Santa Fe’s Monthly
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of and for the Arts • July 2013
Dar win’s Finch III, 16 x 14 inches, encaustic with mixed media
FER AL AT HE ART PAT R ICK ME HAF F Y Opening Reception | Thursday, July 11, 5 –7pm
53 Old Santa Fe Trail | Upstairs on the Plaza | Santa Fe, NM | 505.982.8478 | shiprocksantafe.com
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universe of
20
art forum:
23
studio visits:
25
one bottle:
43
feature:
49
critical
artist Patrick Mehaffy Woman and Seven-Headed Beast by Fay Ku Lydia Hesse and Carlo Martinez
The 2011 Clos Canarelli Corse Figari Blanc
by Joshua Baer
The Revolutionary Art Summer of 1933 by Sharyn R. Udall reflections:
Covington Jordan at Gebert Contemporary; Ernest Chiriacka at Casweck Galleries; Fay Ku at Eight Modern; Group Show at the Santa Fe University of Art and Design; Maurice Burns at Eggman & Walrus Art Emporium; Sam Scott at Yares Projects; Stands with A Fist at the Museum of Contemporary Native American Arts; and The Sum of Its Parts at Santa Fe Clay
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dining guide:
31
art openings
32
out
38
previews:
Dwellings at Gerald Peters Gallery, MULE at Gray Creates, and Storms at photo-eye Gallery
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green planet:
41
national spotlight:
69
architectural details:
70
writings:
&
Il Piatto, Tecolote Café, and Station 65
about
Faking It at the Museum of Fine
Arts, Houston
1981—Freddy Lopez, Tommy Macaione, Bill Tate, and James Rutherford flashback
Jodie Winsor: Humanitarian and Yoga Professor, photograph by Jennifer Esperanza Roadside Memorial on the Road to Taos, photograph by Guy Cross “Pyro City” by Marilyn Stablein
New Mexico’s traditional artists are among the most precious of our state’s living treasures—if you’re in any doubt on this point, pay a visit to two annual Santa Fe events: the Traditional Spanish Market in July and Indian Market in August. The mastery exhibited by our state’s potters, weavers, musicians, storytellers, and other artists hasn’t escaped the notice of the National Endowment for the Arts. Of the one hundred fifty folk and traditional artists honored with the National Heritage Fellowship, which began in 1982, fifteen have been from New Mexico. In Artists of New Mexico Traditions (Museum of New Mexico Press, $29.95), author Michael Petit profiles each of these artists, including Helen Cordero, a Cochiti Pueblo potter who pioneered Storyteller figures, and Irvin Trujillo, a Rio Grande weaver whose work reflects seven generations of tradition. Here, you will find a series of masters who honor both our community and history with their dedicated work and stunning artistry.
STNETNOC
CONTENTS
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letters
magazine VOLUME XXI, NUMBER I
WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 & 2006 Top-5 Best Consumer Tabloids P u b l i s h e r / C r e a t i v e D i r ecto r Guy Cross P u b l i s h e r / F ood E d i to r Judith Cross A r t D i r ecto r Chris Myers C op y E d i to r Edgar Scully P r oofRe a de r S James Rodewald Kenji Barrett st a ff p h oto g r a p h e r s Dana Waldon Anne Staveley Lydia Gonzales P r e v i e w / C a l end a r ed i to r Elizabeth Harball WEBMEISTER
Jason Rodriguez soc i a l med i a
Laura Shields
C ont r i b u to r s
Diane Armitage, Joshua Baer, Lucienne Bloch, Davis Brimberg, Jon Carver, Stephen Pope Dimitroff, Jennifer Esperanza, Andrea Fisher, Hannah Hoel, Mikyla Hutwohl, Fay Ku, Marina La Palma, Iris McLister, James Rutherford, Marilyn Stablein, Richard Tobin, Lauren Tresp, Sharyn R. Udall, and Susan Wider C oV E R
Diego & Frida Caught Kissing, New Workers School, NYC, 1933 Photograph by Lucienne Bloch (1909-1999)
Courtesy Old Stage Studios & Webster Enterprises. See page 43
A D Ve r t i s i n g S a l es
THE magazine: 505-424-7641 Lindy Madley: 505-577-4471 D i st r i b u t i on
Jimmy Montoya: 470-0258 (mobile) THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: themagazinesf@gmail.com. Web address: themagazineonline.com. All materials copyright 2013 by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable, for any misspellings, incorrect information in its captions, calendar, or other listings. Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel. All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised. THE magazine is not responsible for any claims made by its advertisers for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.
j u ly
2013
ART Santa Fe 2013 is celebrating its thirteenth art fair, offering to art lovers a mix of contemporary galleries, cutting-edge art installations, emerging artists, and art dealers. Visitors can interact with dealers and artists while experiencing a full range of art from around the world. Participating galleries are from France, Japan, Kathmandu, Korea, Russia, Nepal, Mexico, Spain, as well as the United States. Unlike many art fairs, the experience does not end at the exhibition hall’s doors. Events planned in conjunction with ART Santa Fe include the Gala Opening Night Vernissage; a lecture at the New Mexico History Museum on Saturday, July 13, at 6:30 pm, with keynote speaker Robert Wittman (who founded the FBI’s National Art Crime Team), and “How Things Are Made,” which features etching and monotype demonstrations by Oehme Graphics, and papermaking by Korean artists from Park Gallery. ART Santa Fe takes place from Thursday, July 11 through Sunday, July 14 at the Santa Fe Convention Center, 201 West Marcy Street, Santa Fe. The Gala opening and vernissage occurs on Thursday, July 11 from 5 to 8 pm. Above painting by Kenji Tsutsumi, courtesy Watanabe Fine Art, Osaka City, Japan. Tickets can be purchased at the Lensic Box Office: 505-988-1234. Details: www.artsantafe.com
TO THE EDITOR:
As Aristotle implied, and then stated, ignorance is no excuse, whether it be “of the Law,” or of other venues. In her review of Peter Sarkisian’s mid-career retrospective, currently on view at the Museum of New Mexico in Santa Fe, critic Diane Armitage is guilty of such ignorance, and the philisopher’s famous idiom holds true. Because this is a retrospective exhibition, which encompasses the sum total of Sarkisian’s efforts, as well as his philosophy and approach, it falls upon Ms. Armitage to learn something of the artist’s history and creative motive before writing about his work. Even a cursory glance online offers some insight into where this artist is coming from, and charts his careerlong efforts to transform the medium of video in order to change its inherent message. The problem is that what Sarkisian is doing rests just outside the realm of our awareness as TV watchers, and so without exploring deeper, his tactics may easily slip by unseen. People are accustomed to staring passively at their TV screens in search of traditional forms of narrative and meaning, while forgetting that their bodies are in limp standby mode. But Sarkisian’s work engages a level of our consciousness that is liberating, whether Ms. Armitage is aware of it or not. His works fold video back into a tactile experience, in order that the viewer may become engaged in a non-passive way. Given the ubiquitous decay caused by television in today’s world, I can’t think of a more meaningful topic for an artist to tackle, or a more successful result. What is most strange about Ms. Armitage’s review is that it begins with an academic reference to Marshall McLuhan’s famous phrase: “The Medium is the Message,” but then stops to pursue another onedimensional line of thought. Armitage all but forgets the significance of her own introduction, and fails to make the obvious observation that by transforming
McLuhan’s medium into something altogether new and different, Sarkisian is transforming the message as well. Sarkisian’s video isn’t McLuhan’s video. It’s been altered, by design, in order to give us back experience, and more importantly, the consequence that results from such experience. We need this consequence in order to evolve and grow in a meaningful way. If children really understood the difference between watching an actor shoot someone on TV, and doing it for real, there wouldn’t be an epidemic of school shootings in this country. Sarkisian is tackling this problem, and Ms. Armitage has failed to recognize it. She’s too lost in the act of staring into the medium to really question her relationship to it. If she relinquished her myopic TV-view stance, then the relevant discussions regarding metaphoric ramifications within each piece could take place. As it stands, those discussions are cloaked in her personal ignorance. Ms. Armitage would be best suited to review the ideology of established TV programs rather than newer visual elements which push the boundaries outside that genre and move progressively forward and away from the dated ho-hum “the medium” context. —Christopher Cordes, Santa Fe, via email TO THE EDITOR:
I am really amazed at the reach of THE magazine. On the first Friday night in June, I went to several art openings, where many people said that they had (already) seen my full-page ad in the June issue; one person was sure there was an article in the issue about me, despite my denial. Thanks. —Jonathan Morse, Santa Fe, via email Letters: Email to themagazinesf@gmail.com Mail: 320 Aztec St., Suite A - Santa Fe NM 87501 Letters may be edited for space consideration.
THE magazine | 5
RUTH DUCKWORTH
(1919 - 2009)
THE MAQUETTES May 24 - July 27, 2013
wiLLiaM CLift, ShiProCk, new MexiCo, © 2013 wiLLiaM CLift. CourteSy of the artiSt.
Shiprock and Mont St. Michel: Photographs by William Clift Ruth Duckworth’s last maquette, 2009 Porcelain 9¼ x 9 x 9 inches
through september 8, 2013 Over the course of almost four decades, Santa Fe artist William Clift has photographed two distinctive monoliths that dominate their landscapes: Shiprock in New Mexico and Mont St. Michel in France.
OLGA DE AMARAL POZOS AZULES August 1 - September 28, 2013
Peter SarkiSian, extruded Video engine, Large (VerSion 1) , 2007, gift of Cindy MiSCikowSki and the ring-MiSCikowSki truSt.
Peter Sarkisian: Video Works, 1994–2011 POZO AZUL 7 2012 Fiber, gesso, acrylic paint 38 x 28 inches
Bellas Artes
653 Canyon Road Santa Fe NM 87501 505 983-2745 bc@bellasartesgallery.com www.bellasartesgallery.com
through August 18, 2013 Peter Sarkisian explores the spatial and perceptive possibilities of video, film, and sculpture, combining three-dimensional screens and objects with video projections that cause the viewer to question their own observational experience.
COLOURS
OF
SPACE
HEINER THIEL | MICHAEL POST June 28 - July 21, 2013
CHARLOTTE JACKSON FINE ART 554 T e l
South Guadalupe Street, Santa Fe, New Mexico 87501 5 0 5 . 9 8 9 . 8 6 8 8 | w w w . c h a r l o t t e j a c k s o n . c o m
Left: Michael Post, Untitled, 2013, Acrylic on fiberglas over steel, 12 x 19.6 x 2.8 inches Right: Heiner Thiel, Untitled, 2013, Anodized aluminum, 13 x 12 x 2 inches
STEVE ELMORE STUDIO “Sacred Serpents and Fire Trees” – New Paintings by Steve Elmore
839 Paseo de Peralta, Santa Fe Free Parking between Palace and Alameda 505.995.9677 • gallery@elmoreindianart.com
“Roadside Attraction: Cochiti, 72” x 48”
Opening Reception: Friday, July 12 from 5 to 7 pm
steveelmorestudio.com
“Tree in the Arroyo”, 16” x 20”
Mural: MRAC Youth Mural Project
WORKSHOPS BY INTERNATIONALLY-KNOWN ARTISTS featuring North Carolina potter Ben Owen III, Mata Ortiz potters Diego Valles and Carla Martinez, and handmade tile maker Stephani Stephenson; additional workshops include natural building, adobe labyrinths, meditation with clay, and cooking with Oaxacan pottery FREE LECTURES AND FILMS on Taos Pueblo Pottery, Mimbres Archaeology, Using Clay in Construction, American Decorative Tile, Mata Ortiz Pottery, and More REGISTER FOR ALL EVENTS at ClayFestival.com
July 27–August 4, 2013 • ClayFestival.com Funded by Silver City Lodgers’ Tax
ยก espiR i tu, b Ri lla! (spiRit, shine!) July 5 - 31, 2013 Reception July 5 5-7 c u Rate d b y n i ch ol as h e R Re R a a n d s us a n Gu e vaR a M ary B r adt k e Su S an Gu e va r a n ic holaS he r r e r a r andall laG r o Ju lie WaG ner
LEgEnds santa fE I 125 LInCOLn aVEnUE I santa fE nEW MEXICO 87501 I LEgEndssantafE.COM I 505 983 5639
PAULA RoLAND
NEWLANDIA
July 12– August 10
opening Friday, July 12 from 5–7 pm
RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 87501 505.820.3300 | wILLIAMSIEGAL.CoM
Alex Katz
STO R MS
•
Summertime
M it c h Do b ro wn e r
June 7 - July 26 Project Room:
Isa Leshko • Elderly Animals Richard Levy Gallery • Albuquerque • www.levygallery.com • 505.766.9888
photo-eye GALLERY Opening and Artist Reception Friday July 19th, 5-7 pm Artist Talk, Saturday July 20th, 3 pm Exhibition continues through September 21st, 2013 376 Garcia Street, Santa Fe, NM 87501 505.988.5152 x202 gallery@photoeye.com www.photoeye.com/mitchdobrowner
CLOSING JULY 13TH John Delaney Golden Eagle Nomads Svjetlana Tepavcevic Means of Reproduction
Contemporary Masters JULY 26 – AUGUST 23, 2013 Frank Buffalo Hyde
•
Edgar Heap of Birds George Longfish
•
T.C. Cannon •
•
David Johns
Bunky Echo-Hawk •
Steven Paul Judd
N. Scott Momaday
Ramona Sakiestewa
•
•
• •
John Feodorov
•
Anita Fields
Armond Lara
George Morrison
•
Robert Rauschenberg
Roxanne Swentzell
PREVIEW: Friday, July 26, 5–7 pm ARTIST RECEPTION: Thursday, August 15, 5–7 pm PUBLIC EVENTS:
Breaking Through the Buckskin Ceiling Panel, Wednesday, August 14th, 1–3 pm Masters of Contemporary Film Panel, Wednesday, August 14th, 3–5 pm Live Performance Painting by Bunky Echo-Hawk, Saturday, August 17th, 2–3 pm N. Scott Momaday Lecture, Saturday, August 17th, 3–4 pm Alfred Young Man Lecture, Sunday, August 18th, 2–3 pm The Contemporary Indian Painters Movement Panel, Sunday, August 18th, 3–5 pm Illustration by Edgar Heap of Birds
505 982-8111 www.zanebennettgallery.com Monday–Saturday 10–5 or by appointment
NATHAN OLIVEIR A
Nathan Oliveira: Paintings & Sculpture July 19 - September 1.2013 Reception: July 19, 5:00-7:00pm
fORREsT mOsEs
jOHN fINcHER
wOOdy gwyN
Santa Fe’s Holy Trinity of Landscape Painting: John Fincher, Woody Gwyn & Forrest Moses July 19 - September 1.2013 Artists’ Reception: July 19, 5:00-7:00pm
LewAllenGalleries AT THE RAILYARD
Railyard: 1613 Paseo de Peralta
Santa Fe, NM (505) 988.3250 Downtown: 125 West Palace Avenue www.lewallengalleries.com info@lewallengalleries.com
Santa Fe, NM
(505) 988.8997
Darwin’s Finch II, mixed media and encaustic, 13” x 11”, 2013
UNIVERSE OF
Patrick Mehaffy’s art is informed by his interest in, and deep feelings for, the natural world. His work is not specifically about the environment or the state of our planet. Instead, his intention is to create work shaped by the unconscious, work that is capable of transforming conscious thoughts into what Mehaffy hopes is engaging and inspiring art. His work is included in the permanent collections of many museums and his sculptures and drawings can be found in private collections throughout the United States, as well as in Canada, the UK, Switzerland, Spain, France, and Australia. An exhibition—Feral at Heart—will be on display at Shiprock Santa Fe, 53 Old Santa Fe Trail. Opening reception: Thursday, July 11 from 5 to 7 pm.
birds in America every year (and even more mammals). The United States Fish and Wildlife Service estimates that something like six millions birds are killed by flying into cell phones towers, communication and power transmission lines, and wind turbines. As many as sixty million birds are killed each year by collisions with cars and trucks. As many as seventy-two million birds are killed each year by poisons in the environment. These human-caused bird deaths have destroyed the natural balance of mortality and survival. Worldwide, more than two thousand species of birds are considered threatened with extinction.
