THE magazine Dec 2013 - Jan 2014

Santa Fe’s Monthly

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of and for the Arts • Dec. 2013 / Jan. 2014

BEST BOOKS

2013

Holiday Open House, Thursday December 26, 5-7

53 OLD SANTA FE TRAIL | UPSTAIRS ON THE PLAZA | SANTA FE, NM | 505.982.8478 | SHIPROCKSANTASFE.COM

CONTENTS

5 LETTERS • 14 UNIVERSE OF GLASS ARTIST ANDREW BROWN • 18 ART FORUM: DUCHAMP FLIES, PAINTING BY CARMEN CICERO • 21 STUDIO VISITS: IVAN BARNETT AND DESTINY ALLISON • 23 FOOD FOR

THOUGHT: THE FRESH HONEY COOKBOOK BY LAUREY MASTERTON • 25 ONE BOTTLE: THE 2009 HENRI BOILLOT CHASSAGNE-MONTRACHET “LES EMBRAZÉES” BY JOSHUA

BAER 27 DINING GUIDE: JOSEPH’S CULINARY PUB AND TUNE-UP CAFE • 28 OUT & ABOUT • PAINTINGS AND PROVOCATIONS AT THE METROPOLITAN MUSEUM OF ART •

NEO-COLONIAL “RETABLOS” AT TANSEY CONTEMPORARY •

39

36

31 CALENDAR • 35 NATIONAL SPOTLIGHT: BALTHUS: CATS AND GIRLS—

PREVIEWS: GUNNAR PLAKE AT THE LAS CRUCES MUSEUM OF ART AND DEVOCIONALES:

FEATURE: BEST BOOKS 2013 •

47 PERSON OF INTEREST: JIM SLOAN • 51 CRITICAL REFLECTIONS:

AGNES MARTIN AND MARTIN PARR AT THE UNIVERSITY OF NEW MEXICO ART MUSEUM; ATOMIC SURPLUS AT THE CENTER FOR CONTEMPORARY ARTS; EMILY CHENG AT ZANE BENNETT CONTEMPORARY ART; EUGENE NEWMANN AND JOHN CONNELL AT PHIL SPACE; MARY TSIONGAS AT RICHARD LEVY GALLERY; PAOLO CAVINATO AND PETER OGILVIE

59 GREEN PLANET: DREAD SCOTT—REVOLUTIONARY ARTIST, PHOTOGRAPH BY JENNIFER 61 ARCHITECTURAL DETAILS: TREE WITH HORNOS, PHOTOGRAPH BY LENNY FOSTER • 62 WRITINGS: “AT NIGHT, DEEP IN THE MOUNTAINS”

AT WILLIAM SIEGAL GALLERY; AND SHELDON KREVIT AT JAY ETKIN GALLERY • ESPERANZA •

BY DAIGU RYOKAN In 2005 the Blue Noses, a Russian art collective, paid homage to the British street artist Banksy by reinterpreting Banksy’s Two Bobbies Kissing—a stencil of two London policemen locking lips. The Russian government impounded the photograph, which they judged to be “pornographic” and “a political provocation.”

This image is one of many in The Museum of Scandals (Prestel, $29.95), which presents dozens of paintings, prints, and photographs—from the Renaissance to the present time—that shocked audiences. The book is divided into four sections: Sacrilege, Political Incorrectness, Sexual Scandals, and Transgressions.

Each image is accompanied by text by Elea Baucheron and Diane Routex that investigates each artist’s intention, while placing each work into historical context.

Lannan Foundation presents its 2013–2014 Winter /Spring events.

ALL EVENTS BEGIN AT 7PM 12 DECEMBER

Natasha Trethewey, Major Jackson, Thomas Sayers Ellis, John Keene, Tisa Bryant & Sharan Strange

Readings & Conversations brings to Santa Fe a wide range of writers from the literary

The Dark Room Collective

15 JANUARY

Bryan Stevenson with Liliana Segura

and discuss their work.

12 FEBRUARY

George Saunders with Joel Lovell

In Pursuit of Cultural Freedom is a lecture

26 FEBRUARY

Greg Grandin with Avi Lewis

19 MARCH

Trevor Paglen with Rebecca Solnit

2 APRIL

Dave Zirin with David Barsamian

16 APRIL

Benjamin Alire Sáenz with Cecilia Ballí

7 MAY

Sandra Steingraber with Laura Flanders

21 MAY

Colm Tóibín with Michael Silverblatt

world of fiction, nonfiction and poetry to read from

series on political, economic, environmental and human rights issues featuring social justice activists, writers, journalists and scholars discussing critical topics of our day.

www.lannan.org

LETTERS

magazine VOLUME XXI, NUMBER V

WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 & 2006 Top-5 Best Consumer Tabloids P U B L I S H E R / C R E AT I V E D I R E C T O R Guy Cross PUBLISHER/FOOD EDITOR Judith Cross ART DIRECTOR Chris Myers COPY EDITOR Edgar Scully PROOFREADERS James Rodewald Kenji Barrett S TA F F P H O T O G R A P H E R S Dana Waldon Anne Staveley Lydia Gonzales PREVIEW / CALENDAR EDITOR Elizabeth Harball WEBMEISTER

Jason Rodriguez SOCIAL MEDIA

Laura Shields

CONTRIBUTORS

Diane Armitage, Joshua Baer, Davis K. Brimberg, Jon Carver, Kathryn M Davis, Jennifer Esperanza, Anthony Hassett; Hannah Hoel, Michelle Laflamme-Childs, Marina La Palma, Iris McLister, Daigu Ryokan, Jen Tansey, Richard Tobin, Lauren Tresp, and Susan Wiider COVER

Marlene Dietrich with Sergei Voidato Patcevitch (President of Condé Nast Publications - 1942-1971)

From It’s Modern by Charles Churchward. See page 39.

Courtesy: Rizzoli International Publications

CROSS ROADS: figurative works by Andrea Broyles at Studio Broyles, 821 Canyon Road (upstairs), Santa Fe. Champagne and chocolate opening reception on Saturday, December 7 from 4 to 7 pm.

Closing reception: Friday, January 17 from 5 to 7 pm.

TO THE EDITOR:

What got into Kathryn Davis who reviewed the A Gallery show in November? Her tone was so aggressive, and I do disagree powerfully with the notion that art has to have a context—social or otherwise. Joseph Albers had a context? Morandi had a context? Some art is simply out there, belongs to its own world, proves that art can come from the mysteries, be a refuge for the eye, the spirit, and the soul. And for that reason may be even more beautiful and everlasting than so much of the referential crap that goes for “being with it” today. And tell Kathryn Davis I said so.

—Roger Salloch, Paris, France, via email TO THE EDITOR:

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Jimmy Montoya: 470-0258 (mobile) THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501.

Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: themagazinesf@gmail.com. Web address: themagazineonline.com. All materials copyright 2013

by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable, for any misspellings, incorrect information in its captions, calendar, or other listings.

Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel.

All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised.

THE magazine is not responsible for any claims made by its advertisers for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.

DECEMBER/JANUARY

2013/14

I guess the writer of the review of the exhibition Exceptions to the Rule at A Gallery and I saw two different shows. The critic, Kathryn Davis, liked the sculptures of Nathaniel Hesse, but then nit-picks about the size of Hesse’s sculpture: “I found myself wishing that it towered over my head.” Okay, the critic would have liked it bigger. Since when does size really matter? Look at masterpieces being sold for milliions of dollars at auction that are no bigger in length and width than a coffeetable book. I found th sculptures to be powerful works. I do not agree with the critic that Hesse and the other artists “seem to sacrifice content for craftsmanship.” My gut feeling is that the critic went to this exhibition with some preconceived notions about the work. I say this as I am pretty familiar with this critic’s writing, and have never seen such a negative review from her before.

I say, see this show to be seen before it is gone.

—Lucas Kline, via email TO THE EDITOR:

In a recent article—In Praise of Art Forgeries—

by Blake Gopnik in the November 3 Sunday edition of the New York Times, a short paragraph about today’s art market grabbed my attention: “Our current [art] market, geared toward the ultra-wealthy, is helping few and hurting many.

It stomps down all the emerging and midlevel dealers, artists, and even collectors who can’t play in the big-money game. It’s also hurting all the art lovers, current and future, who deserve work that’s conceived to address artistic issues, not to sell well to robber barons.” And more on the same subject from a November 17 New York Times article by Roberta Smith: “Auctions have become the leading indicator of ultra-conspicuous consumption, pieces of public, male-dominated theater in which collectors, art dealers, and auction houses flex their monetary clout, mostly for one another... the glittery auction-house/blue-chip gallery sphere is spinning out of control far above the regular workaday sphere where artists, dealers, and everyone else struggle to get by. It is a kind of fiction that has almost nothing to do with anything real— not new art, museums, or historical importance. It is becoming almost as irrelevant as the work, reputation, and market of the kitsch painter Thomas Kinkade.”

Though obviously none of my business, I encourage the editors at THE magazine to consider assigning a writer to explore this topic in detail, as I believe an article on this subject would be of great interest to your readers.

—Malcolm Browne, via email TO THE EDITOR:

I enjoyed the cover story in your November issue on the film The Master. Davis Brimberg’s evaluation of the main characters was concise and to the point. This was of real benefit when I watched the film for the second time as it heightened my understanding of what was going on between these two men. Plus the look of the article was striking. And what a face Joaquin Phoenix has. And that damaged lip of his—wow!

—Danielle Joselle, via email February/March 2014 is a double issue.

Calendar listings due by January 15 Letters: to themagazinesf@gmail.com Letters may be edited for space consideration

THE magazine | 5

happy new year Gordon Parks The Segregation Series January 11 - March 1, 2013 selected works by Mickalene Thomas

Richard Levy Gallery • Albuquerque • www.levygallery.com • 505.766.9888

Last Light on the Sangres • 9”x12” Snow at Sundown • 20”x24”

“Winter in Santa Fe” • Haiku in Form Opening Dec 13th • 5:30–7:30pm Benefit for Food Depot • Bring a Food Item!

Open 7 days a week • 11am – 4pm • 203 West Water St. fine western & contemporary art

Santa Fe, NM 87501 • www.casweckgalleries.com • 505.988.2966

C H A R L O T T E

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Patrick McGrath Muñiz “PLANET OF THE APPS” ~ Oil on canvas ~ 38 1/2" x 37"

Patrick McGrath Muñiz

DEVOCIONALES: Neo-Colonial “Retablos” From an Archetypal Perspective December 20, 2013 - January 31, 2014 Through familiar archetypes, Muñiz creates satirical narratives that comment on a variety of relevant social issues, including consumerism, social class polarization, the environment, debt and economic slavery. This exhibition showcases Muñiz’s latest project of 20 devotional oil paintings on canvas and panels.

studio broyles presents:

“CROSS ROADS” Figurative Work

by Andrea Broyles

Champagne and Chocolate Reception Saturday December 7th 4:00 to 7:00 pm

PHOTO OBJECTS & SMALL PRINTS

Closing Reception: Friday January 17th 5:00 to 7:00pm 821 Canyon Road, Santa Fe (upstairs)

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andreabbroyles@gmail.com hours by appointment

A NDR E W S M I T H G AL LERY I NC.

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LEE FRIEDLANDER - MANNEQUIN through JANUARY 5, 2014 In his most complex and multi-dimensional series in recent years, Lee Friedlander pays homage to the monolithic deities of fashion. Between 2003 and 2011 Friedlander photographed female mannequins in storefront windows throughout the United States. Shot through glass, the pictures describe an array of fashion mannequins, clothing, displays, advertising signs and light fixtures. These physical objects interact with reflections of buildings, flags, cars, retail displays, skyscrapers, passersby, and, occasionally, the photographer himself. Friedlander’s camera reveals immensely intricate conjunctions of light and form that the mind and eye fluidly capture and record.

Lee Friedlander, New York City, 2011

UPCOMING SHOW: PAUL CAPONIGRO - OLD AND NEW, JANUARY, 2014

Featuring exhibitions of ANSEL ADAMS photographs from THE DAVID H. ARRINGTON COLLECTION Next to the Georgia O’ Ke e f f e M u s e u m a t 1 2 2 G ra n t Ave . , S a n t a Fe , N M 8 7 5 0 1 505.9 8 4 .1234 • www. A n d r e w S mi th G a l l e r y. c o m • H o u r s : 1 1 - 4 , M o n d ay - S a t u r d ay.

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UNIVERSE OF

ALBUQUERQUE GLASS ARTIST ANDREW BROWN combines classic cold working techniques with an innovative approach to flameworking.With his exploration of a new process of kiln fusing, slumping, and casting borosilicate glass, Brown is pushing and testing the limits of what this medium has to offer. andrewbrownstudios.com and glassartists.org/andrewbrown INFLUENCES AND INPSIRATIONS

back to it later. I appreciate the organic color pattern of

I draw inspiration from my natural surroundings in New

borosilicate glass and the way metals such as silver, copper,

Mexico. My family also plays a great part in my inspiration

and gold work within the glass by adding color. One of the

and motivation. I enjoy finding traditional techniques and

main benefits of working with borosilicate glass is that I am

bringing them to a modern glass canvas. Â

able to have a home studio and easily travel with my tools and equipment.

COMBINING VARIOUS TECHNIQUES I started flame working in 2000. As I grew confident behind

TOOLS OF THE TRADE

the torch, I branched out to include different techniques

I use an oxygen and propane torch to manipulate borosilicate

such as vacuum-encasing objects inside paperweights. I also

glass tubes and rods in the flame. This style of working glass

use cold work techniques such as electroforming, carving

is often referred to as flameworking or lampworking. I also

and grinding with diamond wheels, and laminating using

use gem-cutting tools to grind, polish, and carve away glass

natural stones with glass. These additional techniques allow

exposing layers of color and internal patterns.

me to take many of the pieces I make to a new level.Â

THE NEW WORK BOROSILLICATE GLASS

The current growing interest and widespread recognition

I choose borosilicate glass for a number of reasons.

of borosilicate glass art has allowed me to have an open

I appreciate the flexibility that it allows. Unlike other types

dialogue with my ideas and enables me to push limits with a

of glass, I can set down a piece I am working on and come

new freedom that I am allowing myself to embrace.

photographs by DECEMBER/JANUARY

2013/14

D ana W aldon THE magazine |15

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ART FORUM

THE MAGAZINE ASKED A CLINICAL PSYCHOLOGIST AND TWO PEOPLE WHO LOVE ART TO SHARE THEIR TAKE ON THIS 2005 WATERCOLOR AND GOUACHE PAINTING BY CARMEN CICERO ENTITLED DUCHAMP FLIES . THEY WERE SHOWN ONLY THE IMAGE AND GIVEN NO OTHER INFORMATION. We often have dreams of flying. Yet, sometimes this

A shadow of a man, hovering infinitely above a landscape

leaning in to watch. Maybe they are awaiting the man’s

exhilarating sensation spirals out of control. Anxiety

of densely intertwined web-like trees and branches.

arrival and will embrace his simple, silhouetted figure into

transforms the positive experience into a terrifying nightmare.

Oddly, there is no sense of motion in this image, leaving

the more detailed and finely drawn landscape, returning

Such a dream moment is captured in this ominous work.

us to speculate, using subtle cues, whether he is flying,

to him his own natural dimensionality and complexity.

