, each composed of
The first twelve prints are variants on
plywood, fiberglass, and resin (Cosmos,
a closed grid format framed by borders
2001; Particle, 2005; Traveler, 2005)
on all sides. The next five prints (13-17)
reprise the sculptural type that he
explore an open-form grid of horizontal
debuted in 1966. Positioned as seen here
lines, and the last thirteen (18-30) depict
with Traveler, a tall, narrow rectangular
open grids of hatching horizontal and
plank rests on the gallery floor but leans
vertical lines whose open ends produce
on the wall—for McCracken a stance
the effect of a wire mesh. Any lingering
that mediates Minimalist insistence on
tendency of the viewer to see these
the literal presence of the artwork as
signature grids of Martin as “austere
“specific object” by evoking traditional
geometries” is dispelled by the added
sculpture (floor) and painting (wall)
nuance achieved by her modulations
with their inherent illusive or allusive
of cell scale and shape and of the
reference. Yet McCracken reaffirms
thickness of horizontal line in several
the work’s status as an object in the
prints. This approach, both intellective
viewer’s own space with the latter’s
and intuitive, can be seen in her large
reflection
pale acrylic horizontal-band paintings of
mirrored
in
its
glossy
1993-1994 now permanently installed
monochrome surface. James Lee Byars’ conceptualist tack
in the Harwood Museum of Art in Taos.
deploys the aesthetic of the specific object
For the artists in Temporal Domain
to carry Zen-like texts and titles that
as well as for its viewers, Malraux’s
infuse idea and image as visual meditation.
insight about art as a moveable feast
His
continues to hold true.
understated
koans
and
wryly
ambivalent imagery (The Philosophical
—Richard Tobin
Nail), and above all, beautiful objects, are both saving grace and key to the success of his work.
SEPTEMBER
2014
James Lee Byars, The Philosophical Nail, gilded iron, 10 ¾” x 11/ 4” x 11/ 4”, 1986
THE magazine | 53
Beckett on Film A Four-Part Series Beckett on Film is a collection of films presenting all 19 of Samuel Beckett’s plays including Endgame, Waiting for Godot, Catastrophe and Rough for Theatre. Each film is unique, featuring some of the world’s most talented directors and actors including David Mamet, Harold Pinter, Michael Gambon and Kristin Scott-Thomas. SEPTEMBER 7 Act Without Words 1 Endgame SEPTEMBER 14 Rough for Theatre 1 Footfalls That Time Catastrophe Rough for Theatre 2 SEPTEMBER 21 Breath Waiting for Godot SEPTEMBER 28 Act Without Words 2 A Piece of Monologue Play Rockaby
Every Sunday in September at 11am At The Screen FREE ADMISSION (FIRST-COME, FIRST-SERVED) VISIT WWW.THESCREENSF.COM FOR A FULL SCHEDULE
Santa Fe University of Art & Design 505.473.6494 1600 St. Michael’s Drive Santa Fe, NM 87505
www.lannan.org
CRITICAL REFLECTION
James Drake: Pages: New Drawings
James Kelly Contemporary 1611 Paseo de Peralta, Santa Fe
IT IS A CURIOUS EXPERIENCE TO ENCOUNTER UNEXPECTED REMNANTS OF ONE’S LIFE. Whether it is an outdated outfit brought out from storage,
exacting detail in charcoal and graphite, and gestural
outlines the history of the collection of the Budapest Museum of
or a journal entry we are sure we authored but no longer
washes of ink. His subject matter has the randomness of
Fine Arts. The text claims that some drawings at the institution
identify with, these moments are confrontations with our
the contents of a sketchbook, tangibly holding space for
descended from the hands of Giorgio Vasari, a forefather of
younger, other selves now lost to the process that is aging.
the ephemera floating around his mind. Across the re-
Western art history. This selection of text feels like a poignant
This peculiar confrontation with the passage of time also
appropriated pages are a wild boar, a swan, a birdcage, and a
tribute to the tradition of art historical study.
haunts the current solo exhibition of new drawings by James
particle accelerator, to name a few examples. These images,
Birdcage, drawings #1266, 1267, 1268, 1269, 1270
Drake at James Kelly Contemporary. Drake’s drawings on
some fully fleshed, some sketched like studies, along with
& 1271 (2014) features an elegantly drawn birdcage over
paper fold time back on itself, both in the sphere of the
the printed Old Master plates, invite a poetic exercise in
a collage of printed plates and text. The text outlines the
personal life of the artist and in the timeless patterns of art
discovering—or inventing—associations.
formation of the Budapest Museum as wrapped up with the
history. The resulting installation is simultaneously wistfully
The elusive nature of these connections makes viewing
Hungarian socio-political struggle to attain freedom from
the works akin to listening to a private conversation, as if the
the Habsburg monarchy in the mid-nineteenth century.
The ten drawings on display are products of a
artist was in dialogue with his younger self. Indeed, it is difficult
The book posits that public access to fine art was and is crucial
commitment to draw every day for two years, an effort that
for the onlooker to parse intentional mark-making from the
for cultural and artistic innovation, a sentiment that must
resulted in over twelve hundred drawings. The bulk of that
marks, stains, and wear of time; the accidental process of
have struck a chord with Drake, as his work in Pages pays
endeavor is being shown in a concurrent exhibition at the
creation from the intentional. For example, in Eye & Mouth,
homage to his own access to the work of the Old Masters.