Why Art Matters in a World Like This Art has the capacity to make people feel something that will always matter. But art is too often perceived by the public as either a commodity of great monetary value, or something so without value and relevance that it’s considered an insignificant part of the American consciousness. Fiction—whether the fiction of a painting or sculpture, or the fiction of a novel or short story—seems to be losing its grip on our collective imaginations. The immediacy and accessibility of our technology is narrowing our focus and whittling
Your Concern for the State of our Planet
by a screen three inches tall and two inches wide. He would have been much happier if we had gone to a
The evidence is overwhelming—human beings are killing the earth. We’re altering the chemical composition of the
shopping mall. His dependence on technology for
down our willingness to take the time to engage with artistic fiction. It doesn’t have to be that way, of
easy distraction and entertainment, and his inability
course; technology can also be used in the service of
air and oceans, we’re poisoning the soil, we’re destroying
and unwillingness to experience even the slightest connection to the natural world, isn’t unusual. It is
artistic fiction. But in today’s America, technology’s command over our attention seems to be widening the
America in 2013. But that doesn’t change the fact that humans are part of the natural world and we share the
gulf between us and the natural world, which in turn
planet with other creatures that are so complex and
from the earth instead of being a part of it.
the habitat of thousands of species of plants and animals, and we’re using resources beyond sustainability. Mass extinctions, immense storms, catastrophic forest fires, floods, killing drought, dying reefs—these are the sad legacy of our superior intelligence. I don’t know how any thinking person could be anything but overwhelmed by concern for the state of our planet. And that’s part
permits us to believe that we’re somehow removed
beautiful that they take your breath away.
Solution or Solutions
of the problem; with every report of yet another global
Our Growing Disconnection from the Natural World
environmental destruction we feel ever more numbed and impotent. As George Carlin said, “The planet is fine.
Avarice, greed, indifference, and our unquenchable thirst for comfort and convenience are the things that have
The people are fucked.”
always been destroyers of beauty. Specifically, habitat
all other virtues are useless.” Wisdom, joy, courage, and the will to change—those are the solutions.
Your Apprehension
destruction is responsible for most of the worldwide decline or extinctions of animals and plants. There are
A lot of people seem to think that a society’s progress can be measured by its ability to isolate itself from the
now more than seven billion humans on our planet. More people means less room for the natural world. It has
organizations are light years in front of governments
natural world. By that metric, we’re the most civilized society that’s ever lived on earth. A few years ago I
been estimated that at least fifty-percent more farmland will be required to grow the food needed in just thirty
took a young nephew to Canyon de Chelly. I thought
years. Yet ninety-eight percent of all of the earth’s arable
he would find it as inspiring and profound as I always
land is now already in use (or has already been depleted
The Wildlife Center rehabilitates injured or orphaned New Mexico wildlife and releases animals back into
have, but he was so obsessed with cell phone reception that he never saw a thing. His curiosity for the natural
beyond use). This January, the Smithsonian Conservation Biology Institute published an article that estimated that
the wild. They are true stewards of the land, and they teach that stewardship to young people. They make a
world, so evident in his childhood, had been usurped
free roaming and feral house cats kill two and a half billion
huge difference. One bird or bear at a time.
photograph by j u ly
2013
Understanding the state of the planet requires knowledge. Solutions require wisdom. In Desert Solitaire, Edward Abbey wrote, “Where there is no joy there can be no courage; and without courage,
Not
surprisingly,
the
non-profit
environmental
when it comes to solutions. And they have a collective power that we, as individuals, will never have. My favorite is The Wildlife Center, in Española.
Dana Waldon THE magazine | 17
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clusiau designs What has THE magazine has done for our art community since 1992? Published over 2,400 art reviews Over 200 Universe of articles Over 110 One Bottle columns Over 220 Writing pages Over 430 Studio Visits Your source for Over 70 Interviews interior and exterior Overcustom 800 sewing Previews and much more
Specializing in slipcovers, cushions, has been Since 1992, THE magazine the eyes, pillows, ears, and voice of the bancos, art community New Mexico curtains, andinbedding We carry stock kit: To request a media themagazinesf@gmail.com fabrics, custom fabrics, and a large collection
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ART FORUM
THE magazine asked a clinical psychologist and two people who love art to share their take on Woman and Seven-Headed Beast—a graphite, watercolor, and ink-on-paper work by Fay Ku. They were shown only the image—they were not told the title, medium, or name of the artist.
maintain a bit of decency and humanity. She must preserve proprieties and squelch the shadows, which protest. But it doesn’t hurt to take a quick look now and then.
—Mikyla Hutwohl, Dancer and Writer, Santa Fe
Carl Jung’s theories on the unconscious are alive
growth as well. The faces appear like dividing cells going
I see a musician expressing the various emotions that we
throughout this work. We see an emotionally pained
through differentiation. The artist may be using physical
feel as life itself. The many facets of who we are can be
woman represented as two bodies with multiple heads. In
development as a metaphor for societal change. Emotional
felt through her music. Her face expresses the various
these mask-like faces we find Jung’s notion of the persona,
conflict and transformation are everywhere inside this
notes of life, begging the question, “Can we feel through
or public self. According to Jung, our personas serve
dense image.
life and not become any one expression, but continue the
important defensive functions but must be balanced with
—Davis Brimberg, Ph.D., Clinical Psychologist, Santa Fe
melody unattached to any one chord?” As the bow strokes
our private selves. Perhaps this woman is struggling to
the strings, “Can our feelings and emotions have the same
find such equilibrium. Likewise, the open mouths convey
Crawling in a visually dominant black skirt, the woman
fluidity?” Her life story played through her music leads us
anguish to the viewer. Some of the faces are gender neutral.
contrasts with her double, who is a ghost of herself.
into our own stories through the emotions expressed in
Jung wrote extensively on gender and pioneered the
She struggles to reel in her spirit and its various
the many faces, as if vomiting up her own feelings of grief
concept that the mind holds both masculine and feminine
expressions—which we all possess in the form of emotions
and doubt in a cacophony of musical notes that peel off the
energies. Similarly, the black and white clothing reminds one
swaying us hither and thither. The many faces attach to a
masks of the underlying peace within. She’s not sitting on a
of yin and yang—an Eastern concept that fascinated Jung.
body that is stripped of the skirt as the faces melt around
stiff stool or hardback chair, but rather something light, airy,
A different, non-Jungian interpretation is that the work
the phantom’s hopeless visage. They are stacked upon each
and round that she seems to have slipped off of, as if letting
represents shifts in women’s roles in society. For example,
other in a knotted muddle of conjoining hair. She is apathetic
go and surrendering to “what is.” I see her revealing the
the women are dressed in historical items such as the boning
to her victim. The many faces, which are all indifferent
walk of life in what it means to be human—willing to bare
of a bustle, an opaque thigh-high stocking, and a corset.
or grossly fearful, dread the original woman. We catch
it all (becoming unclothed), layer by layer, feeling life, one
Some faces are also painted with the geisha-style makeup of
her in a moment, as she parades them to herself, all the
string, one stroke...one moment at a time.
courtesans. Yet, within these historical references, we see
while holding her skirt with her hand, never forgetting to
—Andrea Fisher, Master’s Candidate in Psychology
20 | THE magazine
j u ly
2013
Fritz Scholder 1937 - 2005
Paintings, Drawings, Prints, Sculpture July & August 2013 439 Camino Del Monte Sol 505-982-3367
c h i a r o s c u r o 439 Camino del Monte Sol, Santa Fe, New Mexico 505.982.3367
www.GebertArtAZ.com
Studio Visit
It has been said that Charles Baudelaire wrote, “The artist’s purpose is to understand the nature of beauty in the present time.” Two artists comment on the statement. The artist lives in a world not inhabited by mere humans. The artist breathes air and drinks water that is saturated with artistic license. Artistic license allows, encourages, and appreciates the spontaneous gesture of the brush, or the turn of a phrase by the artist. To understand the nature of beauty in the present time as Baudelaire suggests, the artist must simply pay attention—aka “be here now.”
—Lydia Hesse
Ph o to gra p h s by A nnE S tavele y
Hesse won the “Best of Show” award at the 2012 Taos Fall Arts Festival. www.lydiahesse.com
A proposition of accountability to respond to imagination for those who choose the perspective of artist and creators in time and space. For example, archived on a severed tree are nature’s impressions of time—the rings reflections of moments. Beauty manifested, only understood presently in the artistry of the rings: such are the creations of the inspired artist in conscious reflection. Representations of subjective beauty in “present time,” a permanent ripple. They become, are, and have been the rings—captured, created and reflected by the artists of said time. Understanding is to appreciate the beauty, in the now.
—Carlo Ray Martinez In 2012, Martinez’s sculptures were shown at the Poeh Museum and the Rancho Viejo Roundabout. In 2013, his work was exhibited atm the Institute of American Indian Arts. As well, he is a participant in the 27th Annual Contemporary Hispanic Market—July 27 and 28. www.carloray.com
j u ly
2013
THE magazine | 23
“Fit for a King” —Susan Meadow, Pasatiempo
lunch – monday thru saturday sunday brunch dinner nightly
restaurant bar 231 washington avenue - reservations 505 984 1788
gift certificates, menus & special events online www.santacafé.com
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one bottle
One Bottle:
The 2011 Clos Canarelli Corse Figari Blanc by Joshua Baer
Who can tell me if we have heaven? Who can say the way it should be? Moonlight Holly, the Sappho Comet, Angel’s tears below a tree. You talk of the break of morning as you view the new aurora, Cloud in crimson, the Key of Heaven, one love carved in Acajou. One told me of China Roses, one a Thousand nights and One night, Earth’s last picture, the end of evening: hue of indigo and blue. From “China Roses” by Roma Ryan, on Enya’s The Memory of Trees. ©1995 EMI Music Publishing, Ltd. Eithne Ní Bhraonáin was born on May 17, 1961, in Gweedore, County Donegal, Ireland. Her Anglicized name was Enya Brennan. In Gaelic, eithne (pronounced “EHN-ya”) means “a kernel of a seed.” Idiomatically, eithne translates as “a little fire.” Enya’s music means everything to me. I can’t understand her lyrics, either in English or in Gaelic, and her melodies are so ethereal I sometimes wonder what a grown man is doing following the sound of weightlessness from one dimension to another, but I’ve spent twenty-five years living inside of Enya’s songs, and would not be here, in one piece, more or less, without the restorative effect her music has had on my soul. Angels, answer me, are you near if rain should fall? Am I to believe you will rise to calm the storm? For so great a treasure words will never do. Surely, if this is, promises are mine to give you. mine to give.. […] Angeles, all could be should you move both earth and sea. Angeles, I could feel all those dark clouds disappearing... From “Angeles” by Roma Ryan, on Enya’s Shepherd Moons. ©1991 EMI Music Publishing, Ltd. Enya, the singer, is a real person, sometimes described as “the invisible celebrity” (she’s shy), or as “the richest woman in Ireland” (her albums have sold seventy-five million copies, worldwide; her personal wealth has been estimated at one hundred million dollars). Enya is also three people: Nicky Ryan, the band manager, record producer, and sound engineer who discovered Enya, in 1982, and who produced all of her albums; Roma Ryan, Nicky Ryan’s wife, who wrote the lyrics for most of Enya’s songs; and Enya herself, the little fire, who sings and performs the songs. Enya, Roma, and Nicky used to live together in Artane, a suburb north of Dublin. Enya now lives in Manderly Castle, in Killeney, on the coast of the Irish Sea south of Dublin. Of the Ryans, Enya has said: “Without them, ‘Enya’ would not exist.” […] If only I could stay with you, my train moves on, you’re gone from view, Now I must wait until it’s over.
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[…] Days will pass, your words to me, it seems so long, eternity, but I must wait until it’s over. From “Evacuee” by Roma Ryan, on Enya’s Shepherd Moons. ©1991 EMI Music Publishing, Ltd.
Which brings us to the 2011 Clos Canarelli Corse Figari Blanc. In the glass, the 2011 Clos Canarelli Blanc is a smooth, quiet gold. If you found a gold ring this color, put it on your finger, and wore it for the better part of your life, you might come to think of the color as an honest gold. While I’m not sure what a dishonest gold would look like, I’m sure that the color of the 2011 Clos Canarelli Blanc has no guile in it. The bouquet goes back and forth between generosity and nuance. As soon as you think you appreciate an aroma, a second, third, or fourth aroma replaces it. With the Canarelli Blanc, there have been evenings when I have promised myself to spend ten minutes inhaling the bouquet before I taste the wine, in the hope that this discipline will lead me behind the veil and teach me the secrets of what Yves Canarelli is doing with the Vermentinu grape, not to mention what the Vermentinu grape has done with Yves Canarelli. So far, I have been unable to keep that promise. On the palate, many good things happen, mostly at once, but also in a specific order. The wine manages to be simultaneously noble and savage. Its nobility lies in its discreet finesse. Its savagery emerges as you approach the bottom of your glass, and again as you approach the bottom of the bottle. The finish is a peculiar moment, in that your experience of it extends beyond identification of its flavor. There is a feeling you get when you dive off a rock and into the blue ocean, a feeling that lasts until you come up for air and find yourself surrounded by water—the same water that surrounds the earth. The feeling is the gift of continuity, the gift of belonging to whatever you see, hear, smell, taste, or touch. This wine’s finish lends you that feeling. The Land of Wine and the Land of Déjà Vu share a border. By tradition, their common border is left open. No passport is required to cross from one land into the other. Like Enya’s music, with its echoes and promises of redemption, a great white wine offers your soul a place to rest, an oasis where nature holds her breath.
[…] And so this is where I should be now, days and nights falling by, days and nights falling by me. […] Strange how I falter To find I’m standing in deep water. Strange how my heart beats to find I’m standing on your shore. From “On Your Shore” by Roma Ryan, on Enya’s Watermark. ©1988 EMI Music Publishing.
One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. The name “One Bottle” and the contents of this column are ©2013 by onebottle.com. For back issues, go to onebottle.com. Send comments or questions to jb@onebottle.com.
THE magazine | 25
dining guide
Let’s Eat!
Il Piatto 95 West Marcy Street, Santa Fe Reservations: 984-1091
$ KEY
INEXPENSIVE
$
up to $14
MODERATE
$$
$15—$23
EXPENSIVE
$$$
VERY EXPENSIVE
$24—$33
$$$$
Prices are for one dinner entrée. If a restaurant serves only lunch, then a lunch entrée price is reflected. Alcoholic beverages, appetizers, and desserts are not included in these price keys. Call restaurants for hours.
$34 plus
EAT OUT OFTEN
Photo: Douglas Merriam
...a guide to the very best restaurants in santa fe, albuquerque, taos, and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: A beautiful new bar with generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. Watch for special dinners and wine pairings. 317 Aztec 317 Aztec St. 820-0150 Breakfast/ Lunch. Patio. Major credit cards. $$ Cuisine: Café and Juice Bar. Atmosphere: Casual. House specialties: Breakfast: Eggs Benedict and the Hummus Bagel, are winners. Lunch: we love all of the salads and the Chilean Beef Emanadas. Comments: Juice bar and perfect smoothies. Andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Good wines, great pizza. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236 . Breakfast/Lunch/Dinner. Full bar. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American w/ a Southwestern twist. Atmosphere: A classy room. House specialties: For lunch, we suggest the Ahi Tuna Tacos or the Fried Ruby Trout. For dinner, start with the Heirloom Beet Salad. Follow with the flavorful Achiote Grilled Atlantic Salmon or the Free Range Northern New Mexico Lamb Roast. Dessert fave is the the Chef’s Selection of Artisanal Cheeses. Comments: Terrific cocktails from mixologist James Reis. Attentive service, and a creative chef (Juan Bochenski) assure that you will have a superb dining experience. Bobcat Bite 418 Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Patio. Cash. $$ Cuisine: As American as good old apple pie. Atmosphere: A lowslung building with seats at NEeight the counter andOfour tables. House G inch-and-a-half thick specialties: The green chile cheeseburger is perect. The secret? A decades-old, well-seasoned cast-iron grill. Go.