A flying man is pointed downward, headed for danger.

falling, rising, or simply suspended in midair. I see his

Likewise, he lives inside a winter scene: tshe season associated

body angled in such a way as to imply falling, or maybe

—Michelle Laflamme-Childs, Public Art Coordinator for the State of New Mexico

with death, loneliness, sand sadness. Psychologically, crashing,

a pending landing from a Superman-like flight; his

or fears of crashing during flight, implies fears of failure and

outstretched arms give a similar sense. One of his rear

This piece to me has the feel of a dreamscape. I like the

a lack of confidence. In contrast, pleasant flying dreams may

legs is extended upward a bit, as if he is getting ready to

contrast between the fine detail within the natural elements

symbolize a drive for achievement or a longing for spiritual

swing his lower body down to land on his feet. Perhaps

of the piece—the trees, the mountains, and the sky—against

enlightenment. Psychoanalysts have also likened fun flying

he has escaped the rat race. His profile indicates that he

the lack of definition inherent to the “floating” human figure.

dreams to erections and sexual experiences. Additionally,

is wearing traditional men’s business clothes—a slightly

It evokes a feeling of being trapped in a dream where

flying occurs more often in lucid dreams in which the

heeled dress shoe, an overcoat, slacks. It seems to me

you aren’t sure if it is night or day—if you are present or

dreamer has partial or complete awareness. Lucid dreaming

he has flown to this place to seek relief from modern life

unconscious—here or there. It is difficult to tell if the man’s

is common among artists. Many creative types go through

and is about to land in this clearing (the only one visible

image is falling or being lifted, adding to the uncertainty

long periods of controlling their dreams. Their sleep process

in this very thickly drawn forest) to enjoy the peace and

the piece evokes. I can’t say exactly why but elements of

mirrors their conscious, everyday creativity. Perhaps this

solitude of the vast, twilight-hued landscape. The trees

the piece remind me of Native American imagery and

haunting work reflects the creator’s inner world? Maybe we

in the foreground have an anthropomorphic quality.

symbolism, primarily through the definition of line used in

are seeing one of the artist’s dreams.

The ones to the right look as if they are leaning back to

the human form and the image of the sun.

—Davis K. Brimberg, Ph.D., Clinical Psychologist

make space for the landing, while the ones to the left are

—Jen Tansey, Owner of Tansey Contemporary

18 | THE magazine

DECEMBER/JANUARY

2013/14

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STUDIO VISITS

CHRISTOPHER T. HALEY WROTE, “THE CHALLENGE OF ART IS BEAUTY. AND THE CHALLENGE OF BEAUTY IS TRUTH.” TWO ARTISTS RESPOND TO THIS STATEMENT. For me, truth is a matter of perception, evolving and revolving through experiential interaction with subject and object. If you and I are sitting across from each other and there is a flower vase on the table, we can agree that it holds irises. How many, the specific color of each, and the angle of their placement will cause us to disagree because we each see something different. The same is true of relationships and mountains. If the challenge of art is beauty and the challenge of beauty is truth, then the artist’s challenge is to explore her subject from as many perspectives as possible to reveal more than the surface interpretation of any particular truth.

—Destiny Allison

Destiny Allison is a sculptor and an author. Her memoir—Shaping Destiny: A quest for meaning in art and life— was awarded first place in the 2013 Global Book competition. She has also authored two novels, Pipe Dreams and Bitterroot. Bitterroot was just released. Allison’s sculptures are collected internationally by individuals, corporations, and civic entities. www.destinyallisonbooks.com

Einstein said that the quest for truth and beauty “live” in parallel spheres, allowing us to remain children for all of our lives. He was right. I found quite early in my adult life that there weren’t that many things I loved to do, nor even did very well. As a child I would “lose” myself for hours on end, painting and drawing in my father’s studio.

In looking back I was already compensating for my inability to fit in. Thank goodness my father encouraged me to find my truth of expression by making things with my hands. Beauty is one of my favorite words, as is truth.

Those of us who live to create beauty and are obsessed with its essence are graced by being able to return to our childhoods time and again, at which point “our truth” is always waiting, like a lifelong friend.

—Ivan Barnett Barnett’s last one-person exhibition of his work—Circlings—was in 2010. Abstraction: a show of pigmented steel mobiles and photographs opens at Patina Gallery, 131 West Palace Avenue on Friday, December 6, with a reception from 5 to 7 pm. http://www.patina-gallery.com/artistbios/barnett.php

photographs by

DECEMBER/JANUARY

2013/14

Guy Cross

THE magazine |21

Border TapesTry

JunTos arT associaTion & Border arTisTs

Contemporary Fine Art by Established New Mexico Artists

thegalleryabq.com

paintings, photography, mixed media, jewelry, bronze sculpture, glass art, pottery, turned wood, drawings, and prints

Green

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exTended passaGe of Time Gunnar plake NOVEMBER 23 - JANUARY 18 LAs CRUCEs MUsEUM Of ARt 491 North Main Street • Las Cruces, NM, USA www.las-cruces.org/museums • 575-541-2137

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FOOD FOR THOUGHT

The Fresh Honey Cookbook by laurey masterton

Did you know that the honeybee has been charged by nature to pollinate all of the world’s flowering plants? One third of all the foods we eat are dependent on the work of honeybees. And for their own nourishment the honeybees are required to visit two million flowers to collect sufficient nectar to produce one pound of honey—each hive needs over sixty pounds of honey to get through the winter. In The Fresh Honey Cookbook (Storey Publishing, $14.95), Laurey Masterton offers eighty-four recipes that celebrate the luscious flavors of honey. Each chapter is arranged by season and corresponds to a specific honey varietal derived from a single flowering plant: Orange blossom honey in January, Tupelo honey in February, Tulip poplar honey in June, and so on.

Some of the recipes: Avocado and Mango Salad, Candy Roaster Squash Soup, Pork Tenderloin with Orange Blossom Honey-Mustard, Turkey Roulade in Puffed Pastry with Cranberry Chutney, Wild Salmon with a Smoky Onion Crust, Sweet Potato Salad with Sourwood Honey. This is a very attractive book,:-) I does not s grI does not show you greaI does not show you great job loaded with honey-tasting tips and glimpses into the life of a beehive.

DECEMBER/JANUARY

2013/14

THE magazine |23

HAPPY HOLIDAYS!

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ONE BOTTLE

O n e B ott l e :

The 2009 Henri Boillot Chassagne-Montrachet “Les Embrazées” by

“Some rise by sin, and some by virtue fall.”

(Measure For Measure, Act Two, Scene One.)

J o s h ua B a e r

At the end of the 2005 preseason, the Ravens played the St. Louis Rams in

an exhibition game at Wembley Stadium in London. Shakespeare spent the

The original William Shakespeare, also known as the “Bard of Avon,” was

game on the sidelines, with three broken ribs. After the final gun, he changed

born on April 26, 1564, in Stratford-on-Avon, England. On November

into his street clothes, took a taxi to Euston Station, and bought a one-way

28, 1582, at the age of eighteen, Shakespeare married Anne Hathaway,

ticket to Stratford-on-Avon. “I wanted to see what all the fuss was about,”

who was twenty-seven years old and pregnant with Susanna, the

he later told ESPN. “I mean, my name is William Shakespeare. What would

Shakespeares’ daughter and first child. The Shakespeares’ twins, Hamnet

you do? Go to England and not see Stratford?”

and Judith, were born two years later, in 1585—the year Shakespeare

began his career as an actor.

after the exhibition game, when the Ravens’ team bus left for Heathrow,

The fuss, presumably, got the better of the young punt returner. The day

Between 1589 and 1613, Shakespeare wrote one hundred and

Shakespeare was not on it. A month later, he finished writing Measure for

fifty-four sonnets, two long narrative poems, and thirty-eight dramatic

Measure, the first of his so-called “modern Shakespearean recitals.” That fall,

plays, including Richard III, Romeo and Juliet, Love’s Labour’s Lost, The

Measure for Measure played for eight weeks to sold-out crowds at the Swan

Merchant of Venice, Twelfth Night, Hamlet, Othello, King Lear, Macbeth,

Theater in Stratford. Over the next five years, Shakespeare capitalized on

and The Tempest. Shakespeare’s plays established his reputation as

Measure for Measure’s success by writing modern recitals of Coriolanus,

a genius, a poet, a seer, and one of the greatest writers of all time.

As You Like It, Othello, and All’s Well That Ends Well. Each play by the modern

The modern William Shakespeare, also known as Willie the Shake,

Shakespeare had the same characters, lines, and plots as the originals.

Dr. Shakenstein, the Shakenator, and Billy Earthquake, was born on

When the British tabloids accused him of plagiarism, Shakespeare

September 27, 1984, in Saugus, Massachusetts. After attending

dismissed the press as “a flock of jealous twits. If I’d re-written the

Holy Cross, where he studied acting, majored in communications,

plays, that would have been plagiarism. But I never changed a word.

and returned kick-offs and punts for the Holy Cross Crusaders,

The reason all of Britain loves my plays is because I left them alone.”

Shakespeare was selected by the Baltimore Ravens in the

When asked if he missed football, Shakespeare observed,

eighth round of the 2005 NFL Draft. In July of 2005, at the

“In the NFL, you play with men. When you write, you play with

Ravens’ training camp in Annapolis, Maryland, Shakespeare

words. But when you write plays, you get to hear your words

made the team as a second-string punt returner.

come out of the mouths of men and women. Do I miss the

“There wasn’t much to him,” recalls Deion Sanders,

NFL? Naturally, I miss hitting, and I miss getting hit, but when

the Ravens’ All-Pro cornerback in 2005 and now

evening falls, the stage returns whatever riches I lost when

a commentator for NFL Network, “but he had something.

I cut myself from the Ravens’ roster.”

Not entirely sure what it was, but whatever it was, he had it. Whenever he hit you, or you hit him, the ground shook. Billy could bring it.”

Which brings us to the 2009 Henri Boillot ChassagneMontrachet “Les Embrazées.”

In the glass, Boillot’s “Les Embrazées” is a study in

Shakespeare’s style of open field running combined

the mystery of clarity. While the pale gold color promises

bravado and grit with a reckless disregard for his own

transparency, there is something about the way the wine

safety. Due to his diminutive stature—five-feet, six inches,

relaxes in the glass that leads you down a less-than-obvious

one hundred and fifty-five pounds—opposing teams

path. The bouquet performs the olfactory equivalent of

expected Shakespeare to catch the ball and race to the

the same diversion. You inhale the essence of simplicity,

sidelines. Instead, he ran straight up the middle of the

but as you inhale it that essence evolves into a lesson in

field. Head fakes, jukes, leaps, and spins were not in his

complexity. On the palate, the wine is a meandering

repertoire. Brian Billick, the Ravens’ head coach in 2005,

gesture. The more you attempt to identify its flavors, the

and now a color commentator for FOX Sports, describes

more those flavors extend the limits of your taste. The

Shakespeare’s punt returns as “uniquely confrontational.

finish is a happy ending, a flourish, and a reconciliation.

He’d pick out the biggest, meanest guy on the cover team

It lasts the way a line of poetry lives forever in the mind.

and run right at him. If Will had ever learned to follow

“I pray you, do not fall in love with me

For I am falser than vows made in wine.”

(As You Like It, Act Three, Scene Five.)

the wedge, he could have been another Devon Hester. But after a couple of games, it became obvious that he was going to spend more time colliding with opponents twice his size and getting the snot knocked out of him than advancing the ball. He wasn’t there to score or get us good field position.

He was there to get clobbered. He loved the contact.”

DECEMBER/JANUARY

2013/14

One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. Merry Christmas, Happy Hanukkah, and Happy New Year to all of our readers.

Back issues are online at onebottle.com. S end comments or questions to jb@onebottle.com.

THE magazine | 25

DINING GUIDE

Scottish Fatty Salmon Sashimi with Fried and Dried Salad

Joseph’s Culinary Pub 428 Agua Fria Dinner Only 982-1272

$ KEY

INEXPENSIVE

$

up to $14

MODERATE

$$

$15—$23

EXPENSIVE

$$$

VERY EXPENSIVE

$24—$33

$$$$

Prices are for one dinner entrée. If a restaurant serves only lunch, then a lunch entrée price is reflected.

Alcoholic beverages, appetizers, and desserts are not included in these price keys. Call restaurants for hours.

$34 plus

EAT OUT OFTEN photographs :

G uy C ross

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

315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190.

Dinner Full bar. Patio.

Major credit cards. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: Generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence.

Watch for special wine pairings.

317 Aztec 317 Aztec St. 820-0150 Breakfast/ Lunch. Patio.

Major credit cards. $$ Cuisine: Café and Juice Bar. Atmosphere: Casual.

House specialties: Breakfast: Eggs Benedict and the Hummus Bagel, are winners.

Lunch: we love all of the salads and the Chilean Beef Emanadas. Comments: Juice bar and perfect smoothies.

Andiamo 322 Garfield St. 995-9595.

Lunch/Dinner Beer/Wine. Patio.

Major credit cards. $$ Cuisine: Italian.

Atmosphere: Casual. House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Great pizza.

Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236 .

Breakfast/Lunch/Dinner. Full bar.

Valet parking.

Major credit cards. $$$$ Cuisine: Contemporary American with a what we call a “Southwestern twist.” Atmosphere: A classy room.

House specialties: For dinner, start with the Heirloom Beet Salad.

Follow with the flavorful Achiote Grilled Atlantic Salmon. Dessert: the Chef’s Selection of Artisanal Cheeses.

Comments: Attentive service.

Body Café 333 Cordova Rd. 986-0362.

Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual. House specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Avocado and Cheese Wrap.

B ouche

451 W. Alameda Street 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare.

Atmosphere: Intimate with an open kitchen. House specialties: Standouts starters are the “Les Halles” onion soup and the Charcuterie Plank. You will love the tender Bistro Steak in a

pool of caramelized shallot sauce, the organic Roast Chicken for two with garlic spinach, and the Escargots a la Bourguignonne. Comments: Menu changes seasonally. Chef Charles Dale and staff are consummate pros.

Cafe Cafe Italian Grill 500 Sandoval St. 466-1391.

Lunch/Dinner Beer/Wine.

Major credit cards. $$ Cuisine: Italian.

Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad, the tasty specialty pizzas, or the grilled Eggplant sandwich. For dinner, try the perfectly grilled Swordfish.

Café Fina 624 Old Las Vegas Hiway. 466-3886.

Breakfast/Lunch. Patio Cash/major credit cards. $$ Cuisine: Call it contemporary comfort food. Atmosphere: Casual. House specialties: For breakfast, both the Huevos Motulenos and the Eldorado Omlet are winners. For lunch, we love the One for David Fried Fish Sandwich, the perfect Green Chile Cheeseburger, and all of the salads. Comments: Annamaria O’Brien’s baked goods are really special. Try them. You’ll love them.

Café Pasqual’s 121 Don Gaspar Ave. 983-9340.

Breakfast/Lunch/Dinner Beer/Wine.

Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian maiden posters. House specialties: Hotcakes got a nod from Gourmet magazine. Huevos motuleños—a Yucatán breakfast—is one you’ll never forget.

Chopstix 238 N. Guadalupe St. 982-4353.

Lunch/Dinner. Take-out. Patio.

Major credit cards. $ Atmosphere: Casual.

Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, Kung Pau Chicken, and Broccoli and Beef. Comments: Friendly owners.

Counter Culture 930 Baca St. 995-1105.

Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. Comments: Good selection of beers and wine.

Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565.

Breakfast/Lunch/Dinner Full bar. Patio.

Major credit cards. $$ Cuisine: Good old American. fare.

Atmosphere: Patio shaded by big cottonwoods. Great bar. House

specialties: The smoked brisket and ribs 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.

Doc Martin’s Restaurant 125 Paseo del Pueblo Norte.

575-758-2233.

Lunch/Dinner/Weekend Brunch Full bar.

Major credit cards. $$$ Cuisine: Regional New American.

Atmosphere: Friendly—down home.

House specialties: For lunch try Doc’s Chile Relleno Platter or the Northern New Mexico Lamb Chops.

Dinner faves are the Pan Seared Whole Boneless Trout and the Green Chile Smothered Chicken Burrito.

Comments: Great bar.

Dr. Field Goods Kitchen 2860 Cerrillos Rd. 471-0043.

Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: New Mexican Fusion.

