THE magazine - April 2016 by FlavorGrafix Design

Santa Fe’s Monthly

m a

of and for the Arts • April 2016

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CONTENTS 12

FEATURES universe of Martha Tuttle s e is m i c c h a n ge i n s a n ta f e by Kathryn M Davis interview Merry Scully Alcoves 16/17 at the New Mexico Museum of Art

ARTS art openings Art openings, exhibitions, events, performances, and calls for artists

p r e v i ew s Tom Sathers: Praying Without Words and 2016 Summer Workshop Preview at Santa Fe Clay Cig Harvey: Gardening at Night at photo-eye Gallery

national spotlight Idealogue at the Utah Museum of Contemporary Art critical reflections Akunnittinni: A Kinngait Family Portrait, IAIA Museum of Contemporary Native Arts Allison Smith: Source Materiel, CCA Santa Fe At Home in the World, 516 Arts, Albuquerque House of Eternal Return, Meow Wolf Art Complex Raylets, Radical Abacus Spectrum, Peters Projects Works on Paper, James Kelly Contemporary

DEPARTMENTS 05

letter from the publishers emeriti

the library

studio visits

Bill Viola

Jamie Hamilton Marion Wasserman

dining guide

Radish & Rye and Sage Bakehouse

out

photography

about

one bottle

I want a fish tank in my bathroom, not life insurance by Craig Duncan

The 1982 Cheval Blanc by Joshua Baer

w r i t in g s

the survey

Literary Witches text by Taisia Kitaiskaia illustrations by Katy Horan

In Pursuit of Cultural Freedom

READINGS & CONVERSATIONS

is 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.

brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction and poetry to read from and discuss their work.

JUAN COLE

KARL OVE KNAUSGAARD

with

Phyllis Bennis

with

Zadie Smith

WEDNESDAY 6 APRIL AT 7PM LENSIC PERFORMING ARTS CENTER

WEDNESDAY 27 APRIL AT 7PM LENSIC PERFORMING ARTS CENTER

Tickets on sale now

What began as a Syrian youth revolt morphed into a civil war and then into a set of apocalyptic Muslim extremist movements. These developments provoked regional, followed by international, intervention by NATO, Saudi Arabia, Russia and Iran. Millions of Syrians have fled abroad, creating a European refugee crisis. How to make sense of this most devastating conflict?

Karl Ove Knausgaard is a Norwegian author whose books

— Juan Cole

Juan Cole is a Middle East scholar, distinguished academic, and commentator who, for three and a half decades, has sought to put the complex relationship between the West and the Muslim world in historical context. He has written extensively on modern Islamic movements in Egypt, the Persian Gulf and South Asia. He is the author of Engaging the Muslim World and, most recently, The New Arabs: How the Millennial Generation is Changing the Middle East. He has regular columns at The Nation and Truthdig, and blogs on Informed Comment at juancole.com. He will talk about Syria as a global conflict: ISIL, Al-Qaeda and international intervention.

TO PU RCHAS E TICKETS:

Ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID

www.lannan.org

include A Time for Everything and Out of This World as well as his six-volume, 3,600-page autobiographical novel, My Struggle. Dubbed “a Norwegian Marcel Proust,” Knausgaard begins his story in Book One almost ten years after his father has drunk himself to death. Reflecting on this time while embarking on a new novel, the narrator breaks down his own life story to its most elemental occurrences. Long passages reflecting on art, literature and music are interspersed with everyday details in the life of an ordinary Scandinavian. Translated into English by Don Bartlett, Books Two through Four (with translations of Five and Six forthcoming) continue Knausgaard’s epic, with deep introspection on love, family, friends, childhood, and coming of age. Reflecting on the history of notions of life and death, Knausgaard asks, “What was man on this earth other than an insect among other insects, a life-form among other life-forms, which might just as well take the form of algae in a lake or fungi on the forest floor, roe in a fish’s stomach, rats in a nest or a cluster of mussels on a reef?”

LETTERS

magazine VOLUME X XIV NUMBER VIII WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 and 2006 Top-5 Best Consumer Tabloids

P ublisher / E ditor L auren Tresp P ublishers E meriti G uy C ross J udith C ross A rt D irector C hris M yers A ssociate E ditor / D irector of P hotogr aphy C l ay ton Porter C opy E ditor Tim S cott P roofreader K enji B arrett P hotogr apher A udrey D erell Webmeister J ason R odriguez C ontributors D iane A rmitage , J oshua B aer , J on C arver , K athryn M Davis , J ordan E ddy, M arina L a Palma , J ackie M, I ris M c L ister , R ichard Tobin , S usan Wider C over S iler and R ufina , image by C l ay ton Porter see “S eismic C hange in S anta F e ,” page 31 A dvertising THE maga zine 505-424-7641 L indy M adley 505-577-6310 A riel J ohnson 505-920-1024 D istribution J immy M ontoya 505-470-0258 C alendar E ditor pr @ themagsantafe .com

Letters to the Editor: editor@themagsantafe.com Subscriptions: sales@themagsantafe.com THE magazine is published 10x a year by Tresp Magazine LLC, 320 Aztec St, Santa Fe, NM 87501. Phone number: (505)-424-7641. Email address: editor@ themagsantafe.com. Web address: themagazineonline.com. All materials copyright 2016 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 or for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.

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LETTER FROM THE PUBLISHERS EMERITI In May of 1992, my wife, Judith, and I arrived in Santa Fe from Eureka, California. We knew that great art was being made here and that the city was considered the third largest art market in the United States, all of which sounded wonderful. But after a few weeks in Santa Fe we came to understand that something important was missing for Santa Fe to be perceived as a significant art town. And that something was art criticism, which is a necessity for serious artists. We perused all the local publications and discovered that none contained critical writing. We saw that there was a huge gap in Santa Fe that needed to be filled—a real art magazine— and we decided to fill it. THE magazine’s mission was—and still is—to report and review the arts with intelligence, objectivity, and integrity; to support the spirit of experimentation and innovation; to be receptive to and report new ideas, changes, developments, and theories; and to be a viable and visible presence in the local, regional, national, and international art communities. Over the course of the last twenty-four years, we have published over 240 issues, each reporting on local, regional, and national art and artists. This included over 2,700 art reviews, over 800 previews of exhibitions, over 130 “One Bottle” columns, and over 450 studio visits, as well as articles on and interviews with significant artists that included Agnes Martin, Georgia O’Keeffe, Dale Chihuly, James Turrell, Kiki Smith, Allen Ginsberg, Bill Viola, Thomas Krens, Ed Ruscha, Nan Goldin, Joel-Peter Witkin, Herb Ritts, Willem de Kooning, Fritz Scholder, and Dave Hickey, to name but a few. Artists and writers who live and work in New Mexico have done the majority of the writing in THE magazine. And as we anticipated, THE magazine has become the eyes, ears, and voice of the art community of New Mexico. It is now 2016: our initial mission has been achieved. To us, it has become apparent that this is the time of the changing of the guard, the time for us to pass the torch to a younger generation. Over the past ten years or so, we have had many offers to purchase THE magazine; all of those offers were rejected, as none of the suitors met our high standards. Then, Lauren Tresp— who has written reviews for us since 2012—expressed interest in owning the publication. We met with Lauren many times to discuss the various aspects of producing a magazine and then decided with confidence to proceed with the exchange. Lauren worked with us closely on the last two issues. The issue that you are holding is all Lauren Tresp. Both Judith and I are confident that Lauren will grow the legacy of THE magazine and take it to new heights. As the new publisher and editor, Lauren will certainly make changes. Know this: change and growth are good. We will be available to Lauren for consultation and support through 2016. We thank all of our readers and advertisers, our designer, writers, photographers, contributors, and our crew: proofers, tech support, distributors, printers, social media manager, and friends for the tremendous assistance we have received over the years. Editing and producing THE magazine has been an incredible ride for both of us. And the bottom line is this: it has been a true privilege to document the art scene in New Mexico for the past twenty-four years. We look forward to watching THE magazine grow under the steady hand of Lauren Tresp with the continued support of our readers and advertisers. Thank you!

—Guy and Judith Cross, THE magazine THE magazine | 5

Above: Mark White, High Country Meadow, oil on linen, 30 x 40 inches

EDITH BAUMANN | Painting the Unseen

March 25 - April 25 |

CHARLOTTE JACKSON FINE ART

554 South Guadalupe Street, Santa Fe, NM 87501 505.989.8688 www.charlottejackson.com Edith Baumann, Random Structure #1, 2015, raw pigment acrylic paint on canvas, 52 x 52 inches

Paula Roland

March 23 – April 26, 2016

Uncharted

Opening Reception April 1, 2016 5–7pm RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 875 01 505.820.3300 | WILLIAMSIEGAL.COM

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THE LIBRARY

Bill Viola John G. Hanhardt Kira Perov, ed. (Thames & Hudson)

The birth of a new art form often occurs in an exciting, investigational time, and this is precisely when Bill Viola enrolled in the Experimental Studio program at Syracuse University in the late 1960s and began to discover the possibilities of video as it migrated from the commercial culture of television into the art world. Covering the forty-year span of his career, the monograph Bill Viola (Thames and Hudson, $60), with text by curator John Hanhardt and edited by Kira Perov, illustrates, decade by decade, the artist’s creative process and explores how each piece fits into an overall aesthetic arc. Pages from Viola’s notebooks offer ideas, preparatory sketches, writings, and musings on the works, including references to his myriad sources of inspiration. Throughout his explorations, from single channel video to full-scale cinematic installations, Viola’s themes are rooted in the human body, spirituality, transcendence, and movement. His interests evolve but continually embrace dreams, perception, and the mystical in sound-sensitive environments that illustrate his reverence for nature and profound attraction to temporal cycles of birth, death, and rebirth. The lush quality of Viola’s video imagery permeates these pieces and makes evident his attraction to beauty as a path to transcendence. Each work looks inward, while rejecting the prevailing impersonal modernity for a holistic view not commonly seen in the work of his fellow media artists. Viola approaches his work with self-reflection and openness, and his contributions have been recognized internationally. He was named a MacArthur Fellow, represented the U.S. at the Venice Biennale in 1995, and has received numerous commissions including the Whitney Biennial and a Getty Research Fellowship. The volume provides an in-depth overview of his prolific career with descriptions of the work, from his earliest explorations to Martyrs, a powerful four-panel installation for St. Paul’s Cathedral, installed in 2014. Bill Viola, Martyrs (Earth, Air, Fire, Water), 2014, Color High-Definition video polyptych on four vertical plasma displays. 55 x 133 x 4 in. 7:15 minutes. Performers: Norman Scott, Sarah Steven, Darrow Igus, John Hay (permanent installation, St. Paul’s Cathedral London, on long-term loan from Tate). © 2015 Kira Perov and Bill Viola

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THE magazine | 11

photo: Emmy Thelander

UNIVERSE OF

MARTHA TUTTLE creates wall hangings that exist somewhere between painting and sculpture. The twenty-six-year-old New York–based artist maintains a serious studio practice in which she creates layered textile and paper pieces through a process heavily rooted in hands-on materiality. This includes hand-spinning yarn, weaving her own textiles, using a variety of natural dyeing processes and applications of clay, dirt, salts, and other sediments. Daughter of artist Richard Tuttle and poet Mei-mei Berssenbrugge, Tuttle was born and raised in northern New Mexico. She recently had her first solo show in New York at Tilton Gallery, and was included in the group exhibition Raylets at Radical Abacus in Santa Fe. In her own words, she gives us a glimpse of her universe:

NEW MEXICO / NEW YORK I’m not sure I’m even aware yet how important New Mexico is to me, and to the work I make. It’s the tradition of weaving and the earth pigments I use, of course. And the smoke collecting in the valleys in the wintertime, and the conversations between ravens, and the little yellow flowers growing through soft rock face. More than any one thing, though, it’s the specific sense of spirit that I feel, even at a distance, but that I’ve never been able to find words for (of the land? of the people? of the light?). Before, I always thought literary descriptions of the physiological effects of homesickness were dramatic exaggerations. Now, sometimes I miss seeing the mountains so much I begin to feel my chest tighten. New York is wonderful also, of course, and in a way I think it shares a kind of wildness with New Mexico. But the energy I feel when I’m there comes precisely because it isn’t home; it’s a place to move through, engage with, but not get too comfortable in.

RUPTURES / JUNCTURES / GENERATION I like to think that an experience of physicality, either through time or weather, should not automatically equal degeneration or decay. For me, the moment of rupture or change is often when things start to get interesting. I don’t really plan for moments of rupture, but I don’t try to prevent them either. I generally find them really beautiful, like moments of unexpected drawing. Weaving is important to me for many reasons, but one is that a moment of inconsistency APRIL

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or rupture in the process forms simultaneously with the whole. MY UNIVERSE / MY STUDIO / MY DAYS I’m pretty specific about my studio and my studio practice. I’m easily influenced, and I have to be careful to keep my thoughts on one project at a time. For example, in my studio I don’t have anything on the walls except for what I’m working on. I also only have the books in my space that I’m currently thinking about. I guess I feel like even glancing at something outside my focus can affect the work. I also feel strongly about making many versions of an idea (usually ten) before moving on to the next. A lot of these versions I might not keep, but it gives me time to understand why I’m interested. One way I figure out if I like a work or not is to ask myself if, for some reason, I had to leave my studio immediately and never come back, whether or not I would take the time to bring that work with me. If the answer is no, I throw the work out. Another way I can tell it’s a good work is if I really want to take the time building a solid box to store it in. I generally don’t go back and work on pieces; it’s better for me to start over. If I re-work on something, I often feel like some of the spirit is lost.

INFLUENCES / INSPIRATION / IMPACT I’ve been thinking a lot about the way Agnes Varda moves the camera over her aging hands in her film The Gleaners and I. Also, the way both Simone Weil and Clarice Lispector address beautiful and tragic impermanence or the simultaneous vibrancy and fragility of the present moment.

I’m thinking about the sense of grace in a Shaker rug in one of the American rooms of the Metropolitan Museum. A quiet breath flowing through continuous line. And unraveling Egyptian linen fragments, and an aerial photograph of gray waves crashing onto a black sand beach somewhere north. I like to read Leslie Marmon Silko’s Ceremony about once a year.

