THE magazine - August 2015 issue

Santa Fe’s Monthly

m

a

g

a

z

i

n

e

of and for the Arts • August 2015

1 0t h An n i ver s a ry Eve nt S ch ed u l e Annual Opening Event: Saturday, August 15th 5 - 7 pm Featuring the Foutz Collection of Navajo Headstalls and the Bolton Collection of Navajo Sandpainting Weavings

Indian Market Celebration: Thursday, August 20, 2-4 pm SONWAI, Dyani WhiteHawk and Sky Blue Hawk Special presentation by the Santa Fe Opera Apprentices

Shiprock Santa Fe Lecture Series: RSVP Required to: jamie@shiprocksantafe.com

Friday, August 21, 11 AM – Dyani WhiteHawk 1 PM – Yasutomo Kodera of Sky Stone Trading, Japan

53 Old Santa Fe Trail | Upstairs on the Plaza Santa Fe, NM | 505.982.8478 shiprocksantafe.com

In Search of Nampeyo: The Early Years, 18751892 (Spirit Bird Press, $50), which has been awarded the silver medal for nonfiction in the Mountain West division by the 2015 Independent Publisher Book Awards, takes the reader on a journey back to the Hopi potter’s artistic roots as evidenced in the collection of British trader Thomas Keam, whose collection is now housed at Harvard University’s Peabody Museum.

Author and scholar Steve Elmore begins with the potter’s childhood, leads us through the art history of Hopi ceramics, and brings us full circle into Nampeyo’s enduring, iconic role in the art world and beyond. Elmore’s research spans twentyfive years. He describes his early fascination with “Nampeyo’s fluid curvilinear lines and stunning abstractions.” This fascination grew into deep respect for the artist and sparked his desire to enhance her importance in the art world. “While much of Nampeyo’s life was that of a traditional Hopi woman,” writes Elmore, “we need to consider her life and work outside of the academic fields of archaeology and anthropology, which have heretofore defined how Nampeyo has been perceived by the public.” The book’s foreword is by Nampeyo’s granddaughter, potter Rachel Sahmie, who characterizes Elmore’s achievement this way: “I am so thankful that Steve Elmore had the courage to look for the beginning works of my grandmother, Nampeyo. It’s a refreshing thought.” The book is beautifully illustrated with a blend of historical photographs and Elmore’s own photos—he had a twentyyear career as a professional photographer, after all—of pots, bowls, dippers, tiles, and even Nampeyo’s innovative, ceramic jackin-the-box.

CONTENTS 05 letters 22 universe of: Bob Hazzous—The Invisible Indian Artist Speaks 26 art forum: Chimayo Chicken in the Kitchen by Michael Scott 29 studio visits: Marina E. Eskeets, Robert I. Mesa, and Ruben Olguin 31 ancient city appetite: Mu Du Noodles by Joshua Baer 33 one bottle: 2014 Clos Canarelli Corse Figari Rosé by Joshua Baer 35 dining guide: El Farol and Bang Bite 39 art openings 40 out & about 48 previews: Tony Abeyta at The Owings Gallery; Leonardo Drew at Peters Projects; and Gugger Petter at Tansey Contemporary

51 national spotlight: Virgil Ortiz at the Denver Art Museum 52 feature: Fritz Scholder: Non-Indian Indian 59 flashback: John Nichols at Cafe Tarza, 1996 63 critical reflections: Alexandra Eldridge at NuArt Gallery; Drawn to the Wall 2 at Patina Gallery; Bob Haozous at El Museo Cultural; Indian 101 at the Jean

Cocteau Cinema; L. Scooter Morris at Wiford Gallery; Brad Overton at Blue Rain Gallery; The Long Road at the Monroe Gallery of Photography; The Ice Station at Phil Space; Michael Wilding at GF Contemporary; and John Vokoun at William Siegal Gallery 75

green planet: Edie Tsong: Radiant Animal, Artist, Writer, and Yogini, photograph by Jennifer Esperanza

77

architectural details: Lightning Strike, photograph by Rumi Vesselinova

78

writings: “I Come From,” by Darlene Doll Smith

James Drake Anatomy of Drawing and Space (Brain Trash) Chapters 4, 6 and 8 11 JULY – 30 AUGUST 2015 In 2012, James Drake made a commitment to draw every day for two years. The resulting 1,242 images (depicting nature, science, human anatomy, as well as scientific formulas, poetry and classical art) are arranged in a total of ten chapters, three of which are presented at Lannan.

ARTIST TALK

James Drake & Dr. David Krakauer Wednesday 5 August at 7pm Lensic Performing Arts Center GALLERY HOURS

Saturdays and Sundays noon to 5pm or by appointment 309 Read Street, Santa Fe, NM Tel. 505.954.5149

309 Read Street, Santa Fe, NM 87501 Tel. 505 954 5149

www.lannan.org IMAGE: Detail, Anatomy of Drawing and Space (Brain Trash), Chapter 4

LETTERS

magazine VOLUME XXIV NUMBER II WINNER 1994 Best Consumer Tabloid

SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 and 2006 Top-5 Best Consumer Tabloids p u b l i s h e r / c r e at i v e d i r e c t o r GuY CROSS publisher/food editor JuDith CROSS art director ChRiS mYERS copy editor EDGaR SCullY proofreaders JamES RODEWalD KENJi BaRREtt s ta f f p h o t o g r a p h e r s DaNa WalDON aNNE StaVElEY o u t & a b o u t p h o t o g r pa h e r auDREY DEREll calendar editor B milDER webmester JaSON RODRiGuEZ socialmedia lauRa ShiElDS contributors

DiaNE aRmitaGE, JOShua BaER, PhEBE BREChER, DaViS K. BRimBERG, JON CaRVER, KathRYN m DaViS, JENNiFER ESPERaNZa, maRiNa la Palma, JaCKiE m, ElliOtt mCDOWEll, DaRlENE DOll Smith, JEFF taBOR, RiChaRD tOBiN, lauREN tRESP, aND SuSaN WiDER cover

FRITZ AND FRIEND, TESUQUE, 1982 PhOtOGRaPh BY ElliOtt mCDOWEll

Habitat: Exploring Climate Change Through the Arts—a season-long series of public programs—on view through December at 516 ARTS, 516 Central Avenue SW, Albuquerque. Opening receptions for Knew Normal and Off the Charts on Saturday, August 29 from 6 to 8 pm. Image: GhostFood Trailer by Miriam Simun.

Details: 516arts.org TO THE EDITOR:

I saw recently that THE magazine had a work anniversary and I’ve been meaning to write you.

I think THE is just great, and at forty-five I’m a little less of the scofflaw punk that I used to be.

I think it’s amazing you pulled off THE, and you keep doing it. I’ve tried every other hat in this industry but publisher. What keeps me away from it (so far) is that I look at the mountain of work that goes into starting a magazine. I could say many things about THE magazine and about the experiences I had working for THE, and all the topics I got to explore. But the best thing you ever did for me was to fax the mayor’s office in Providence, Rhode Island so I could finagle an excuse to interview Buddy Cianci.

It was an incredible experience, one that gave me all kinds of entrée and access into the Providence city government and the local art scene. I don’t believe I ever thanked you. It is amazing to me that when I tell people, “I was an arts journalist in Santa Fe for twenty-five years,” it grants me instant credibility. THE magazine helps to drive the image of Santa Fe. —GREGORY PlEShaW, maRKEtiNG COmmuNiCatiONS, JOuRNaliSm, WEB CONtENt, Via Email TO THE EDITOR:

23 years! THE magazine is an institution. Congrats.

I am so proud to have been featured in your magazine. Your magazine is a wonderful presence in our area and has contributed much. advertising sales

thE maGaZiNE: 505-424-7641 liNDY maDlEY: 505-577-6310 colorado advertising sales JOaQuiN SalaZaR: 970-394-0047 distribution

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 2015 by THE magazine. All rights reserved. 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.

august

2015

—tlaCaElEl FuENtES, Via Email TO THE EDITOR:

Thanks for the back-and-forth letters in your June and July issues regarding the Hannah Hoel review of Gallery Fake. The response to the two letters that torched both Hannah Hoel and THE magazine certainly made for some entertaining reading. It is rare that letters in a magazine would generate even more letters in response. This is good. Please keep the conversations going, because it is

conversation—a.k.a dialogue—that helps to make Santa Fe a true art town. Oh yes, your July cover was fantastic.

—PatRiCia DalEY, Via Email TO THE EDITOR:

This is Danny Lopez, previously of the National Hispanic Cultural Center. I’ve returned to New Mexico after four-plus years in Washington D.C. I am now the Director of Sales and Marketing at Hotel Andaluz, in Albuquerque. Congratulations on your work at THE mag. Always a classy pub.

—DaNNY lOPEZ, alBuQuERQuE, Via Email TO THE EDITOR: Thank you so much for including a photo of one

of Lauren Mantecon’s paintings in the July edition of THE magazine. With your help, more people are coming in to see this show. We really appreciate your continued support of the gallery. We have had many people come to the gallery with THE magazine in hand asking to see that painting.

—JOYCE StOlaROFF, WhEElhOuSE aRt, SaNta FE, Via Email TO THE EDITOR:

What in the hell was July ’s Green Planet about? That quote was so vague, so generic, so pablum, it could have been about anything, and by just about anyone. I mean, enough of “us versus them.” We need everybody, every soul to be part of the solution.

So instead of standing on our planetary pulpit, demonizing the so-called enemy, let’s dialogue instead. We’re all in this together, right? Who is US? Who is THEM? The SOLUTION to what? PLANETARY PULPIT—I mean that’s just WTF right there, and just what are we all in together? Maybe it’s my big city bias—sorry spiritually attuned desert dwellers—but if you’re going to rally the troops for a green planet (or any other cause) at least have the courtesy to tell us what the hell you are actually talking about.

—RONalD l. COlBOuRNE, Via Email

THE magazine welcomes your letters. Send letters to themagazinesf@gmail.com

the magazine | 5

Woody GWyn solitary places

Undercurrent (detail), 2015, egg tempera on panel, 36" x 60"

July 31-august 30.2015

peter bremers

reflections of the West: canyons & deserts

Shown here: Mark White’s Passion Flower sculpture in (from left) Orange Fusion and Fuchsia Fusion color patinas. Our patinas are applied to copper blades using a hot dye process designed to withstand the elements for years to come.

Petrified Forest, 2015, kiln-cast glass, 32"h x 37"w x 4.6"d

LewAllenGalleries Railyard Arts District 1613 Paseo de Peralta (505) 988.3250 www.lewallengalleries.com info@lewallengalleries.com

CHARLOTTE JACKSON FINE ART 505.989.8688 | 554 South Guadalupe Street, Santa Fe, NM 87501 www.charlottejackson.com William Metcalf, Cube Installation

IAIA

Museum of Contemporary Native Arts

TOM JOYCE | AFTERSHOCK AUGUST 7– OCTOBER 3, 2015

OPENING RECEPTION FRIDAY, AUGUST 7, 5 –7PM

JAMES KELLY | CONTEMPORARY 1611 PASEO DE PERALTA | SANTA FE | JAMESKELLY.COM AUREOLE I 2015, FORGED STAINLESS STEEL, 75 × 75 × 8, 6,492 LBS

“Risk Knowing Your Fortune it is Always Your Turn”

WheelofFortune-TarotProject.com

shimmerings and spiritbirds a joint show by

opening reception friday, august 7 5-7 pm refreshments will be served

Charles C. Gurd

“On the Paseo”

Steve Elmore

839 Paseo de Peralta, Santa Fe NM

505 . 995 . 9677

DA N N A M I N G H A

MOVEMENT

Painted Steel

15” x 5” x 9”

Edition of 9

Dan Namingha © 2015

Artists Reception • Friday, August 21, 2015 • 5:30–7:30pm

Representing Dan, Arlo, and Michael Namingha 125 Lincoln Avenue • Suite 116 • Santa Fe, NM 87501 • Monday–Saturday, 10am–5pm 505-988-5091 • fax 505-988-1650 • nimanfineart@namingha.com • namingha.com

Sabrina Gschwandtner, Camouflage II, 2015. Courtesy of Shoshana Wayne Gallery. Photographer: Tom Powel

Luminous Flux 2.0 features technological artworks from the Carl & Marilynn Thoma Art Foundation collection, spanning over fifty years of the digital art genre, including computer, light-based and electronic artworks from pioneering experimenters and contemporary innovators. The exhibition features works such as a film quilt by Sabrina Gschwandtner, an internetbased painting automaton by Siebren Versteeg and Leo Villareal’s animated LED sequence.

JULY 24, 2015 – SPRING 2016

231 Delgado Street Santa Fe, NM 87501 505.995.0231 HOURS: Thursday – Saturday 10 a.m. – 5 p.m.

TONY ABEYTA August 14 through September 10, 2015

A Continuing Journey Paintings | Opening Reception August 14 from 5 to 7 Jewelry | Opening Reception August 21 from 3 to 6

Deer Rhythms, charcoal and ink wash on paper mounted on canvas, 34 x 72 inches

the owings gallery ON PALACE 100 East Palace Avenue | Santa Fe, New Mexico | 505.982.6244 Phone www.owingsgallery.com | info@owingsgallery.com | Monday - Saturday 10-5

Steve elmore indian art presents

Nampeyo: An American Modernist opening and reception Friday, August 14th 5:00 - 7:00

839 Paseo de peralta • santa fe nm 87501 • (505) 995 9677 order the new book at elmoreindianart.com

Blue Rain Gallery’s Annual Celebration of Contemporary Native American Art August 19 – 23, 2015

C A N N U PA H A N S K A LU G E R Artist Reception: Thursday August 20th from 5 – 8 pm

Visit our website for a complete schedule of shows and events

Never, Never Land Series mixed media

Blue Rain Gallery | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com

PHYLLIS KUDDER SULLIVAN CHERYL ANN THOMAS J U LY

2 4

August 7 - September 4 Gallery Reception: Saturday, August 29, 6-8 pm Altered States Gerhard Richter & assume vivid astro focus Clockwork for Oracles Willy Bo Richardson

-

S E P T E M B E R

5 ,

Phyllis Kudder Sullivan

SA N TA F E C L AY C O N T E M P O R A R Y C E R A M I C S In the Railyard, 545 Camino de la Familia, Santa Fe 5 0 5 . 9 8 4 . 11 2 2 | w w w . s a n t a f e c l a y . c o m

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

ROBERT MAKER (1944 -1993)

“Roadster” • Welded Metal • 23” deep x 33” width x 17” high

Santa Fe Scout Collection available at

See this sculpture by Maker and more every Sunday at the Santa Fe Outdoor Traveler’s Market at DeVargas Center

For details, contact: artnewmexico@hotmail.com

1219 Cerrillos Road and

Pierson Gallery - Tulsa, Oklahoma www.PiersonGallery.com

2 015

Santa Fe Dry Goods

on The Plaza

Dana Waldon

505.660.6442 • santafescoutcollection.com

Prayer of Gratitude

E L L I O T T M C D OW E L L N E W M E X I C O P H O T O G R A P H S 1975 – 2 015 Opening Reception: Friday August , ‒ pm

On The Plaza

•

  ⁄  Lincoln Avenue

•

..

ROMANCE, DRAMA, FUN!

THE DAUGHTER OF THE REGIMENT RIGOLETTO SALOME

I

I

I

Donizetti

Verdi

R. Strauss

LA FINTA GIARDINIERA COLD MOUNTAIN

I

I

Mozart

World Premiere

Composer Jennifer Higdon Librettist Gene Scheer

Robert Godwin photo

JULY 3 – AUGUST 29

2 015

... all at THE SANTA FE OPERA

Arrive early with a tailgate supper to enjoy the sunset and mountain views.

OPENING NIGHTS SPONSOR

855-674-5401 www.fourseasons.com/santafe

SantaFeOpera.org

I

800-280-4654

Ask our partners about a special offer for Opera guests.