Atmosphere: Casual and friendly.

House specialties: Starters: Charred Caesar Salad, Carne Adovada Egg Roll, and Fish Tostada. Mains: El Cubano Sandwich, Steak Frite, and the Pizza Margartia. Comments: Nice portions and you leave feeling good. Real good.

Downtown Subscription 376 Garcia St. 983-3085.

Breakfast/Lunch No alcohol. Patio.

Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room where you can sit, read periodicals, and schmooze.. House specialties: Espresso, cappuccino, and lattes.

El Faról 808 Canyon Rd. 983-9912.

Lunch/Dinner Full bar. Patio.

Major credit cards. $$$ Cuisine: Spanish Atmosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-to-cheek dancing. House specialties: Tapas, Tapas, Tapas. Comments: Murals by Alfred Morang.

El Mesón 213 Washington Ave. 983-6756.

Dinner Beer/Wine. Patio.

Major credit cards. $$ Cuisine: Spanish.

Atmosphere: Spain could be just around the corner.

Music nightly. House specialties: Tapas reign supreme, with classics like Manchego Cheese marinated in extra virgin olive oil.

Geronimo 724 Canyon Rd. 982-1500.

Dinner Full bar. Patio.

Major credit cards. $$$$ Cuisine: French/Asian fusion.

Atmosphere: Elegant and stylish.

House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass served with black truffle scallions, and the classic peppery Elk tenderloin.

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, or the French Toast. Lunch: the All-Natural Buffalo Burger. Dinner the Ranchero Style Hanger Steak or the Grilled Salmon Tacos. Comments: Friendly.

Il Piatto 95 W. Marcy St. 984-1091.

Lunch/Dinner Full bar.

Major credit cards. $$ Cuisine: Italian.

Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad; the Lemon Rosemary Chicken; and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to Table, all the way.

Jambo Cafe 2010 Cerrillios Rd. 473-1269.

Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers, Comments: Chef Obo wins awards for his fabulous soups.

Joseph’s Culinary Pub 428 Montezuma Ave. 982-1272 Dinner.

Beer/Wine Major credit cards. $$$ Cuisine: Innovative. Atmosphere: Intimate. House specialties: Start with the Butter Lettuce Wrapped Pulled Pork Cheeks or the Scottish Fatty Salmon Sashimi. For your main, try the Lamb & Baby Yellow Curry Tagine or the Crispy Duck, Salt Cured Confit Style. Comments: Produce is procured locally. The bar menu features Polenta Fries and the New Mexican Burger.

Wonderful desserts, excellent wine, beer on draft, and great service.

Kohnami Restaurant 313 S. Guadalupe St. 984-2002.

Lunch/Dinner Beer/Wine/Sake. Patio.

Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: The sushi is always perfect. Try the utterly delicious Ruiaku Sake La Plancha de Eldorado 7 Caliente Road at La Tienda.

466-2060 Highway 285 / Vista Grande Breakfast / Lunch / Dinner / Sunday Brunch Beer/Wine.

Major credit cards. $$ Cuisine: An Authentic Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian tamales. Comments: Generous Sunday brunch.

Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636.

Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: The Pho Tai Hoi: vegetarian soup loaded with veggies. Comments: Friendly waitstaff and reasonable prices.

La Plazuela on the Plaza 100 E. San Francisco St. 989-3300.

Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Casual House specialties: Start with the Tomato Salad. Entrée: Braised Lamb Shank with couscous. Comments: Beautiful courtyard for dining.

Maria’s New Mexican Kitchen 555 W. Cordova Rd. 983-7929.

Lunch/Dinner (Thursday-Sunday) Beer/wine. Patio.

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

Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: House-made Tortillas and Green Chile Stew. Comments: Perfect margaritas.

Midtown Bistro 910 W. San Mateo, Suite A. 820-3121.

Lunch/Dinner Beer/Wine/ Patio.

Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Large open room with mirrors.

House specialties: For lunch: the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrée: Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop.

Comments: Good dessert selection.

continued on page 29 DECEMBER/JANUARY

2013/14

THE magazine | 27

CLOUD CLIFF BAKERY at the SANTA FE FARMERS MARKET TUESDAY and SATURDAY

Sun-Thur, 5:00 -9:00 pm u Fri - SaT, 5:00 - 9:30 pm 315 Old SanTa Fe Trail u SanTa Fe, nm u www.315 SanTaFe.cOm reServaTiOnS recOmmended: (505) 986.9190

DINING GUIDE

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

Atmosphere: Down home and casual. House. specialties: For breakfast, go for either the Sheepherder’s Breakfast: new potatoes with jalapeno and onion, topped with red and green chile, melted chees, and with two eggs any style or the perfect Eggs Florentine: two poached eggs with hollandaise and an English muffin or the made-from-scratch pancakes.

Lunch favorites are the Carne Adovada Burrito; the Green Chile Stew; the Tostada Compuesta; and the Frito Pie. Comments: No toast is served at Tecolote. Why? It’s a Tecolote tradition, that’s why.

REAL FOOD @ THE TUNE-UP CAFÉ - 1115 HICKOX STREET Mu Du Noodles 1494 Cerrillos Rd. 983-1411.

Dinner/Sunday Brunch Beer/Wine.

Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual.

House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic.

New York Deli Guadalupe & Catron St. 982-8900.

Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. Comments: Deli platters to go.

Plaza Café Southside 3466 Zafarano Dr. 424-0755.

Breakfast/Lunch/Dinner 7 days Full bar.

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

Atmosphere: Bright and light. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile.

Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765.

Brunch/Lunch/Dinner/Bar Menu.

Full bar. Smoke-free dining rooms.

Major credit cards. $$$ Cuisine: All-American, all the way.

Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs and Burgers. Haystack fries rule Recommendations: Nice wine list.

Ristra 548 Agua Fria St. 982-8608.

Dinner/Bar Menu Full bar. Patio.

Major credit cards. $$$ Cuisine: Southwestern with a French flair. Atmosphere: Contemporary.

House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare.

Comments: Nice wine list.

Rose’s Cafe 5700 University W. Blvd SE, #130, Alb. 505-433-5772 Breakfast/Lunch. Patio.

Major credit cards. $ Cuisine: A taste of the Yucatán with a Southwest twist. House specialties: We love the Huevos Muteleños: corn tortillas w/ refried black beans, eggs topped with Muteleños sauce, cotya cheese, and fresh avocado. Lunch: the Yucatán Pork Tacos. Comments: Kid’s menu and super-friendly folks.

San Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ Cuisine: Japanese Sushi and Tapas.

Atmosphere: Large room with a Sushi bar. House specialties: Sushi, Vegetable Sashimi and Sushi Platters, and a variety of Japanese Tapas.

Comments: Savvy sushi chef.

DECEMBER/JANUARY

2013/14

S an F rancisco S t . B ar & G rill

50 E. San Francisco St. 982-2044.

Lunch/Dinner Full bar.

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

Santacafé 231 Washington Ave. 984-1788.

Lunch/Dinner Full bar. Patio.

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

Atmosphere: Minimal, subdued, and elegant House specialties: The world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Panseared Salmon with olive oil crushed new potatoes and creamed sorrel.

Comments: Happy hour special from 4-6 pm. 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: Cornmealcrusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs.

Comments: Easy on the wallet.

Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800.

Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare.

Atmosphere: Contemporary and hip.

House specialties: we suggest that you start with the Seared Ahi Tuna.

For your main, we love the Chicken Fried Chicken with mashed potates and bacon bits, the flavorful Ceviche, or the Beer Battered Fish and Chips.

All of the desserts are right on the mark. Comments: A great selection of wines from around the world.

Quality beers. And marvelous mixed drinks. Two happy hours: 3-6 pm and 9 pm on. Generous portions and reasonable prices. Menu changes with the seasons. Go. Saveur 204 Montezuma St. 989-4200.

Breakfast/Lunch Beer/Wine. Patio.

Visa/Mastercard. $$ Cuisine: French meets American.

Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily specials, gourmet sandwiches, wonderful soups, and an excellent salad bar. Comments: Organic coffees and super desserts.

Do not pass on the Baby-Back Ribs when they are available.

Second Street Brewery 1814 Second St. 982-3030.

Lunch/Dinner Beer/Wine. Patio.

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

Atmosphere: Real casual. House specialties: Beers are outstanding, when paired with the Beer-steamed Mussels, Calamari, Burgers, or Fish and Chips.

Comments: Sister restaurant in the Railyard District.

Shohko Café 321 Johnson St. 982-9708.

Lunch/Dinner Sake/Beer.

Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine.

Atmosphere: Sushi bar, table dining.

House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes.

Comments: Friendly waitstaff.

Station 430 S. Guadalupe. 988-2470 Breakfast/Lunch Patio Major credit cards. $ Cuisine: Light fare and fine coffees and teas. Atmosphere: Friendly and casual.

House specialties: For breakfast, get the Ham and Cheese Croissant. Lunch fave is the Prosciutto, Mozzarella, and Tomato sandwich.

Comments: Special espresso drinks. at El Gancho Old Las Vegas Hwy. 988-3333.

Lunch/Dinner Full bar.

Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant House specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce.

Comments: They know steak here.

Steaksmith

Sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner.

Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods.

Atmosphere: Large open room.

House specialties: In the morning, try the Mediterranean Breakfast— Quinoa with Dates, Apricots, and Honey. Our lunch favorite is the truly delicious Indonesian Vegetable Curry on Rice; Comments: For your dinner, we suggest the Prix Fixe Small Plate: soup, salad, and an entrée for $19.

Wines and Craft beers on tap.

Tecolote Café 1203 Cerrillos Rd. 988-1362.

Teahouse 821 Canyon Rd. 992-0972.

Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace.

Major credit cards. $$ Cuisine: Farm-to-fork-to tableto mouth. Atmosphere: Casual.

House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox. A variety of teas from around the world available, or to take home.

Terra at Four Seasons Encantado 198 State Rd. 592, Tesuque. 988-9955.

Breakfast/Lunch/Dinner Full bar. Patio.

Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties: For breakfast, we love the Blue Corn Bueberry Pancakes and the Santa Fe Style Chilaquiles. For dinner, start with the sublime Beet and Goat Cheese Salad.

Follow with the Pan-Seared Scallops with Foie Gras or the delicious Double Cut Pork Chop. Comments: Chef Andrew Cooper partners with local farmers to bring fresh seasonal ingredients to the table. A fine wine list and top-notch service. Look for the Four Season’s food truck at the Farmer’s Martket.

The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive. 505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: Local flavors. Atmosphere: Casual, calm, and friendly. House specialties: At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, foillow with the Trout with a Toa sted Piñon Glaze. Comments: Nice wine bar.

The Compound 653 Canyon Rd. 982-4353.

Lunch/Dinner Full bar. Patio.

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

Atmosphere: 150-year-old adobe.

House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef/owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award.

The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: Modern Italian Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch: the Prime Rib French Dip. Dinner: go for the Scottish Salmon poached in white wine, or the Steak au Poivre.

The Pink Adobe 406 Old Santa Fe Trail. 983-7712.

Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club. For dinner, Steak Dunigan or the Fried Shrimp Louisianne. Comments: Cocktails and nibblles at cocktail hour in the

Dragon Room is a must!

The Shed 113½ E. Palace Ave. 982-9030.

Lunch/Dinner Beer/Wine. Patio.

Major credit cards. $$ Cuisine: New Mexican. Atmosphere: A local institution located just off the Plaza. House specialties: If you order the red or green chile cheese enchiladas. Comments Always busy., you willnever be disappointed.

The Ranch House 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: BBQ and Grill.

Atmosphere: Family and very kid-friendly.

House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates.

Comments: The best ribs.

Tia Sophia’s 210 W. San Francisco St. 983-9880.

Breakfast/Lunch

Major credit cards. $$ Cuisine: Traditional New Mexican.

Atmosphere: Easygoing and casual.

House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese. Die lunch, choose from one of 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, and, yes, New Mexican. Atmosphere: Down home. House specialties: For breakfast, order the Buttermilk Pancakes or the Tune-Up Breakfast.

Comments: Real friendly and 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 appetizersgenerous drinks.

Vinaigrette 709 Don Cubero Alley. 820-9205.

Lunch/Dinner Beer/Wine.

Major credit cards. $$ Cuisine: American. Atmosphere: Light, bright and cheerful.

House specialties: All organic salads. We love all the saleads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: NIce seating on the patio. In Albuquerque, visit their their sister restaurant at 1828 Central Ave., SW. Zacatecas 3423 Central Ave., Alb. 255-8226.

Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican.

Atmosphere: Casual and friendly.

House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Slow Cooked Pork Ribs. Also offered are over sixty-five brands of Tequila.

Zia Diner 326 S. Guadalupe St. 988-7008.

Breakfast/Lunch/Dinner Full bar. Patio.

Major credit cards. $$$ Cuisine: All-American Atmosphere: Down home. House specialties: Chile Rellenos and Eggs is our breakfast choice. At lunch, we love the Southwestern Chicken Salad and the Fish and Chips. Comments: wonderful selection of sweets available for take-out. The bar is the place to be at cocktail hour.

THE magazine | 29

Leon Berkowitz Unity

December 13 – January 25, 2014

DavidrichardGALLEry.com

DAVID RICHARD GALLERY

544 South Guadalupe Street, Santa Fe, NM 87501 (505) 983-9555 | info@DavidRichardGallery.com Untitled 28, 1975, Oil on canvas, 92" x 56"

OPENINGS

D E C E M B E R / J A N U A R YA R T O P E N I N G S MONDAY, DECEMBER 2

Santa Fe Art Institute, 1600 St. Michael’s Dr., Santa Fe. 424-5050. The Unfolding Center—Poetry and Drawing: collaborative exhibit of drawings by Susan York and poetry by Arthur Sze. 6-7 pm.

Giacobbe-Fritz Fine Art, 702 Canyon Rd., Santa Fe. 986-1156. Small Works Holiday Show: holiday group show. 3-5 pm.

Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-3432. Abstraction: mobiles and photography by Ivan Barnett. 5-7 pm.

Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Privacy and Secrets: group show. 5-7 pm.

Las Cruces Museum of Art, 491 N. Downtown Mall, Las Cruces. 575541-2137. Extended Passage of Time: photographs by Gunnar Plake. 5-7 pm.

photo-eye Gallery, 376-A Garcia St., Santa Fe. 988-5152. Photo Objects and Small Prints: group show. 5-7 pm.

SATURDAY, DECEMBER 14

WEDNESDAY, DECEMBER 4

Santa Fe Botanical Garden, 715 Camino Lejo, Santa Fe. 471-9103. GLOW: winter light display and porcelain birds by Christy Hengst. 5-8 pm.

FRIDAY, DECEMBER 6

Cloud 5, 1805 2nd St., Santa Fe. 6604524. Full Circle: group show. 7-10 pm.

GF Contemporary, 707 Canyon Rd., Santa Fe. 983-3707. Holiday Group Show: works by gallery artists. 3-5 pm.

Legends Santa Fe Gallery, 125 Lincoln Ave., Santa Fe. 983-5639. Weaving Water: works by Sarah Sense. 5-7 pm.

Niman Fine Art, 125 Lincoln Ave., Santa Fe. 988-5091. 3-Person Exhibition: works

by Dan, Arlo, and Michael Namingha.

5-7 pm.

Palette Contemporary Art and Craft, 7400 Montgomery Blvd. NE, Alb. 505-8557777. Marble Vision: glass marble-making demonstration with Nathan Snyder and Doug Harroun. 5-8 pm.

Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1122. Holiday Show and Open House: group show. 3-7 pm.

ViVO Contemporary, 725 Canyon Rd., Santa Fe. 982-1329. As Though Ice Burned: group show. 5-7 pm.

William R. Talbot Fine Art, 129 W. San Francisco St., Santa Fe. 982-1559. Under a Western Sky: landscape photography by Craig Varjabedian. 5-7 pm.