Museum of Contemporary Art San Diego in the exhibition
drawings #1252 & 1253 (2013), two book pages arranged
The content of the text finds its allegory in the lovely, empty
James Drake: Anatomy of Drawing and Space (Brain Trash). The
in a diptych bear faint yet meticulous sketches. An open eye
birdcage rendered alongside it.
selection at James Kelly Contemporary is an intimate group
on one, a parted mouth on the other, the papers are stained
The introspective environment of the installation feels
of drawings arranged in collages, diptychs, and triptychs.
with neutral washes of ink. It is unclear whether these faces
both like a love poem and an elegy. There is melancholy in
Each of the works is drawn on and comprised of pages of
are in the process of fading away or newly emerging. Either
the loose, organic washes of ink, and the curling, yellowing
the first book on drawing the artist acquired as a young man.
way, the sketches percolate within the rich fabric of the book
papers, remnants of a life. There is also profound respect
Master Drawings from the Collection of the Budapest Museum
pages, delicate insights into the artist’s process, practice,
and humility as Drake acknowledges his indebtedness to the
of Fine Arts, 14th–18th Centuries (Abrams, 1956), which
and preparation.
traditions of the creation and dissemination of art in the best
romantic and refreshingly contemporary.
way possible: his own contemporary innovations and unique
contains reproductions of Old Master drawings, is now
In the same way that the works are self-reflexive, they are
yellowing, stained, and appears to have been well loved.
historically reflexive. Homage is paid to the sphere of influence
creative vision.
Drake dismembered the volume and removed its pages to
to which the artist is indebted, as well as to the tradition of art-
—Lauren Tresp
add his own drawings on blank pages as well as over and
historical study itself. Included in the collaged papers are pages
across the works of his art-historical predecessors.
of text from the book of drawings. In Accelerators, drawings
An impressive draftsman, the artist alternates between
SEPTEMBER
2014
#1262, 1263, 1264 & 1265 (2014), the book’s introduction
James Drake, Birdcage, drawings #1266, 1267, 1268, 1269, 1270 & 1271, graphite on book pages, 38” x 72”, 2014
THE magazine | 55
SAM SCOTT
MESSAGES FROM THE WOUNDED HEALERS
Shining Back, oil on canvas, 80” x 54”, 2014
Center for Contemporary Arts 1050 Old Pecos Trail, Santa Fe • 505-982-1338 Opening Reception: Friday, August 22 from 6 to 8 pm. Artist Talk: Saturday, August 23 at 2 pm. Sam Scott is proudly represented in Santa Fe by Yares Art Projects • 123 Grant Avenue, Santa Fe • 505-984-0044
CRITICAL REFLECTION
Dana Newmann: In the Realm of Surrealism
Phil Space 1410 Second Street, Santa Fe
IS THERE ANYTHING OUT THERE THAT DANA NEWMANN CAN’T USE IN HER ART? My work is built from the ephemera of everyday life. —Dana Newmann
spoons, and five wooden fish hanging mobile-like in front of
the story possibilities are endless. The Dialogue photographic
what was once a gorgeous flower-painted clock face. Plenty
pairings are pure cleverness and creativity. In Dialogue IV we
of story elements here. The Surrealist’s Cabinet of Wonders
find two nineteenth-century photographs called cabinet cards.
features a bright green wooden suitcase and its title is hand-
The photos are of two young women, obviously sisters.
There are tiny charms hiding in her collages. There are pages
lettered in white onto black piano keys glued to an outside
Newmann has hand-lettered onto each photo a conversation
from music manuscripts and dictionaries. Animal teeth,
edge of the case. Just like the wall pieces, the cabinets are like
about sibling rivalry where the sister on the left touts her status
marbles, political campaign buttons; nothing is off limits.
three dimensional collages and should also be read like ever-
as firstborn and the sister on the right boasts about being
And it isn’t really that she repurposes these things. It’s more
shifting stories. Newmann has been a collector of treasures
prettier and thinner. In Dialogue V the entire conversation
like a rescue operation. I look at her work, whether it’s the
throughout her life and using them in her art is what she
among the pictured individuals takes place through collaged
framed collages, the shadow boxes, the curiosity cabinets, or
describes as a way to “honor the objects but at the same time
fortune cookie inserts. Fire is a somewhat simpler collage, but
an altered book retelling of a Max Ernst novel, and I see a
pass them along into life.”
with big impact. One day while cutting up an old dictionary and
million little details from my own history. Isn’t that a game
The gallery’s largest room holds nearly two-dozen framed
tossing the pieces onto the embers of a dying fire, Newmann
piece from Monopoly hiding in that collage? Wait, didn’t I have
collages, “psychological studies,” and “dialogues.” In much of
retrieved the page where the word fire appears. She collaged a
a tiny pocketknife like that once? (I gave it to Barbie; it was her
Newmann’s art, she offers us the tools to tease out a story, or
second singed page under it and added snippets of burnt-black
size.) And the vintage photographs are just like those of my
even several. Her philosophy is that the work should be read
paper as highlights. The result is eerie and beautiful. Newmann
great-grandparents.
like books, and then reread to glean even more detail from the
may categorize her work as surrealist, and she’s right, but she also brings us face to face with the grim reality of childhood gone
Newmann has an interest in the history of art, and the
elements, or to come up with a whole new story. In A Matter of
pieces in the show’s front room are collages reworked from
Physics she gives us page one of a musical score, a letter-E stencil,
and past treasures lost.