Body Café 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual. House specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Avocado and Cheese Wrap. Comments: Teriffic soups and salads. Bouche 451 W. Alameda Street 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: Standouts starters are the “Les Halles” onion soup and the Charcuterie Plank. You will love the tender Bistro Steak in a pool of caramelized shallot sauce, the organic Roast Chicken for two with garlic spinach, and the Escargots a la Bourguignonne. Comments: Menu changes seasonally. Chef Charles Dale and staff are consummate pros. Cafe Cafe Italian Grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad, the tasty specialty pizzas, or the grilled Eggplant sandwich. For dinner, try the perfectly grilled Swordfish. Café Fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch. Patio Cash/major credit cards. $ Cuisine: Contemporary comfort food. Atmosphere: Casual and bright. House specialties: Ricotta pancakes with fresh berries, the chicken enchiladas; and the green-chile Cheese burger. Comments: Organic and housemade products are delicious. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian maiden posters. House specialties: Hotcakes got a nod from Gourmet magazine. Huevos motuleños—a Yucatán breakfast—is one you’ll never forget. For lunch, try the Grilled Chicken Sandwich. Chopstix 238 N. Guadalupe St. 982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, Kung Pau
Chicken, and Broccoli and Beef. Comments: Friendly owners. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. Comments: Good selection of beers and wine.
El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego Cheese marinated in extra virgin olive oil. Go, you will love it.
Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: Good old American. fare. Atmosphere: Patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are fantastic. Super buffalo burgers. Comments: Huge selection of beers.
Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: French/Asian fusion. Atmosphere: Elegant and stylish. House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass served with black truffle scallions, and the classic peppery Elk tenderloin.
Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: For your main course, go for the grilled Maine Lobster Tails or the grilled 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines.
Il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad; the Lemon Rosemary Chicken; and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to Table, all the way.
Doc Martin’s Restaurant 125 Paseo del Pueblo Norte. 575- 758-2233. Lunch/Dinner/WeekendBrunch Full bar. Major credit cards. $$$ Cuisine: Regional New American. Atmosphere: Friendly—down home. House specialties: For lunch try Doc’s Chile Relleno Platter or the Northern New Mexico Lamb Chops. Dinner faves are the Pan Seared Whole Boneless Trout and the Green Chile Smothered Chicken Burrito. Comments: Great bar, wonderful desserts, and a kid’s menu.
Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers, Comments: Chef Obo wins awards for his fabulous soups.
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 with with a nice patio outside where you can sit, read periodicals, and schmooze. Tons of magazine to peruse. House specialties: Espresso, cappuccino, and lattes. El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish. Atmosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-tocheek dancing. House specialties: Tapas, Tapas, Tapas. Comments: Murals by Alfred Morang.
Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake. It is smooth and dry. La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian tamales. Comments: Nice Sunday brunch.
Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: The Pho Tai Hoi: vegetarian soup loaded with veggies. Comments: Friendly waitstaff and reasonable prices. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Enclosed courtyard. House specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad. For your entrée, try the Braised Lamb Shank with couscous, and vegetables. M aria ’ s N ew M exican K itchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner (Thursday-Sunday) Beer/wine. Patio. Major credit cards. $$ Cuisine: American/New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: Freshly made Tortillas and Green Chile Stew. Comments: Perfect margaritas. Midtown Bistro 910 W. San Mateo, Suite A. 820-3121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Large open room. House specialties: For lunch, start with the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrées we love are the Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop. Comments: Good dessert selection. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic products. New York Deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. Comments: Deli platters to go. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$
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THE magazine | 27
1
$
oyster bar
oysters, Crab Claws & shrimp on the patio, 4:00-6:00pm daily
award-winning wine list extensive selection of wines by the glass Two Happy Hours: 3–6 pm and 9 pm on...
Join our e-newsletter at www.315santafe.com for specials, promotions & wine dinner updates.
Join us at the new patio oyster bar throughout July, 4:00pm daily
Mention or bring THE magazine’s ad and receive an appetizer “on the house.” 3462 zafarano drive • 505.471.6800 • www.sfcapitolgrill.com • info@sfcapitolgrill.com
CLOUD CLIFF BAKERY at the SANTA FE FARMERS MARKET TUESDAY and SATURDAY
Sun-Thur, 5:00 -9:00 pm u Fri - SaT, 5:00 - 9:30 pm 315 Old SanTa Fe Trail u SanTa Fe, nm u www.315 SanTaFe.cOm reServaTiOnS recOmmended: (505) 986.9190
Photos ©Kate Russell
Classic French bistro
dining guide
delicious Double Cut Pork Chop. Comments: Chef Andrew Cooper partners with local farmers to bring fresh seasonal ingredients to the table. A fine wine list and top-notch service. The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive. 505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: Local flavors. Atmosphere: Casual, calm, and friendly. House specialties: At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, foillow with the Trout with a Toasted Piñon Glaze. Comments: Nice wine bar.
TECOLOTE CAFE 1203 Cerrillos Road, Santa Fe • 988-1362
Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile. Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American, all the way. Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs and Burgers. Haystack fries rule Recommendations: Nice wine list. Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Patio. Major credit cards. $$$ Cuisine: Southwestern with a French flair. Atmosphere: Contemporary. House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Nice wine list. Rose’s Cafe 5700 University W. Blvd SE, #130, Alb. 505-433-5772 Breakfast/Lunch. Patio. Major credit cards. $ Cuisine: A taste of the Yucatán with a Southwest twist. House specialties: We love the Huevos Muteleños: corn tortillas w/ refried black beans, eggs topped with Muteleños sauce, cotya cheese, and fresh avocado. Lunch: the Yucatán Pork Tacos. Comments: Kid’s menu and super-friendly folks. San Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ Cuisine: Japanese Sushi and Tapas. Atmosphere: Large room with a Sushi bar. House specialties: Sushi, Vegetable Sashimi and Sushi Platters, and a variety of Japanese Tapas. Comments: Savvy sushi chef. San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: All-American. Atmosphere: Casual. House specialties: The San Francisco Street Burger or the Grilled Yellowfin Tuna Nicoise Salad. Comments: Sister restaurant in the DeVargas Center. Comments: Reasonable prices. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Southwest Contemporary. Atmosphere: Minimal, subdued, and elegant House specialties: The world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Panseared Salmon with olive oil crushed
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new potatoes and creamed sorrel. Comments: Happy hour special from 4-6 pm. Half-price appetizers. “Well” cocktails and House Margaritas only $5. Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmealcrusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet. Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. Atmosphere: Contemporary and hip. House specialties: Start with the Seared Ahi Tuna. For your main, we suggest the Chicken Fried Chicken, with mashed potates and bacon bits, the flavorful Ceviche, or the Beer Battered Fish and Chips. All desserts are right on the mark. Comments: Wines from around the world. Quality beers. Two happy hours: 3-6 pm and 9 pm on. Generous portions/reasonable prices. Mention THE magazine and receive an appetizer on the house. Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily specials, gourmet sandwiches, wonderful soups, and an excellent salad bar. Comments: Organic coffees and super desserts. Do not pass on the Baby-Back Ribs. Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Real casual. House specialties: Beers are outstanding, when paired with the Beer-steamed Mussels, Calamari, Burgers, or Fish and Chips. Comments: Sister restaurant in the Railyard District. Shibumi 26 Chapelle St. 428-0077. Dinner Fragrance-free Cash only. $$. Parking available Beer/wine/sake Cuisine: Japanese noodle house. Atmosphere: Tranquil and elegant. House specialties: Start with the Gyoza—a spicy pork pot sticker—or the Otsumami Zensai or select from four hearty soups. Shibumi offers sake by the glass or bottle, as well as Japanese beers, and champagne. Comments: Zen-like.
Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff, Station 430 S. Guadalupe. 988-2470 Breakfast/Lunch Patio Major credit cards. $ Cuisine: Light fare and fine coffees and teas. Atmosphere: Friendly and casual. House specialties: For breakfast, get the Ham and Cheese Croissant. Lunch fave is the Prosciutto, Mozzarella, and Tomato sandwich. Comments: Special espresso drinks. at El Gancho Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant House specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce. Comments: They know steak here.
Steaksmith
Sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner. Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. Atmosphere: Large open room. House specialties: In the am, try the Mediterranean Breakfast— Quinoa with Dates, Apricots, and Honey. Lunch favorites is the Indonesian Vegetable Curry on Rice; Comments: For your dinner , we suggest the Prix Fixe Small Plate: soup, salad, and an entrée for $19. Wines and Craft beers on tap. Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to tableto mouth. Atmosphere: Casual. House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox. A variety of teas from around the world available, or to take home. Terra at Four Seasons Encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties: For breakfast, we love the Blue Corn Bueberry Pancakes and the Santa Fe Style Chilaquiles. For dinner, start with the sublime Beet and Goat Cheese Salad. Follow with the Pan-Seared Scallops with Foie Gras or the
The Compound 653 Canyon Rd. 982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: Contemporary. Atmosphere: 150-year-old adobe. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef/owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award. The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: Modern Italian Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch: the Prime Rib French Dip. Dinner: go for the Scottish Salmon poached in white wine, or the Steak au Poivre. The Pink Adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club. For dinner, Steak Dunigan or the Fried Shrimp Louisianne. Comments: Cocktails hour in the Dragon Room is a must! The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: A local institution located just off the Plaza. House specialties: Order the red or green chile cheese enchiladas. Comments Always busy. The Ranch House 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: BBQ and Grill. Atmosphere: Family and very kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: The best ribs. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$
Atmosphere: Casual. House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese. Comments: Tia Sophia is the real deal tomme: a restaurant
229 Galisteo St. 820-2253 Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Innovative Contemporary. Atmosphere: Casual and friendly. House specialties: Start with the Carmelized Leek Tart. Entrée: We love the Brick Chicken and the Pan Seared Yellowtail. Comments: Super desserts—get the Panna Cotta! Tune-Up Café 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home. House specialties: For breakfast, order the Buttermilk Pancakes or the Tune-Up Breakfast. Comments: Real friendly. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: Light and cheerful. House specialties: All organic salads. Love the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: When in Albuquerque, visit their their sister restaurant at 1828 Central Ave., SW. Vivre 304 Johnson St. 983-3800 Dinner. Beer/Wine. Fragrance-free. Major credit cards. $$ Cuisine: Inspired French food. Atmosphere: Intimate. House specialties: we suggest you start with the sublime Fennel Soup with NEFor your main, Pernod and Mussels. O try the Whole G Roasted Trout with Sautéed Green Beans, or the Roasted Chicken with Thyme Jus and Potatoes. Comments: An extensive wine list. Zacatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Slow Cooked Pork Ribs. Also offered are over sixty-five brands of Tequila. Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: All-American Atmosphere: Down home. House specialties: The Chile Rellenos and Eggs is our breakfast choice. At lunch, we love the burgers, the Southwestern Chicken Salad and the crispy Fish and Chips. Comments: The bar is place to be at cocktail hour. Fun crowd.
Cuisine: Traditional New Mexican.
STATION for light breakfasts & lunches Amazing Lattes, Cappuccinos and More 430 S. Guadalupe St. 988-2470
THE magazine | 29
PAUL REED
A Career Exploring Color and Visual Perception
STEVEN ALEXANDER Slave to Love
June 21 - July 27, 2013 Opening reception: Friday, June 28, 5:00 - 7:00 p.m.
MICHAEL COOK Camino Real
TRYGVE FASTE Technoforms
July 2 - July 27, 2013 Opening reception: Friday, July 5, 5:00 - 7:00 p.m.
DAVID RICHARD GALLERY Paul Reed, Barcelona IV, 1969, Acrylic on canvas, 58” x 71”
DavidrichardGALLEry.com RAILYARD ARTS DISTRICT 544 South Guadalupe Street, Santa Fe, NM 87501 | p (505) 983-9555 info@DavidRichardGallery.com
Michael Cook, Camino Real 5, 2006, Gouache and charcoal on paper, 18” x 22”
Steven Alexander, Poet, 2013, Acrylic on canvas, 72” x 60” Trygve Faste, Turboform Red and White, 2102, Acrylic on canvas, 2012, 27” x 15” x 5.5”
openings
j u l y A r t o p e n i n gs FRIDAY, JUNE 28
SATURDAY, JUNE 29
Andrew Smith Gallery, 122 Grant Ave., Santa Fe. 984-1234. Shadow Catcher: photographs by Ray K. Metzker. 5-7 pm.
516 Arts, 516 Central Ave. SW, Alb. 505242-1445. ISEA 2012 Air, Land, Seed: group show of works by contemporary Native American artists. 6-8 pm.
Charlotte Jackson Fine Art, 554 S. Guadalupe St., Santa Fe. 989-8688. Colors of Space: works by Heiner Thiel and Michael Post. 5-7 pm. David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. A Career Exploring Color and Visual Perception: paintings by Paul Reed. Slave to Love: paintings by Steven Alexander. 5-7 pm. GVG Contemporary, 202 Canyon Rd., Santa Fe. 982-1494. Southwest Abstraction: group show. 5-7 pm. Manitou Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Spring into Summer: group show. 5-7:30 pm.
Byzantine Project at Byzantium Lofts, 1348 Pacheco St., Suite 105, Santa Fe. 982-3305. Reacts + Facets 2013: digital drawings by Jonathan Morse. 2-6 pm. Richard Levy Gallery, 514 Central Ave. SW, Alb. 505-766-9888. Prints by Alex Katz. Elderly Animals: photographs by Isa Leshko. 6-8 pm. FRIDAY, JULY 5
David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Technoforms: paintings by Trygve Faste. 5-7 pm.
Evoke Contemporary, 130 Lincoln Ave., Santa Fe. 995-9902. Low-Flying Dream Girls: paintings by Pamela Wilson. 5-7 pm.
855-7777. Not (Necessarily) Your Grandpa’s Radio: annual vintage radio show. 5-8 pm.
Gebert Contemporary, 558 Canyon Rd., Santa Fe. 992-1100. Paintings by Otis Jones. 5-7 pm.
Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-3432. Continuum: jewelry by Claire Kahn. 5-7:30 pm.
Legends Santa Fe, 125 Lincoln Ave., Santa Fe. 983-5639. ¡Espiritu Brilla!: group show. 5-7 pm.
Peyton Wright Gallery, 237 E. Palace Ave., Santa Fe. 989-9888. Color Walk: paintings by Mokha Laget. 5-8 pm.
Mariposa Gallery, 3500 Central Ave. SE, Alb. 505-268-6828. Nocturnal Boulevards: paintings by Sam Esmoer. Paintings by Eric McCollon. 5-8 pm.
Silver Sun, 656 Canyon Rd., Santa Fe. 983-8743. Spirit of Flowers: paintings and koko dolls by Reiko Anderson, with Dale Amburn. 5-7 pm.
Mark White Fine Art, 414 Canyon Rd., Santa Fe. 982-2073. Music In Color: work by Javier Lopez Barbosa. 5-8 pm.
Stranger Factory, 109 Carlisle Blvd. NE, Alb. 505-508-3049. Works by artists Colin Christian, Glenn Barr, and Phil Noto. 6-9 pm.