800-955-4455 www.eldoradohotel.com

800-727-5531 www.innatloretto.com

800-378-7946 www.druryplazasantafe.com

UNIVERSE OF

POST

modernisms, native

dark and blackness to refer to the bad, the

human dysfunction and the dismissal of universal

modernisms, and the

negative, and the subservient, resulting in our

commonality, replaced by a more focused cultural

latest indigenous ‘isms’ are regarded as the

intentional ignorant participation in indifference

common sense, protected by its walls, barriers,

contemporary foundation of all native american

and domination, dismissing the positive/negative

laws, and borders of entitlement with it’s own

dialog within the arts, totally discounting a

approach that gives a healthier perspective on

sense of racial and social purities, glorifying faith,

purposeful and functional grounding that could

balance, and blessing our ignorance of what

belief, love, and trust over reason, therefore

probably be the basis of what we accept as art,

once were all the relations of nature, without

turning our great potential for mankind’s clear-

and as we all realize, the contemporary process is

now asking the questions that are whitewashed

headed problem solving required to exist

supposed to be a reflection or perception of life

by our prejudiced desire for our own definition

in balance with our earth environment, into

as it is, with the acknowledgement that we must

of truth, ignoring the now-deemed humorous

convenient, marketable, and blindly destructive

simultaneously, and perhaps unfortunately, realize

questions like: is god dead, is god red, is god in

answers, satisfying the common need of a

that today’s ‘isms’ on their own have no purpose

the head, and other questions of true importance

few for the easiest, most profitable answers,

or practical use other than pleasant decoration

and consequence, meanwhile we intentionally

simultaneously dismissing those who lacked

and intellectual titillation serving no real good,

guarantee our grandchildren a future with poison

the economic means to share what should be

while honestly reconsidering indigenous concepts

food, poison water, poison air, and a poison

commonly shared, and making demands of our

of art/creativity with no specific definition,

social and physical environment while we await

creativity, especially in the arts, for a product

BOB HAOZOUS:

THE INVISIBLE INDIAN ARTIST

SPEAKS

assuming that all levels of creativity and problem

some individual hero, dogma, or spiritual essence

based on innocent pleasure, romance, decoration,

solving should be interwoven with all aspects of

(of our choice) to solve the problems we’ve

history, convenience, and useless stuff upon stuff,

life transcending capital‘ism’, acknowledging also

created in our quest for personal success and

all now under the label of human greatness,

the importance of vocation, even though almost

fulfillment measured in gold, with the promise

dismissing the now overwhelming, potentially

all aspects of western education, from birth to

of a dirt-free afterlife of purity, innocence, and

destructive social and environmental issues

death, are based on a gold standard that demotes

virginity that is apparently the reward for our

that are compounding upon themselves with

the production of creativity to the craft of art, the

guilt, environmental apathy, and disregard of

an economic, philosophical, sociological, and

craft of fine art, and the craft of craft, allowing us

other humans and life forms with our same

imagined genetic form of colonization through

to dismiss our thinkers from the broader sense

shared basic needs, allowing us to couple our

assimilation, demanding from our great genius

of responsibility as true creators, eliminating

contemporary civilization’s original sin of the self,

the lesser goal of economic reward, accepting the

an honest critique of ourselves by asking artists

human worship, and the exaggerated ego with

creative meaninglessness that had become

to produce for societal entertainment, and

our self-declared exemption from our primary

a legacy controlled by financial ‘isms’ through the

surround ourselves in beauty or prettiness with

original earth relationship, the so-called star

promotion of a market sustaining market that

little regard to proactive searches for ideas and

stuff, and because of this self-aggrandizement we

has the one basic and dehumanized structural

solutions to grave, perhaps terminal issues that

removed ourselves from that holistic relationship

foundation of greed over need and need over

are overseen by economic/cultural restrictions,

to focus first on the social evolvement to specific

what we honestly require to exist, with the

supported by a colonized philosophical basis of

tribal affiliations, subsequently embracing the

common declaration that we, all of mankind,

our goodness, represented by our spiritual purity

family with our loyalties, and finally exulting the

are the pinnacle of human evolution and

and godlike positioning, symbolically referencing

glory of the individual, along with the monetary

development, and that, in our self-congratulation,

us as white, good, and dominant, while using

rewards/power and its unintentional byproduct of

assures dominance.

august

2015

the magazine | 23

Distinctive Home and Business Cleaning Services

Galleries, Professional OďŹƒces, Beautiful Homes Santa fe, Taos

505.414.9743

clusiau designs

Your source for interior and exterior custom sewing Specializing in slipcovers, cushions, pillows, bancos, curtains, and bedding We carry stock fabrics, custom fabrics, and a large collection of fabric sample books 901 west san mateo suite w • 505.466.2712 • www.clusiaudesigns.com

WHAT MAKES A GREAT DENTIST? Integrity Latest Technology Attention to Detail Listens to the Patient Purpose and Clarity of Vision

Dr. Chris Morgan 5 Calle Medico, Suite D Santa Fe, New Mexico 505.988.4119 santafedentist.com

ART FORUM

THE MAGAZINE ASKED A CLINICAL PSYCHOLOGIST AND TWO

a hen. Then there is the mother hen watching over the

PEOPLE WHO LOVE ART FOR THEIR TAKE ON A PAINTING BY

other symbols. These are in the foreground, and only

MICHAEL SCOTT ENTITLED CHIMAYO CHICKEN IN THE KITCHEN,

once removed from reality. The meanings of the other three—painting, box, and picture—are further removed

FROM THE FARNY FABLES EXHIBITION. THEY WERE SHOWN ONLY

from current reality; pictures of “stories” in pictures.

THE IMAGE AND WERE GIVEN NO OTHER INFORMATION.

These represent masculine principles. These represent masculine principles. They all have male indigenous people in them (do I need to mention guns and cigars as a stand-

This piece symbolizes the commercialism and

I would title this piece La Gallina in Still Life at a Border

in for the phallus?). The people are all shown in front of

exploitation of Native American people. We see a

Town Trading Post. What I see here are layers of reality,

landscapes of different seasons. The box EL BUBBLE is also

Plains Indian in full regalia. He stands proud but looks

in two sets of objects. There’s the background painting,

a mixing of cultures, and the cigar store Indian is alluded to.

sad while holding a rifle: The weapon, introduced by

the “cigar box”, and the photograph. Then there’s the

Cigar smoking is historically a male endeavor. Bubble gum

whites, would permanently change how he hunted for

weaving, the limes, and the chicken. For me, the second

is a frivolous distraction, or replacement, from connecting

food. It would also come to brutalize his race. On a fake

three represent feminine principles. Spinning and weaving

with the original herb, tobacco and its sacred rituals.

cigar box, we see a commercialized image of an Indian

fibers into cloth are historically feminine endeavors—

The connection of man to the natural world occurs to me.

in a western landscape. In front of it appears a painting

and the cloth is pink. The limes are offspring of a larger

The mother hen or Gaea, Mother Earth, is watching over

of two Native Americans on horseback. They are

natural system—a tree. They are green, a color associated

all these symbols. Her “shadow” could be hiding the clue

holding rifles but still enjoying their traditional life. This

with abundance or fruitfulness. And they are a juicy, tart

to the true meaning of the piece.

scene is positioned before the cigar box. Its location

fruit. The chicken has no cocks comb, or wattle, so she’s

—PhEBE BREChER, CO-OWNER BOXES, BuBBlES, & BEaNS

symbolizes that it took place prior to white profiteering.

Psychologically, eggs have long represented fertility, birth, life, and resurrection (e.g. Easter). Yet, the green eggs here do not represent those things. Instead, they symbolize money. Embedded in the blanket are images of human faces and silhouettes. They appear like apparitions of Indians long gone. Lastly, the bird’s shadow is enormous. It signifies oppression against Native Americans. Indeed, there is much darkness in this work.

—DaViS K. BRimBERG, Ph.D., CliNiCal PSYChOlOGiSt This painting reminds me of my childhood. I grew up playing Cowboys & Indians with my older brother and the neighbor kids in southeastern New Mexico. Something about the colors, the bubble gum, the outdoors, the Indian imagery, the rooster, and the horse all bring back very special memories. It seems to be sort of a play on time as well. The art-historical Henry Farny postcard in the bottom right of this image looks like the 1800s. The Indian standing by his horse in the background of this collection of items almost looks like present-day with a nod to the old days. Native American scholars would enjoy this scene because of the symbols on the Indian’s blanket, his horse, the saddle, the braided mane on the horse—all hint at the tribe to which he belongs. The still-life quality of this piece, the lime, and the colorful blanket in front of a painting all point to domestic interests. All that said, maybe this is just a painting of a painting of a rooster in front of a painting of an early American scene.

—JEFF taBOR, aRt EXChaNGE GallERY, SaNta FE

26 | the magazine

august

2015

TANAKA KYOKUSHO Artist’s Reception Friday, July 31, 5:00 – 7:00 pm

JULY 31 – AUGUST 23 Bamboo Demonstration Saturday, August 1, 2:00 – 3:30 pm

1601 Paseo de Peralta Santa Fe, NM 87501 505.984.1387 taimodern.com

THE magazine in the Centennial State Advertising and Distribution: Joaquin Salazar: 970.394.0047 salazar.joaquin@icloud.com

Home Building Santa Fe Style

A

P A R A D E

O F

H O M E S

Santa Fe’s Best Open House AUGUST 14-16 & 21-23, 2015 11AM - 6 PM. Tickets are only $15. Don’t miss the Free Twilight Tour on Friday, August 21st from 4 PM to 9 PM for select homes. For ticket information visit sfahba.com.

SANTA FE AREA HOME BUILDERS ASSOCIATION 1409 Luisa Street, Santa Fe • 505.982.1774

PAINT AND DECORATING

DESTINATION

Counter Intelligence • D Maahs Construction • FastSigns • Architectural Metal Products • Dazzling Displays, LLC • Paul Davis Restoration

www.themagazineonline.com

STUDIO VISITS

PIET MONDRIAN SAID, “THE POSITION OF

This is my love.

THE ARTIST IS HUMBLE. HE IS ESSENTIALLY A

Now it’s yours.

CHANNEL.” THREE ARTISTS RESPOND.

I’ve struggled, fought my whole life for this moment.

Where I am not there.

—ROBERt i. mESa In 2015, Mesa’s photographs were shown at the Heard Museum in Phoenix and at El Museo Cultural, Santa Fe. He is the official photographer for SWAIA. His work can be seen at Indian Market 2015, Booth #747. For future pop-up shows, visit robertmesa.com.

Art has the potential to transcend into any form, like water. Taking the shape of any vessel, even the mind. As an artist we have the privilege to explore human emotion, experience, and knowledge, but this exploration can only be achieved through humility.

Most people today fear their own emotions or any instability that they cannot control.

Through the process of art, artists transform that dreaded world of emotion, past, and information into a palatable form for viewers. Artists do not ask permission, they take it upon themselves to delve soul-first into what they do not fully understand in hopes of enlightenment or simply to express instead of suppressing. “He is essentially a channel.”

—maRiNa E. SKEEtS See work by Skeets at marinaeskeets.tumblr.com.

As an artist, I think of myself as a cultural interpreter. People have life experience based on the world around them. I feel a responsibility to reflect the experience of my generation, adapting and resolving the world inherited from our ancestors. Art is not a job or a profession but a lifestyle where the world is evaluated and absorbed constantly, then interpreted into visual poetry.

—RuBEN OlGuiN Olguin’s work was seen at the Spirit Abuse Project in Albuquerque in March, 2015.

Upcoming exhibits: Sonic Decay at the Paseo Art Festival, Taos, from September 25-26; Sculpting with the Science of Nature at the Explora Workshop, Albuquerque, on November 21; and Discontinuity at El Museo Cultural, Santa Fe, in November.

PhOtOGRaPhS OF ROBERt i. mESa aND maRiNa E. SKEEtS BY auDREY DEREll PhOtOGRaPh OF RuBEN OlGuiN BY GuY CROSS OF RuBEN OlGuiN

august

2015

the magazine 29

A Morning at Morning Star Gallery with artist

Dolores Purdy Friday August 21 10am–1pm

M O R N I N G S TA R G A L L E R Y 513 Canyon Road, Santa Fe, NM 87501 505-982-8187 • morningstargallery.com

ANCIENT CITY APPETITE

ancient city appetite

BY JOShua

BaER

mu du noodles 1494 Cerrillos Road, Santa Fe Open Tuesdays through Saturdays – Closed Sundays and Mondays Lunch: 11:00 AM - 2:30 pm Dinner: 5:30 - 9:00 pm Dinner reservations recommended.

505-983-1411 Mu Du Noodles is one of the few restaurants—in the country, not just in Santa Fe—

Malaysian Laksa for best entrée on the dinner menu. Mu will kill me for saying this,

where you can throw darts at the menu and enjoy a great meal. Still, these are the

but as great as her Jantaboon is, it tastes even better if you ask the kitchen to hold

dishes you do not want to miss:

the sprouts and the peanuts.

Sake Mojito; $5. Order one at the beginning and another at the end, drink, and be thankful.

Malaysian Laksa (wide rice noodles simmered in a mild red coconut curry sauce with baby bok choy, broccoli, carrots, zucchini garnished with fresh scallions, and

Roasted Cauliflower (with Thai sauce, sesame seeds, and cilantro); $10.

Brazil nuts); $19 with seafood; $17 with chicken; $15 with tofu. Order it with

Thai Beef Salad (grilled hanger steak with romaine lettuce, grapes, cucumber,

chicken, and hold the Brazil nuts.

shallots, and carrots in a spicy cane sugar lime sauce); $14.

Korean Pork Tacos (braised pork shoulder, barbeque sauce, Napa cabbage and cilantro slaw, kimchee, and pear—on corn tortillas); $11.

Salmon Dumplings (in millionaire sauce); $7.

Green Oolong Tea; $4. It works with everything, like a charm.

Thai Iced Tea with Condensed Milk over Coconut Milk; $4. Habit-forming.

Coconut-Ginger Gelato; $8.

People like to complain about Mu Du Noodles. They complain about the parking,

Lamb Martabak (Indonesian crispy dumplings filled with minced lamb, scallions,

the long waits for tables on Friday and Saturday nights, and the “pricey” noodle

garlic, and Middles Eastern spices, with a mint-cilantro dipping sauce); $8. The best

dishes. Then they go on about how they had better for cheaper on their last vacation

item on the menu, due to its sublime dipping sauce.

in Phuket. People who complain about a restaurant with this degree of class and

Jicama Grapefruit Salad (with cooked shallots, peanuts, and cilantro); $6.

style should either stay at home and eat a Snickers or maybe try Panda Express.

Beef Jantaboon (Angus beef tenderloin stir-fried with baby bok choy, scallions,

Santa Fe is lucky that Mu Jing Lau chooses to live here and feed us. It’s that simple.

sweet and hot peppers, red onion and wide rice noodles—topped with bean sprouts, crushed roasted peanuts, crispy shallots, and cilantro); $16. Neck-and-neck with the august

2015

Photograph by Joshua Baer. Ancient City Appetite recommends places to eat, in and out of Santa Fe. Send your favorite places to places@ancientcityappetite.com.

the magazine 31

happy hour special - 50% off our famous classic appetizers calamari, dumplings, egg rolls selected wines by-the-glass, “well” cocktails and our house margaritas - $5.00 full bar with free wi-fi monday thru friday from 4 to 6 pm

lunch & sunday brunch • from $9.50 (11:30 - 2 pm) dinner nightly • from $19.00 (open 5:30 pm)

restaurant bar 231 washington avenue - reservations 505 984 1788 instant gift certificates, menus & special events online www.santacafé.com

Nearly a half a century of providing the ultimate Santa Fe dining experience...

LUNCH • DINNER • BAR

Reservations: 505.982.4353 653 Canyon Road compoundrestaurant.com

photo: Kitty Leaken

ONE BOTTLE

o ne b ottle

the 2014 clos canarelli corse figari rosÉ

BY J OShua God said to Jesus, “We should spend more time together.”

“We’re spending eternity together,” said Jesus. “That’s not enough

B aER . into the trees to the right of the bunker. Jesus heard the snapping of branches, followed by God muttering and cursing. “Son!” God shouted from the trees. “Can you come in here? I need you!”

for you?”

God shrugged. “It’s just—it seems like we used to do things.

Jesus found God at the base of a loblolly pine. God’s ball was lying on a bed of pine needles. The Almighty had no view of the green. “What

Activities.”

“Like sending me down there to make friends with everybody, and then watching them nail me to a cross? Because if that’s your idea of an ‘activity,’ thanks, but no thanks.”

would you do?” said God, laughing.

The Savior studied the wall of trees between God’s ball and the green.

“Your lie’s not bad,” he said, “but the green’s completely blocked. It’s the

“You know that’s not what I meant.”

first hole. I’d take my pain early, pitch out to the fairway, and hit a nine iron

“What did you mean?”

to the green. Best case, you make a tough put and save par. Worst case,

“Outdoor activities. Games. Fun stuff.”

even if you two-put and make bogey, you’re one stroke down. But if

“You want to be a little more specific?”

you try to blast through those trees, you’re going to finish the hole

God stroked his beard. “We haven’t played golf in a while.”

“Too many distractions,” said Jesus. “That time we played Pebble, in the fog, with Moses? It turned into a mob scene.”

four, maybe even five strokes down. And that’s no way to start a round of golf.”

God grabbed his driver. He took a deep breath and flailed

“Forget Pebble,” said God. “I’m thinking a late

at the ball. Pine needles flew in all directions. In what appeared

afternoon round at Augusta, in the golden light. Anybody

to be a four-dimensional form of slow motion, God’s ball

comes within fifty yards of us, I’ll snap my fingers and

flew toward a magnolia, ricocheted off its trunk, darted

make us invisible.”

left through an azalea bush, careened off the branch of

“See, that’s the problem,” said Jesus. “Everything you

a dogwood, and dribbled between a pair of loblolly pines

do—here, and on the planet—it always comes down to

until it rolled out onto the fairway. Jesus heard the screech

your bag of tricks.”

of a large bird. When he looked up, he saw a bald eagle

“Do you blame me?”

swoop down over the fairway, grab God’s ball in its talons,

“For playing God? No, of course not. I get omnipotent

flap its wings, lift off, and make a bee-line for the green.

Yahweh. But golf’s a human game. It’s all about adversity

The eagle dropped the ball. After a bounce, the ball rolled

and patience. So when your playing partner starts using

towards the pin. Ten feet from the pin, the ball slowed to

lightning bolts to correct his slice, it takes the fun out of it.”

a crawl, tapped the flagstick, and sank into the hole.

“I’ll behave,” said God. “No special effects. You have

Jesus turned to God. “Dad,” he said. “Let me ask you something. Are we going to play some golf today, or are

my word.”

On the tee at Tea Olive, the first hole at Augusta National, God told Jesus to go first. After teeing up, Jesus took a practice swing, addressed the ball, swung

we going to fuck around?”

Which brings us to the 2014 Clos Canarelli Corse Figari Rosé.

his three wood, and hit a two-hundred-and-seventy-five

In the glass, Canarelli’s Rosé is the color of a pink silk

yard drive down the center of the fairway. After two

evening gown. The bouquet is an elegant pause, a tacit

hops, Jesus’s ball came to rest just short of the bunker,

assurance of graces to come. On the palate, the rosé’s flavors

leaving the Son of God with one-hundred-and-fifty yards

coalesce into a single note, then separate into a chorus.

to the green.

The finish is clear as a bell.

God went with driver. He teed up his ball, took a

You can buy Canarelli’s 2014 Rosé through Kermit Lynch

maniacal, pin-wheeling swing, and launched a high slice.

Wine Merchant in Berkeley. A bottle is $36. A case is $324.

At first, God’s drive looked long enough to clear the

Ask for Michael Butler. Tell him I sent you.

bunker—until the ball sank into the trees along the right edge of the fairway.

Don’t be mislead by the notion that rosés are summer wines. You can drink a good rosé year-round, with all kinds of

God and Jesus walked down the fairway in silence.

food. If you have not yet tasted Yves Canarelli’s wines, I envy

When they got to Jesus’s ball, Jesus hit a seven iron. His ball

you. You are in for the treat of a lifetime. It’s hard to imagine

landed at the heart of the green, thirty feet left of the pin.

a more gifted rosé.

“Nice approach,” said God. “Very safe.”

Jesus picked up his bag and headed for the green.

God balanced his bag on his head, then thrashed his way august

2015

One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. Write to Joshua Baer at jb@onebottle.com.

the magazine | 33

DINING GUIDE

EL FAROL luNCh, DiNNER Full BaR, liVE muSiC aND DaNCiNG, FlamiNGO: JulY 9 - auGuSt 23 (thuRSDaYS —tuESDaYS @ 7 Pm)

808 CaNYON ROaD, SaNta FE RESERVatiONS: 505-983-9912

$ k e y

ineXpensive

$

moderate

up to $14

$$

eXpensive

$15—$23

$$$

$24—$33

very eXpensive

$$$$

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

...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. 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. c omments : 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. atmosphere: A classy room. house specialties : For dinner, start with the Heirloom Beet Salad. Follow with the Achiote Grilled Atlantic Salmon. comments: Attentive service. arroyo viono 218 Camino La Tierra. 983-2100.