history. She has taken pages from a reprint of Max Ernst’s
part of an ornate picture frame, and a little cluster of green
—Susan Wider
1934 surrealist graphic novel, Une semaine de bonté, and
European postage stamps. From these superimposed elements,
Dana Newmann, Memento Mori Curiosity Cabinet, 24”w x 21”h x 6”d, 2010
collaged bits and pieces of cutout images onto the original pages to create a new feminist reading of the novel. In addition to the three framed single pages on the walls, we can also page through the entire book (conservator’s gloves provided) which rests on a nearby lectern and contemplate Newmann’s use of strategically placed cutouts of snakes and vegetables. On one page a man’s head has been replaced by an octopus. On another, a woman’s breast has a giant radish pasted onto it. It’s not so much ton sur ton as it is vintage sur vintage. I won’t be able to use old-timey clip art now without thinking of Newmann’s feminist treatise. The gallery’s middle room contains three curiosity cabinets, several wall-mounted shadow boxes, and a demi skull. The skull is an assemblage entitled Sagittal and is perhaps the most interesting of this group of items because the search for what’s inside is ridiculously fun. The skull rests on its right cheek, like a bowl. Everything is Clorox-white and at first the contents look like a bleached brain—the right brain in this case. Closer inspection reveals tiny bits and pieces of, once again, rescued treasures. There are many types of animal teeth, a wishbone, small animal skulls, tiny jaws, and the occasional hand or leg from an antique china doll. It’s hard to stop hunting in there for other things we might recognize. Inspired by sixteenth century cabinets of curiosities, Newmann’s cabinets are also great fun to explore—and this time touching is allowed, no gloves necessary. The cabinets are beautifully planned and are found objects, not built. For Memento Mori Curiosity Cabinet, whose title is written on an oversized luggage tag tied to the handle, the cabinet might have been an old doll trunk or a traveling salesman’s sample case. Inside are milagros, old books, a child’s shoe, antique
SEPTEMBER
2014
THE magazine | 57
Tasha Ostrander: Plains of Apparition
Gebert Contemporary 588 Canyon Road, Santa Fe
ONE BEAUTIFULLY COOL SUMMER NIGHT IN THE MOUNTAINS, THE WILD-ASS sound of hooves a-gallop bounced through the screen
preoccupying Ostrander.
some organic detritus on the floor, which one of the
in thought and manner, I rose to the open door, the
preoccupying humanity right now. From Buñuel up
massive mammals appears to sniff. The view out the
clatter of rock shattering still
through Deleuze you see this “civilization versus
window is a blue rectangle of the adjacent building,
silence.
nature” duality engaged. You see it in Constable’s
but somewhere in the misty background a dreamy
The untamed moon, wide awake like day, lay witness
White Horse and in Nauman’s spinning dogs and deer.
diorama-type Himalayan wonderland lingers like a
to the neighbor’s donkeys running in silver circles
You see it in the ban on filming in meat processing
distant memory. How these daydreaming goat-yaks
against the box canyon walls, braying like asses about
plants, and in the shrinking polar environment.
came to be shopping for a new location for their
having kicked down a small portion of the old man’s
The Deleuzean rereading of the Garden of Eden
finance business is anybody ’s guess. Lord knows it
rickety fence. The sound of their hooves held a
story as boosterism for the Agricultural Revolution
ain’t easy being a taxidermied endangered species,
rhythm that when you listened carefully bespoke their
and a prime source of Western dualism undoes
and the longing for open mountain ranges under blue
mule-headed joy.
the myth. One can envision collapsing the Judeo-
skies can make even the stuffiest people do crazy
of
Christian man vs. nature duality that has become so
things.
digital prints, three free diorama donkeys wander
destructive to human and animal psyches and habitats
One crazy thing about The Takins is that the blue
an ambiguous landscape, ears flattened back, eyes
in order to co-create a future of true sustainability
rectangle of anti-view window can also be read as a
wide.
the
In
Tasha
Ostrander’s
recent
exhibition
In
fact,
this
is
The building seems to contain a big houseplant and allegory
door and broke me from the fields of dream. A-strewn
the
fundamental
and
for all the life forms on the planet. Humans need to
reflection on the glass that frames the print, bringing
taxidermy exhibitions at Philadelphia’s Academy of
nature-harmonize our amazing technologies so that
the image almost subliminally into the viewer’s space,
Natural Sciences (to which Ostrander’s family has
they can be produced, distributed, and employed
as well as creating another meta-level of presentation
donated many stuffed animals) are then digitally
without significant disruption (excepting beneficial
as the viewer decodes the layers of the image. From
superimposed, constituting a surreal world that
augmentation) to the natural systems of production,
diorama with animals and landscape to anonymous
more than anything recalls numerous moments in
including but not limited to soil, water, and air, that
steel and plate-glass space to faux reflection on the
the great films of Luis Buñuel when the barnyard and
sustain all the earth’s animal-people.
window glass of the piece, perhaps the strength of
Photographs
of
architectural
spaces
the boardroom are conflated. As in Buñuel’s work,
In The Takins, one of Ostrander’s strongest
this triple-headed, conceptually circular game of
the architectural settings stand in for civilization
prints, a small lost herd of large, horned creatures
faux and real is what powers this composition and
while the animals symbolize the natural world. Put
moves through what appears to be the second
suggests that Ostrander is actually at her best as an
over
or third floor of an abandoned office building.
installation artist. Where’s the taxidermied yak that
simply,
this
is
the
fundamental
allegory
talks back to Rauschenberg? Why not literalize the echoes, reflections, superimpositions, etc. that fill the prints and really invite the viewer into a new state of awareness? For all their formal beauty (The Owls is lovely) the prints remain elegantly
remote.
