THE magazine July 2015

Santa Fe’s Monthly

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of and for the Arts • July 2015

Opening Reception Thursday, July 9th, 5–7

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

05 letters 19 universe of: sculptor Michael Wilding 22 art forum: Pasture II by Suzanne Sbarge 25 studio visits: Michael Lujan and Amy Westphal 31 ancient city appetite : Santacafé 33 one bottle: 1991 Domaine Ramonet Batard-Montrache by Joshua Baer 35 dining guide: Love Apple (Taos) and 315 Restaurant & Wine Bar 39 art openings 40 out & about

CONTENTS

50 previews: ART Santa Fe 2015 at Santa Fe Convention Center, Drawn to the Wall 2 at Patina Gallery, Life and Shadow at Gerald Peters Gallery, and Love, Death, and Revenge at Tansey Contemporary

Sculpture Center.

55 national spotlight: Doris Salcedo at the Guggenheim Museum, New York City 56 flashback: Walter Chappell in El Rito Labyrinth, 1994, photograph by Guy Cross 59 feature: 100 Years of Solitude by Diane Armitage 65 critical reflections: 123: An Evening Length Dance Concert at the New Mexico School for the Arts, Ann Appleby at Charlotte Jackson Fine Art, Charles Connelly and John Connell at Peters Projects,

Fraction of a Second at 516 ARTS and the UNM Art Museum, 2nd Invitational Glass Show at Blue Rain Gallery, Jane Cook at New Concept Gallery, Katherine Lee at Tai Modern , Meridel Rubinstein at David Richard Gallery, and Stuart Arends at James Kelly Contemporary 75 green planet: Carolyn Parrs: Founder of Women of Green, photograph by Jennifer Esperanza 77 architectural details: Spring Grasses, photograph by Guy Cross 78 writings: “The Sleep of Reason” by Jon Davis

The sight of people tailgating in the light of the setting sun isn’t unusual, but in Tesuque, such a vision doesn’t signal a sporting event, but rather an opera performance. In its nearly sixty year history the Santa Fe Opera has become an innovator in offering opportunities to the stars of tomorrow through its apprentice program, and a presenter of world premieres as well as favorites of the repertoire. Though the work of many, this institution is undisputedly the result of the vision and incessant labor of its founder, John Crosby. The biography A Vision of Voices: John Crosby and The Santa Fe Opera (University of New Mexico Press, $29.95) offers an extensive look at the

life of the imposing personality who discovered the beauty of New Mexico as a child in need of a healthy environment, studied music and worked in the East under notable mentors, and then returned to the Southwest to realize his dream.

Crosby as director, conductor, financial overseer, and at times, groundskeeper, shaped the reputation of the summer festival. Speculations on the underlying reasons for his aloof, driven, and surprisingly caring-to-a-point personality, as well as accounts of his parents’ undeniable and influential support of their son, his love of the operatic works of Richard Strauss, adequate conducting abilities, and Crosby’s skill

as a developer are just a few of the elements addressed

by Craig Smith, who conducted extensive research to realize the volume. Numerous photos from the Opera archives illustrate the era of achievement that took a small theater in the desert through destruction by fire and several rebuilds on to the international reputation it enjoys today. The firsthand tales come from colleagues, business associates, friends, and acquaintances of Crosby, who knew him as well as he would allow, and excerpts from letters and memos make the read a fascinating one, providing new insights into the legendary John Crosby and the making of the Santa Fe Opera.

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

OPENING RECEPTION WITH THE ARTIST

Saturday 11 July from 5 to 7pm Lannan Foundation Gallery ARTIST TALK

James Drake & physicist Dr. David Krakauer [president, Santa Fe Institute] Wednesday 5 August at 7pm Lensic Performing Arts Center GALLERY HOURS

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

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

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

LETTERS

magazine VOLUME XXIV NUMBER I WINNER 1994 Best Consumer Tabloid

SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 and 2006 Top-5 Best Consumer Tabloids P U B L I S H E R / C R E AT I V E D I R E C T O R Guy Cross PUBLISHER/FOOD EDITOR Judith Cross ART DIRECTOR Chris Myers COPY EDITOR Edgar Scully PROOFREADERS James Rodewald Kenji Barrett

Tread Softly—sculpted paintings by L. Scooter Morris on view at Wiford Gallery, 403 Canyon Road, Santa Fe. Opening reception: Friday, July 3 from 5 to 7 pm. Image: Created Equal.

S TA F F P H O T O G R A P H E R S Dana Waldon Anne Staveley OUT & ABOUT PHOTOGRAPHER Audrey Derell CALENDAR EDITOR B Milder WEBMEISTER

Jason Rodriguez SOCIAL MEDIA Laura Shields CONTRIBUTORS

Diane Armitage, Joshua Baer, Davis K. Brimberg, Kristin Bundesen, Jon Carver, Jon Davis, Kathryn M Davis, Jennifer Esperanza, Marina La Palma, David Leigh, Lisa Pelletier, Suzanne Sbarge, Gershon Siegel, Richard Tobin, Lauren Tresp, and Susan Wider Doris Cross - 1922s:

COVER photographer unknown.

See page 59

ADVERTISING SALES

THE magazine: 505-424-7641 Lindy Madley: 505-577-6310 COLORADO ADVERTISING SALES Joaquin Salazar: 970-394-0047 DISTRIBUTION

Jimmy Montoya: 470-0258 (mobile) This issue is dedicated to the life and times of RC Israel.

THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: themagazinesf@gmail. com. Web address: themagazineonline.com. All materials copyright 2015 by THE magazine. All rights reserved

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

2015

TO THE EDITOR: In response to the two letters written to THE magazine regarding Hannah Hoel’s critique of Eileen Braziel’s installation, I have this to say.

If Ms. Braziel failed in her attempt to capture consistent and repeatable meanings in her cultural experiment, which, in my humble opinion, she did, it is to Hannah Hoel’s credit that this was pointed out. The real question is whether the ideological intentions the curator wanted to be realized, were realized.

If the curator failed, she certainly wouldn’t want to admit defeat. Nor would she like to acknowledge the fact that the critic perceived so many mutually hostile forces and ambiguities in the gallery presentation itself. Certainly it is convenient to blame critics. But to enlist your friends from New York to write snarky letters to the editor, to drop names and question the critic’s credentials, while suggesting that the people who care most about art, the people who write about it professionally for very little money or glory, are backwater idiots, is gutless.

Never mind that Santa Fe is the third largest art market in America, or that it actually produces artists themselves. Furthermore, in regards to the question of credentials, I often wonder myself what credentials are demanded of gallerists? Do they graduate from some academy somewhere, some university? What does it take to sell chic items for upscale consumption or provide glamorous façades for state and corporate power, as so many galleries do? The truth of the matter here is that Ms. Braziel’s friend, Julien McRoberts, better thank her lucky stars that there is a critical culture that does not come from the technocratic, white-collar nouveauriche clown academy that McRoberts seems so fond of. Moreover, anyone with a little industry and application can extricate themselves from the pretentious ideology, propaganda, and modes of distortion perpetrated daily by the art intelligentsia. It appears that when the analysis is carried out properly, as Ms. Hoel’s was, brittle and pugnacious squealing ensues.

—Anthony Hassett, Santa Fe, via email

TO THE EDITOR: I want to comment on two letters in the June issue within the context of Hannah Hoel’s May review of the Gallery Fake: Iconocontemporary exhibit at Eileen Braziel Art Advisors. One letter was emailed by show curator Braziel herself and the other by a friend and past project collaborator Julien McRoberts. I found Hoel’s review of Gallery Fake to be an intelligent, articulate, and fair critical assessment of the exhibit. She supported a professional assessment with solid, specific points argued with persuasive clarity. Hoel came to the position that Gallery Fake is a catching and charming title that masks a disjointed show with a scattered agenda, a kind of “emperor’s new clothes: needless pomp and circumstance” in which, “despite good intentions, the work is prey to a jumbled pretense by mostly good artists (and some not) stuck together for no coherent reason,” with too many pieces “poorly displayed,” blunted by numbing “wall text in all the wrong places.” Rather than a provocative “ruse to usurp the standard gallery model,” Gallery Fake came across as little more than “an art advisor’s residual acquisitions.” Hoel offers evidence of Braziel’s “scattered agenda”: Gallery Fake’s combining of “three supposedly disparate artistic genres” (iconoclastic, Western, contemporary), categories that lack validity “in the absence of some key highly anticipated iconoclastic works in the show” that might support such distinctions.

Hoel ascribes the show’s failure to support its claim to unify this alleged disparity to Braziel’s “tangled strands of somewhat reflective, nearly witty curatorial statements.” One express intention by Braziel to “challenge viewers about issues of artistic influence, authenticity, and historicity in the digital age,” by pairing regional with internationally known artists, was not realized by simply placing them side by side. Hoel found Gallery Fake to be “awkwardly creased between a then-and-now survey and a contemporary Native showcase that barely supports a more sobering contemporary framework.” Hoel concludes that, while Iconocontemporary, the show’s coined subtitle, purportedly “speaks to a potentially unified disparity that seems pretty darned cool,” continued on page 7

THE magazine | 5

Retablos: A New Voice Victor Huaman Gutierrez

June 26 – July 28, 2015

Opening Reception July 9th, 4–7pm

RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 875 01 505.820.3300 | WILLIAMSIEGAL.COM

LETTERS

Folk Tales—new work by America Martin on view at 203 Fine Art, 203 Ledoux Street, Taos. Opening reception: Saturday, July 11 from 4 to 7 pm. Exhibition runs through Wednesday, August 8.

we find instead that “Gallery Fake remains a false idol.” In response, neither Braziel nor McRoberts at any point addresses Hoel’s critical argument— not even a single element or aspect of it. Instead, their letters are just an ad hominem attack on Hoel herself, accusing her of having: a “serious attitude,” an agenda (“something in mind before she walked in”), “obvious inexperience,” no “connections,” no “credentials” to be an art critic, and of being an “idiot writer.” McRoberts even contrasts Hoel unfavorably with Braziel, whom McRoberts considers “hard-working,” “dedicated,” “community based,” an exhibit organizer with art world “connections,” highly successful in generating “great public relations.” As for the horse Hoel rode in on: McRoberts and Braziel characterize Hoel’s review itself (“trash piece”) as superficial (“didn’t ‘look’ at the work” ), cursory (“literally took five minutes prancing around”), immature (“prancing around”), “negative,” “vindictive,” callous (“not seem to care”), and “highly unprofessional.”

Art criticism involves differing viewpoints and informed dialogue. The role of an art critic is not to reveal truths; it’s to offer insights and judgments that may show us how to find them. Hannah Hoel’s review has done that, and done it really well. Braziel and McRoberts’s letters have not. Not at all.

—Richard Tobin, Santa Fe, via email TO THE EDITOR: Thanks so much for mentioning CENTER and

J U LY

2015

Review Santa Fe in the June issue. We appreciate the coverage. I really loved the photo of Elizabeth Taylor with RC Gorman, too. Who took it?

It reminded me of something I hadn’t thought about in years: I met Elizabeth Taylor in Taos once, maybe even around the time that photo was taken, although in my memory she looked thinner. It was Thanksgiving, 1980 or 1981. My parents had come to visit me and my ex-husband (I lived in Albuquerque at the time) and we all went up to Taos for the long weekend. We stayed at the Sagebrush Inn, and my mother met someone there who told us about an opening at Michael Taylor’s gallery, just below the Mabel Dodge Luhan house. So we went, and there was Elizabeth looking resplendent in a purple silk pantsuit that matched her legendary violet eyes.

She was so much more petite than I had imagined, and very trim at that point in her life. It was a very casual affair, full of people, but there was definitely electricity in the air, at least for me. I was so thrilled to meet her, and enchanted by her soft voice and star presence.

—Joanna Thorne Hurley, Santa Fe, via email TO THE EDITOR: I just read the June issue of THE magazine from beginning to end and enjoyed every page. I am often disillusioned with the art world, but reading your mag actually made me excited about it. Thanks for what you do for all of us.

—A lexandra E ldridge , S anta F e , via email

TO THE EDITOR: I was quite taken with John Macker’s poem, “The soul of Chihuahua,” which closed your June issue.

Macker is one of Santa Fe’s hidden treasures.

As someone who recently spent a year living in Santa Fe—and misses it greatly—I rely on Macker’s poetry to bring me back, every time I read it.

If THE magazine’s readers get a chance to check out his new book, Disassembled Badlands, they’ll see what I mean.

—R ichard P olsky , S ausalito , CA, via email TO THE EDITOR: Once again, thanks for the article in the May issue of THE. It has resulted in some interesting interactions for me. The format was wonderful, in that my voice really came through. As always, I love how THE magazine directly supports artists. It is such important work!

—N ina E lder , S anta F e , via email TO THE EDITOR: The latest issue of THE magazine has a great photograph of R.C. Gorman and Elizabeth Taylor.

What caught our eye was a drawing on the wall by Paul Pletka. Thought that that should be called to the attention of your readership. Pletka has a wonderful painting currently hanging in the Painting the Divine exhibition at the New Mexico History Museum. We’d love to see more about Pletka in your publication.

—L arry and J ane H ootkin , S anta F e , via email

THE magazine |7

NATURE NEW DIRECTIONS IN WIRE ART A selection of pieces designed by Marisa Fick-Jordaan with Masterpieces of Zulu Copper & Telephone Wire Weaving Curated by David Arment

OPENING RECEPTION WEDNESDAY, JULY 8

5—7 pm OPEN HOUSE SATURDAY, JULY 11

11am — 5pm

Gordon Parks and Rania Matar • Exposure Sandi Haber Fifield • After the Threshold June 13 - July 24

In the gallery at

RADIUS BOOKS 227 EAST PALACE AVENUE SUITE W, SANTA FE, NM 87501

For more info contact da@davidarment.com or call 505.983.4068

gallery closed July 25 -August 5 Richard Levy Gallery • Albuquerque • www.levygallery.com • 505.766.9888

S U M M E R O F C O L O R | J U LY 3 - A U G 2 CHARLOTTE JACKSON FINE ART 505.989.8688 | 554 South Guadalupe Street, Santa Fe, NM 87501 | www.charlottejackson.com David Simpson, The Latest Alchemy, 1989, acrylic on canvas, 72 inches in diameter

Markis aWhite Fine Art proud paricipant in 2015’s Shown here: Mark White’s Passion Flower sculptures in, from left, Orange Fusion and Fuchsia Fusion color patinas. Our patinas are applied to copper blades using a hot dye process and are made to withstand the elements for years to come. Learn more at www.markwhiteeneart.com!

A R LO N A M I N G H A

DIALOGUE #1 (seen in 4 variations)

Indiana Limestone

15” x 12” x 4” Arlo Namingha © 2015

Artist Reception • Friday, July 24, 2015 • 5–7pm

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

PHYLLIS KUDDER SULLIVAN CHERYL ANN THOMAS J U LY 2 4 - S E P T E M B E R 5 , 2 015 Reception for the Ar tists, Friday, July 24, 5 - 7 pm

Cheryl Ann Thomas

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

MONROE GALLERY of photography

The Long Road: From Selma to Ferguson

Rashaad Davis, 23, backs away as St. Louis County police officers approach him with guns drawn and eventually arrest him, Ferguson, Missouri, August 11, 2014 ŠWhitney Curtis

Opening reception Friday, July 3, 5-7 pm

Exhibition continues through September 27 open daily

112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e: info@monroegallery.com

www.monroegallery.com

B R A D OV E R TO N July 3 – 18, 2015 in Santa Fe Artists’ Reception: Friday, July 3rd from 5 – 7pm

Ides of Mictlan, oil, ground stone, resin, and 12 karat gold on canvas, 70" h x 60" w

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

Linear Functions John Vokoun June 26–July 28, 2015

WILLIAM SIEGAL GALLERY ANCIENT CONTEMPORARY

RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 505.820.3300 | WILLIAMSIEGAL.COM

Opening reception: June 26, 2015

alexandra eldridge

the soul of a bird, 48 x 60 inches

to open the eternal worlds j u L Y

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John Fincher botanica

The Medium is the Message

Drawn to the

Flores in Attica (detail), 2015, oil on linen, 84" x 54"

June 26-July 26.2015

Brent Godfrey

Michael Motley Isolde Kille Seth Anderson

n at u r e

nurture

July 3 to August 29, 2015 Artists’ Reception, Friday July 3rd 5 - 7:00 PM

PATINA GALLERY

patina-gallery.com Wild Child 3, 2014, oil on canvas, 24" x 24"

Now in its 16th year, Patina is the international destination for soul-stirring works of contemporary jewelry, fine art, and design.