SATURDAY, DECEMBER 7

El Gallery, 95 County Rd. 75, Truchas.

505-689-1018. Holiday Show and Sale: works by Eric Luplow. 3-7pm.

Palette Contemporary Art and Craft, 7400 Montgomery Blvd. NE, Alb. 505-8557777. Marble Vision: glass marble-making demonstration with Nathan Snyder and Doug Harroun. 1-4 pm.

Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1122. Holiday Show and Open House: group show. 9 am-2 pm.

Studio Broyles, 821 Canyon Rd. (upstairs), Santa Fe. 699-9689. CROSS ROADS: figurative work by Andrea Broyles.

4-7 pm.

FRIDAY, DECEMBER 13

Casweck Gallery, 204 W. Water St., Santa Fe. 988-2966. Winter in Santa Fe: plein-air paintings by Chuck Volz. 5:30-7:30 pm.

David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Unity: new works

by Leon Berkowitz. 5-7 pm.

Yares Art Projects, 123 Grant Avenue: Santa Fe Artists’ Emergency Medical Fund Party—16th annual fundraiser on Sunday, December 15 from 4 to 6:30 pm. Includes works by the Namingha family, John Axton, James Roybal, Elias Rivera, Sam Scott, and Evelyne Boren.

Image: McCreery Jordan

Red Dot Gallery, 826 Canyon Rd., Santa Fe. 820-7338. 2013 Holiday Show: juried show of work by IAIA and SFCC students, staff, and faculty. 5-8 pm.

Canyon Road Art Brokerage, 618 Canyon Rd., Santa Fe. 995-1111. Watercolor—The Mystical Medium: impressionistic paintings

by Pari Morse. 1-3 pm.

New Mexico Museum of Art, 107 W. Palace Ave., Santa Fe. 476-5072.

Renaissance to Goya—Prints and Drawings from Spain: art from the British Museum’s collection. 12 pm.

SUNDAY, DECEMBER 15

Yares Art Projects, 123 Grant Ave., Santa Fe. 984-0044. Santa Fe Artists’ Emergency Medical Fund Party: 16th annual fundraiser for local artists. 4-6:30 pm.

FRIDAY, DECEMBER 20

Betterday Coffee Shop, 905 W. Alameda, Santa Fe. 555-1234. Cartoons of My Mind: cartoons by Jacqueline Manhoff. 4-6 pm.

Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-3432. Delicacies: jewelry by Barbara Heinrich. 5-7 pm.

Tansey Contemporary, 652 Canyon Rd., Santa Fe. 995-8513. Devocionales: oil paintings on canvas and panel retablos by Patrick McGrath Muñiz. 5-7pm.

SUNDAY, DECEMBER 22

Hulse Warman Gallery, 222 Paseo del Pueblo Norte, Taos. 575-751-7702. As The Light @ Return: holographic art and interactive laser installation by August Muth. 2-5 pm.

SATURDAY, DECEMBER 28

Gebert Contemporary, 558 Canyon Rd., Santa Fe. 992-1100. Holiday Exhibition: selection of work by gallery artists. 2-4 pm.

FRIDAY, JANUARY 10

Santa F e Preparatory School , 1101 Camino de Cruz Blanca, Santa Fe. 9821829. 50th Year Special Exhibition: work continued on page 34

DECEMBER/JANUARY

2013/14

THE magazine |31

Honey Harris in Conversation with THE magazine on Thursday, December 12 at 10:30 am 98.1 FM KBAC

THE DEAL

For artists without gallery representation in New Mexico.

Full-page B&W ads for $700. Color $900.

Reserve space for the February/March issue by Monday, January 13.

505-424-7641 or email: themagazinesf@gmail.com

WHO WROTE THIS? “Great art picks up where nature ends.”

1. Paul Strand 2. André Gide 3. Marc Chagall 4. Jean Cocteau

OUT AND ABOUT photographs by Mr. Clix Lisa Law and Jennifer Espaeranza

HUZ

Gone 11 21 13

Jonas Povilas Skardis

Mac (and PC) Consulting 速

Training, Planning, Setup, Troubleshooting, Anything Final Cut Pro, Networks, Upgrades, & Hand Holding

phone: (505) 577-2151 email: Pov@Skardis.com Serving Northern NM since 1996

THEMAGAZINEONLINE.COM

As The Light @ Return: holographic art and interactive laser installation by August Muth at Hulse Warman Gallery, 222 Paseo del Pueblo Norte, Taos. Reception: Sunday, December 22 from 2 to 5 pm.

by Santa Fe Preparatory alumni including Ted Larsen, Peter Sarkisian, Gandalf Gavan, Will Clift, Willy Bo Richardson, and Jesse Wood, among many others.

5:30-7:30 pm.

SPECIAL INTEREST

ARTScrawl, various locations in Alb. 505-244-0362. First Friday ARTScrawl: citywide gallery openings. Fri., Dec. 6, 5-8:30 pm. artscrawlabq.org

FRIDAY, JANUARY 17

Studio Broyles, 821 Canyon Rd. (upstairs), Santa Fe. 699-9689.

CROSS ROADS: figurative work by Andrea Broyles. Closing reception: 4-7 pm.

FRIDAY, JANUARY 24

Museum of Contemporary Native Arts, 108 Cathedral Pl., Santa Fe. 9831777. ARTiculations in Print: group show.

5-7 pm.

The 21st annual Art of Devotion exhibition opens at Peyton Wright Gallery, 237 East Palace Avenue on Friday, December 6, with a reception from 5 to 8 pm. Show runs through March 9, 2014.

Fe project. Sat., Dec. 14, 2-5 pm. tuneupsantafe.com

Museum of Contemporary Native Arts, 108 Cathedral Pl., Santa Fe. 9831777. Changing Hand—Art Without Reservation 3: contemporary Native North American art from the Northeast and Southeast.

STEREOTYPE— Misconceptions of the Native American: ceramics and mixed media by Cannupa Hanska Luger. Divided Lines: prints by Jacob Meders. The Mountain: work by Steven J. Yazzie. Through Tues., Dec. 31. iaia.edu/museum

Yares Art Projects, 123 Grant Ave., Santa Fe. 984-0044. Santa Fe Artists’ Emergency Medical Fund Party: 16th annual fundraiser for local artists. Sun., Dec. 15, 4-6:30 pm. yaresartprojects.com

Museum of International Folk Art, 706 Camino Lejo, Santa Fe. 476-1200.

Brasil and Arte Popular: exhibition of works from the museum’s Brazilian collection.

Through Sun., Aug. 10, 2014. moifa.org

Chiaroscuro Contemporary Art, 702 1/2 Canyon Rd., Santa Fe. 992-0711.

Holiday Group Show: work by gallery artists. Through Sat., Jan. 4. chiaroscurosantafe.com

OffCenter Contemporary Fine Art & Photography Gallery, 1654 State Rd. 76, Truchas. 689-1107. One Year Anniversary Open House: multi-media work by Joan Zalenski. Sat./Sun., Dec. 7-8 and Sat./ Sun., Dec.14-15, 10am-5 pm..

Ellsworth Gallery, 215 E. Palace Ave., Santa Fe. 989-7900. Alluvium: paintings

by Kathryn Stedham. Sat., Jan. 4. ellsworthgallery.com

Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1122. Staff Picks: works curated by gallery staff. Mon., Dec. 16 through Sat., Jan. 4. santafeclay.com

Ghost Ranch, 1708 U.S. 84, Abiquiu.

505-210-1092. Creating Spaciousness: New Year’s retreat at Ghost Ranch.

Sun., Dec. 29 through Wed., Jan. 1. ghostranch.org

SITE Santa Fe,1606 Paseo de Peralta, Santa Fe. 989-1199. Maze: a large-scale immersive interactive environment by Alan Shields in conjunction with a video documentation of Stephen Petronio Dance Company’s Into the Maze (2012).

Dec. 18-Jan.12. sitesantafe.org

La Posada de Santa Fe, 330 E. Palace Ave., Santa Fe. 986-0000. Celebrating Sallie Bingham—A Woman of Letters and Learning: gala benefiting the New Mexico Women in the Arts Scholarship program. Fri., Dec. 13, 6 pm. newmexicowomeninthearts.org Las Placitas Presbyterian Church, 6 mi. E. of I-25 on NM 165, Placitas. 8678080. Placitas Artist Series: group show.

Through Fri., Dec. 27. placitasarts.org Legends Santa Fe, 125 Lincoln Ave., Santa Fe. 983-5639. Language of Light: paintings by Bette Ridgeway. Through Thurs., Jan. 2. legendssantafe.com Madrid Christmas Open House, various locations in Madrid. 505-474-0344.

31st Annual Madrid Christmas Open House: live music, parades, and festivi-

34| THE magazine

ties each weekend until Christmas. madridculturalprojects.info

Tansey Contemporary, 652 Canyon Rd., Santa Fe. 995-8513. Mark Bowles’ Southwest: paintings by Mark Bowles. Through Tues., Dec. 17. jsauergallery.com

PERFORMING ARTS

La Casa Sena Cantina, 125 E. Palace Ave., Santa Fe. 988-9232. Drummin’ Man: drummer John Trentacosta with vocalist Catherine Donovan. Sun., Dec. 1 and Mon., Dec. 2, 6 pm. lacasasena.com The Lensic, 211 W. San Francisco St., Santa Fe. 988-1234. Leahy Family: Celtic holiday concert. Mon., Dec. 2, 7:30 pm. lensic.org Santa Fe Desert Chorale, various locations in Santa Fe. 988-2282. Carols and Lullabies: holiday concert. Sat., Dec 14 through Mon. Dec 23, 8 pm.

The Big Holiday Sing: family holiday concert. Sun., Dec. 15, 4 pm. The Lighter Side of Christmas: holiday concert starring Kathlene Ritch and company. In the Midnight Hour with Voasis: songs about the midnight hour produced by Deke Shannon. Sat., Dec. 28 and Sun., Dec. 29, 4 pm and 8 pm. Mon., Dec. 30 and Tues., Dec. 31, 8 pm. desertchorale.org St. John’s College, 1160 Camino Cruz Blanca, Santa Fe. 984-6000. Holiday Music from 17th and 18th Century Europe: concert featuring Ellen Hargis, Carla Moore, John Dornenburg, and Jillon Stoppels Dupree. Fri., Dec. 6, 7:30 pm. Lunchtime Concert: Peter Pesic plays Chopin. Fri., Dec. 6, 12:10 pm. sjcsf.edu CALL FOR ARTISTS

Tansey Contemporary, 652 Canyon Rd., Santa Fe. 995-8513. Small Scale, Big Ideas: artworks and a talk with Charla Khanna. 5-7pm. Through Jan. 3.

Teatro Paraguas, 3205 Calle Marie, Santa Fe. 424-1601. Fire and Ice: poetry reading and fundraiser with Debbi Brody, Gary Worth Moody, and Argos McCullum. Sun., Dec. 8, 5:30 pm. teatroparaguas.org Tune-Up Cafe, 1115 Hickox St., Santa Fe. 920-5765. Santa Fe Mug Party: Christy Hengst’s Sense of Place in Santa

MasterWorks of New Mexico, 1402 California St. NE, Alb. 505-260-9977.

16th Annual Spring Art Show: open to NM artists working in miniatures, pastel, water-media, or oil/acrylic. Deadline: Fri., Jan. 31, 2014. masterworksnm.org Shakespeare in the ’Burg, 36523 Mountville Rd., Middleburg, VA. Inaugural One-Act Playwriting Competition: public reading of winning scripts in conjunction with Shakespeare in the ‘B’Burg Theater Festival. Deadline: Wed., Jan. 15. shakespeareintheburg.com

DECEMBER/JANUARY

2013/14

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

Thérèse on a Bench Seat, oil on canvas, 27 7/8” x 36”, 1939 by

Balthus (Polish-French, 1908–2001)

Toward the beginning of the Metropolitan Museum of Art’s Balthus exhibition is a full-length self-portrait of the artist, whose full name was Balthasar Klossowski de Rola. The 1935 work, entitled The King of Cats, is of a lean Frenchman striking a self-assured pose with one elbow cocked to the side and a resolute gaze directed toward the viewer. A smiling, tiger-striped feline rubs its head amicably on the subject’s trouser leg, making the man’s over-serious expression—and the whip and stool placed on the opposite side of the portrait—seem comical. It is a surprisingly telling vision of a man who balked at being known in relation to his work, once sending a telegram to a gallery requesting “NO BIOGRAPHICAL DETAILS” at the entrance to his show: “BEGIN: BALTHUS IS A PAINTER OF WHOM NOTHING IS KNOWN. NOW LET US LOOK AT THE PICTURES.” The thirty-four paintings and forty ink drawings included in the Met’s current Balthus retrospective are indeed quite personal. They include subjects that the painter is most famous for: aloof adolescent girls posed in domestic environments. But the ink drawings, created when the artist was only eleven years old are especially intriguing, telling a story of young Balthus’s love for a stray cat. In a recent issue of The New Yorker, author Judith Thurman describes her meeting with Balthus four decades ago: “Balthus was avian in physique though feline in temperament... and his totem animal was the cat.” Balthus: Cats and Girls— Paintings and Provocations runs through Sunday, January 12, 2014 at the Metropolitan Museum of Art, 1000 Fifth Avenue, New York City.

DECEMBER/JANUARY

2013/14

THE magazine |35

PREVIEWS

Patrick McGrath Muñiz, Neo-Colonial Mass Media, oil and metal leaf on triptych panel , 21” x 23”

Devocionales—Neo-Colonial “Retablos” from an archetypal perspective: paintings by Patrick McGrath Muñiz December 20 through January 31 Tansey Contemporary, 652 Canyon Road, Santa Fe. 995-8513.

Reception: Friday, December 20, 5 to 7 pm

here, the naked icons are completely uninterested in each other, so enamored are they

In style and technique, Patrick McGrath Muñiz’s “retablos” closely resemble the

by Old World conquerors in the centuries following Christopher Columbus’s arrival in

devotional paintings that inspire them. But in tone and content, his iconography is

the Americas, drawing out the link between Colonial and Neo-Colonial narratives and

markedly less subtle. In his traditional, oil and tempera altarpieces, blue-bloods, beatific

forcing his viewer to, as he puts it in his artist’s statement, “[confront] the survival of the

saints and heroes are presented in theatrical mini-worlds, where Disney characters and

myth of a ‘Golden Age.’” At this month’s exhibition at Tansey Contemporary—formerly

FOX News cameramen are just as likely to appear as chubby cherubs. In his recent

Jane Sauer Gallery—twenty of Muñiz’s devotional oil paintings will be on view.

with their smartphones. Looking on with concern are the figures of Zira and Cornelius from the 1958 film Planet of the Apes. Muñiz was born in New York City, but grew up in Puerto Rico surrounded by the Spanish colonial art and Catholic iconography that now inspires him. In his work, Muñiz strives to mimic the “indoctrination strategies” used

work Planet of the Apps, the artist alludes to the Biblical story of Adam and Eve—only

Extended Passage of Time: photographs by Gunnar Plake Through Saturday, January 18 Las Cruces Museum of Art, 491 North Downtown Mall, Las Cruces. 575-541-2137.

Reception: Friday, December 6 from 5 to 7 pm New Mexico is home to more than its fair share of otherworldly places—the looming cliffs of Ghost Ranch in Abiquiu, the conical Tent Rocks formations near Jemez Springs and, of course, Roswell. But White Sands National Monument in Tularosa Basin is beyond otherworldly— when standing among the cool, snow-white dunes, watching the subtle shifts between sand and wind, light and shadow, time itself becomes an element of the landscape. Santa Fe–based photographer Gunnar Plake capitalizes on this sensation in his White Sands photographs.