Dinner (Tuesday-Saturday) Full bar.

Major credit cards. $$$$ cuisine: Progressive American. atmosphere: Warm and welcoming. house specialties: The Charcuterie Plate, the Grapefruit and Almond Salad, the Prosciutto Wrapped Norwegian Cod, and the N.M. Rack of Lamb—all perfect. comments: Menu changes depending on what is fresh in the market. Superb service. Top-notch wines in the restaurant and wine shop. bang bite 502 Old Santa Fe Trail & Paseo de Peralta.

Breakfast/Lunch Parking lot, take-out, and catering.

Major credit cards cuisine: American.Fresh, local & tasty. atmosphere: Orange food truck in parking lot. house specialties: Burger and fries and daily specials. Lotta bang for the buck. bouche 451 W. Alameda St 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ cuisine: French Bistro fare. atmosphere: Intimate with an open kitchen. house specialties: Start with

the Charcuterie Plank. The Bistro Steak and the organic Roast Chicken are winners. comments: Chef Charles Dale is a pro. cafÉ fina 624 Old Las Vegas Hiway. 466-3886.

Breakfast/Lunch/Dinner (Fri.to Sun.) Wine/Beer soon in 2015 Cash/major credit cards. $$ c uisine : We call it contemporary comfort food. a tmosphere : Casual. h ouse specialties : For breakfast, both the Huevos Motulenos and the Eldorado Omelette are winners. For lunch, we love the One for David Fried Fish Sandwich. c omments : Chris Galvin cafÉ pasQual’s 121 Don Gaspar Ave. 983-9340.

Breakfast/Lunch/Dinner Beer/Wine.

Major credit cards. $$$ cuisine: Multi-ethnic. atmosphere: Adorned with Mexican streamers and Indian posters. house specialties: Hotcakes got a nod from Gourmet The Huevos Motuleños is a Yucatán breakfast—one you’ll never forget. cheZ mamou 217 E. Palace Ave. 216-1845.

Breakfast/Lunch/Dinner Beer/Wine.

Major credit cards. $$$ cuisine: Artisanal French Bakery & Café. atmosphere: Casual. house specialties : Start with the Prosciutto Melon Salad. For your main, try the Paillard de Poulet: lightly breaded chicken with lemon and garlic sauce, or the Roasted Salmon with white dill. c o m m e n t s : Pastas are right on the mark. 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, and Kung Pau Chicken. 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. h ouse specialties : The smoked brisket

and ribs are the best. Super buffalo burgers. comments: Huge selection of beers. coyote cafÉ 132 W. Water St. 983-1615.

Dinner Full bar.

Major credit cards. $$$$ cuisine: Southwestern with French and Asian influences. atmosphere Bustling. house specialties: Main the grilled Maine Lobster Tails or the 24-ounce “Cowboy Cut” steak. comments: Great bar and good wines. dr. field goods kitchen 2860 Cerrillos Rd. 471-0043.

Lunch/Dinner Beer/Wine Major credit cards. $$$ cuisine: New Mexican Fusion. atmosphere: Casual and friendly. house specialties: Faves: the Charred Caesar Salad, Carne Adovada Egg Roll, Fish Tostada,, and Steak Frite. comments: You leave feeling good. 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, adobe walls, and a small dance floor for cheek-to-cheek dancing. house specialties: Tapas and the great Rib-Eye Steak. comments: Teriffic bar. el mesÓn 213 Washington Ave. 983-6756.

Dinner Beer/Wine. Patio.

Major credit cards. $$ cuisine: Spanish. atmosphere: Spain could be just around the corner. Music nightly. house specialties: Tapas reign supreme, with classics like Manchego Cheese marinated olive oil. fire & hops 222 S. Guadalupe St. 954-1635 Dinner - 7 days. Lunch: Sat. and Sun. Beer/Wine. Patio.

Visa & Mastercard. $$$ cuisine: Susatainable local food. a tmosphere : Casual and friendly. house specialties: The Green Papaya Salad and the Braised Pork Belly. Fave large plates: the Cubano Sandwich and the Crispy Duck Confit. c omments : Nice selection of beers on tap or bottles. Plus, really friendly service.

georgia 225 Johnson St. 989-4367. Patio.

Dinner - Full bar.

Major credit cards. $$$$ cuisine: Clean and contemporary. atmosphere: Friendly and casual. house specialties: Start with the Charcuterie Plate or the Texas Quail. Entrée: Try the Pan-Roasted Salmom—it is absolutely delicious. comments: Good wine list, a sharp and knowledgeable wait-staff, and a bar menu that you will love. geronimo 724 Canyon Rd. 982-1500.

Dinner Full bar. Patio.

Major credit cards. $$$$ cuisine: We call it French/Asian fusion. atmosphere: Elegant and stylish. house specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass and the classic peppery Elk tenderloin. comments: Wonderful desserts. harry’s roadhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner 7 days Full bar.

Major credit cards. $$$ cuisine: American and New Mexican. atmosphere: Down home house specialties : For breakfast go for the Scrambled Eggs with Smoked Salmon, Cream Cheese. Lunch: the Buffalo Burger. Dinner: the Hanger Steak. c omments : Friendly. il piatto italian farmhouse kitchen 95 W. Marcy St. 984-1091.

Lunch/Dinner Full bar.

Major credit cards. $$ cuisine: Italian. a tmosphere: Bustling. h ouse specialties: Our faves: the Arugula and Tomato Salad, the Lemon Rosemary Chicken, and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. comments: Farm to table. iZanami 3451Hyde Park Rd. 428-6390.

Lunch/Dinner Sake/Wine/Beer Major credit cards. $$$ c uisine : Japanese-inspired small plates. a tmosphere : A sense of quietude. h ouse specialties :. We loved the Nasu Dengaku, eggplant and miso sauce, and the Pork Belly with Ginger BBQ Glaze.

Jalapeno’s barrio cafe 2411 Cerillos Road 983-8431 Breakfast/Lunch/Dinner Major credit cards. $$$ Food truck parked in front cuisine: Call it New Mexican/ Mexican. atmosphere: Food truck with seating in the building. house specialties : The Chicharon Burritom and the Stuffed carnitas quesadilla are on the mark.

Jambo cafe 2010 Cerrillios Rd. 473-1269.

Lunch/Dinner Major credit cards. $$ c uisine : African and Caribbean inspired. a tmosphere : Casual. h ouse specialties : Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers. c omments : Truely fabulous soups.

Joseph’s culinary pub 428 Montezuma Ave. 982-1272 Dinner.

Beer/Wine Major credit cards. $$$ cuisine: Innovative. atmosphere: Intimate. h ouse specialties : Start with the Butter Lettuce Wrapped Pulled Pork Cheeks. For your main, try the Crispy Duck, Salt Cured Confit Style. comments: The bar menu features Polenta Fries and the New Mexican Burger. Wonderful desserts abound and great service.

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

Lunch/Dinner Beer/Wine/Sake. Patio.

Visa & Mastercard. $$ cuisine: Japanese. atmosphere: Casual. house specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. comments: Love the Sake. la plancha de eldorado 7 Caliente Rd., La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner Beer/Wine.

Major credit cards. $$ cuisine: An Authentic Salvadoran Grill. atmosphere: Casual. house specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian Tamales. comments: Sunday brunch is a winrer! lan’s vietnamese cuisine 2430 Cerrillos Rd. 986-1636.

Lunch/Dinner Major credit cards. $$$ cuisine: Vietnamese. atmosphere: Casual. house specialties: The Vegetarian Pumpkin Soup is amazing.

Fave entree is the BoTai Dam: Beef tenderloin w/ garlic, shallots, and lemongrass. comments: Friendly. 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 and easy. house specialties: Start with the Tomato Salad. Entrée: Braised Lamb Shank with couscous. comments: A Sweet desserts. And a beautiful courtyard for dining.

continued on page 37 august

2015

the magazine | 35

Now ServiNg

Locally-Grown Squash Blossom Beignets with goat cheese fondue & tomato coulis firSt of the SeaSoN!

Join Us on the Patio for Seasonally-Inspired Cuisine Full Bar/Lounge u $8 Bar Menu u Fresh Seafood Flown in Weekly Wine Dinners & Award-Winning Wine List Sunday-Thursday, 5:00 - 9:00pm u Friday- Saturday, 5:00 - 9:30pm 315 Old Santa Fe Trail u www.315santafe.com u Reservations: (505) 986.9190

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

DINING GUIDE

BANG BITE ORaNGE FOOD tRuCK iN PaRKiNG lOt SERViNG BuRGERS , FRiES , aND DRiNKS , OutSiDE taBlES

CORNER OF OLD SANTA FE TRAIL & PASEO DE PERALTA, SANTA FE

505-469-2345 house specialties: Start with the Tomato Salad. Entrée: Braised Lamb Shank with couscous. comments: Beautiful courtyard for dining. masa sushi 927 W. Alameda St. 982-3334.

Lunch/Dinner Sake/Beer Major credit cards. $$ c uisine : Japanese. a tmosphere : Low-key. h ouse specialties : For lunch or dinner: Start with the Miso soup and/or the Seaweed Salad. The spicy Salmon Roll is marvelous, as are the Ojo Caliente and the Caterpiller rolls. The Tuna Sashimi is delicious. c omments : Highly recommended. midtown bistro 910 W. San Mateo, Suite A. 820-3121.

Lunch/Dinner Beer/Wine/ Patio.

Major credit cards. $$ c uisine : American fare with a Southwestern twist. a tmosphere : Beautiful open room. h ouse 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. c omments : Nice desserts. mu du noodles 1494 Cerrillos Rd. 983-1411.

Dinner/Sunday Brunch Beer/Wine.

Major credit cards. $$ cuisine: Pan-Asian. atmosphere: Casual. house specialties: Vietnamese Spring Rolls and Green Thai Curry, comments: Organic. new york deli Guadalupe & Catron St. 982-8900.

Breakfast/Lunch Major credit cards. $$$ cuisine: New York deli. atmosphere: Large open space. house specialties: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. neXus 4730 Pan American Fwy East. Ste. D. Alb. 505 242-4100 Breakfast/Lunch/Dinner Major credit cards. Patio. cuisine: Southern-New Mexican. atmosphere: Brew-pub dive. house specialties: Lots of suds and growlers, not to mention the amazing Southern Fried Chicken recomendations: Collard Greens, Mac n’ Cheese with green chile, Gumbo and Southern Fried Fish n’ Chips. comments: Fair prices. plaZa cafÉ southside 3466 Zafarano Dr. 424-0755.

Breakfast/Lunch/Dinner 7 days Full bar.

Major credit cards. $$$ cuisine: American and New Mexican. atmosphere: Bright and light. house specialties: Breakfast: go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. All of the burritos are great. Patty Melt is super. comments: Green Chilie is perfect. rio chama steakhouse 414 Old Santa Fe Trail. 955-0765.

Brunch/Lunch/Dinner/Bar Menu.

Full bar. Smoke-free dining rooms.

august

2015

Major credit cards. $$$ cuisine: All-American. atmosphere: Easygoing. house specialities: Steaks, Prime Ribs, and Burgers. Haystack fries rule. recommendations: Excellent wine list. s an f rancisco s t . b ar & g rill 50 E. San Francisco St. 982-2044.

Lunch/Dinner Full bar.

Major credit cards. $$ c uisine: Good bar food. atmosphere: Casual, with art on the walls. house specialties: Lunch: the San Francisco St. hamburger or the grilled Salmon filet with black olive tapeade and arugula on a ciabatta roll. Dinner: the flavorful twelve-ounce New York Strip steak, with chipotle herb butter, or the Idaho Ruby Red Trout with pineapple salsa. comments: Visit their sister restaurant at Devargas Center. santacafÉ 231 Washington Ave. 984-1788.

Lunch/Dinner Full bar. Patio.

Major credit cards. $$$ cuisine: southwest Contemporary. atmosphere: Minimal, subdued, and elegant house specialties: Their world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Pan-seared Salmon with olive oil crushed new potatoes and creamed sorrel. comments: Happy hour special from 4-6 pm.

Great deals: Half-price appetizers.

“Well” cocktails only $5. santa fe bar & grill 187 Paseo de Peralta. 982-3033.

Lunch/Dinner Full bar. Patio.

Major credit cards. $$ cuisine: American and New Mexican. atmosphere: Casual and friendly. house specialties: Cornmeal-crusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. comments: Easy on the wallet. santa fe bite 311 Old Santa Fe Trail. 982-0544 Breakfast/Lunch/Dinner Major credit cards. $$$ cuisine: American and New Mexican. atmosphere: Casual and friendly. house specialties: Lunch: the juicy 10 oz. chuck and sirloin Hamburger or the Patty Melt. Dinner: the Ribeye Steak is a winner. The Fish and Chips rivals all others in Santa Fe. c omments : Try any of the burgers on rye toast instead of a bun. Their motto” “Love Life. Eat good.” We agree. santa fe capitol grill 3462 Zafarano Drive. 471-6800.

Lunch/Dinner Full bar. Major credit cards. $$ cuisine: New American fare. atmosphere: Contemporary. house specialties: Tuna Steak, ChickenFried Chicken with mashed potates and bacon bits, and the New York Strip with a yummy Mushroom-Peppercorn Sauce. Desserts are on the mark. comments: Nice wine selection. saveur 204 Montezuma St. 989-4200.

Breakfast/Lunch Beer/Wine. Patio.

Visa/Mastercard. $$ cuisine: French meets American. atmosphere: Casual. Buffet-style service for salad bar and soups. h ouse specialties : Hot daily specials, gourmet sandwiches, Get the Baby-Back Ribs when available. second street brewery 1814 Second St. 982-3030.

Lunch/Dinner Beer/Wine. Patio.

Major credit cards. $$ cuisine: Pub grub. atmosphere: Real casual. house specialties: We enjoy the Beer-steamed Mussels, the Calamari, and the Fish and Chips. comments: Good selection of beers. shake foundation 631 Cerrillos Rd. 988-8992.

Lunch/Early Dinner - 11am-6pm Major credit cards. $$ cuisine: All American Burger Joint. atmosphere: Casual with outdoor table dining. house specialties: Green Chile Cheeseburger, the Classic Burger, and Shoestring Fries. Amazing shakes made with Taos Cow ice cream. comments: Sirloin and brisket blend for the burgers. shohko cafÉ 321 Johnson St. 982-9708.

Lunch/Dinner Sake/Beer.

Major credit cards. $$$ cuisine: Authentic Japanese Cuisine. atmosphere: Sushi bar, table dining. house specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. comments: Friendly waitstaff. sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner.

Sunday Brunch Beer/Wine Major credit cards. $$$ cuisine: Innovative natural foods. atmosphere: Large open room. house specialties: The Mediterranean Breakfast—Quinoa with Dates, Apricots, and Honey.

Lunch: the Indonesian Vegetable Curry on Rice; c omments : Wine and Craft beers on tap. 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:. Dinner: Start with the sublime Beet and Goat Cheese Salad. Follow with the PanSeared Scallops with Foie Gras or the Double Cut Pork Chop. comments: Chef Andrew Cooper brings seasonal ingredients to the table.

Excellent wine list. the artesian restaurant at oJo caliente resort & spa 50 Los Baños Drive. 505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ c uisine : Southwest and American. a tmosphere : Casual, calm, and

friendly. h ouse specialties : At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, and foillow with the Trout with a Toa ste Piñon Glaze. c omments : Nice wine bar. the compound 653 Canyon Rd. 982-4353.

Lunch/Dinner Full bar. Patio.

Major credit cards. $$$$ cuisine: American Contemporary. atmosphere: 150-year-old adobe. house specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. comments: Chef and owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award. the palace restaurant & saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ cuisine: American atmosphere: Victorian style merges with the Spanish Colonial aesthetic. house specialties: For lunch, the Prime Rib French Dip or the Lemon Salmon Beurre Blanc.

Dinner: go for the Lavender HoneyGlazed Baby Back Rib, or the Prime Rib Enchilada comments: Super bar. the ranch house 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ cuisine: Barbecue and Grill. atmosphere: Family and very kid-friendly. house specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. comments: The best BBQ ribs. the shed 113½ E. Palace Ave. 982-9030.

Lunch/Dinner Beer/Wine. Patio.

Major credit cards. $$ cuisine: New Mexican.atmosphere: A local institution located just off the Plaza. house specialties: If you order the red or green chile cheese enchiladas. comments Always busy., you will never be disappointed. the teahouse 821 Canyon Rd. 992-0972.

Breakfast/Lunch/Dinner Beer/Wine. Fireplace.

Major credit cards. $$ cuisine: Farm-to-fork-to table-to mouth. atmosphere: Casual. house specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox or the Teahouse Oatmeal. All of the salads are marvelous.. Many, many sandwiches and Panini to choose from. A variety of teas from around the world available, or to take home make The Teahouse the best source for teas in the great Southwest. tia sophia’s 210 W. San Francisco St. 983-9880.

Breakfast/Lunch Major credit cards. $$ cuisine: Traditional New Mexican.

atmosphere: Easygoing and casual. house specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese or the daily specials. comments: The real deal. tune-up cafÉ 1115 Hickox St. 983-7060.

Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ cuisine: All World: American, Cuban, Salvadoran, Mexican, New Mexican. a tmosphere : Down home. h ouse specialties : Breakfast:We like the Buttermilk Pancakes. Lunch: Great specials c omments : Easy on your wallet. vanessie

of

santa fe

434 W. San Francisco St. 982-9966 Dinner Full bar. Smoke-free.

Major credit cards. $$$ cuisine: American. atmosphere: Piano bar and oversize everything, thanks to architect Ron Robles. house specialties: New York steak and the Australian rock lobster tail. comments: Great appetizers. vinaigrette 709 Don Cubero Alley. 820-9205.

Lunch/Dinner Beer/Wine.

Major credit cards. $$ cuisine: American. atmosphere: Light, bright and cheerful. house specialties: Organic salads. We love all of the salads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. comments: Seating on the patio.

When in Albuquerque, visit their sister restaurant: 1828 Central Ave., SW. verde 851 W. San Mateo Rd.. 820-9205.

Gourmet Cold-Pressed Juice blends Major credit cards. $$ cuisine: Just Jjuices. atmosphere: Light, bright, and cheerful. house specialties: Eastern Roots: a blend of fresh carrot and apple juice with ginger and turmeric juice, spinach, kale, and parsley.

Zacatecas 3423 Central Ave., Alb. 255-8226.

Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ cuisine: Mexican, not New Mexican. atmosphere: Casual and friendly. h ouse specialties : Try the Chicken Tinga Taco with Chicken and Chorizo or the Pork Ribs. 65 brands of Tequila.

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

Dinner Full bar. Patio.

Major credit cards. $$$ cuisine American a tmosphere : Real casual. house specialties: The perfect Chile Rellenos and Eggs is our breakfast choice.

Lunch: the Southwestern Chicken Salad, the Fish and Chips, and any of the Burgers c o m m e n t s : A variety of delightful pasteries and sweets are available for you to take-out.

the magazine | 37

DAVID RICHARD

544 South Guadalupe Street, Santa Fe, NM 87501

GALLERY

(505) 983-9555 | info@DavidRichardGallery.com

Claire Sherman, Hole III, 2009, Oil on canvas, 35” x 42” Copyright © Claire Sherman, 2009. Courtesy D.C. Moore Gallery. All rights reserved.

CLAIRE SHERMAN

David Humphrey, Shutterbugs, 2014, Acrylic on canvas, 60” x 72” Copyright © David Humphrey, 2014. All rights reserved.

DAVID HUMPHREY

Angela Fraleigh, Watching the Moon Move, 2015, Oil on canvas, 66” x 90” Copyright © Angela Fraleigh, 2015. All rights reserved.

ANGELA FRALEIGH

Martin Mull, Fatherly Advice, 2014, Oil on linen, 40” x 30” Copyright © Martin Mull, 2014. All rights reserved.

MARTIN MULL

Michele Bubacco, Queen of the Storage, 2015, Oil and collage on wood, 63” x 51” Copyright © Michele Bubacco, 2015. Courtesy Art Space Ltd/LitvakContemporary.

All rights reserved.

MICHELE BUBACCO

Un(Real)

Curatated by Mary Dinaburg and Howard Rutkowski July 31 - September 26, 2015 Opening Reception: Friday, July 31, 5:00 - 7:00 PM

Gallery Discussion: “The (Un)Real World” with curators Mary Dinaburg and Howard Rutkowski Saturday, August 1 , 2:00-3:00 PM

DavidrichardGALLEry.com

The Railyard Arts District

Railyard Arts District Tours Saturdays 1:00 PM Starting Under Water Tower

OPENINGS

AUGUSTARTOPENINGS FRIDAY, JULY 31

angel wynn studio gallery, 1036 Canyon Rd., Santa Fe. 819-1103. Where the Buffalo Roam: Roam mixed-media work by Wynn. 4-6 pm. aXle contemporary, Farmers Market, Santa Fe. Needles & Seams: contemporary textile works by Marina Brownlow, Kay Khan, Merce Mitchell, and Judy Tuwaletstiwa.

5-7 pm. bindlestick studio, 616½-A Canyon Rd., Santa Fe, New Mexico. 917-679-8080.

Tales of Wizardly Whimsy Whimsy: book release and exhibition of illustrations and verse by Jeffrey Schweitzer. 5-7 pm. david richard gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. (Un)Real: works

by Michele Bubacco, Angela Fraleigh, David Humphrey, Martin Mull, and Claire Sherman.

5-7 pm.

James kelly contemporary, 1611 Paseo de Peralta, Santa Fe. 989-1601. Aftershock: sculptures forged in stainless steel and cast iron by Tom Joyce. 5-7 pm.

new concept gallery, 610 Canyon Road, Santa Fe. 505-795-7570. Intensity in Abstraction Abstraction: abstract paintings by Kathleen Doyle Cook. 5-7 pm.

las cruces museum of art, 491 N. Main St., Las Cruces. 575-541-2137. From the Ground Up XXVII XXVII: regional juried ceramics exhibition.

10 am-4:30 pm.

nisa touchon fine art, 1925 Rosina St., Ste. C, Santa Fe. 505-303-3034. There will be Glue Involved: Involved found-object assemblage and collage by Annie Lindberg with collagist Evan Clayton Horback and assemblage artist Barbara Irwin. 5-7 pm. Collage party and collage workshop. Details: collagemuseum. com

manitou galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Natural Mystery: bronze sculptural recreations and interpretations of animals by Jim Eppler. Spiritual art mirrors by BC Nowlin. 5-7 pm. marigold arts, 424 Canyon Rd., Santa Fe. 982-4142. A Rich Heritage—Petroglyphs, Portraits, and Upcycled Pendleton Blanket Rugs: Rugs new sculptures by Doug Weigel. Portraits in oil and stone by Mary Beagle. Hand-woven rugs by Linda and Kip Bentley. 5-7 pm.

patina gallery, 131 W. Palace Ave., Santa Fe. 986-3432. The Couleurs of Zobel: jewelry

by Peter Schmid of Atelier Zobel. 5-7 pm. peters proJects, 1011 Paseo de Peralta, Santa Fe. 954-5800. Leonardo Drew—Paper: monumental works in cast paper by Drew.

Trophies and Prey—A Contemporary Bestiary: Bestiary provocative postmodern survey of animal sculpture in ceramics and other media. 5-7 pm. phil space, 1410 Second St., Santa Fe. 9837945. Woody Vasulka—Syntactic Recollections: work by Vasulka. 5-8 pm. santa fe eXports, Hyatt Regency Tamaya, 1300 Tuyuna Tr., Bernalillo. 505-357-0441.

Evening with the Artist: Artist abstract paintings by Eric Reinemann. 5-7 pm. sorrel sky, 125 W. Palace Ave., Santa Fe. 501-6555. One Man Show: Western paintings

by Billy Schenck. 5-7:30 pm. stranger factory, 3411 Central Ave. NE, Alb. 505-508-3049. Candy Gore: works fusing the sweet and horrific and the alluring and grotesque by Rich Montanari and Brandt Peters.

6-9 pm.

SATURDAY, AUGUST 8

lewallen galleries, 1613 Paseo de Peralta, Santa Fe. 988-3250. Reflections from the Deserts: works by Dutch West—Canyons & Deserts glass artist Peter Bremers. Solitary Places: new paintings by Woody Gwyn. 5-7 pm. tai modern, 1601 Paseo de Peralta, Santa Fe. 984-1387. Erik Benson—Urban Americana: acrylic paintings by Benson. 5-7 pm. william siegal gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. Paula Castillo and Alison Keogh Keogh: paintings in sumi ink by Keogh.

New sculptural works by Castillo. 5-7 pm.

palace avenue arts, The Drury Hotel, 228 E. Palace Ave., Santa Fe. 333-8354. Greek Impressions: paintings by four Greek artists: Tasos Chonias, Yannis Koutrikas, Theodoros Pantaleon, and George Nikas. 5-7 pm.

MONDAY, AUGUST 10

adobe gallery, 221 Canyon Rd., Santa Fe. 955-0550. 20th Century Native Arts: paintings from the Marvin and Betty Rubin Collection. 4-7 pm.

TUESDAY, AUGUST 11

SATURDAY, AUGUST 1

Janine contemporary industri, 328 N. Guadalupe St., Ste. H, Santa Fe. 989-9330.

The Medium is the Message Message: mixed-media photography and paintings by Cathe Physioc.

5-7 pm.

taylor dale tribal art, 129 W. San Francisco St., 2nd floor, Santa Fe. 670-3488.

29th Annual August Offerings of Fine Antique Tribal Art from Africa, Oceania, and the Americas. 6-8 pm.

WEDNESDAY, AUGUST 12

tai modern, 1601 Paseo de Peralta, Santa Fe. 984-1387. Tanaka Kyokusho: bamboo sculptures by Kyokusho. Artist demonstration: 2-3:30 pm.

FRIDAY, AUGUST 7

freestyle gallery, 1114 Central Ave. SW, Alb. 505-948-3840. Reflections of a Lost Ocean: paintings by Ralph Greene. 5:30-7:30 pm. gvg contemporary, 241 Delgado St., Santa Fe. 982-1494. WHITE: new paintings by Blair Vaughn-Gruler. 5-7 pm. hunter kirkland contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. Ted Gall and Charlotte Foust: Foust bronze and steel sculptures

by Gall. Paintings by Foust. 5-7 pm.

John ruddy teXtile art, 129 W. San Francisco St., 2nd floor. Santa Fe. 505-4901187. Recent Acquisitions: eclectic selection of ethnographic textiles from Japan, Southeast Asia, and the Himalayas. 6-8 pm.

FRIDAY, AUGUST 14

catenary art gallery, 616½ Canyon Rd., Santa Fe. 982-2700. Burning Sky Mesas: Southwest paintings by Scott Swezy. 5-7 pm.

Contemporary Native American Group Show at Chiaroscuro Contemporary Art, 558 Canyon Road, Santa Fe. Artists include Rose B. Simpson, Emmi Whitehorse, Rick Bartow, and Harry Fonseca, among others. Reception: Friday, August 21 from 5 to 7 pm. Image: Neptune by Rose B. Simpson.

continued on page 42 august

2015

the magazine |39

WHO WROTE THIS? “All photographs are accurate.

None of them is the truth.�

Harry Benson or Herb Ritts or Richard Avedon or Helmut Newton

THE REAL DEAL

For artists without gallery representation in New Mexico.

Full-page B&W ads for $750. Color $1,000.

Reserve space for the September 2015 issue by Friday,August 14

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

The Big Show with Honey Harris and THE magazine Thursday, August 6 10:30 am 98.1 FM KBAC

OUT & ABOUT photographs by Mr. Clix Audrey Derell Jennifer Esperanza

OPENINGS giacobbe-fritZ fine art, 702 Canyon Rd., Santa Fe. 986-1156. Raven Clan Show: paintings of the solitude of local wildlife by Craig Kosak. 5-7 pm. matthews gallery, 669 Canyon Rd., Santa Fe. 992-2882. Eric G. Thompson—New Works: contemporary realist paintings in oil, egg tempera, and watercolor. 5-7 pm. santa fe eXports, Hyatt Regency Tamaya, 1300 Tuyuna Tr., Bernalillo. 505-357-0441.

Evening with the Artist: infrared photographs

by Cody Brothers. 5-7 pm. tansey contemporary, 652 Canyon Rd., Santa Fe. 995-8513. Free of Color: group exhibition demonstrating the creativity of working within color constraints. Portraits: new works by Danish artist Gugger Petter. 5-7 pm. turner carroll gallery, 725 Canyon Rd., Santa Fe. 986-9800. Edward Lentsch and Willy Bo Richardson: abstract works by new gallery artists. 5-7 pm. vivo contemporary, 725 Canyon Rd., Santa Fe. 982-1320. Interaction: interplay of new works in many media by fourteen gallery artists. 5-7 pm.

SATURDAY, AUGUST 15

art gone wild, 203-B Canyon Rd., Santa Fe. 820-1004. The World of Rhupert: paintings and pastels by D. Arthur Wilson. 5-8 pm.

Show: works in Contemporaries—An All Artist Show a range of styles by gallery artists. 2-4 pm. shiprock santa fe, 53 Old Santa Fe Tr., 2nd floor, Santa Fe. 982-8478. Annual Opening Event: Event tenth anniversary opening featuring the Foutz Collection of Navajo headstalls and the Bolton Collection of Navajo sandpainting weavings. 5-7 pm.

FRIDAY, AUGUST 21

chiaroscuro contemporary art, 558 Canyon Rd., Santa Fe. 992-0711. Contemporary Native American Group Show: Show featuring work

by Rick Bartow, Harry Fonseca, Rose B. Simpson, Emmi Whitehorse, Lisa Holt and Harlan Reano, and Yazzie Johnson and Gail Bird. 5-7 pm. giacobbe-fritZ fine art, 702 Canyon Rd., Santa Fe. 986-1156. Quanah ParkerComanche Comanche: paintings by Nocona Burgess of the artist’s great-grandfather. 5-7 pm. morning star gallery, 513 Canyon Rd., Santa Fe. 982-8187. Morning at Morning Star with Dolores Purdy: Purdy new works on ledger paper by Purdy. 10 am-1 pm. santa fe eXports, Hyatt Regency Tamaya, 1300 Tuyuna Tr., Bernalillo. 505-357-0441.

Robert Stivers: Stivers photographs of mysterious figures, botanicals, and nebulous spaces by Stivers. 5-7 pm.

nedra matteucci galleries, 1075 Paseo de Peralta, Santa Fe. 982-4631. Matteucci

wheelhouse art, 418 Montezuma Ave., Santa Fe. 505-919-9553. Moving Fire: paintings

by Darren Vigil Gray. 5-8 pm.

Aftershock: stainless steel and cast iron sculptures by Tom Joyce on view at James Kelly Contemporary, 1611 Paseo de Peralta, Santa Fe. Reception: Friday, August 7 from 5 to 7 pm. Image: Core III and Core IV.

windsor betts art brokerage house, 143 Lincoln at Marcy St., Santa Fe. 820-1234. Red Star Back From Paris: Paris paintings by Kevin Red Star.

5-7 pm

SATURDAY, AUGUST 22

beals & co.., Four Seasons Rancho Encantado, 198 State Rd. 592, Santa Fe. 3570441. Selected Works of T.C. Cannon: paintings by the late artist. 5-7 pm.

by Lynne Gelfman, alongside a selection of Pre-Columbian textiles. 5-7 pm.

SATURDAY, AUGUST 29

THURSDAY, AUGUST 27

516 arts arts, 516 Central Ave. SW, Alb. 505242-1445. Knew Normal: paintings, drawings, and photographs that bear witness to the effects of climate change. Off the Charts: works that explore the visual language that artists use to document, process, and map an understanding of the ever-evolving world we inhabit. 6-8 pm.

Jean cocteau cinema gallery, 418 Montezuma Ave., Santa Fe. 466-5528. The Art of Lotería (Series One): One) traditional drawings and paintings with digital finishes by John Picacio. 5-7 pm.

richard levy gallery, 514 Central Ave. SW, Alb. 505-766-9888. Altered States: selected editions by Gerhard Richter. Works by the artist collective Assume Vivid Astro Focus.

6-8 pm.

FRIDAY, AUGUST 28

SPECIAL INTEREST

art gone wild, 203-B Canyon Rd., Santa Fe. 820-1004. The Sacred Earth: paintings by Lisa Wilson. 5-8 pm.

516 arts arts, 516 Central Ave. SW, Alb. 505242-1445. Writing the Visual—Photography as Inspiration: four-week fiction and non-fiction Inspiration writing workshop with Michael Backus.

Saturdays, through Aug. 8, 9 am-12 pm. Register: teresa@516arts.org HABITAT—Exploring Climate Change Through the Arts Arts: collaborative, season-long series of public programming. Aug. through Dec. Schedule: 516arts.org

lewallen galleries, 1613 Paseo de Peralta, Santa Fe. 988-3250. Ira Yeager Showcase: paintings by Yeager that capture the history, nobility, and beauty of Native people. 5-7 pm.

david richard gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. On the Road Again: new paintings by Michael Scott. Southern Route—Site and Studio Studio: paintings by Gregory Botts. Copy, Paste, Save: new collages by Phillis Ideal. Electr-O-Pura: digital projections by Matthew Kluber. 5-7 pm.

wheelhouse art, 418 Montezuma Ave., Santa Fe. 505-919-9553. Representing: group show. 5-7 pm.

albuQuerQue museum, 2000 Mountain Rd. NW, Alb. 505-242-4600. Under the Influence— Art late-sixties music posters and Psychedelic Art: other works on paper. Through Sun., Oct. 11.

Public Selects—A Celebration of Albuquerque Artists works by twelve local artists selected Artists: by the public during On the Map: Unfolding Design Through Sun., Oct. 4.

Albuquerque Art + Design. albuquerquemuseum.org

william siegal gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. Dying the Grid: works

art house, Thoma Foundation, 231 Delgado St., Santa Fe. 995-0231. Luminous Flux 2.0:

tai modern, 1601 Paseo de Peralta, Santa Fe. 984-1387. Erik Benson—Urban Americana: acrylic paintings by Benson. 5-7 pm.

continued on page 44

42 | the magazine

august

2015

Beyond the ReseRvation Poetry by toby hilliard & Paintings by ira yeager

Friday, august 14, 5:00-7:00 pm Book Signing and Reception for the Poet and the Artist

Beyond the Reservation Toby Hilliard poet

Honoring the publication Beyond the Reservation, a collaboration between local poet Toby Hilliard, whose time working on Naabeehó Bináhásdzo (the Great Navajo Nation) forms the basis for his poetry, and painter Ira Yeager, who for nearly 60 years has been painting striking portraits honoring the history and nobility of Native people.

Ira Yeager artist

iRa yeageR: PoRtRaits of noBility

Indian IV, 1974, mixed media, 36" x 24"

Indian V, 1974, mixed media, 36" x 24"

Indian III, 1974, mixed media, 36" x 24"

artist reception: saturday, august 22, 4:00-6:00 pm An exhibition featuring paintings by artist Ira Yeager from his nearly sixty years as a figurative and landscape painter.

This powerful work captures the history, nobility, and beauty of the landscape and of Native people.

Yeager’s work has often been compared to the photographic portraits of Edward S. Curtis.

LewAllenGalleries Railyard Arts District

1613 Paseo de Peralta Santa Fe, New Mexico (505) 988.3250 www.lewallengalleries.com

OPENINGS technological artworks including computer, lightbased, and electronic artworks from pioneering experimenters and contemporary innovators.

Featuring wFilm Quilt by Sabrina Gschwandtner, an Internet-based painting automation by Siebren Versteeg, and Leo Villareal’s animated LED sequence. Through Spring 2016. Thurs.Sat., 10 am-5 pm. thomafoundation.org artscrawl, Alb. Citywide, self-guided arts tour: Fri., Aug. 7, 5-8 pm. The Heights Artful Saturday: Sat., Aug. 15, afternoon hours.

Create your own tour. artscrawlabq.org beals & co., Four Seasons Rancho Encantado, 198 State Rd. 592, Santa Fe. 357-0441. Sunday Brunch Featuring Tim Kenney: enjoy culinary creations at the restaurant, Terra, while watching artist Tim Kenney paint the surrounding beauty of the resort. Sun., Aug. 9, 8-11 am. $65 per person or $90 with bottomless champagne. bealsandco.com bellas artes gallery, 653 Canyon Rd., Santa Fe. 983-2745. Olga de Amaral—El Oro Es Color: gold-leaf, fiber-based wall works by Amaral. Through Sat., Aug. 29. bellasartesgallery.com canyon road art brokerage, Santa Fe. 995-1111. Native American Maters: works by Tony Abeyta, John Nieto, Pablita Velarde, and others. Sat., Aug. 1 through Mon., Aug. 31. canyonroadartbrokerage.com

ellsworth gallery, 215 E. Palace Ave., Santa Fe. 989-7900. Far Reaches: new works by Elise Ansel, Claire McArdle, and Kathryn Stedham.