Ostrander
is
a
subtle visual thinker and artist, and here she almost disappears into her own reverie. In many ways the images presented in Plains of Apparition can be read as studies for a piece that would require more of the artist’s and viewer’s space-time, as either a timebased media like video, or a spacebased one like installation. Or perhaps this material could be more fully realized through a combination, as has been the case in some of Ostrander’s successful past forays into the very real architecture of the art wilderness.
—Jon Carver
CRITICAL REFLECTION
Unsettled Landscapes 1606 Paseo
de
SITE Santa Fe Peralta, Santa Fe
By addressing land as culturally meaningful as well as simply a place to look at or settle, or exploit, artists can point the way both back, toward lost historical lessons and forward, recalling Marshall McLuhan’s description of art as an early warning system. —Lucy R. Lippard, “Invasive Species, Restlessness, Disturbances, and Other Events,” from the catalogue for Unsettled Landscapes
THE VERY IDEA OF CASTING A NET OVER THE AMERICAS AND EXTRICATING an integrated set of meanings from the enormity of these
corporation’s) life—broods over Unsettled Landscapes. The
In this dense but eminently rewarding exhibition, art is
spaces makes my head swim. The North and South American
artists in this show interrogate aspects of a place whose true
placed in such contexts as deep time, geographical uncertainty,
continents are like the proverbial iceberg that we can only
nature can never be fixed, can never be unequivocally signed,
toxic byproducts, cultural blowback, or historical revisionings,
hint at in terms of its true size because of all the submerged
sealed, and delivered to the great maw of history. I’m thinking
to name only a few of the issues with which the artists grapple
histories, politics, economies, ecologies, and cultural practices.
now of Luis Camnitzer’s fascinating piece on the construction of
in Unsettled Landscapes. In spite of the uniqueness of each
Putting together an exhibition like Unsettled Landscapes—
the Panama Canal, Amanaplanacanalpanama. One could say that
vision, all these projects are related; they are conceptually
with its forty-six artists representing multiple viewpoints and
the epicenter of historical reckoning about our collective sense
nested inside each other, their themes coiling and uncoiling from
methodologies—was a huge curatorial undertaking, to say
of destiny is right here in New Mexico, and only a scant thirty-
within, sharing echoes, shadows, and reflections of knowledge,
the least. Add to that the fact that Unsettled Landscapes is only
five miles and seventy years separate SITE Santa Fe from Los
speculation, interpretation, and imaginative thinking. Yet not all
the first installment of a whole series of related biennials called
Alamos and the nail on which Robert Oppenheimer hung his hat.
of the projects are recent—Agnes Denes’s seminal ecological
In addressing the charged history of our relationship
intervention Wheatfield—A Confrontation, once situated in
Kevin Schmidt’s A Sign in the Northwest Passage was
to nuclear energy and the weapons industry, the group
lower Manhattan, is from 1982. Such thoughtful, probing, and
intended to function as a kind of evil eye against the development
Futurefarmers constructed a work called Forging a Nail, its
critical work takes time to unpack in a viewer’s mind, but the
of natural resources in the Arctic. He constructed a huge sign
relative simplicity acting as a curious mirror to the paradox
rewards are many in terms of visual impact and the artistic
out of wood and carved into it biblical text from the Book of
of modernity itself and humanity’s fraught position within
integrity behind the making of any given piece. Keep this in
Revelations as a warning about the ecological catastrophe that
its continuum. The group fabricated three nails: one from an
mind—an iceberg’s true dimensions cannot ever be adequately
could result from gas and oil exploration in that region. Schmidt
ancient meteorite that fell to earth about fifty-thousand years
determined and the coordinates of a journey around it are always
positioned his slab of wood on a section of the still-frozen
ago; one made of steel pennies used in place of copper ones
subject to adjustment because every iceberg slowly undergoes
Northwest Passage, yet when the artist went back to check on
during World War II; and the third nail made from Trinitite, a
its own erosional process as it drifts, like this exhibition, from
his sign a year later, no trace of it could be seen anywhere, either
residue of the first atomic bomb test that took place in Southern
the Arctic Circle to Tierra del Fuego and beyond, calving as it
by air or by boat, in the open water that he found. This piece
New Mexico. The fourth nail in this work was only referred to in
goes along.
casts a long shadow over the drama of climate change and the
a copy of an interoffice memorandum from Los Alamos, dated
—Diane Armitage
implications for the development of the Arctic as a result of the
October 18, 1943. In it is a request from Oppenheimer for a nail
melting ice.
on the wall that he could use to place his now-iconic fedora. In
SITElines that will unfold over a period of years.