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

“There is nothing more valuable to an artist than daily practice. Creatively, NMSA provides a constructive environment that pushes students to the edge.”

-Jasper Keen NMSA Student, Theater

New Mexico School for the Arts is a statewide public high school dedicated to assisting students with passion, promise, and aptitude from across New Mexico in reaching their full potential through mastery arts training and rigorous academics.

NMSA is offering second round auditions for the 2015-16 school year throughout July!

Visit our website for more information.

New Mexico School for the Arts | 275 E. Alameda St. | Santa Fe, NM 87501 | 505.310.4194 | www.nmschoolforthearts.org Pictured: Imeh McIver | Photo credit: Paulo T. Photography

THIS ADVERTISEMENT IS SPONSORED BY SANDY ZANE, ZANE BENNETT GALLERY, SANTA FE

I T I S T H R O U G H T H E M E D I U M O F S C U L P T U R E T H AT M I C H A E L W I L D I N G is able to combine his passion for art, music, and performance. Lyrical and rhythmic, his abstract stone pieces in limestone, steatite, and Greek marble have a curvilinear quality and smooth contours. The foundation of Wilding’s approach is direct carving—a process in which the sculptor respects the intrinsic properties of the stone, letting the properties show through in the finished piece.

Wilding follows the lines he uncovers by allowing natural qualities of the stone to guide his hand. An exhibition—Pulse and Possibilities— will be on view at gf contemporary, 707 Canyon Road, through Sunday, July 26. Opening reception on Friday, July 10, from 5 to 7 pm.

PRELIMINARY DRAWINGS /

of like jamming in music, which for

than by adding to it, as with most other

EVOKING THE NATURAL WORLD

SCULPTURE & MUSIC

me as a musician is the most satisfying

forms of art. This seems very mysterious

Finding eloquence in simplicity is

I don’t do preliminary drawings or make

way to play. The formless form of

to me—finding something within what

something I strive to achieve. I’m

maquettes, although when I first started

communicating with whatever arises.

you have to start out with. And also, all of

very moved by the shapes that

sculpting, I did. Then I wondered what

So, through this process what begins to

three dimensions! You know, “Mine goes

happen in the world when earth

it would be like to go into the stone

emerge feels like a co-creation brought

up to three!”

and wind and water have effect on

without any idea of what the final result,

about by a conversation between the

or the path taken to get there, would

stone and myself.

look like. I start off with a line that

each other—great collaborations, INFLUENCES / MENTORS

which usually result in elegance

My main influences in sculpture would be

and grace.

requires a response, a corresponding

HOW I CAME TO SCULPTURE

the modernists. I love Brancusi, Noguchi,

line, or shape. This falls into an ongoing

I was curious to see how something could

Arp, early Giacometti, Hepworth, and

process of improvised responses, kind

be made by removing material rather

Moore to name but a few.

photograph by

Dana Waldon

UNIVERSE OF

J U LY

2015

THE magazine | 19

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ART FORUM

THE MAGAZINE ASKED A CLINICAL PSYCHOLOGIST AND TWO cutout cheek, and the bird’s wingtips; all causing my eye to linger and return to the upper left of the collage. But,

PEOPLE WHO LOVE ART FOR THEIR TAKE ON THIS MIXED-MEDIA

her blank expression only says, “I am here.” I then explore the pastoral landscape for meaning. The Homestead series of 1868 evoked quintessential American seasonal allusions

PIECE—PASTURE II— BY SUZANNE SBARGE. THEY WERE SHOWN

and illusions, and likely provided the comfort of escape to many white citizens just a few years after the end of the Civil War. Back to the face: could it be Nicky Hilton (or Paris?) of the Hilton Hotels family, so white, so rich, so

ONLY THE IMAGE AND WERE GIVEN NO OTHER INFORMATION.

pretty, staring out at me from within the idyllic American countryside? The fullness of an American summer’s bounty, pretty lips, young white flesh, a red blossom,

Many peaceful images are layered inside this bucolic

The cut-out and chalked-over photo of a young white

and a blue bird: how comforting. Unpretty and awkward

scene. While flowers symbolize a plethora of topics (e.g.,

woman’s face stares out at us from behind a flower

magazine cutouts glued onto a reproduction of an old

romance, sympathy, commitment, friendship), the image

and a bird, and from within Currier & Ives’s American

lithograph of cows, grass, and trees: how odd. Young,

of a beautiful young woman holding a flower reminds me

Homestead Summer. The shadow of her neck and

pretty, and innocent questions like “I see red, white, and

of the 1960s hippie movement. Bulls are typically thought

shoulders embrace the pastoral scene. She both emerges

blue, how ’bout you?” wafting over the clean green setting

to represent strength, power, and fertility. Yet they are

from and dominates the scene. The sharpest shapes in the

like a white rich shadow after a civil war.

resting comfortably here. It seems the animals feel safe

piece are the corners of her eyes and lips, the arrow of the

—Lisa Pelletier, Graphic Designer

enough to let their guard down. A bluebird emerges from the woman’s eye like something from Greek mythology.

Could this woman be the Goddess of Harmony?

Bluebirds are known to symbolize happiness, hope, and the spring season in various cultures. Alternatively, this face may represent Mother Nature presiding over her creation. A mist appears like a tranquil glaze over the scenery. Its presence suggests dawn, an emotionally and physically quiet time. Psychologically, houses are thought to symbolize the psyche and even the personality. They are common dream images. Perhaps this painting is the artist’s dream. If this is true, we are seeing his or her wish for peace.

—Davis K. Brimberg, Ph.D., Clinical Psychologist In spite of the tight fence around Mother Nature’s delicate neck, She looks back at us with knowing, smiling eyes. While humans attempt to separate themselves from Her universe, She rises transcendent and free.

Although disguised behind a flower-mask, Nature continues dominant above humankind’s naïve attempts at taming Her. Poised over the landscape of an idealized bucolic scene stolen from a children’s fairytale, Nature glows triumphant. The pastoral illustration fades into the background. Whatever contentment is depicted within it exists only because of Nature’s blessing. She is the ultimate landlord—renting space on the planet as humankind builds houses soon to become vain towers of Babel. Mankind attempts to organize Nature, but his quaint country roads soon turn into ugly, brutal express highways made possible by his disastrous exploitation of fossil fuels. In order to assure his food supply, His simple domestications will turn the rainforests into lifeless dust.

All his efforts to exploit Nature will be as the swallow on the wing—fleeting and incomplete.

—Gershon Siegel, Writer magazine magazine 22 | THE 20 | THE

J UML A Y Y2015 2015

JAPANESE BAMBOO & THE WORLD EXPO A CENTURY OF DISCOVERY July 10 – July 26 Opening Reception Friday, July 10, 5:00 – 7:00 pm

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

Higashi Takesonosai Akebono, c. 1985-95 suzutake, rattan 12.5 x 8.25 x 8.25 inches

L. Scooter Morris

Had I the heavens’ embroidered cloths, Enwrought with golden and silver light, The blue and the dim and the dark cloths Of night and light and the half light, I would spread the cloths under your feet: But I, being poor, have only my dreams; I have spread my dreams under your feet; Tread softly because you tread on my dreams.

Handle With Care acrylic, mixed media, canvas on canvas 48 x 48”

Walking Across America acrylic, mixed media, canvas on canvas 48 x 48”

“Aedh Wishes for the Cloths of Heaven” W. B. Yeats (1865-1939) The Wind Among the Reeds, pub. 1899

Treading On My Dreams acrylic, mixed media, canvas on canvas 48 x 48”

Don’t Tread On Me acrylic, mixed media, canvas on canvas 48 x 48”

“Tread Softly”

Exhibition July 1 through July 15

Artist Reception Friday, July 3 5PM - 7PM

Originals in series $34,500 Embellished Giclees also available at $5,200 A RT A S E M I S S A RY

403 Canyon Road Santa Fe, NM 87501 505 982 2403 866 594 6554 art@wifordgallery.com wifordgallery.com

STUDIO VISITS

RICHARD BRANSON WROTE: “THE ONLY DIFFERENCE BETWEEN SOMETHING THAT IS MERELY SATISFACTORY AND SOMETHING THAT IS REALLY GREAT IS ATTENTION TO DETAIL.” Antoine de Saint-Exupéry, author of The Little Prince, said, “A designer knows he has achieved perfection not when there is nothing left to add, but when there is nothing left to take away.” Finding the pure essence of your work, removing all superfluous information, all distraction, is paramount. It is the attention to detail that is the difference between great and deceptive.

—Michael Lujan This summer Lujan is working on a collaborative piece with the Squirrels for Meow Wolf’s House of Eternal Return. He will then be going to Moscow and St. Petersburg to work with Christian Ristow on his Hand of Man project. Lujan’s work can be viewed in the Socialight show at Baca Art Projects, 922 Baca Street, Santa Fe, which opened on June 27.

I think the details are important, but in an expanded sense it’s just paying attention.

And that applies to anything you design or create or whatever you choose to do.

The details are important if you’ve decided to care about the work you do in the first place.

—Amy Westphal

J U LY

2015

THE magazine 25

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PHOTOS: ROSALIE O’CONNOR

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THE magazine in the Centennial State Distribution and Advertisng Details Joaquin Salazar: 970.394.0047 salazar.joaquin@icloud.com www.themagazineonline.com

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Discover romance in the land of enchantment at Santa Fe’s oldest restaurant and cantina SPANISH CUISINE AND UNIQUE WINE SELECTIONS FAMOUS TAPAS • TRADITIONAL PAELLA LUNCH, DINNER AND HAPPY HOUR SPECIALS DAILY • SEASONAL PATIO DINING AND DELUXE BANQUET FACILITES 808 Canyon Road Santa Fe,NM 87501 (505) 983-9912 www.elfarolsf.com

ANCIENT CITY APPETITE

Ancient City Appetite

by Joshua

Baer

Santacafé 231 Washington Avenue, Santa Fe Open seven days 11:30 am - 10:00 pm Reservations recommended 505-984-1788 There are two kinds of restaurants in Santa Fe, the ones with their own identities

Jalapeño Mustard, and Rosemary Potato Chips; $8.50. At last. An appetizer with

and the ones who wish they were Santacafé. It’s hard to blame the wannabes. If

a sense of humor.

you look up the word “consistency” you’ll find a picture of people eating lunch in the patio at Santacafé. Between the middle of May and the first of October, there is no better table in New Mexico.

Grilled Ruby Trout with Saffron Rice, Spring Vegetables, and Cilantro Butter; $16.00. The lunch menu’s sleeper entrée.

Chef Fernando’s Housemade Lobster Roll with Pommes Frites; $20.00. Order

Before you go, call ahead and ask for a table in the patio. The best times

a side of the green goddess dressing and pour it on the roll. The joy that comes

are late afternoon and early evening. If you go between 1:15 and 1:45, you’ll get

with eating spectacular calamari and a delicious lobster roll fifteen hundred miles

a good table, the kitchen will still be on its toes, and the lunch crowd will be gone.

from the ocean does not happen by accident. The people in the kitchen are on

In the evening, ask for a patio table at 6:00. If you sit down any later than 6:30 you’ll

your side. They want you to be amazed.

still have a fine dinner, but you’ll miss the parade of locals dressed like tourists

Grilled Sterling Silver Rib-Eye Steak with Pommes Frites and Chimayo Red

and tourists dressed like locals being seated at their tables under the lights and

Chile Béarnaise—$29.00 (only on the dinner menu, but if you’re there for lunch

the tent.

and it’s after one o’clock, don’t be afraid to ask). The green-chile country mashed

Santacafé’s lunch and dinner menus are full of surprises—all of them pleasant.

These are dishes you don’t want to miss.

Crispy Calamari with Four Chile Lime Dipping Sauce—at lunch, $12.50 as an appetizer, $14.50 as an entrée; at dinner, $10.50 (small), $12.50 (large). The best fried calamari anywhere. Ask for extra dipping sauce.

Nathan’s All-Beef Frankfurter on Housemade Bun with Sauerkraut Slaw, J U LY

2015

potatoes are a better side for the rib-eye than the pommes frites.

Congratulations to Judy Ebbinghaus, Bobby Morean, Fernando Ruiz, and the staff at Santacafé on your fourth decade of setting and exceeding your own standards. Santa Fe would not be Santa Fe without Santacafé.

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

THE magazine | 31

happy hour special - 50% off our famous classic appetizers calamari, dumplings, spring rolls selected wines-by-the-glass, “well” cocktails and our house margaritas - $5.00 full bar with free wi-fi monday thru friday from 4:00 to 6:00 pm

Welcome Spring!

Summer Living with our only brunch menus onofour new the year!

Garden Bar Patio!

Easter Brunch Sunday, April 5 • 11:30am–3pm Mother’s Day Brunch Sunday, May 10 • 11:30am–3pm

LUNCH • DINNER • BAR

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

LUNCH • DINNER • BAR

Make your reservations today!

restaurant bar 231 washington avenue - reservations 505 984 1788

gift certificates, menus & special events online www.santacafé.com

505.982.4353 Reservations 505.982.4353 653 Canyon 653 Canyon Road Road compoundrestaurant.com compoundrestaurant.com photo: Kitty Leaken

ONE BOTTLE

O ne B ottle

The 1991 Domaine Ramonet Batard-Montrachet

by J oshua Ass Chat’s intro-track—guitar chords at the end of I Still Haven’t Found What I’m Looking For—dissolve into Russell “Rusty” Duncan’s voice.

B aer .

Rusty: Has your wife so much as had coffee with the gentleman?

Paul: No, she’s never mentioned him. Doesn’t know he exists.

Rusty: Welcome to Ass Chat. I’m your host, Rusty Duncan.

Rusty: But her ass is a masterpiece?

Nails:

Paul: Tightest bubble butt in the Twin Cities. Of course I’m biased.

And I’m Nails Castillo, Rusty’s partner in crime. All guests

appear courtesy of the Ass Chat Hot Line. We’ll be taking your calls

Rusty: Paul. You’re not biased. You’re blessed.

through the bottom of the hour. Second half, Seattle deejay Meter

Which brings us to the 1991 Domaine Ramonet Batard-Montrachet.

Davis will join us on the Hot Line. We’ll chat with Meter about his

In Burgundy, they say Batard-Montrachet was invented to help

ass, his girlfriend’s ass, and the view from the wine cellar on the top

middle-aged men seduce young women. The theory, if you want to call

floor of their new townhouse on Mercer Island. And here I thought

it that, is that young women have everything going for them, except

you were supposed to keep wine underground.

experience. By virtue of its clarity, complexity, and unexpected depth,

Rusty: Nails, we’ve got Angie in Palo Alto with an inquiry about an engineer at work. How you doing, Angie?

Angie: Psyched to be on. I’m in digital strategy with Tesla, and there’s this engineer who liaises between our office and our factory in Fremont. He’s in here twice a week. And he’s a kook, but in a good way. Always makes me laugh. I’m not exactly single, but it’s not like I’m married, and he doesn’t look married, either.

Nails: How about his ass?

Angie: It’s a winner. Here’s my conflict. I mean, you guys are guys, so I figured, get a guy’s take first, before I poll my girlfriends.

Nails: We’re here to help.