Gallery tour with Barry Ellsworth on color in Japanese ar:, Sat., Aug. 15, 3 pm. Artist talk and demonstration with Kathryn Stedham: Sat., Aug. 29, 3 pm. ellsworthgallery.com el museo cultural de santa fe, 555 Camino de la Familia, Santa Fe. 992-0591.

Objects of Art Art: seventy-plus exhibitors showing material from contemporary to historic. Opening: Wed., Aug. 12, 6-9 pm. Show: Thurs.-Sat., Aug. 13-15, 11 am-6 pm. objectsofartsantafe.com Antique American Indian Art Show Show: Opening: Mon., Aug. 17, 6-9 pm. Show: Tues.-Thurs., Aug. 18-20, 11 am-6 pm. Deeply Yao: exhibit on the Yao Hill Tribe of China. Aug. 12-15 and 17-20. antiqueindianartshow.com encaustic art institute, 632 Agua Fria St., Santa Fe. 989-3282. Indian Market at EAI: opening reception: Fri., Aug. 7, 5-8 pm. Fashion show by Jolonzo Guy Goldtooth: Fri., Aug. 21, 6-8 pm. eainm.com eye on the mountain art gallery, 614 Agua Fria St., Santa Fe. 928-308-0319. Santos: new works by El Moises, Hubertos Maestas, Rachel Houseman, Aaron Jones, Richard Olson, and others. Artists’ Night: Fri., Aug. 21, 5-9 pm. Through Sat., Aug. 22. eyeonthemountaingallery.com

freeform artspace, 1619 Calle de Baca Ln., Santa Fe. 692-9249. Gallery open Thurs.-Sat., 12-4 pm. freeformartspace.com georgia o’keeffe museum, 217 Johnson St., Santa Fe. 946-1000. Line, Color, Composition: works showcasing O’Keeffe’s process. Through Sun., Sep. 13. Education & Public Programs in Aug. include: Breakfast with O’Keeffe, Readers’ Club, Club and Art and Leadership Programs for Adults. okeeffemuseum.org institute of american indian arts, La Fonda on the Plaza, 100 E. San Francisco St., Santa Fe. 9825511. The Writers Festival: readings by MFA creative writing students and noted authors.

Nightly at 6 pm, Sat., July 25 through Sat., Aug. 1. Schedule: facebook.com/events/ Native Arts Unbound Unbound: IAIA annual scholarship dinner and auction. Wed., Aug. 19, 5 pm. Tickets: iaia.edu/support/annual-scholarship-benefitdinner-and-auction/ Jean cocteau cinema gallery, 418 Montezuma Ave., Santa Fe. 466-5528. Nina Glaser: mixedmedia works and mosaics by Glaser. Through Tues., Aug. 11. kindred spirits animal sanctuary, 3749A Hwy. 14, Santa Fe. 471-5366. Animals and Nature: Nature annual benefit and art show. Sat., Aug. 8, 10 am-4 pm. kindredspiritsnm.org

lannan foundation gallery, Lensic Center for the Performing Arts, 211 W. San Francisco St., Santa Fe. 988-1234.

988-1234 James Drake—Anatomy of Drawing and Space (Brain Trash): Trash) talk with James Drake and David Krakauer, president of the Santa Fe Institute. Wed., Aug. 5, 7 pm.

Gallery exhibition through Sun., Aug. 30. lannan.org lewallen galleries, 1613 Paseo de Peralta, Santa Fe. 988-3250. Beyond the Reservation: poetry by Toby Hilliard that accompanies paintings of Native people by Ira Yeager. Book signing and reception: Fri., Aug. 14, 5-7 pm. millicent rogers museum, Sagebrush Inn, 1508 Paseo del Pueblo Sur, Taos. The Turquoise Gala: Gala silent and live auctions featuring works by Victor Gustavo Goler, Star York, Ira Lujan, and Roger Williams, among others. Sat., Aug. 1, 5:30 pm. Tickets: millicentrogers.org/museum-store/ Turquoise-Legend-Gala-and-Auction museum of international folk art, 706 Camino Lejo, Santa Fe. 476-1200. The Red That Colored the World World: more than 130 objects that explore the history of cochineal and the seductive nature of red. Through Sun., Sep. 13. internationalfolkart.org

Urban Americana: acrylic paintings by Erik Benson on view at TAI Modern, 1601 Paseo de Peralta, Santa Fe. Reception: Friday, July 31 from 5 to 7 pm.

carriZoZo artists’ studio tour, Carrizozo.

Over twenty artists with open studios. Sat., Aug. 15, 10 am-5 pm, and Sun., Aug. 16, 12-4 pm. carrizozoworks.org center for contemporary arts, 1050 Old Pecos Trail, Santa Fe. 982-1338. Summer Muse: In the Round Figure Drawing, Sat., Aug. 8, 5-9 pm.

Social Media in the Arts: panel discussion on social media as an artistic medium. Wed., Aug. 12, 6-8 pm. clay festival, Silver City. Events for artists, educators, entrepreneurs, youths, and lifelong learners to explore clay in its many forms.

Through Sun., Aug. 2. clayfestival.com corrales bosQue gallery, 4685 Corrales Rd., Corrales. 505-898-7203. 20 X 20 Guest Artist Show: works by twenty current and twenty previous members celebrating the gallery’s twentieth anniversary. Through Tues., Aug. 18. corralesbosquegallery.com counter culture cafÉ, 930 Baca St., Santa Fe. 995-1105. A Place I Lived and People I See: photographs in and around Avignon, France by Julie Graber. Fri., July 31 through Fri., Aug. 28. david anthony fine art, 132 Kit Carson Rd., Taos. 575-758-7113. Taos Glass Expo: exhibition of glass art. Fri., Aug. 14. davidanthonyfineart.com david richard gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. (Un)Real: gallery discussion with curators Mary Dinaburg and Howard Rutkowski. Sat., Aug. 1, 2-3 pm. continued on page 46

44 | the magazine

august

2015

GUGGER PETTER PORTRAITS

FEMALE HEAD/ MADONNA #26, Gugger Petter, Newspaper and Hemp, 74" x 50"

August 14 - September 5, 2015

Opening Reception: August 14, 5-7pm 652 Canyon Road, Santa Fe, NM 87501 | www.tanseycontemporary.com

OPENINGS

museum of northern ariZona, 3101 N. Ft. Valley Rd., Flagstaff. 928-774-5213. Hopi Navajo Culture 66th annual Festival of Arts and Culture: festival of contemporary and traditional Navajo art and crafts. Music, food, and performances. Sat., Aug. 1 and Sun., Aug. 2, 9 am-5 pm. musnaz.org museum of spanish colonial art, 750 Camino Lejo, Santa Fe. 982-2226. Tradición Devoción y Vida—80 Years of Black and White Photography in New Mexico and Mexico Mexico. On view through Oct. 31. spanishcolonial.org new concept gallery, 610 Canyon Rd., Santa Fe. 795-7570. Nature Diversified: paintings by Ann Hosfeld and Reg Loving. Through Mon., Aug. 3. newconceptgallery.com new meXico historic sites, Jemez Springs.

Pueblo Independence Day: Day 12th annual celebration of independence with a pilgrimage run, Native dances, food, and arts and crafts. Sun., Aug. 9, 7 am-4 pm. nmmonuments.org/jemez new meXico history museum, 113 Lincoln Ave., Santa Fe. 476-5200. Women Marked for History—A New Mexico Historic Marker Project: Project brainpower and brown bags lecture lunch series with speakers Rosanne and Phil Archuletta. Wed., Aug. 5, 12-1 pm. nmhistorymuseum.org nÜart gallery, 670 Canyon Rd., Santa Fe. 988-3888. To Open the Eternal Worlds: new paintings by Alexandra Eldridge about the interconnectedness of art, life, and eternal questions. Through Sun., Aug. 2. nuartgallery.com

46 | the magazine

page coleman gallery, 6320-B Linn Ave. NE, Alb. 505-238-5071. Mostly Black: works

by Albuquerque artists Rachel Zollinger, Scott Palsce, Leigh Anne Langwell, and Page Coleman. Through Sat., Sep. 5. pagecoleman.com photographic workshops, New Mexico.

Excursion workshops with photographer David Hoptman. All levels welcome. dhstudio@mac. com or 805-403-2993. davidhoptman.com rieke studios, 416 Alta Vista St., Santa Fe. 988-5229. Collector of Memory: works

by Gail Rieke. Open house: Fri., July 31 through Sun., Aug. 2, 10:30 am-7 pm. By appointment through Mon., Aug. 31. Call or e-mail gail@riekestudios.com. santa fe community gallery, 201 W. Marcy St., Santa Fe. 955-6707. 30 Under 30: works in a variety of media by young artists. Through Thurs.day, Sep. 3. santafenm.gov/community_ gallery_1 santa fe indian market, La Fonda on the Plaza, 100 E. San Francisco St., Santa Fe. 982-5511. Live Auction and Gala: silent and live auctions featuring the Indian Market’s finest artists: Sat., Aug. 22, 5-9 pm. Tickets: swaia.org sca contemporary art, 524 Haines Ave. NW, Alb. 228-3749. This is What Happened Happened: multi-media work by Heidi Pollard and Valerie Roybal that explores the joy of possibility. Through Fri., Aug. 28. scacontemporary.com scheinbaum & russek, ltd.., 369 Montezuma Ave., Santa Fe. 988-5116. Sebastião Salgado:

photographs of the human condition by Salgado.

Through Sat., Aug. 29. photographydealers.com shiprock santa fe, 53 Old Santa Fe Tr., 2nd floor, Santa Fe. 982-8478. Indian Market Celebration: Celebration Thurs., Aug. 20, 2-4 pm. Lecture Series: Series Dyani Whitehawk, 11 am and Yasutomo Kodera, 1 pm, both Fri., Aug. 21. RSVP: jamie@ shiprocksantafe.com site santa fe, 1606 Paseo de Peralta, Santa Fe. 989-1199. SITElines: New Perspectives on Art of the Americas Americas. Through Jan. 8, 2016. the corrales society of artists, La Entrada Park, Corrales.

Corrales Art in the Park: kid’s activities, music, and art. Sun., Aug. 2, 9:30 am-3:30 pm. william r. talbot fine art, 129 W. San Francisco St., 2nd floor, Santa Fe. 982-1559.

Modernists in New Mexico—Drawings and Prints: Prints New Mexico scenes and non-objective works

by Gene Kloss, Willard Nash, Doel Reed, and others. Through Sat., Aug. 8. williamtalbot.com PERFORMANCE

national hispanic cultural center, 1701 4th St. SW, Alb. 505-724-4771.

Chispa—Latino Music Season Season: live music by international and local musicians, featuring legendary Cuban band Los Van Van. Wed., Aug. 19. Aye, No!: a bilingual theatrical farce

by Liz Coronado Castillo. Through Sun., Aug. 16. nationalhispaniccenter.org rio grande theatre, 211 N. Main St., Las Cruces. 575-523-6403. Piano Concert by Astrid Morales: Morales interpretations of music Beethoven, Schumann, and Castro. Sat., Aug. 29, 7 pm. riograndetheatre.com

Tradición Devoción y Vida: 80 Years of Black and White Photography in New Mexico and Mexico on view through October 31 at the Museum of Spanish Colonial Art, 750 Camino Lejo, Santa Fe. Photograph: El Santuario de Chimayo by William Frej.

santa fe bandstand, Historic Plaza, Santa Fe. Live music festival. Weekly events through Thurs., Aug. 27. Line-up: santafebandstand.org santa fe opera, 301 Opera Dr., Santa Fe. 986-5900. The 2015 season includes Daughter of the Regiment, Regiment Salome, and Rigoletto.

Rigoletto Through Sat., Aug. 29. Schedule and tickets: santafeopera.org ARTIST CALLS

encaustic art institute, 632 Agua Fria St., Santa Fe. 989-3282. 5th Annual National Juried Encaustic/Wax Exhibition Exhibition: apply by Mon., Aug. 3. Details: eainm.com the wonder institute, 28 Arroyo Calabasas, Santa Fe. Awe and Wonder: first annual essay contest on the personal experience of awe and wonder. First prize is $750, and publication on The Wonder Institute’s Website. Submit by Tues., Sep. 1. thewonderinstitute.org wholly rags, P.O. Box 1051, Ranchos de Taos. 575-751-9862. Arte de Descartes XV: fifteenth annual juried recycled-art show in Taos. Submit entries by Mon., Aug. 3, by mail or online: whollyrags.org

calendar listings for the september tuesday, august 13. send to: themagaZinesf@gmail.com

issue are due by

august

2015

C J WELLS STUDIO POP-UP INDIAN MARKET SHOW INDIAN MARKET 2015 August 21and 22, 5-8

222 Polaco Street Santa Fe - 602-218-0325 - cjwellsfineart@gmail.com

PREVIEWS

Gugger Petter, Female Head/Madonna #26, newspaper and hemp, 74” x 50”, 2015 Tony Abeyta, Yosemite, oil on board, 16” x 20”. 2015 Leonardo Drew, 48P, pigmented and transferred handmade paper, 86” × 90”, 2014

Tansey Contemporary 619 Canyon Road, Santa Fe. 995-8513 Friday, August 14 through Saturday, September 5, 2015 Reception: Friday, August 14, 5 to 7 pm Gugger Petter’s chosen media of woven, coiled newsprint to create portraits of Madonnas and maestas is not only unusual, it also demonstrates her artistic skill while referencing the Byzantine and Renaissance eras. The Danish-born artist finds the paper durable and is able to add paint to the finished design, creating a textured surface that is transformed, moving from abstraction to representation when viewed at various distances. She explains that she holds a profound respect for her material and does not view it as recycled or trash. Creating tightly rolled tubes of the newsprint, she uses a self-made loom to construct the images.

There is fluidity to Petter’s line, as if she were painting with a brush. Her chosen subjects recall her time studying and working in Rome and Mexico City. Before coming to the United States, Petter had been using newsprint in both two- and three-dimensional formats for over twenty-five years. Her finished heads loom large, but maintain a delicacy and beauty that is reminiscent of mosaics. Describing her process, Petter says, “My fascination with newspapers consists not only of its being ‘the diary of our lives,’ it also presents me with a black/white and limited color palette, which has always been my choice…my works not only hold a date, they also represent an historic documentation of our lives.”

Tony Abeyta: A Continuing Journey The Owings Gallery 120 East Marcy Street, Santa Fe. 982-6244 Friday, August 14 through Saturday, September 12, 2015 Reception: Friday, August 14, 5 to 7 pm The evolution of Native contemporary artist Tony Abeyta will be explored in an exhibition tracing his thirtyyear career from early work depicting Navajo deities to neo-modern New Mexican landscapes, and blackand-white abstract drawings. The Taos landscape has had a great influence in Abeyta’s development and continues to appear in his current work. Even the paintings he began in his Berkeley, California studio were completed under the influence of the Taos light, palette, and terrain, demonstrating his personal continuum with the legacy of the Taos masters. In addition to the mixed-media paintings, there is an eight-foot panorama of the Grand Canyon, which, while maintaining the familiar characteristics of the site, displays the artist’s attention to personal and emotional interpretation over representation to create a dynamic landscape mural.

He notes, “There exists a rhythm in the land where I was born. I spend a lot of time deciphering the light, the cascades of mesas into canyons, the marriage between earth and sky and the light as it constantly changes at whim…that accent this poetic experience, unlike anywhere else I have seen. I am beckoned to remember it and then to paint it.” Abeyta is a recipient of an honorary doctorate from the Institute of American Indian Arts; he received the 2012 Governor’s Award for Excellence in the Arts; and was recognized as a Native Treasure by the Museum of Indian Arts & Culture. This exhibition should provide a wide-ranging conversation.

Leonardo Drew: New Works on Paper Peters Projects 1011 Paseo de Peralta, Santa Fe. 954-5800 Friday, August 7 through Saturday, October 3, 2015 Reception: Friday, August 7, 5 to 7 pm Leonardo Drew is known primarily for his massive sculptural works using wood and the seemingly decomposing debris he creates, transforming the materials by weathering, burning, and the process of oxidation so that they resemble found elements in the urban landscape. His new works on paper, while made from pulp, also employ his layered aesthetic to stunning effect. The compositions’ striking presence is derived from the textures and luminous qualities of his materials. The large-scale pieces are not rooted in preconceived notions, but take on a life of their own during their construction, allowing for the evolution of the image as Drew’s primary working process. Drew has been making art since childhood, and now at mid-career has receivedß well-deserved attention and accolades for his ambitious and compelling oeuvre, including exhibitions at the Hirshhorn Museum and the Art Institute of Chicago, as well as an appearance on the PBS series Art21. The works on view are light-catching metallic, diaphanous, free-hanging pieces that seem to billow on the wall. The opportunity to view Drew’s latest creations offers viewers yet another dimension of his artistic output, as exciting as it is different from his powerful sculptural installations.