Palette Contemporary Art and Craft, 7400 Montgomery Blvd. NE, Alb. 505-
Native Vanguard: Contemporary Masters at Zane Bennett Contemporary Art, 435 South Guadalupe Street. Reception: Friday, July 26 from 5 to 7 pm. Image: Reanimation by George Longfish
Marigold Arts, 424 Canyon Rd., Santa Fe. 982-4142. Monuments and Rivers—New Watercolors: works by Robert Highsmith. 5-7 pm. Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-3432. Ecstasy of Gold: jewelry by Judith Kaufman and Lilly Fitzgerald. 5-7 pm. photo-eye
Gallery, 376-A Garcia St., Santa Fe. 988-5158. photo-eye Staff Show: group show of sculpture, collage, photography, and mixed-media works. 5-7 pm. TAI Gallery, 1601 Paseo de Peralta, Santa Fe. 984-1387. Sculptures by Nagakura Kenichi. 4-7 pm. Taylor A. Dale Fine Tribal Art, 129 W. San Francisco St., Santa Fe. 6703488. Australian Aboriginal Art: bark paintings by the Elders, Hermannsburg landscape paintings, and traditional antique Aboriginal artifacts. 5-7 pm. Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Cleromancy: assemblages by actor and artist Robert Dean Stockwell. Projections in New Media: work by Derek Larson, Inhye Lee and Molly Bradbury. 5-7 pm. continued on page 34 j u ly
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THE magazine | 31
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WHO WROTE THIS: “Art is the triumph over chaos.”
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OUT AND ABOUT photographs by Mr. Clix Lisa Law Dana Waldon
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openings
ViVO Contemporary, 725 Canyon Rd., Santa Fe. 982-1329. Unfolded: works by Ilse Bolle, Joy Campbell, and Patty Hammarstedt. 5-7 pm.
Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Beyond the Surface: works by John Felsing and Les Perhacs. Dwellings: works by Christopher Benson, Tom Birkner, and Peri Schwartz. 5-7 pm.
SATURDAY, JULY 6
Mark White Contemporary, 1611 Paseo de Peralta, Santa Fe. 982-2073. Music In Color: work by Javier Lopez Barbosa. 4-6 pm.
GVG Contemporary, 202 Canyon Rd., Santa Fe. 982-1494. Dimensionality: paintings by Oliver Polzin and Blair VaughnGruler. 5-7 pm.
Shiprock Santa Fe Gallery, 53 Old Santa Fe Trail, Santa Fe. 982-8478. From the Mesas—Arts of the Hopi Pueblos: gallery talk and reception. 1-3 pm.
Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. Paintings by Michael Madzo. Sculptures by Ted Gall. 5-7 pm.
FRIDAY, JULY 12
203 Fine Art, 203 Ledoux St. Taos. 575751-1262. Memmories of Taos: paintings of pueblo Indians and Modernist still lifes by America Martin. 5-7 pm. 333 Montezuma Arts, 333 Montezuma Ave., Santa Fe. 988-9564. Cosmotiana— The Measured Paintings: works by Hassel Smith. 5-7 pm. Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. The Royal Road— Artistic Impressions of El Camino Real: exhibit and book release with woodblock artist Leon Loughridge and poet John Macker. 5-7 pm. Karan Ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-0807. Surface Beauty: group show. 5-7 pm. N ew C oncept G allery , 610 Canyon Rd., Santa Fe. 795-7570. Big + Bold: group show. 5-7 pm. Nuart Gallery, 670 Canyon Rd., Santa Fe. 988-3888. Work by Michael Bergt. 5-7 pm.
Hung Liu: Portraits of a Chinese Self at Turner Carroll Gallery, 725 Canyon Road. Reception: Friday, July 5 from 5 to 7 pm.
Fe. 989-1199. The Pearl: paintings, sculptures, video, and waterworks by Enrique Martínez Celaya. 5-7 pm.
Eight Modern, 231 Delgado St. Santa Fe. 995-0231. Chance Animals: new media art by Jason Salavon. 5-7 pm.
Steve Elmore Studio, 839 Paseo de Peralta, Santa Fe. 995-9677. Sacred Serpents and Fire Trees: paintings by Steve Elmore. 5-7 pm.
Silver Sun Gallery, 656 Canyon Rd. Santa Fe. 983-8743. Angel: paintings, woodcuts, and sculpture by Radisha. 5-7 pm.
William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. In the Middle of Nowhere: drawing and objects sby Paula Castillo. Newlandia: new works by Paula Roland. 5-7 pm.
SATURDAY, JULY 20
William R. Talbot Fine Art, 129 W. San Francisco St., Santa Fe. 982-1559. Modernist Printmaking in the Southwest. 3-5 pm.
Karan Ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-0807. California Dreaming: works by Daniel Phill and Bret Price. 5-7 pm. Mark Sublette Medicine Man Gallery, 602A Canyon Rd., Santa Fe. 820-7451. Western Perspectives: new works. Booksigning wth Howard Post. 5-7 pm. Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1122. Work by Priscilla Mouritzen, Monica Rudquist and Hide Sadohara. 5-7 pm. TAI Gallery, 1601 Paseo de Peralta, Santa Fe. 984-1387. Fushi: sculpture by Fujinuma Noboru. 4-7 pm.
SATURDAY, JULY 13
Chiaroscuro Contemporary Art, 702½ Canyon Rd., Santa Fe. 992-0711. Works by Peter Millett & Chris Richter. 5-7 pm. Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. The Royal Road—Artistic Impressions of El Camino Real: woodblock artist Leon Loughridge and poet John Macker. 2 pm.
SITE Santa Fe, 1606 Paseo de Peralta, Santa
In the Middle of Nowhere—drawing and objects by Paula Castillo at William Siegal Gallery, 540 South Guadalupe Street. Reception: Friday, July 12 from 5 to 7 pm.
Gray Creates, 871 2nd St., Santa Fe. 699-1594. MULE: installation by Matthew Gray. 6-9 pm. La Tienda Exhibit Space, 7 Caliente Rd., Santa Fe. 575-741-1244. Intersection—Lens, Light, Life: group show. 5-8 pm. Rio Bravo Fine Art Gallery, 110 N. Broadway, Truth or Consequences. 575-8940572. In Bloom: paintings and illustrations by Chantal Elena Mitchell. 6-9 pm.
Enrique Martinez Celaya at SITE Santa Fe, 1101 Paseo de Paralta. Reception: Friday, July 13 from 5 to 7 pm.
FRIDAY, JULY 19 FRIDAY, JULY 26 photo-eye
Gallery, 376-A Garcia St., Santa Fe. 988-5158. Storms: photographs by Mitch Dobrowner. 5-7 pm.
Canyon Road Contemporary, 403 Canyon Rd., Santa Fe. 983-0433. Real Imagined: pastels by Kathy Beekman. 5-7 pm.
Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Native Vanguard—Contemporary Masters: group show. 5-7 pm.
continued on page 36
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openings
MONDAY, JULY 29
Niman Fine Art, 125 Lincoln Ave., 9461039. Namingha—Perspectives on Modernist Native American Painting: reception and conversation with Arlo and Dan Namingha. 5-6:30 pm. SPECIAL INTEREST
A Gallery Santa Fe, 154 W. Marcy St., #104, Santa Fe. 603-7744. RISD/ NM Alumni Show. Through Saturday, July 27. Albuquerque ARTScrawl, At various locations. 505-244-0362. Albuquerque ARTScrawl: gallery openings. Fri., July 5, 5-8:30 pm. East Mountain ARTScrawl: gallery openings. Sat., July 6, 10 am-5 pm. Route 66 ARTScrawl: gallery openings. Fri., July 19, 5-8:30 pm. artscrawlabq.org ART Santa Fe at the Santa Fe Convention Center, 201 W. Marcy St., Santa Fe. 9881234. ART Santa Fe 2013: contemporary
RISD/NM Alumni Show on view at A Gallery Santa Fe, 154 West Marcy Street, #104. On view through Saturday, July 27. Image: Nathaniel Hesse
art fair. Fri., July 12 to Sun., July 14. artsantafe.com Axle Contemporary at the Santa Fe Railyard, 740 Cerrillos Rd., Santa Fe. 670-7612. The Renga Project: year-long collaborative project with forty-nine New Mexico poets and fifty-two artists. Through June 2014. axleart.com Bellas Artes Gallery, 653 Canyon Rd., Santa Fe. 983-2745. The Maquettes: sculptures by Ruth Duckworth. Through Sat., July 27. bellasartesgallery.com Encaustic Art Institute, 18 County Rd. 55A, Cerrillos. 424-6487. Self Portrait— A Journey Within: work by five EAI members. Noon-5 pm. Georgia O’Keeffe Museum, 217 Johnson St., Santa Fe. 946-1000. The Critical Indigenous Photographic Exchange: inquiry and exchange between artist Will Wilson (Diné) and his subjects. Mon., July 8 to Fri., 19, 10 am-4 pm. Georgia O’Keeffe in New Mexico—Architecture, Katsinam, and the Land: paintings by Georgia O’Keeffe.
Sacred Serpents and Fire Trees—paintings by Steve Elmore at Steve Elmore Indian Art, 839 Paseo de Peralta. Reception: Friday, July 12 from 5 to 7 pm.
Through Wed., Sept. 11. Other learning programs for adults and families throughout July. okeeffemuseum.org International Folk Art Market, 706 Camino Lejo, Santa Fe. 992-7600. Tenth Annual International Folk Art Market. Fri., July 12 to Sun., July 14. folkartmarket.org Lavender in the Village, 4920 Rio Grande Blvd., NW, Los Ranchos. Ninth Annual Lavender in the Village Festival. Fri., July 12 to Sun., July 14. lavenderinthevillage.com Legends Santa Fe, 125 Lincoln Ave., Santa Fe. 983-5639. Spanish Market Show: works by the Gurule family. Fri., July 26 to Wed., July 31. legendssantafe.com Museum of Northern Arizona, three miles north of downtown Flagstaff on Hwy. 180, Flagstaff, AZ. 928-774-5213. 80th Annual Hopi Festival: lectures, performances, and exhibition. Sat., July 6 to Sun., July 7. musnaz.org
lectures, and more. Sat., July 27 to Sun., Aug. 4. clayfestival.com SITE S anta F e, 1606 Paseo de Peralta, Santa Fe. 989-1199. The Pearl: installation by Enrique Martínez Celaya. Sat., July 13 to Sun., Oct. 13. sitesantafe.org Taos Art Museum at Fechin House, 227 Paseo del Pueblo Norte, Taos. 575-7582960. “Stories Without Words”: lecture by artist Sonya Terpening. Sun., July 14, 2 pm. PERFORMING ARTS
Aspen S anta F e B allet 211 W. San Francisco 988-1234. Program A: on Fri., July 12 and Sat., aspensantafeballet.com
at The Lensic, St., Santa Fe. performances July 13, 8 pm.
National H ispanic C ultural C enter, 1701 4th St. SW, Alb. 505-724-4771. Secret Things: world premiere of play by Elaine Romero. Thurs., July 25 to Sun., Aug. 11. CALL FOR ARTISTS
Nedra Matteucci Galleries, 1075 Paseo de Peralta, Santa Fe. 982-4631. Works from My Wishlist: paintings by Curt Walters. Through Sat., July 13. mateucci.com Pablita Velarde Museum of Indian Women in the Arts, 213 Cathedral Pl., Santa Fe. 9888900. A Straight Line Curved: work by Helen Hardin. Through Sept. 30. pvmiwa.org photo - eye G allery , 376 Garcia St., Santa Fe. 988-5152. Book signing with Mark E. Harris on July from, 5-7 pm.
Silver City Clay Festival, At various locations. 575-538-5560. Silver City CLAY Festival 2013: workshops, tours,
36 | THE magazine
516 A rts , 516 Central Ave. SW, Alb. 505-242-1445. Digital Latin America: seeking proposals for high caliber, innovative, and interactive digital media works. Deadline: Fri., Sept. 27. 516arts.org P astel S ociety of N ew M exico , P.O. Box 3571, Alb. 505-8955457. 22nd Annual Pastel Painting Exhibition. Deadline: Thurs., Aug. 15. SITE S anta F e, 1606 Paseo de Peralta, Santa Fe. 989-1199. SPREAD 4.0: microgrants to fund art projects. Deadline: Sun., July 7. spreadsantafe.com j u ly
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MULE MULE MULE Opening Reception: July 13, 6 - 9 pm Open Studio: Fri./Sat./Sun. 10 - 5 pm 821 San Mateo Road, Santa Fe graycreates.com 505.699.1594
MATTHEW GRAY MATTHEW GRAY MATTHEW GRAY
Opening Reception: July 13, - 96pm Opening Reception: July613, - 9 pm OpenOpen Studio: Fri./Sat./Sun. 10 - 5 Studio: Fri./Sat./Sun. 10pm - 5 pm Opening July 13,Santa 6Fe - 9 pm 821 San Mateo Road, Santa 821Reception: San Mateo Road, Fe Open Studio: Fri./Sat./Sun. 10 - 5 pm graycreates.com 505.699.1594 graycreates.com 505.699.1594 821 San Mateo Road, Santa Fe
previews MULE: installation by Matthew Gray Through July 28 Gray Creates, 871 Second Street, Santa Fe. 699-1594 Reception: Saturday, July 13, 6-9 pm In Roald Dahl’s beloved children’s novel Charlie and the Chocolate Factory, the character of Willy Wonka walks a fine line between eccentric hero and a kind of sinister god. Using the various products of his famous candy factory, Wonka metes out a strange justice to the comically awful children who come to visit. As one greedy child flails in a pool of chocolate and another spoiled brat is bloated by a gum experiment gone wrong, young readers learn that there can, indeed, be too much of a good thing. Viewers attending Matthew Gray’s MULE installation may come away with a similar lesson. Through the end of the month, Gray will create hundreds of pounds of cast hard candy in a warehouse located off Santa Fe’s Second Street, arranging it in a kind of organized disorder to bring out themes of consumerism, hoarding, and the odd place that exists between pleasure and disgust. On Wednesdays through Sundays during the exhibition period, viewers are invited to come observe the growth of the installation, taking in the familiar, sickly-sweet smells of cotton candy, grape, sour apple, and whatever else the Wonka-like Gray dreams up as the installation grows around a wooden armature into a massive, manic, Technicolor assemblage. MULE is a temporary installation, but once completed, the candy superstructure will be photographed and large-scale images will be exhibited on site as well as at future shows.
Storms: photographs by Mitch Dobrowner July 20 to September 21 photo-eye Gallery, 376-A Garcia Street, Santa Fe. 988-5158 Reception: Friday, July 19, 5-7 pm By the time Mitch Dobrowner’s show Storms opens at photo-eye this month, this year’s tornado season will be mostly over, having already left destruction and tragedy in its wake. After seeing news footage of decimated houses and emergency crews rushing to save survivors, it is hard to imagine storm season as a beautiful thing. But Dobrowner’s stunning black-and-white landscape photographs of cloud systems—and the tornadoes that sometimes result—remind us that although the consequences are often ugly, there is an awful elegance to storms. The photographer drives thousands of miles and often braves powerful winds and other extreme conditions to find the perfect position to “capture” storms. “To me these storms act like living, breathing beings,” Dobrowner writes on photo-eye’s blog. “They are born when the conditions are right, they gain strength as they grow… they turn violent and unpredictable as they start to mature—just as a young adult would (or at least like I did).” Influenced by Minor White and Ansel Adams, Dobrowner has received some of the highest accolades in his field, including the 2012 Sony World Photographer of the Year.