If Schmidt’s piece points a finger at the indifference with
this work of concise artistic choices full of a haunting resonance,
which a big corporation meddles in the fate of an ecologically
Futurefarmers dug into the files of history and constellated one
sensitive
of the great conundrums of contemporary life.
region,
Melanie
Smith’s
extraordinary
video
Agnes Denes, Wheatfield—A Confrontation: Battery Park Landfill, Downtown Manhattan—With Statue of Liberty Across the Hudson, two acres of wheat planted and harvested by the artist a block from Wall Street and the World Trade Center, 1982. Commissioned by Public Art Fund, NYC. © Agnes Denes. Courtesy Leslie Tonkonow Artworks + Projects, NYC.
Fordlandia—a work filled with gorgeous images shot in the Amazon jungle and judiciously edited into a visual tapestry full of wonder and melancholy—steeps itself in an historical event. Fordlandia addresses not only current signifiers of life in the Amazon, with its insane riot of flora and fauna, but a segment of past corporate tinkering as well. In the early 1920s, Henry Ford attempted, but ultimately failed, to set up a factory there. Smith uses no narrative text in her critique of Ford’s dreams of mechanization in the steamy tropics. She relies instead on the juxtaposition of stunning visual sequences to allude to the reasons why Ford was not successful in producing the world’s largest supply of rubber; he failed because he was never able to grasp the bigger geographical picture with its literal and figurative Amazonian complexity. The idea of a sense of place—the deeply held belief in it or the reverse, its unimportance in a person’s (or a
SEPTEMBER
2014
THE magazine | 59
Meridel Rubenstein: Eden Turned On Its Side: Selections from Photosynthesis
David Richard Gallery 544 South Guadalupe Street, Santa Fe
EDEN TURNED ON ITS SIDE IS A NINE-YEAR ENDEAVOR IN THREE PARTS: Photosynthesis, The Volcano Cycle, and Eden in Iraq. A selection
industrialization, and destruction. To capture this Edenic ideal that
from the first series (started in 2007) and two volcano images
informs Photosynthesis, Rubenstein photographed people and
are hanging in a small side room of David Richard Gallery. The
vegetation from New Mexico, Vermont, and Singapore.
decontextualizes the object in reconsideration. In digital postproduction, Rubenstein repeatedly uses a large central circle suspended amid puffy white clouds that acts
expected completion of Eden in Iraq is 2016. Meridel Rubenstein
Perhaps the most literal selection is a grid of nine
like a thought bubble, a magnifying glass, and a globe all at once.
is a renowned photographer and environmentalist asking through
photographs, each with a single leaf from a different tree in a
Its contents vary, but its most basic image, seen in Gaia Cloud
this timely series, “Can Eden be restored?”
different stage of photosynthesis. These specimens transcend
and Winter Cloud, is a simple circle whose contents are inverted
Rubenstein (along with plenty of others) maintains the
their weary decay and, magnified, their decomposition becomes
using Photoshop. Greek mythology identifies Gaia as one of the
Judeo-Christian ideal of Eden that the Earth was at one time
filigree and the green, gold, yellow, and orange become idyllic
primordial deities and more succinctly as the personification of
perfect. First there was light, which allowed for photosynthesis,
displays of the intelligence of nature. They float in darkness on
earth or even Mother Earth. Gaia Cloud conjoins heaven and
vegetation, and life. A symbiosis between man and his lair was born
black grounds as if to indicate the pending absence of light. Like
earth while probing the existence of heaven on earth.
that we really still depend on today despite millennia of innovation,
Georgia O’Keeffe’s abstracted plants, Photosynthesis Leaf Grid
The floating mandala in Fall Seasonal illuminates an autumn tree—ancient and wise in its enormity and healthy in its idyllic brilliance. It may as well be the tree of knowledge where we ate the apple, where our eyes were opened, and from which we thus endured expulsion. Paradise was barred but also preserved. Fall Seasonal suggests this distance and dislocation while referencing another creation story: the Big Bang. A fertile ball floats in a gaseous atmosphere ready to combust. Winter Seasonal is the sibling image, which documents a leafless tree preserving its energy through the cold. In both of these images, the tree is chopped into smaller frames of macro and micro rectangles that, pieced together, offer a multi-perspective composition of paradise, proposing nature’s omniscience. Rubenstein writes that “wherever people thought there to be Eden, invariably there would have been some sort of environmental conflagration that destroyed it.” The flaming sword barring entrance to the Garden of Eden in Genesis is just one example of this heated destruction that forms section two. The Volcano Cycle concretely focuses on Indonesia’s Ring of Fire and Mount Toba’s eruption over seventy thousand years ago, theorized to have caused a global catastrophe resulting in a bottleneck in human evolution. These images are printed on aluminum panel to evince “deep, geological time full of minerals and melted ore.” For Eden in Iraq, Rubenstein went to Southern Iraq’s former marshlands, also known as Mesopotamia, which are cited as the hub of civilization if not the original Garden of Eden. In 1991 (following the First Gulf War), Saddam Hussein diverted the Tigris and Euphrates rivers, thereby making the area inhospitable for refuged militiamen as well as for all the other mammals and fish. The previously dense ecosystem was drained, leaving behind a desert. Rubenstein and environmental engineer Mark Nelson want to restore this site of war and destruction to a brimming garden, reinstating Eden to this post-Edenic site. In this epic trilogy there is no fairytale or apocalyptic beginning and end, but instead a cyclical proposition of birth, destruction, and renewal. Rubenstein seamlessly stitches together our legendary fables with our ephemeral geography and prompts intent reconsideration of our cultural heritage and legacy.