48 | the magazine

august

2015

THE PREMIER COMPANION FOR YOUR ART JOURNEY

An

ANNUAL GUIDE for

ART LOVERS featuring galleries and artists across New Mexico Available FREE at art venues throughout the state

To order your copy visit www.NorthLightShop.com or call 800.258.0929

Tradición, Devoción y Vida 80 Years of Black and White Photography in New Mexico and Mexico Featuring photographs from the collection of Anne and William Frej Calvary Hill, The Road from Chimayó, 2014, By William Frej, Archival Ink Jet Print, Collection of the artist, © William Frej, 2014

Through October 31, 2015 Museum of Spanish Colonial Art • Museum Hill

Museum of Spanish Colonial Art Museum Hill • 750 Camino Lejo • Santa Fe, New Mexico Open 7 Days a week through Labor Day (closed Mondays in the Fall) 10am to 5pm Be sure to follow us on Facebook and Twitter @spanishcolonial 505.982.2226 • www.spanishcolonial.org

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

ViRGil ORtiZ: REVOLT 1680-2180 VELOCITY, ClaY SliP aND WilD SPiNaCh PaiNt, 2011 Contemporary ceramicist, fashion designer, and graphic artist Virgil Ortiz’s exhibition

photo-shoots of costumed models. In the gallery installation, the images appear as

Revolt 1680-2180 tells the tale of Po’pay and the Pueblo Revolt through historic

large-scale, high-contrast black images on red backgrounds with wall mounts

clay figures and the imagined characters of Transformer, and Cuda and Steu, a pair

surrounding the vitrines holding the ceramic figures. Several bodies of work

of interstellar time travelers, and others in his post-punk, sci-fi blend with traditional

have been incorporated into this exhibition, including his Saints and Sinners, with

pottery techniques. What was the Pueblo Revolt? This question inspired Ortiz to create

Archangel Michael dressed for battle and alongside Spanish invaders. Throughout the

works for over a decade about this often-forgotten event that for him and other Native

series Ortiz uses the themes of sacrifice, resurrection, and redemption. His

peoples demonstrates their response and resistance to the oppression suffered under

historic/fictionalized version of the Pueblo Revolt is populated with names taken

Spanish rule and their persistence in maintaining their cultural identity. Ortiz brings the

from Keres and other Pueblo languages. The name of a girl blinded by the Spanish

1680 events alive through his distinctive and graphic figurative ceramic sculptures of the

conquistadors is Tahu, a word that is used to show respect for older Pueblo women

revolt’s leader Po’pay, the rebels, and the characters in the conquistador’s pantheon.

in this matriarchal society. Ortiz comments, “I wanted to use native language words

The work reintroduces the Cochiti tradition of monos, clay figures made in response

and names to identify the characters. Part of the Revolt story had to be the actual

to the arrival of foreigners via the railroad between 1880 and 1920, which used clay to

events, but I also wanted it to tie into our language. If I could get the kids interested in

comment on society. The Pueblo Revolt saga is taken into the twenty-first century via

history I might also be able to get them interested in our language and keep it alive.”

futuristic characters in Ortiz’s signature style of monochromatic, geometric black contour

The exhibition is on view at the Denver Art Museum, 100 West 14th Avenue Parkway,

designs on cream clay employing imagery created from his writings, drawings, and

Denver through January 10, 2016.

august

2015

the magazine | 51

FRITZ SCHOLDER: NON-INDIAN INDIAN Fritz Scholder painted Indians. Often the Indians were monsters.

Sometimes the monstrous Indians were self-portraits. Scholder’s work forces Indian people of a certain generation to remember that we used to have short hair and wear IHS glasses. That we passed for white. That we drink. That we weren’t always about tradition. That we often hated ourselves, and sometimes we still do. That life is ugly and beautiful, that monsters are real.

And that death is never far away.

—Paul Chatt Smith

Fritz

Scholder was one-quarter Luiseño,

romanticizing nature and Indian life. Scholder

Words of wisdom by Scholder to students at the

but said he grew up as a non-

stated that these Indian paintings were not only a

University of Oklahoma commencement address,

“visual cliché , they were a psychological cliché.”

in 2002: You must be yourself on purpose. First,

Indian. He swore that he would never paint Indians.

He maintained that he was not an Indian artist.

By 1967, Scholder realized that someone

find out who you are and fully accept it. Fall in

He claimed his art was not political, but it polarized

needed to paint the Indian differently. “With

love with your life and live your life with finesse

the art world. For every position Scholder took,

Indian No. 1 people were freaked-out. I knew

and manners. Be a role model for yourself and

he also investigated the opposite viewpoint.

they would be, as the first Indian had green hair.

many will be influenced. To truly keep something,

His paintings posed questions: What is Indian

I felt it to be a compliment when I was told that

you must give it away. Beware of progress, a myth

art? Who is an Indian artist? To what extent must

I had destroyed the traditional style of Indian

made false by the true lies and factoids of our

a person have lived an Indian life to be an Indian

art.” He went on to say, “An artist must walk

history. Like the Greek mask of tragedy, man’s

artist? And what of the non-Indian who employs

the tightrope between accident and discipline.

excellence is equal to his most tragic flaws.

traditional Indian styles or treats Indian subjects?

By walking that tightrope and putting down

Are we, the best and brightest, watching our

The perception of American Indian art was

something on a canvas from your gut, you have

planet dimming? The cybernetic age challenges

changed in the sixties and seventies by artists

a chance of making marks that will live longer

each of us. The digital landscape quakes.

like Scholder who fought against the cliché of the

than you. It is completely up to you to be your

Overpopulation

American Indian. From 1964 to 1969 Scholder

own worst critic. I take each work to the brink

The battle has begun between the shaman/artist

taught painting and art history at the Institute

of disaster and then pull it back until it defies

and the cyber/technocrat. We are living at a

of American Indian Arts in Santa Fe, where he

me to go any further, and then I know it’s done.

place of crucifixion in a crossroad of time.

steered his Native American students away from

I give thanks every day that I’ve been able to

Opposites cross. Polarities collide. Industry and

so-called Indian art. One student recalls, “Initially,

take my craziness and make it work for me.”

technology have succeeded for two centuries

and

disease

run

rampant.

Scholder was tyrannical in his view that we would

Scholder created an extraordinary fusion of

by moving in complete indifference and denial

never get any place painting Indians. He made

Abstract Expressionism, Surrealism, and Pop

toward nature. Reinvent yourself with every day.

me destroy many of my works. He wanted us all

Art to express his vision of the Southwest and

Each day can be a new adventure in your quest

to be Abstract Expressionists.” Scholder utterly

the Indian experience. Fritz Scholder—prolific

for truth.

demolished Dorothy Dunn’s Studio School, which

painter, sculptor, lithographer, teacher, mentor,

The folllowing pages showcase some of

had dominated Indian art with romantic clichés

and bookmaker—an abstractionist who turned

Scholder’s early work from what has been

of genre art on Indian themes—flat perspectives

to figuration and changed Indian art forever.

called his Monster series, seminal in its impact.

GONE BUT NOT FORGOTTEN

Indian at the Bar. 1973 a u g u s t 2015

the magazine |53

Mad Indian No. 3 Circa 1970

GONE BUT NOT FORGOTTEN

Dark Indianr. Circa 1970

Portrait of a Massacred Indian No. 3. 1973

GONE BUT NOT FORGOTTEN

Insane Indian No. 26. 1972

Randolph Laub

Santa Fe Wood Turner 1-720-272-5510

FLASHBACK

JOHN NICHOLS august

2015

AT T H E

T A R Z A C A F E , T A O S , N E W M E X I C O , 1996 the magazine |59

KATHLEEN DOYLE COOK

Subtle Gestures Acrylic/Mixed Media 48x48 inches

INTENSITY IN ABSTRACTION August 7 – 31, 2015 Opening – Friday, August 7 – 5 to 7 p.m.

Hey Linda Acrylic/Mixed Media 50x40 inches

NOCONA BURGESS

QUANAH PARKER – COMANCHE Annual Indian Market Show Friday August 21, 5 pm – 7 pm Pre-show dinner and discussion with Nocona Thursday August 20 at the Inn and Spa at Loretto

QUANAH PARKER - WAR CHIEF acrylic 60x48

A retrospection on Quanah Parker and Comanche history as well as a first look of Quanah Parker – Comanche opening the next night at Giacobbe-Fritz Fine Art.

gi gi m i lls “Walking to the Sea” Rec eption for the Ar ti st A ugust 14 5-7pm

SUN BATHER WITH COCONUT DRINK 16x20 oli on book board

Evening starts at 5:30 $75 per person RSVP to Giacobbe-Fritz (505)986-1156

707 Canyon Road, Santa Fe, NM 87501 gfcontemporary.com 505.983.3707

CRITICAL REFLECTION

Lauren oLiver: ice Station QueLLette

PhiLSPace 1410 Second Street, Santa fe

It was a century ago, in 2051, that the ISQ team of scientists and adventurers arrived here—from another earth, just like ours, from another universe. Secretly setting up another outpost at the freezing end of our planet, they managed to do for ours what they could not do for their own—save our world, and then, infinite others. Their tragic story is now part of our story.

—Lauren Oliver, text from her installation Ice Station Quellette

SO BEGINS THE PIECING TOGETHER OF A HISTORY OF ARCTIC EXPLORATION on planet Earth that quickly jogs around a corner to a planet

penguins, and ships devastated by pack ice were in fact

of-the-last-century explorer first meets a polar bear

that exists somewhere in a future not too distant from

aspects of science fiction as opposed to scientific fact.

by luring it with food; in the second image we see the

where we are now. It would be accurate to say that Lauren

Such is the nature of Oliver’s fusion of conceptual thinking

bear dead in the snow. But some of the photographs of

Oliver, the artist and designer of Ice Station Quellette, is an

and historical artifacts—she bends all the information to

polar exploration, taken out of their original context, are

explorer and an adventurer herself, weaving elements of

her will, elegantly compresses it, and then centers it on

extremely beautiful, as in The science team enters the

the real and the fictional into a carefully orchestrated and

the realities of our spinning planet-at-risk with its melting

terrifying ice cave for the first time.

complex whole. Her installation could be thought of as a

glaciers, shrinking ice sheets, rising sea levels, and the

pyramid scheme for the expansion of wealth—not wealth

intimations of immanent disaster for humanity. However,

was never held in check by its encounters with the

in terms of money, but of eco-consciousness. Building

if the artist’s prognosis for the future of our world seems

planetary sublime, meaning that exploration would

upon a base of vintage photographs from the early days

severe, one can always get lost in her fabulous wealth

never leave well enough alone. And here we are, at the

of Arctic exploration, Oliver has erected her conceptual

of images that touch upon not only what can be seen at

threshold of Oliver’s Ice Station Ouellette, pondering

pyramid so its peak reaches into the vastness of both

the poles with the naked eye—whales, birds, clouds, fog,

first encounters, treacherous weather, and gorgeous

actual and virtual space. If the viewer finds him or herself

ice—but what lurks under the surface of the water—

cloudbanks, and toying with the various figments of the

projected onto an imaginary planet, it is in fact replete

zooplankton and phytoplankton, another kind of organic

artist’s imagination—a complex taxonomy of time, place,

with all-too-familiar environmental concerns and a terrain

formal beauty, and part of a delicate balance in the food

and human interventions. What has been done cannot

that is instantly recognizable. Only Oliver’s creation of the

chain rapidly going awry.

be undone, only acknowledged and judiciously wrestled

Exploration,

and

subsequent

development,

Space Owl, in both two and three dimensions, is an alien

Experiencing the fictional Ice Station Quellette,

to another plateau of meaning. Or, as another line in

being—a strange attractor that broods over the visual

established somewhere on another planet after our own

Oliver’s text states, “We had no idea we were living in

proceedings and dispenses a compelling yet telepathic

history has imploded, the viewer has to contemplate

the past tense.”

wisdom about what must be done to produce an uptick in

the edges of disaster, but Oliver doesn’t quite push us

Post Script: Ice Station Quellette will become a

our collective consciousness.

over into an abyss of apocalyptic ice and snow. This is

permanent installation in the new space dedicated to

Most of the work in this installation is in the form

a what-if situation, and the artist implies that we have

work of the Meow Wolf collective.

of two-dimensional images—some of them original

the choice to act and that there is still time to do so.

—diane armitage

pieces by Oliver, such as the five-part painted mural The

Oliver’s intricate conceptual terrain has its own magnetic

intricate, interconnected polar web, depicted in bright colors

north compelling us, for example, to savor her archive

to dissuade one from concluding that the world is crumbling

of vintage images—some subtly heart wrenching, as in

as we carry on laughing. Not all of the individual pieces in

the photograph The Violent and Troubling History of the

this show have such long titles, but the one belonging to

Conquest of the North Pole—a diptych where a turn-

Lauren Oliver, Explorer imports “civilized” hierarchy to befuddled penguin population, archival digital print of found image, 6” x 6”, 2015 Lauren Oliver, The elusive Aptenodytes Fiori flies the coop, archival digital print, 32” x 42”, 2015

the mural is a kind of summary statement concerning the artist’s overarching theme. Many of the other images are appropriated from the history of polar exploration and, in Oliver’s hands, their new incarnation extends their fascinating origins, giving them an intensely mysterious aura—as if some of the first encounters with polar bears,

august

2015

the magazine | 63

Paula Castillo and Alison Keogh

July 31 – August 25, 2015

Opening Reception July 31, 2015 from 5–7 pm RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 87501 505.820.3300 | WILLIAMSIEGAL.COM

CRITICAL REFLECTION

John voKoun: Linear functionS

WiLLiaM SieGaL GaLLery 540 South GuadaLuPe Street, Santa fe

WELCOME T HE GLIT Z O F TH E G L I TC H I N TO T H E GLA M OU R OF YOU R ever-shifting grammar. Perfection is forever approximate. Where you fall down is where you get up. Language itself is an a holographic hallucination that eats its tail like the treadmill of time. When you accept the stoppages as stoppages they aren’t stoppages anymore. From an artistic perspective, accidents are almost always golden. In other words, don’t succumb to the terror of error. Prize disaster as you would your own body.

There is no communication without breakdown.

device’s last swan song? These paintings are something

the glitch), more like a deejay establishing a techno-beat

Can you hear me now? Now? All systems failing?

like that, but more subdued and subtle in color. If the

built on beautiful mistakes than a Praxitelean programmer

Don’t see the icebergs? They have no idea how large

cutting edge itself hasn’t crashed yet, then Vokoun’s

with compu-calipers. To err is human. Our DNA is one

these things can be under the surface. So you have to

decidedly on it.

long strand of mutations. These are paintings for visual

scratch the surface for them. You have to develop an

Like synthetic cubism, or early minimalism, the

itch for the glitz of the glitch. Isn’t that how the true

work in William Siegal’s upstairs “project space” signaled

sophisticates who still fondly remember their raver days.

Our technology leads us. It establishes new

silver surfer rides the waves of

needs. It takes us places we couldn’t

the unknowable and interstellar

go otherwise. Western science

oceans

and

and the technologies spawned as

contentment? The value of the

a result are indeed formidable.

feedback loop that suddenly quiets

Monsters

the crowd. Ouch, the technology

seemingly have no way to stop

is saying something on its own

using them and the fossil fuels

now. The microphones are fever

required to keep them going. The

dreaming out loud. The guitars

trains must run on time even if

talk to themselves in the streets

there is no one still standing in the

like

schizophrenics.

oppressive heat of the station. The

This drum machine doesn’t need

terminal is the final destination.

you, you’re just a human, just

See: planestupid.com. Mysterious

another snafu, letting me down,

messages arise unbidden from

interrupting my rhythm, turning

the electronic ether. Registers of

me off. Music can make itself.

pixels and visual vibrations with

It’s the original self-replicating

an intricacy beyond traditional

technology. The greatest singers

human forms. Actually the closest

always say, I don’t really sing

handwork to this stuff has to be

the song. The song sings itself

the highly optical abstractions on

through me. These ululations of

Hopi and Tewa pottery, or the

speech, these bird song notes

tiny, sublime geometries found in

inked on a musical score are

Persian miniatures. But the voices

the program that rewrites its

in this visual language utter through

own program, all set on refrains

internal destruction. A terminal

and rhythms, patterns yes, but

cacophony

also

allows Vokoun to register the ghost

of

catastrophe

homeless

spattering,

stumblings,

and

scumblings, sidesteps.

of

of

rationalism,

corrupted

we

data

in the machine.

Think of Velázquez’s sensuous

Drawn to these patterns, we

brushwork always in abeyance to the inherited forms

its intellectual significance through an austerely neutral

recognize techno-cognates of our own language systems.

of his incredible naturalism. What part do you play in

palette, banishing the scurrilousness of color. This is not

Like words, they indicate the unknowable by seeming

the great accidental algorithm?

unusual in the pioneer stages, if, say, you’re floating what in

knowable. Like words, it is very tempting for humans

John Vokoun takes his pleasure in laser-etched paint

the near future could well be a highly formative direction

to think they might mean something. Like registers of

on panels. Just as Vermeer foretold the coming art of

for early twenty-first century painting. Barry X. Ball has

Sumerian cuneiform, or lines of undecipherable Mayan

the great photographers through the “new” Baroque

done something along these lines by bringing to earth

images, there is something untranslatable being said here,

technology of the lens and the camera obscura, Vokoun

sculptures that couldn’t be carved without machines, but

and it is that direct experience of engaged unknowability

uses a laser-etching process to produce incredible

again John Vokoun’s concept is more subtle, more art

offered by Vokoun’s panels that puts one back in touch

abstractions in a unique visual language based upon the

about art, more information about information. Where

with the fundamental and awe-inspiring accident of this

breakdowns and residues of digital information collapse.

Ball gives his work an organic quality through his choice of

(newly digitized) existence.

Remember when your last smartphone or laptop crashed

stone (again the abeyance of the organic to the naturalistic),

—Jon Carver

and all that was left on the screen was this incredibly

Vokoun coaxes the organic qualities out of the technology

intricate, circuitry-blowing, quasi-geometric design—the

itself, through itching, scratching, and glitching (the glitz of

august

2015

the magazine | 65

L. Scooter Morris

Wiford Gallery 403 Canyon Road, Santa Fe

THE WIFORD GALLERY CHOSE SUMMER’S MOST PATRIOTIC OCCASION —the July Fourth holiday—to challenge us with the

are beautiful American landscapes of the “this land is

and copper wire wind in and under the stripes. Morris

profound American flag interpretations of L. Scooter

your land” variety, yet within each scene are horizontal

also teases us with subtle hidden messages. A painting

Morris. She calls them sculpted paintings, which

strips of cut canvas that compose the view while evoking

called Barbed Wire only shows one large golden star and

barely describes their many layers of mixed media and

the stripes of the flag. Morris might leave a bit of burlap

seven red and white stripes, but no barbed wire. Until

philosophy. Sometimes Morris begins with a painted

unraveled along one edge to represent fields of flowers

you find it recessed between the edges of the canvas and

canvas, tops it with burlap, tops that with cut or torn

or waving wheat, or she might unravel a long thread

its frame, fencing in the stripes on all sides. In Created

canvas, and paints her final scene on the resulting texture.

from a strip of cut canvas and shape a cloud from it.