Dwellings: works by Christopher Benson, Tom Birkner, and Peri Schwartz July 26 to August 24 Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700 Reception: Friday, July 26, 5-7 pm The upcoming Dwellings show at Gerald Peters is a study in the unassuming truths of everyday life. Six new works by Christopher Benson will strike the New Mexican as a quiet rediscovery of the familiar. Benson’s oil-on-linen cityscapes of the area’s signature adobe architecture meditate on, as the artist puts it, “the place where that sloppy life of the organic world intersects with the static planes and lines… of human architecture and artifacts.” Tom Birkner, who now teaches at Parsons The New School for Design, in New York City, is known for candid portraits of his native New Jersey. The artist’s realist oil paintings of women pouting in jean skirts and flip-flops, high school football games, and tired-looking men loitering in parking lots, depict an often overlooked America that is both unglamorous and authentic. And while it seems that Birkner has gone on a transcontinental road trip to discover his subjects, Peri Schwartz has gone no farther than her immediate surroundings for inspiration. Schwartz is obsessed with composition, puzzling out relationships among color, shape, and light with the bottles, jars, stools, and tables found around her studio in New Rochelle, New York. These colorfully complex works may seem abstract at first— Schwartz has said that rather than making her subject look “real,” she is more interested in perfectly rendering “how the image fits into the edges.”
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CYNTHIA COOK Winner “Best of Fine Arts” Awards 2004 and 2010
Contemporary Hispanic Market 2013 Saturday and Sunday July 27-28 8 am to 5 pm Lincoln Street, just north of the Historic Santa Fe Plaza
A N D R E W S M I T H G A L L E RY I N C .
CLASSIC AND HISTORIC, MASTERPIECES OF PHOTOGRAPHY
RAY METZKER SHADOW CATCHER THROUGH AUGUST 7, 2013
Ray Metzker, Philadelphia, 1963
Featuring exhibitions of ANSEL ADAMS photographs from THE DAVID H. ARRINGTON COLLECTION N e x t t o t h e G e o r g i a O ’ Ke e f f e M u s e u m a t 1 2 2 G ra n t Ave . , S a n t a Fe , N M 8 7 5 0 1 5 0 5 . 9 8 4 . 1 2 3 4 • w w w. A n d r e w S m i t h G a l l e r y. c o m • H o u r s : 1 1 - 4 , M o n d ay - S a t u r d ay.
ElectroBiking of Santa Fe Power-assisted Biking - Sales • Rentals • Tours Guadalupe Station - 328 Guadalupe Street at Montezuma, Suite H, Santa Fe 505.819.5165 www.electrobiking.com santafe@electrobiking.com
n at i o n a l s p o t l i g h t
Man on Rooftop with Eleven Men in Formation on His Shoulders by c.
Unknown American artist
1930. Gelatin silver print, George Eastman House. Courtesy of George Eastman House, International Museum of Photography and Film, Rochester, New York
Nowadays, it seems like the use of the photography-manipulating computer program Photoshop to doctor images often generates controversy. Does the manipulation of photographs of women in magazines promote unhealthy body images? Is a beautiful, unaltered photograph artistically better than an equally beautiful image that has been “touched up?” Should a photojournalist lose his job when the public learns his images have been altered? But these questions are by no means new. This month at the Museum of Fine Arts Houston, Faking It: Manipulated Photography before Photoshop proves that as long as there has been photography, it has been used to make the unreal seem real. In an j u ly
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exhibition funded by none other than Adobe, the company behind Photoshop, viewers are treated to about two hundred manipulated photographs from throughout the history of the medium. Faking It features a healthy mix of the artistic and the playful—from the mesmerizing Io + gatto by Wanda Wulz, a 1932 gelatin silver print that melds the artist’s face with that of her black-andwhite house cat, to the goofier 1910 print A Car Load of Texas Corn by George G. Cornish, which features a seemingly gargantuan ear of corn loaded onto a train car. Through August 25 at the Museum of Fine Arts Houston, 1001 Bissonnet, Houston, Texas. THE magazine | 41
Picture Frame Specialist since 1971 Picture Frame Specialist since 1971
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f e at u r e
Red Hot
The Revolutionary Art Summer of 1933: Frida Kahlo and Diego Rivera, by Sharyn R. Udall
New and Better Future—in the RCA building was to be a celebration of the common people and the benefits of technology. The project began well. With a small corps of assistants, Rivera worked at a feverish pace, determined to complete the thousand-square-foot fresco by May first—International Workers’ Day. Once Rivera was comfortably installed on the scaffold at Radio City, often for twelve or fourteen hours a day, Kahlo turned to her own visual commentary of America in 1933. Unlike her
Eighty years ago, in the third week of March, 1933, Frida
Riveras were committed, if renegade, Communists,
husband, Kahlo painted small, highly personal portraits
Kahlo and her internationally famous husband, Diego
never shy about representing the ideologies of their
and narratives of her own life. Now she took up a panel
Rivera, moved into a two-bedroom suite at New York
century. Still, in the era of heroic Mexican mural painting,
just eighteen inches high and assembled her brushes
City’s Barbizon-Plaza. Nearby, Rivera was scheduled
American patrons clamored to fill grand walls with grand
and oils. Working slowly over the next several months,
to paint a monumental mural in the new RCA Building,
spectacle, and Rivera, during three previous years in
she produced My Dress Hangs There, a synoptic, leftist-
centerpiece of Rockefeller Center’s ambitious agenda to
the United States, had already produced monumental
oriented view of Manhattan, portrayed as the epicenter
make, in its decor, a variety of public statements about the
projects in San Francisco and in Detroit—wall-size
of wealth, poverty, and protest at the depth of the
arts in America. On its face the arrangement—millionaire
worlds of peasants, workers, soldiers, and industrialists.
Great Depression. Crammed with skyscrapers and
patrons supporting revolutionary artists—puzzled some.
His newly commissioned mural—Man at the Crossroads
smokestacks, her painted metropolis reveals Kahlo’s
Everyone, including the Rockefellers, knew that the
Looking with Hope and High Vision to the Choosing of a
growing distaste—far outstripping Rivera’s more tolerant
Stephen Pope Dimitroff (1910-1996), Lucienne Bloch, Diego Rivera, and Frida Kahlo at the New Workers School, NYC, 1933. Courtesy Old Stage Studios
continued on page 44 j u ly
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THE magazine | 43
Kahlo and Rivera were viewed as view—for what she regarded as a decadent capitalist
of My Dress Hangs There. If, as she suggests, America’s
of the conception in its entirety….” Sadly, that is just
society. The disdain is in the details: at the upper left she
religious institutions, consumerism, and celebrity culture
what happened. After a brief standoff, during which both
alludes slyly to America’s spiritual impoverishment in
still hummed along in that hot Depression summer,
sides refused to capitulate, the Rockefellers abruptly
her treatment of Trinity Church, where the cross in its
society’s lower strata had reached a tragic nadir in
ejected Rivera and his assistants from the building,
stained-glass window is transformed into a dollar sign,
capitalist Manhattan. Franklin Delano Roosevelt, elected
covered the unfinished mural, and paid the artist his
and a vein-like crimson ribbon ties the church tower
in November, 1932, had promised Americans a New
remaining fee. Furious, Rivera and Kahlo—who seldom
directly to the New York Stock Exchange—Kahlo’s
Deal, with a barrage of economic programs designed
shied away from a good fight, preferably conducted in
symbol for what she regarded as bloodsucking capitalism
to provide relief, recovery, and reform. By the time of
the headlines—stirred public opinion on both sides of
enshrined at the city’s very heart. Foreground pedestals
his inauguration in March, the same month the Riveras
the issue. Expressions of support came from influential
elevate monuments to the materialist values of the
arrived in New York, the banking system was nearly
New Yorkers and others around the country. Andrew
nation Frida called “Gringolandia”—a triumphal toilet
collapsing and one-quarter of Americans were out of
Dasburg wired on behalf of the artists and writers of
pokes fun at America’s obsession with efficient plumbing,
work. The optimism of FDR’s campaign song “Happy
Taos; Witter Bynner those of Santa Fe. One of Rivera’s
gas pumps at its love affair with the automobile, a golden
Days are Here Again” was wearing thin, and New
staunch allies in New York was Alfred Stieglitz, who
sports trophy at its competitive drive. At the far left Kahlo
Yorkers, like Americans everywhere, were sinking into
on the evening of May 29, 1933, bought a ticket to see
inserts a billboard of America’s priestess of playfully
generalized despair. Their desperation erupts in Kahlo’s
Sergei Eisenstein’s film Ten Days that Shook the World, the
vulgar sex, Mae West (a favorite of Rivera’s), whose
symbols; prominently, in the lower right, she paints a
Russian director’s celebratory dramatization of the 1917
risqué film I’m No Angel appeared that year. In contrast
massive, overflowing garbage can, spilling out the waste
October Revolution. Stieglitz had just taken a seat in the
to the flamboyant West, Kahlo’s own Tehuana dress—
of materialist excess—toys, flowers, liquor bottles
theater when Rivera and Kahlo entered and sat beside
hanging starkly empty in the painting’s lower center—
(Prohibition would be repealed later in the year), and
him, asking urgently in the few minutes before the film
carries its own social message; the artist’s choice of folk
a horrifically bloody human hand, emblematic of social
began about his wife, Georgia O’Keeffe, who had mural
or indigenous Mexican clothing declares her alienation
decay and wasted human lives.
troubles of her own.
from American culture and values. Her dress might still
What happened next, in Rivera’s case, is well
A year earlier, O’Keeffe had accepted her own
hang in Manhattan, but by the summer of 1933 Kahlo
remembered. The artist altered his Rockefeller-approved
commission to paint a mural for Rockefeller Center. “I
longed to return to her native Mexico, away from the
mural plan to insert, very prominently, a detailed head
have such a desire to paint something for a particular
violent contrasts of private wealth and public squalor
of Lenin. Asked by Nelson Rockefeller to remove it, the
place—and paint it big,” she had written. But O’Keeffe’s
New York presented to her.
artist refused, firing back in a letter, “Rather than mutilate
project had come to an inglorious end. Her mural of large
the conception, I should prefer the physical destruction
flowers was to be painted on canvas affixed securely
That squalor she dramatized in the lower third
Lucienne Bloch, Frida with ice cream cone, Jones Beach, New York, 1933. Courtesy Old Stage Studios Frida Kahlo, My Dress Hangs There, 1933
f e at u r e
e xo t i c , t h e at r i c a l r o l e - p l ay e r s to a plaster wall. When she arrived to begin work in
Meanwhile, the city’s heat turned oppressive.
vowed, every penny of Rockefeller’s fee on painting
November, 1932, the canvas started to peel away from
On June 3, the day Frida and Diego moved from their
revolutionary frescoes at the New Workers School. For
the still-damp plaster wall. O’Keeffe, already nervous
Barbizon-Plaza suite to a two-room flat at 8 West 13th
good measure, Rivera gave a few more fiery speeches
about the size and complexity of the space, walked off
Street, temperatures in the city soared to near ninety
before declaring himself broke, finally ready to leave
the job badly shaken, and soon was hospitalized for
degrees, previewing a record-breaking summer when the
New York. Friends pooled their money to buy the couple
psychoneurosis (a “nervous breakdown,” as Stieglitz
thermometer would twice exceed one hundred degrees.
tickets on a ship departing December 20 for Veracruz.
termed it). By May, she had returned from convalescing
To escape the searing streets, Diego and Frida ventured
A few months later, despite Rockefeller’s promises
in Bermuda to begin a long stay at Lake George, while
occasionally to places such as Long Island’s Jones Beach,
to preserve it, Rivera’s RCA mural was destroyed,
Stieglitz remained in the city. On the night of the film
where they were photographed, Kahlo eating ice cream,
although defiantly repainted in Mexico City. As angry
encounter he could assure Kahlo and Rivera of her slow
Rivera, still on a punishing diet that had shaved a hundred
as the Riveras had been in 1933, they had managed by
improvement, while commiserating with them over
pounds from his always-corpulent frame, chewing
decade’s end to put the Rockefeller feud behind them. In
Rivera’s firing.
a cigar. More often, they remained at home, where
the fall of 1938, Kahlo, by then taken up by André Breton
Having been paid in full, Rivera had no legal recourse
Frida worked listlessly on My Dress, now pasting into
and the Surrealists, was given a show at the Julien Levy
against the Rockefellers, but he vowed to stay in New
the painting’s lowest register photo fragments showing
Gallery in Manhattan. For the opening, Frida herself drew
York, finding other walls for his revolutionary murals,
miniaturized legions of the oppressed: the jobless
up a guest list that included the Rockefellers, elder and
until all his Rockefeller fees were exhausted. He decided
waiting in long breadlines, soldiers marching, sports fans
younger, along with a host of art-world luminaries given
that if he could not speak to New Yorkers through his
cheering, and demonstrators shouting their outrage. This
their first view of twenty-five Kahlo paintings, including the
RCA mural, he would do so in person. On May 15,
is social-protest art at its most strident, tearing at the
two New York–inspired oils My Dress Hangs There from
with Kahlo at his side, Rivera addressed some fifteen
thin membrane separating art and life and recapitulating
1933 and What the Water Gave Me, newly completed
hundred students who were protesting the dismissal
Kahlo’s view that in 1930s New York extreme class
in 1938. Breton had famously called her work “a ribbon
of an admittedly Communist instructor at Columbia
stratification institutionalized the advantages of its richest
around a bomb,” but New York reviewers of the show
University. During the five-hour campus demonstration,
citizens while dispossessing its poorest.
scarcely noted its political content, concentrating instead
the university president was burned in effigy, amid
Their apartment sweltered. A visiting houseguest
on Kahlo’s use of Mexican traditional motifs and vivid
fist- and water fights. It is likely this fiery protest, held
reported that Frida “spent the whole day in the bathtub.
color, or on the bloody portrayals of her own physical
near the sundial against a backdrop of the University’s
It was too hot to go out in the streets.” Always fond of
suffering. About half the paintings sold.
neoclassical Low Memorial Library, which Kahlo included
long baths, Kahlo used the time to cool off, to keep her
By 1939, when the Museum of Modern Art’s major
in My Dress Hangs There.
injured right foot elevated, and to conjure daydreams
exhibition Twenty Centuries of Mexican Art was being
that sometimes turned into art. Five years later,
planned, Kahlo told an interviewer that, in retrospect,
she would paint What the Water Gave Me,
she believed that the Rockefeller family’s actions in
her most surrealistic work, a watery world of
halting the RCA mural project were dictated by their fear
reverie miniaturized in a bathtub. The symbols
of adverse public opinion, a not-unrealistic assessment of
recall her past and present, recording moments
the events of 1933-34. Six years later Kahlo and Rivera
of loss, illness, and consolation. Among the
were viewed less as dangerous political agitators than
disparate objects floating there, the Empire State
as exotic, theatrical role-players whose naive artistic
Building rises, flame-engulfed, from a volcano.
assaults on American culture and values seemed vaguely
It, and her empty floating Tehuana dress are
quaint or picaresque. A fairer view might position them
distinct reminders of the Riveras’ extravagantly
as media-savvy critics who knew the power of political
harrowing New York summer of 1933.
speech and large-scale mural art. In an era before the
With the arrival of September the season
Internet and social media provided instant forums for
of overheated art and politics began to cool,
every issue, press coverage of the Radio City tempest
and the Riveras thought more seriously of a
opened new conversations—in and far beyond New
return to Mexico. One evening that month they
York—about the roles of art, artists, money, patronage,
encountered Nelson Rockefeller at the New
and free speech in American society. What Kahlo and
York opening of another Eisenstein film, ¡Que
Rivera contributed to those conversations is a complex,
Viva Mexico! Rockefeller greeted the couple
often conflicted view—that art’s roles are to arouse
and inquired politely, “How are you, Frida?”
curiosity, to conjure delight, to provoke discussion, and
Obviously still nursing a grudge, she turned away
always to speak truth to power.