VISUAL / TACTILE / TIME Spinning and weaving are remarkable because they are so quick to reveal a waver of focus. I begin to wonder if all pieces of handmade cloth may be read as records of wandering and attention. Spinning, weaving, and other materialmaking processes take up much of my studio time, and the labor becomes both my meditation and my place for continued physical engagement. The thing that’s the most important to me in my work is figuring out how I can feel a sense of belonging to my world. The world is made up of matter and so am I. And my instincts say that both touch and labor (time) are the most valuable tools I possess if I want to pursue the collapse of boundaries between my body and surrounding forms. (Is this elaborated intimacy?) I engage with the world, yes, but it also leaves its mark on me. I think, though, that this is a rare feeling to attain, or at least one that remains inconceivable to me. Because I have never experienced this kind of collapse, it becomes an art question, an unanswerable pursuit that pushes me to my work. THE magazine | 13

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STUDIO VISITS

“When you start working, everybody is in your studio—the past, your friends, enemies, the art world, and above all, your own ideas—all are there. But as you continue painting, they start leaving, one by one, and you are left completely alone. Then, if you are lucky, even you leave.” —John Cage MARION WASSERMAN This is an accurate statement about self-engagement. First, there is a sense of self-reflection—an awkwardness, an embarrassment, a lot of voices. Then, hopefully, you move beyond that neurotic state and speak to the larger consciousness, allowing that larger consciousness to speak through you. Yes, we are all in the process of getting out of our own way—in making art and in living with engagement. Marion Wasserman will be included in the upcoming exhibition, Ecozoic, a group show at the Capitol East Rotunda Gallery, curated by Bobbe Besold, to open Friday, April 29, 4-6 pm. She will also be included in the opening night of Currents 2016: the Santa Fe International New Media Festival, Friday, June 10, 6 pm-12 am. She was recently included in the group exhibition Ceramicon at Santa Fe Collective. www.marionclairewasserman.com

JAMIE HAMILTON Twentieth-century art has given birth to many experiments and techniques in “getting out of the way,” such as Dada, drugs, throwing paint, deskilling, bulldozing the desert, you name it. It is a preoccupation of artists to search for a means to create that is free of tired patterns. Descriptions of transcendence through making art are the staple of many artist statements. I find, however, the hunt spooks the prey. Living three generations later than Cage, I feel the concept embodied in his words has become worn and overused. Maria Popova suggests that we spend most of our time seeing things not as they are, but as we hope they will be or fear they might be, spending our lives in a state of optimized grief. The work of the artist cannot always be that of the monk. We must create in grief and hopelessness in the midst of contradiction with amor fati, not by vanishing. Rebel, as Camus advises! Kill the Cage. We owe it to our future selves to hang in there! Jamie Hamilton has been commissioned to build the entrance for Currents 2016: the Santa Fe International New Media Festival, opening Friday, June 10, 6 pm-12 am. He had a recent solo exhibition at Chiaroscuro Contemporary Art, Incompleteness Theorem, in the fall of 2015. He also recently executed a clandestine highwire performance in Los Angeles, CA.

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THE magazine | 15

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ONE BOTTLE

O ne B ottle

The 1982 Cheval Blanc by J oshua

Paul’s head and shoulders fill the frame. Most of his face is covered with black hair and a full black beard. As the camera pulls back, Paul steps forward and surveys the roof. There’s a cut to a microwave tower with pale grey clouds behind it, then a cut back to Paul’s left shoulder. Ringo appears, in a shiny orange jacket. Horns honk. We hear the din of traffic behind the horns. Billy Preston enters from the left, hands in his pants pockets. There’s another cut to the London skyline—cement office buildings, grey cranes, the pale grey clouds—followed by a cut to George, in a fur coat and blue jeans, with longer hair and a more grown-out beard than Paul’s, followed by a cut back to Paul, who’s jumping up and down on the roof ’s wooden decking. To test its stability? John appears, in full walrus. He’s ready. Ringo says, “Mal, you’ve nailed me down in the wrong place.” We hear the unmistakable sound of George, John, and Paul tuning their guitars while the people around them engage in pleasant conversation. Then we hear John’s voice—“One, two, three, four”—and the song begins. Jojo was a man who thought he was a loner But he knew it couldn’t last Jojo left his home in Tucson, Arizona For some California grass Get Back, Get Back Get Back to where you once belonged Get Back, Get Back Get Back to where you once belonged Get Back, Jojo Go home Get Back, Get Back to where Get Back, Get Back to where Get Back, Jo

Back you once belonged Back you once belonged

[All lyrics by Lennon / McCartney ©EMI]

After John and Paul repeat the chorus, and Preston starts his keyboard solo, there’s a cut to an aerial shot. As the camera pulls up from the building we see Londoners in the streets, out for their lunch breaks, many of them leaning back, craning their necks to see the concert on the roof of the brick five-story building at #3 Savile Row, Apple Records’ headquarters in London. Sweet Loretta Martin thought she was a woman But she was another man All the girls around her say she’s got it coming But she gets it while she can Get Get Get Get Get

APRIL

Back, Get Back Back to where you once belonged Back, Get Back Back to where you once belonged Back, Loretta

2016

B aer . The video was made on January 30, 1969. Michael Lindsey-Hogg shot the footage. Some of it appears in his documentary, Let It Be. The audio was recorded on a pair of eight-track recorders located in Apple Records’ basement. Forty-seven years later, the video looks grainy and casual, like a home movie of a garage band. The audio is all edge, and pure sophistication. John and Paul’s harmonies are seamless. The spaces between the notes in John’s staccato guitar solos expand and contract without hesitation. Preston’s keyboard solos fill the open air. Nobody’s presence is either less or more important than the presence of the person next to him. The presence is the Beatles. “There was a plan to play live somewhere,” Ringo recalled, years later. “We were wondering where we could go—‘Oh, the Palladium or the Sahara.’ But we would have had to take all the stuff, so we decided, ‘Let’s get up on the roof.’” The rooftop was their last concert. That September, they recorded and released Abbey Road. Then they disbanded. By the end of 1969, years before Altamont, Watergate, or disco cast their shadows, the band that democratized ecstasy was gone. In the video—watch it at https://vimeo.com/95681569—the cracks are visible. Nobody smiles. The looks Paul once gave to John and John gave back are gone. But the sound is intact. Each beat, lyric, and note reminds you of how long it’s been since you felt the way you felt when you first heard the Beatles. Which brings us to the 1982 Cheval Blanc. In the glass, like noble blood, Cheval Blanc’s garnet robe manages to be simultaneously common and royal. The bouquet makes you wonder if you’re missing something. It seems to lack the epic structure you expected. On the palate, the wine offers its first suggestions of magnitude. When you revisit the bouquet, whatever it was you thought you might have missed is there, in spades. Pierre Lurton, the winemaker at Cheval Blanc, used to talk about Cheval Blanc’s “cashmere tannins.” As you make your way through a glass of the eighty-two Cheval Blanc, you appreciate what Lurton meant. The finish is a lesson about breadth and length—not so much the breadth and length of a wine as much as the breadth and length of a lifetime. You learn that lesson incompletely. Nobody can be its master. It remains the kind of lesson that’s better left unfinished. In the same way the Beatles democratized ecstasy, the eighty-two Bordeauxs democratized wine. Before the eighty-twos, Bordeaux was an inside story, a continental secret. After their release, in 1984, winemakers all over the world started paying homage to the eighty-twos by making bigger, more forward, more sensual wines—the kind of wines anyone can drink and love at first taste. Cynics say the eighty-twos robbed Bordeaux of its subtlety. Purists say restraint owes as much to drama as drama owes to restraint. I say ‘Bravo!’ to the Beatles, and ‘Bravo!’ to the 1982 Cheval Blanc. Nobody has ever played a better rooftop concert. Nobody has ever made a better wine. One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. Write to Joshua Baer at jb@onebottle.com.

THE magazine | 17

THE

magazine is the eyes, ears, and voice of the Santa Fe arts community. We seek the feedback of our readers in order to understand how to best engage with and respond to the arts and creative communities we serve. Your participation is critical to making this free publication the best resource possible!

Fill this survey out online:

www.surveymonkey.com/r/themagsfe Or, complete this form and mail to 320 Aztec St, Ste A, Santa Fe, NM 87501. Direct questions to editor@themagsantafe.com THE MAGAZINE READER SURVEY 1. Why do you read THE magazine? (check all that apply) o For coverage and reviews of arts, exhibitions, and creative / cultural events in Santa Fe. o To find recommended things to do in Santa Fe. oI appreciate THE magazineâ&#x20AC;&#x2122;s critical perspectives. o To see if I recognize anyone in the Out and About spread. o Other, please specify:

16. To what degree does THE magazine contribute to the community in Santa Fe and New Mexico? o Greatly contributes oSomewhat contributes o Could do more oDoes not contribute 17. What other suggestions do you have for THE magazine? ______________________________________________________________________

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2. Where else do you generally acquire this kind of content? o Word of mouth oOther local publications o National publications o Websites or blogs

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4. On average, how long do you spend reading THE magazine? o 2 hours or longer o 1 hour o 30 minutes o Flip through quickly 5. These are sections that have appeared in issues of THE magazine. Please select how often you read or look at them on a scale of 1 to 3 (1 is always, 2 is sometimes, 3 is rarely): __Book review __Letters to the Editor __Out and About images __Exhibition Previews __Feature Article / Interview __Critical Reflections / Exhibition Reviews __One Bottle __Calendar of Openings __Dining Guide __Writings Page / Poetry __Photography Page __Universe Of... Artist Profile __Studio Visits with Artists __Advertisements 6. Rate your interest in THE providing coverage of the following on a scale of 1 to 3 (1 is very interested, 2 is might be interested, 3 is not interested): __Visual Arts __Performance Arts, Dance, Theatre __Design __Crafts, Maker culture __Architecture __Travel: Arts Destinations, Communities, Fairs or Events __Literary Content: poetry, essays, experimental, nature writing, fiction __Environmental Concerns: Sustainable Living, Conservation __Food, Dining, Restaurants, Wine, Beer, Cocktails, Nightlife __Community Building, Arts Education

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22. What is the level of school you have completed? oSome high school oHigh school diploma or equivalent (GED) o Some college oAssociate degree oBachelor degree oGraduate degree oDoctorate degree 23. Please name your occupation / profession ____________________ 24. What is your approximate household income? o $0 - $9,999 o $10,000 - $24,999 o$25,000 - $49,999 o$50,000 - $74,999 o$75,000 - $99,999 o$100,000 - $124,999 o$125,000 - $149,999 o$150,000 - $174,999 o$175,000 - $199,999 o$200,000 and up oPrefer not to answer 25. Which of the following best describes your current relationship status? oMarried oWidowed oDivorced oIn a domestic partnership or civil union oSingle, with a significant other oSingle oOther ____________________ 26. Do you rent or own your residence? oOwn oRent 27. Do you have a second home? oYes o No

7. I want THE magazine to focus on the following areas: o Local Arts - Santa Fe and New Mexico o Other_____________________ o Regional Arts (Texas, Colorado, Utah, Arizona) o National Arts (New York, Miami, Los Angeles) o International Arts (Venice, Basel, Mexico City) 8. Which regions, countries, or cities are you most interested in reading about in THE? ______________________________________________________________________ 9. What issues, topics, or themes you would like to see covered in future issues of THE? ______________________________________________________________________

28. What language do you read most fluently? ____________________ 29. If you purchase art, what price ranges do you feel comfortable considering? (per art work) oLess than $1,000 o$1,000 - $5,000 o$6,000 - $15,000 o$16,000 - $30,000 o$31,000 - $50,000 o$50,000 - $100,000 oMore than $100,000 30. What other magazines do you read or subscribe to? ____________________ ____________________ ____________________

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DINING GUIDE

Steak Tartare at Radish & Rye 548 Agua Fria, 505-930-5325, radishandrye.com photo: Clayton Porter

a guide to the best restaurants in santa fe 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: Generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. Andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ 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 are our choices. Comments: Great pizza. Arroyo Vino 218 Camino La Tierra. 983-2100. Dinner (Tuesday-Saturday) Full bar. Major credit cards. $$$$ Cuisine: Progressive American. Atmosphere: Warm and welcoming. House specialties: The Charcuterie Plate, the Grapefruit and Almond Salad, the Prosciutto Wrapped Norwegian Cod, and the N.M. Rack of Lamb. Comments:. Superior wines in the restaurant and wine shop. Beestro 101 W. Marcy St. 629-8786 Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: Casual. House specialties: Chef-made Panini, salads, sanwiches, Soups, coffee drinks. Comments: Take-out or dine-in. Bouche 451 W. Alameda St 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: The Bistro Steak and the organic Roast Chicken are winners. Comments: Chef Charles Dale is a pro. Café Fina

624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch/Dinner (Fri.to Sun.) Wine/Beer soon in 2015 Cash/major credit cards. $$ Cuisine: We call it contemporary comfort food. Atmosphere: Casual. House specialties: For breakfast, both the Huevos Motulenos and the

Eldorado Omelette are winners. For lunch, try their soup. We love the One for David Fried Fish Sandwich. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian posters. House specialties: Hotcakes got a nod from Gourmet The Huevos Motuleños is a breakfast that you will really love. Comments: they’ve been doing it right here for over thirty-five years. Chez Mamou 217 E. Palace Ave. 216-1845. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Artisanal French Bakery & Café. Atmosphere: Casual. House specialties: Start with the Prosciutto Melon Salad. For your main, try the Paillard de Poulet: lightly breaded chicken with lemon and garlic sauce, or the Roasted Salmon with white dill. Comments: Pasta dishes rule. Chocolate Maven 821 W. San Mateo Rd. 984-1980 Breakfast/Lunch/Sunday Brunch Major credit cards Cuisine: American—fresh, local, and tasty. Atmosphere: Real casual. House specialties: Pastries, Croissants, Pies, and Cakes. Eggs Benedict, Nicoise Tuna Salad, and the tasty Brie and Chicken Wrap. Comments: A great lunch spot. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and the perfect Grilled Salmon are our favorites. Dinners are terrific. Comments: Nice selection of beer and wine. Very casual, friendly, and very reasonable prices. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ 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: Faves: the Charred Caesar Salad, Carne Adovada Egg Roll, Fish Tostada,, and Steak Frite. Comments: You leave feeling good. El Mesón 213 Washington Ave. 983-6756. Dinner Full bar. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme here as well as vegetarian dishes. Comments: Music nightly. Fire & Hops 222 S. Guadalupe St. 954-1635 Dinner - 7 days. Lunch: Sat. and Sun. Beer/Wine. Patio. Visa & Mastercard. $$$ Cuisine: Sustainable local food. Atmosphere: Casual and friendly. House specialties: The Green Papaya Salad and the Braised Pork Belly. Fave large plates: the Cubano Sandwich and the Crispy Duck Confit. Comments: Nice selection of beers on tap or bottles. Georgia 225 Johnson St. 989-4367. Patio. Dinner - Full bar. Major credit cards. $$$$ Cuisine: Clean and contemporary. Atmosphere: Friendly and casual. House specialties: Start with the Charcuterie Plate or the Texas Quail. Entrée: Try the Pan-Roasted Salmom—it is absolutely delicious. Comments: Good wine list, a sharp and very knowledgeable wait-staff, and a bar menu that you will love. Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ 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 and the classic peppery Elk tenderloin. Comments: Wonderful desserts and top-notch service.