Equal, all fifty stars of the flag have a figure—or figures,

Sometimes there are toys and other trinkets—Monopoly

Americana, crafted right onto the surface texture.

in the case of one parent and child—painted at their

houses, doll shoes—attached to the surfaces and we are

Morris has a background as a jeweler and she

center, which only reveal themselves at close range. So,

invited to look down on the scene from a bird’s-eye

incorporates those skills in her work as well. Silver star

too, in Is That a Gun? There are tiny paper doll figures—

perspective. Sometimes there are black paint trails from

charms strung on gold and silver jeweler’s wire sweep

two umbrella bearers, a man in a wheelchair, someone

bare feet, hiking boots, and tires. Morris offers up much

across the blue rectangle of To Catch a Falling Star. Four

with a kite—cut from canvas and applied to the flag’s

to interpret and contemplate in these thirty works.

of the wires end in gold curlicues that sweep across

bottommost white stripes, which are represented here

In For Love or Country No. 2, Morris divides the

the flag’s stripes. This flag hangs vertically and four of

as stripes of cloudscapes. The flag’s red stripes are

canvas into nine equal squares. In the center square

its unraveling red stripes continue past its lower edge,

replaced by swaths of lush grasses at the bottom of the

we have the American flag. The upper right and lower

and even past the frame, whose side supports are also

painting and by bands of variegated reds and blues at the

left squares are given over to stars and stripes in rich

uneven, like the stripes. For Beaded Flag, Morris adds

top. And yes, there is a figure holding a gun, and perhaps

golds and silvers, and the two other corner squares

some of the canvas stripes after first twisting them

a blood stain under the flag’s stars.

each contains a broken heart that has been laced back

several times, and she lets some of their ends unravel

Gallery owner Tim Wiford curated the exhibition.

together and tied in a bow. The remaining four squares

and flutter beyond the flag’s edge. Beads strung on gold

“It’s about our experience under the flag,” he says, “and the reconciliation of different parts of our lives.”

Smaller works that benefit from a close-up view are in the front sunroom, larger works reside companionably on the taller walls and under the high ceilings of other gallery rooms. And hold on, even the bathroom serves as exhibition space for several of the pieces. After all, everything in this country happens under our flag.

Most of the canvasses are framed with reclaimed barn wood assembled to Morris’s design specifications.

The look and feel is rustic, even raw. Who Are You Shooting At? begs for just this type of untreated framing. Thirteen yellow toy pistols in a circle on the blue background replace the thirteen stars of Betsy Ross’s flag. There are bullet holes in two of the red stripes and Morris adds the impression of burn marks in other areas by using blueblack paint, or maybe they really are scorch marks.

Morris’s inspiration for the show comes from W. B. Yeats’s poem Aedh Wishes for the Cloths of Heaven. He speaks of celestial light quality in terms of gold and silver, shades of blue, and half-light, and Morris uses these hints throughout her work. Touches of gold paint shimmer within a flag’s white stripes in Stars and Spikes. One player’s doll-shoe chess pieces in Your Move are painted iridescent silver, and one single giant star on the flag in Walking Across America has five different hues of blue between its points.

“I have spread my dreams under your feet,” writes Yeats.

“Tread softly because you tread on my dreams.”

—Susan Wider L. Scooter Morris, For Love or Country No. 2, acrylic, mixed media, canvas on canvas, 48 “ x 48”, 2015

CRITICAL REFLECTION

BoB haozouS: oriGinaL Sin

eL MuSeo cuLturaL de Santa fe 555 caMino de La faMiLia, Santa fe

Reality is not always probable, or likely.

—Jorge Luís Borges

BOB HAOZOUS AND EL MUSEO CULTURAL DE SANTA FE: TWO ENTITIES that defy the containment of definition. Haozous is

by virtue of its installation in a clean, well-lit white

some seventy hanging war clubs or walking sticks or

not your average “Indian Artist,” and El Museo is not

cube. It’s much more likely that you’ll find his work

staffs of authority—what to call them is as undefined

your usual “Community Arts Organization.” Neither

in a public space—a pile of days-old dog crap in

as everything else so far. When I curated a group show

Haozous nor El Museo seems to have made commerce

the grass nearby—than in the sterile, cool halls of a

that included Haozous at Patina Gallery in 2007, we

a priority, much less made peace with it; both cling

contemporary art venue. I am uncomfortable with this

called them “eco-clubs.” To simplify things here, I will

fiercely to their own visions of integrity without

because the art-historian snob in me thinks Haozous

simply call them “clubs.”

pandering to their potential audiences. They are

is an important guy whose work should be lauded by,

María Martínez of the museum took me through

comfortable with themselves as they are, and if you’re

say, the Lannan Foundation’s exhibition program, or

the exhibition. She related that Haozous told her the

not, that’s just fine with them.

the galleries of a big MoCA somewhere. Haozous’s

show “is not about ‘I,’ it is about ‘us.’” And “All peoples

work is evidence of an evolved conscience that makes

are indigenous,” somewhere. She said that each of the

me doubt my own.

clubs has not one but many stories. He spoke with

As is true of so much that characterizes the reality behind our Disney-fied Santa Fe, the artist and the museum have deep-seated roots in the past. Haozous

As to the exhibition itself: Original Sin consists of

Martínez about becoming that which you are doing/

is the son of sculptor Allan Houser (who anglicized

three sculptures of found and re-worked wood placed

making, and about the wood having its own life, its

his Apache name), a descendant of Geronimo and

high on plinths; the middle plinth is marked Redefining

own sound. “Even when a branch appears to be dead,

the Chiricahua people of the Southwest. Between

God. The found-wood sculptures stand in front of

the wood yet speaks,” noted Martínez.

father and son, they “have defined

In

re-reading

the

last

the range of Native American

paragraph, I am painfully aware of

sculpture,” as Lucy Lippard puts

how discordant and nonsensical

it on Haozous’s Website. While

my telling is. The plain fact is this:

El Museo Cultural calls itself a

The clubs are magical, inhabiting a

“Center of Hispanic Culture and

plane that transcends reproduction

Learning,” I would suggest that it

in either pictures or words. I found

exists in a vortex beyond all reason

in them the beauty of a whole

and understanding. Most readers

cosmology, hanging like stars, of

of THE magazine will recognize

quantum physics and dark matter,

the museum as the space occupied

the stuff of life itself. The clubs

annually

the

require, and deserve, a lot of time.

consortium of international new-

Each inhabits its own universe.

media art and artists. And, oh

They need their own hall, and

yeah, it’s where the Recycle Santa

deserve to be discovered singly, by

Fe arts festival used to take place

each viewer, like artifacts from our

before it moved downtown to the

species’ cellular memory, invoking

Convention Center.

in us a spark of recognition and its

by

CURRENTS,

I think my urge to explain the

associated emotion, whether it is

who and where of this review is a

of joy or sorrow, fear or love. Here

consequence of the vagueness of

is how one viewer put it in the

the semiotics at hand. Somehow,

museum’s comment book:

El Museo Cultural has always seemed

inches

away

from

demolition, about to make way for

[The exhibition] made me feel like it was winter and there was snow and we were together.

a sexy, new artisanal hangout in

Now please, Lannan or MoCA-

the Railyard, a “before” snapshot

Somewhere, or great non-profit

from a neighborhood’s makeover.

in the sky, build a small chapel in

And seeing Bob Haozous’s work

which to install these clubs, so that

there is paradoxically unsettling

they may speak across the ages.

while it also makes complete

—kathryn m davis

sense. Haozous would, I think, shrink from having his art—his

Invitation postcard for Original Sin

very identity, if you like—anointed august

2015

the magazine | 67

Brad Overton

Blue Rain Gallery 130 Lincoln Avenue, Suite C, Santa Fe

LA CALAVERA CATRINA, A CENTRAL FIGURE IN BRAD OVERTON’S RECENT solo exhibition at Blue Rain, has a long, rich history.

finery and flowers also serves as a reminder of death-

they seem to lurk in limbo, bridging the gap between

The image was first created 1910-13 of a female

as-equalizer.

life and death, death and beauty. There is certainly a

skeleton dressed up in aristocratic European garb by

In Utah-based Overton’s latest series of paintings,

macabre allure involved in this union, and much like

Jose Guadalupe Posada. Posada intended the image

he has created various portraits of young women

the paintings preserve the beauty of their subjects, so

to satirize indigenous Mexicans he felt were adopting

in La Catrina’s guise. As seen in his previous series

also does death.

European dress and customs. The character later

of still lifes, the artist’s technical skills and resulting

In addition to these portraits are three still lifes

gained its popularity following her inclusion in Diego

naturalistic style are solid. Here, these women, bearing

that depict bison skulls. While a reference to O’Keeffe

Rivera’s 1946-48 mural, Sueno de una tarde dominical

skeletal makeup and elaborate floral headwear, are

is unavoidable, Overton updates this iconic image with

en la Alameda Central. With even deeper roots than

rendered with a loose, mildly dreamy focus against

both symbolism and humor. In Farfegnunen, (“driving

this history in the Aztec death-goddess Mictecacihuatl,

overwhelming, pitch black backgrounds.

enjoyment” in German), a Volkswagen logo is affixed to

the image of La Catrina has become a symbol for both

Titled after various female characters who have

the skull, the skull affixed to a floral-wallpapered wall.

El Dia de los Muertos and Death itself. She represents

met tragic fates, (Ophelia Rising, Desdemona in Blue,

While the La Catrina series seems to seek redemption

the relationship with death that Mexican culture (and

Sonoran Persephone), these women are both lovely and

for these fallen females, these skulls seem to reflect

Spanish culture) expresses in various and unique ways.

sinister. There is a threatening quality in each figure’s

a desire to hold onto or reinvent a past, a history, or

With irreverent humor, this momento mori dressed in

passive pose and muted gaze. Not out for revenge,

a moment lost. Overall, Overton’s work is accessible and reflects real talent, however the exhibition could have been stronger.

Every critical review is an opportunity to reconsider the purpose and validity of the review itself. In reviewing an exhibition, I cannot only consider the artwork, I must also consider the presentation of the artwork, especially when the presentation is so distracting. Galleries cluttered and crowded with art are endemic in Santa Fe, and this exhibition was sadly no exception. Even though Overton’s paintings were large (some six feet wide), easily deserving a room to themselves, they were crowded and dispersed throughout the gallery with other artwork. How does this curation serve the viewer? It was difficult for me to parse what was included in the exhibition, and what was not. I asked a gallerist if another series by Overton, also dispersed throughout the gallery, was a part of his show, and even she (though otherwise helpfully informed about the work) wasn’t quite sure.

The more important question is, how does this convoluted installation serve the artist? Art galleries, one of the fundamental sources of exposure and financial sustenance for artists, can and should be held to a higher standard than a retail environment. If a gallery wishes to compel viewers to look at artwork, shouldn’t we expect the space to reflect that value? If a gallery inherently asks us to value the artwork enough to purchase it, or to write about it critically, I believe the work also would deserve space to stand on its own, to give viewers, clients, and writers room to look and linger, see and contemplate. Overton’s portraits exist on a grand scale, both physically and mythically. I would love to see them without distractions.

—Lauren Tresp Brad Overton, Desdemona in Blue, oil on canvas, 48” x 48”, 2015

CRITICAL REFLECTION

MichaeL WiLdinG

Gf conteMPorary 707 canyon road, Santa fe

BLESS ME, FATHER, FOR I HAVE BINGED. THAT COULD BE THE MANTRA FOR Art Basel. Don’t blame Netflix for binge-viewing. True, Netflix is at fault if, as a recent

theme. The cardinal viewpoint and flat calligraphic plane of the sculpture visually

study by researchers at the University of Texas at Austin found, “the more lonely and

suggest Hindi script and, specifically here, the Hindu Bhagavad Gita scripture, where

depressed you are, the more likely you are to binge-watch” (though I became lonely

the verse “the radiance of a thousand suns … burst at once into the sky” is tied to

and depressed after binging on Sense8 with no season two in sight). But while Netflix

the Shiva verse recalled by Oppenheimer ruminating on the nuclear bomb exploded

has injected binge-watching into arts and entertainment, they were not the first.

over the New Mexico desert: “I am become Death, the destroyer of worlds.”

That accolade likely goes to an art world phenomenon: the annual contemporary art

Wilding’s carvings commute easily between the biomorphic and the tectonic,

fair, now so dominant that the dowager Venice Biennale is slowly sinking in a rising

and their salon size often belies a sense of monumental scale. The work is at times

sea of international art marts. The trend began in 1967 with Cologne, soon rivaled

serious, at times playful, and always engaging. The sculptor draws deeply from

by Düsseldorf and, from 1970, by Basel. Once dubbed by grumpy art critic Hilton

modern art’s currents and seeks to create authentic works that confirm its status

Kramer “a mammoth indoor ‘flea market’ of twentieth-century art,” Art Basel is

as a vibrant living legacy for contemporary art. His sculpture bears witness to his

now the preeminent international art fair, with branches in Miami Beach (2002) and

success.

Hong Kong (2013). Last year, Basel Miami Beach’s 250 galleries, garnished by the

But seeing is believing. Reviewing artwork is in part like telling just the punch

glitz and glam of celebrity visitors, lavish parties, and chichi events now de rigueur

line of a joke that the reader doesn’t get because, as they say, “you had to be there.”

for contemporary art fairs, drew over 70,000 visitors. That might seem small change

In the buzz and bustle of a Basel Art Fair, there really is no there there. In its gallery

compared to the hundreds of thousands who visit a major museum’s blockbuster

space, Wilding’s work has presence. To experience it, you have to be there.

exhibit. But while the art world culturati of collectors, dealers, auction houses, and

—richard tobin

art media may genuflect when they pass a major museum, the contemporary art fair is where they worship.

Michael Wilding, Empyrean, marble, 20” x 24”, 2015

The annual art fair ploy of the spectacle (high-tech installation, performance, “event”) is in play now in every major museum’s economies of scale. Art critic Blake Gopnik wrote last year that these time-sensitive “experiences”—appropriating “once-radical art forms” created “in resistance to the idea of art as commodity”— are now “entirely corporatized,” the stock-in-trade of the museum exhibition.

These market-savvy events range from the “queue-friendly entertainment” of Marina Abramovic’s ”The Artist is Present (MoMA 2010), to the “gimmicky diversion” of the digitized Rain Room (MoMA 2013), and last year’s Martin Creed retrospective at the Hayward Gallery in London (“a room half-full of bouncing balloons”). Each event is a “clearly defined, marketable product . . . with none of the opacities and uncertainties that older, tougher art is built around,” built so that “the quality of the art determined the length of the museum experience.” Instead, Gopnik finds in the art museum’s move to “consumerism over conception . . . a new kind of autocannibalism, where the museum eats the leg it is standing on”—namely, the viewer’s engagement, over time, with the best works of art, works that “demand, repay and frustrate constantly renewed and extended attempts to negotiate their meanings.”

The time it has taken to read this lengthy lament for the retreat of meaningful engagement before the advance of binge-viewing should be far briefer than the time taken to see the recent sculpture by Michael Wilding.

Wilding’s stone carvings emerge from the modern tradition of sculpture.

They reveal—and revel in—that tradition’s roots in Cubism. Free of paraphrase or pastiche, Wilding has delved deep below the Cubist style-as-manifesto to fully absorb its sustaining grammar and syntax, within which he applies his complete command of the medium to create his own expressions. The lyrical patina-colored limestone Stone Woman Gives Birth in the Night recalls Jacques Lipchitz. Wilding’s attention to myth informs the celestial title of the marble Empyrean, as well as his Delphic caption for the Greek marble This is not how it Appears Nor is it Otherwise, whose solid geometric shapes evoke the machine imagery of Futurism. If Dark Matter pushes the agonistic style of a Jacob Epstein carving to fully abstract form, the hard-edged volumes of the speckled limestone Untitled convey the restrained force of an Isamu Noguchi sculpture from one of his Zen gardens. Another Eastern conceit is at work in the limestone Shiva Bling, which can be read as “Flashy Shiva,” likely an allusion to its bright gold leaf surface but possibly a dark play on a deeper august

2015

the magazine | 69

The Long Road: From Selma To Ferguson

Monroe Gallery of Photography 112 Don Gaspar Avenue, Santa Fe

“There is no scientific or anthropological basis for race.”

–Maya Angelou

THERE IS ONLY ONE RACE: HUMAN. BEING A BIGOT BASED ON ANY OTHER concept of so-called “race” is similar to being a climate change denier. Both are premised on

access to wealth, resources, and territory. Economic differences (and growing disparity)

what could be called belief-desires on the part of the willfully ignorant, rather than on any

are what they’re trying to hide.

sort of scientifically, empirically, or reality based truth.

It’s as ugly a situation as the eight shots to the back at short range that an unarmed

The Long Road: From Selma to Ferguson—an elegant exhibition of fifty-five photographs

Walter Scott took as he fled a now-indicted police officer, or the scenes of the crazed cracker

documenting the faces and places of America’s Civil Rights era alongside today’s rising

cop in McKinney, Texas tackling an unarmed fourteen-year-old African-American girl to the

BLACK LIVES MATTER movement is a timely contribution to the local cultural scene by the

ground at a pool party, and pointing his gun at her unarmed friends. Or Mike Brown’s body

Monroe Gallery. The curation of the prints is thoughtful, and rich in response to the face-to-

lying dead on the ground in the middle of the street for hours, or Freddie Gray’s severed

face with the ethnically biased police brutality that is confronting the nation. Whitney Curtis’

spine. Nina Berman’s chilling Will I Be Next glimpses a black-haired boy looking out of the

image of a twenty-three-year-old African-American activist backing away from three heavily

doorway next to the title text on a placard placed at the site of the Eric Garner strangulation

armored St. Louis County cops with large weapons drawn, makes an iconic, Leon Golub-

in 2014. It’s a good question, unfortunately.

like, presentation of the point. A 1961 LIFE magazine image by Paul Schutzer of Freedom

—Jon Carver

Riders on an interstate bus escorted by National Guardsmen with rifles and bayonets carries the tension of violent possibility held at bay, and echoes of the future found in the sign of one protester on the 1965 Selma March preserved by legendary LIFE photographer Steve Schapiro, that reads simply “Stop Police Killings.”

Relevant today, because the domestic terrorism of African-Americans hasn’t ceased since they were forcibly enslaved and brought in chains to this continent by Euro-American colonizers. A uniquely American ethnic hate and systematized terrorism campaign has been carried out ever since. For centuries now, law enforcement, judges, the Klu Klux Klan, skinheads, and Nazi-wannabes have conducted a long brutal pogrom of slavery, lynchings, scape-goating, church burnings, and institutionalized hatred against African-Americans.

This was tragically capped most recently by the nine murders of Reverend Clementa C. Pinckney and eight parishioners at the African Methodist Episcopal Church in Charleston, South Carolina by a twenty-one-year-old white supremacist espousing the belief-desires of a “black and white races” ideology of “racial hierarchy” woven into a hate and anger fueled action based on nothing but differences in skin tones. Children, when your ideology drives you to kill, the first thing to kill is your ideology.