Angie: Thanks, Nails. I don’t want this engineer to think I’m throwing myself at him, but I can’t get his ass out of my mind.

Batard-Montrachet speaks to that lack of experience. When an older man introduces a young woman to Batard-Montrachet, he compliments her only weakness, which, ideally, induces her to trust him. Or so the theory goes.

In the glass, Ramonet’s 1991 Batard-Montrachet does not look like a twenty-four-year-old wine. Its gold body has pale green highlights at its edge. The bouquet is outdoor bliss: a blend of apricot blossoms, straw, and sunlight. Sipping this wine requires some discipline. Every cell in your body says, “Chug it,” but if you’re patient, the wine will change in the glass, and the changes will astonish you. The finish is a heartbreak, a light touch, and a séance, combined. If your final sip of this wine leaves you out of breath, congratulations. You’re human.

Rusty: We’re back live with Meter Davis, on the Ass

Rusty: The issue is how to break the ice.

Chat Hot Line. Meter, are you there?

Angie: Yay! I knew you’d understand.

Meter: Here, there, and everywhere, Rusty.

Rusty:

Nails: Tell us about the wine cellar.

Here’s the bad news, Angie. If you like his

ass, chances are, you’re not the only one who’s

Meter: Well, it’s my new toy, basically.

interested. So, time’s not on your side. The good news:

Nails: And a man is only as good as his toys.

It’s the Age of the Ass. His ass is out there for a reason.

Meter: Indeed. What happened was, we tend to

If he’s not hiding it, he’s not shy. Just tell him you like it.

sleep in, so, after we bought the place on Mercer, me

He’ll take it from there. Let’s go to Paul, in Minneapolis,

and the lovebird set up our bedroom in the basement,

with a question about yoga. How you doing, Paul?

where the prior owner’s cellar had been, and put our

Paul: Thanks for taking my call. My wife’s twenty-six.

I’m thirty-six.

Nails: Lucky you.

Paul: Tell me about it. Anyway, she’s into yoga. Five

cellar in the master bedroom.

Rusty: Aren’t you supposed to keep wines in the dark?

Meter: You’re supposed to do all kinds of things.

classes a week.

Doesn’t mean you’re obliged to. It’s all good. There’s

Nails: Kids?

AC. And there’s blinds. Long as we’re not in there,

Paul: No, but we’re working on it. Truth is, I hate all kinds

selecting, the blinds are closed.

of exercise, including yoga. But sometimes I’ll swing by and

Rusty: But when you’re selecting, they’re open?

watch, you know, the last ten minutes of her Wednesday

Meter: Blinds open automatically. And the view of

class. And I really enjoy that. Except there’s this East Indian

the lake is magic. Lunch or dinner, every time we run

dude in the row behind her, and I swear to God, he never

upstairs for a bottle, we see all that water and there’s no

takes his eyes off her ass. And he wears a turban.

other place on earth we’d rather be.

Nails: Paul. Word of advice? Take a step back.

A giant step.

J U LY

2015

One Bottle is dedicated to the appreciation of good wine and good times, one bottle at a time. Send email to jb@onebottle.com

THE magazine | 33

DINING GUIDE

THE LOVE APPLE 803 Paseo Del Pueblo Norte, Taos Reservations: 575-751-0050

$ K E Y

INEXPENSIVE

$

up to $14

MODERATE

$$

EXPENSIVE

$15—$23

$$$

$24—$33

VERY EXPENSIVE

$$$$

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

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

$34 plus

EAT OUT OFTEN

G uy C ross

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

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

Dinner Full bar. Patio.

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

Andiamo 322 Garfield St. 995-9595.

Lunch/Dinner Beer/Wine. Patio.

Major credit cards. $$ Cuisine: Italian.

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

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

Breakfast/Lunch/Dinner. Full bar.

Valet parking.

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

Atmosphere: A classy room. House specialties: For dinner, start with the Heirloom Beet Salad. Follow with the Achiote Grilled Atlantic Salmon.

Comments: Attentive service.

Arroyo Viono 218 Camino La Tierra. 983-2100.

Dinner (Tuesday-Saturday) Full bar.

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

Atmosphere: Warm and welcoming.

House specialties: The Charcuterie Plate, the Grapefruit and Almond Salad, the Prosciutto Wrapped Norwegian Cod, and the N.M. Rack of Lamb—all perfect. Comments: Menu changes depending on what is fresh in the market. Superb service. Top-notch wines in the restaurant and wine shop.

Bang Bite 502 Old Santa Fe Trail & Paseo de Peralta. 469-2345 Breakfast/Lunch Parking lot, take-out, and catering.

Major credit cards Cuisine: American.Fresh, local & tasty.

Atmosphere: Orange food truck in parking lot. House specialties: Burger and fries and daily specials. Lotta bang for the buck.

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

Atmosphere: Intimate with an open kitchen. House specialties: Start with

the Charcuterie Plank. The Bistro Steak and the organic Roast Chicken are winners. Comments: Chef Charles Dale is a pro.

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

Breakfast/Lunch/Dinner (Fri.to Sun.) Wine/Beer soon in 2015 Cash/major credit cards. $$ Cuisine: We call it contemporary comfort food. Atmosphere: Casual.

House specialties: For breakfast, both the Huevos Motulenos and the Eldorado Omelette are winners. For lunch, we love the One for David Fried Fish Sandwich. Comments: Chris Galvin Café Pasqual’s 121 Don Gaspar Ave. 983-9340.

Breakfast/Lunch/Dinner Beer/Wine.

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

Chez Mamou 217 E. Palace Ave. 216-1845.

Breakfast/Lunch/Dinner Beer/Wine.

Major credit cards. $$$ Cuisine: Artisanal French Bakery & Café. Atmosphere: Casual.

House specialties: Start with the Prosciutto Melon Salad. For your main, try the Paillard de Poulet: lightly breaded chicken with lemon and garlic sauce, or the Roasted Salmon with white dill.

Comments: Pastas are right on the mark.

Chopstix 238 N. Guadalupe St. 982-4353.

Lunch/Dinner. Take-out. Patio.

Major credit cards. $ Atmosphere: Casual.

Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, and Kung Pau Chicken.

Comments: Friendly owners.

Counter Culture 930 Baca St. 995-1105.

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

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

Breakfast/Lunch/Dinner Full bar. Patio.

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

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

specialties: The smoked brisket and ribs are the best. Super buffalo burgers. Comments: Huge selection of beers.

Coyote Café 132 W. Water St. 983-1615.

Dinner Full bar.

Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: Main the grilled Maine Lobster Tails or the 24-ounce “Cowboy Cut” steak.

Comments: Great bar and good wines.

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

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

Atmosphere: Casual and friendly.

House specialties: Faves: the Charred Caesar Salad, Carne Adovada Egg Roll, Fish Tostada,, and Steak Frite.

Comments: You leave feeling good.

Downtown Subscription 376 Garcia St. 983-3085.

Breakfast/Lunch No alcohol. Patio.

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

El Faról 808 Canyon Rd. 983-9912.

Lunch/Dinner Full bar. Patio.

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

Comments: Murals by Alfred Morang.

El Mesón 213 Washington Ave. 983-6756.

Dinner Beer/Wine. Patio.

Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego Cheese marinated olive oil.

Fire & Hops 222 S. Guadalupe St. 954-1635 Dinner - 7 days. Lunch: Sat. and Sun. Beer/Wine. Patio.

Visa & Mastercard. $$$ Cuisine: Susatainable local food.

Atmosphere: Casual and friendly.

House specialties: The Green Papaya Salad and the Braised Pork Belly. Fave large plates: the Cubano Sandwich and the Crispy Duck Confit. Comments: Nice selection of beers on tap or bottles.

Georgia 225 Johnson St. 989-4367. Patio.

Dinner - Full bar.

Major credit cards. $$$$ Cuisine: Clean and contemporary.

Atmosphere: Friendly and casual.

House specialties: Start with the Charcuterie Plate or the Texas Quail. Entrée: Try the Pan-Roasted Salmom—it is absolutely delicious.

Comments: Good wine list, a sharp and knowledgeable wait-staff, and a bar menu that you will love.

G eronimo 724 Canyon Rd. 982-1500.

Dinner Full bar. Patio.

Major credit cards. $$$$ Cuisine: We call it French/Asian fusion. Atmosphere: Elegant and stylish. House specialties: Start with the foie gras. Entrées we love include the Green Miso Sea Bass and the classic peppery Elk tenderloin.

Comments: Wonderful desserts.

Harry’s R oadhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner 7 days Full bar.

Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Down home House specialties: For breakfast go for the Scrambled Eggs with Smoked Salmon, Cream Cheese.

Lunch: the Buffalo Burger. Dinner: the Hanger Steak. Comments: Friendly.

Il Piatto Italian Farmhouse Kitchen 95 W. Marcy St. 984-1091.

Lunch/Dinner Full bar.

Major credit cards. $$ Cuisine: Italian.

Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad, the Lemon Rosemary Chicken, and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto.

Comments: Farm to table.

Izanami 3451Hyde Park Rd. 428-6390.

Lunch/Dinner Sake/Wine/Beer Major credit cards. $$$ Cuisine: Japanese-inspired small plates. Atmosphere: A sense of quietude. House specialties:.

We loved the Nasu Dengaku, eggplant and miso sauce, and the Pork Belly with Ginger BBQ Glaze. Comments: Super selection of Sake.

Jalapeno’s Barrio Cafe 2411 Cerillos Road 983-8431 Breakfast/Lunch/Dinner Major credit cards. $$$ Food truck parked in front Cuisine: Call it New Mexican/ Mexican. Atmosphere: Food truck with seating in the building. House

specialties: The Chicharon Burritom and the Stuffed carnitas quesadilla are faves. Comments: Pricey, but well worth it.

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: Truely fabulous soups.

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

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

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

Lunch/Dinner Beer/Wine/Sake. Patio.

Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: Love the Sake.

La Plancha de Eldorado 7 Caliente Rd., La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner Beer/Wine.

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

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

Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: The Vegetarian Pumpkin Soup is amazing.

Fave entree is the BoTai Dam: Beef tenderloin w/ garlic, shallots, and lemongrass. Comments: Friendly.

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

Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Casual House specialties: Start with the

continued on page 37 J U LY

2015

THE magazine | 35

Now ServiNg

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

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

DINING GUIDE

sThe Artesian Restaurant at Caliente Resort & Spa

Ojo

50 Los Baños Drive. 505-5832233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: Southwest and American. Atmosphere: Casual, calm, and friendly. House specialties: At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, and foillow with the Trout with a Piñon Glaze.

315 RESTAURANT & WINE BAR Tomato Salad. Entrée, Braised Lamb Shank with couscous is superb.

Comments: Courtyard for dining.

Masa Sushi 927 W. Alameda St. 982-3334.

Lunch/Dinner Sake/Beer Major credit cards. $$ Cuisine: Japanese. Atmosphere: Low-key. House specialties: For lunch or dinner: Start with the Miso soup and/or the Seaweed Salad. The spicy Salmon Roll is marvelous, as are the Ojo Caliente and the Caterpiller rolls. The Tuna Sashimi is delicious. Comments: Highly recommended.

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

Lunch/Dinner Beer/Wine/ Patio.

Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Beautiful open room. House specialties: For lunch: the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrée: Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop.

Comments: Nice desserts.

Mu Du Noodles 1494 Cerrillos Rd. 983-1411.

Dinner/Sunday Brunch Beer/Wine.

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

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

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

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

Nexus 4730 Pan American Fwy East. Ste. D. Alb. 505 242-4100 Breakfast/Lunch/Dinner Major credit cards. Patio. Cuisine: Southern-New Mexican. Atmosphere: Brew-pub dive. House specialties: Lots of suds and growlers, not to mention the amazing Southern Fried Chicken Recomendations: Collard Greens, Mac n’ Cheese with green chile, Gumbo and Southern Fried Fish n’ Chips.

Comments: Fair prices.

Plaza Café Southside 3466 Zafarano Dr. 424-0755.

Breakfast/Lunch/Dinner 7 days Full bar.

Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: Breakfast: the Huevos Rancheros or the Blue Corn Piñon Pancakes. Patty Melt is super. Comments: Green Chilie is perfect.

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

J U LY

2015

|

315 OLD SANTA FE TRAIL

Brunch/Lunch/Dinner/Bar Menu.

Full bar. Smoke-free dining rooms.

Major credit cards. $$$ Cuisine: All-American. Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs, and Burgers. Haystack fries rule. Recommendations: An excellent wine list.

S an F rancisco S t . B ar & G rill 50 E. San Francisco St. 982-2044.

Lunch/Dinner Full bar.

Major credit cards. $$ Cuisine: Good bar food. Atmosphere: Casual, with art on the walls. House specialties: Lunch: the San Francisco St. hamburger or the grilled Salmon filet with black olive tapeade and arugula on a ciabatta roll. Dinner: the flavorful twelve-ounce New York Strip steak, with chipotle herb butter, or the Idaho Ruby Red Trout with pineapple salsa. Comments: Visit their sister restaurant at Devargas Center.

Santacafé 231 Washington Ave. 984-1788.

Lunch/Dinner Full bar. Patio.

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

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

Comments: Happy hour special from 4-6 pm.

Great deals: Half-price appetizers.

“Well” cocktails only $5.

Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033.

Lunch/Dinner Full bar. Patio.

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

Atmosphere: Casual and friendly.

House specialties: Cornmealcrusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs.

Comments: Easy on the wallet.

Santa Fe Bite 311 Old Santa Fe Trail. 982-0544 Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: American and New Mexican.

Atmosphere: Casual and friendly.

House specialties: Lunch: the juicy 10 oz. chuck and sirloin Hamburger or the Patty Melt. Dinner: the Ribeye Steak is a winner. The Fish and Chips rivals all others in Santa Fe. Comments: Try any of the burgers on rye toast instead of a bun. Their motto” “Love Life. Eat good.” We agree.

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

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

Atmosphere: Contemporary. House specialties: Tuna Steak, ChickenFried Chicken with mashed potates and bacon bits, and the New York Strip with a yummy Mushroom-Peppercorn

|

986-9190

Sauce. Desserts are on the mark.

Comments: Nice wine selection.

Saveur 204 Montezuma St. 989-4200.

Breakfast/Lunch Beer/Wine. Patio.

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

Atmosphere: Casual. Buffet-style service for salad bar and soups.

House specialties: Hot daily specials, gourmet sandwiches, Get the Baby-Back Ribs when available.

Second Street Brewery 1814 Second St. 982-3030.

Lunch/Dinner Beer/Wine. Patio.

Major credit cards. $$ Cuisine: Pub grub. Atmosphere: Real casual. House specialties: We enjoy the Beer-steamed Mussels, the Calamari, and the Fish and Chips.

Comments: Good selection of beers.

Shake Foundation 631 Cerrillos Rd. 988-8992.

Lunch/Early Dinner - 11am-6pm Major credit cards. $$ Cuisine: All American Burger Joint.

Atmosphere: Casual with outdoor table dining.

House specialties: Green Chile Cheeseburger, the Classic Burger, and Shoestring Fries. Amazing shakes made with Taos Cow ice cream. Comments: Sirloin and brisket blend for the burgers.

Shohko Café 321 Johnson St. 982-9708.

Lunch/Dinner Sake/Beer.

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

Atmosphere: Sushi bar, table dining.

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

Comments: Friendly waitstaff.

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

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

Lunch: the Indonesian Vegetable Curry on Rice; Comments: Wine and Craft beers on tap.

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

Breakfast/Lunch/Dinner Full bar. Patio.

Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties:.

Dinner: Start with the sublime Beet and Goat Cheese Salad. Follow with the Pan-Seared Scallops with Foie Gras or the Double Cut Pork Chop. Comments: Chef Andrew Cooper brings seasonal ingredients to the table.

Excellent wine list.

The Compound 653 Canyon Rd. 982-4353.

Lunch/Dinner Full bar. Patio.

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

Atmosphere: 150-year-old adobe.