Harry’s Roadhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Down home House specialties: For breakfast go for the Scrambled Eggs with Smoked Salmon, Cream Cheese. For lunch: the out-ofthis-world Buffalo Burger. Dinner: the Hanger Steak. Comments: Friendly folks. Indulge Cafe 317 Aztec St. 930-5983. Lunch Major credit cards. $$ Cuisine: Healthy American Food Atmosphere: Charming and cozy. House specialties: We love the Perfect Portobello Panni with spinach, arugla and pesto. Wonderul salads and a knockout grilled cheese sandwich. Comments: Try one of the marvelous desserts with a locally roasted espresso. Il Piatto Italian Farmhouse Kitchen 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad, the Lemon Rosemary Chicken, and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to table. Izanami 3451Hyde Park Rd. 428-6390. Lunch/Dinner Sake/Wine/Beer Major credit cards. $$$ Cuisine: Japanese-inspired small plates. Atmosphere: A sense of quietude. House specialties:. The Nasu Dengaku, eggplant and the Pork Belly with Ginger BBQ Glaze. Comments: A lovely dining room and a great selection of Sake. Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Real casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese. Comments: Soups reign supreme. Joseph’s Culinary Pub 428 Montezuma Ave. 982-1272 Dinner. Beer/Wine Major credit cards. $$$ Cuisine: Innovative. Atmosphere: Intimate. House specialties: Start with the Butter Lettuce Wrapped

Pulled Pork Cheeks. For your main, try the Crispy Duck, Salt Cured Confit Style. Comments: The bar menu features Polenta Fries and the New Mexican Burger. Many really wonderful desserts to choose from. Great service is the standard here. Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Easygoing. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: Love the Sake. La Plancha de Eldorado 7 Caliente Rd., La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner. Beer/Wine. Major credit cards. $$ Cuisine: An Authentic Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Tamales. Comments: Sunday brunch rules. Loyal Hound 730 St. Michael’s Drive. 471-0440 Lunch/Dinner. Beer/Wine. Patio. Major credit cards. $$ Cuisine: Comfort food. Atmosphere: Unpretentious. House specialties: Shrimp and Grits, Beer Battered Fish and Chips, Braised Bison Short Rib Nachos, and Southern Fried Chicken. Comments: Nice selection of beer, wine.. Teriffic desserts and a very friendly wait staff. Masa Sushi 927 W. Alameda St. 982-3334. Lunch/Dinner Sake/Beer Major credit cards. $$ Cuisine: Japanese. Atmosphere: Lowkey. House specialties: For lunch or dinner: Start with the Miso soup and/or the Seaweed Salad. The spicy Salmon Roll is marvelous, as are the Ojo Caliente and the Caterpiller rolls. The Tuna Sashimi is delicious. Comments: Highly recommended. 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: Beautiful open room. House specialties: For lunch: the Pacific Blue Crab Cakes or the Baby Arugula Salad or the Chicken or Pork Taquitos. Dinner: Seared Pork Tenderloin or the Alaskan Halibut. Comments: Marvelous soups.

continues on page 21 APRIL

2016

THE magazine | 19

Taos Art Museum at Fechin House & A Private View of Europe present

The Splendors of St. Petersburg September 9–16, 2016 Travel to the Time of the Russian Tsars…

Retrace the steps of artist Nicolai Fechin back to the scene of his studies at the Imperial Academy of Arts in St. Petersburg in an exclusive seven-night, eight-day exploration of Peter the Great’s imperial capital in Russia. This intimate group of 20 is led by scholars and curators. Call for interest and itinerary. Only 10 spots left! Deadline April 25. Plan now and reserve your place today! 575.758.2690 x106 http://www.taosartmuseum.org/russia-2016.html

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3/18/2016 4:18:29 PM

DINING GUIDE

Pain au Chocolat at Sage Bakehouse 535 Cerrillos, 505-820-7243, sagebakehouse.com photo: Clayton Porter 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. Nexus 4730 Pan American Fwy East. Ste. D. Alb. 505 242-4100 Breakfast/Lunch/Dinner Major credit cards. Cuisine: Southern & New Mexican. Atmosphere: Brew-pub dive. House specialties: Lots of suds and growlers, not to mention the amazing Southern Fried Chicken Recomendations: Collard Greens, Mac n’ Cheese with green chile, Gumbo and Southern Fried Fish n’ Chips. Comments: Fair prices. Oasis Cafeé 7 Caliente Rd.-A3. Eldorado. 467- 8982. Lunch/Dinner Major credit cards. $$ Cuisine: American and Greek. Atmosphere: Casual and friendly. House specialties: Gyros, Falafel, and the the best Cubano we’ve ever had. Comments: Friendly waitstaff. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: Breakfast: go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. All of the burritos are great. Patty Melt is super. Comments: Green Chilie is perfect. Radish & Rye 548 Agua Fria St. 505-930-5325 Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Contemporary American with a Southern twist. Atmosphere: Upscale casual. House specialties: Seasonal menu featuring locally sourced produce, meat, and poultry. Offering over 70 different Bourbon, Whiskey and Rye selections. Comments: Try the Abuelito cocktail, the Fried Green Tomato, and the Sea Scallop Ceviche. Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765.

APRIL

2016

Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American. Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs, and Burgers. Haystack fries rule. Recommendations: Excellent wine list. Sage Bakehouse 535 Cerrillos Rd. 505-820-7243. Breakfast/Lunch. Espresso Drinks Major credit cards. $ Cuisine: Bakery and light fare. Atmosphere: Casual, welcoming, friendly staff. House specialties: Variety of breads, tartines, and pastries. Comments: Try the almond croissant, the avocado tartine, and the ham and gruyère tart. San Francisco St. Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Good bar food. Atmosphere: Casual, with art on the walls. House specialties: Lunch: the San Francisco St. hamburger or the grilled Salmon filet with black olive tapeade and arugula on a ciabatta roll. Dinner: the flavorful twelve-ounce New York Strip steak, with chipotle herb butter, or the Idaho Ruby Red Trout with pineapple salsa. Comments: Visit their sister restaurant at Devargas Center. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Southwest Contemporary. Atmosphere: Minimal, subdued, and elegant House specialties: Their world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Pan-seared Salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Happy hour special from 4-6 pm. Great deals: Half-price appetizers. “Well” cocktails only $5. Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmeal-crusted 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: Lunch: the juicy 10

oz. chuck and sirloin Hamburger or the Patty Melt. Dinner: the Ribeye Steak is a winner. The Fish and Chips rivals all others in Santa Fe. Comments: Try any of the burgers on rye toast instead of a bun. Their motto” “Love Life. Eat good.” We agree. Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. Atmosphere: Contemporary. House specialties: Tuna Steak, ChickenFried Chicken with mashed potates and bacon bits, and the New York Strip with a yummy Mushroom-Peppercorn Sauce. Desserts are on the mark. Comments: Nice wine selection. Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Hot daily specials, gourmet sandwiches, Get the Baby-Back Ribs when available. Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Pub grub. Atmosphere: Real casual. House specialties: We enjoy the Beer-steamed Mussels, the Calamari, and the Fish and Chips. Comments: Good selection of beers. Shake Foundation 631 Cerrillos Rd. 988-8992. Lunch/Early Dinner - 11am-6pm Major credit cards. $$ Cuisine: All American Burger Joint. Atmosphere: Casual with outdoor table dining. House specialties: Green Chile Cheeseburger, the Classic Burger, and Shoestring Fries. Amazing shakes made with Taos Cow ice cream. Comments: Sirloin and brisket blend for the burgers. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff. Sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. Atmosphere: Large open room. House specialties: The

Mediterranean Breakfast—Quinoa with Dates, Apricots, and Honey. Lunch: the Indonesian Vegetable Curry on Rice; Comments: Wine and Craft beers on tap. 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: American Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch, the Prime Rib French Dip or the Lemon Salmon Beurre Blanc. Dinner: go for the Lavender HoneyGlazed Baby Back Rib, or the Prime Rib Enchilada Comments: Super bar. The Ranch House 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: Barbecue and Grill. Atmosphere: Family and very kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: The best BBQ ribs. The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ 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 Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to table-to mouth. Atmosphere: Casual. House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox or the Teahouse Oatmeal. All of the salads are marvelous.. Many, many sandwiches and Panini to choose from. A variety of teas from around the world available, or to take home make The Teahouse the best source for teas in the great Southwest.

Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$ Cuisine: Traditional New Mexican. Atmosphere: Easygoing and casual. House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese or the daily specials. Comments: The real deal. Tune-Up Café 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, New Mexican. Atmosphere: Down home. House specialties: Breakfast:We like the Buttermilk Pancakes. Lunch: Great specials Comments: Easy on your wallet. Vanessie of Santa Fe

434 W. San Francisco St. 982-9966 Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American. Atmosphere: Piano bar and oversize everything, thanks to architect Ron Robles. House specialties: New York steak and the Australian rock lobster tail. Comments: Great appetizers. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: Light, bright and cheerful. House specialties: Organic salads. We love all of the salads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: Seating on the patio. When in Albuquerque, visit their sister restaurant: 1828 Central Ave. SW. Verde 851 W. San Mateo Rd.. 820-9205. Gourmet Cold-Pressed Juice blends Major credit cards. $$ Cuisine: Just Jjuices. Atmosphere: Light, bright, and cheerful. House specialties: Eastern Roots: a blend of fresh carrot and apple juice with ginger and turmeric juice, spinach, kale, and parsley. Zacatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Pork Ribs. And more then 65 brands of Tequila for your drinking pleasure.

THE magazine | 21

GO FOR BAROQUE Fashion and a Catwalk Inspired by the Exhibition New Baroque: The Imperfect Pearl Two Categories Pret-a-porter (wear if you dare) and Couture (high art) Saturday, April 23, 2016 from 4:00 - 6:00 PM Emcee: Amy Shea, Executive Director, Santa Fe Street Fashion Week on exhibition through May 7th. Current List of Participating Artists and Designers: Dylan Anderson, Sarah Bradley, Ezra Estes, Yon Hudson, Ann Jag, Kay Khan, Alicia Pillar, Nico Salazar, Ellie Scott, Andrea Vargas, and Justice Whitaker Open Call: Still time for artists, fashion designers and all creatives to participate in this unique pop-up fashion show and competition at David Richard Gallery Deadline for submissions: April 11, 2016 Open Call: All photographers are invited to David Richard Gallery on April 23rd to document the event from start to finish and compete in a photography contest. For details visit: www.davidrichardgallery.com/Exhibit_Upcoming.cfm #GoForBaroque - Instameet for more details

Angela Fraleigh, The Breezes at Dawn Have Secrets to Tell, Oil and siverleaf on canvas, 90” x 66”

ON EXHIBITION THROUGH APRIL: New Baroque: The Imperfect Pearl

Paul Reed and Tom Green: A Fresh Look

An Exhibition of Contemporary Paintings and Objects That Nod to the Exuberant Style of the Baroque Period, but with a Twist

Rarely-seen work by two important painters who were part of the influential Washington DC art scene that emerged in the 1960s

Featuring: Monte Coleman, Chris Collins, Laila Farcas-Ionescu, Angela Fraleigh, Erik Gellert, Catherine Howe, Ted Pim, and Vadim Stepanov

Chris Collins, Strap #1 & #2, 2016, Copper gilded steel, 63” x 157” x 30”

Tom Green, New Cosmology, 2006, Acrylic on canvas, 65.5” x 77.5”

DavidrichardGALLEry.com DAVID RICHARD GALLERY

1570 Pacheco Street, A1, Santa Fe, NM 87505 505-983-9555 | info@DavidRichardGallery.com DavidRichardSFe DavidRichardGallery

OPENINGS

APRIL ART FRIDAY, APRIL 1

Branigan Cultural Center, 501 N Main St, Las Cruces. 575-541-2154. Our Living Culture: New Mexico Watercolor Society—Southern Chapter 2016 Juried Member Show. Through May 21. 5-7 pm. Ed Larson Studio, 821 Canyon Rd, 505-9837269. Grand Finale Opening: After twenty plus years on Canyon Road, Ed Larson is moving to his home studio where his work will be available to be viewed by appointment. Larson will show autobiographical paintings at his last opening on Canyon Road on April 1st. His western folk art and expressionist paintings will also be on display. His Canyon Road studio will close at the end of April. 1-8 pm.

OPENINGS

(1922-2005) was a woman of multiple talents: pilot, curator, professor, and photographer. Self-Regard: Artist Self-Portraits from the Collection: a selection of intriguing selfportraits gives viewers insight into how an artist chooses to present themselves. Both through Sept 11. 5:30-7:30 pm. Richard Levy Gallery, 514 Central Ave SW, ABQ. 505-766-9888. levygallery.com. Seven: A Survey of Paintings by Matt Magee: a survey of Magee’s graphic paintings over the last seven years, in which he has meditated on the number seven. Through April 15. 6-8 pm

Downtown Subscription, 376 Garcia St, 505-983-3085. Waiting on Color: new collection of paintings by local watercolorist Jim Doyle. 4-6 pm.

Santa Fe Clay, 545 Camino de la Familia, 505-984-1122. santafeclay.com. Tom Sather: Praying Without Words: hand-formed clay vessels created while in a state of meditation. 2016 Summer Workshop Preview: group show featuring master ceramic artists from around the country who will be leading the summer workshops. Through May 14. 5-7 pm.

Macey Center Gallery, New Mexico Tech University, 801 Leroy Pl, Socorro. Lyndia Radice: Do You See What I see?: 62 photographs and drawings invite viewers to experience nature and familiar landscapes in new ways. 6-7:30 pm.

Santa Fe Collective, 1114 Hickox St, 505-670-4088. santafecollective.com. Cruz Salazar: the artist’s debut pop-up exhibition of drawings, stencils and poetry, featuring India ink and pen on paper. Through April 4. 6-8 pm.

National Hispanic Cultural Center, NHCC History and Literary Arts Building, 1701 4th St SW, ABQ. 505-724-4771. nhccnm.org. Moving Forward, Looking Back: Journeys Across the Old Spanish Trail: artistic and genealogical project combining photography, video and sound by artist and curator Janire Nájera. 6pm. Gallery talk April 2, 2 pm.

The Small Engine Gallery, 1413 4th St SW, ABQ. thesmallenginegallery.com. Beyond the Flesh: New Works by Jodie Herrera: new works by native New Mexican artist Herrera featuring her innovative mixed-media light boxes alongside figurative oil paintings that celebrate the raw beauty and resilience of women. 6-10 pm.

New Mexico Museum of Art, 107 W Palace Ave, 505-476-5072. nmartmuseum. org. Assumed Identities: Photographs by Anne Noggle: New Mexico artist Anne Noggle

Weyrich Gallery, 2935 Louisiana Blvd NE, ABQ. 505-883-7410. weyrichgallery.com. Through the Looking Glass: works in glass by husband-and-wife team Doug and Linda Gillis. Through April 29. 5-8:30 pm

SUNDAY, APRIL 3

Museum of International Folk Art, 706 Camino Lejo, 505-476-1200. internationalfolkart.org. Morris Miniature Circus: Return of the Little Big Top: built over the course of forty years by W.J. “Windy” Morris of Amarillo, TX, the Morris Miniature Circus is a 3/8”-scale circus modeled after a 1930s “railroad circus.” Through 2016. 1-4 pm. FRIDAY, APRIL 8

Exhibit/208, 208 Broadway SE, ABQ. 505450-6884. exhibit208.com. Intersections: New Work by Gary Wellman and Shawn Turung: both artists explore the congruency of art and life by integrating linear compositions within wood sculpture and mixed-media wall installations. Through April 30. 5-8 pm. Nuart Gallery, 670 Canyon Rd, 505-9883888. nuartgallery.com. Randall Reid: Randall Reid transforms salvaged steel and wood into sculptural paintings. Through April 24. 5-7pm. Tansey Contemporary, 652 Canyon Rd, 505995-8513. tanseycontemporary.com. Lesley Richmond: solo exhibition of Richmond’s textiles inspired by trees and natural forms. Through April 29. 5-7 pm. SUNDAY, APRIL 10

Placitas Artists Series, Las Placitas Presbyterian Church, 7 Paseo de San Antonio, Placitas. 505-867-8080. placitasartistsseries. org. Group exhibition: Dorothy Bunny Bowen, Preston Photography, Judith Roderick, Dianna Shomaker. Through April 29. 2-3 pm.

of WarPrayer: featuring artwork by aerosol artists iLash, Release, Woar2, Dwayno Insano, and Saba. Through May 21. Visions of Our Monument: Portraits of the Organ Mountain Desert Peaks National Monument: featuring work by Meg G. Freyermuth created during her term as artist-in-residence for the OMDP National Monument. Through June 4. 5-7 pm. Las Cruces Museum of Art, 491 N Main St, Las Cruces. 575-541-2137. All-City High School Senior Exhibition: graduating seniors from Las Cruces area high schools. Through April 23. 5-7 pm. New Concept Gallery, 610 Canyon Rd, 505795-7570. newconceptgallery.com. South of Santa Fe: featuring an eclectic selection of works by six artists from Central and Southern New Mexico. Through May 30. 5-7 pm. Nisa Touchon Fine Art, 1925-C Rosina St, 505-303-3034. nisatouchon.com. Small is the New Big – Small Works by Big Names in the World of Collage Art: over twenty collage artists present small-scale works made from found materials. Through June 15. 5-7 pm. Photo-eye Gallery, 541 S Guadalupe St, 505-988-5152. photoeye.com. Gardening at Night: Photographs by Cig Harvey: the artist’s latest body of color photography, exploring notions of time, family, nature and home. Through June 4. 5-7 pm. FRIDAY, APRIL 29

FRIDAY, APRIL 15

Evoke Contemporary, 550 S Guadalupe St, 505-995-9902. evokecontemporary.com. Joan of Arc: Voices of Light: paintings by Sandra Filippucci. Through May. 5-7 pm.