To create his Accelerated Landscapes, Plake moves his camera during exposure, infusing his photographs with motion, and enhancing the viewer’s perception of color. Plake describes the result as a kind of deconstruction, images that lie somewhere between abstraction and representation. In his Parabolic Dunes, now on view at the Las Cruces Museum of Art, a breath of gold sweeps across the undulating sands, and mountains rise mirage-like in the background. There isn’t a focal point for the eye to catch hold of, and although the viewer may momentarily long to see the elements of the image with more clarity, the final vision is somehow more true to the soul of the place and our perception of it. Plake writes that while taking photographs of White Sands, which has been in existence for two hundred and fifty million years, his quest is to “visually pay homage to such an extended passage of time.”

36| THE magazine

Gunner Plake, West into San Andres III, type C print, 20” x 30” DECEMBER/JANUARY

2013/14

R

RADIUS BOOKS

BOOK STORE! MONDAY, DEC. 2 THROUGH SATURDAY, DEC. 14

10 am to 5 pm EVERYDAY Just before the holidays, we are turning our space into a bookstore. Come by for amazing art books at a discount (the only time of the year that we discount our titles).

Visit our web site for announcements, details, directions, and more.

RADIUS BOOKS 227 East Palace, Suite W Santa Fe, NM 505.983.4068

www.radiusbooks.org

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David Hockney is one of the best-known artists of his generation. Renowned for his mastery of drawing, oil painting, printmaking, set design, photocollage, and his use of camera lucida, he has, since 2002 extended his repertoire to include new forays into watercolor, charcoal, computer and iPad drawing, and the multicamera digital movie.

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barr4books@gmail.com

B E S T

B O O K S

2 0 1 3

EACH YEAR THE MAGAZINE RECEIVES BOOKS FROM NATIONAL AND REGIONAL PUBLISHERS FOR REVIEW CONSIDERATION. WHAT FOLLOWS ARE BRIEF REVIEWS OF OUR TWENTY FAVORITE BOOKS OF 2013. REVIEWS BY DIANE ARMITAGE,

JON

CARVER,

GUY

CROSS,

KATHRYN

M

DAVIS,

ELIZABETH HARBALL, HANNAH HOEL, IRIS MCLISTER, RICHARD TOBIN, LAUREN TRESP, AND SUSAN WIDER. his much-remarked-upon iPad drawings are catalogued in

Books has tweaked Edith Hamilton’s mythology and plucked

the handsome David Hockney: A Bigger Exhibition (Fine Arts

out of the head of Zeus this provocative graphic novel. Twice

Museums of San Francisco and Prestel, $65). The most

Through the Maze (Burning Books, $21.95), with photographs

by Michael Sumner and text by Melody Sumner Carnahan, leads us into, but not quite out of, a labyrinth of beguiling narrative

This lavish book—It’s Modern: The Eye and Visual Influence

possibility. What does it mean to chase down a postmodern

of Alexander Liberman (Rizzoli, $65) about fashion impresario

Minotaur and subvert the motives of his Olympian cohort? This

Alexander Liberman makes a persuasive case for a central

journey through a brain-teasing maze is an amusing one, yet it’s

argument, expressed by curator James Crump in the

utterly serious in its haunting overtones as the reader and the

foreword: “In his own right, Liberman was an accomplished

viewer attempt to follow Ariadne’s thread only to arrive at a

and prolific painter and sculptor whose early work in the

textual stonewalling or an image with too many people that you

1950s and 1960s was instrumental in advancing the tenets of

know—or could have known had you been invited to the right

Minimalism and the Pop and Op art movements.” Created

party with all those ecstatic myth-busters. Certainly, one of the

by Charles Churchward, this lavish book is a lush biography

most poignant of the photographs is of the late Celia Rumsey

of the legendary Condé Nast editorial director told in two

in the guise of The Cosmonaut’s Mother in the Underworld.

hundred and twenty-five pages of beautiful photographs

And this strange and startling image contains its own labyrinth

tracing the multiple facets of Liberman’s life as influential

of prophecy and deconstruction. Throughout the twinning and

magazine art director, arbiter of contemporary art, and gifted

the intertwining runs the brain-teasing specter of gods reborn

artist. Churchward has produced a book that mirrors that life

in “The Unrepaired [and unrepentant] Synonym Theater.”

in its seamless treatment of Liberman’s twofold career in haute

—D.A.

couture and contemporary art. Liberman’s innovative fusion of photography with layout design reflects his larger feat of shaping the contemporary symbiosis of the fashion world and the fine arts. It’s Modern is enriched by its recourse to scholarly

pronounced visual attributes of his practice have always

research and insights of several contributors. But what most

been, at least thematically, rather innocuous by virtue of

recommends this volume is its attention to Liberman’s art,

the sun-soaked, color-happy subjects alone: Technicolor

featuring some sixty black-and-white and color photographs

swimming pools and cheery forest glens. This monograph is

of his monumental paintings and sculptures from 1950 to

the first to unpack the septuagenarian’s fascination with digital

the 1990s, along with a penetrating 1993 interview with

media. Since 2002, Hockney’s been making enthusiastic

THE magazine publisher Guy Cross. The lean aesthetic that

and surprisingly complex pictures on his iPad, using just his

Liberman revealed in the interview pervades all the fields he

fingers and a $6 Apple program called Brushes. Hundreds of

influenced. Cross: “What makes a person an artist...what’s the

these works are spread across A Bigger Exhibition. Familiarly,

bottom line?” Liberman: “You have to work with a medium

orgiastically Fauvist, scribbly, and often touchingly personal,

that allows you risk and total chance.”—R.T.

Hockney’s childlike gusto for picture-making, a twenty-first century grown-up’s answer to finger painting, is delightful

“Photography is alright,” David Hockney once remarked,

and contagious. In his ruminative, and genuinely humble

“if you don’t mind looking at the world from the point of

introductory essay, Hockney writes, “The relentless march of

view of a paralyzed Cyclops, for a split second.” This quote

new technology offers hope... it might look like chaos; I don’t

might seem at odds with the work he’s been making for

know. I simply offer a slightly different view.” Indeed. —I.M.

over a decade, which consummately relies on technology:

The prolific and inventive collaborative pair known as Burning

DECEMBER/JANUARY

2013/14

continued on page 40

THE magazine |39

making photographs that showed people holding Looking at the photographs

the seamless paper, while allowing the surrounding

made in Papua, New Guinea,

background elements to be revealed. Taking these

in Stephen Dupont: Piksa

similar elements into consideration, the attraction

Niugins Portraits and Diaries

of Dupont’s books is that his photographs exhibit

(Radius Books / Peabody

enormous passion and enthusiasm and are an effort

Museum Press, $60), one

to unlock the nature of the relationship between

might surmise that Dupont

photographer and subject. Bob Connolly contributes

is the godson of August

an illuminating essay, and both books are packaged in

Sander, Irving Penn, Peter

an attractive slipcase. —G.C.

Beard, or Richard Avedon, as many visual parallels exist.

Like Sander, chronicler of of the various social types of his time in People of the Twentieth Century, Dupont has photographed portraits of the marginalized people of New Guinea. Like Irving Penn, who photographed the “mud men” of Asaro and Peru,

the

peasants

Dupont

corresponding

of

exhibits concerns

about formal composition in his work. Like Peter Beard, known for his edgy photographs wildlife

and

of

African intricate

photo-collage diaries, Dupont’s Diaries consists of famous (Thames & Hudson, $34.95) reveals an era of

written entries, newspaper clippings, snapshots, and

celebrity when the paparazzi still used film and pushed

photographs, which, like the cover of Portraits, have

the medium to its limits, when stars were well-dressed

a similar rough-and-ready conceit in terms of using

in public and generally glamorous, and when this

distressed borders around many of his photographs.

combination made being famous look really good. Filled

And almost like Richard Avedon, who used a seamless

with a hundred and ninety-two pages of full-bleed black-

white backdrop that removed any reference to place

and-white photographs, this coffee table book begins

in his book American West, Dupont worked with both

with intimate shots of Brigitte Bardot in Paris, Tahiti,

seamless white and black backdrops, but pulled back,

Published in conjunction with an exhibition by the same

and Saint-Tropez, and documents celebrities like Sophia

name at the National Gallery of Art in Washington, DC,

Loren, Serge Gainsbourg, Raquel Welch, Clint Eastwood,

Albrecht Dürer: Master Drawings, Watercolors, and Prints

Michael Jackson, Princess Grace, Mick Jagger, and one of

from the Albertina (Prestel, $50) is an expansive catalogue

my favorites: a classic trio of powerhouse models, Naomi

of works by the genius of the Northern Renaissance.

Campbell, Christy Turlington, and Kate Moss. famous is

Though not a complete catalogue of Dürer’s work, the

the Who’s Who of era when time was more precious

book features pieces from Vienna’s Albertina Museum,

and the photograph was a lucky moment of ingenuity.

the most comprehensive collection of the master’s

Philippe Garner, the International Head of Twentieth-

works in existence. The most rewarding features of the

Century Decorative Art & Design at Christie’s, writes in

publication are the large-scale, high-quality illustrations of

the book’s foreword, “Here is a raw and dramatic genre,

Dürer’s works as well as relevant images of his influences

in which authenticity, spontaneity… and immediacy of

and contemporaries that aid in expanding the reader’s

the subject are all.” famous compiles the work of Paris-

understanding of the artistic climate of the late fifteenth

based partners Bruno Mouron and Pascal Rostain into

and early sixteenth centuries. The reproductions are

a charming peek back in time. famous demonstrates its

accompanied by catalogue essays written by a roster of

appeal to those fascinated with celebrity, and it shows

international scholars who highlight significant features

how well the old technology and wardrobe made being

of each work and contextualize them biographically,

famous appear tasteful. —H.H.

stylistically, and art historically. —L.T.

F E AT U R E

Autophotography exposed to Modernism, whether the work had a

guest lectures by Albert Einstein, Clement Greenberg,

connection to New Mexico or not. Although only twenty

and William Carlos Williams. Musician John Cage, dancer

artists are represented in this beautifully designed book,

Merce Cunningham, and artist Robert Rauschenberg

some of them are extensively covered, like Hartley and

collaborated, while the last was a student there, on

Davis; it would be a work by the latter, acquired in Santa

what many call the first “happening.” Poets abounded,

Fe, which would constitute the beginning of the Vilcek’s

husbands and wives fought, and Buckminster Fuller

commitment to American Modernism. The book also

created the first geodesic dome at Black Mountain.

includes a brilliant in-depth essay by William Agee,

Tracing its inception as a very liberal arts college to

“Perspectives on Modern Art in America,” that provides

its closure—due to debt—Black Mountain College:

a thoughtful analysis of the evolution of Modernism and

Experiment in Art (MIT Press, $40) contains essays by

its impact on twentieth-century art. —D.A.

Martin Brody, Robert Creeley, Vincent Katz, and Kevin Power, and ends, fittingly, with three poems about the college’s demise. Here is the last line of Creeley’s ode: “And what the hell else to say but run.” —K.M.D.

Axle Contemporary

Kodak stopped production of Kodachrome—considered to be the best color slide film ever made—in 2009.

Since the fifteenth century, artists from painters to sculptors

When making photographs with the film, there was one

to photographers have modeled for themselves in their

exact exposure—all others made the slides too light or

own works of art. Whatever the reason, nearly every

too dark. As the story goes, Kodachrome was the film

artist in every medium has attempted this explanation

of choice of National Geographic photographers, who

of self. Since 2010, Axle Contemporary—a moveable

exposed for the highlights, while shooting at a third of a

art gallery in a retrofitted 1970 step van—has exhibited

stop down in order to achieve greater saturation, giving

drawings, paintings, installations, and photography.

their photographs added presence. Enter Nathan Benn.

This year Axle invited more than eighty photographers working in New Mexico to submit self-portraits for an exhibition. The resulting book Autophotography (Axle Contemporary, $25) is designed with photographs on the right-hand pages and the photographer’s name on the facing page. Many of New Mexico’s best-known photographers are included: William Clift, Gay Block, Willis

Oh, to have been a fly on the wall at Black Mountain

F. Lee, Nic Nicosia, Baron Wolman, Zoe Zimmerman, Will

College in its heyday! A Bauhausian effort with a

Wilson, Janet Russek, Herb Lotz, Anne Staveley, Meridel

distinctly American rowdiness, the college was located

Rubenstein, and David Michael Kennedy. The stimulating

in the mountains of North Carolina, east of Asheville.

images showcase the many possibilities of self-portraiture.

During its twenty-three years of existence, from

Some photographers posed in costume, some in the

1933 to 1956, it served as a magnet for an incredible

nude, some against unusual backgrounds, and some in

community of artists. Teachers included Josef Albers,

other imaginative ways. Self-portraiture does come with

Robert Motherwell, and Willem de Kooning. There were

a thorny set of questions. Who will see the photograph?

Why does that matter? And what does the photographer hope to get out of the process? In fifty or a hundred years, the visual journey in Autophotography will be seen as a time capsule of this specific time in New Mexico.—G.C. The heart of this splendid book Masterpieces of American

While on the job for National Geographic for twenty years,

Modernism From the Vilcek Collection (Merrell, $85) is

Benn made many personal photographs of America in

embedded in the art done in America in the first four

the 1970s and ’80s. In Kodachrome Memory: American

decades of the twentieth century. There is some later

Pictures 1972-1990 (Powerhouse Books, $50) each and

work represented in the Vilcek Collection but the sum

every photograph tells a story, while showcasing Benn’s

and substance of it was culled from the first waves of

visual intelligence. Benn’s choice of subject matter, paired

modern art done by iconic practitioners such as Stuart

with his exquisite sense of composition, is a treat for the

Davis, Marsden Hartley, Arthur Dove, and Georgia

eyes. Add an astute forward by Richard Buckley, an essay

O’Keeffe. A fascinating aspect of the art that Jan and

by Paul M. Farber—a scholar of American and Urban

Marcia Vilcek acquired is that they were inspired to begin

Studies—who discusses Benn’s life and photographs

collecting by repeated visits to Santa Fe and becoming

DECEMBER/JANUARY

2013/14

continued on page 42

THE magazine |41

juxtapose Turrell’s central interest in the perception of light itself with the many permutations

that

this

interest takes in his work, from the early Projection Pieces to the more recent Perceptual Cells and iconic Skyspaces. Arresting images abound, yet the power of these works to alter the viewer’s perception cannot be

accomplished

with

photographs. The images in the catalogue serve not to convince the reader that they have experienced

the paper grabs fingerprints and won’t let them go.) There is

Turrell’s work, but to assure

a knotted Mexican Black King Snake that is a dead ringer for a

them that they have not.

sterling silver mesh bracelet, a Sri Lankan Green Pit Viper that

Readers are left with an urge

looks just like a painted wooden folk art replica, and a Blue

to visit these exhibitions

Malaysian Coral Snake whose iridescent blue is otherworldly.

while they still can. —E.H.

Two of the snakes are pictured with their young, a Boa Constrictor appears as a skeleton only, and the Reticulated

“Such was my passion for

Python is killing an alligator. In his introduction, National Book

fishing in college that any

Award–winner William T. Vollmann quotes Laita, “I’m not

in some detail, and you have an outstanding book of

mention of a spring or brook in literature set my mind to

trying to show you what a Mexican Black King Snake looks

photographs made before the advent of the Internet and

wondering about the trout that dwelt there,” writes James

like. It’s just a beautiful form.” A section at the back of the

Photoshop. —G.C.

Prosek in this new edition of Trout of the World (Abrams,

book shows thumbnails of each in a catalogue that includes

$35). Writer, artist, and naturalist, Prosek has added thirty

the snake’s name, year of photo, and species characteristics.