House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime.

Comments: Chef and owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award.

The Love Apple 803 Paseo del Pueblo Norte, Taos.

575-751-0050.

Dinner: Tuesday-Sunday Wine/Beer. Patio.

Cash/Check $$$ Cuisine: Regional and organic home cooking. Atmosphere: Small historic church setting that is lovely and calm.

House specialties: Homemade Baked Tamale and Oaxacan-Style Mole with local sautéed greens and sweet corn baked tamale; grilled Asparagus and local oyster mushrooms, Ruby Rainbow Trout wrapped in corn husks with lime butter, topped with chipotle crème; Three Mushroom Walnut Pâté, and the Wild Antelope Tenderloin served with Potato Gratin and Parsley Dijon Gremolata—all are sublime.

Comments: Menu changes seasonally and is always wonderful. Nice selection of wines. Terrific waitstaff.

The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: American Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch, the Prime Rib French Dip or the Lemon Salmon Beurre Blanc.

Dinner: go for the Lavender HoneyGlazed Baby Back Rib, or the Prime Rib Enchilada Comments: Super bar.

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

Atmosphere: Family and very kid-friendly.

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

Comments: The best BBQ ribs.

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

Lunch/Dinner Beer/Wine. Patio.

Major credit cards. $$ Cuisine: New Mexican.Atmosphere: A local institution located just off the Plaza. House specialties: If you order the red or green chile cheese enchiladas. Comments Always busy., you will never be disappointed.

The Teahouse 821 Canyon Rd. 992-0972.

Breakfast/Lunch/Dinner Beer/Wine. Fireplace.

Major credit cards. $$ Cuisine: Farm-to-fork-to table-to

mouth. Atmosphere: Casual. House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox or the Teahouse Oatmeal. All of the salads are marvelous.. Many, many sandwiches and Panini to choose from. A variety of teas from around the world available, or to take home make The Teahouse the best source for teas in the great Southwest.

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

Breakfast/Lunch

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

Atmosphere: Easygoing and casual.

House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese or the daily specials.

Comments: The real deal.

Tune-Up Café 1115 Hickox St. 983-7060.

Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, New Mexican. Atmosphere: Down home.

House specialties: Breakfast:We like the Buttermilk Pancakes. Lunch: Great specials Comments: Easy on your wallet.

Vanessie

of

Santa Fe

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

Major credit cards. $$$ Cuisine: American. Atmosphere: Piano bar and oversize everything, thanks to architect Ron Robles.

House specialties: New York steak and the Australian rock lobster tail.

Comments: Great appetizers.

Vinaigrette 709 Don Cubero Alley. 820-9205.

Lunch/Dinner Beer/Wine.

Major credit cards. $$ Cuisine: American. Atmosphere: Light, bright and cheerful. House specialties: Organic salads. We love all of the salads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: Seating on the patio.

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

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

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

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

Atmosphere: Casual and friendly.

House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Pork Ribs. 65 brands of Tequila for your drinking pleasure.

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

Dinner Full bar. Patio.

Major credit cards. $$$ Cuisine American Atmosphere: Real casual. House specialties: The perfect Chile Rellenos and Eggs is our breakfast choice.

Lunch: Cannot go wrong with the Southwestern Chicken Salad, the Fish and Chips, and any of the burgers. Comments: A variety of delightful pasteries and sweets are available for to eat in or take-out.

THE magazine | 37

OP INFINITUM: ‘THE RESPONSIVE EYE’ FIFTY YEARS AFTER (PART II)

STEPHEN WESTFALL JEWEL CURTAIN

AMERICAN OP ART IN THE 60S

JUNE 26 - AUGUST 9, 2015

THROUGH - JULY 12, 2015

OPENING RECEPTION: FRIDAY, JUNE 26, 5:00 - 7:00 PM

GALLERY DISCUSSION AND CLOSING RECEPTION WITH CURATORS PETER FRANK AND DAVID EICHHOLTZ: SATURDAY, JULY 11, 3:00 - 5:00 PM

SATURDAY, JUNE 27, 2:00-3:00 PM

Stephen Westfall, Jewel Curtain, 2015, Oil and alkyd on canvas, 75” x 50”

Rakuko Naito, RN1468-64, 1964, Acrylic and metallic acrylic on linen, 68” x 68”

Featuring: Richard Anuszkiewicz, Karl Benjamin, Ernst Benkert, Leon Berkowitz, Francis Celentano, Tony delap, Thomas Downing, Lorser Feitelson, John Goodyear, Francis Hewitt, Charles Hinman, Will Insley, Ward Jackson, Leroy Lamis, Mon Levinson, Alexander Liberman, Ed Mieczkowski, Rakuko Naito, Paul Reed, Oli Sihvonen, Julian Stanczak, Peter Stroud, Tadaaki, Tadasky, Leo Valledor, Mario Yrisarry, Larry Zox

GALLERY TALK: MODERATED BY KATHRYN M. DAVIS OF ARTBEAT RADIO

GABRIEL J. SHULDINER

BRYAN WHITNEY

postapocalypticBLACK™

OBSCURE STRUCTURES JUNE 26 - AUGUST 9, 2015 OPENING RECEPTION: FRIDAY, JUNE 26, 5:00 - 7:00 PM

GALLERY TALK: MODERATED BY KATHRYN M. DAVIS OF ARTBEAT RADIO

GALLERY TALK: MODERATED BY KATHRYN M. DAVIS OF ARTBEAT RADIO

SATURDAY, JUNE 27, 2:00-3:00 PM

SATURDAY, JUNE 27, 2:00-3:00 PM

Gabriel J. Shuldiner, Could.Have.Been//, 2015, Mixed media, 33.2 x 25 x 3.5”

Bryan Whitney, Obscure Structure #4 (Barn), 2005, 1 of 7, Archival ink on cotton rag paper, 44’ x 56”

JUNE 26 - AUGUST 9, 2015 OPENING RECEPTION: FRIDAY, JUNE 26, 5:00 - 7:00 PM

DavidrichardGALLEry.com The Railyard Arts District

DAVID RICHARD

544 South Guadalupe Street, Santa Fe, NM 87501

GALLERY

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

OPENINGS

JULYARTOPENINGS FRIDAY, JULY 3

203 Fine Art, 203 Ledoux St., Taos. 575751-1262. Charles Strong—Early Work: last of the San Francisco Ab-Ex painters. 3-6 pm.

Blue Rain Gallery, 130 Lincoln Ave, Ste. C, Santa Fe. 954-9902. Two Man Show: works by Deladier Almeida and Brad Overton. 5-7 pm.

Chiaroscuro C ontemporary A rt, 558 Canyon Rd., Santa Fe. 992-0711. Revealed: abstract paintings by Chris Richter. 5-7 pm.

Eye on the Mountain Art Gallery, 614 Agua Fria St., Santa Fe. 928-308-0319. Santos: new works by El Moises, Huberto Maestas, Rachel Houseman, Aaron Jones, Richard Olson, and others. 5-9 pm.

New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Nature Diversified: new works by Ann Hosfeld and Reg Loving. 5-7 pm.

Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-3432. Drawn to the Wall 2—The Medium is the Message: second exhibition of works

by Michael Motley, Isolde Kille, and Seth Anderson.

5-7 pm.

Stranger Factory, 3411 Central Ave. NE, Alb. 505-508-3049. Mourning Apparitions: works by Kathie Olivas, Lana Crooks, and Michele Lynch on longing, loss, and grief as well as the playful nature of spirits. 6-9 pm.

Blvd. NE, Alb. 505-883-7410. Echoes of Nature: abstract calligraphy and mixedmedia paintings by Patty Hammarstedt.

Ceramics by Jack Troy, Rob Barnard, Lucien Koonce, Susan Kotulak, and Kevin Crowe.

5-8:30 pm.

Wiford Gallery, 40 Canyon Rd., Santa Fe. 982-2403. Tread Softly: sculpted paintings by L. Scooter Morris. 5-7 pm.

WEDNESDAY, JULY 8

Radius Books Studio, 227 E. Palace Ave., Ste. W, Santa Fe. 983-4068. Nature: Marisa Fick-Jordan takes new directions in weaving wire art by using masterpieces of South African Zulu copper and telephone wire weaving. Curated by David Arment. 5-7 pm.

Open house: Sat., July 11, 11 am-5 pm.

THURSDAY, JULY 9

SATURDAY, JULY 4

Tansey Contemporary, 619 Canyon Rd., Santa Fe. 995-8513. Love, Death and Revenge: opera-inspired sculptural works by Beckie Kravetz. 5-7 pm.

Ward Russell Photography, 102 W. San Francisco St., Ste. 10, Santa Fe. 231-1035. Black & White and Coloured: photographs capturing cultural diversity, majesty of animals, and beauty of landscapes. 5-7 pm.

Weyrich

Gallery,

2935-D

Louisiana

Act I Gallery, 218 Paseo del Pueblo Norte, Taos. 575-758-7831. Dinah Worman: landscape paintings by Worman. 4-6 pm.

Through the Flower, Belen Public Library, 333 Becker Ave., Belen. A Butterfly for Brooklyn: documentary screening and discussion on Judy Chicago’s firework display last year in Prospect Park. 2 pm. Reception to follow: Belen Harvey House Museum, 104 N. 1st St., Belen. Reservations: 505-514-3911.

Shiprock Santa Fe, 53 Old Santa Fe Tr., 2nd Fl., Santa Fe. 982-8478. Native American Imagery in Advertising: signs, screen prints, textiles and more, from the early 20th century. 5-7 pm.

Taylor Dale Tribal Art, 129 W. San Francisco St., 2nd Floor, Santa Fe. 670-3488.

Tribal Sceptors: Emblems of Power. 5-8 pm.

William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. Retablos—A New Voice: retablos by Peruvian artist Victor Huaman Gutierrez. 4-7 pm.

FRIDAY, JULY 10

Exhibit 208, 208 Broadway Blvd. SE, Alb. 505-450-6884. Pictures 2012-2015: paintings

by Bruce Lowney. 5-8 pm. gf C ontemporary , 707 Canyon Rd., Santa Fe. 983-3707. Possibilities and Pulse: new works by Michael Wilding and Rachel Darnell. 5-7 pm.

Marigold Arts, 424 Canyon Rd., Santa Fe. 982-4142. High Country Southwest: new paintings by Phil Hulebak. 5-7 pm.

Nisa Touchon Fine Art, 1925-C Rosina St., Santa Fe. 817-944-4000. Dennis Parlante: collage art by Parlante. 5-7 pm.

Page Coleman Gallery, 6320-B Linn Ave. NE, Alb. 505-238-5071. Mostly Black: works

by Albuquerque artists Rachel Zollinger, Scott Palsce, Leigh Anne Langwell, and Page Coleman. 5:30-7:30 pm.

James Drake—Anatomy of Drawing and Space (Brain Trash)—Chapters 4, 6 and 8 at the Lannan Foundation Gallery, 309 Read Street. Musings on architecture to space travel, scientific formulas to poetry, to the elaborate sign language of prison inmates and their visitors. Reception: Saturday, July 11 from 5 to 7 pm. Artist Talk: James Drake and physicist Dr. David Krakauer on Wednesday, August 5, 7 pm at the Lensic Performing Arts Center, 211 West San Francisco Street. 988-7050.

continued on page 42 J U LY

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THE magazine | 39

WHO WROTE THIS? “Don’t accept your dog’s admiration as conclusive evidence that you are wonderful.”

Ambrose Bierce or Will Durant Ann Landers or Ogden Nash

THE REAL DEAL

For artists without gallery representation in New Mexico.

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

Reserve space for the July 2015 issue by Wednesday, July 15

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

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

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

OPENINGS TAI Modern, 601 Paseo de Peralta, Santa Fe. 984-1387. Japanese Bamboo and the World Expo: A Century of Discovery. 5-7 pm.

SATURDAY, JULY 11

David Anthony Fine Art, 132 Kit Carson Rd., Taos. 575-758-7113. Kate Rivers Artist Talk: Rivers speaks about her painterly collages, currently on view at the gallery and at the New Mexico Museum of Art. 1 pm.

Verve Gallery of Photography, 219 E. Marcy St., Santa Fe. 982-5009. Chasing Ice: screening of James Balog film at N.M. History Museum on Sat., Jul 18, 2:30 pm. Public reception: 5-7 pm.

FRIDAY, JULY24

203 Fine Art, 203 Ledoux St., Taos. 575751-1262. Folk Tales: figurative paintings and drawings inspired by America Martin’s Colombian roots and her travels. 4-7 pm.

Lannan Foundation Gallery, 309 Read St., Santa Fe. 954-5149. James Drake—Anatomy of Drawing and Space (Brain Trash)—Chapters 4, 6, and 8: works that are the result of a two-year commitment by Drake to make at least one drawing each day, with musings on architecture to space travel, scientific formulas to poetry. 5-7 pm. photo-eye Gallery, 550 S. Guadalupe St., Santa Fe. 988-559. Ghostland: photographs by Keith Carter. Shadows & Light: photographs

by Kate Breakey. 3-5 pm.

RT.I.FACT, 11 area businesses participatinG. Event occurs on Sat., July 18, And a Pop-Up Art Exhibition: visual art and zine exhibition

by Strangers (young artists). 5-9 pm. Details: artifactsantafe.com Offroad Productions, 2891-B Trades West Rd., Santa Fe. 670-9276. Interstated—Santa Fe/Phoenix: dual-city exhibition featuring works by contemporary New Mexican and Arizonan artists. 6-8 pm.

SITE Santa Fe, 1606 Paseo de Peralta, Santa Fe. 989-1199. Unsuspected Possibilities: collaboration between Leonardo Drew, Sarah Oppenheimer, and Marie Watt. 20 Years/20 Shows: collaborative works by Janine Antoni, Amy Cutler, Harmony Hammond, Ann Hamilton, and Dario Robleto. Noon-5 pm.

SUNDAY, JULY 12 FRIDAY, JULY 17

Placitas Community Library, 453 Hwy. 165, Placitas. 505-867-3355. Alan Yablonsky: works by the late artist and teacher. 2-4 pm.

THURSDAY, JULY 16

Santa Fe Art Institute, 1600 St. Michael’s Dr., Santa Fe. 424-5050. Fantasies of Flying: screening of the new film by First Nations film director, screenwriter, and actress Georgina Lightning. Open discussion follows. 7-9 pm.

FRIDAY, JULY 17

David Rothermel Contemporary, 142 Lincoln Ave., Santa Fe. 575-642-4981.

Composure: works by Stan Berning. Optical Illusion: works by Paul Kane. 5-7 pm.

Ellsworth Gallery, 215 E. Palace Ave., Santa Fe. 989-7900. Far Reaches: works in oil, clay, and marble, by Elise Ansel, Claire McArdle, and Kathryn Stedham. 5-7 pm.

Nüart Gallery, 670 Canyon Rd., Santa Fe. 988-3888. To Open the Eternal Worlds: new paintings by Alexandra Eldridge about the interconnectedness of art, life, and eternal questions. 5-7 pm.

Verve Gallery of Photography, 219 E. Marcy St., Santa Fe. 982-5009. Cause and Effect: documentary photographs of the effects of anthropogenic climate change. 5-7 pm.

SATURDAY, JULY 18

Art Gone Wild, 203-B Canyon Rd., Santa Fe. 820-1004. Visual Symphony: paintings by Lisa Wilson. 5-8 pm.

ART HOUSE, Thoma Foundation, 231 Delgado St., Santa Fe. 995-0231. Open House: Flux 2.0 features technological artworks from the Carl and Marilynn Thoma Art Foundation collection spanning over fifty years of the digital art genre, including computer, light-based and electronic artworks from pioneering experimenters, and contemporary innovators, such as a film quilt by Sabrina Gschwandtner, an Internet-based painting automaton by Siebren Versteeg, and Leo Villareal’s animated LED sequence.. 5-7 pm.