Branigan Cultural Center, 501 N Main St, Las Cruces. 575-541-2154. Pictograff: The Art

National Hispanic Cultural Center Art Museum, 1701 4th St SW, ABQ. 505-724-

Site Unseen 9: a benefit for Site Santa Fe. Artists are asked to create and donate works on identical 5.5 x 8 in. boards. All pieces are signed on the verso and exhibited anonymously. Only when the works are purchased are the artists’ names revealed. Photo: Molly Wagoner. APRIL

2016

THE magazine | 23 continued on page 30

THE REAL DEAL

For artists without gallery representation in New Mexico. Full-page ads: $1000. Reserve space in the May issue by April 15. 505-424-7641, sales@themagsantafe.com

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OPENINGS

4771. nhccnm.org The House on Mango Street: Artists Interpret Community: a bilingual exhibition featuring artworks inspired by the classic novel The House on Mango Street, published in 1984 by Sandra Cisneros. 6-8 pm. Santa Fe University of Art and Design, Marion Center, 1600 St Michael’s Dr, 505473-6011. santafeuniversity.edu. Outdoor Vision Fest 2016: SFUAD will present the sixth annual Outdoor Vision Fest, a free, annual public event featuring environmental projections and outdoor art installations of design, animation, full motion video, video mapping, motion graphics and interactive multimedia created by students at the university. 8:45-10:45 pm. ONGOING

516 Arts, 516 Central Ave, ABQ. 505-2421445. 516arts.org. At Home in the World: group exhibition exploring belonging and place and examining how we relate to each other, ourselves and our countries as globalization forces us to rethink issues of nationality, citizenship, and migration. Through April 16. ART HOUSE, Thoma Foundation, 231 Delgado St, 505-995-0231. thomafoundation. org. Luminous Flux 2.0: technological artworks spanning over fifty years of the digital art genre and including computer, light-based and electronic artworks from pioneering experimenters and contemporary innovators. Also on view is Tom Joyce’s massive Aureole I, a 6,492-pound forged stainless steel sculpture that stands over six feet high and six feet wide. Through May. Canyon Road Art Brokerage, online. 505995-1111. www.canyonroadartbrokerage. com. Michael Lawton: Panoramic photography. Through April 30. Center for Contemporary Arts, 1050 Old Pecos Tr, 505-982-1338. ccasantafe. org. Allison Smith: Source Materiel: Smith uses trench art as a source of inspiration for sculptures, installations, workshops, and large-scale participatory events. Getting Real: a group exhibition that explores emotion as creative medium. Works in various media explore issues of death, catharsis, apocalypse, counseling, personal loss, longing, and intimacy. Both through April 17. Charlotte Jackson Fine Art, 554 S Guadalupe St, 505-989-8688. charlottejackson. com. Edith Baumann: Painting the Unseen: the artist’s first solo exhibition with the gallery presents her colorful, geometric paintings made up of multiple layers. Through April 25. City of Mud, 1114A Hickox St, 505-9541705. cityofmud.com. UnderSee/subliminal and sublime: group show featuring aquatic and subconscious art, curated with artifacts, jewelry and décor to coordinate with the theme. Through June. David Richard Gallery, 1570 Pacheco St, Ste A1, 505-983-9555. davidrichardgallery. com. New Baroque: The Imperfect Pearl: a group exhibition of contemporary paintings and objects that nod to the exuberant style of the Baroque period. Through April 23. A Fresh Look: Paul Reed and Tom Green: rarely seen work by two important painters who were part of the influential Washington DC art scene that emerged in the 1960s. Through April 23. Phillis Ideal: Urban Energy: a new body of drawings Ideal created using the iPhone app Zen Brush. Through April 26. Edition One Gallery, 1036 Canyon Rd,

505-570-5385. editionone.gallery. WOMAN: group show of contemporary photography in celebration of Women’s History Month. Through May 20.

installation addressing concepts raised by material divisions, especially the exclusion or inclusion created by the construction of walls. Through May 21.

Encaustic Art Institute, 632 Agua Fria St, 505-989-3283. eainm.com. Over 200 pieces of encaustic and wax art from artists nationwide. Ongoing.

LewAllen Galleries, 1613 Paseo de Peralta, 505-988-3250. lewallencontemporary.com. Jivan Lee: New Landscape Paintings: primarily a plein-air painter, Lee creates scenes of the Land of Enchantment rendered in thick paint and rich color applied with tools including spatulas, bare hands and broad brushes. Through April 24.

Georgia O’Keeffe Museum, 217 Johnson St, 505-946-1000. okeeffemuseum.org. Susan York: Carbon: the Santa Fe–based artist presents new graphite drawings and castgraphite sculpture installed throughout the museum in dialogue with O’Keeffe’s paintings and drawings. Through April 17. Harwood Museum of Art, 238 Ledoux St, Taos. 575-758-9826. harwoodmuseum. org. Curator’s Wall: Terrie Hancock Mangat: a colorful 27-foot, 3-part quilt that shows Mangat’s unique compositional technique. John De Puy: Painter of the Apocalyptic Volcano of the World: expressionist paintings and drawing revealing a life spent striving to capture the spiritual in art. Origination Point: Agnes Chavez with Marcel Schwittlick and Robert Schirmer: this work explores new concepts about space, our origins in the universe, and how matter was created after the big bang through the newly discovered Higgs field. All through May 1.

Mariposa Gallery, 3500 Central Ave SE, ABQ. 505-268-6828. mariposa-gallery.com. The Dotted Line: French abstract painter Francois Barnes releases fresh new works. Emerging from Heartbreak: collages by Fay Abrams. Through April 30. Mayeur Projects, 200-202 Plaza Park, Las Vegas. 505-652-7877. mayeurprojects.com. The gallery and artist residency enterprise present two inaugural exhibitions in its new space: Ross Caliendo: Tomorrow: solo exhibition of new work by the Los Angeles– based painter. Virginie Mossé: Time as Desert: presenting work created during a residency at the Caza d’Oro Art Center in the South of France. Both through May 14.

Richard Levy Gallery, 514 Central Ave SW, ABQ. 505-766-9888. levygallery.com. Xuan Chen: Empty and Full: a selection of paintings and an installation by the Albuquerque-based artist. The show comprises three bodies of work with flowing color combinations, hard-edged patterns, and hybrid forms of painting and sculpture. April 22 - May 27. Santa Fe Community College Visual Arts Gallery, 6401 Richards Ave, 505-428-1501. sfcc.edu/gallery. Nature at Play: new paintings by Christina Hall-Strauss and Noël Hudson. Through April 13. Santa Fe Community Gallery, 201 W Marcy St, 505-955-6705. Banned: group show featuring eighteen artists from throughout New Mexico who explore censorship and the written word. Participating artists were asked to select and explore a single banned book for the exhibition. Through May 12. Santa Fe Public Library, santafelibrary. org. Main Library Tybie Satin Davis Gallery and Display Cases, 145 Washington Ave: Gyurme Rabgye: Tibetan Sacred Art. La Farge Branch Library, 1730 Llano St: Elizabeth Hunt-Klinksiek: Mosaic Art. Southside Branch Library, 6599 Jaguar Dr: ArtSmart Student Exhibit (mixed media).

Hulse/Warman Gallery, 222 Paseo del Pueblo Norte, Taos. 575-571-7702. hulsewarmangallery.com. Robbie Steinbach: Surface Tension: new works consisting of abstract, gestural prints created through manipulation of glass plates, carborundum grit and water, then transmuted through solarplates, ink and paper. Through April 24. Institute of American Indian Arts, Lloyd Kiva New Welcome Center, 83 Avan Nu Po Rd. www.iaia.edu. Lloyd “Kiva” New: Touching Native Inspiration: this year is the centennial of the birth of seminal Native American artist Lloyd Kiva New (Cherokee, 19162002), the first artistic director of the IAIA, known nationally as the “Godfather of Native Fashion.” The Museum of Indian Arts and Culture, the IAIA Museum of Contemporary Native Arts, and the New Mexico Museum of Art will each present an exhibition in 2016 focusing on key aspects of Lloyd Kiva New’s significant contributions to contemporary Native culture. In addition to the exhibitions at the museums, the IAIA Campus is hosting a special exhibition in the Welcome Center that bears his name. This exhibition features reproductions of some of early Lloyd New textiles, paintings, and previously unknown watercolors. Through 2016. IAIA Museum of Contemporary Native Arts, 108 Cathedral Pl, 888-922-4242. iaia.edu. Lloyd Kiva New: Art, Design, and Influence: this exhibition celebrates the work of Cherokee artist and educator Lloyd Henri “Kiva” New (1916 - 2002) and draws on three major themes of his legacy, illuminating his artistic abilities, his successful fashion career, and profound impact on contemporary Native art. Forward: Eliza Naranjo Morse: drawing, clay, organic and recycled materials create a connection between the artist’s Pueblo roots and her contemporary art practice. Highlighted is her mural, And We Will Live Off the Fat of the Land, a 38-foot-long procession of various beetles adorned in beautifully detailed Native attire. Both through July 31. James Kelly Contemporary, 1611 Paseo de Peralta, 505-989-1601. jameskelly.com. Tom Miller: Set to Topple & Equivalent Architecture: solo exhibition of new paintings and sculptural

Museum of Indian Arts & Culture, 710-708 Camino Lejo, 505-476-1269. www.miaclab. org. Landscape of an Artist: Living Treasure Dan Namingha: this year, Dan Namingha is being honored as a MIAC Living Treasure. Namingha was born and raised on the Hopi reservation and his art is inspired by the Southwest region and subjects within his culture. Through Sept 11. National Hispanic Cultural Center Art Museum, 1701 4th St SW, ABQ. nhccnm.org. El Retrato Nuevomexicano Ahora/ New Mexican Portraiture Now: featuring the work of eleven New Mexican artists. Extended through June 12. Artist Panel: April 10, 2 pm. New Mexico History Museum, 113 Lincoln Ave, 505-476-5200. nmhistorymuseum.org. Santa Fe Faces: Portraits by Alan Pearlman: ninety portraits created between 2009 and 2013 to document the diversity of the City Different at one moment in its long history. Through Sept 18.

Tamarind Institute, 2500 Central Ave SE, ABQ. 505-277-3901. tamarind.unm.edu. California Dreaming: exploring Tamarind Institute’s long-standing relationship with California. Founded in Los Angeles in 1960, Tamarind moved to Albuquerque ten years later. Included in the exhibition are works by over twenty artists, including Billy Al Bengston, Tom Berg, Enrique Martinez Celaya, Frederick Hammersley, Hung Liu, Christine Nguyen, Ken Price, Ed Ruscha, and Allison Miller. Through April 29. University of New Mexico Art Museum, 1 University of New Mexico, ABQ. 505-2774001. unmartmuseum.org. Lightning Speak: Solo and Collaborative Work of Raven Chacon: Chacon works with sound and image to explore various ways in which visuality and aurality combine and diverge. Mata Ortíz 1995-2015: work from the village of Juan Mata Ortíz over the twenty year period following the seminal exhibition at the University Art Museum in 1995. What is There That We

OPENINGS

Cannot See?: the 22nd Annual Juried Graduate Exhibition. All through May 14. Van Loon Gallery, 612 Agua Fria St, 360298-1382. Symbol: new works by Thomas Christopher Haag, including paintings, prints, mural, and found-object collage. Through May 7. Verve Gallery of Photography, 219 E Marcy St, 505-982-5009. vervegallery. com. Kevin Bubriski and Jennifer Thoreson with featured artists David Halpern and Jan Paul Pietrzak: New photographic works by gallery artists Bubriski and Thoreson, showcasing images from Bubriski’s recent book Look into My Eyes: Nuevomexicanos por Vida, ‘81-’83, published by the Museum of New Mexico Press, and Thoreson’s conceptual photography exploring contemporary issues of femininity. Through April 16.

gallery talk for Alcoves 16/17 features artists Scott Anderson, Gloria Graham, Scott Greene, Herbert Lotz, and Bonnie Lynch. Fri, April 1, 5:30-7:30 pm. The Pimentel Brothers in Conversation: worldrenowned guitar makers and brothers Rick, Robert, and Victor Pimentel take the stage in St. Francis Auditorium to recount the craftsmanship and attention to detail that goes into creating their exquisite, built-to-order, award-winning classical guitars. Fri, April 9, 1-2:30 pm. Community Guitar Day: a free afternoonlong, art and music celebration of Medieval to Metal: The Art and Evolution of the Guitar with performances by the All Star String Band from the Academy for Technology & Classics. Sun, April 10, 1-4 pm. Ana Vidovic, Virtuoso Guitarist:

Rio Bravo Fine Art Gallery, 110 N Broadway, Truth or Consequences. 505-894-0572. riobravofineartgallery.com. Gallery talk with Dave Barnett: an unscripted discussion of the artist’s personal development, influences, likes, dislikes, desires, and biases. Sun, April 24, 1 pm. Santa Fe World Affairs Forum, St John’s College, Great Hall, Peterson Student Center. sfwaf.org. 2016 Annual Symposium: “Crisis in Migration: A New World of Walls?”: the Symposium seeks an understanding of the origins, drivers, and cultural implications behind today’s human migration flows. April 18-19. Site Santa Fe, 1606 Paseo de Peralta, 505989-1199. sitesantafe.org. Site Unseen 9: a benefit for Site Santa Fe. Artists are asked to

William Siegal Gallery, 540 S Guadalupe St, 505-820-3300. williamsiegal.com. Paula Roland: Uncharted: inspired by natural systems, Roland creates wax-on-paper paintings that investigate how ideas and aesthetics evolve. Through April 26.

516 Arts, 516 Central Ave, ABQ. 505-2421445. 516arts.org. Across the Table: artist Jen DePaolo presents an interactive performance event that investigates the connections between food, culture, and the concept of home. Held in conjunction with the exhibition At Home in the World. Fri, April 1, 5-8 pm.

New Mexico Museum of Art, 107 W Palace Ave, 505-476-5072. nmartmuseum.org. Alcoves 16/17 Artist Gallery Talk: the first

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Placitas Artists Series, Las Placitas Presbyterian Church, 7 Paseo de San Antonio, Placitas. 505-867-8080. placitasartistsseries.org. Concert with Grammy-winning classical guitarist Jason Vieaux. He will perform pieces ranging from Bach, Giuliani, and Albéniz to Ellington, Jobim, and Metheny. Sun, April 10, 3-5 pm.

516 Arts, 516 Central Ave SW, ABQ. 505242-1445. www.516arts.org/fulcrumfund. Fulcrum Fund Call for Proposals and Info Sessions: the Fulcrum Fund, developed and administered by 516 Arts, is the newest partner in the Regional Regranting Program of the Andy Warhol Foundation for the Visual Arts. The call for proposals is now open for 2016 grants. The Fulcrum Fund provides grants of $2,000 to $5,000. 516 Arts invites those interested in applying to the Fulcrum Fund to attend one of two informational sessions: Sat, April 9, 10 am12 pm at 516 Arts, ABQ. Sat, April 30, 2-4 pm at Santa Fe Art Institute, 1600 St Michael’s Dr, Santa Fe.