James Turrell is an artist whose time has come. In 2013,

new paintings, an author’s preface, and a section on North

Years ago, some combination of my car and a moving

major installations of his work were on view at the

American trout diversity. Each watercolor painting is

van killed a snake in my driveway. I was sorry at the time,

Guggenheim Museum, the Los Angeles County Museum

accompanied by a historical profile of the fish and some of

but after seeing Mark Laita’s work I am downright repentant.

of Art, and the Museum of Fine Arts, Houston. Through

Prosek’s personal reflections about the creatures. We travel

—S.W.

a series of essays, interviews, and photographs, James

from Iceland to Morocco to Italy to Japan, and the fish are

Turrell: A Retrospective (Prestel, $75) documents the

stunning. Prosek manages to capture the iridescence and

LACMA exhibition and the larger arc of Turrell’s life. It is

opalescence of these trout, out of the water and flat on the

never easy to represent the complete works of a major

page. They are affectionate portraits. Prosek does not miss

artist—especially one whose influences range from

the opportunity to describe declining trout populations and

perceptual psychology to aviation and Quakerism—so

environmental impacts on various species. “The primary

the catalogue’s clarity is notable. Throughout, the authors

point,” he writes, “is to bring to light some of the amazing beauty I have had the good fortune to witness by spending time around, and probing into, our precious few remaining wildernesses.” —S.W. Mark

Laita

photographs

snakes the way James Prosek paints trout, but working with trout is safer. In Serpentine (Abrams, $50), Laita presents more than ninety snake species in large format on black backgrounds. (Caution,

F E AT U R E

cease to amaze, nor does the work of Caspar David It’s no exaggeration to say that some of the world’s most

Friedrich. However, the real revolution takes place when

sublime, most erotic, and most beautiful photographs were

artists like Cézanne re-vision the very nature of painting,

made in the 1930s in the wild middle of the Parisian night

and thus the deconstruction of illusionistic space gets

by Brassaï. a Hungarian journalist and photographer. Brassaï:

underway. Painting will break apart its own picture plane

Paris Nocturne (Thames & Hudson, $85) reproduces some

and its mutable essences will exceed the sum of their

of the best works from Brassai’s original publications,

parts as painting rushes headlong into a new century

Paris after Dark and The Secret Paris of the 30s, along with

on the backs of Picasso, Matisse, and Malevich and

a new trove of archival material with detailed, informative,

eventually comes to rest in the arms of Gerhard Richter.

and intelligent essays by the book’s two French authors/

But not for long. What goes around comes around, and

curators, Sylvie Aubenas and Quentin Bajac. The coffee-

in some respects we are back where we started, in the

table format and the crisp reproduction values do Brassaï’s

caves of yet another century, painting by metaphorical

incredibly poetic eye and his black-and-white work justice,

torchlight, fully invested in our magical thinking that the

as do the texts. His exquisite images of wet cobblestones,

making of images really does matter. —D.A.

streetlamps in fog, abandoned misty market stalls, and sensuous sex-workers remain timelessly and staggeringly

right into this “diary” with fifteen Polaroid color plates

On its face, there is little to link Mont St. Michel on the

strong. A must-have book for any serious student of

preceding the book’s title page. In 2003 she was invited

Normandy coast with Shiprock, New Mexico, in the

Modernism or for anyone interested in photographic

to visit the Robert Mapplethorpe Foundation archive,

desert southwest. Yet that assumption is dispelled by

history’s most hallowed haunts. —J.C.

where she asked to see the lesser-known work. Her

Mont St. Michel and Shiprock: Photographs by William

discovery of Mapplethorpe’s Polaroid-filled notebooks

Clift (The Pearmain Press, Santa Fe, $130) and precisely

In Polaroids Mapplethorpe (Prestel, $39.95), Sylvia Wolf

“took me thoroughly by surprise.” Her book presents

by the camera’s meditation on the semblance of these

explains that Robert Mapplethorpe’s Polaroids from

selections that not only demonstrate Mapplethorpe’s

sites. A place once sacred to Celts, druids and Caesar’s

1970 through 1975 reveal his “curiosity about seeing

enchantment with “instant” photography but also

Romans, Mont St. Michel is an architectural reliquary of

with the camera.” For her, they read like an intimate

show early evidence of lifelong themes—nudes,

structures ending in the Gothic Benedictine abbey atop

Mapplethorpe diary. Wolf, director of the Henry Art

flowers, sex, and self-portraits. Nestled between

its rocky promontory, with a village at its base. The islet is

Gallery at the University of Washington, throws us

the opening color plates and the haunting, erotic

surrounded by the bay’s vast sand banks, which are subject

plates

to the powerful tides between Brittany and Normandy. A

that make up most of the

UNESCO World Heritage site and a national monument,

remainder of the book,

the Abbey—home to a monastic community since 1969—

is Wolf’s extensive essay

is both an international pilgrimage stop and a major tourist

“An Authentic Artlessness”

center. Shiprock is a towering geological formation in the

in which she describes

desert of San Juan County, New Mexico. The legacy of

Mapplethorpe’s very early

lava activity and inundations from the sea, it survives as the

years, influences, mentors,

central, solid core of the volcano vanquished by wind and

and evolution. —S.W.

water. Its towering, seventeen hundred foot peak surveys

black-and-white

its winged dikes as they radiate for miles in lands governed The

Paintings

That

by the Navajo Nation. Called by the Dine Tse Bit’a’i’ (“Rock

Revolutionized Art (Prestel, $34.95)—a great overview of one hundred seminal works—begins in the sixth century with an icon of a supernatural Christ. The book then moves through medieval

masterpieces,

followed by Bosch, Breugel, and Bellini, and the usual High Baroque

Renaissance

and

suspects.

Each

work is a textbook example of the power of art to move us. The limpid eyes and parted lips of Vermeer’s Girl with a Pearl Earring never

DECEMBER/JANUARY

2013/14

continued on page 45

THE magazine |43

MONROE GALLERY of photography

Thank you for your encouragement and support, and we wish you the very best in 2014 Sidney and Michelle Monroe

Angel Oak

Ida Wyman: Wrought Iron in Snow, New York, 1947

E L L IOT T MC D OW EL L

Open Daily

P H OTO G R A P H E R

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

E L L I OT T M C D OW E L L .C O M

F E AT U R E

at the Everson Museum of Art, and a 1981 album cover for Season of Glass, with

Lennon’s

blood-

spattered glasses sitting on a windowsill. But for the most part, this book is a retrospective of Ono as

Ono,

who

Lennon

called “the most famous unknown

artist

in

the

world.” —E.H. Photographer

Lenny

Foster lives in Taos, where in 2007, the Taos Fall Arts Committee him

as

a

recognized Taos

Living

Master. Foster’s first book, Healing

Hands

(Brother

Bee Books, $50), began sixteen years ago with a series of images created during a week-long healing ritual in Senegal, West Africa. More than seventyfive images followed of the

that prompts us to look at each pair of hands in the way

with Wings”), it is part of the sacred history of these

hands of subjects of all ages from across the United

we would a tree trunk’s circles—in search of wear and

stewards of a site once sacred to the Anasazi, an ancestral

States, the South Pacific, and the Caribbean. There

wisdom. Foster writes that this body of work reflects

Pueblo people who occupied Mesa Verde, in clear view

are a few black-and-white photographs but most are

his “intent and desire…to be in constant communion

of Shiprock some twenty-four miles due south. William

brightly colored by exotic wear with a definite deluge

with the divine.” —H.H.

Clift’s meticulous photographs—variously picturesque

of healers, shamans, ministers, and other creative

and stunning—capture the qualities common to each site:

and rustic types—people who use their hands. A

Distinguished art historian and critic Jonathan

elemental, solemn, spiritual, and silent. —R.T.

journalistic entry written by Foster of each encounter

Fineberg excels at chronicling the psychosocial

accompanies each image. It is a quiet and honest book

intersection between contemporary art and artists,

Artist,

and

and the evolving fabric of American values.

controversial public figure Yoko Ono turned eighty

composer,

performer,

feminist,

A Troublesome Subject: The Art of Robert

years old this year, and several European museums are hosting retrospective exhibitions celebrating her multifarious work. A new catalogue, Yoko Ono: Half-A-

he a ling h a nds e m bodied spir i t & l igh t

Arneson (University of California Press, $60), the first major monograph on ceramicist Robert Arneson, ranks as eminently worthy

Wind Show—A Retrospective (Prestel, $60), published

of Fineberg’s legacy. Arneson is presented in

in tandem with the exhibitions, takes the reader

all his noble and ignoble complexity, as is the

back to Ono’s groundbreaking 1961 solo exhibition

culture he encounters. From his beginnings

in New York City, where works like Painting for the

as a high school art teacher, through his

Wind and Painting to be Stepped On heralded the

pioneering postmodern clay work, Arneson

poeticism, minimalism, and subtle humor of Ono’s

crashes the craft barrier, trashes hi-art à

later creations. Ono was at the forefront of the avant-

la dada, and engages in a spirited struggle

garde movements of the 1960s and 1970s, which

with himself and the widespread culture of

included artists, composers, and dancers like Remy

narcissism. Plentiful color reproductions

Charlip, Yvonne Rainer, Phillip Corner, and John Cage.

support the text as it exposes the artist’s

In fact, her early works can be viewed as a precursor

motivations and adds significant voice to

to artists such as Marina Abramovic In the book, there are references to Ono’s connection with John Lennon, such as a poster for a 1971 joint performance

DECEMBER/JANUARY

2013/14

pe ac e pr ay er l ov e pho t o gr a phs & pr ose by

l e nn y fos t er

Arneson’s cultural critique, articulated warts and all. —J.C.

THE magazine |51

Privacy/Secrets

Ruminative Figures

Annual Group Show

SCU LPTU RES

ZBCA ARTISTS

November 15, 2013 through December 27, 2013

December 13, 2013 through January 10, 2014 OPENING RECEPTION: Friday, December 13, 5-7 pm

Holly Roberts

Jean Arnold

Dunham Aurelius

435 South Guadalupe, Santa Fe, NM 87501 505 982-8111 zanebennettgallery.com Tuesday–Saturday 10–5 or by appointment

RAILYARD ARTS DISTRICT WALK LAST FRIDAY OF EVERY MONTH

PERSON OF INTEREST

JIM SLOAN: OUTLIER

ARTIST

FOR THE PAST SIXTY-FIVE YEARS, JIM SLOAN has made his living not through making art, but by doing carpentry, sign painting, and building hundreds of driveways, roads, and building pads— while moving thousands upon thousands of tons of earth. Artist and friend Woody Gwyn quips, “Only God knows how much dirt Jim Sloan has moved.” continued on page 48 DECEMBER/JANUARY

2013/14

THE magazine |47

REAL ARTISTS EXIST AND CONTINUE TO ART HIERARCHY. IN FACT, ONE COULD ARTISTS ARE NURTURED THERE —

BLUE COLLAR LABOR has allowed Sloan to build two studios where he can make art, one in a small adobe building in Galisteo, the other in a much larger building in Cedarvale, in southern New Mexico. The Galisteo studio contains more than ninety small paintings hung on three of its walls. In this body of work Sloan uses the backside—the rough side—of Masonite board.

These paintings are a mix of portraits of artists, friends, and people in the public eye: Nelson Mandala,

Martin Luther King, Kirk Varnedoe, Édouard Manet, Cy Twombly, and locals like the artist Patrick McFarlin.

Also in this group are Sloan’s “snapshot paintings”— two men at an aquarium, a man in a canoe, a group of three people as seen from behind walking down a road, as well as landscapes and snakes. These paintings are rapidly executed. The appeal of this work is personal and offbeat; it has a homespun appearance coupled with a visionary strain.

PERSON OF INTEREST

BE NURTURED OUTSIDE THE MAINSTREAM VENTURE TO SAY THAT MANY REAL

ON THE OUTSIDE.

Sloan’s Cedarvale studio is large and overflowing, with numerous paintings on canvas, works on paper, and an assortment of art books, art magazines, and essays on art theory. Most of the work is in the realm of figurative abstraction, and many of the paintings and drawings refer to figures in art, such as Michael Fried and Charles Ray. However one chooses to categorize Sloan’s art—folk, naïve, outsider, or so-called regional—it is evident that real artists exist DECEMBER/JANUARY

2013/14

and continue to be nurtured outside the mainstream art hierarchy. In fact, one could say that many reall artists are nurtured there—on the outside.

From top left: Cedarvale studio, Man in Canoe, Martin Luther King, Two Men at Aquarium, Model A, Snakes, Whitney Houston.

From bottom left: Girl on Horse (oil painting), Sloan’s work table, Feet Near Head (oil painting), and Galisteo studio.

Photographs by Guy Cross THE magazine |49

August Muth

CRITICAL REFLECTION

The Likenesses of Light: Mary Tsiongas

Richard Levy Gallery 214 Central Avenue SW, Albuquerque

It is the function of the philosopher, the care and passion of the philosopher to protect to the utmost the possible….

the question of what they mean is like the fourth wall

The multiplicity of the possible is here, it is now. It is intermediary between the phenomena; it rustles in the midst of

in theater that the creator doesn’t break in order to

the forms that emerge from it.

help us out of our existential dilemma. Is what we see

—Michel Serres, Genesis

only what we get—a series of very clever pastiches,

EVERY ARTIST IS A PHILOSOPHER OF SOME SORT,

technologically based, and ultimately bound to the cutand-dried process of video editing?

and Postmodernism in particular has partly been driven

pieces. Yet, as her looped videos are of such short duration,

The one video without a human agent in its

by the semantics of Jacques Derrida, Michel Foucault, and

they’re over just when we start to think there is a simple

animated scene is Tea for the Impossible Path. The original

Jacques Lacan, to name a few, and they helped to rotate our

rationale for their causes and effects. In the end, though,

work is a watercolor of Ephedra nevadensis, a species

relationship to images. Some of the influence from these

we’re left in a philosophical limbo as we ponder each

related to, but not as potent as, the Ephedra plant

semantic renegades comes from their ability to unhitch

seamless intervention that the artist has wrought. The why

known for its stimulant properties. Ephedra nevadensis,

our wagon from the rational order of Cartesian thinking

of Tsiongas’ manipulations is anything but clear.

besides being a forage plant for desert ruminants, was

and lead us by the nose into their often convoluted, yet

Three of the original pieces that the artist animated

used as a medicinal tea, first by the indigenous people

oddly lyrical meditations on the twentieth century’s

are hand-colored botanical drawings and two are black-

in the Southwest, and then by Anglo settlers. Layered

preoccupation with chaos, violence, and

against the original illustration Tsiongas

all aspects of the perverse. Michel Serres,

introduced two things: a solitary bee

perhaps not as well known as some of the

that slowly traverses, from left to right,

other Postmodern thinkers, is becoming

a rudimentary ground line, casting its

increasingly influential for his dazzling

shadow on the space of the botanical

verbal intersections between nature and

drawing as it moves; the second element

ecology, technology and culture, science

is a luminous, moon-like sphere that

and myth—all of which speak to his

also passes across the image, as if in a

aesthetics of multiplicity.

distant sky, but rapidly, far outpacing

Perhaps Mary Tsiongas’ household

the laborious trek of the bee. What is

deity is the Greek god Proteus, god of

the “path of the impossible” alluded to

the sea, but also the restless spirit at the

in the title of this piece? Is it the path

root of hypothetical choices. “He’s the

of the impossibility of a healthy future

possible, he’s chaos, he’s cloud, he’s

for bee populations, now in the throes

background noise. He hides his answers

of a drastic decline? This work gives us

under the endlessness of information,”

a view of the natural cycling of some

wrote Serres. As simple as Tsiongas’ digital

heavenly body rising above the dire

transformations seem in this new body of

conditions on Earth, but gives no hint of

work—five videos based on still images

a possible solution to the predicament of

that weren’t hers to begin with—their very

the bee.

genesis is clouded in mystery. Borrowing

Perhaps the protean imagination

historical artworks from the collection of

of Tsiongas had altogether different

the University of New Mexico (where the

philosophical issues in mind as she

artist is an Associate Professor of Electronic

appropriated works from a different

Media), Tsiongas has taken an image of, for

era and gave to each a unique animating

example, a botanical illustration of flowers,

presence.

digitized it and brought it into an editing

mastered

program, and then subtly added layers

digital manipulation and, as fascinating as

of non-related imagery that transformed

these pieces are as visual phenomena, I

the initial picture. In the work The Ladies

trust that Tsiongas’ playing in the fields

and Four O’Clock, a woman with a ladder,

of the digitally possible has some new

bucket, and sponge seems to walk up to

The

artist

particular

has

clearly

techniques

for

mythic twist as part of her intention,

the illustration as if it’s billboard size and begins to wash

and-white etchings of landscape views—all of them

some new slivers of narrative that act as a lighthouse

away the flower in the upper right corner. Subsequently,

contextualized in aspects of the natural world. And with

the woman is beset by a group of butterflies—each one

the exception of Tea for the Impossible Path, there is an

signaling to us on the wine-dark sea.