Catenary Art Gallery, 616 ½ Canyon Rd., Santa Fe. 982-2700. Rumi Vesselinova— Sketches in Charcoal and Fire: photographs

by Vesselinova of the Southwest landscape

SITE Santa Fe, 1606 Paseo de Peralta, Santa Fe. Unsuspected Possibilities—collaboration between Leonardo Drew., Sarah Oppenheimer, and Marie Watt. SITElines: New Perspectives on Art of the Americas. SITE 20/20 Shows— works by Janine Antoni with Stephen Petronio, Amy Cutler with Emily Wells and Andrea Papeleo, Harmony Hammond with Francis Cape, Dario Robleto with Patrick Feaster and Lance Ledbetter of Fust Records, and Ann Hamilton. Reception: Saturday, July 18 from noon to 5pm. Image: Cautionary Tales by Amy Cutler.

under conditions of drought and related natural disasters. 5-7 pm.

Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1122. Phyllis Kudder Sullivan and Cheryl Ann Thomas: large-scale, elegant vessels made from woven ceramic forms. 5-7 pm.

FRIDAY, JULY 31

Angel Wynn Studio Gallery, 1036 Canyon Rd., Santa Fe. 819-1103. Where the Buffalo Roam: mixed-media work by Wynn of buffalos in their natural territory. 4-6 pm.

David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. (Un)Real: works by Michele Bubacco, Angela Fraleigh, David Humphrey, Martin Mull, and Claire Sherman.

Curated by Mary Dinaburg and Howard Rutkowski. 5-7 pm. Gallery discussion: The (Un)Real World with curators Dinaburg and Rutkowski on Sat., Aug 1, 2-3 pm.

David Rothermel Contemporary, 142 Lincoln Ave., Santa Fe. 575-642-4981.

Summer Group Show. 5-8 pm.

TAI Modern, 1601 Paseo de Peralta, Santa Fe. 984-1387. Tanaka Kyokusho: new works

by Kyokusho. 5-7 pm.

SPECIAL INTEREST

516 ARTS, 516 Central Ave. SW, Alb. 505-242-1445. Writing the Visual— Photography as Inspiration: a four-week fiction and non-fiction writing workshop with Michael Backus. Saturdays, July 18 through Aug. 8, 9 am-12 pm. Register by phone or: teresa@516arts.org ART HOUSE, Thoma Foundation, 231 Delgado St., Santa Fe. 995-0231.

Luminous Flux: 2,0 innovative computer, digital, video, and electro-luminescent art. Ongoing. Thurs.-Sat., 10 am-5 pm. thomafoundation.org Art Santa Fe, Santa Fe Convention Center, 201 W. Marcy St., Santa Fe. 988-8883. Fifteenth annual international arts festival. Thurs., July 9 through Sun., July 12. artsantafe.com Artisan, 2601 Cerrillos Rd., Santa Fe. 954-4179. 40th anniversary party and sale with technical demonstrations, raffle drawing, and discounts on art materials. Sat., July 18, 10 am-3 pm. artisan-santafe.com/40th/ ARTScrawl, Alb. Citywide, self-guided arts tour, Fri., July 3, 5-8 pm. Old Town Artful Saturday, Sat., July 18, afternoon hours. artscrawlabq.org

continued on page 36

42 | THE magazine

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OPENINGS

Aspen Santa Fe Ballet, Summer Performance Series: feaures contemporary choreography and culturally rich dance traditions, and the world premiere of a new work by choreographer Alejandro Cerrudo.

Tickets: 505-988-1234; or at the Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe. Schedule: aspensantafeballet. com. Raise the Bar Benefit: gala with dinner and auction at The Club at Las Campanas, 132 Clubhouse Dr., Santa Fe. Mon., July 13, 6 pm. Tickets and details: aspensantafeballet. com/support/special-events.html Bellas Artes Gallery, 653 Canyon Rd., Santa Fe. 983-2745. Olga de Amaral—El Oro Es Color: goldleaf, fiber-based wall works by Amaral. Thurs., July 2 through Sat., Aug. 29. bellasartesgallery.com Ansel. Fri., July 17, 3 pm. ellsworthgallery.com CCA Cinematheque Lobby Gallery, 1050 Old Pecos Tr., Santa Fe. 982-1338. Mending the World through a Dream: installation of painting and video by Derek Chan. Through Sun., July 5. ccasantafe.org Central Features, 109 5th St. NW, Alb. 505-243-3389. Driven Snow and We Care A Lot: photographs of chunks of snow and ice that accumulate under cars by Andy Mattern. Sculptures by Debra Baxter made during a self-imposed challenge to create a new artwork for 100 consecutive days. Artist talk with Mattern, Fri., July 3, 6 pm. Exhibition through Sat., July 25. centralfeatures.com CLAY Festival, Silver City. Events for artists, educators, entrepreneurs, youth, and lifelong learners to explore clay in its many forms. Mon., July 27 through Sun., Aug. 2.

Schedule and info: clayfestival.com

C orrales B osque G allery , 4685 Corrales Rd., Corrales. 505-898-7203.

20 X 20 Guest Artist Show: works by current members and twenty previous members, celebrating the gallery’s 20th anniversary. Through Tues., Aug. 18. corralesbosquegallery.com David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Op Infinitum: The Responsive Eye Fifty Years After American Op Art In The 60s. Gallery discussion and closing reception with curators Peter Frank and David Eichholtz, Sat., July 11, 3-5 pm.

David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Stephan Westfall: Jewel Curtain; postapocalypticBLACK; and Obscure Structures. On view through Sun, Aug. 9.

Ellsworth Gallery, 215 E. Palace Ave., Santa Fe. 989-7900. Reimagining the Renaissance and Baroque Color Palette: artist talk with Elisa

Eye on the Mountain Art Gallery, 614 Agua Fria St., Santa Fe. 928-308-0319.

Future Animals: paintings and artist books

by Michael Godey. Through Thurs., July 2. eyeonthemountaingallery.com Freeform Artspace, 1619 Calle de Baca Ln., Santa Fe. 692-9249. New Work by Rita Bard and Ilse Bolle: gallery open Thurs., Fri., and Sat., 12-4 pm. freeformartspace.com Georgia O’Keeffe Museum, 217 Johnson St., Santa Fe. 946-1000. Line, Color, Composition: works showcasing O’Keeffe’s process, from conceptualization to the finished canvas.

Through Sun., Sep. 13. Education & Public Programs in July include: Breakfast with O’Keeffe, Family Programs, and Readers’ Club, among others. Details: okeeffemuseum.org Gerald Peters Gallery, 1005 Paseo de Peralta,

Santa Fe. 954-5700. Life and Shadow: new, energetic photographs by Robert Buelteman.

Through Sat., July 25. gpgallery.com gf Contemporary, 707 Canyon Rd., Santa Fe. 983-3707. Pickles and Seltzer!: Patrick Block of the Barrio Brinbery gives out samples his famous pickles and seltzer. Fri., July 24, 5-7 pm.

gf Contemporary, 707 Canyon Rd., Santa Fe. 983-3707. Why Abstract?: artist talk by Michael Hudock. Fri., July 31, 5-7 pm. More events: gfcontemporary.com

H unter K irkland C ontemporary , 200-B Canyon Rd., Santa Fe. 9842111. Interwoven Life: oil paintings by Rick Stevens. Through Sun., July 19. hunterkirklandcontemporary.com International Museum of Collage Archives, 1925-C Rosina St., Santa Fe. 817-944-4000.

Grand Opening: July 2,3,4 noon-6 pm. Collage Party: $15.00. Thurs., July 2, 5-8 pm.

International Museum of Collage Archives, 1925-C Rosina St., Santa Fe. 817-944-4000. Collage Workshop: learn with collage artist Cecil Touchon. Supplies provided. Personalized instruction. $250.00 for 2 days. Limited to 10 participants. Details: collagemuseum.com Las Cruces Museum

of

Art, 491 N. Main

Phyliss Kudder Sullivan and Cheryl Ann Thomas’s stoneware and porcelain vessels and closed forms on view at Santa Fe Clay, 545 Camino de la Familia, Santa Fe. Reception: Friday, July 24 from 5 to 7 pm.

Image: Phyliss Kudder Sullivan.

Photographs by Rumi Vesselinova examine the transformation of the Southwest landscape under the conditions of drought and related natural disasters.

On view at Catenary Art Gallery, 616½ Canyon Road, Santa Fe. Reception: Friday, July 24 from 5 to 7 pm.

continued on page 38

44 | THE magazine

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HILARIO GUTIERREZ

SHATTERED SUNSET, Hilario Gutierrez, Acrylic on Canvas, 48"x48" SHATTERED SUNSET, Hilario Gutierrez, Acrylic on Canvas, 48"x48"

What Can't be Spoken Opening Reception: July 10th, 5-7pm

July 10th - August 8th

OPENINGS

Preview screening of Georgina Lightning’s new film Fantasies of Flying on Thursday, July 16 from 7 to 9 pm at the Santa Fe Art Institute, 1600 St. Michael’s Drive, Santa Fe. Open discussion follows on the many themes of her film, including suicide and suicide prevention, trauma, and various forms of healing. Details: SFAI.org

St., Las Cruces. 575-541-2137. Here & Now: works by artists living near Las Cruces. Through Sat., July 25. Here & Now Panel Discussion: Wed., July 8, 1:30 pm. las-cruces.org/museums Las Cruces Museum of Nature and Science, 411 N. Main St., Las Cruces. 575-522-3120.

Space Weather Action News: workshop about the sun and its effect on the solar system for children grades 3-5. Tues., July 21, through Thurs., July 23, 2-4 pm. Beyond Pluto—The Clyde TombaugStory: exhibition about the famed astronomer at the Branigan Cultural Center, 501 N. Main St., Las Crues. Through Sat., July 25.

More events: las-cruces.org/museums LewAllen Galleries, 1613 Paseo de Peralta, Santa Fe. 988-3250. John Fincher—Botanica: new paintings on paper by Fincher. Through Sun., July 26. lewallengalleries.com MADE: SANTA FE, 508 Camino de la Familia, Santa Fe. 917-304-7429. Maximal/Minimal: Sheila Kramer, Bonnie Lynch, and Linda Lynch create maximal impact with paintings, ceramics, and drawings. Yvonne O’Gara debuts home accessories made from vintage kimonos and saris. 5-7 pm. made-art.com/santafe Millicent Rogers Museum, 1504 Millicent Rogers Rd., Taos. 575-758-2462. Margaret Tafoya—Santa Clara Pueblo Potter: works by one of New Mexico’s most important Native American potters. Wed., July 1 through Fri., Jan. 29, 2016. millicentrogers.org Museum of International Folk Art, 706 Camino Lejo, Santa Fe. 476-1200. The Red That Colored the World: more than 130 objects that explore the history of cochineal and the seductive nature of the color red. Through Sun., Sep. 13. internationalfolkart.org Museum of Northern Arizona, 3101 N. Ft. Valley Rd., Flagstaff. 928-774-5213. Reconstructing the View: Grand Canyon photographs by Mark Klett and

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Byron Wolfe. Through Sun., Nov. 1. Hopi Festival of Arts and Culture: 82nd annual festival of jewelry, pottery, textiles, and more by master and emerging Hopi artisans. Music, food, and family friendly activities. Sat., July 4 and Sun., July 5, 9 am-5 pm. Info: musnaz.org New Mexico History Museum, 113 Lincoln Ave., Santa Fe. 476-5200. Childhood, 1860s-style: “Brainpower & Brownbags Lecture.” Earthen Architecture—Past, Present and Future: performance by the composer of Cold Mountain. and Historical Downtown Walking Tours. nmhistorymuseum.org New Mexico Museum of Art, 107 W. Palace Ave., Santa Fe. 476-5041. Music at the Museum: free admission to the museum and live music. Fridays, July 3 and 10, 5:30-7:30 pm. nmartmuseum.org Peyton Wright Gallery, 237 E. Palace Ave., Santa Fe. 989-9888. Symphony of Color—Selected Works: works from the gallery’s collection by Herbert Bayer, Fritz Scholder, Stanton MacDonald-Wright, and others. Through Mon., July 6. peytonwright.com Photographic Workshops, Workshops with photographer David Hoptman, July and Aug. All levels welcome. Contact: dhstudio@mac.com or 805-403-2993. davidhoptman.com Santa Fe Art Institute, 1600 St. Michael’s Dr., Santa Fe. 424-5050. SFAI 140: quarterly event of creativity and conversation featuring 20 short talks.

Thurs., July 23, 7 pm. sfai.org/sfai140_150723/

Visceral/Gravity: mixed-media paintings by Lauren Mantecon on view through Tuesday, July 28 at Wheelhouse Art, 418 Montezuma Avenue, Santa Fe.

artistry. Tues., July 14. More info: guildsofsfo.org/

PERFORMANCE

SCA Contemporary Art, 524 Haines Ave. NW, Alb. 505-228-3749. Stealth Investigations— Surveillance as Art: interdisciplinary works by Jessamyn Lovell, Lee Montgomery, and Trish Stone.

Through Fri., July 17. scacontemporary.com

Mesa Prieta Petroglyph Project, Scottish Rite Temple, 463 Paseo de Peralta, Santa Fe. Nacha Mendez Sings the Chavela Vargas Songbook: benefit concert Sat., July 25, 7:30 pm.

Scheinbaum & Russek, Ltd., 369 Montezuma Ave., Santa Fe. 988-5116. Sebastião Salgado: photographs of the human condition by Salgado. Through Sat., Aug. 29. photographydealers.com Spanish Market, Historic Plaza, Santa Fe. Works by Hispanic artists. Sat., July 24 and Sun., July 25, 8 am-5 pm. spanishcolonial.org/this-is-spanish-market The Owings Gallery, 120 E. Marcy St., Santa Fe. 982-6244. Gallery Selections: recent acquisitions and consignments, with several small masterpieces by the Taos Founders. Through Wed., July 8. owingsgallery.com Tularosa Basin Gallery of Photography, 401 12th St., Carrizozo. 575-927-1489. A Summer Showcase: photographs by 26 oinnovative New Mexican artists. Through Sun., July 12. photozozo.org Verve Gallery of Photography, 113 Lincoln Ave., Santa Fe. 982-5009. Chasing Ice: documentary film

by James Balog. Cause and Effect. Sat., July 18, 2:30 pm. vervegallery.com

Santa Fe Community Gallery, 201 W. Marcy St., Santa Fe. 955-6707. 30 Under 30: works in a variety of media by young artists from New Mexico. Through Thurs., Sep. 3. santafenm.gov/community_gallery_1

William R.Talbot Fine Art, 129 W. San Francisco St., 2nd floor. Santa Fe. 982-1559. Modernists in New Mexico—Drawings and Prints: New Mexico scenes and nonobjective works from the 20th century by Gene Kloss, Willard Nash, Doel Reed, and others. Sat., July 11 to Sat., Aug. 8. williamtalbot.com

Santa Fe Opera, Unitarian Universalist Congregation, 107 W. Barcelona Rd., Santa Fe. Santa Fe Opera Guild Talk and Theatrical Make-Up Demonstration: Beckie Kravetz talks about her career and demonstrates her theatrical make-up

William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. Elemental: paintings hovering between romantic landscape and weathered industrial artifact by David Ivan Clark. Through Tues., July 28. williamsiegal.com

National Hispanic Cultural Center, 1701 4th St. SW, Alb. 505-724-4771. New Mexico Music Series—Eva Torrez and an All-Star Cast: Torrez and vocalists create a night of music. Sat., July 25, 7:30 pm. Tickets: nationalhispaniccenter.org Santa Fe Bandstand, Historic Plaza, Santa Fe. Annual live music festival with Cuban band Son Como Son on Tues., July 7. Weekly events through Thurs., Aug. 27. santafebandstand.org Santa Fe Opera, 301 Opera Dr., Santa Fe. 9865900. The 2015 season includes Daughter of the Regiment, Salome, Rigoletto, and more. Fri., July 3 through Sat., Aug. 29. Schedule and tickets: santafeopera.org ARTIST CALLS

CCA, 1050 Old Pecos Tr., Santa Fe. 982-1338.