David Richard Gallery, 1570 Pacheco St, Ste A1, 505-983-9555. davidrichardgallery. com. Go for Baroque: a fashion and design event and photography competition based on the exhibition New Baroque: The Imperfect Pearl. Emcee: Amy Shea. Featuring: Dylan Anderson, Sarah Bradley, Ezra Estes, Yon Hudson, Ann Jag, Kay Khan, Ellie Scott, Andrea Varga. Sat, April 24, 4-6 pm.

Lannan Foundation, Lensic Performing Arts Center, 211 W San Francisco St, 505-9881234. lannan.org. Juan Cole with Phyllis Bennis: In Pursuit of Cultural Freedom. Wed, April 6, 7pm. Karl Ove Knausgaard with Zadie Smith: Readings & Conversations, Wed, April 27, 7pm.

National Hispanic Cultural Center, 1701 4th St SW, ABQ. 505-246-2261. nhccnm.org. Yjastros 30th Season: features accomplished flamenco artists Marisol and Joaquin Encinias, singer Vicente Griego, guitarist Calvin Hazen, and members of Yjastros: The American Flamenco Repertory Company, directed by Joaquin Encinias. April 14-16.

CALLS FOR ARTISTS

Center for Contemporary Arts, 1050 Old Pecos Tr, 505-982-1338. ccasantafe. org. J.C. Abbey, Ghana’s Puppeteer: A onetime screening of the documentary on Ghana’s preeminent puppeteer, followed by a discussion with the filmmaker, Steven Field, Distinguished Professor of Anthropology and Music at the University of New Mexico. Benefits the School for Advanced Research’s community education and outreach programs. Wed, April 20, 7 pm.

Gallup Author Festival, Octavia Fellin Library, 115 W Hill St, Gallup. 505-863-1291. Award-winning authors Slim Randles, Ross Van Dusen, and Barbe Awalt will be presenting talks. Sat, April 9, 11:30 am-2:15 pm.

PERFORMING ARTS

Popejoy Hall, UNM Center for the Arts Building, 203 Cornell Dr NE, ABQ. 505925-5858. popejoypresents.com. RAIN: A Tribute to the Beatles: RAIN performs the full range of The Beatles’ discography live onstage, including the most complex and challenging songs that The Beatles themselves recorded in the studio but never performed for an audience. Wed, April 13, 7:30 pm.

SPECIAL INTEREST

FotoFest 2016 Biennial, Houston, TX. fotofest.org. Changing Circumstance: Looking at the Future of the Planet: 34 artists from nine countries investigate the “Anthropocene,” Earth’s most recent geologic time period, defined as being human-influenced, with the planet’s system processes being altered by humanity. Through April 24.

Synergia Ranch, 26 Synergia Rd, 505-4712573. A Synergetic Symposium & Salon on Earth Consciousness & Lore of the Amazon: conversations on ayahuasca, ethnomedicine, and the biospheric imperative. Roundtable, poetry, visionary art and music, dance performance, dinner. Wed, April 6, 4-11 pm.

Greg Moon Art, 109A Kit Carson Rd, Taos. 575-770-4463. blog.gregmoonart.com/ group-exhibition. After Dark 5: a national juried show celebrating darkness and the varied reactions emblematic of this subject matter. Submission deadline: April 15.

Performance Santa Fe presents one of the youngest and most talented virtuoso guitarists in the world, Croatia’s warmly personable Ana Vidovic. Fri, April 15, 7 pm. R alph T. C oe F oundation for the A rts , 1590 B Pacheco St, 505-983-6372. ralphtcoefoundation.org. Creating SideBy-Side Artist Workshop Series: this series of public workshops engages renowned Native artists working in a variety of media with the public through handson art making. The Coe Foundation will host each artist for two days of public programming: one dedicated to adults and practicing artists and the other for families and makers of all ages. Kelly Church, Sat, April 9, 1-4 pm.

create and donate works on identical 5.5 x 8 in. boards. All pieces are signed on the verso and exhibited anonymously. Only when the works are purchased are the artists’ names revealed. Ticketed preview Fri, April 8, 5-6 pm. Public opening 6-7:30 pm. Exhibition continues April 9-10. Spanish Colonial Arts Society, 750 Camino Lejo, 505-982-2226. spanishcolonial.org Santuario de Chimayó in History and Today: William Wroth, Ph.D. describes the relationship of the history of the Santuario, completed two centuries ago in 1816, with its use today by devout pilgrims who come not only during Holy Week but almost every other day of the year. Offered in conjunction with the exhibit Chimayó: A Pilgrimage Through Two Centuries. Thurs, April 7, 12-1 pm.

Santa Fe Community Foundation, 501 Halona St, 505-988-9715. santafecf.org. Call for nominations for the 30th annual Piñon Awards, which honor exemplary nonprofit organizations in Santa Fe and Northern New Mexico. Nominations may come from any interested member of the community, including board members, volunteers, donors, past award recipients, and employees of nonprofits. Deadline: May 6. THE magazine, 505-424-7641. Call for submissions for the photography page. The May theme is “Cats.” Anyone may submit up to three photographs to be printed in the May issue. Selected photographer will receive a $50 gift card to a Santa Fe business. Deadline April 15. See page 45. This page: Symbol: New Works by Thomas Christopher Haag on view at Van Loon Gallery, through May 7. Image courtesy the artist.

Opposite page: Xuan Chen: Empty and Full at Richard Levy Gallery, April 22-May 27. Photo courtesy Richard Levy Gallery.

THE magazine | 27

PREVIEWS

Cig Harvey: Gardening at Night April 15 – June 4, 2016 photo-eye Gallery 541 South Guadalupe Opening reception: Friday, April 15, 5 – 7 pm Photo-eye Gallery presents a solo exhibition of new work by Maine-based photographer Cig Harvey. Harvey’s work betrays the magic within everyday moments through her signature whimsical style and use of vivid, otherworldly colors. Each of the large-format color prints in her latest series, Gardening at Night, is presented as a metaphorical vignette that explores the dynamics of home, family, and nature. Intensely personal, Harvey’s work captures the familiarity of the domestic quotidian and the universal mysticism of the natural world. Her monograph, Gardening at Night, was published by Schilt Publishing in 2015. Cig Harvey, White Witch Moth, 2012

Tom Sather: Praying Without Words 2016 Summer Workshop Preview April 1 – May 14, 2016 Santa Fe Clay 545 Camino de la Familia Opening reception: Friday, April 1, 5 – 7 pm Gearing up for the summer season, Santa Fe Clay presents two exhibitions, one of which will feature a number of master ceramic artists who will be leading the popular Santa Fe Clay summer workshops. Ranging from functional to sculptural, ceramics from Peter Beasecker, Andréa Keys Connell, David Eichelberger, Adam Field, Christine Golden, Arthur Gonzalez, Lorna Meaden, Lindsay Pichaske, José Sierra, and Patti Warashina will give viewers a glimpse of the incredible talent that will lead the coming workshop programming, which begins on June 13. Tom Sather: Praying Without Words presents vessels the artist created while in a state of meditation. A student of Zen Buddhism, Sather fashioned unglazed, pit-fired vessels to embrace the Japanese aesthetic of wabi-sabi, in which imperfections and asymmetry are central to beauty. Finished with a variety of surface treatments, these vessels are as earthy and rugged as they are refined and precious. José Sierra, Untitled, 2016, stoneware, 10 x 6 x 7 in.

N AT I O N A L S P O T L I G H T

Idealogue February 5 – July 23, 2016 Utah Museum of Contemporary Art 20 S West Temple, Salt Lake City, UT utahmoca.org Kathryn Andrews American Hobo, 2014 ink on paper and Plexiglas, aluminum, paint, mixed media 43.75 x 37 x 2.25 in. Courtesy of David Kordansky Gallery, Los Angeles, CA Photo: Fredrik Nilsen

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Idealogue is a group exhibition that contemplates the relationships of power and the role of images at the nexus of politics and culture. Curated by Rebecca Maksym, the show presents works by nine national and international artists, including Kathryn Andrews, Ivan Argote, Fayçal Baghriche, Christoph Büchel, Jeremy Deller, Basim Magdy, Dan Mills, Larissa Sansour, and Julia Wachtel. The works explore visual representations of cultural identity and evoke these frameworks to examine, question, and even poke fun at widespread societal values, both conscious and subconscious. While such a precept could be heavy and didactic, the exhibition remains accessible and thoughtful through humor and hyperbole. Here, Kathryn Andrews’s American Hobo has a melancholic expression, which becomes something more akin to disdain when juxtaposed against an assortment of political campaign buttons and markers of excess, including crushed cans and pins advertising pizza and drug-free lifestyles. THE magazine | 29

THROUGH M AY 14, 2016

■ UNVERSITY OF NEW MEXICO ART MUSEUM

Mata Ortíz 1995 – 2015

LIGHTNING SPEAK: Solo and Collaborative Work of

RAVEN CHACON 22nd AnnuAl Juried GrAduAte exhibition

What Is There That We Cannot See? MUSEUM HOURS:

Tuesday–Friday: 10–4 | Saturdays 10–8 Closed on Sundays, Mondays, and major holidays ADMISSION FREE FOR MORE INFO Please visit: www.unmartmuseum.org or call 505.277.4001.

REMNANTS: PHOTOGRAPHS from the

DISFARMER STUDIO The University of New Mexico Art Museum is at 203 Cornell Dr. NE, Albuquerque, NM 87106. It is in the Center for the Arts on the UNM campus, north of the University Bookstore. Paid parking available in the Visitor Parking-Structure at Redondo Dr. and Stanford. Free evening and weekend parking in A lot. Edmundo López, Collection of James H. and Patricia B. Gilbert • Raven Chacon, While Contemplating Their Fate in the Stars, the Twins Surround the Enemy, 2003, Sound Installation • Marcie Brewer, Popcorn, 2015, Video, 1 Minute, 17 Seconds • Mike Disfarmer ( American, 1884 – 1959), Untitled ( Troy Hensley, Thoughtful Young Woman), c. 1940, Gelatin silver contact print, 9 7/8 X 7 7/8 inches, Gift of Stephen J. Nicholas, MD, University of New Mexico Art Museum, Albuquerque, 2014.26.21

F E AT U R E

Seismic

CHANGE in Santa Fe IN

the 1960s, New York City’s SoHo district began to recast itself in a new image. The outmoded manufacturing district emptied of industry and was drastically recreated by an incoming population of artists with their eternal quest for— what else—cheap live-work spaces. As the onceaffordable neighborhood in downtown Manhattan slowly evolved into a ridiculously chichi part of town (by the ’90s), Chelsea became the new SoHo. Now, of course, the borough of Brooklyn has been gentrified to its own mortification, and Queens and the Bronx have increasingly become default locations for the great percentage of New Yorkers who can’t afford to live in Manhattan or Brooklyn. The old days of SoHo’s rise from ignominy represented a seismic shift in the Western world’s art capital, economically and generationally, a shift that meant that a whole new neighborhood was flooded with new residents of the “creative” sort. Watch out for them—they’ll transform your once-funky neighborhood into a bastion of hipsterism! And you just might find yourself priced out of a home. Here in Santa Fe, we’ve known that kind of gentrification for at least 100 years, or as long as painters have been committing Modernist concepts to canvas. Bohemians from the East Coast started moving into Canyon Road in the early twentieth

century. These “Nuts in Mud Huts” were frowned upon by the more upwardly mobile Hispanos and Anglos who chose to live downtown in their Victorian homes. Like any other arty types, the nuts had other priorities. In the 1900s, the road into the foothills was more than unpretentious. It was—and this is unfathomable now—affordable. Maybe the house you lived and worked in had broken windows and your fireplace didn’t work, but if you drank enough, you could keep those inconveniences at bay. Bars were plentiful, and artists and other outsiders thrived on Canyon Road. Until, that is, it no longer served artists to live and work there, as a neighborhood popular for its affordability was overtaken by the commercial side of art—that is, galleries. Today, the old road is relegated to tourist-attraction status. You’ll see visitors staggering down the road of an afternoon, exhausted from a day devoted to oohing and aahing at the whirlygig sculptures and sofa-coordinated paintings. Canyon Road is no longer an artists’ colony. It still lays claim to some great galleries, but its days as a bastion for eccentrics are over. It seems fair to say that the last nail was pounded into Canyon Road’s coffin when the artsupply store, Artisan, moved away in the late 1990s. Meanwhile, artists and other broke types continue to move farther and farther away from the

by Kathryn M Davis

historic districts of Santa Fe as the pinch on Middle America plays out in New Mexico, one of the nation’s poorest states. Since 2008, the situation has become dire. But forward-thinking artists and students have always lived on the fringes, where space is cheaper. This means they gravitate toward previously undesirable areas, full of warehouses, garages, and abandoned bowling alleys. If you’re not from here, you may be unfamiliar with the buzz being generated by the Santa Fe–based arts collective Meow Wolf. If you’re from here and are really, really hip, you’re already tired of hearing about Meow Wolf. The rest of us excitedly await the opening of the arts complex in the previously unconsidered area roughly bordered by Agua Fria and Cerrillos on the north and south, with Siler Road cutting a swath right down the middle. Siler has long been the main road of a mixed-use neighborhood that includes low-income housing, the back ends of big-box chain stores, mechanics’ and auto-body shops, gas stations and empty lots. The Siler-Rufina District is in the process of rapidly transforming into the new “it” neighborhood. Whether you call it MidTown, SiRuDi, LSD (Lower Siler District), or simply SiDi, it is happening now, as the essence of Santa Fe shifts from an adobe Disneyland to a place its sons and daughters can come home to. continues on page 32

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• Gregory Waits, Carolyn Parrs, FreSH Santa Fe. photo: Audrey Derell • House of Eternal Return, production view. photo: Audrey Derell

• John McKissick, Radical Abacus. photo: Audrey Derell

• Meow Wolf Arts Complex. photo: Audrey Derell

• Raylets, Radical Abacus, installation view. photo: John McKissick • Michael Freed, Offroad Productions. photo: Audrey Derell

GAME OF THRONES MEETS MEOW WOLF: A SONG OF MUD AND SKY? Television’s ratings-grabber fantasy series, Game of Thrones, has an odd but powerful connection to Santa Fe in the person of co-producer and author George R.R. Martin, a long-time resident of the Fe. He has partnered with Meow Wolf members (many of whom grew up here) to turn an empty bowling alley in the SiDi into an art and entertainment complex set to open as this issue goes to press. Already covered by The New York and Los Angeles Times, and numerous art and pop-culture magazines, it’s definitely not your usual Santa Fe tourist fare. Not only will Meow Wolf change the way the general public experiences “art,” the new complex promises to transform a previously undervalued part of the country’s oldest capital city into a southwestern Bushwick of sorts. The psychological impact of this shift cannot be underestimated. If Meow Wolf succeeds in their vision, it will mean that a whole new generation of Santa Feans can look well beyond the Plaza, Canyon Road and other “quaint” neighborhoods to a viable part of town that isn’t miles from its cultural center, or priced out of reality. The art collective, formed in Santa Fe in 2008, has been hard at work building their House of Eternal Return for just over a year, having negotiated a ten-year lease with landlord Martin. Their website describes

Meow Wolf as “an arts production company” whose “immersive” “fusion of art and entertainment” is part “jungle gym, haunted house, children’s museum,” and part permanent art installation for “audiences of all ages.” When Meow Wolf co-founder and CEO Vince Kadlubek initially proposed buying the old bowling alley, Martin was immediately intrigued with the idea of a house whose tragic backstory caused it to fracture into new dimensions.