—Diane Armitage

bigger than her head—that appear to search for the

individual who enters into the space of the image and

vanished flower, and they drive the woman away.

causes things to either appear or disappear: a donkey,

The Ladies and Four O’Clock is emblematic of the

a deer, a cactus flower, a worrisome dog. While there

sleights of hand Tsiongas traffics in with these curious

is a distinct level of humor in these short vignettes,

DECEMBER/JANUARY

2013/14

Mary Tsiongas, Tea for the Impossible Path, HD video, media player, monitor, wooden frame, 33” x 24” x 4”, 2013. Courtesy of the University of New Mexico Art Museum.

THE magazine | 51

Drawing Room: Works on Paper by Eugene Newmann and John Connell

PHIL Space 1410 Second Street, Santa Fe

WORKS ON PAPER BY EUGENE NEWMANN AND JOHN CONNELL, AT PHIL SPACE, joins the drawings of two men whose friendship

is something particular, its branches bristle into the

turned over the course of three decades into a

canopy of the conceptual.

remarkable episodic working partnership, ended only

Bad popular artists come and go. It remains

by Connell’s death in 2009. Notably, the two men

a truth, though not a fashionable one, that the

created The Raft Project in the early nineties, a sort of

chief problem of any artist, in any genre, will be a

Bridge of Sighs between the first breath of Modernism

shortage of talent—something that cannot be solved

and the Eschaton. Beyond that, theirs was a meeting

by technical innovation or aesthetic sloganeering. As

of minds and talents too formidable to be derailed

viewers, we are at least half-hooked by the careerist

by inspiration or undone by the example of another

who exhorts us to challenge, confront, or question

artist. In Connell’s case, rigorous academic experience

our own assumptions, although more often than not

under the atelier system at the Art Students League,

we find ourselves questioning theirs. Who among us

in New York, followed by many years of large-scale

hasn’t left an installation feeling as if he had just exited,

practical experience as a set designer, muralist,

in Raymond Chandler’s words, “a service station

and printmaker grounded his moody genius and

glaring with wasted light”? None of these postmodern

demanding eye. His work is often rough, tough,

anxieties are on display here. For artists, this is an

gestural, probing, and sometimes touched with real

exhibition that exemplifies what Gore Vidal identified

grandeur. Buddhism and private demons, along with

as “energy balanced by a guiding intelligence,” a simple

an ingrained sense of drawing, allowed Connell to

critical heuristic once employed by artists and critics

cover huge surfaces with rhapsodic shadows that look

alike. Nowadays, one needs not only a compass, but

like they were cut with an engraving tool. Still, the

a machete to cut through the exciting heavy weather

ideas in Connell’s work stop far short of explaining

of mannerisms, infantile chic, and ill-digested culture

why his drawings and sculpture have such a purchase

larding the common stuff of art-making. On display

on the imagination. The explanation may reside in

in Works on Paper is a degree of aesthetic literacy

what I read as a rich and various spirit in his work:

that cannot be faked. Not only in the ephemera of

a daunting blend of introspection, ferocious curiosity,

preparatory study, but also in the integument of

and a demotic heart that shifts even his scribblings

draftsmanship in all its singularity and sheer quirkiness.

on bags into social speech. Invariably, it’s a speech

Good judgment and misjudgment stand out plainly.

that resists solicitation. Connell couldn’t care less if

Whether or not the work is deliberately expressive

our assumptions are challenged. His productions are

or academically correct, the hard and soft energetic

continuous presences, attached like chains to human

qualities of the line disclose meaning in the very

nature, anxieties corporeal rather than corporate.

course of searching for it, or efface it in the same

In essence, Newmann is of the same kidney as

process. In many ways this exhibition is an ontography,

Connell, but of different spleen. Leaving his homeland

utterly devoid of any businesslike sense of inventory

in Slovakia, his early years were spent in Barranquilla,

or documentation, whereby clusters and visual dust

Colombia, where he began painting in earnest. Primarily

devils spin toward and into the barely governable

an easel painter, Newmann inhabits a subliminal zone

forces of thought, object, and scene.

just adjacent to the temple of premeditation that is

With the passing of artists John Connell, Ken Price,

art with a capital A. No dissembler, he quotes easily

and Charles Strong, as well as gallerist and art writer

and confidently from the accumulated language of

Stephen Parks, much has been subtracted from the

his predecessors, releasing powerful associative

emotional range, formal vitality, and material energy of

cargo from the parts, signs, and fragments of earlier

New Mexico’s ambitious arts culture. Thankfully, we still

configurations. His analysis of fleeting instants—the

have James Hart and venues like PHIL Space mounting

Deposition Studies, Icarus, Descents—suggests why

intelligent exhibitions like this one, reminding us of the

in Works on Paper these two dogged and idiosyncratic

real continuities in our visual culture.

minds were so firmly engaged. They both detect

—Anthony Hassett

incipient permanence in what appears to be superficial ephemera, as if each object in the world nurses an erupting infernal universe within. For Newmann,

John Connell, Kuan-Shi-Yin & the Fumblers, iron oxide and pigments on paper, 17” x 14”, nd

an object is like Dr. Who’s Tardis—bigger on the inside than it is on the outside. And while the result

Eugene Newmann, Descents (Mostly from Russo), ink on paper, 12” x 8½”, nd

CRITICAL REFLECTION

Emily Cheng: WholeInOne

Zane Bennett Contemporary Art 435 South Guadalupe Street, Santa Fe

THERE IS AN AURA OF LYRICAL MYSTICISM THAT RADIATES FROM EMILY CHENG’S paintings and drawings. While it is not a mysticism known

and ultimately renders them moot. By synthesizing

Together with Cheng’s blending of cultural and

within this global-historical timeline, it is not plucked

various disparate traditions, these icons become allusions

religious icons and symbolism, these mandalas suggest

from sheer fantasy, either. Her work has the trappings

toward a new humanistic commonality.

a worldview of globalization and cultural meshing that

of distinct cultural signifiers spanning from heraldic

There is a second style of work within the exhibition

results in wholeness. Like the paintings of fictive icons,

insignia to religious symbolism. There is something

in addition to these small-scale images of icons and

the crucible of globalization deconstructs cultural

vaguely familiar in her motifs, taken from diverse sources

emblems. The large-scale paintings are created in the

difference and reveals commonality, the root ball within.

within the histories of art, architecture, and cultural

style of a mandala. Mandalas are circular spiritual and

Cheng’s work bridges the space between the interior

artifacts. These visual remnants are then morphed,

ritual images common in Hinduism and Buddhism, often

world and the exterior world, both in the physical sense

blurred, or recombined into a language of signage that

representing the whole of the cosmos and indicating

as well as an epistemological one. The differentiation of

eludes decipherability but leads the viewer into another,

radial balance. In WholeInOne, Cheng’s mandala images

the world-surface is known through visual experience.

perhaps transcendent, realm.

are akin to schematized otherworlds, with titles such as

The underlying unity of that world is something that is

The artist’s small-scale paintings and drawings of

TreePlanet, FlowerWorld, IslandWorld, and TaoWorld, each

more often believed, but is increasingly experienced with

abstracted motifs and emblems are often arranged in

exuding a distinct personality. A theatricalized, colorful

the advent of globalization.

grids, creating an impression of an encyclopedic effort. The images are akin to studies or taxonomies of her source materials. The subject matter, however, is not sourced directly from any one place. The artist initiates dialogue with the past by gesturing toward vague styles evocative of coats-of-arms or medieval manuscript illumination. Where a symbolic emblem could conceivably connote a broader set of significations in its appropriate context, Cheng’s images are only fictions with elusive, otherworldly constellations of referents unknown to Earth-bound viewers.

For example, in Tuareg 5, a multicolored diamond shape hovers above a three-pronged spiral. The piece is part of a Tuareg series, referring to the traditionally nomadic peoples of Saharan North Africa. The diamond shape is similar to the Agadez cross of the Tuareg people, with some alterations. An

aura reflects the nature of the world it contains.

The concept of a work characterized by unity lends

incised metallic plaque occupies the center of the cross

These painted orbs are diagrammatic expressions of

itself to sentimentality. However, Cheng’s work avoids

suggesting it is a medallion of some kind. Each of the four

order on the scale of the global. Shown in cross-section,

creating some idealistic vision despite her interest in

jewel-toned corners of the cross is accented by a shape

all of the strata within are revealed, communicating the

synthesis. Her pictures are too lyrical, too imaginative,

reminiscent of the Egyptian ankh—symbolic of eternal

interconnectedness of the flowering, radiant surface. For

and too artificial to be reflections on this reality. They hint

life, and the spiral is similar to the Celtic triskele symbol.

example, in FlowerWorld a luminescent blue planet floats

instead at an alternate reality, a mystical realm that exists

The ambiguous but distinct symbolism in this piece,

against a citron-yellow cosmos. A bounty of flowers and

just out of sight in which global meshing has already taken

and throughout the exhibition, recalls the long history

plants proliferate with splendid differentiation in form,

its course. In this light, Cheng’s images serve as delightful

of art in service to religious expression as well as the

detail, and color. However, below the surface the entire

universal use of visual devices for communicating human

root system of the planet is a homogeneous web of

oracles, painting the way to a world with greater unity.

—Lauren Tresp

constructions of order, such as social identifications

black threads. In these painted worlds, the efflorescent

and hierarchies. By utilizing these traditional modes

fracturing at the surface is decidedly not a source of

of expressing ideologies, but filling them in with fictive

chaos or conflict, since each constituent element has its

Middle: Emily Cheng, FlowerWorld, oil on canvas, 59” x 59”, 2008

symbols, the artist turns these distinctions on their heads

own place in the holistic structure.

Right: Emily Cheng, Tuareg 5, gouache on paper, 141/4” x 10”, 2013

DECEMBER/JANUARY

2013/14

THE magazine | 53

Paolo Cavinato and Peter Ogilvie

William Siegal Gallery 540 South Guadalupe Steet, Santa Fe

WIL L IAM S IE GA L GA LLERY F EATU R ED TW O EX H I B I T I ON S LA ST M ON T H. Paolo Cavinato’s work comprised six perspective

studies involving variations on the frontal perspective

is peering at the model while the model is unaware of

constructions drawn on transposed layers of glass, while

diagram motif, produced by his application of painted

being looked at. The voyeur effect is checked in turn by

Peter Ogilvie’s photography featured seven nude studies

monofilaments—synthetic fiber strands—on glass sheets

the nondescript, studio-interior backdrop. This formal-

and six landscapes.

stacked one in front of the other. Their perception by

versus-sensuous tension in the series speaks to Ogilvie’s

Viewers familiar with Italian early Renaissance art will

the viewer unifies the lines distributed on the different

career in advertising and fashion as much as his work in fine

recognize in Cavinato’s images the artist’s manipulation

glass sheets on one virtual “picture plane.” Each of

art, a career that has taken him on assignment throughout

of the fundamental frontal perspective diagram or

Cavinato’s six glass ensembles accents one or another

the world. He has lived in San Francisco, Milan, Paris, New

construction introduced by humanist and art theorist Leon

representational effect of Alberti’s linear construction.

York, and now resides in New Mexico.

Battista Alberti, published in Florence in 1436 in his treatise

The first two (Corridors I, Corridors II) bring out the illusion

Ogilvie’s six landscapes capture nature at its most

Della pittura (On Painting), likely in collaboration with his

of depth through architectonic lines whose solid geometry

grandiose. Three prints from the Horizon series feature

friend the architect Filippo Brunelleschi. Brunelleschi’s

yields the effect of receding porticos. The next two studies

the interaction of a cloud-laden blue sky with its reflection

own constructions were arrived at through more practical

(Interior Projection I, Interior Projection II) shift the emphasis

in the vast expanse of sea below, mediated by the subtle

steps. Recognizable to any art student taking a drawing

to the interior space framed by corridors on the left and

presence of the distant horizon. And two photographs

course that includes a segment on perspective technique,

right borders of the rectangle. The final two (Liberation

have as their theme the enormous vistas of the desert

the Albertian frontal and side diagram constructions of

VI, Liberation VII) show two asymmetric compositions that

Southwest. Valley of the Gods (2005) shows the ancient

central-point perspective were revolutionary to their

demonstrate the seeming limitless variations possible in

landscape of the sandstone valley near Mexican Hat, in

painter colleagues in Florence, offering a radically new

a construction of space based upon this classic formula.

San Juan County, Utah, with its rocky outcrops of red

way of seeing the world and recording that perception on

Cavinato’s series of painted monofilament glass ensembles

buttes and mesas that dot the seeming endless breadth

paper and canvas. This new, “re-presentational” approach

attempts to infuse the analytic scheme of Alberti’s optical

of the valley’s desert floor. A sense of salving desolation

would direct the course of painting and drawing for the

geometry with its inherent visual richness through the

is enhanced by the very low horizon line of the view,

next five centuries, from della Francesca to de Chirico.

application, as the press release notes, of “a variety of

conveying the effect of prehistoric ruins overawed by the

Its essence is captured in Alberti’s famous instruction to

expressive techniques” yielding images that “converge as

towering range of sky above. Arguably the finest image of

painters in his treatise: “First of all, on the surface on which

rational constructions and emotive projections.”

the series, Canyon Storm (2005) is a black-and-white print

I am going to paint, I draw a rectangle of whatever size I

Photographer Peter Ogilvie’s nude studies feature

of the Grand Canyon. The view down the canyon at the

want, which I regard as an open window through which

a single model posed in a neutral setting and partially

moment when an approaching storm has begun to eclipse

what is to be painted is seen.” Thus, the frame becomes

obscured by panels that effectively crop the figure,

the sun and encroach upon the canyon floor provides a

a window.

producing a double effect. The partial view of each pose

beautiful study in light and dark and allows us a glimpse of

The rest is (art) history. For Cavinato, Alberti’s

increases its formal aspect at the same time as it lends to

costruzzione is an occasion for a series of formal

each languorous pose a voyeuristic quality, as if the viewer

the landscape’s manifold drama.