The point of color in painting or people is visual pleasure and UV protection. The late, satirical Klan paintings of Phillip Guston are more relevant than ever today. Women of the Klan Bow Their Heads in Prayer, taken in South Carolina by Charles Moore and Segregationists, (again by Steve Schapiro) from a 1964 gathering in St. Augustine, Florida have a similar sense of the bleak stupidity of bigots on the wrong side of history. The exhibition does a great job of branching out to include images connecting the Selma March with anti-war, gay rights, labor, and feminist actions, making it clear that the crux of the matter is not the distraction of an erroneous race concept, but rather the still unattained dream of a reality based upon the selfevident and scientific truth that all people are created equally and are endowed with certain inalienable human rights and liberties that they must not be denied. Images of Reverend Martin Luther King Jr. and his courageous entourage figure prominently. Pinckney joins him, now. Photographer Bill Eppridge’s moving image of activist James Chaney’s mother and younger brother at Chaney’s funeral is a study of dignity in grief that hits a universal human note far beyond any individual ancestry.

As King knew, no people holds a monopoly on evil or good. There are no fine hierarchical lines to be drawn between races because there is no place to draw them.

Our homeland is the planet. We are all relatives in one species, and our major differences across ethnicities are simply cultural. Ancient tribalism is real, for sure, in fanatics’ beliefdesire systems, but is based on nothing actual. Worldwide, it is supported most evilly by cultural ideologues and used in contemporary times, along with poverty and terrorism by a multi-ethnic cabal of nationalists and other politicians in collusion with banksters and financiers to divide and conquer various populations, and to enforce strict differences in

Steve Schapiro, Stop Police Killings, Selma March, gelatin silver print, 1965

CRITICAL REFLECTION

draWn to the WaLL 2: Seth anderSon, iSoLde KiLLe, and MichaeL MotLey

Patina GaLLery 131 WeSt PaLace avenue, Santa fe

IN THE CURRENT EXHIBITION AT PATINA GALLERY, DRAWN TO THE WALL: The Medium is the Message (through August 29), the work of three Santa Fe-based

I only wish (as I also commented in another critical review in this issue), that I had

artists is curated around the theme of Marshall McLuhan’s famous assertion that

been able to view this work without distraction. The walls at Patina were so crowded,

“the medium is the message,” and that there is an intimate relationship between the

both with work from this exhibition, and other works not included, I had difficulty

medium itself and the content of the medium. The phrase was first coined in his

parsing exhibition work from everything else. I had to step into an uncomfortable

book Understanding Media: The Extensions of Man (1964), in which McLuhan suggested

space between the reception desk and wall to view Motley’s two sweet sculptures

that these two elements cannot be separated and must be considered together; the

of birds (also tenderly mummified under gauze and graphite). With so much visual

content of a medium is always already informed by the medium through which it is

input, viewing this show was distracting at best, frustrating at worst. Such compelling

delivered. As a curatorial precept, this is nothing new, and in fact feels rather tired.

curation and strong work would be better served, for both viewers and the artists, in

However, Drawn to the Wall 2—the second installment of a (hopefully) annual show

an exhibition with space to breathe.

of local artists currently without gallery representation in Santa Fe—is a thankfully

—lauren tresp

accessible entry into the conversation, especially given Patina’s program poised between craft, design, and fine art.

The works of these three artists, Seth Anderson, Isolde Kille, and Michael Motley,

Michael Motley, Obsidian River 1, mixed media, 28” x 21” x 5”, 2015

do rise to the occasion as each works with unique questions and processes, and each body of work is bound up with medium specificity. To a degree, medium specificity is always present within visual arts (a painter chooses canvas over wood panel, for example), but often a medium like two-dimensional paint allows the canvas or panel to “disappear,” giving the subject of the painting greater precedence than the material comprising the image. This is an endlessly interesting concept in art theory, and could be written about at length. While these concepts are at work within this show, the most significant theme running through these three bodies of work is the internal tension between fluidity and strength, and a resulting lyricism. Each artist’s work conjures the intersection of the shifting, organic qualities of nature and the imposition of human order or use.

Seth Anderson’s multimedia and multi-dimensional objects investigate the form and function of line. Consisting of stepped wooden planes and film paper, Anderson’s objects bear geometric grids, invented topographies, and dancing lines like calligraphic brushstrokes. On these three-dimensional pieces, which create their own sense of tectonic topography and shifting space, the unpredictable, unrestrained strokes of ink floats above and across the imposition of grids below like water, a relationship that demonstrates the power of the spontaneous over the rigid. German-born Isolde Kille presents new work on canvas and wood using mixed media including oils, shimmering spray paint, glue, and glass. With titles such as Bikini Atoll, Salt Lagoon, and Reef, the works’ glossy, resinous surfaces capture their own oceanic topographies. Shimmering and luminescent, rich blues and aqueous purples shift and merge powerfully and organically among blacks and silvers. These objects take the drama and dynamism of the sea and freeze it into glassy panels, an attempt to capture the uncontainable that feels both noble and futile.

Lastly, many will be elated to see the work of well-known graphic designer Michael Motley, who has not shown his fine art publicly in Santa Fe for over ten years. There is certainly crossover between his background in design and his organic, highly tactile sculptural pieces, however they are wonderfully surprising. These wallmounted sculptures are mostly juniper roots wrapped in gauze and coated in graphite.

As contemplations of line and linear form and function, they complement Anderson’s panels beautifully. As examinations of the spontaneity and the structural power of the organic world, they also complement Kille’s paintings. Motley’s choice of sooty, matte black surfaces gives each sinewy and elegant object an ancient, nearly sinister appearance. Like mysterious tools or weapons, or ritualistic artifacts, the forms of the objects feel familiar, while the functions, or “content,” elude us. Motley’s work connotes a graceful appropriation of natural forms for human use, without without forcing or pushing the natural into an unnatural state.

august

2015

the magazine | 71

LaDonna Harris: Indian 101

Jean Cocteau Cinema 418 Montezuma Avenue, Santa Fe

EARLIER THIS SUMMER, THE COMMUNITY-MINDED FOLKS AT JEAN COCTEAU Cinema, in cooperation with Americans for Indian

Depp claims Cherokee blood—a fact that merely serves

Senate for over thirty-five years.” Harris is perhaps best

Opportunity, screened a documentary by Comanche

to illustrate how crisscrossed, looping, and hopelessly

known, locally at least, as a hero who helped legislate the

filmmaker Julianna Brannum as a benefit for the

multilayered and easily misunderstood our definitions

return of Blue Lake to the people of Taos Pueblo, with

Native American Advised Endowment Fund (NAAEF).

of Native and American identities can be. While Harris

key cooperation from Senators George McGovern and

Established under the auspices of the Santa Fe Community

may not be “militant enough for some,” to quote Gloria

Ted Kennedy, Vice-President Spiro Agnew and President

Foundation in 1993 with a gift from the late sculptor

Steinem in the documentary, LaDonna Harris has been

Richard Nixon. What is it they say about politicians and

Allan Houser (Chiricahua Apache), NAAEF makes grants

getting things done for some five decades.

bedfellows?

to local Native communities. Recent grantees include the

For many years, Harris, like most American

It’s not all good times in Indian 101; Harris recalls

Santa Fe Indian Center, the Museum of Indian Arts and

women in the mid-twentieth century, borrowed her

seeing storefront signs prohibiting “dogs and Indians.”

Culture, Tewa Women United, and Honor Our Pueblo

identity from her husband, United States Senator Fred

The film recognizes the atrocities of the Bureau of

Existence (HOPE).

Harris of Oklahoma, the state where the Comanche

Indian Affairs boarding-school policies and the BIA’s goal

The subject of Brannum’s documentary is the

girl was raised during the Depression by her maternal

of forced assimilation, resulting in what Harris terms

captivating and hugely inspirational LaDonna Harris,

grandparents, from whom she gained a strong sense

“identifying with the oppressor.” What came across most

a Comanche activist and national stateswoman. She

of self. I found myself pondering just when it was that

profoundly, from Harris’s presence in the documentary

is a natural politician in the best sense of the word—a

she shifted from “the Senator’s wife,” as Dick Cavett

and in real life at the screening, was the empowerment

woman transformed by her circumstances and innate

introduced her on his talk show, to LaDonna Harris.

that stems from a feeling that she belonged—to an

abilities into a highly effective public servant. Acoma

Transform she did, emerging from the cocoon of wife

extended family and to her homeland. In the Q & A

Pueblo member Brian D. Vallo, currently a director at

and mother into a renowned and respected activist.

period after the film, she called for “one world” and a

the School for Advanced Research, introduced Harris

Indian 101 should be required viewing in a new module

moving away from an “either/or” mentality, in which we

as a “visionary leader” who has “dedicated the majority

in our schools’ curricula. I’d call the course, oh, maybe,

are all members of a world that is tribal, not exclusionary.

of her life to engaging individuals, tribes, and especially

“Enough about Europe: American Identity from the

This is not to say that indigeneity is over: Harris claims

the federal government, using indigenous methodology,”

First Peoples to Slavery to Today’s Immigrants,” which

the right of Native peoples to self-government. Through

to increase public awareness of issues of indigeneity in

I expect to get approval from small-town school boards

it all, she radiates an aura of integrity, kindness, and

today’s America.

as soon as teachers get paid like basketball players and

compassion that is extraordinarily commanding. I found

anesthesiologists.

myself deeply moved by her on a very human level.

A side note: That the film’s executive director is Johnny Depp made me wonder if he was bent on making

Harris began her role as a civil-rights principal at

The NAAEF has two grant cycles per year. For more

amends for his role as Tonto in the 2013 stinker The

President Lyndon Johnson’s request, when he—according

information about the Fund, please contact Jane Egan at

Lone Ranger. Harris, appreciative of what she saw as his

to Harris’s press release—“assigned her to educate the

the Santa Fe Community Foundation.

“thoughtful” characterization of Tonto, instigated Depp’s

executive branch of the U.S. government on the unique

—Kathryn M Davis

official adoption into the Comanche tribe in 2012, while

role of American Indian tribes and their relationship with

he was making the film. No matter how you feel about

the federal government. This course was called ‘Indian

the actor, Indian sidekicks in the movies, and other lore,

101’ and was taught to members of Congress and the

Donna Harris (standing) with President Carter’s Commission on Mental Health, chaired by First Lady Roslyn Carter. Circa 1982.

Official White House photograph.

CRITICAL REFLECTION

aLeXandra eLdridGe: to oPen the eternaL WorLdS

nÜart GaLLery 670 canyon road. Santa fe

WISDOM MUST BE LIVED DECLARES THE TITLE OF ONE OF ALEXANDRA Eldridge’s new paintings, showing at Nüart Gallery in July

learned and highly crafted ability. I recently encountered

The pinks in this and several other paintings work well

and August. In early July, I am seeing them in the wild,

the term ekphrasis, the medieval practice of descriptively

because they are not too pure. Another repeated set of

as it were, in Eldridge’s studio. While an artist’s studio is

narrating the relations between words and images, in a

motifs, extending from the shapes of nests to stones to

a very human-craft-oriented place, I use the word wild

book called The Art of Vision. A certain amount of ekphrasis

gestural painted ovals, includes couches, chairs, cups,

here because there is a quality of felicitous interaction

is useful in approaching this work.

bowls, bottles, vases, all speaking of containment as

among the works that doesn’t always happen in a museum

Some things appear repeatedly: birds and eggs, in

or gallery exhibit, where someone has positioned the

particular. Birds suggest a sense of freedom, with their

works deliberately in relation to one another. Curatorial

ability to fly and their wildness, while eggs and nests

modernist and antiquarian impulses they draw us

placement often enhances and clarifies our viewing of

evoke thoughts of home and nurture; in the ubiquity and

into worlds of layered private meanings, like graffiti-

artworks; looking at them in a studio, where they lean

familiarity of images of birds, there is comfort as well. As

covered public walls. Significances can be extracted

against one another and the walls, hide and emerge, sit

iconography, birds come with a host of available cultural

by digging and sliding more fluidly than one can with

at different levels in relation to the viewer, allows for a bit

associations: owls for wisdom, the finch for Christ’s

either pure abstraction—where the eye is master—

more speculative and associative viewing.

crucifixion, the dove for peace, ravens or crows for the ka,

or with realistic representations, which speak to

Eldridge’s previous body of work was done in

or soul, and so on through woodpeckers, cardinals, and

the viewer with greater authority about the world’s

Venetian plaster, a medium that imposes its own qualities

bluejays. Many cultures have gods with bird incarnations

appearances.

of resistance to the working process and density to the

or avatars that mediate between divine and human

—marina la palma

surfaces thus produced. That’s another positive about

realms. In three of Eldridge’s paintings, a suspended

seeing work in the studio: older bodies of work are

figure in a long dress appears, her hair floating out behind

hanging about for comparison and to illuminate the long-

her. In one she lifts

term overarching themes or aesthetic issues an artist

off horizontally from

is working through, consciously or not. Since Eldridge

a bed, in another she

has a history with William Blake’s visionary writings and

is in direct eye-to-

with Jungian psychology, the line between conscious

eye engagement with

and unconscious is very flexible, the product of, as the

a bird at a distance,

title of another work says, An Examined Life. Here she

and

is using house paint, from a collection of cans of leftover

picture a brilliant red

paint donated by friends and acquaintances. I am always

bird is almost on top

partial to work that utilizes repurposed materials, since

of her, in an intense

I love the creativity of human activity but deplore the

and almost sexual

way that our current civilization’s consume-and-discard

reciprocity.

mentality is poisoning the planet. This practice also

glad to see that the

allows for a different approach to color, because the

reproduction of The

artist limits herself to the colors arbitrarily made available

Soul of a Bird, which

via this social exchange. Like her previous work, these

appeared in a gallery

paintings incorporate materials such as pages from old

ad in these pages

books, scraps of wallpaper, lace, and other found trash-

in June did not do

treasures.

justice to the shades

in

the

I

paintings

are

palimpsests;

balancing

Alexandra Eldridge, Keeper of Mysteries, house paint on canvas, 60” x 48”, 2015

was

of pink actually visible

Although much of the picture surfaces are abstract, there

in the painting. Being

is a spatial depth that invites the viewer into worlds full of

so

ambiguity. The visual field contains beauty, messiness, and

with

spots of very intense and specific imagery. A strong relation

tones (and thus one

to illuminated manuscripts is evident. To Open the Eternal

of the first color

Worlds, which gives the show its title, is one of several

families that infants

works in which text is integral as a key to the images and

learn to focus on)

suggests an entry into the tone of a piece. Another work,

pink

and

brown

The Eye Altered Alters All, can function as a statement of

are

deeply

hybrid

intention for the whole collection. While we are born

in nature and need

able to see, our looking is shaped by our environment—a

careful

2015

These

third

Clearly, Eldridge allows her imagination very free rein.

august

comfort, of private and protected spaces.

closely human

allied skin

elaboration.

the magazine | 73

Will Wilson, Curator

August 14 through September 24, 2015

Opening Reception Friday, August 14, 5 to 7 p.m.

Nicolas Galanin, Dylan McLaughlin & Cannupahanska Luger, Mateo Romero, Cara Romero, Jaune Quick-to-See Smith, Kali Spitzer, and Will Wilson Aug. 14: Portrait Studio.

• Diné artist Will Wilson will set up a portrait studio behind the Red Dot Gallery.

Aug. 16: Curator’s Talk with Will Wilson. Sunday, 1 to 2:30 p.m.

820 CANYON ROAD, SANTA FE, NM 505-820-7338 | RED-DOT-GALLERY.COM

Red Dot Gallery AN SFCC ART LABORATORY

wax • resin • pigment ART

Experience Indian Market at the Encaustic Art Institute Enjoy a unique and intimate experience of invited Native American artists and activities throughout the month of August.

Opening Reception: Friday, August 7, 2015 5-8 PM

Ambrose Teasyatwho, Diné

Jazz, refreshments, art, entertainment

Invited Artists

Gina Adams, Ojibwa; Michael Billie, Diné; Roy Kady, Diné; Sallyann Paschall, Cherokee; Rollie Grandbois, Chippewa; Ambrose Teasyatwho, Diné; Holly Wilson, Delaware/Cherokee

632 Agua Fria Santa Fe, NM 505-989-3283 • EAINM.com

Indian Market Weekend Friday August 21st 6-8 pm Fashion Show Jolonzo Guy Goldtooth, Original Fashion Collection New York Fall Collection

Fashion: Jolonzo Guy Goldtooth

Basket Dance performed at intermission.

632 Agua Fria Street (Also access from Romero Street) Santa Fe NM 87501 • 505 989 3283

Jennifer Esperanza Photography www.jenniferesperanza.com ~ 505 204 5729

GREEN PLANET

EDIE TSONG RADIANT ANIMAL, ARTIST, WRITER, AND YOGINI www.radiantanimal.org • edietsong.com

Edie Tsong and her daughter Che Kuzov-Tsong Photographed at the Santa Fe River by Jennifer Esperanza

I am maker I am mother I am daughter I am darkness I am organizer I am organism I am current I am collaborator I am catalyst I am transmitter I am earth I am receiver I am body I am breath

august

2015

the magazine | 75

MONROE GALLERY of photography

The Long Road From Selma To Ferguson

On the road, Selma March, 1965 ©Steve Schapiro

Special Panel Discussion “Photojournalism and Civil Rights” Friday, September 18 5:30 PM Exhibition continues through September 27 open daily 112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e: info@monroegallery.com www.monroegallery.com

WOODY VASULKA SYNTACTIC RECOLLECTIONS

Opening Reception: Friday, August 7 from 5 to 8 pm On view to Saturday, August 29 PHIL SPACE • 1410 Second Street • 505.983.7945 www.philspacesantafe.com

A R C H I T E C T U R A L D E TA I L S

l iGhtNiNG S tRiKE PhOtOGRaPh BY

august

2015

Rumi VESSEliNOVa

the magazine |77

WRITINGS

I COME FROM BY

DARLENE DOLL SMITH

I come from people of great resolve; With endurance to survive.

Worry not one day for me; For I am my people’s child.

I come from a tribe of strength; Do not underestimate me.

We carry hope within our hearts; Because we are Tsalagi.

I come from a family of perseverance; With nomadic tendencies.

My life is quite a journey; For I get my courage honestly.

I come from a place within myself; Of balance and harmony.

No matter the path that I am on; So are the ways of the Cherokee.

78 | the magazine

august

2015

Leonardo Drew

Trophies and Prey

Jason Middlebrook LEONARDO DREW: PAPER TROPHIES AND PREY: A CONTEMPORARY BESTIARY Curated by Garth Clark and Mark Del Vecchio

JASON MIDDLEBROOK: GOLD RUSH August 7 – October 3, 2015 1 0 1 1 PA S E O D E P E R A LTA, SA N TA F E , N E W M E XI CO | 505 954 5800 | PETERS PROJECTS .COM