abruptly, flipping her long skirts, and stomped off without a word. In painting as in society, subtlety was never a facet of either Rivera’s demeanor. By December, Rivera had spent, as he
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Sharyn R. Udall is an art historian, curator, and author. Her books include Carr, O’Keeffe, Kahlo: Places of their Own and Dance and American Art: A Long Embrace. magazine||455 THE THEmagazine
CRITICAL REFLECTION
Sam Scott: Four Tides, Four Decades
Yares Art Projects 123 Grant Avenue, Santa Fe
Double rumination. The recent retrospective of painter Sam Scott at Yares Art Projects comprised twenty-one large canvases— mostly oils—a series of small gouache paintings on paper (Honey and Smoke), and a series of twenty-eight smaller watercolors (Birdsong). While each decade was represented by as few as two, and no more than five, large paintings, the selection of works gave to the retrospective a convincing aesthetic continuity whose impact was assured by highly effective placement in the two gallery rooms. Sam Scott’s four-decade survey begins in the 1980s, a period that (for art historians, at least) saw the emergence of what came to be termed Neo-Expressionism. It appeared in contemporary art as a meteoric shift to the modernist painterly tradition from a two-decade trajectory away from the once unchallenged position of the New York School. Scott’s work shows how he pursued this Neo-Expressionist course on his own terms, skirting both the market-driven opportunism of the likes of Charles Saatchi on one side and, on the other, a resurgent humanism espoused by the 1981 exhibit A New Spirit in Painting, launched in London by curators who sought to counter the Conceptualist and socio-polemic trends of the 1960s and1970s art scene. Scott’s abstracted landscapes stand out on visual grounds alone: virtuoso arabesques of surpassing color harmonies and perfect passages of quicksilver brushstrokes. And in their engagement with the viewer they assume the aspect of poetry and the aura of myth, private yet inviting, grandiose yet intimate. Put in the more critical terms of Harold Rosenberg’s reflection on the task of the artist in this ongoing “epoch of historical self-consciousness,” Scott’s success proceeds from what Rosenberg described, as a consequence, as the artist’s “double rumination…upon his esthetic legacy and his own appropriation of it.” Scott’s grasp of the long Expressionist legacy in modern painting is profound and personal, so that his work is visually compelling for the viewer as well as illuminating for the art critic or historian. His 1981 oil-on-canvas Waiting for the Desert Wolves to Sing could serve as an homage to Arshile Gorky’s late painting at the same time as it resonates with a visual poetry and lyricism in its own right. Such effects, here and throughout the later work in the exhibition, are conditioned on Scott’s capacity to see and reconcile the critical difference in aesthetic approach between
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Expressionist and Neo-Expressionist facture. From Gorky and Gottlieb to Pollock and de Kooning, gestural line was integral to the Cubist-derived space that it actually defines, either as counterpoint (Gorky) or by actual construction (Pollock). But in the Neo-Expressionist idiom of Scott’s 1984 High Mountain Meadow or his two 1986 Signs and Miracles oils, for example, the sweeping arcs and swift vectors of Action Painting’s gestural line have given way to a random skein of meandering or slashing strokes and the flat irregular shapes they yield. These abrupt, graphic marks, rather than inhabit a pictorial space they create, only hover above the plane of the canvas or float in front of it. By virtue of their separate formal identity they belie—and thus expose—the intent of Action Painting’s Expressionist brushstroke, its subterfuge of imbuing flat surface with atmospheric space, fictive import, and emotive force. And arguably, by extension, they question the persuasive power of painting itself. This difference in aesthetic, between the conviction of gestural abstraction
and the probative self-critique of its subsequent mannerist reprise by painters such as Gerhard Richter and Sigmar Polke, is reconciled in Scott’s painting, as each canvas resolves in its own way the apparent contradiction between each modality’s posture toward line and color. And his take on this polarity, together with his mastery of color, equip Scott to do so—and he does so by drawing upon the entire Expressionist legacy with impunity, and to great effect. Thus the gestural bravado of his 1994 Great Rock of Inner Searching, with its amalgam of dripping, saturated blue, red, and green circles and irregular coils of yellow ochre, can recall the painterly rhetoric of Richter’s 1984 Abstract Picture while it conveys the pensive silence of a deep-sea coral reef. In works such as his 1984 High Mountain Meadow, Scott’s painting stratagems thread Sigmar Polke’s bright palettes and stencil overlays with Jean-Michel Basquiat’s aggressive graffiti technique The strongest case for Scott’s inventive power is made by his most recent works
(2013), such as Shining Mojave and La Madre Tierra, arcadian idylls that hearken back to the flat pastoral of Matisse’s Le Bonheur de Vivre and Kandinsky’s capricious landscapes: bright, chalky palettes and swirling riparian topographies of etched flora and fauna, secured by chevron stripes of alizarin red, cerulean blue, and earth greens. These arcing bands are revealed to be distended branches of a tree motif, one that dominates La Primavera (The Springtime), a luminous, magisterial fiveby-eleven-foot diptych that is easily the most dazzling painting in the show. Like all Scott’s work, La Primavera occupies some magical interstice within an Expressionist tradition spanning from Gauguin to Basquiat. Sam Scott’s canvases are a sublime testament to the paradox of painting’s abiding power to reinvent itself. As the poet W.H. Auden wrote, “the Truth is one and incapable of contradiction; / All knowledge that conflicts with itself is Poetic Fiction.”
—Richard Tobin Sam Scott, Great Rock of Inner Searching, oil on canvas, 60” x 66”, 1997
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CRITICAL REFLECTION
Stands With A Fist: Contemporary Native Women Artists
Museum of Contemporary Native Arts 108 Cathedral Place, Santa Fe
The seven Native American artists in this exhibition —Gina Adams, Natalie Ball, Nanibah Chacon, Lindsay Delaronde, Merritt Johnson, Tanya Lukin-Linklater, and Melanie Yazzie—defy classification in terms of types and styles of work. If there is anything that ties their art together, it could be irony or even inscrutability. Referring to the latter quality, one of the most interesting pieces in the show was a grid of twenty-seven small watercolor and graphite images by Gina Adams. Titled Honoring Loss Painting, this work gained its strength by the cumulative effects of repetition. The top half of each ten-inch-high painting was pretty much the same—there was a schematic representation of a vaguely human form against a blue sky with three white clouds floating in it. However, underneath each humanoid shape there was a different abstract configuration of pastel-colored dots and lines. If the form above was a definite unifying element throughout, it was the bottom part of each work that was rife with possible interpretations. It was as if underneath each human there was a buried city or a series of maps or hidden jewels—no two designs were alike and the overall effect suggested a delicate labyrinth of inscrutable meanings. Adams also trafficked in the obscure with her ten photographs of Native Americans
in traditional dress printed on rice paper, but each image was covered in a thick coat of translucent wax so the portraits could barely be discerned. All one felt were these apparitional presences that seemed to float away from the walls and quietly embrace their own absence, their own nearly obliterated sense of self. Natalie Ball’s three large mixed-media pieces were a kind of mash-up of NeoExpressionist painting and deliberately crude and garish efforts at quilt making. Ball’s works weren’t hung on the wall; the eight-foot-high paintings were attached to even taller wooden poles on either side and propped against the wall. Using a starquilt pattern as a central motif, the artist also drew images and painted on the fabric with gashes of color, and the sides of these pieces contained a great deal of graffiti-like information to be decoded or accepted at face value. What did the repeated stick figure represent with its large drooping breasts and sporting a top hat? Ball’s iconoclastic works were an exuberant arena where the ghost of Jean-Michel Basquiat met the early Sigmar Polke who walked hand-in-hand with the feminist quilt artist Faith Ringgold. Speaking of ghostly presences, Merritt Johnson’s mixed-media installation of separate but related pieces was a cross
between decidedly spooky and downright creepy. Human beings were implied though not overtly depicted—only by way of allusion, as in a kind of figurative bulkiness either sitting or standing underneath copious drapery—like “monsters in disguise” as has been said of Johnson’s work. In one installation, Shhhhhh, a larger-than-life stuffed rabbit with real fur stands on its two hind legs, a stethoscope draped from its neck to its feet. The animal is positioned at the end of a black-velvet-covered mattress on the floor with the suggestion of a “patient” lying at the other end, huddled under the dark fabric. It’s a disturbing work, but then all of Johnson’s pieces reek of dysfunction and spiritual death. Those two signifiers—death and dysfunction—permeated the video In Memoriam by Tanya Lukin-Linklater. However, there was a strong sense of mystery in the work as well. Were the two women dancers—performing both inside a room with a brick wall and out on the shoreline of a lake—actually the same woman? They looked so much alike they could have been twins or at least sisters, although their hairstyles were different and the clothes they danced in, though similar, were not identical. I never could figure out if these women were the same individual
and I’m even less sure if their separateness mattered or if the blurring of their identities was part of the piece. What was Lukin-Linklater searching for in her choreography redolent with a spastic agony? Did each woman function as a doppelgänger of the other, acting out a series of projections or memories of thwarted attempts at communication? In all of the sequences of this dance that shifted locations and performers, the viewer was privy to bodies closed in on themselves, almost choking with imploded emotions. As the title In Memoriam suggests, some type of mourning was being enacted. The brochure for the exhibition said about Lukin-Linklater that “her work often engages with notions of revitalization through deconstructive and reconstructive performative practices.” If this piece had revitalization at its core it wasn’t obvious. The performances were more like an instrument for embodying the uneasy death throes that might or might not be followed by a resurrection. The same could be said of the entire show as these Native American artists grappled in vivid ways with ideas about the death and rebirth of culture without resorting to cultural stereotypes. —Diane Armitage Tanya Lukin-Linklater, In Memoriam, video still, 2012
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THE magazine | 51
Trinidad, Cuba, 2013
E L L IOT T MCD OWELL PHOTOGRAPHER
E L L I OT T M C D OW E L L .C O M
CRITICAL REFLECTION
Maurice Burns: Outside
the
System
Eggman & Walrus Art Emporium 130 West Palace Avenue, Santa Fe
Burns, aka MOBU, went solo in May at the eggman & Walrus Art Emporium with a new series of oil paintings. Burns is an art renegade and a long-time denizen of Santa Fe. Burns came west in the 1970s on a grant to set up a visiting artist program at the Institute of American Indian Arts. Once here he befriended and exhibited with Fritz Scholder, T.C. Cannon, Earl Bliss, Billy Soza War Soldier (who previewed paintings in the front room at the Eggman in anticipation of his own solo show this August), and a number of other artists who were breaking boundaries in terms of traditional ideas of native art, questioning societal labels and notions of race, heritage, and ethnicity, and most of all, using modernist, formalist, and traditional visual languages simultaneously to produce powerful, content-laden, figurative works of art. This was a defining moment for indigenous contemporary painting and postmodern aesthetics, and Maurice Burns was present. Burns had by this time been
present at a lot of amazing art moments, and through it all he did what came naturally: exercised his fantastic facility as a maker of paintings. But it didn’t start out that way. By his mid-twenties he had achieved the American Dream. Thanks to a prodigious mathematical facility, he held a high-paying job as a computer and electrical engineer, had married a beautiful woman who was similarly employed, and they shared a home in Chicago’s most affluent lakeshore neighborhood. Pretty damn good for a tall, skinny kid from Talladega, Alabama. It was the 1960s. Money was still flowing into the middle classes and something in Burns clicked when he saw the beginning of the predator credit card scams on the horizon. “They didn’t have it down, the way they do now,” he says. “But you could see it coming.” Burns had worked his way up from climbing telephone poles in the field to
managing the largest computer network in the country at the time, so it wasn’t like it had come too easily. Maybe it was the creeping materialism, a sense of the vacuity at the heart of consumer culture, or maybe it was just time to try something he’d always wanted to try. His marriage unraveled. Using the GI Bill, he enrolled at IIT and soon transferred to the Rhode Island School of Design. Mary Boone was a classmate and friend. From RISD he landed at Skowhegan, doing a residency with Brice Marden, which lead to Marden’s suggesting him for an exchange at the Royal College of Art. In London, Burns met R. B. Kitaj and befriended his family. After that he attended nearly every significant artist’s residency program and spent time with numerous important artists, writers, and musicians, many of whom he still keeps in touch with. He quaffed a beer with Sir Kenneth Clark, and he still corresponds
with Dale Chihuly. There is a school of eccentric figurative painting that includes individuals from utterly disparate settings and times, artists like Primaticcio, Odilon Redon, Rousseau, Modigliani, Balthus, Romare Bearden, and James Davis. Scholder and Cannon obviously fit, and any list would be incomplete without R.B. Kitaj and Maurice Burns. What Burns has that many don’t is an incredible natural facility for drawing the figure and composing architectural spaces. One of the hardest things for representational artists to achieve is the right sense of proportion or scale. The right or wrong scale relationships within an image can make or break a picture. Burns is a natural in this regard. Like Kitaj, his work is personal, narrative, and complex. Burns occasionally draws from his African American roots, honoring jazz greats like Dizzy Gillespie or Thelonious Monk, but he’s as uncomfortable with the idea of being branded a “black artist” as Scholder was with the label “native artist.” Burns’ position is a reasonable one. We are all inseparably bound to our backgrounds, but we are also, each of us, more than any of that, more unique than any generalities can touch. A painting like Monk’s Mood, with the larger-than-life pianist’s face juxtaposed with a trio of horn players, abstract elements, and the suggestion of a late-night jazz club is not meant to make any kind of statement per se about being a “black artist.” Rather, it simply celebrates the achievements of the musician, and pays homage. Monk becomes a stand-in for the painter, contemplating the picture itself, and this is as much a painting about painting and composition as it is a painting about music and math, or a painting about Monk. Burns’ works are richly layered, complex, and deeply rewarding, just like Monk’s music. They derive from a certain cultural context, but like his heroes, he achieves universality. Like Hockney, his skills as a naturalist are offset by his appreciation of abstractions—African, Indigenous American, and Euro-Modern; resulting in surprisingly complex illusionistic spaces, and intense, sophisticated interplays of color, light, mood, and meaning. These are kick-ass paintings for those with eyes to see. —Jon Carver
Maurice Burns, Illegal, oil on canvas, diptych, 60” x 96”, 2011
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THE magazine | 53
SANTA FE CLAY CONTEMPORARY CERAMICS
GALLERY CLASSES STUDIOS SUPPLIES
Santa Fe Art Institute More about the 2013 Season CONTESTED SPACE at www.sfai.org
Coming in August Anishinaabensag Biimskowebshkigewag (Native Kids Ride Bikes). Lecture, Exhibition, and Teen Low-rider Bike Building Workshop. By Métis Artist Dylan Miner. Lecture, Monday 8/12, 6pm SFAI. Exhibition, 8/13 – 9/17, Location TBD Teen Low-rider Bike Building Workshop TBD Artists and Writers in Residence July Readings and Open Studio. Thursday, 7/25, 6pm SFAI Ongoing: cavities and clumps: the psychology and physicality of contested space. Exhibition by Artist Martha Russo. Through mid-August. M-F 9-5, SFAI
505.984.1122 545 Camino de la Familia, Santa Fe, NM 87501 www.santafeclay.com
WWW.SFAI.ORG, 505 -424 -5050, INFO@SFAI.ORG. SANTA FE ART INSTITUTE, 1600 ST.MICHAELS DRIVE, SANTA FE NM 87505 | SANTA FE ART INSTITUTE PROMOTES ART AS A POSITIVE SOCIAL FORCE THROUGH RESIDENCIES, LECTURES STUDIO WORKSHOPS, EXHIBITIONS, COMMUNITY ART ACTIONS, AND EDUCATIONAL OUTREACH FOR ADULTS AND YOUNG PEOPLE. SFAI IS AN ENVIRONMENT WHERE CREATIVITY, INNOVATION, AND CHALLENGING IDEAS THRIVE. PARTIALLY FUNDED BY CITY OF SANTA FE ARTS COMMISION AND 1% LODGER’S TAX AND BY NEW MEXICO ARTS, A DIVISION OF DEPARTMENT OF CULTURAL AFFAIRS