—Hannah Hoel
Meridel Rubenstein, Fall Seasonal, archival pigment inks on Hahnemuehle 100 rag paper, 67” x 48 ¾”, 2010
CRITICAL REFLECTION
Unsettled Landscapes 1606 Paseo
de
SITE Santa Fe Peralta, Santa Fe
TOO MANY WORDS; NOT ENOUGH OOMPH. THAT’S THE IMPRESSION I WAS left with after walking away from SITE Santa Fe’s latest
The New Yorker review—to be able to “relax and enjoy” the
years after what some of these people are suggesting was
biennial effort. Before delving more deeply into the
art without having to either “be maddened” by inaccessible
the organization’s heyday, SITE has failed to impress, again.
exhibition, Unsettled Landscapes, I need to establish two
imagery or look up its every detail in a “brainy” catalogue.
What has happened to New Mexico’s most important
major points. First, I sincerely appreciate that, under the
Which brings me back to my original point: Why do we have
contemporary-art organization? Does the board think they
directorship of Irene Hofmann, the institution has examined
to pore over a lot of verbiage in order to understand A)
can rest on SITE’s laurels? Do they realize that the better
and subsequently shifted the biennial experience from its
what the biennial is about, and B) the relevancy of each of
you are, the better you need to become?
by-now-tiresome “parachute” track, wherein the usual
the artworks to the exhibition as a whole?
One of the above-mentioned friends has called this
suspects, members of the international art elite, swoop
Here’s the bottom line, SITE: We want to be wowed!
failure to continue to conceive of and execute visually
down upon some exoticized locale and do their artsy thing.
Not made to feel guilty or, depending upon our backgrounds
stunning art exhibitions the “Louis Grachos effect,”
After the big gala and a panel or two, they swoop back
and ethnicity, politically correct, and/or exonerated. Didactic
which goes like this: The person who can administer an
out again, leaving the local population largely unmoved by
strategies and documentarian methodologies get old quickly,
organization like SITE and be a great curator (as Grachos,
the fact that a significant art event just took place in their
especially when we dare to presume we’ve gone to a venue
who is now executive director of The Contemporary
city. Second, there are works in this exhibition that serve
to look at, excuse me for being old-school, art.
Austin, did) is one-in-a-million. And Grachos (with a few
as exceptions to my opening statement. Among them is
What SITE did from its opening venture in 1995, up
very well-chosen guest curators) did it back in 1996 up
Liz Cohen’s Trabant lowrider, a real crowd pleaser and a
into the early 2000s, was gutsy, phenomenal, and rare in
through the early 2000s. Those were different times; even
compelling work of art. But Santa Fe has seen it before,
the art world. Postmark: An Abstract Effect (1999), curated
he probably couldn’t do it all today. The board needs to hire
some years ago at the Center for Contemporary Arts.
by Louis Grachos; and Beau Monde: Toward a Redeemed
an outstanding executive director and let that person direct
Jason Middlebrook’s Your General Store was a treasure
Cosmopolitanism, SITE’s Fourth International Biennial (2001-
the damn place, meanwhile employing a consecutive slew
trove of weird goodies you could trade for similarly weird
2002), curated by Dave Hickey, were benchmarks in the
of brilliant curators. When it comes to SITE Santa Fe, I’m
goodies, an enjoyable way to browse, in a yard-sale trance,
organization’s history. Several other standouts come to mind,
not ready to settle. I hope its board members aren’t either.
through a chunk of time. A pair of works dealing with
including 2003’s Uneasy Space, the first two biennials, and
—Kathryn M Davis
New Mexico’s atomic past also caught my attention: one
Andy Goldsworthy and Janine Antoni’s shows, not necessarily
a poetic and oddly touching piece by Futurefarmers about
in that order. It’s been quite some time since this town has
Robert Oppenheimer’s desire for a nail on which to hang
witnessed art shows that held together like those did.
his hat (see the preceding review); the other comprising three poignant photographs by Albuquerque artist Patrick
Several
of
my
friends
have
reported
their
Kent Monkman, Bête Noir, acrylic on canvas with sculptural installation, 16’ x 16’ x 10’, 2014. Courtesy of the artist and Sargent’s Daughters, NYC. Photo: Eric Swanson
disappointment in the current biennial. A dozen or so
Nagatani. And who could forget Miss Chief, Kent Monkman’s fabulous alter ego in his installation, Bête Noir? I’d go back simply to see that piece again. One work mentioned favorably by nearly everyone I’ve spoken to about the biennial is Miler Lagos’s The Great Tree, made of locally sourced newsprint. It’s beautiful, but there lies its onus. It’s an easy piece (easy to admire, that is) that doesn’t do much in the way of conveying meaning solely through its visual merits. I wanted to “get it,” at least on a subconscious level, without having to read an encyclopedic entry about it. Still, this work is better than most of the other entries offered in the show, in that it might, simply by virtue of its likeability, stimulate viewers to search out its message. But whatever happened to visual ascendancy? At a certain point in any exhibition, most of us would like—to paraphrase Peter Schjeldahl in his latest
SEPTEMBER
2014
THE magazine | 61
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CRITICAL REFLECTION
Christopher Benson: Withheld Narratives 1613 Paseo
LewAllen Galleries Peralta, Santa Fe
de
THIS IS SIMPLY THE WAY THINGS ARE: THEY STAND, THEY SLOPE, THEY REFLECT light—that is the first impression I get from many of the paintings
utilitarian spaces, with bonus stark rectilinear shadows. Morandi
immanent meaning; Matisse in terms of the intimate engulfing of the
in this show. The exhibition’s title Withheld Narratives implies there
and de Chirico come to mind as painters who, in their works that
figure in the composition, bringing both to life more vividly. What
is something more, something one ought to try to ferret out. But
portray streets and buildings, created a similar sense of stillness
is intriguing is how Benson generally effaces his technique, while
I for one am happy just to gaze at these tableaux as if they were
and inevitability. But Benson is too much a modernist to leave it
occasionally letting it pop out like a sly smile. For example, in Interior
windows into singularly serene parallel universes, looking much like
at that. In Roswell #6 his charming willingness to “break the rules”
with Sleeping Girl he allows himself to show off just a bit, rendering
this one only cleaner, tidier, and somehow less contingent. Tiverton
reminds us that the artist is making subtle, sophisticated choices. At
the figure’s foot as distorted through the glass of a coffee table.