—Richard Tobin

Left: Paolo Cavinato, Interior Projection III, painted monofilament, 30” x 30”x 4”, 2013 Right: Peter Ogilvie, Nude Study I, archival pigment print, 38½” x 31½”, 2013

CRITICAL REFLECTION

Life’s a Beach: Martin Parr Agnes Martin: The Early Years 1947-1957

University of New Mexico Art Museum UNM Center for the Arts, Albuquerque

“A FIVE-STAR PHOTOGRAPHER IN THE FIRMAMENT OF AMERICAN PICTURES.” Not only are there three Fiftieth Anniversary exhibitions on

nautical blue, which draws out Parr’s intense colors. There is a

Martin’s organic, biomorphic paintings are among the

view at the University of New Mexico Art Museum, but they

mob at a fake indoor Japanese beach, and a solitary diver on a

highlights of this exhibition of almost thirty works. Her media

are complemented by two additional exhibitions in the upper

natural beach in the United Kingdom. He enters the water on a

range from watercolor to silkscreen to ink to oil, and the

level Clinton Adams Gallery and in the lower level Raymond

gray day wearing only black, webbed gloves, black swim trunks,

number three abounds. In an untitled piece from 1949, Martin

Jonson Gallery. And both exhibitions are wonderful. Life’s a

and black socks with his bright blue flippers. We feel the cold.

places three black rounded-off rectangles inside a larger

Beach: Martin Parr, organized by the Aperture Foundation,

He has a yellow-and-red swim cap on his head and his right

orange one. Each black shape has an etching inside made

brings together about fifty of beloved British photographer

hand reaches out gently as he steadies himself on a seawall. Parr

from straight lines, creating a comfortable transition from the

Martin Parr’s color photographs of beach scenes from around

magnifies all of these details for us. Would we even notice them

angularity of the cream-colored frame and black matte to the

the world. But these are not your standard sunbathing, surfing,

on our own? The exhibition wall text quotes Parr. “You can learn

rounded-off black and orange shapes to the edges etched

and beach volleyball snapshots. Parr is far too creative for that.

a lot about a country by looking at its beaches. Across cultures,

inside them. There are three black objects that form a triangle

Instead we see photos from twenty inches by twenty inches

the beach is that rare public space in which all absurdities and

within Beach. There is another canvas that presents three

up to forty inches by sixty inches that demonstrate Parr’s

quirky national behaviors can be found.” Complementing the

squares within a rectangle and two lines below that. Perhaps

ability to show us people as they would never dream of seeing

exhibition is a continuous screening in an adjacent alcove of Neal

a hint of the grid paintings that were still to come?

themselves. He captures a fat-bellied man and a sleek woman

Broffman’s thirty-minute film from 2012 called Hot Spots: Martin

next to one another in the outdoor showers on a beach in Brazil.

Parr in the American South.

I am allowed a favorite, and it is The Bluebird, a dark oil painting with every possible nuance of grays and pewters and

What’s their story? A child dozes on a sleeping man’s tummy on

Agnes Martin also takes us to the shore. In Beach,

blacks. More rounded-off rectangles articulate paler grays and

a Mexican beach. What’s their connection? One image brings us

watercolor and ink on paper, she presents unexpected colors

hints of salmon. And there he is, in the bottom right-hand

stars-and-stripes swim trunks viewed from behind, and that’s

and shapes. There is a mustard sky with a funny, flowerlike

corner, an adorable chalky-blue bluebird. Is he in a net? No, I

all, until we notice a woman’s forearm with a gold wristwatch,

yellow cloud and a whimsical black, ungull-like bird. The sea is

decide, it’s a birdbath. His beak points off-canvas and he looks

her hand gently touching the man’s arm. Every image generates

a small strip of moss green and the objects and creatures on

directly at me with his right eye that is highlighted in the same

so many questions and possibilities. We eavesdrop on a beach

the sand are unnatural oranges, blacks, and pinks. Although her

light gray Martin used in other parts of the picture.

yoga class. We watch a child’s small, pale hand holding a straw as

oyster does contain a pearl. But the sand itself? Sandy brown.

The exhibition wall text shares this quote from Martin,

he sips from a drink offered by a chunky dark hand while a blurry

Throughout Agnes Martin: The Early Years 1947-1957, curated

“Art without a theme is meaningless…. I think I will say my

mom—or is it?—looks on in the background. Another image

by Jina Brenneman, Curator of Collections and Exhibitions

oldest paintings are about joy.” And yet, it had been Martin’s

shows us colorful bathing caps on four older bathers, while two

at Taos’s Harwood Museum of Art, we encounter many

goal to destroy all of her art prior to her grid work in the

younger and trimmer men wade into the water just to their

surprises in Martin’s art from the period before she began

1970s. Fortunately for that little bluebird—and for us—she

right. Yet another image, from Slovenia, zeros in on a dolphin

painting grids. There are landscapes with angular mountains

painted on a child’s kickboard, and that dolphin is definitely

that show John Marin’s influence. There is a portrait, a nude,

was unsuccessful.

—Susan Wider

eyeing a nearby woman’s generous floral-clad backside. Several

and a still life of a vase of flowers that looks remarkably like

key walls of the gallery have been painted an in-your-face

one by Andrew Dasburg. And in a side gallery, Mary Lance’s

©Martin Parr/Magnum Photos.

Martin: With My Back to the

Agnes Martin, Beach, watercolor and ink-on-paper, 15 1/8” x 19 1/8”, nd.

Private Collection, Denver, CO.

World, runs continuously.

DECEMBER/JANUARY

2013/14

Martin Parr, Margate, UK, pigment print, 20” x 24”, 1986.

hour-long film from 2002, Agnes

© 2013 Agnes Martin/Artists Rights Society (ARS), New York.

THE magazine | 55

Sheldon Krevit: Golden 703 Camino

de la

Jay Etkin Gallery Familia, Santa Fe

THERE IS SOMETHING FUNDAMENTALLY OPTICAL IN THE PAINTINGS OF Sheldon Krevit on display at Jay Etkin Gallery. My use

to ourselves mentally these conceptual dimensions is

whose proportions and subtle dot matrix of pale blue-

of optical relates not to Duchamp’s derogatory sense

not a trivial issue; it has occupied some great minds

green-yellow gradations pulled me into it; one of those

of that word in regard to painting, but to a positive

over the centuries. Sometimes artists are exploring this

rare and lovely moments when one loses oneself inside

sense, based in Santa Fe resident David Abram’s

without necessarily being explicit.

a painting. This may seem to contradict the idea of

The Spell of the Sensuous: Perception and Language in a

Granularity—which comes up in relation to

being embodied while looking at a painting, that is of

More-Than-Human World—a book that I read years ago

image resolution as well as data processing in the

becoming aware of how the act of seeing is occurring

but that remains with me as a touchstone, particularly

current sense of scientific research and modeling—

within a larger context in which one’s body and the

in regard to perception. Perception is embodied. We

seems to be Krevit’s field of operation, the grainy

artwork co-exist in dynamic relation. In Abram’s

see with eyes that are embedded in a body, and that

dimension where our perceptual apparatus is engaged

thinking, the shaman is a sort of conduit or mediator

body co-evolved along with the planet. Though for

kinesthetically. This is implicit in Minimalism, which

between the human collective order (village, clan,

many contemporary global humans it is not always the

used to connote works that present a continuous,

tribe, nation, species) and the wider natural sphere,

case, seeing can (perhaps more often should) be an

repetitive stimulus (notes, brushstrokes, what have

with which humans must have a good relationship

embodied experience. This particular body of work asks

you) that at some point is subtly altered. The viewer/

if they are to survive. The shaman role rests on the

that of us. You need to be in the same space so as to,

listener has been both relaxed and sensitized so that

capacity of certain individuals to detach themselves, at

among other things, alter your distance to the paintings

the small variation becomes a pleasurable surprise,

least temporarily, from the perceptual boundaries or

in order to experience them fully. To some extent that

enhancing one’s attention to even more subtlety of

dominant thought mode of their culture and enter the

is the crux of much of Modernism; it addresses itself

pattern. I suspect that the pleasure is entangled with

spheres of animals, plants, earth, sky, wind, and other

explicitly to the perceptual act and the interaction

the fact that we are very much pattern-recognizing

natural forces. This allows the shaman to facilitate the

between audience and artwork to a far greater extent

creatures; that capacity is almost one of the hallmarks

flow of necessary “nourishment” in both directions. In

than artworks had done in the Western historical past.

of intelligence, as we denote it. There are versions of

our very different civilization, the viewing of an artwork

Krevit’s paintings are done on canvas or birch panel.

this “minimalist” strategy or process in the music and

can be a small opportunity for that kind of opening,

He uses sand in several of them, in addition to acrylic or

art of a variety of indigenous cultures, so it is not a

a greater-than-self experience, which seems to be a

oil paint, and the color variations are subtle. Most are

modern invention, but its eruption into the mainstream

natural human craving. The artist at his or her best can

multi-panel works, and the horizontality or verticality

arts in the 1970s, for example in the music of Steve

be an intermediary whose rapport with a wider field of

of the adjoining panels adds another dimension to an

Reich and Philip Glass, was a significant moment. As

awareness (plus skill and hard work) makes that wider

ongoing enquiry into stasis versus change. This can lead

shown here, Krevit’s works could be associated with

to a meditation on representation in terms of how we

this general artistic strategy.

realm available to us.

—Marina La Palma

imagine, spatially and visually, relations among past and

The painting I had the most pleasurable time with

present and future. Consideration of how we represent

was Meeting of the Spirits, a thirty-by-forty-inch canvas

Sheldon Krevit, One Thing Leads to Another, diptych, acrylic on linen, 28” x 76”, 1995, 2013

CRITICAL REFLECTION

Atomic Surplus

Center for Contemporary Arts 1050 Old Pecos Trail, Santa Fe

DESPITE THE UN-SOLICITOUS NATURE OF ATOMIC SURPLUS,THE EXHIBITION covers a heated topic that is very much in our present.

Photographs by Zurich-born Luca Zanier document

Jim Sanborn is from Washington, D.C., and makes

Curator Erin Elder poses a particularly relatable

the interiors of nuclear power plants. There are eight large,

diptychs with a photographed uranium shell and an image

question for us New Mexicans: What does it mean to

crisp images of nonorganic, uninviting, sci-fi spaces. They are

of its light deposit side-by-side. Sanborn places the uranium

live in the birthplace of the atomic bomb? Atomic Surplus

impossibly clean, human traces are nil, and the bright lights

projectile on top of transparency film and develops it after

consequently examines some of the world’s most

are conspicuously artificial. One photo shows a grid of little

leaving it for several days in the dark. He notes that, “when

dangerous secrets through twelve international artists

sunflower-yellow cubbies, another a white control station

a shell explodes it releases radioactive dust that lingers on

who illustrate the effects of nuclear energy. There are

brimming with buttons, and another a corridor with too

the site for millennia.” This is why we are still able to see the

three new subspaces within the Muñoz Waxman Gallery

many airtight doors. As the wall tag notes, “nuclear fission

atomic surplus. His process is similar to Bettina Samson’s—

at the CCA with rotating exhibitions: The Project

has been a contested but potentially promising method of

from Paris, France—who makes photograms of nuclear dust

Space invites a nostalgic exposition of Tony Price’s now

producing heat and electricity.” The memory of Fukushima,

also “made in the absence of light.” These exposés suggest

defunct Black Hole, while The Workshop and The Living

Chernobyl, and Three Mile Island forces us to ask if this

that nuclear energy has a life of its own—an inanimate object

Room emphasize social practices where the community

prospect is worth the risk.

produces its own light, but beware because it’s toxic.

may gather for dialogue and self-expression. Elder’s

The most compelling piece in Atomic Surplus is a video

Nuclear explosions kill instantly and leave residue for

interdisciplinary approach combines a more traditional

by a young artist collective formed in 2006, in Tokyo, called

generations thereafter. Nina Elder, one of the twelve artists,

art exhibition with educational programming. Overall,

Chim↑Pom. Their response to the 2011 Fukushima nuclear

notes that the Santa Clarans continually suffer from leukemia

Atomic Surplus is a brave exploration from Elder that

leak post-earthquake and tsunami exposes a very dry

because their fields are irrigated by Los Alamos nuclear

signals exciting possibilities for the CCA.

optimism in the face of loss and polluted waters. The group

runoff. Meanwhile, descriptions of The Gadget’s explosion

New Mexico’s history is filled with the kind of

huddles in the devastated seaside town shouting slogans that

still inspire awe. It’s the scorching mushroom cloud

scientific agenda that’s not exactly amenable to the human

feel regimented and militaristic. They affirm with unemotional

seen around the world that looked like a thousand suns

condition, and here in Santa Fe this track record poses

detachment “I want to go swimming in the ocean!” or “I’m

collectively rising from the earth. Undoubtedly a sublime

a certain tension alongside our restorative climate and

gonna get a girlfriend this year!” Such desires are simple and

experience; Oppenheimer’s self-reflection as Krishna is

naturopathic proclivities. Do two Whole Foods within a

potentially easy to fulfill and yet, maybe not. Encouragements

apropos. Anything so magnificently irreverent is an oasis in

mile radius somehow negate the effects of nearby nuclear

ring: “I’m not gonna give up either!” Interspersed by

testing, of which there are still remnants here in Santa

aggression: “Screw you, nukes!” All are declared with the

the desert.

—Hannah Hoel

Fe? New Mexico’s national reputation is also eccentric,

same rallying pep spirit that, amid the wreckage, feels a little

unaided by the fact that half the country doesn’t even

hopeless. These young artists respond to the collision of

know we are a state. During the Manhattan Project, Los

nuclear energy and nature with raw sobriety.

Jim Sanborn, Pencil Dart/Penetrating Radiation, pigment print on Plexiglass, 40” x 60”, 2002

Alamos wasn’t a recognized city and therefore no one could locate that strip of land in the Jemez Mountains on a map—and there was no reason to. It was chosen in part for its remoteness from seacoasts and from people.

In the show’s accompanying catalogue, an eerie essay by the Los Alamos Historical Society (the educational sponsor for Atomic Surplus) describes the journey of disembarking at Lamy, reporting to 109 East Palace, and being taken to a secret city controlled as a military base. The scientists and their families had only one address: P.O. Box 1663—actually located in Santa Fe. Each had an ID card that contained no identifying traits— just a number. The whole community was essentially nonexistent, but over six thousand people lived at Site Y to support the war effort. In 1945, their hard work came to fruition and the world’s first atomic bomb, The Gadget, was detonated at White Sands. On September 2 of that year, treaties to end the most deadly conflict in the history of mankind were signed. It is no wonder that something so deadly required so much secrecy—and still does. Atomic Surplus presents a very serious picture of nuclear waste and its effects on humans. It’s a great war weapon for good reasons.

DECEMBER/JANUARY

2013/14

THE magazine | 55

500+ full-color images in 260+ pages 4000+ artists indexed to their galleries Gallery, Studio & Museum profiles Detailed street-by-street maps Informative articles Dining & lodging resources Glossaries of art terms

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Humanity needs and can get to a world without exploitation, oppression, and classes. My art is part of this larger struggle for emancipation.” www.dreadscott.net Photographed at The Santa Fe Art Institute October 2013 by Jennifer Esperanza DECEMBER/JANUARY

2013/14

THE magazine | 59

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Lenny Foster THE magazine | 61

WRITINGS

AT NIGHT, DEEP IN THE MOUNTAINS by

Daigu Ryokan

At night, deep in the mountains I sit in zazen.

The affairs of men never reach here.

In the stillness I sit on a cushion across from the empty window.

The incense has been swallowed up by the endless night;

Daigu Ryokan (1758-1831) was born as Eizo Yamamoto in the village of Izumozaki, in Japan. He renounced the world at an early age to train at nearby Soto Zen, refusing to meet with or accept charity from his family. He was originally ordained as Ryokan Taigu. Ryo means “good,” kan means “broad,” and Taigu means “great fool.” Ryokan Taigu would thus translate as “broad-hearted generous fool”—referring to qualities that Ryokan’s work and life embodies.

62| THE magazine

DECEMBER/JANUARY

2013/14

Holiday Exhibition!

New work by Rebecca Bluestone, John Geldersma, Gunnar Plake and Chris Richter Reception Saturday,December 28, 3-5pm

c h i a r o s c u r o 702 1/2 & 708 CANYON RD AT GYPSY ALLEY, SANTA FE, NM

www. chiaroscurosantafe .com Caption: Gunnar Plake, Santa Fe Mountain, C print on aluminum, 41 x 32 inches

505-992-0711