BRIEFLY, WHAT THE HOUSE OF ETERNAL RETURN IS AND IS NOT: The Meow Wolf that’s garnering all the media’s attention right now is a 20,000 square-foot, permanent follow-up to the group’s wildly successful The Due Return, exhibited in 2011 at Santa Fe’s Center for Contemporary Arts. The art complex on the old Silva Lanes’ two and a half acres will also offer artists’ studios to rent, a gift shop, and a more traditional gallery space for resident artists. The David Loughridge Maker Space, 3000 square feet of workshop available to the public, will include a laser cutter, a CNC router, high-end sewing machines, kilns, soldering tables—all programmed by Meow Wolf’s Arts Education Program, CHIMERA, a non-profit organization. MAKE Santa Fe will be a valuable addition to the local arts community, offering classes in new media that our colleges do not.

The House of Eternal Return exhibition and the gift shop are for-profit ventures. As such, visitors will pay an admission fee of $15 per person to tour 20,000 square feet of what could be described as steampunk Disney meets interactive art. An annual family pass costs $150 for up to five people; an individual annual pass is available, and a lifetime membership costs $2000. You pay to play, folks, because . . . Meow Wolf believes in paying artists and other creatives for their work. This is a concept that Santa Fe would do well to take to heart. This means that you’ll be paying to look at art. But you’ll also be paying for a purely fun experience that you’ll want to share with loved ones. (For context, see the Disney reference above.) The complex has employed up to 150 artists and technical experts so far, and reflects what Meow Wolfers call a “new art market model” that consciously transcends the rubrics of art versus entertainment. As an arts collective, they are interested in how to expand an art audience without alienating the viewer or diluting artistic vision. No small feat. The collective’s aesthetic might best be described as a found-object, Maximalist Rococo style in which anything goes, including psychedelia. Burning Man is an influence, as is the City Museum in St. Louis. Throw in a sense of world-creating that aligns with Martin’s storyteller sensibilities, and you’re getting there.

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Most Santa Feans haven’t lived in its historic districts for decades. Change may not be easy, but inevitably it offers the opportunity to remake what we hold dear to this place. Discussing style is, however, misleading, as each artist works individually and in small teams to manifest their own visions. Call it radical collaboration; Meow Wolf is hardly manifesto driven.

IT TAKES A VILLAGE These days we’re all focused on the opening of Meow Wolf’s exhibition after a year of hype and hope. But the SiDi and other points south of downtown have presented viable alternatives to pricey Santa Fe for several years now. Major players there include artist Michael Freed, whose Offroad Productions at 2891-B Trades West converts his working studio into a gallery space, complete with guest curators (Linda Durham is currently on deck), as it has done on a quarterly basis for years now; Gregory Waits and Carolyn Parrs are FreSH Santa Fe at 2855 Cooks Road, where they show “art without a résumé” and host performances of all kinds. Then there’s Radical Abacus, at 1226D Calle de Comercio. Co-producer John McKissick summed up the Rad Ab’s history in an email: The space has gone through a multitude of habitations and identities. Back when Kiki Smith and others were using Dwight Hackett’s bronze foundry APRIL

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and project space [on All Trades Road, now occupied by MAKE Santa Fe], the fabricators crashed here. I’ve been told that the space went through a grim black-metal nocturne. When I first visited Radical Abacus, there were aerial fabrics hanging from the ceiling for circus practice. Although I’ve lived here with four or five people (in an unheated loft with very thin walls), there are only two of us in residence now. My housemate Angelo Harmsworth and I decided to enhance the austerity of the main space by painting it white and eschewing the permanent presence of furniture, murals, and designated work spaces for the temporary allocation of performance actions, exhibitions and object assemblages, and social gatherings. McKissick’s focus remains on organizing small group shows by younger practitioners from Santa Fe and beyond; he and Harmsworth have shown work by Martha Tuttle, Krista Peters, and (Meow Wolf co-founder) Sean Di Ianni, among others. Then, because this is life and life doesn’t obey geographic bounds, there is the gallery and

project space known as David Richard Gallery. Co-owners David Eichholtz and Richard Barger committed to moving out of the overpriced Railyard Arts District; their grand re-opening took place at the beginning of this year. During their time in RAD, they were known for specializing in Post-War American Abstraction, but their recent, and excellent, programming brings in a younger, alternative crowd that most other Santa Fe gallerists often ignore. Visit them on the outskirts of the fashionable districts, at 1570 Pacheco Street—another neighborhood of warehouses, car mechanics, featureless little houses and striking contemporary lofts, an upscale design center with the lovely restaurant Sweetwater Harvest Kitchen, and the Pink Church Art Center. Most Santa Feans haven’t lived in its historic districts for decades. Change may not be easy, but inevitably it offers the opportunity to remake what we hold dear to this place. Matt King, another founding Meow Wolf member, mused to LA Times reporter David Wharton in a front-page article filed on February 23rd, “How do we do this and remain true to ourselves?” That is the question, Santa Fe. If anyone has a vision for the century to come, it’s our artists. THE magazine | 33

MER RY S C U L LY O N A L C O V E S 1 6 / 1 7 AT THE NEW MEXICO MUSEUM OF ART When the New Mexico Museum of Art first started in 1917, the galleries had an unusual open-door policy that was conceived by artist Robert Henri. Artists living in New Mexico could sign up for month-long exhibitions to show their work at the museum. The Alcove exhibitions date back to those early, open-door shows. After about a decade, these became curated shows, but the museum continued to hold small, one-person shows in the gallery alcoves through the 1950s. They have since been revived in the 1980s and 1990s. In 2012, the Alcove shows were resurrected again with nine rotations of five artists each, a program curated by then-Curator of Special Projects,

THE: What is the Museum’s vision for the latest Alcove revivals? MS: When Director Mary Kershaw talked to me about reviving the Alcoves, we really wanted to make them artistcentered. Not just centered on the artists who are exhibiting, but also artists living and working in New Mexico. We see it as a platform for creating dialogue among artists in the community and to reflect that the Museum is showing contemporary work, and especially by artists living and working throughout the state. There was an impression that we weren’t doing those things at the time. We also wanted to show that our shows do change and respond. How did you become the curator of the Alcove shows? In 2012, I moved full time to the Museum of Art as the Curator of Special Projects, and this was a special project. In my previous position for

Merry Scully. The inclusion of all–New Mexico artists, the relatively quick speed of rotation, and the addition of informal, artist-driven gallery talks made Alcove 12.0 popular within the Santa Fe community. Nearing the centennial of the Museum’s founding, the Alcove series has returned. Scully, now Head of Curatorial Affairs, is busy organizing seven rotations of five artists each for the Alcoves 16/17 series, which began in March with artists Scott Anderson, Gloria Graham, Scott Greene, Herbert Lotz, and Bonnie Lynch (March 5 – April 24), and will continue through March of 2017. THE caught up with Scully to discuss the program and what makes the Alcove series so special:

the museum working in the Governor’s Gallery, I had been traveling around the state quite a bit, so I knew a broad cross-section of artists from all over. So that was really helpful. What was interesting about the first time I curated the exhibitions, even though I had been working for the museum for years, many people didn’t know who I was, so I was able to go about putting the shows together in a way that was a little more stealthy. Now, more people know who I am and are more familiar with the Alcove program. It has made it a different experience. One of the other things that is really nice about this series is that I see a lot of work. I get a sense of what people are working on, working towards, and even if they are not included in an Alcove, it is helpful for other exhibitions.

INTERVIEW How are the Alcoves different from the Museum’s other programming? They are different in a couple of ways. They are time-based, because we want the work to be current, but they are not set up within a historical structure. Also, they are not theme-based, so really they are small, one-person exhibitions. And that varies from alcove to alcove. For some artists we might be showing a cross-section of their work; for others we might be showing just a very small or specific aspect of their work. In that way, they are very different because they are so artist-specific. How do you find artists? I find them in a lot of ways. Sometimes other artists refer them to me; sometimes it is work that I have seen in other exhibitions. Sometimes it is information that people have sent to me. But I always visit the artists and do studio visits. All of the artists are from New Mexico. They are all serious, working artists. Some have established

careers, some are very early in their careers, but they are all part of a broad arts dialogue. Going far enough away is one of the challenges; there are people in Silver City and Las Cruces that I really need to go see. Last time we had artists from all over; I think the farthest away was from Hobbs. How do you select the artists who exhibit? I think about a cross-section of representation in terms of age, gender, geography, and I think about pieces that will work together with one another. They can’t be too similar and/or too different. I want each of the five sets of work to stand on its own and also to add to an overall dialogue without the show becoming a thematic exhibition. In the current exhibition we have two painters [Scott Anderson and Scott Greene], but they paint very differently. The show is not about large APRIL

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painting, but when you look at their work within the same context, the potential comparisons make the experience richer. That said, I want each of the five sets of work to be like a little jewel box for each artist. Are you available for solicitations by artists who may be interested? For this round of exhibitions, I have received so much material that it is hard to go through all of it. But I always want to see what people are making. However, I’m afraid people will read this and I will get a billion packages. While I do look at everything, I can usually only respond to the people I need to see. If I don’t follow up for a studio visit, I do remember work and I do keep things. Of the people I met for the last round, there is at least one who is going to be in the upcoming Alcoves, and there was one included in another exhibition I curated. So, in addition to being an opportunity to see work for the Alcove series, it provides me an opportunity to see a critical

amount of work for exhibitions in the future. I want to stress that there are a lot of ways the Museum can be in service to artists besides exhibiting their work. The Alcoves promote a community of artists talking to artists, whether they are exhibiting or not, as well as an opportunity for the general public to listen to and talk with artists. For each of the Alcoves we have an informal gallery talk with as many of the five artists as possible. It is more intimate than a traditional opening, which we also have, but these gallery talks are really about talking with the artists and creating a dialogue, rather than people standing on stage talking at visitors. We tried this for the last round, and it worked really well. Artists from previous Alcoves as well as other local artists came, and we had a cross section of ages from older to younger patrons. It made the contemporary art experience non-intimidating, welcoming, and

something viewers realized they could engage in easily. We really want you to come think and talk about the work, and I think that is felt and people respond to that. How can community members support and engage with the Museum? Anyone can support us by joining the Museum of New Mexico Foundation. There is also the Friends of Contemporary Art + Photography (FOCA+P) group which supports the New Mexico Museum of Art. There are also opportunities with our docent programs and internship programs. The Museum website has information about volunteering. Since you see so much artwork throughout New Mexico, is there anything you can say about work being made in New Mexico in general? There is no “in general” for New Mexico artists. And that is one of the things I wanted the Alcoves to kind of prove. I wanted to show work that is being made

in New Mexico right now—but not the kind of work that people might think of generically as work being made here. There are not a lot of, or maybe no New Mexico landscapes. There is no stereotypical Southwestern work. It is made here, it is of here, but it’s not stereotypical Santa Fe–style work. These are artists working in a serious way, who are engaged with a national and international dialogue, whether they exhibit locally or internationally. Links: www.nmartmuseum.org www.museumfoundation.org Left to Right: Merry Scully, Head of Curatorial Affairs, photo: Clayton Porter. Alcoves 16/17, New Mexico Museum of Art, installation view. Herbert Lotz, New Mexico Highway-1963, 230sl, 1970. chromium pigment print, printed 2016. Image courtesy the artist. Gloria Graham, Carbon, 2015, graphite on paper. Image courtesy the artist.

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Meow Wolf: House of Eternal Return

Meow Wolf Arts Complex 1352 Rufina Circle

WAVE TO THE ROBOT AS YOU ENTER THE LONG-ANTICIPATED MEOW Wolf masterwork, House of Eternal Return. Wrap your eyeballs ‘round the circular desk afloat on a sea of Day-Glo geometries. This is the epicenter of the MW public interface. Steer your stardust self starboard around this massive ring to the transformable, multi-purpose, community-driven education center housing the Makers Space—a tech shop outfitted with 3-D printers, laser cutters, mapping gizmology, etc., which will provide artist-run workshops—as well as the David Loughridge Learning Center, which will provide arts education for kids. Hard to port takes you to the MW gift shop, a new Duel Brewery (uh huh), and the passage back to the main interactive playspace/art installation. Therein you will encounter artistic expressions in every idiom. The overall installation—beach house, Avataresque garden, space-station command central, playable marimba-ribbed dino skeleton, the Aspen grove that watches back, Bill Viola-ish video installations, light, color, and sound experiments, a cartoon ghost-town, tree houses, chill rooms, an upended city bus, etcetera—may well make this one of the largest art objects/installations ever, drawing nearly every possible visual language of the past one hundred years into its gravity. From Art Nouveau to Wojnarowicz, from De Stijl to Miyazaki, from Picabia to Pop, everything is here. Emerging from transport, you find yourself on the lawn of a Victorian beach house in Mendocino, California. It’s a tranquil, moonlit night and you’re free. You can search for the beach, explore the garden, or lie on the grass. The clearest choice is to enter the house and explore the lives and minds of “the family” of five fictional artist-inventors living inside. Probably the best known is the mother, contemporary painter Piper Selig, who along with her twin brother Lucius, her husband Nicolae, and their twin children (a boy and a girl) inhabit the beach house, and in many ways this is, was, and will always be the house of their dreams. The dining room might be the best place to understand “the event,” a Madeleine L’Engle–type wrinkle in time that eternally altered the family’s temporal-spatial environs. Recently, Selig did an intriguing interview with Evan Hobart of THAT Magazine (March 2016), Mendocino’s fictional monthly magazine of and for

the arts. The same issue coincidentally includes a piece by local art-writer Kathryn M Davis on neoconceptualist Olaf Rathjen’s aesthetic of beating dead horses. Both Rathjen and Selig are, I believe, currently represented by David Richard Gallery in Santa Fe. The promise of Eternal Return is in its foregrounding of the human capacity to imagine and make reality. Not only does Eternal Return present an amazingly creative and detailed art installation à la The Beanery (1965) by Ed Kienholz, or Ilya Kabakov’s brilliant The Man who Flew into Space (1981–88). Combining installation and storytelling to expand both beyond their original capacities, House of Eternal Return is an immersive, performative text that can be read and reinterpreted infinitely. It is a story you can enter and alter. Something like the Wizarding World of Harry Potter is a bleak corporate manifestation. Meow Wolf’s world is more open-ended, more replete with detailed complexity, fundamentally

more free-spirited, and far more real. That one fictional reality can be more authentic than another is postmodernism’s latest lesson. That and the fact that our ability to distinguish between what’s real and what isn’t, and between various fictions, is currently collapsing in waves of Hegelian synthesis. Delusional ideologies have always been how humans get stuff done on a large scale. That’s all we’ve ever had, and it’s what put us at the top of the food chain (just under housecats). House of Eternal Return posits an open-ended, anti-hierarchical, homo ludens model in which the primary purpose of existence is the endless fun of exercising your imaginative and creative consciousness. Set starship coordinates for the next paradigm. It’s time to time-warp again. —Jon Carver House of Eternal Return, Meow Wolf Arts Complex, production view, 2016