Window explicitly enacts this windowing quality by showing (as if
the picture’s center, the sunlit expanse of a big blocky rectangular
My favorites of the show oscillate between Cordova Ruin
pulling back a movie camera) an actual window, along with the
chunk of warehouse looms at us, deliberately out of tune with the
and Truchas #1. Large Figure is a simple nude rendered in broad
room, in which sunlight is conjured by luscious color lavishly applied
perspective of the rest of the image, calling into question the illusion
brushstrokes, the kind of confident painter’s gesture that allows
to an area on the lower left. Several canvases (with titles like Black
of a “realistic” space in which these buildings exist. In Black Mesa 5
the paint to just be what it is on the canvas. In Tintagel Castle Ruin,
Mesa 4 or Truchas #1) portray serene parallel-universe northern
the banality of the content plays against the painter’s deft rendering,
a landscape that looks more like Ireland than New Mexico, the
New Mexico landscapes containing trucks, buildings, blacktop,
engendering in this viewer a kind of hovering attentiveness.
technique is less sharp-edged, allowing itself to slide towards
fences, bushes, trees, power lines, telephone poles, the shadow of wire on asphalt—normally ignored visual phenomena.
Then there are the interiors with figures. Echoes here of both
the canvas rather than evenly distributed with uncanny clarity.
—Marina La Palma
Nowhere in evidence, narratives are perhaps being implied.
in those two artists’ rendering of interiors and the consequent
If you choose to imagine some, then go ahead, enjoy. Roswell
differences in the affect of those spaces and their occupants:
#5 and Roswell # 7 possess the repose of empty industrial or
Hopper because of the way ordinary spaces are made to quiver with
SEPTEMBER
2014
abstraction, the focus bunched into one place near the center of
Edward Hopper and Henri Matisse, despite the strong difference
Christopher Benson, Black Mesa 4, oil on linen, 46” x 58”, 2010
THE magazine | 63
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CRITICAL REFLECTION
Roger Green: Series Pentimenti
FreeStyle Gallery 1114 Central Avenue SW, Albuqzuerque
ALBUQUERQUE’S FREESTYLE GALLERY IS A FITTING VENUE FOR ROGER GREEN’S Series Pentimenti, an exhibition that celebrates erosion and
a profusion of dust and detritus. He then applies additional
phantom afterimages of fish as they hover at the threshold of
erasure as essential aspects of the creative process. Perched on
coats of paint, but never enough to fully conceal the previously
visibility. These shapes never crystallize into depictions of actual
historic Route 66, the gallery has seen a long line of businesses
inflicted lacerations. Given the rigors of this process, one might
koi bodies, but rather remain in that liminal zone between
and urban development projects rise and fall in its midst. The
expect the final painting to have an uneven, densely textured
form and non-form, veiled figuration and pure abstraction.
current landscape includes a laundromat, a dilapidated motel,
surface. But the opposite is true. At Green’s insistence, I ran my
The double entendre of the painting’s title—Reflections on a
and a hot-dog drive-through. Empty lots and outdated signage
finger over Fossil I and found it silky smooth. Before displaying
Koi Pond—is telling in this regard. Wisps of green and turquoise
memorialize the city’s previous incarnations. This ephemerality
his works, Green uses a hand grinder to erode their scarred
impart a shimmering quality that recalls the Impressionists’
is also palpably present inside the gallery, where, just prior
surfaces into perfect flatness.
captivation with the intricacies of light. But the palimpsestic
to the installation of Green’s works, a plumbing mishap sent
This aesthetic choice is proof that Green’s abrasive,
layeredness of the composition shifts our focus to how the
water through the ceiling, soaking sheetrock and drenching
destructive techniques are not meant to shock and provoke
artist has refracted this visual experience through the lens of his
the roughhewn wood floor. All of this is a perfect backdrop
à la the Dadaists. Despite the seemingly haphazard erasures
subjectivity. Series Pentimenti is less interested in the end result
to Green’s exhibition, which draws its inspiration from the
of his creative process, Green’s finished works project an
of this alchemical process than in the interlinked evolutionary
layered remnants of advertising posters that captured the
undeniable symmetry and controlled formalism. Reflections
stages by which it happens. Each work in the series is a visual
artist’s attention when navigating Chicago’s subway system as
on a Koi Pond—a standout in the show—attests to one of the
record of the many additions and erasures it had to endure. Flat,
a child. The translucent, wafer-thin vestiges of these posters
artist’s abiding preoccupations: the highly charged space where
ground-down surfaces simultaneously conceal and reveal what
ignited a fascination for the way time erodes and accumulates
form and formlessness bleed into one another. An oceanic,
lies beneath—the ghosts of what once was, suggestions of what
on surfaces. Hence the series title of Pentimenti, which refers
pulsating blue reminiscent of the German Expressionists draws
could have been, and hints of what still is.