The Land Mark Show: examining the intersection of mark-making and the landscape. Apply by Wed., July 15:ccasantafe.org/visual-arts/the-land-mark-show Encaustic Art Institute, 632 Agua Fria St., Santa Fe. 989-3282. 5th Annual National Juried Encaustic/Wax Exhibition: apply by Mon., Aug. 3.

More details: eainm.com Wholly Rags, P.O. Box 1051, Ranchos de Taos.

575-751-9862. Arte de Descartes XV: 15th annual recycled-art show in Taos. Entries by Mon., Aug. 3, by mail or online: whollyrags.org

Listings for August issue are due by noon, Wednesday, July 15. Late listings will not be included. themagazinesf@gmail.com J U LY

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z

shimmerings and spiritbirds

charles c. gurd and steve elmore online at elmoregurdgallery.com

839 Paseo De Peralta, Santa Fe NM 505 • 995 • 9677

on the paseo in historic santa fe

Nina Morrow

Greg Davis

Jane Johnson

Beauty, Art and Inspiration at 8,885 feet The CBAF is an annual, nationally recognized festival, celebrating the visual and performing arts, whose proceeds provide for a year round sustainable arts outreach program for the community of the Gunnison Valley.

CELEBRATE TAOS MILESTONES

Janet Burns

Stephan Lang

Welcome. Na-Tah-La-Wamah. Bienvenidos.

Top: Taos Pueblo Pow Wow, Bottom left to right: Las Fiestas de Taos and E.I. Couse, one of the Taos Society of Artists Founders

2015 is a year of milestones for Taos.

400 years since Spanish settlers arrived in Taos. 200 years since the San Francisco de Assis Church was completed. 50 years since the Rio Grande Gorge Bridge was opened to traffic. And in July we celebrate the centennial of the founding of Taos Society of Artists. Join us for special events all month long, including these highlights:

July 9–19 100th anniversary of Taos Society of Artists founding Ten days of art colony events, lectures, exhibits and tours

July 10–12 30th Annual Taos Pueblo Pow Wow

July 17–19 Las Fiestas de Taos ¡Viva el Cuarto Centenario!

Find all 2015 milestone events and exhibits at TAOS.org/milestones 800-816-1516

PREVIEWS ART Santa Fe Santa Fe Community Convention Center 201 West Marcy Street, Santa Fe. 988-8883 Thursday July 9 through Sunday, July 12 www.artsantafe.com ART Santa Fe returns this month, celebrating its fifteenth anniversary with a gala opening, special events that focus on Cuba, and exhibitions of contemporary artwork from a roster of local, national, and international galleries. The fair offers an opportunity to explore current trends in the art world at its vernissage special events, and through conversations with the many gallerists who will be showing throughout the weekend. Not to be missed is the screening of Alumbrones, an award-winning documentary illuminating the spirit of Cuba, its history and struggles, from the unique perspective of twelve native artists. The title refers to the brief bursts of electricity and light during the days of blackouts, and is a metaphor for the resilient creative spirit that manages to thrive on the island. Los Pioneros, an installation of kinetic sculptures by Aurora Molina, who grew up in Havana and emigrated to the United States, revisits her past through six child-size figures dressed in school uniforms but with the elderly faces they would now have. The figures salute on command, vowing to be like Comandante Che. Conde Contemporary of Miami brings Molina’s work, as well as work by three of the artists featured in Alumbrones.

Don Bacigalupi delivers the keynote address, “Building the 21st Century Museum: Crystal Bridges and Beyond,” on July 11 at 6:30 pm. Bacigalupi was instrumental in creating the Crystal Bridges Museum of American Art’s collection and campus before leaving to serve as the founding president of the Lucas Museum of Narrative Art, planned for Chicago. Billed as an institution that will challenge and redefine the very concept of future museums, film director George Lucas’s venture will address the history of visual narrative, the art of cinema, including design, costume, and visual effects, as well as digital media. USA Today’s Reader’s Poll of the Ten Best Art Fairs and Festivals recently ranked ART Santa Fe fourth in the country. ART Santa Fe helps to keep this city on the contemporary art map.

Nelson Makamo, Stay Connected, monoprint with pastel on paper, 46” x 32”, 2014

Drawn to the Wall 2: The Medium is the Message —Michael Motley, Isolde Kille, and Seth Anderson Patina Gallery 131 West Palace Avenue, Santa Fe. 986-3432 Friday, July 3 through Saturday, August 29, 2015 Reception: Friday, July 3 from 5 to 7 pm.

At its most elemental, visual art functions as a study of line, shape, color, and space. Drawn to the Wall 2 brings together three Santa Fe artists who explore these aspects through a variety of materials, and who achieve striking and diverse results. Michael Motley’s elegant sculptures become wall drawings that reference ancient artifacts and natural forms. His rich surfaces, composed of waxed graphite or distressed gold leaf, are enhanced by the play of light and shadow, the graceful line and a minimal, refined presence. Motley’s designer’s eye is evident in these new works. Spray paint and fragments of glass enrich the primary interaction of black-and-white circular patterns in the layered urban abstractions of German artist Isolde Kille. The works use spatial arrangements and depth to present allusions to boundlessness contained, yet spreading beyond the repeating black shapes. Kille’s interdisciplinary and celestial work has been shown internationally. Seth Anderson’s layered topographies of black Michael Motley, Obsidian River I, mixed media, 12” x 36” x 3”, 2014

lines are metaphors for the paths we take in life. The geometric precision of the maps contrasts with overlays of organic, meandering lines, creating core combinations of inner and outer environments. Anderson thinks of these abstract landscapes as portraits, with contrasting rigid and fluid lines suggesting the very structures of who we are.

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PREVIEWS Life and Shadow: Robert Buelteman Gerald Peters Gallery 1005 Paseo de Peralta, Santa Fe. 954-5700 Friday, June 26 through Saturday, July 25, 2015 Reception: Friday, June 26 from 5 to 7 pm.

California

photographer

Robert

Buelteman’s

images

are

energetic

photograms—made without a camera by placing living plants on sheets of metal encased in Plexiglas and applying high-voltage electricity and fiber-optic light to capture the image. Photograms employ the essential nature of photography: light-sensitive film’s ability to capture an image when exposed, regardless of the nature of the exposure, to natural light directed through the aperture of a camera, or, in Buelteman’s work, via his high-voltage electricity/fiber optic technique. This high-tech adaptation of a historical, low-tech process allows the artist to work improvisationally, making over a hundred exposures to get the desired image. The light creates an image that cannot be pre-visioned.

The photos reveal the delicacy of the flora in nuanced shades enveloped in light with bursts of blue punctuating the image, the results of gasses the shocked plants emit while being ionized in the process. Buelteman uses a scalpel to prep his plant subjects by carving away at them to attain a sheer specimen.

He works in the dark as he passes an electric current from a car battery through the metal and plants, and catches the electrons by painting with a fiber-optic cable allowing him to transfer the glowing strands of light onto his film.

The series on view will present a range of Buelteman’s work over the past fifteen years as he traveled to various locations and experimented with his technique. Why involve oneself with such a time-consuming effort in the digital age? Buelteman notes, “With these works I seek to make life itself present, revealing its glory and probing its mystery.”

Robert Buelteman, Field Flowers, chromogenic development print, 20” x 25”, 20

Love, Death, and Revenge: Opera Inspired Sculpture by Beckie Kravetz Tansey Contemporary Sculpture Center 619 Canyon Road, Santa Fe. Friday, July 3 to Monday, August 31, 2015 Reception: Friday, July 3 from 5 to 7 pm.

It’s opera season in Santa Fe and, as the title of this exhibition suggests, it’s time to explore the grand emotions of love, death, and revenge at the center of the drama. Sculptor Beckie Kravetz draws from her training and tenure as a maskmaker early on at The Santa Fe Opera and for two decades as the resident maskmaker, principal makeup artist, and assistant wig master for the Los Angeles Opera. Masks have an outer face, the facade that the audience sees, as well as an inner side that metaphorically reflects the transformation the mask provides the character. Kravetz incorporates this concept in her masks and sculptural busts, painting and using collage on the interior surface to create tableaus that reveal aspects of importance to the portrayed character.

Now working full time as a sculptor, her exhibition includes bronze, ceramic, and mixed-media masks and full-figure bas reliefs of some of the most revered characters in the operatic repertoire. Kravetz visually integrates story elements with her depictions of Carmen, Violetta, Siegmund, and Sieglinde, and other immortal operatic heroes and heroines. The artist considers these works “sculpted arias,” and she breathes life into them, reflecting her personal responses to the music and role of her characters. Beckie Kravetz accompanies her work to Santa Fe after showing at galleries and opera houses throughout the country from Seattle to the Metropolitan Opera in New York.

Beckie Kravetz, Siegmund and Sieglinde, bronze, copper, 24-karat gold leaf, ash wood, 22” x 23” x 11”, 2015

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G.WAHL painter printmaker 666

Information & prices please call 505 471-4418 www.gwahl.com glaub@mac.com

“The Bridge”, mixed media on canvas, 51” x 45”

I make bowls & vesssels from New Mexican woods.

I turn the wood very soon after it is cut–green.

As the pieces dry they take on a personality all their own. That’s what makes green turning so interesting. _

Randolph Laub studio 2906 San Isidro Court 3 Santa Fe, NM 87507 505 473-3585 laubworkshop.com

Ponderosa Pine, 16” h x 11”

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

Nether (2004) by Doris Salcedo Wire mesh fencing was embedded in the wall of an empty room to situate viewers in a space reminiscent of a detention center, such as the U.S.-run Camp Delta in Guantánamo Bay, Cuba.

Each artist defines the creative path they will travel, giving their work meaning and

and whose experience is a prerequisite for the very existence of the work. The

presence. For Doris Salcedo, the acts of violence in her native Columbia and the

experience of an individual is always my point of departure. And from there, as soon

world at large have become the impetus for the artist to analyze, criticize, and

as I begin working, everything enters into the paradoxical terrain of art...” The works

expose the questions society needs to ask. This retrospective brings together

have a haunting and visceral presence and serve as both memorials and memento

works from the last thirty years to the present that have never been viewed

mori. Salcedo confirms, “The experience of mourning has been the central tenet in

together, including installations that explore the experience of mothers searching

my art for the past thirty years...The only possible response I can give in the face

mass graves for their disappeared children, or Los Angeles gang violence, as

of irreparable absence is to produce images capable of conveying incompleteness,

well as the creation of objects to signify a profound sense of loss and absence.

lack, and emptiness.” Because some of the works were ephemeral or site-specific

Salcedo is a sculptor using post-minimalist forms, mixing clothing, rose petals,

and may no longer exist or are impossible to display in the galleries, a publication

grass, or animal skin with concrete, armoires or coffin-like tables to address

featuring extensive illustrations and an overview of the artist’s career accompanies

sociopolitical concerns. She explains, “The first step I take in the making of a

the exhibition. The retrospective is on view at the Solomon R. Guggenheim Museum,

work of art is to orient myself toward the victim to whom I address the piece,

1071 5th Avenue, New York City, through October 12, 2015.

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WALTER CHAPPELL IN EL RITO LABYRINTH,1994

FLASHBACK

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ELEMENTAL New works by David Ivan Clark

June 26 – July 28, 2015

Opening Reception June 26th, 2015 from 5–7pm

RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 875 01 505.820.3300 | WILLIAMSIEGAL.COM

F E AT U R E

IN T H E A PR I L 2 7 I S S U E O F The New Yorker there is an article by Peter Schjeldahl about the Whitney Museum’s inaugural show in its new location at the beginning of the Highline. The image illustrating the article is not some snappy view of Renzo Piano’s stunning and longawaited building, but a picture of the Whitney’s new conservation room with its floor-to-ceiling windows and its airy spaciousness. What really caught my eye, though, was the conservator in the foreground touching up a painting with vivid colors and an elegant abstract composition.

The work is an unmistakable piece by Agnes Pelton (1881-1961), and was soon to be part of the Whitney’s new exhibition, America Is Hard to See. One thing I found curious, however, is that nowhere in the article was Pelton’s name ever mentioned, nor was she given credit for the painting being touched up in the hands of an expert conservator. The work in question, Untitled, from 1931, now in the Whitney’s permanent collection, also happens to be on the cover of a book about Pelton from 1995—the first real monograph on this elusive artist, published by the Palm Springs Desert Museum in conjunction with a show of her work. This exhibition in Palm Springs would either awaken or re-awaken an interest in this extraordinary but reclusive painter—one of the most visionary artists in the first half of the twentieth century.

100 YEARS OF SOLITUDE...

FOUR WOMEN ARTISTS YOU MAY OR MAY NOT KNOW ABOUT: A G N E S P E LT O N DORIS CROSS RENÉE STOUT ZOE LEONARD continued on page 60

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Left Page: Agnes Pelton, The Voice, oil on canvas, 26” x 21”, 1930 Courtesy Jonson Gallery of University of New Mexcio Art Museum, Albuquerque

Right Page: Doris Cross, Living Lock, mixed media on canvas, 22” x 16”, 1982

Born in Germany to American parents, Agnes Pelton was raised in Brooklyn

visionary spaces inside her whose gravitational pull she decided to embrace. In her

in a refined though melancholy environment that emphasized art and music.

windmill studio on Long Island, in 1926, she began to paint pure abstractions that, as

She studied art at the newly opened Pratt Institute, graduating in 1900, having worked with Arthur

they progressed, formed a visual language of great poetic force unique to the world

Wesley Dow at both Pratt and at Dow’s own summer art institute on Cape Cod. Dow proved to

of painting both then and now.

be a famously influential teacher, not only to Pelton but to Georgia O’Keeffe as well, and his book

If I were to pick one work from the first decades of the last century to represent

Composition, from 1899, had a decided impact on art instruction in America. Dow disavowed rote

that time in the evolution of painting, it would be Pelton’s The Voice, a work of perfection

copying and emphasized analysis of abstract relationships found in concepts such as transition,

in style, content, execution, and mysterious beauty. Pelton’s visionary abstractions,

opposition, and repetition. It was this focus on dynamic pictorial relationships, and, in Pelton’s

with abundant grace and seeming effortlessness, traverse spaces within her mind that

words, “the natural effects and significance of light,” that would later assume such importance in

are intensely personal and reach beyond the visible world to speak of the union of

Pelton’s provocative abstract paintings from the 1930s to the end of her life.

color, light, suggestive forms, and an auspicious quest for enlightenment and release.