• Early Bark Paintings • Traditional Artifacts • • Hermannsburg School Landscapes • Showing through July
CRITICAL REFLECTION
Fay Ku: Asa Nisa Masa
Eight Modern 231 Delgado Street, Santa Fe
The hybrid human-avian creatures in torqued attitudes that populate Fay Fu’s drawings seem to be partway through some sort of transformation. In Preen a feathered body shapes itself like a ball gown; the head, hands, and feet are still human, while the eyes have a demonic look about them. The graphic tangle in Birdfight is between two figures on a descent into their animal nature. Floating in open space, the feathered bodies have deep and bloody claw marks; though both retain their human features and appendages, one foot has a spur-claw, like a fighting rooster. Some of the works weave their mystery more gently. The more whimsical Rain or Shine has two young women in small boats on water. Both wear quizzical, concerned expressions and cat-eye sunglasses, with one hand out testing for rain, which is suggested by the numerous vertical pencil lines that cover the entire composition. The earliest piece here, Local Weather, is from 2011. Several contorted figures dressed in a beautiful yellow wash have their heads encased in fish bowls, perhaps illustrating how each of us carries around our own reality, or drowns in our own illusions. This encasing or out-and-out replacement of the head continues in several 2013 pieces. Development shows pale female figures standing among slender birch
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or aspen trees, many of which have been cut. The women’s heads consist of what appear to be wooden models of houses. They wear tattered slips, and bark is peeling off their legs as though in a travesty of Daphne’s metamorphosis into a laurel tree to evade the god Apollo, who attempted to capture her. In the mythic story, the nymph has some semi-human agency through her refusal and struggle. Daphne requests the supernatural makeover to avoid being taken by force; she twists and resists. Bernini’s marble rendering of this moment, one of the great masterpieces of Western art, captures the dynamism and desperation of Daphne. Ku’s figures here stand passively, as if already overtaken. They function more like vessels in a symbolic metadrama whose full plot we do not know, their motivation practically irrelevant. Perhaps the cut trees and house-heads of Development cryptically represent the inexorable process of housing developments replacing existing landscapes? The show’s title, Asa Nisa Masa, is a slightly altered version of a repeated chant from Federico Fellini’s film, 8½. It is a nonsense version of what the text of a Latin mass or prayers might sound like to a small
child, an incantation with no discernible meaning. To look at Ku’s sophisticated, meticulously crafted drawings, one needs to bring a childlike openness, a tolerance for strong ambiguity rendered in subtle and refined techniques. In fact, “meticulously crafted non-sense process” could be a brief summary of Ku’s works on exhibit here. Ku was born in Taiwan and came to the United States at age three. Her parents continued to maintain and live in their version of the Chinese life-world they had lost, an idealized replica of what they left behind. (This is a common experience for child immigrants, including myself.) Moving between suburbs in Colorado, Oklahoma, Texas, and Maryland, Ku must have felt very isolated in childhood; this probably contributed to her vivid and incisive observation of other people. Each of us enacts an elaborately constructed social role that is sometimes shattered by micro-expressions or unconscious habits. In exaggerating and highlighting these moments, Ku captures a kind of chaos at the center of life, each character’s personal reenactment of the conflict between civilization and its discontents. Woman and Seven-Headed Beast illustrates the peeling away of mask-like faces. The figure
itself has two torsos, thus being already divided and multiple even before the heads start acting out. Perhaps the oddest piece in the show is Luncheon, a large drawing in which knee-high penises dressed up in pastel outfits saunter among several shapely female bodies portrayed from the waist down, wearing only tights or underwear. This “luncheon on the grass” reenacts and tweaks art historical conventions of gender representations in an in-your-face manner without any of the distancing devices of Asian aesthetics that Ku’s other works evoke. Threat shows three figures with modelhouse heads and clad in white shirt-underwear outfits with suspenders holding up what look like bamboo frames for eighteenth-century hoop skirts. One figure is plunging the handle of a mock detonator connected by a red cord to another figure’s skirt, as if to blow it up. Threat and ambiguity, while they may appear surreal and ridiculous to the viewer, somehow hold yet hide the possibility of real menace. Ku’s drawing seems to be a process of thinking through the impossible. —Marina La Palma Fay Ku, Rain or Shine, graphite, watercolor and ink on paper, 27½” x 39”, 2013
THE magazine | 55
javier lopez barbosa “Music in Color” July 5-21, 2013
“Appatition of Emotions” Oil on Canvas 70X62 414 Canyon Road
1 6 11 P a s e o D e P e r a l t a
Santa Fe, N M 87501 markwhitefineart.com
Santa Fe, NM 87501 markwhitecontemporary.com
505.982.2073
5 0 5 . 9 8 2 . 2 0 7 3
Artist Reception Friday July 5th, 2013 5-8 pm
Artist Reception Friday July 6th, 2013 4-6pm
CRITICAL REFLECTION
The Sum
of I ts
Parts 545 Camino
de la
Santa Fe Clay Familia, Santa Fe
Combining. Stacking. Weaving. Stringing. Layering. Every work in Santa Fe Clay’s The Sum of Its Parts exhibition is an arrangement of components. Some rely on light and shadow to gain full effect. Some create unexpected textures. Others depend on geometry. And every piece invites involvement from the viewer to discover hidden and surprising angles and configurations within each sculpture. Nathan Craven’s Luminance required a special wall with a slanted oval cutout that could be backlit. Within that oval, Craven built his site-specific piece. He layered around three hundred and fifty five-and-ahalf-inch-long extruded tiles—his version of bricks—in subtle shades of cream and beige to create a porous texture within the oval. Craven makes the tiles from dies that he only keeps until he hears from a viewer that a motif actually resembles an animal or a specific object. I hesitate to say that my favorite tiles look like a moose and a dog for fear those dies will be destroyed. Some of
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the tiles have single chambers; others have several, allowing the light streaming in from behind to play wonderful tricks. Move far enough to the side of the oval and nearly all the direct, incoming light disappears and some of the tiles’ interior textures become visible. Stand directly in front and the effect is somewhere between a lacy starburst and the blurry lines of warp speed. Staring for too long creates a distinct, borderline queasy sense of motion. On a nearby tabletop, the lacy patterns continue in Eliza Au’s Axis. She has assembled eight ceramic modules to create a sculpture of interlocking sections, all from the same mold. Au explores symmetry and repetition, with each two-dimensional unit contributing to the final three-dimensional form. Every curve is a gorgeous teal with a mid-arch protrusion matching those Craven creams. The careful viewer will find tiny veins of red hidden throughout the piece. On the opposite wall, the curves continue in Julie York’s Peep
Series (Blue). York takes a trio of four-inchdiameter plastic tubes and fills them with slip-cast elements. Each tube is capped with a glass dome that acts as a lens and animates the inner porcelain components so that they become underwater stones or a kaleidoscope or long-necked gourds or a giant version of my favorite aunt’s Italian glass paperweight. And they extend for miles into the wall— not the mere five-inch depth of the tube— and yet they cannot. It’s a luscious illusion. York, a self-described anthropologist and archaeologist with a fascination for repetition and redundancy, scours salvage yards for industrial remnants to incorporate into her work in order to articulate how true nature collides with “man’s impression on nature.” Smooth curves characterize the work of both Elizabeth Hunt and Maren Kloppmann. Hunt’s wall tapestry of “woven” clay is an ingenious use of nearly six hundred and fifty oneand-three-quarter-inch by three-quarter-inch U-shaped elements, like massive inchworms. Hunt presses a tack into the back of each U and when they are pushed into the wall, the finished piece—custom built for this wall— looks as woven as ceramic yarn. Kloppmann’s wall-mounted, five-pillow sculpture, called Shadow Wall Pillows Horizon IV, is captivating on many levels. How can porcelain appear this soft? The five pillows, each with its own rudder, are aligned based on where their lower half is glazed black. This alignment, when combined with their spacing and with a prescribed distance from the light source, creates intricate shadow patterns and shapes on the wall and on the pillows themselves. Move from side to
side along the piece and the patterns shift. Like York, Kloppmann juxtaposes the human-made with the natural. Jae Won Lee’s wall installation, Frail Hope, Internal Distance: Object X, combines hundreds of small porcelain elements that evoke feathers or leaves. They are strung on eighty or more transparent threads, and Lee adds a tiny, clear glass bead on each string, above and below the cluster. This work relies on light and viewing distance to reveal the grays, yellows, creams, and whites that vanish up close. Lee investigates pattern and the way that repetition influences balance. Completing the show are the delicate, slip-cast, functional tableware pieces, Place Settings from Rituals of the Maker, in sage, cream, and black by Heather Mae Erickson. Functional, yes, but also sculpturally stunning when the dishes are nested. And Del Harrow’s tabletop abstract ceramic sculpture Coiled Typology creates a variety of still lifes from multiple views around and across his handmade table. Each of the eleven objects has a section that is glazed— half a leaf, an interior triangle, a flower petal, a sphere. Harrow’s objects reflect the rhythms, transitions, and gradients of physical forms, alone or in combination. Gallery Director Avra Leodas designed the show’s layout and she guides us beautifully through a world of light, shadow, and cream. —Susan Wider Left: Jae Won Lee, Frail Hope, Internal Distance: Object X, porcelain, monofilliment, and bead, 40” x 14” x 7”, 2013 Below: Eliza Au, Axis, ceramic, wax, and metal pins, 22” x 22” x 22”, 2011
THE magazine | 57
Jim Wagner
2013 NEW MEXICO GOVERNOR’S AWARD
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CRITICAL REFLECTION
Interwoven: Santa Fe University of Art and Design Senior Thesis Exhibition
Santa Fe University of Art and Design 1600 St. Michael’s Drive, Santa Fe
Now in its third year, Santa Fe University of Art and Design (SFUAD) retains distinctive characteristics of the College of Santa Fe—which occupied the space for decades and was heavy on arts education—yet it feels implacably hipper than its predecessor. SFUAD, with its fun-to-say acronym, says it maintains the values and aims of CSF, and now intends to “develop the byways of [our students’] lively and astute imaginations,” pluckily describing itself as “a fearless and nimble leader in creative arts higher education.” Corny vision statements aside, my impression of the student body, gleaned from a handful of surprisingly well-attended school-sponsored concerts and events, is that they’re a diverse and keenly creative bunch. Interwoven, a four-person
senior thesis exhibition on view late this spring, bolstered this sense. The quartet of artists in this lively and cerebral show weren’t your typical group of college seniors, even by art school standards. New Mexico native Evalina Montoya’s reductive, textural paintings covered one of the gallery’s walls. White, streaky gesso in haphazard strokes, applied to a handful of modestly sized squares and rectangles, suggested the hand of an artist who is refreshingly unpreoccupied with the sleek Minimalist associations her work otherwise invokes. Nevertheless, her paintings are stridently simple, evincing a charmingly unaffected quality.
Young Elliot Rogers’ presentation was sensitive and intelligent. A suite of half a dozen or so paintings were hung in one of the gallery’s alcoves, and they displayed a spacey earnestness. Rendered in bright, sometimes spastic colors, the works are diminutive (one was postcard-size and rather boldly occupied an entire section of white wall) and thematically mythic or spiritual: triangular symbols, exuberant figures, fecund mountains. Eyeballs are everywhere: rising beyond hilltops, sprouting from tree branches, and incorporated into kaleidoscopic patterns. Rogers’ triumphantly trippy installation piece, Vision Pyramid, sat squarely in a small, darkened room just off the gallery entrance, a space that wonderfully underscored the weirdness of the central object. Its sturdy fiberboard construction was covered all over in lively animation, thanks to on overhead projector that looped psychedelic moving-image sequences onto the pyramid’s walls. In Friendship in the Age of Facebook, artist Hannah Hoel, who writes for THE magazine, made two hundred and thirtytwo friendship bracelets, one for each of her Facebook friends. In a process she describes as meditative and sometimes tedious, Hoel wove the bracelets alone, using thread whose colors were based on friends’ profile cover photos. In examining the way relationships and social interactions are affected by the Internet, Hoel exposed the inevitable paradoxes of social network friendships, which can be severed—or at least made exponentially more awkward—by an errant click of a button, in the form of a tactless post or an unanswered friend request. Pinning each of the bracelets to a photo taken from friends’ social network profiles, Hoel encouraged her contacts to come to the opening to claim their bracelets, via—what else?—a Facebook event invitation. In this way, Hoel’s project was a cunningly contemporary creative exercise, and the exhibition was a rare opportunity for artist and viewer interaction. The body of black-and-white photographs in Cheye Pagel’s Reveal series is visceral and intimate. On her Website, the artist writes that she typically takes pictures of places and things, but for her senior thesis project she turned the lens on herself, and in doing so tapped into memories and past experiences that immediately strike the viewer as difficult ones. In one shot the artist’s eyes are pried open with scotch tape, elsewhere her face is covered with writing. Bondage is an overarching theme, manifesting in shots of Pagel blindfolded or with her wrists bound in rope. These admirably bold portraits depict the artist at her most raw and most vulnerable. In her earnest and moving artist statement, Pagel explains that years of mental and physical abuse inform the photographic series, and she acknowledges that the photographs are “intensely personal” but goes on to express hope that they will “resonate with those who have gone through similar things.” Interwoven showcased the work of four very different, very driven artists. If this show is any indication, Santa Fe University of Art and Design is a destination for creative talent—and a burgeoning hotspot for provocative events and exhibitions. —Iris McLister
Cheye M.Pagel, Self-Portrait, digital print from scanned 4” x 5” negative, 50” x 40”, 2013 j u ly
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THE magazine | 59
MONROE GALLERY of photography
THOSE WHO DARED
Paul Fusco/Magnum Photos: Michael Rossmann, an organizer for the Free Speech Movement at UC Berkeley, Berkeley, California. 1964
Opening Reception Friday, July 5 5 - 7 PM Exhibition continues through September 22 A major exhibition of compelling and provocative photographs depicting brave, courageous, intrepid, and audacious people and personalities that celebrates the human spirit of daring, drive and determination to make a difference open daily 112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e: info@monroegallery.com www.monroegallery.com
CRITICAL REFLECTION
Lee Price
Evoke Contemporary 130 Lincoln Avenue, Suite F, Santa Fe
If shoving cake into your mouth while standing in the kitchen when no one is looking sounds like a familiar experience, then you will likely relate to the figures in Lee Price’s paintings. Price creates large-scale, photo-realistic oil on linen scenes of women—often self-portraits—engaging with food. These moments take place in domestic interiors, usually in bed or in the bath. Hidden away in these private spaces, these women are shown indulging in various naughty treats, ranging from McDonald’s Happy Meals to multiple pints of ice cream or preservative-laden convenience store snack cakes. Price uses a unique aerial perspective, which disarms her subjects and creates an attitude of voyeurism in her viewers. Critics and the artist alike have identified two main lines of inquiry in her work: one being the problematic relationship women have with food, the other being an exploration of
compulsive behavior. In the four paintings exhibited at Evoke Contemporary’s recent show, however, there are no large boxes of doughnuts. Instead, there is one painting of a woman surrounded by teacups, and three scenes of women languidly bathing amid lemon slices. Price’s most recent work shifts away from her usual scenes of (often blissful and shameless) binging, and turn instead toward a study of a different kind of obsessive consumption. In Tea, a woman lies on her back in her bed in a dress, holding a cup of tea. Numerous similar teacups and saucers are spread around her across the bedding. Tea drinking, generally considered to be a relatively healthy habit, has become unsettling in this context. It is turned into a compulsive act. The bird’s eye perspective allows the viewer to peer down on this private