to an image comprised of older images that have been partially
the eye into the composition, while blood-orange splotches
—Christopher Guider
erased or obscured.
evoke the bulbous bodies of well-fed koi. White, scratched-out
As an homage to this phenomenon, Green’s latest series
brushstrokes create a ghost-like effect, as if we’re looking at the
Roger Green, Reflections on a Koi Pond, acrylic on board, 24” x 24”, 2014
privileges the artistic process over the finished product. This is skillfully exemplified in his painting Fossil I, which resembles an aerial portrait of a frozen, wind-swept planet. Deep-blue rivulets weave and wind their way across the canvas, while white lines applied with an oversize, paint-encrusted brush create the friction, grit, and texture so central to his aesthetic. Green unearths forms hidden beneath the abraded surface, chipping and chiseling away negative space to expose depth and interiority. The non-figurative language of the work means we’re not shown an actual fossil, but rather a window into the excavation process itself. There’s no primordial gestalt to be discerned, just an endless transposition of archeological layers. The painting bathes the viewer in a spectral light that has passed through and been altered by each of these layers. In keeping with Green’s Abstract Expressionist heritage, Fossil I and the other paintings in the series convey a resolute flatness, an unapologetic two-dimensionality. But, remarkably, this flatness manages to communicate substantial depth thanks to scratched, see-through surfaces that reveal previous coats of paint. Like Penelope unraveling her shroud each night, Green paints over previous versions of his work and selectively scrapes away sections of the composition, which recalls the grattage techniques of Surrealist artists such as Max Ernst and Joan Miró. These purposeful erasures and erosions—which Green refers to as “the subtractive process of artistic production”—position creation and destruction as inseparable yin-yang forces. Green repeatedly wounds his compositions, sometimes scraping hard enough to reveal the white, goose-bump protrusions of the underlying canvas. “Every surface craves dust,” wrote the Russian poet Joseph Brodsky, “for dust is the flesh of time.” As if to prove that assertion, Green grinds and gouges early versions of his works to create SEPTEMBER
2014
THE magazine | 65
THE PREMIER COMPANION FOR YOUR ART JOURNEY
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SEPTEMBER
2014
THE magazine | 67
MARK Z. MIGDALSKI, D.D.S. GENERAL AND COSMETIC DENTISTRY “DEDICATED TO PREVENTION, SERVICE & EXCELLENCE”
A R C H I T E C T U R A L D E TA I L S
INDIAN SUMMER photograph by SEPTEMBER
2014
Guy Cross THE magazine | 69
WRITINGS
SURRENDER by
Sasha LaPointe
For you I would climb into the ring bare knuckled I want to fight you bare fisted and I want to fight dirty I want to put you in the petticoats this time tie you to the rail road tracks watch you sweat and just before the whistle blows loosen the knots I want to shackle you to the walls in the dark of my basement I want to remove the gag and spoon feed you your favorite flavor of ice cream I want to tell you you’ve been a very bad boy and stomp each stiletto up the staircase make you watch the swing of my hips the whip in my hand as I slam the door behind me I want to scratch our initials in the thin skin on your shoulders I want to inflict and lick the wounds I want to blind fold you in the kitchen and cook you breakfast naked for you I writhe around the floor pull my hair and claw at my clothes and when I see you there in the doorway as you catch me here a fist full of my own hair and sweating I get up smiling I straighten my skirt say what I always say what I only ever say good morning and you watch as I walk away
Sasha LaPointe is a Coast Salish Native from Seattle, Washington. She is currently pursuing her undergraduate work at the Institute of American Indian Arts with a focus on creative writing. She has published work in As/Us: A Space for Women of the World and in Aborted Society’s ABSOC Zine.
70 | THE magazine
SEPTEMBER
2014
Laura
Suzanne
W i l s on
Ca porael
laura wilson, Angelica Huston and wes Anderson, the royal tenenbaums , 2001, inkjet print
Suzanne Caporael, 670 , 2014, oil on linen
AuguSt 29 2014 – September 27 2014
AuguSt 29 2014 – September 27 2014
opening reCeption:
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R e c e n t
P a i n t i n g S
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Renate Aller: Ocean | Desert September 5 - October 4
Reception: Friday, Sept. 5 , 5-7 pm
Solo E xhibition - L ar ge Scale Photography
Ocean | Desert, #103 - Great Sand Dunes, November 2011, Archival pigment print, 30 x 40
Ocean | Desert, #19 - Atlantic Ocean, November 2013, Archival pigment print, 40 x 60
The Edges September 5 - October 4
Reception: Saturday, Sept. 13 , 2-4 pm
Rebecca Bluestone - Chris Richter - Jay Trac y
Richter, Greenspace
Tracy, Blast: Detail #41 Bluestone, Landscape Series Triptych #4
c h i a r o s c u r o 702 1/2 & 708 CANYON RD AT GYPSY ALLEY, SANTA FE, NM
www. chiaroscurosantafe .com
505-992-0711