In the artist’s early years, she often struggled with ill health and an introverted temperament,

If Pelton was guarded, delicate by nature, and reclusive, Doris Cross (1907-

yet it was partly because of her introversion that she was attuned to ideas about transcendental

1994) was self-confident, adventurous, eclectic, and, even into her eighties, exhibited

longings. In addition, Pelton was drawn to the pure energy of creative expression—an inner

a freewheeling sexiness in her life and her work. I would have liked to have known

mounting flame, if you will, that proved to function as a kind of spiritual guiding force and later

her when she first lived in Santa Fe, and, so the story goes, dyed her hair a vivid pink

would be manifested as abstracted images based on flames and fire, along with imaginary spaces

in advance of the emerging Punk Generation. I did eventually meet Cross, in1985

dominated by symbolic shapes, distant stars, vaguely defined plant forms, and heightened color

when I worked at the Center for Contemporary Arts. CCA had finished renovating

relationships that never seemed arbitrary, only inevitable and somehow necessary.

one of the old Armory buildings and Malin Wilson had been asked, by CCA’s founder

Before Pelton began the abstractions that would solidify her position as a major American

and director, Bob Gaylor, to curate the first exhibition in its new gallery space. (This

painter of the first half of the twentieth century, she explored symbolist-inspired landscapes

is not to be confused with the renovation that would result in the current Waxman-

peopled with ethereal figures—beautiful, yes, but more than a little saccharine. Yet this work from

Muñoz Gallery that came two decades later.) The only artists I remember from

the early teens would get her an invitation to be part of the legendary Armory Show in 1913 by

that first show at CCA are the late Florence Pierce and Doris Cross, who showed

one of its organizers, Walt Kuhn. It was in the 1920s, however, that Pelton, although a respected

one of her dictionary pieces. Although her work with words is what she became

portrait and landscape painter, would turn with greater confidence and resolve toward those

most recognized for, Cross had a long career in the visual arts that went back to

F E AT U R E

the days of the WPA and studies with Hans Hofmann in the 1930s. The publisher

poetry of chance operations—except Cross’s Columns never appeared as haphazard choices of

of this magazine is Cross’s son, and he recounted certain memories of her from his

what to erase or what to leave. The results were singular verbal and visual patterns constellated

childhood when she worked away in the basement of their Brooklyn row house—a

by her heightened moments of awareness.

cigarette in one hand and a paintbrush in the other—where she was always engaged

Another recollection I have of Cross’s work in the eighties is how her dictionary pieces

with her art. While she lived in New York, she was part of a Bohemian crowd and she

lent themselves to recitation, and the artist wound up collaborating with the video artist Woody

exhibited for many years with the American Abstract Artists, a group that is still alive

Vasulka. In one video work, Cross can be seen delivering one of her text pieces in her well-

and well, and she showed at the Betty Parsons Gallery. Wilson wrote in her obituary

known deep and gravelly voice, and slowly, almost imperceptibly, Vasulka manipulated both her

for Cross, in 1994, “While a meeting [with her] might be serendipitous, it was never

face and her voice until the viewer was left with an experience that is part interesting image

casual. Doris Cross was one of those rare people with such a clear, compelling and

manipulation and part new music—Cross’s voice had morphed into the roaring of a unique

idiosyncratic perspective that she shifted the nature of whomever or whatever came

instrument. There was an oracular quality to the sounds Vasulka produced with his technology,

within range of her strong character.”

as if Cross was growling from on high, her face abstracted, unrecognizable, fascinating, and

In the 1940s, Cross focused on surrealist imagery, in the 1950s and ’60s she

beyond fashion.

concentrated on abstract painting, and in the 1970s until she passed away, Cross

In the mid-1990s, I was introduced to the work of Renée Stout (b. 1958) by the late

worked with words that she made into a kind of conceptual flesh of her flesh. She

Arlene Lewallen, who exhibited this Washington, D.C.–based artist in her gallery. Stout is an

took dictionary pages and selectively eradicated words, phrases, and images on

assemblage artist of great depth and power who mines the world of traditional African art, with

the page, creating pieces that read like concrete poetry and looked like text-based

its fetishistic overtones and its metaphysical intersections at the world of the living and the world

paintings, often retaining images that echoed some of the ideas that were generated

of the spirit. Stout’s work suggests that she has an intense ritualistic approach to her materials—

in the process. Cross often related how she came to do her singular word-based

many of which are found objects, pieces of clothing, containers, boxes, old pieces of furniture—

Columns series: “I had several old dictionaries and I opened one.… the Webster’s

and the initial somber quality inherent in her prevailing tones of brown and black are offset by

Secondary School Edition published in 1913. For no reason that I know, I saw the

her use of gold-leaf paint and flashes of blood red. The word voodoo often comes to mind

pages differently. Certain words just came out, and they worked together… I grabbed

looking at her work, but the viewer will also be seduced by Stout’s superb craftsmanship, her

a pen and began to almost violently eliminate what I didn’t want, and leave what I did

theatrical bent, her rich sense of humor, and her admirable skills as a realist painter, a discipline

want.” And so began an obsession with the idea of unfolding levels of meaning into a

in which she was trained in art school at Carnegie-Mellon. continued on page 62

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Stout—aka Fatima Mayfield—is also a performance artist, and Fatima is the Conjure Woman, whose work is steeped in the art of cultural transformation and the resonance that surrounds traditional African objects of power, a power that Stout draws upon in her own work without expressly copying African Kongo sculptures with their healing attributes and their highly textured surfaces.

The complex art from the Kongo culture that has influenced Stout can’t be easily separated from its interdependence on ritual and the society in which the rituals are enacted. Nonetheless, Stout, like the postmodern bricoleur that she is, respectfully appropriates some of the intentionality behind the African work.

Then she inserts her own vision and seriousness of purpose, blended with the humor that the Conjure Woman brings to her interpretations of the complicated place that African- Americans inhabit in America.

In Tales of a Conjure Woman—the title of a current traveling exhibition of the artist’s work that began at the Halsey Institute of Contemporary Art in Charleston, South Carolina—the fictitious Fatima Mayfield, Stout’s alter ego, is an herbalist, healer, and fortuneteller that the artist continues to develop over time in order to confront a host of issues, some having to do with personal development and self-discovery, and others aimed at confronting social dysfunction and, in her words, “…the need to understand and make sense of human motives and the way we relate and respond to each other.”

Of all of the work I’ve seen at SITE Santa Fe, one of my favorite installations was a project by photographer and installation artist Zoe Leonard (b. 1961), done in collaboration with Cheryl Dunye, a filmmaker who has often explored the history of black women and lesbians in her work. The title of SITE’s show was Agitated Histories and the project by Leonard that was included was called The Fae Richards Photo Archive. And unless you spent a lot of time immersing yourself in the subtle and wily scope of this conceptual project, you might have missed the larger truth about Fae Richards—which was that this photographic portrait of Richards revealed, in great complexity, the life of a totally invented person. This work was a multi-layered fabrication of impeccable workmanship that documented a life that never was. Richards, an African-American lesbian film actress, barely escaped the stereotyping of her early movie roles in the 1930s, when she was cast as a maid or a sharecropper’s wife or a sultry sex object, smoking a cigarette and waiting for some man to answer her faux siren call. Leonard and Dunye also gave us behind-

F E AT U R E

the-scenes images of Richards on the lap of a mannish female director most likely based on the real-life filmmaker Dorothy Arzner, one of the few powerful women in Hollywood in the 1940s and a known gay director in an industry not overly hospitable to women who

FROM CONCEPT TO

desired to be behind the camera and not in front of it.

The point of The Fae Richards Photo Archive is not that Leonard created a black fictional film actress who is a lesbian, but the manner in which the artist presents a seamless record

R E A L I Z AT I O N T O I N F I N I T E

of Fae’s career and her private life. Leonard does this in a series of still images that precisely mirror, in style and tone, the supposed timeframe in which they were photographed— black-and-white images from the 1930s through the ’50s and color snapshots beginning in the 1960s until Richards “dies” in 1966. At the end of Richards’s life, she is allowed to

RESONANCE COULD BE SAID

slip into her own personal space and out of the realms of the Hollywood stereotypes that never could contain her. From concept to realization to its infinite resonance, this was a project whose every facet fit together without a hitch.

ABOUT THE WORK OF THESE

While Leonard’s name may not ring a bell with everyone, she is in fact very well known and has an international reputation. Even as I write, Leonard is about to have an exhibition opening at the Museum of Modern Art called Analogue—images from her archive of color photographs of hand-painted signs that she came across in the Lower

FOUR SEMINAL ARTISTS

East Side neighborhood where she has resided for some time. And last fall I was fortunate to experience her camera obscura project at the Ice Plant in Marfa, under the auspices of the Chinati Foundation. The Ice Plant is a crude space in many ways, but in spite of, or

Left Page: Zoe Leonard, The Fae Richards Photo Archive, 78 black-and-white and color photographs, dimensions variable, 1993-1996

because of, its rawness, it lends itself to a variety of installations. Leonard created a large

Right Page: Renée Stout, Tales of the Conjure Woman, video still of performance, 2013

aperture that opened onto a Marfa back street, and it was mesmerizing to sit in the dark and watch what amounted to a real-life movie of the outside world projected against a large wall. Of course everything was seen upside down, but mundane signifiers of life in a quiet Texas town were drenched in a dreamlike atmosphere that made you pay close attention to a car or a person or even a train passing by—as if everything was part of a breathless transcendent moment, which it was.

From concept to realization to infinite resonance—this could be said about the best work of these four seminal artists—alternately trapped and then liberated in the one hundred years of solitude that they collectively represent. If you were to pick a single condition necessary for the birth of artistic vision, it would be solitude above all others. For solitude, after all, is that eternally pregnant space between the self and the world where anything can materialize if vision is allowed to feed on itself, come hell or high water.

Diane Armitage is an artist, writer, and instructor of Art History at the Santa Fe Community College.

BER/JANUARY JDUELCYE M 2015

2012-13

magazine||635 THEmagazine THE

BEN STEELE Fun & Games

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CRITICAL REFLECTION

Meridel Rubenstein: Eden Turned On Its Side

David Richard Gallery 544 South Guadalupe Street, Santa Fe

AND C AI N WE N T OUT … A N D DW ELT I N N O D, TH E L A N D EA ST OF EDEN .

Meridel Rubenstein makes inspired use of Adam and Eve as

kind of shorthand of the Eden narrative, this iconic motif was

principle that sought to both posit culture as more than mere

a visual conceit in Eden Turned on its Side, a large three-part

often reduced to just Adam and Eve, as seen, for example, on

“outer garb” and at the same time, by espousing its application

photo installation about “intersections of nature and culture

opposite end panels of triptych altarpieces that, when closed,

to culture, salvage the Enlightenment view of a “universal”

in relation to ecological and social imbalance” (gallery

joined the pair in a diptych.

human nature. Geertz rejected such “cultural universals” as

statement). Part two, Eden in Iraq, anchors part one’s earlier

But here the artist opts for the full motif, thus stressing

empty categories and directly embraced cultural diversity—

tree studies (Photosynthesis), from the 1990s, and the grim,

the centrality of the Tree, a reference to mankind’s ruin of

“the enormous variation in human behavior”—for its capacity

gorgeous imagery of part three, The Volcano Cycle, from

its idyllic environment. The choice links Photosynthesis with

to reveal what it is to be human. He did so fully aware of the

2012. What unifies all three projects in Eden Turned on its

the actual inspiration for Eden in Iraq, a water remediation art

attendant risk of cultural relativism: “To take the giant step

Side is the artist’s concern with “ecological processes across

project in the vast wetlands of southern Iraq—“the cradle of

away from the [Enlightenment] view of human nature is . . .

time that either reinforce or destroy the notion of Eden”

civilization”—that Saddam Hussein began to drain in 1991,

to leave the Garden.”

(gallery statement).

rendering it a virtual desert by 2000.

Merging art and ecology, Eden on its Side affirms the

The Garden of Eden is a timeless literary theme, the

Yet Rubinstein’s image of a modern-day Adam and

argument for culture as critical to human survival: “There is

archetypal “locus amoenus,” a lovely place of sensory

Eve—revived in the Iraqi marshes and reprised in the La

no such thing,” wrote Geertz, “as human nature independent

delight—especially visual—a woodland, pasture, orchard, an

Cienega orchard—belongs to the broader theme of the

of culture,” culture that he defined by “systems of significant

enclosed park: Paradise. The actual context for the Eden in

installation itself. The photo images of Eden on its Side

symbols (language, art, myth, ritual).”

Iraq series is the Mesopotamian marshlands of southern Iraq,

dramatize the critical confluence of nature and culture in

Rubenstein’s Adam and Eve are as much at home (or

believed by some scholars to be the biblical site of the Garden

an era of drastic climate change, by means of this abiding

displaced) in the orchards of northern New Mexico as in the

of Eden. Eden in Iraq features two photographic prints that

parable of the Garden—where Adam and Eve were able “To

marshes of southern Iraq, in a deep forest, or beneath the

draw upon the Eden theme: Adam and Eve in La Cienega, USA

see the world in a grain of sand” (William Blake, Auguries of

volcanic Ring of Fire. The import of Eden on its Side is both

and Adam and Eve in S. Iraq Marshes (The Al-Asadi family in the

Innocence), the paradise lost where our first parents tread

hopeful and sobering. “We are stardust / We are golden /

Garden of Eden). In each print, a man and woman stand on

tentative and briefly “Down the passage which we did not

And we’ve got to get ourselves / Back to the garden.” Yet,

opposite sides of a tree in the center, forming three vertical

take / Towards the door we never opened / Into the rose-

like the wetlands of southern Iraq, our ecosystem will never

bands against a broad horizontal backdrop—a northern

garden” (T.S Eliot, Burnt Norton). Here, Eden is not a symbol

be fully restored to its pristine innocence, thanks to the

New Mexican orchard in the first print, a marsh in the Iraqi

of redemption, it is a portent of survival.

corporate Cains who dwell in the land of Nod. And as long as

image. Both prints deploy the Adam and Eve motif from

“Seeing heaven in a grain of sand is not a trick only poets

human behavior, for all its diversity, fails to fully grasp our own

European (especially Northern Renaissance) art depicting

can accomplish.” So wrote cultural anthropologist Clifford

irreversible impact on nature, then we, also, like Cain, doom

the biblical pair flanking the Tree of Knowledge (see van

Geertz in his landmark 1977 study, The Interpretation of

ourselves to dwell east of Eden.

Eycks, Dürer). The composite motif of Adam, Eve, and Tree

Cultures. Rubenstein’s global view of culture “in relation to

—Richard Tobin

is a visual metonymy for the Genesis account of mankind’s

ecological and social imbalance” reflects Geertz’s redefinition

precipitous fall from grace and expulsion from Paradise. In a

of culture. Geertz displaced anthropology’s governing

J U LY

2015

Meridel Rubenstein, Adam and Eve in La Cienega, USA, pigment print, 327/ 10” x 65”, 2009-2011

THE magazine | 65

Stuart Arends: Miles & Miles

James Kelly Contemporary 1611 Paseo de Peralta, Santa Fe

RE F INE D P RE CIO US N E S S , C O O L A EST H ETI C I N T R I GU E, A N D FA M I LI A L tenderness make up the compelling mixture of

of yellow paint that criss-cross the surface. Though

little visual intervention as possible (short of installing

feelings that radiated from the recent exhibition of

one could see in the box a very tiny and thick canvas,

wholly unaltered objects on a gallery wall), the artist

Stuart Arends’s sculpture and painting at James Kelly

the artist does not treat his substrate as such. Rather

transforms his pieces only with strokes of color, at

Contemporary. Arends creates diminutive, three-

than using the box as a flat surface on which to work

once both unnaturally geometric and imperfectly

dimensional paintings and sculptures using found

out manipulations in paint, or to create illusions of

handmade. In the Kerr Lids series, for example, the

objects, wax, and paint. Despite the small scale of

space or narrative, Arends utilizes object and pigment

lines are uniform and create even, clean geometries,

works and the sparse installation of Miles & Miles, the

to press the artwork into the very environment it

yet they betray brushstrokes and a slightly uneven

artist’s fifth solo exhibition at the gallery, each piece

occupies. By means of a straightforward path—the

application of paint. These marks are distinct from

commanded space and asserted stark presence within

application of wax and color—the act of mark making

the solid bands and expanses of hard-edge painting,

the airy and bright gallery setting.

takes a mundane item from quotidian commodity to

which obscure the hand of the artist and explore the

Arends, who lives and works in Willard, New

art object in the space of a criss-cross. Unlike the box

purity of paint itself. Rather, Arends’s strokes are

Mexico, created his first painted objects in 1980, using

of Kerr lids, Kerr Lids Yellow pierces the space around

clearly painted by a hand, by a someone. Eschewing

found cardboard boxes, which he painted and affixed

it, shifts the potential energy contained within the

interpretive potential and conceptual convolution,

to the wall. Ever since, his paintings have hovered

object and asks viewers, powerfully, to look.

these marks are only marks: simple manipulations that

between painting and sculpture; toed the line between

These works are dense, and represent a

object and art object. In works such as Kerr Lids Yellow,

minimalist’s nuanced inquiry into aesthetics and the

only a couple of inches in size, the simple polygonal

acts of art making and mark making. The purity of

While this might appear to verge on lofty conceit,

object—a found box of Kerr-brand canning lids—

Arends’s approach is reflected in the direct route

the artist’s decision making when it comes to the objects

is coated in wax and marked with two simple lines

he follows from found object to art object. With as

he uses further complicates and disrupts an apparent

carve out space for these common, familiar items and imbue them with aesthetic interest.

interest in formalism. There is a Duchampian spirit within these choices: manufactured readymades— altered ever-so-slightly by small manipulations and intentional exhibition—effectively complicate the thin line between art and not-art. However, while illusion is forgone, allusion is not. In addition to boxes of canning lids, other found objects in the show include well-loved die-cast toys, a school child’s flash cards, a hymnal, and wooden sock darners. The objects are reminiscent of youth and home; these humanistic choices induce familial nostalgia and place the objects firmly within the context of time and culture.