CRITICAL REFLECTION

Meow Wolf: House of Eternal Return

Meow Wolf Arts Complex 1352 Rufina Circle

IT’S GOING TO BE REALLY, REALLY HARD NOT TO SPEND THE NEXT FEW hundred words raving about Meow Wolf’s House of Eternal Return. Seriously, it’s just not like anything you’ve ever seen before, even if you, like me, consider yourself familiar with the Meow Wolfian aesthetic: unselfconsciously hyperactive, drenched in neon, and completely, consistently weird. A morning tour of the House just prior to its grand opening revealed a positively electric vibe, with dozens of artists busy wiring, polishing, welding, and otherwise engaged in all manner of art making. Comparisons to Willy Wonka and the Chocolate Factory were immediate and recurring; from the top-secret aspects of the project (ground was broken over a year ago, but only a trickle of information has been available to the public) to the marvelously off-the-wall weirdness of, well, all of it, the House is easily Santa Fe’s most talked-about art space. By now, most Santa Feans know that George R.R. Martin bought the long-shuttered Silva Lanes

bowling alley last year and made Meow Wolf his tenants. I went to Silva Lanes a couple of times as a teenager before it closed, so I figured I would be somewhat familiar with the space, but apart from the neon-squiggled black carpet, I wasn’t. The warehouse-y building on Rufina Circle has been utterly, ingeniously transformed. Not only are thousands of square feet devoted to exhibition space, but there are also rooms where (for a reasonable fee) visitors can use 3-D printers and laser cutters, or take classes in digital mapping and neon-making. There’s even a taproom courtesy of Duel Brewery, whose headquarters are just around the corner. The use of multipurpose space gives credence to Meow Wolf’s oft-repeated goal of community outreach, while simultaneously guaranteeing income if House tickets are slow. To the left of a curved information desk is a gift shop, and to the left of that, winding around a dark corner, is the entrance to the installation

itself, where visitors open an unremarkable wood door onto the manicured lawn of a true-to-scale Victorian home, whose wrap-around porch features intricately carved trim and hanging flowers. Once you go up the steps and through the front door, you enter a gracious living room with a tufted sofa and a television that plays closed-circuit content created by Meow Wolf. One of the first giveaways that something is amiss occurs in the dining room, whose wallpaper looks like it’s warped and melting, and whose white wainscoting dips and curves disconcertingly. On the table is a novel written by Lucius Selig (one of the House’s fictional characters) with a seal on the cover that boasts “Over 100 Million Copies Will Be Sold!” Strange little clues to the house’s inhabitants are everywhere; you’ll be struck (sometimes downright dumbfounded) by the detailed, cunning use of materials and space, abundant testimony to the collective’s joyful circumvention of traditional art. As a recovering Luddite, I’m most impressed with Meow Wolf’s mind-boggling technical acumen, made visible—and often touchable and audible— around every corner of the installation. Paintings are great and everything, but inserting a motionsensing, moving eyeball into the knot of an aspen tree? That’s next-level stuff. You might think of House within the context of an experiential venue like St. Louis’s City Museum, or else as a sort of counterculture visual attraction like the Ra Paulette Caves—only on acid. With Santa Fe’s median age hovering around 45 years old, the city’s dearth of activities for young people is a major source of discontent, which is one of the reasons House feels so blessedly welcome. The site hopes to draw around 100,000 visitors a year, and though its location in the industrial Siler Road neighborhood isn’t exactly glamorous, its southerly setting offers car travelers a relatively quick jag off 1-25, with free, plentiful parking to boot. It’s an undoubtedly experimental, complex project that feels like a breath of fresh air not only for Santa Fe’s art scene but for its community at large. —Iris McLister House of Eternal Return, Meow Wolf Arts Complex, installation view, 2016

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THE magazine | 37

Akunnittinni: A Kinngait Family Portrait

IAIA Museum

Contemporary Native Arts 108 Cathedral Place

AKUNNITTINNI, AT THE IAIA MUSEUM OF CONTEMPORARY NATIVE ARTS (MoCNA), is quietly powerful, a success on many levels. MoCNA’s Andrea Hanley curated the exhibition, and I was impressed by the sensitivity with which she presents three generations of female Inuit artists’ works. Hanley’s exhibition is neither showy nor shy. It stands the ultimate test of most visual art exhibitions that feature two-dimensional, hand-drawn, small-scale works: It looks great and compels its viewers to come in closer for an intimate experience with the drawings, which are graphically delightful and filled with complex layers of narrative. The women of Akunnittinni are grandmother Pitseolak Ashoona, mother Napachie Pootoogook, and daughter Annie Pootoogook. The latter, Annie, was born in 1969 and lives in a world that was very different from that of Pitseolak, born in 1904. Yet they share similar perspectives presented in a flattened style that somehow reads with the clarity of a photograph, and without its gloss. All three are extraordinarily talented draftswomen, and grandmother and granddaughter present their memories of family and community with a joyful, unsentimental love. Pitseolak and Annie’s subjects are warm, even funny; Annie’s Family Sleeping in a Tent and Watching the Simpsons on TV are as shamelessly charming as Pitseolak’s Games of My Youth; both artists convey a way of life that appears to have had a certain resolution for them. It was Napachie, though, who lived from 1938 to 2002, who seemed caught between the old ways and those of modernity. Some of her drawings tell harsh tales; not for her were what the curator’s text suggests were “romanticized versions of traditional life as it was once lived on the land. What Napachie created was something very different and very daring…. She revealed many things that she found deeply troubling, which others would have preferred to have kept hidden.” Some of those troubling narratives include Male Dominance, Trading Women for Supplies, and Eating His Mother’s Remains. The generation in between was determined to defy expectations and tell the whole story. Kinngait is a village on Cape Dorset in the Nunavut territory of the Canadian Arctic Archipelago. Known since the 1950s as the “capital of Inuit art,” Cape Dorset claims a high population of artists who specialize in drawing, printmaking, and stone carving. An unsourced but interesting tidbit in Wikipedia states that the graphic arts workshop there, established in 1957 by a Euro-Canadian, “was modeled after Japanese ukiyo-e workshops.” Without knowing this, I recall remarking to my viewing companion that there was an eerie connection between these artworks and historic Japanese prints of the sort that so influenced the French Impressionists. The anthropological and cultural background of a people is fascinating, but much more riveting, to my mind at least, is the history of a family. Akunnittinni tells a uniquely indigenous history, specific to three generations over the course of the past 100 years. Its specificity reveals, conversely, the meta-narrative of a people and thereby gains universality.

Whether one’s people callously traded women for tobacco or committed wartime atrocities, we are one, part of a lineage that transcends time and comprehension. Akunnittinni is an Inuktitut word that means, roughly, “between us.” The visual dialogue between a grandmother, mother, and daughter is shared between these individual women, but it also tells my, and your, stories. Even the most gruesome narratives are part of our universal history, for humans are not always kind—nor are we always evil. A drawing of one’s beloved grandmother, captured in pencil crayon on the crisp toothiness of paper, is a treasure of our mutual humanity. —Kathryn M Davis Annie Pootoogook (Inuit), A Portrait of Pitseolak, 2003-2004, pencil crayon and ink on paper, 26 x 20 in. Courtesy Edward J. Guarino Collection

CRITICAL REFLECTION

Raylets

Radical Abacus 1226 Calle de C omercio

TURN OFF SILER ROAD ONTO INDUSTRIAL ROAD, AND THE POTHOLES steadily multiply. Spindly machinery pokes from the shadows behind austere warehouses. It’s hard to imagine this district, most recently christened “Siler Road Midtown,” as a vibrant arts destination with friendly infrastructure, but crazier things have happened when artists are about. Meow Wolf’s almost-completed art complex hums just a few blocks away. Along the fractured sidewalk on Calle de Comercio, a sign bearing the stylized square root logo of Radical Abacus leans against a dull wooden fence. The gallery inhabits the garage of curator John McKissick’s residence, a space with previous lives as a death metal venue, an aerial performance studio and living quarters for art fabricators. More recently, writer and artist Nicholas Chiarella named it Radical Abacus and turned it into a salon, with squashy couches and rotating contemporary artworks. When Chiarella moved out and his former housemate McKissick took the reigns, it transformed into a lofty, well-lit laboratory for highly conceptual group shows that land in Santa Fe’s staid contemporary art world with a satisfying clamor. Raylets is McKissick’s latest challenge for an assortment of young contemporary artists from New Mexico and elsewhere. The idea leapt from a page of Immanuel Kant’s Critique of Aesthetic Judgment, in which the 18th century German philosopher analyzes the crystallization of water to demonstrate nature’s propensity for ordering itself in aesthetically “beautiful” ways. “The formation in such a case takes place through . . . a sudden solidification,” writes Kant. “Straight raylets of ice form first, which then join together at angles of 60 degrees.” He argues that natural formations like ice crystals take attractive shapes not “for our own taste,” but based on nature’s laws. Put crudely, form follows function. McKissick presents Raylets as an experimental guide for process, rather than a straightforward theme. With McKissick acting as a facilitator and sage, Kant’s ideas would permeate the artists’ individual efforts and shape the exhibition as a whole. The prompt splits the eight participating artists into two distinct factions, one grave and the other wild. In the gallery’s main room, the quiet gravity of works by Martha Tuttle, Lauren Seiden, and Henry Chapman is the primary force at play. Tuttle’s Clear Sound series comprises fastidiously constructed wall sculptures made from sheep’s wool, clay, and other materials gathered from the artist’s childhood home in APRIL

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Abiquiu, New Mexico. In Raw Wrap 21, Seiden treats a graphite drawing like a sculptural material, violently twisting the paper around her own body to build a dimensional surface that is almost painterly. These descendants of postminimalism and Arte Povera approach Raylets by working within the physical constraints of their earthy materials. Similarly, Chapman directs solitary drips of paint through flat white color fields and around faint dabs of green pigment in his oil, acrylic, and graphite powder painting Crying. Whether by the viscosity, structural integrity, or tensile strength of their chosen mediums, the artists surrender to natural forces to resolve aesthetic forms. It’s all clever but dour, a mood that is punctured by sculptor Krista Peters’ site specific contribution to Raylets. The New Mexico artist built two ersatz wooden benches for the space and balanced a long steel rail between one of the benches and a nearby wall. The work is raw and precarious, filling the floor like an overgrown weed. Her zig-zagging steel form echoes the rising line of a nearby staircase, which leads to a stronghold for the second contingent of Raylets artists. Space Weather Monitoring Station by Nicholas Chiarella is stationed in a crow’s nest above the main space. A little green office chair invites visitors to lounge as they puzzle over mysterious charts, fragmented geometric imagery and a poetic bit of text. It’s as much

an exploration for Chiarella as it is for us, as he weaves a compelling narrative from words, images, and objects in a nod to confessional art. Scotty Slade Wagner’s jerky stop motion video, Useful Information, projected in the next room, presents a series of gleefully juvenile punchlines that scandalize in comparison to the ascetic display downstairs. Through their playful contributions, Peters, Chiarella and Wagner capture the dynamism of the instantaneous formation of ice crystals (“As it were through a leap,” as Kant describes it). Musicians Felix Fan, Tara Khozein, and Angelo Harmsworth followed suit at the Raylets closing reception, building radiating musical structures from cello motifs, looped vocal fragments, and electronic pulses. The aesthetic landscape of Raylets is uneven, which is perhaps intrinsic to a group show with such an open premise. When viewed from the lofty structure of McKissick’s philosophical proposal, none of the work quite measures up—and it certainly doesn’t fit together in a lucid whole. Still, there are many standouts here, and the Raylets concept is an inspired risk. It’s like watching a brave new strand of Santa Fe’s art world crystallize in midair. —Jordan Eddy Krista Peters, Untitled, 2016, steel and wood, photo: John McKissick

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Allison Smith: Source Materiel

Center

for

Contemporary Arts, Muñoz Waxman Gallery 1050 Old Pecos Trail

IT’S A REMARKABLE INSTALLATION, NOT ONLY FOR ITS VISUAL MAGNITUDE, but also for the education the artifacts offer, the rich emotion behind the art, and the pure element of surprise. In this exhibition, CCA and Oakland-based artist Allison Smith reveal the comprehensive trench art collection of Santa Fean Jane Kimball. There is a psychology degree in Smith’s background, which may help to explain her sensitivity in presenting these art objects that were created out of war and grief and death and strife. Every military belt, helmet, shell casing vase, walking stick, and pincushion is lovingly displayed. Combine this with Smith’s sense of the big picture of war and the overarching themes of pain and loss that surround all of the little details of uniform buttons and cap badges, and she creates a deep sadness and melancholy that is somehow bursting with beauty. The exhibition is co-curated by Smith and CCA’s visual arts curator, Angie Rizzo, and they make a successful team. Rizzo’s concept of using nearly floor-to-ceiling wooden scaffolding—inspired by actual structures used in the construction of World War I warships—to shape a framework for Smith’s displays works wonderfully. Weaving in and out of the angular scaffolding that seems to grow right out of the Muñoz Waxman Gallery’s wood and concrete floor are wooden pallets of varying sizes, all constructed onsite by CCA staff. Smith’s actual placement of the art objects within this woodscape was an organic process in response to Rizzo’s vision for the overall structure. Their conversations and the pushing and pulling and arranging of wood would have been great fun to watch. Smith’s fascination with living history museums, historical collections, military decorative bunting, street peddlers in San Francisco, military officers’ field desks and so many other themes informs her many installations. “I’m trying to bridge [a gap] between civilians and service members, specifically using art as a connector,” says Smith in a Vimeo interview. That theme also informs Source Materiel. Smith selected over 100 objects from Kimball’s trench art collection and displayed them in more than twenty slatted wooden boxes—also constructed by CCA staff—that resemble World War I artillery shipping crates. There are twentyplus crates in the exhibition, each thematic, and peering into them through their chicken wire coverings reveals treasure after treasure. One

large, long crate on the floor holds fourteen handcarved walking canes. Several sport animal heads as handles. Others have snakes spiraling around the shaft. One has a handle shaped like a clenched fist. Who were these artists? Did they do their carving down in the trenches? Or on the battlefield? Or in military hospitals? Seeing the richness of the dark wood, I suddenly remember two such canes in my own family, one carved by my World War I veteran grandfather, the other carved by my father. Chills zip up my spine as I wonder if either were trenchart inspired. Another crate presents an assortment of large, heart-shaped pincushions—just the right size to be cradled lovingly within two cupped palms— perhaps destined as gifts for mothers or girlfriends or wives. They are brightly decorated with colorful pins, beads, bits of ribbon, sequins, and embroidery. Nearby is a crate full of “hate belts.” Soldiers decorated fabric and leather belts with buttons, cap badges, insignia, and other small found objects and souvenirs. A smaller crate holds forty to fifty

intricately carved soup bone vases that look like ivory carvings. Many of the crates hold shell casings that have been transformed into vases. Soldiers would collect shrapnel and other scrap metal, heat it, pour it into the casings to soften them, and then emboss, engrave or hammer glorious designs of birds, human figures, and animals onto the surface. Trench art can range from collected war souvenirs, to mementos crafted by soldiers, to objects made by prisoners of war for bartering purposes. Here is the oddity of the commodification of war standing right beside art inspired by conflict, made by individuals demonstrating their own uniqueness within the mass of combatants. The blend of Kimball’s taste as a collector with Smith’s vision in presenting what she calls “wartime creativity” and Rizzo’s curatorial talent makes for a moving visit. War is all around us, but art prevails. —Susan Wider Allison Smith: Source Materiel, 2016, site specific installation, pine, reclaimed wood, linen textile, trench art from the collection of Jane Kimball, Santa Fe