moment, free and welcome to observe this tea-addict and pass judgment. This perspective also allows the viewer to see her subject as isolated, floating in the middle of the painting—or maybe drowning there—with no escape routes. Ultimately, what is expected to be a moment of tranquility, a space in time carved out to sit with and nurture oneself, becomes not a space of pleasure but a space of distraction. Whatever disguise that distraction takes on—be it tea or bags of potato chips—it not only fails its escapist purposes, but creates new anxiety, if not neurosis. The woman stares up, making direct eye contact with her voyeurs. By confronting her viewers, Price’s subject refuses to censor her compulsive act, yet she betrays neither joy nor relief. She seems mildly puzzled, as though she is full but somehow still thirsting. Tea is consumed repeatedly in an attempt to quench a desire or satiate some need. Though the activity is innocent, it becomes wrought with distress. The canvas is awash with detailed floral patterning--an impressive display of Price’s technical skill, to be sure--but also an obnoxious display of an idealized conception of femininity. The superficiality of this woman’s perfect floral bedding, perfect cotton sundress, and perfect collection of dainty vintage china is betrayed by her absurd tea addiction. One wonders if these material representations of an elusive feminine persona are efforts to fulfill an impossible role: perhaps forging the gaps this woman attempts to fill with her drink. In Lemon Slices I, II and III, women bathe in tubs of floating lemon slices. The viewer is given visual access to their nude bodies, however their faces are obscured as they variously submerge themselves underwater. A quick Google search reveals a dazzling array of the beauty benefits provided by lemon baths: it can lighten and even out skin tone, replenish minerals, relieve tension and stress, energize and refresh, help sooth cuts, sores, and insect bites, and dissolve cellulite. A 1973 Sunkist ad states that a lemon bath “will make you feel like Cleopatra. Or Madame Pompadour. Or your own most luxurious self,” tantalizing claims. These images depart from the concepts of over-eating and epicurean obsession. Instead they address the concept of luxuriating and seeking out glamorous, idealized indulgences. I would argue that there is a third, overarching theme present in Price’s paintings: the slippage that occurs between a woman’s needs and the tools with which she attempts to nurture herself. These women, bathing in lemons because they need something that is missing from their lives, try to sooth those sores by luxuriating. They attempt to feel like Cleopatra by pampering themselves. They are disappointed when the lemon bath feels just like a regular bath; they sink back into the water, nearly drowning Price addresses the absurd measures taken by women to address their inner worlds, the influence of external channels suggesting that a deliciously naughty bite of cake will provide solace, and the loss of pathways toward true pleasure. “My paintings ask what it is that truly nourishes us,” Price says in the exhibition’s press release. The implied corollary is that much of what we consume fails to nourish effectively, and results in greater waste, greater waistlines and cyclical disappointment —Lauren Tresp
Lee Price, Tea, oil on linen, 60” x 40”
j u ly
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THE magazine | 61
Ernest Chiriacka: A Retrospective
from
Pulp
to
Passion
Casweck Galleries 203 West Water Street, Santa Fe
Ernest Chiriacka was born Anastassios Kyriakakos to Greek immigrants in New York City in 1913. Known since childhood as “Darcy” by friends and family, he loved to draw; his press kit has him picking up bits of charcoal from fireplace ashes and using them to draw as early as age three. That he was an enormously talented draftsman is indisputable. In order to earn a living as a working artist, Chiriacka became a sign-maker in his teens, and later an illustrator. Both disciplines require a solid background in and feel for the fundamentals of drawing and design. Still, the fact that he was an illustrator who became an artist is problematic, at least in the canons of Modern Art, where the barriers between high and low art seem impermeable. The looser parameters of postmodernism would damn him further for his decidedly un-ironic treatment of Western subject matter— cowboys, Indians, skulls, tipis, buffalo, and horses. I chose to write about Casweck Galleries’ retrospective of Chiriacka’s works precisely because this is the sort of art—with its traditionally Western subject matter—I tend to reject out of hand, and I hardly think I’m alone in this tendency among critics of contemporary art. Nonetheless, Chiriacka’s biography, and his early work in particular, are compelling. I found myself initially attracted to the retro-chic of his action-packed illustrations and pin-up girls commissioned for the slicks—glossy magazines that included The Saturday Evening Post and Esquire—and the less tony pulps, where pouting, high-heeled molls and cowboy heroes with guns a-blazin’ ruled. Chiriacka was quite gifted as a commercial artist; he studied under the demanding Harvey Dunn at the Art Students League. In fact, money from illustrating bought a family estate in Montauk, on Long Island, but Chiriacka chafed under the limitations of being labeled an illustrator rather than a fine artist. By the mid-1960s, he was traveling throughout the West and the Southwest, his wife and their pet bird in tow, to paint the cultural landscape—an artist at last. His trademark pictures of girls, guns, and guts gave way to “serious” painting. Like many an autodidact, Chiriacka adroitly followed fads as he encountered them. We see evidence of John Singer Sargent and later the Ash Can School in works that reflect Chiriacka’s early years of study in New York; he climbs aboard the Impressionist bus that was making its rounds in the 1960s; by the mid-seventies his style reflects the modern palette of gestural abstraction that brought us kitchen appliances and living-room furniture in avocado green and harvest yellow. Throughout, the constant in Chiriacka’s work is his fine draftsmanship, sense of composition, and finessed brushwork. That his subject matter may not be considered review-worthy—especially in Santa Fe, where it is overly abundant—is due to the fact that Western themes are held to be less-than-acceptable content for contemporary art. Yet, historic pieces by artists including Frederic Remington, George Catlin, and even Joseph Henry Sharp are increasing in value every day as today’s collectors discover for themselves the high quality of such artworks. Unlike Chiriacka, arguably, these artists were presenting what they knew—even if they had to seek it outside of their own neighborhoods, as it were. Like them, though, Chiriacka was robustly attracted to the mythos of the West, particularly after the incident at Wounded Knee in South Dakota in 1973, a civilrights action in which the American Indian Movement demanded a review of treaty negotiations. Perhaps because of his background as an outsider—a poor immigrant who grew up in the slums of the Lower East Side—Chiriacka felt great empathy for the plight of
contemporary Natives in the United States. Chiriacka’s depictions of Indians and the West were quite sympathetic for their time. If anything, he erred on the side of furthering the stereotype of the Noble Savage—painting Geronimo in 1978, for example, as a young Adonis on horseback. A lovely series of paintings of small tipi settlements seem to fade into the mists of a soothing past, glorifying the years before the European encounter. Chiriacka’s Indians are Plains Indians, dressed right out of a Hollywood Western—all buckskin and feathers. It’s the kind of thing you might find in any gallery in Jackson Hole, and it’s well executed, but its merit is a matter of taste—and unfortunately, taste is often a matter of what’s hot on the trend list. Lately it seems that the art world—and its critics—have placed minimalist work in earth tones or black and white
(possibly with a slash of red or orange) at the top of the litany of acceptability. Only a writer with the brashness of a Dave Hickey can get away with putting Norman Rockwell back into that pantheon of Art to be Taken Seriously. Hickey appreciated Rockwell for performing his job as an illustrator so well: He told stories. Chiriacka’s canvases are highly narrative and painterly in the tradition of the Wyeth-Hurd dynasty. Many younger artists these days are accomplished illustrators, reflecting the influences of tattoo art, video games, and animation. I think they’ll find a great deal to value here, particularly in Chiriacka’s beguiling work made in the first half of his long and productive life as an artist. —Kathryn M Davis
Ernest Chiriacka, Western Pulp Cover, gouache on board, 18” x 14”, 1949
CRITICAL REFLECTION
Covington Jordan: Fable
Gebert Contemporary 558 Canyon Road, Santa Fe
There is no twosome more funereal than a cross
and a bouquet of flowers, the compulsive use of which makes Covington Jordan’s second show at Gebert Contemporary, Fable, feel like an occasion for mourning. There are fifteen paintings laden with burlap, tar, and paint, and if a work doesn’t have a floral centerpiece it has a quickly rendered cross. More often than not, the two are on the same canvas, and Jordan employs them over and over again with variations in size, color, and medium. He shifts his materials just enough for variety but not enough to avoid insistence. There is obviously something personally fertile here, and for the viewer the work is tough but seductive. Despite Jordan’s longstanding integral role at Gebert Contemporary, he is an emerging, self-taught artist whose heavy gravitas is fairly audacious. Remember Me is a seven-and-ahalf-by-five-foot canvas with a centered white scrawl that says, REMEMBER ME. The surface is dark and oily, with a black sheen that looks like a noxious liquid. The earthy browns soak into the burlap edges, and elsewhere the cloth is left bare and dry with a roughness rarely reserved for paintings. Centered on the burlap is a white cross that’s not necessarily Christian or even religious, but its context suggests myth of some sort; it’s rendered on a murky background with an ethereal white line just below the disembodied cursive memo REMEMBER ME . Above this is a bouquet of flowers that hovers at an angle, like they would on a tombstone. On a grave, flowers are a gesture of remembrance, but on Jordan’s painting they are a bouquet of black tar masked by colorful paint—a nearly malicious sign of affection. Their sculptural bulges are smeared onto the rough surface and dolloped with a splash of orange that shines like embers in charred debris. Cut flowers may die fast, but this vanitas make us wonder if there was ever anything to fade. Jordan’s request for remembrance is presumptive, especially considering his pessimism. Remember Me is a woeful plea from a melancholic artist, a universal familial request, and even a deific demand that threatens to suffocate with burlap and tar. This Night Will Break Your Heart
has similarly wrenching text written across the entire canvas in huge, white capital letters. THIS NIGHT WILL BREAK YOUR HEART THIS NIGHT WILL BREAK YOU
reads from edge to edge with some words broken midway and wrapping below. The text looks spray-painted by a forceful hand and dominates the entire background, if not the whole painting. Competing for attention is a large bouquet of flowers that sits upright and obscures several words. Again, lumps of tar shoot upward and swell from the surface like cinders. A few oranges pop, but otherwise the flower arrangement is dark and heavy, secured by a cross at the base that looks like a ribbon holding the stems together. If destruction and death were ever an opportunity for rebirth, Jordan’s paintings give no such hope. His one-liner is frustratingly diaristic and torments with ambiguity: what about this night will break me and does a broken heart precipitate complete ruin? One only assumes the answer is yes. ONLY GOD Unforgiven reads FORGIVES over and over again until, at the bottom, the word “forgives” becomes “unforgiven,” as if to say that no, God does not forgive, and you (or the collective we) are not forgiven. To make the painting graver, a figure emerges from the white and beige crusted surface that covers the words: a Christ-like martyr with outstretched arms dripping in white pigment. He is metaphorically nailed to the canvas with a rosary of stenciled pink roses arching at his feet. Follow Me is a found painting of mother and child that Jordan repainted. Once a pious religious portrait, it is now a bubbling green shadow that looks like acid corrosion. Circling around this dark effigy are Jordan’s pink-stenciled flowers and, in place of a halo, Jordan wrote TIME TO KIL L. The words may as well be written in blood, as their burnt-red pigment barely smudges the lines needed to convey such a timely pronouncement. With references to graffiti, NeoExpressionism, and particularly the dense emotive surfaces of Anselm Kiefer, Jordan’s show tells a story of misanthropic fables. The word “fable”
elicits cautionary tales as much as mythic adventures, and an acid-green, bubbling Virgin Mary may as well be a burning flag. Despite Jordan’s audaciousness and ultimately dark egocentricity, his paintings are enticingly enigmatic. They are large, eventful canvases with extremely tactile surfaces, minimal color, and moody, provocative subject matter. They tell of solipsism flooded by idolatry, death, and decay. If that’s not timely and deliciously tragic, I don’t know what is. —Hannah Hoel
Top: Covington Jordan, Remember Me, mixed media on canvas, 80” x 56”, 2013
Covington Jordan, This Night Will Break Your Heart, mixed media on canvas, 80” x 50”, 2013 j u ly
2013
THE magazine | 63
F L A S H B A C K : c i r ca , 1 9 8 1
Freddy Lopez, Tommy Macaione, Bill Tate and James Rutherford on Canyon Road in front of Alphonso’s—(now Geronimo). Circa 1981. Photograph by Temple j u ly
2013
THE magazine | 65
27 VOL
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VERVE Gallery of Photography 219 East Marcy Street, Santa Fe, New Mexico 87501 p: 505-982-5009 w w w . v e r v e g a l l e r y. c o m
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GREEN PLANET
Jodie Winsor: Marketing guru, art
director, designer, humanitarian,yoga professor For the past year, Jodie Winsor has volunteered through the Santa Fe International Folk Art Market’s LongTerm Mentor Program to help teach the Saraguro bead workers of Ecuador— La Mega Cooperativa Artesanal de los Saraguros —how to market and export their exquisite beadwork. The Saraguros are subsistence dairy farmers who live in southern highland Ecuador. Through their beadwork these artists educate their children, support their communities, and fund a women’s shelter. The cooperative created microloan programs for their members, enabling them to surmount crises, buy equipment to improve their artisan activities, and increase the welfare of their families. The purchase of their jewelry thus has an impact on many lives in Saraguro. lamegabeadwork.com folkartmarket.org
Winsor says, “This project has become about people unconditionally helping others; cultivating a global community. I have worked in partnership with Karen Domenici of Southwestern Silver. Linda Belote, an anthropologist and friend of the Saraguros, has guided us. Many people have volunteered time, energy, and services to
“
help us help the Saraguro people. I call this
Life is yoga off the mat, owning your gifts and using them to serve others.” Photograph
j u ly
2013
“yoga off the mat.” It is being of service to something greater than yourself, ultimately the greater good of the planet.” Winsor runs a local marketing and design business with a conscience, Launch Creative Lab. Launch focuses on helping businesses own their strengths and contribute to our community. launchcreativelab.com
by
Jennifer Esperanza THE magazine | 67
MARK Z. MIGDALSKI, D.D.S. GENERAL AND COSMETIC DENTISTRY “DEDICATED TO PREVENTION, SERVICE & EXCELLENCE”
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a r c h i t e c t u r a l d e ta i l s
Memorial on the Road to Taos photograph by
Guy Cross
jDuElCye m 2013 ber/JANUARY
2012-13
magazine||69 5 THE THEmagazine
WRITINGs
P Y RO C IT Y by
M a r i ly n S ta b l e i n
Driving north to Nambe flame-licked road signs spell out fire’s culinary treats. Lov ‘n Oven bakery’s hot bread aroma, Tewa Smokehouse barbecued ribs. String clusters of hanging crimson sun dried chili ristras. Time to add sizzle, charbroiled and roasted to the dictionary of fire. Think sauté, simmer, flambé. Think incinerate, cremate, inferno. Grungy Cinderella the ash and cinder sweeper and poor Hansel almost shoved into the witch’s oven cauldron. From the poet’s lexicon inflamed and luminescence leap to mind. The best sign is for Pyro City, an entire warehouse tent city of Black Cat fire crackers, rocket streamers, blazers, sparklers, star bursts, Roman candles, cherry bombs and fire wheels. Top of the line year around incendiary explosives for every use. Fire’s contagious airborne arc: deafening cannon shot, glorious ascension, sky bursting brilliance, rainbow sparks, showers, fountains, streaks, fire falls withered dying glow, acrid ash.
Marilyn Stablein’s poetry collection Splitting Hard Ground won the New Mexico Book Award. “Pyro City” is from an unpublished collection titled Incandescence. Stablein is the author of eleven books. She is also a visual artist specializing in assemblage and artist books.
70 | THE magazine
j u ly
2013
Peter Millett
www. chiaroscurosantafe .com
c h i a r o s c u r o 702 1/2 & 708 CANYON RD AT GYPSY ALLEY, SANTA FE, NM
July 12 - August 11, 2013
505-992-0711
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Chris Richter