CRITICAL REFLECTION

Works on Paper

James Kelly Contemporary 1611 Paseo de Peralta

“WORKS ON PAPER” IS AN EFFECTIVE CATCHALL FOR GRAPHIC MEDIUMS that employ a wide range of materials and techniques in the service of drawing. James Kelly Contemporary’s recent show of twenty works on paper by thirteen artists could have been a case study for the genre, had any viewers desired to make one. I doubt any did, as they were likely fully engaged by the high craft and rich insights that marked this exhibition. The works in the show referenced, for the most part, the symbiotic Minimal and Conceptual movements, whose visual and textual syntax are essential to a viewer’s reading of the works and of their intent and import for the artists. This late-Modern syntax subtends the apparitional effects of Larry Bell’s Vapor Drawing (1985) and Stuart Arends’s Celadon Drawing (1989). It informs Richard Long’s text work entitled Ten Stones (1994), recounting the junction of two lines of stones rolling down a volcano’s flank twenty years apart; the grid of Nic Nicosia’s 365 Cubes (2013), comprising three hundred and sixty-five small-scale variations on a cube; and the annotated spiral shell of Jim Shaw’s 1993 cephalopod Nautilus (A

woman with a dyed blond butch haircut). Pamela Markoya’s device of abstract strokes and dots on a large blank score sheet for her Symphonic Poem #13 (2014) evokes the visual harmony of a composition with actual musical notation. The drawing is part of her larger Symphonic Poems Project, as was an earlier concert in the gallery in which composer/pianist Grisha Krivchenia gave a musical interpretation of Markoya’s score. In Susan York’s Untitled #10, the vertical surface is divided horizontally into two planes—the upper one white and the lower one graphite black. Their initial resemblance to Mark Rothko’s floating and allusive stacked blocks is dispelled by York’s explicit twodimensional rendering. At the same time, that effect is itself belied by their gradual intimation as three-dimensional blocks in which the larger volume of the far lighter upper white cube barely rests on the dense mass of the now compressed graphite block below. The seven drawings of James Drake’s The Hummingbird’s Equation more than merit the entire short wall devoted to the series. As if taking a page (or parchment) from Leonardo’s

Notebooks, Drake’s ink-and-graphite drawings are variations on a hummingbird-in-flight motif, each accompanied by a subtitle—and in some pieces by a lengthy quotation—from the writings of Nobel Prize–winning physicist Murray Gell-Mann exploring aspects of its biological evolution (“Selection in Evolution Has Led to Minimization of Duration of Migration?”). Like similar sketches by da Vinci, Drake’s Hummingbird’s Equation series manages to capture the wonder of the bird’s science while conveying the poetry of its form and flight. The oil-on-paper gestural abstractions of Susan Rothenberg offered a rich foil to the show’s Minimal-Conceptual current, as did a curiously shared forest theme suggested by the woodcut look of Stefan Thiel’s cut-paper eichen IX, the graphite-on-paper landscape of Blaze Lamper’s Searches in the Birches (2005), and the Richter-like pastorale of Jack Balas’s oil-andenamel Certificate of Happiness (#1095) (2014). What was arguably the most engaging work on paper in the gallery was certainly the most inventive—though it wasn’t part of the show itself. In a small alcove around the corner from the Works on Paper exhibition was a small stand with Peter Sarkisian’s Book, Version 2 (2014), a video projection with audio, dictionary, powdercoated steel & aluminum (somehow it fits to describe the work as one would an avant-garde musical composition). What the viewer actually sees is a found dictionary, opened, upon which is projected a Lilliputian Sarkisian, on hands and knees scribbling annotations across the printed text and margins of one page, then slipping into the inside margin, or gutter, and vanishing— only to emerge again from the same fissure to continue his graffiti gloss on the other side. If Sarkisian’s Book, Version 2 is not a definitive statement of the text-image essence of the postmodern work on paper, it has to be one of its most brilliant conceits. —Richard Tobin Peter Sarkisian, Book, Version 2, 2014, found dictionary, powder-coated steel & aluminum, video projection & audio

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At Home in the World

516 Arts 516 Central Avenue SW, Albuquerque

If only one could be the body through which today’s thoughts and feelings flow. —Edvard Munch, 1892

IF EDVARD MUNCH HAD LIVED ANOTHER FIFTY YEARS (THE FAMOUS CREATOR of The Scream died in 1944), he would have seen that there is indeed a body through which today’s thoughts and feelings flow. It’s not a physical body per se but the Body Politic as a vessel for every human passion, reaction, and philosophical stance. And political art in the twenty-first century is as powerful as it’s ever been, being one of art’s great containers of creative expression. The exhibition At Home in the World embraces art-as-political-practice without being in the least tiresome or overly polemical. Each work, such as Matthew Mazzotta’s outstanding piece, Open House, offers an exploration of the notion of community by way of a social need. Mazzotta’s work consists of three pigment prints and a documentary video that brings the prints to life and records a community’s cultural rebirth and enhanced sense of self, in this case for the town of York, Alabama. In the photographs, there is an emblematic before-and-after effect that centers on a colorful but blighted property in York that is eventually reclaimed for its materials and transformed into a versatile performance space for the community. Building a new space on the footprint of the old one, the structure becomes no ordinary house. This is one whose walls can open up, be reconfigured, like a huge origami structure within a park-like atmosphere, and function as a community center and venue for events like poetry readings, social gatherings, music, and dance. Mazzotta’s video unfolds like a straightforward documentary, peeling back the process of reclamation to its joyful conclusion without being didactic. Like all of the videos in At Home in the World, it is short and to the point but beautiful too in its conceptual rigor and its visual allure. Beauty of an altogether different sort is found in Alex Rivera’s The Borders Trilogy, three short videos that are epic in scope. One of the videos is ghostly and amazing, and it uses X-ray technology to peer inside a truck filled with fruit waiting to cross the border into America. Yet, at the beginning of this piece, with its black, white, and gray imagery, there is no way to locate oneself within the information one initially sees. There are mostly gray and off-white abstract spaces with horizontal and vertical lines that seem to emerge out of a formless atmosphere. Vague human shapes begin to coalesce in a kind of indistinct cloud, and as the camera slowly zooms away, heads and upper torsos are revealed as a row of seated ghosts sandwiched within a truckload of bananas. It is the technology of remote sensing that brings the humans

into focus and the politics of illegal immigration is brought into a poignant, metaphysical high relief. At Home in the World—sensitively curated by Claude Smith, Teresa Buscemi, and Rhiannon Mercer—brought together artists from the Americas along with one European, a German artist from Düsseldorf. In a nod to the typological studies of architectural forms by the late photographers Bernd and Hilla Becher, Josef Schulz is represented by a grid of six images of border stations at European frontiers. Fascinating at first because of varied shapes of a similar type of building, these desolate spaces, with their political and legal ramifications, are devoid of people but hint at the tragedies of dislocation for countless migrants. Schulz has written, “Borders were lines, drawn not only across territories but also through our heads… border posts are much easier to abolish than mental barriers…” The artist’s words not only ring true for his work, they seep into and around each installation in this show—from Judy Shintani’s pieces that deal with the internment camps for Japanese-American citizens in World War II; to Margaret Jacobs’s exploration of the resiliency of her Mohawk, St. Regis Akwesasne tribe; to Kameelah Jannan Rasheed’s multipart portrait of an imaginary African-American extended family. Rasheed calls it a “pre-fabricated narrative”: although it doesn’t picture her real family, the artist’s tapestry of found photographs suggests both an image of ordinary American life and a deconstruction of racial stereotypes. All the pieces in At Home in the World—brought to life in an impressive variety of materials, motivations, and social practices—ricochet between borderline and lifeline. In the end, though, all the work can be conceptually snipped apart and repurposed to reveal a common yearning to belong, celebrate a sense of place, stay rooted to an idea of freedom, and remain faithful to cultural signifiers that sustain individuals who risk their lives in a valiant quest for the promise of a better life in some distant place. For many contemporary artists, it is the Body Politic through which flows today’s thoughts and feelings, and, with any luck at all, it will continue to embody tomorrow’s open houses and even more open minds. —Diane Armitage Matthew Mazzotta, Open House, 2013, pigment prints, 30 x 40 in. each

CRITICAL REFLECTION

Spectrum: The Art of Systems Biology & Nanoscience

Peters Projects 1011 Paseo de Peralta

ART AND SCIENCE INHABIT DIFFERENT SPACES IN OUR SOCIETY IN TERMS of how they are funded, evaluated, and seen by the general public. But the blurring of boundaries is now pervasive in our world. Rigid divisions of objects, processes, events, and disciplines are repeatedly challenged by necessary personal and institutional hybridity. So, even without getting into how they shade into design and engineering—two other fundamental disciplines that shape our world—art and science share the broad goal of extending human perception into realms previously inaccessible to us, enhancing our capacity to understand the universe around us. They can present traces of events or processes unavailable to our individual human body’s sensory apparatus, either due to their galactic or micro scale or to their time duration, which may be in nanoseconds or in geological aeons. As human endeavors, both rely on symbolic languages to illustrate or enact how matter behaves. Peters Projects, in conjunction with New Mexico Spatial Temporal Modeling Center and Los Alamos National Laboratories, presents Spectrum: The Art of Systems Biology & Nanoscience (through April 30). Three UNM scientists, Bridget Wilson, Jennifer Gillette, and Michelle Ozbun, medical researchers in the fields of the complex interacting signaling networks used by cells in the body, have in some cases collaborated with the artists in the show. A common aim among these works is to produce some kind of realization, or to discover or reveal something previously unknown. Suzanne Anker’s installation, Astroculture (Shelf Life) (2010), focuses on alternate methods of growing food, prototyping how vegetables might grow in space. Anker’s investigations into chromosomes revealed how they can resemble written language. This is evident in her series of canvases, with overlays silkscreened on mylar, of runelike forms, like an alphabet constructed from chromosome signatures. Anker’s Biota (2012) is a large collection of porcelain objects resembling bleached coral, produced by 3-D printing, each with a silver-leafed rapid-prototype figurine. Todd Siler examines how methods used by highly creative people work on the neurological and cellular level. He has a doctorate from MIT and his writing is in dialogue with works such as Howard Gardner’s Frames of Mind: The Theory of Multiple Intelligences and Mihaly Csikszentmihalyi’s Flow: The Psychology of Optimal Experience. “Creativity,” he says, “is any unconditioned response,” clarifying a link between art making and scientific research: the state of mind of the practitioner, a willingness to be surprised, amazed, disappointed or even frightened by the results of one’s labors. Eric Garduño’s Perimeter Drawing I (2014) is a large, triangular white frame with a glass surface, behind which is white drawing paper. When the piece is mounted on a wall, at rest, a small nub of charcoal nestles at the bottom of the downward facing angle of the triangle. Unlike most artworks, it is meant to be moved and to change orientation so that the charcoal leaves traces of its movement. The idea is that eventually the charcoal will all be dissolved onto the paper. The artist sets up a process but does not control the unfolding of it. Lee Montgomery’s archival inkjet prints, such as Side View of the Andromeda Galaxy (Tangled) (2015), are the result of aesthetic experiments in aviation that combine data collection, transmission, visualizations, and mapping. His International Collaborative Art Program class at the University of New Mexico recently used a drone to draw shapes related to data obtained from the Very Large Array in Socorro, NM. APRIL

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In a room filled with microphotography images from the work of scientists Gillette, Wilson, Ozbun, and others, Julia Buntaine’s EEGellyfish (2015) hangs from the ceiling. She makes structures that recreate the connective behavior of different areas of the human brain. Having previously created simulacra of cellular membranes, axons, and neurotransmitters, in this show she displays wire sculptures that are concrete representations of events, models of the alpha, theta and delta waves our brains generate all the time. Brian Knep has produced large-scale interactive installations as well as microscopic sculptures for human-made structures a billionth of a meter in size. He holds a bachelor’s degree in mathematics and a master’s degree in computer science. As artistin-residence at Harvard Medical School, he worked alongside scientists to explore alternative interpretations. His most fascinating piece consisted of patterned surfaces that “heal” themselves. After being disrupted by people walking across them, these “floors” self-repair, making new patterns based upon simple iterative rules such as those that produce zebra stripes. Knep has also attempted to connect with microscopic nematodes—often used in labs to understand disorders like addiction and Parkinson’s— building, out of complex plastics, microscopic sculptures for them to explore. In 1966, artists, engineers and scientists from Bell Laboratories created performances incorporating new technologies. Then, the legendary E.A.T. (Experiments in Art and Technology) was officially launched by established engineers and artists to facilitate direct contacts between practitioners of the various disciplines that produce our world. Fifty years later, there is tremendous need for such contacts. To reveal the workings of the world, art must engage with cutting-edge science at a level deeper than just the visual representation of information. Our world is shaped by science, engineering, design, and art (which is often the way that our future is previewed). This show, the second of its kind at Peters, is a bold undertaking that should draw close attention. —Marina La Palma Brian Knep, Frog Time, 2007, non-repeating video installation, ed. of 3

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call for submissions submit up to 3 images per issue to be featured on THE photography page! see page 45

may theme: CATS send submissions and questions to editor@themagsantafe.com by april 15 the selected photographer will receive a $50 gift certificate to a santa fe business

2016 Exhibitions: Printed Matter II - Noir Savior - Eye - Street Art Expo - Ink Different - UGLY Steven Paul Judd - Dia de Los Muertos - Fall Festival Show - 2016 Studio Tour

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PHOTOGRAPHY

Craig Duncan I want a fish tank in my bathroom, not life insurance 2015 Duncan is a BFA student in Photography at Santa Fe University of Art and Design. www.craigduncanphotography.com @cloggednozzle submission theme: “architectural detail” APRIL

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WRITINGS

Literary Witches

by Taisia Kitaiskaia and Katy Horan

Taisia Kitaiskaia is a poet living in Austin, TX. Her poems have appeared or are forthcoming in Pleiades, jubilat, Guernica, The Missouri Review, Juked, Gulf Coast, West Branch, Phantom Limb, and elsewhere. She has been nominated for a Pushcart Prize and was a finalist for the 2015 Southern Voices Poetry Prize and the 2015 Cleveland State University Poetry Center’s First Book Prize. Recipient of a Michener Center for Writers fellowship, she is the current managing editor of Bat City Review.

Katy Horan was born in Houston, TX and received a BFA from the Rhode Island School of Design in 2003. Her work has been exhibited in galleries throughout the U.S. and in Canada, published in several books including The Exquisite Book (Chronicle) and Beasts! (Fantagraphics). She has twice been selected for New American Paintings (#90, #120) and was a finalist for the 2015 Hunting Art Prize. She lives and works in Austin, TX.

taisiakitaiskaia.com

www.katyart.com

46 | THE magazine

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GErald PETErs GallEry

P ro u d ly r e P r e s e n t i n G t h e e s tat e s o f: f r a n k a P P l e G at e • J o z e f B a ko s • c y ru s B a l d r i d G e m a r J o r i e e ato n • J o s e Ph f l e c k • a l B e rt k r e h B i e l • d at u s e. m y e r s • w i l l a r d n a s h h e l m u t h n au m e r • a l B e rt s c h m i d t • m a x w e B e r • h a ro l d w e s to n • w i l l i a m zo r ac h

G e r a l d P e t e r s G a l l e ry • 1 0 0 5 Pa s e o d e P e r a lta , s a n ta f e , n e w m e x i c o • ( 5 0 5 ) 9 5 4 - 5 7 0 0 • G P G a l l e ry. c o m

RICHARD ZANE SMITH New Works in Clay, April 22 – May 14, 2016 Artist Reception: Friday, April 22nd from 5 – 7 pm

Clockwise from the top: Untitled, natural clay and pigments, 14" h x 13" d Water Paw, natural clay and pigments, wood, and stone, 11" h x 14.5" w x 11" d Spiralsazzie, natural clay and pigments, 13" h x 13" d

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