The pairing of these familiar, tactile objects with the artist’s formal, objective manipulations creates a call-and-response that asks viewer to shift back and forth between these two points of entry. Arends’s work achieves remarkable accessibility, allowing each viewer to use his or her own lived experience in this time and place as an entry point into the objective questions of aesthetics. The resulting internal tension ultimately investigates the concept of Art itself, fraught with contemporary concern for holding—or easing— the tensions between Art and life.

—Lauren Tresp Stuart Arends, Kerr Lids Yellow, oil, wax, cardboard, 2½” x 2 ½” x 1”, 2015

CRITICAL REFLECTION

Anne Appleby: The Galisteo River Basin Paintings

Charlotte Jackson Fine Art 554 South Guadalupe Street, Santa Fe Most of the color-based painters Panza favors can be seen as mystics or materialists, or some a combination of both. Anne Appleby’s practice is different…. Her painting is based on perceptions of the world outside her own consciousness…. Explaining the rootedness at the core of her work, she said, “My paintings aren’t about the other world. They’re about our place in this world….”

—David Bonetti, “Color and Light: A Sense of Joy,” essay from the book The Panza Collection: An Experience of Color and Light

DAVID BONETTI’S ESSAY TRACES AN ARC OF MEANING BEHIND THE LEGENDARY collection of artwork belonging to the late Count Giuseppe

shadings of the Southwestern landscape seem to have

a soft welling up from below of other hues. No spray of

Panza di Biumo. Three years before Panza passed away in

captured her imagination the most. Walking into the gallery

leaves on any aspen tree is in fact monochromatic—nature

2010, the Albright-Knox Art Gallery, in collaboration with

during the artist’s show and taking a quick look around gave

isn’t that cut and dried with its colors—quiet variations in the

Panza, presented an exhibition of work that showcased

local viewers the impression that they had stepped into an

key of green infinitely abound. As Robert Frost wrote in his

the Count’s aesthetic—a collection of pieces from some of

ecosystem that they knew very well, yet were also seeing

poem “Nothing Gold Can Stay,” Nature’s first green is

the leading artists of our time, most of them American—

for the first time.

gold / Her hardest hue to hold….

artists such as Dan Flavin, Sol LeWitt, Robert Irwin, Anne

When an artist embraces a minimalist approach in her

Appleby’s art comes from the eye and the mind of an

Truitt, Winston Roeth, Stuart Arends, Max Cole, and Anne

art practice and yet the work produced succeeds in retaining

observer steeped in patience, experience, and a profound

Appleby. What united this collection was an emphasis on

a great sensuality and a wrap-around presence that exudes

love of the natural world. The artist was quoted once as

monochromatic art whose intense focus was a product of a

strong memories of the realities on which the work is based,

saying, “As I work I develop an inner dialogue about the

reductivist approach to artmaking. Panza was often thought

that kind of success is at the heart of Impressionist painting—

meaning of what I’m doing. But I can’t paint that. I can’t

of as a visionary collector whose curiosity about the art of our

no matter how detached from the real world the paintings

even speak it. It’s denser than my activity.” The paintings

time provided him with insights into specific ways of seeing

might appear as they hang on the wall. Although Appleby’s

of Appleby give the inchoate density of first impressions an

that illuminated his personal sense of aesthetics. When there

work is composed of abstract panels, painted with oil and

altogether luminous and weightless afterlife.

was only color to meditate on, as in the paintings of Appleby,

wax using a single color, that single color is an illusion. There

—Diane Armitage

Panza saw direct links to an artist’s ideas about what it meant

is so much more to one of Appleby’s panels than initially

to be directly engaged with nature and fleeting impressions

meets the eye because deep within a “single color” comes

Anne Appleby, Scrub Oak, oil and wax on canvas, 45” x 45”, 2015

of light within natural systems.

If Appleby is often thought of as a classic minimalist, I feel this straight line of thinking should be bent—bent and looped back to nineteenth-century Impressionism. I tend to think of Appleby as a twenty-first century Impressionist, of a highly distilled variety. The Impressionists focused their attention on a world tempered by a calculus of light whose outcomes were never twice the same. They were artists who were inspired by changing qualities of diurnal luminosity as a perceptual by-product of different times of day tethered to a shifting tapestry of seasonal cycles.

Appleby takes Impressionism to its next logical level and does away with literal signifiers harnessing the light, like a garden of flowers, boats on the water, haystacks, or lilies in a pond. But it isn’t that Appleby’s monochromatic works are any less tangible in the world of sense perception.

For proof of this, we need only look at the titles of her paintings: Winter Chamisa, Scrub Oak, Scarlet Penstemon, Spring Aspen, Taos Vetch. All of Appleby’s recent work is based on her time spent living in Santa Fe, walking along the Galisteo River Basin, and observing with a practiced eye the various gradations of pastel hues in a desert environment known for its subtle presentation of trees, plants, and flowers.

It’s not that the desert doesn’t have its vivid moments—cottonwood trees in the fall are one example, along with summer fields dotted with penstemon flowers, scarlet globemallow, Indian paintbrush, and purple asters.

Appleby has taken notice of these, but the more delicate J U LY

2015

THE magazine | 67

2nd Invitational Glass Show

Blue Rain Gallery 130 Lincoln Avenue, Santa Fe

GLASS HAS BEEN AROUND FOR MILLENNIA; HUMANS HAVE WROUGHT MARVELOUS things with the range of physical properties that make it one of the most versatile materials

Magritte in the way he spins the suggestions of the forms and plays with quixotic containment

in civilization’s quest to master the world. But it remains much unseen in our lives. We view

in biomorphic shapes of clear and patterned glass. Ben Cobb’s elegant forms play with

the world through eyeglasses, windows, windshields, microscopes, telescopes; we drink

equilibrium, tempting the viewer to wonder at their mass and weight and whether they

out of glass vessels; fiber optics enables quite a bit of our Internet access power. Yet how

are as unstable as they look. Michael Cozza’s pieces bring haute technique reminiscent of

often do we marvel at how thermodynamics and transformation are embodied in glass? But

Murano to bear on the shaping of exquisite glass raindrops and sunflowers. Ben Edols and

when artists get their hands on it and “play,” we are alerted to the mercurial nature of this

Kathy Elliot’s collaborative works masterfully illustrate the potential for extreme elegance of

ubiquitous stuff. How exhilarating to walk into Blue Rain and see diversity, fine craftsmanship,

hollow glass forms. Tobias Mohl’s discs, globes, vessels, and hollow eggs also elicit a gasp at

and untethered imaginations on display in this exhibition.

the beauty of glass manipulated by someone with skills and refined aesthetic judgment. Sasha

The gorgeous sensuality of glass and its relation to light is honored in Dan Friday’s

Tepper-Stewart gives us—somewhere on a continuum between glass beads and stained

Owl Totem and his blue translucent standing bears, bringing to life these animal spirits in a

glass windows—etched butterflies and several works comprising multiple aggregations of

medium that dances with light. Sean Albert constructs solid rectangles of glass, which he

small creatures, such as ladybugs, aligned in symmetrical patterns.

calls “studies,” that both allow and block light in refined patterns. The apparent solidity of

Armelle Bouchet O’Neill presents us with pictures, both landscapes and abstracts,

the blocks is juxtaposed against their permeability, into which lines of color seem shot like

made of glass. She is Seattle-based, as are several of the artists here, Seattle having long

arrows. This play between opacity and translucency is one of the areas of great freedom for

been a primary site in the United States for glass art. Her topographies of wild terrains

play by artists who work in glass. You can work with or against the properties of a medium,

are rendered in a series of curving lines, the spaces between them carved away by sand,

creating drama and interest or a sense of satiety and satisfaction by how you interact with

presumably applied at high pressure. The works highlight the fractal nature of everything

its fundamental qualities.

from fingerprints to landscapes. She also collaborated with Sean O’Neill for a diptych and

Preston Singletary renders some of the traditional Tlingit themes of his heritage in glass.

with Raven Skyriver to produce Boreal’s Ice, a hypnotic, milk-glass whale.

Many of his works reference clan crests, including his own family’s killer whale crest. His

It was nice to be able to talk at the opening with Erich Woll as well as Konopinski about

work exemplifies the breakthroughs of contemporary Native artists with access to materials

their processes, techniques, and the references of their titles. Two highly disparate works

not traditionally used; they are given scope to explore and expand the meaning-space of the

by Woll really stood out for me. They were placed on walls on either side of an opening to

powerful symbols of their ancestors. Joe BenVenuto’s monolithic slabs are blown and acid-

a farther gallery. His artistic strategy does not include producing something that resembles

etched objects that could be made of a variety of materials. They stand on their pedestals

the previous thing he made. One wall displays The New Normal, an array of nine very large

looking like anything from a radiator abandoned in the desert to quirky, dirt-encrusted vessels

beetles, their colorful, shiny surfaces drawing the viewer in at the same time as the idea of

referencing the earthy aspect of glass.

such enormous insects puts her a bit

They are unaccountably comfortable

off. When Things Go South consists

to be near. I was intrigued by Laura

of what appear to be five gigantic

Beth Konopinski’s spheres. Stacked

matchsticks representing, left to

asymmetrical chambers hold bits

right, five stages of their use-cycle,

of sea-debris flotsam that suggests

from a match with an intact red tip

personal meaning while confounding

to increasingly burned-down lengths

the viewer’s sense of scale. Engaging

of wood. The opacity of glass is used

with the transparency, reflectivity,

here not only to mimic a totally

and malleability of glass, they hint

different material in an anomalous

at

worlds

scale, but also to refer to the process

via layered montages where she

mysterious

intimate

that is fire and the multiplicity of

experiments freely with a host of

artifacts that are its result, from

processes that produce unexpected

useless

results. Catching the eye, like

gorgeous objects of contemplation.

fishbowls do, as small narrative

Perhaps what is most compelling

spaces, Konopinski’s pieces use their

in glass as an art form is to see so

titles—for example, Adaptation to

utilitarian a material becoming a

the Declining Senses—to launch the

medium so exuberantly engaged

viewer into a metaphoric realm

by artists.

evoking interior states of mind.

—Marina La Palma

Janusz Pozniak pays homage to a Bohemian tradition of exquisite glass-blowing, with a nod to Rene

charred

matchsticks

to

Tobias Mohl, 9 Part Nest Collection, blown glass, 64” x 64” x 21”, 2015

CRITICAL REFLECTION

Maps, Doors and Coffins: Locating Absence

TAI Modern 1601 Paseo de Peralta, Santa Fe The limits of my language are the limits of my world.

—Ludwig Wittgenstein

F UL L DIS CLOS URE : I A M A L I T TL E B I T I N LOV E WI T H K AT H ERI N E LEE. I mean, what’s not to love? She’s a delightful young

our post-structuralist grasp of art as a language, as if truly

as hipster claptrap, I remain grateful for critical review

woman, shy and whip smart, with greater talent and drive

grasping the concept is possible, circles back to his primary

assignments like this one, which force me out of my

than any one person ought to be allowed to possess.

concept: that language cannot describe meaning, at least

office to look at art in person, to talk to artists and

(People like Lee make the rest of us look bad.) And her

not precisely. This means that when I say “chair,” the chair

gallerists, and to evaluate what I think I know about

art is knockout. I also adore Margo Thoma and Jaquelin

I see in my mind’s eye is not the same chair you see in

contemporary visual art.

Loyd of TAI Modern, who’ve been showing Lee’s work

yours. And it cannot ever be. This can appear to be a very

TAI Modern’s exhibition was comprised, hardly

since she was still a student at what was then the College

large problem if you’re a writer, but not if you’re poetically

surprisingly, of largish, oil-on-linen map paintings with

of Santa Fe, where she earned her BFA in 2008. So skip

inclined. In fact, those of us who are comfortable with

text layered across their surfaces; a series of hand-

this review if you’re looking for Mean Girls redux. This is

abstract ideas, with that which cannot be said but must be

hewn doors such as you might find at a seedy dentist’s

more along the lines of a mash note.

shared, kind of love this paradox.

office; and a set of five matching coffins, glossy black with gold, laser-cut skulls and flowers in a kind of family crest—if your family members are all Harleyriding rock-and-rollers. The coffins were built by Lee according to a nineteenth-century book of instructions.

Each box is complete inside and out, though they are not intended to be used for actual burials. Rather, she explained to me, they are the artifacts of a conceptual art piece that encompasses the coffin as a vehicle between life and death, “confronting abstractions of love, family, memory, and time.” Particularly evocative is the fact that Lee is a twin, and her coffin lies next to that of her brother, their initials twining along goldcrested emblems of skulls and Chinese birth flowers, suggesting that while death always gets the last laugh, it’s a fine thing indeed to sail off into the afterlife in a gorgeous ebony box. The doors serve, metaphorically and literally, as portals to and from mysterious places, each pane of frosted glass etched with a room number and title. Doors one through four are captioned, respectively: Museum of Dark Forces, Wolf Hole, Seldom-Little Seldom (these last two are place

As to what it is that I find so compelling about

Of course, the very words “locating absence”

Lee, the first thing I’d note is her unique combination of

represent a catchphrase that has been used to death

conceptual vision made manifest through the vehicle of

in contemporary artspeak. I don’t wish to defend its

Ultimately, Lee is a painter. Home Map proves

superb craftsmanship. I’ve known her as an outstanding

overuse, and can only say that the phrase captures

the point, its Richter-like image sliding past our vision

painter for several years; recently she added carpentry to

meaning the way a cliché does truth. Too often,

the way a sleepy child might see the world on a rainy

her repertoire and on her it looks dang good. Second, her

notions of slippage, hyperrealism, and simulacra

night from the back seat of the family car while rolling

grasp of the poetics of language is stunning. The girl was

are badly used in artist statements and gallery

along on a city highway. The picture lists, in small print

reading Ludwig Wittgenstein (1889-1951) when I visited

press releases to justify the seriousness of a body of

at the bottom of the painting, all the addresses of

her studio; I find this an impressive feat, given that simply

artwork that is yawningly devoid of purpose, beauty,

all of the places the artist has lived—all of the doors

reading about the philosopher gives me brain cramps. Not

or resolution. Without being aware of Lee’s genuine

she’s passed through in faraway houses that seem

that he would have cared about my discomfort. After

interest in the philosophy of art as language, I’d have

defenseless against the dark and cold.

all, this is the man who said, “I don’t know why we are

been likely to dismiss the title of her exhibition as

—Kathryn M Davis

here, but I’m pretty sure that it is not in order to enjoy

hollow, and its content as slick, biker chic. As easy as

ourselves.” Fun or no, the importance of Wittgenstein to

it might have been to dismiss Maps, Doors and Coffins

J U LY

2015

names from road trips the artist has taken), and Library of Basel.

Katherine Lee, Home Map, oil on linen, 39” x 63”, 2015

THE magazine | 69

Fraction of a Second

516 ARTS 516 Central Avenue SW, Albuquerque University of New Mexico Art Museum 1 University of New Mexico, Albuquerque

WHEN I WAS A KID, MY FRIENDS AND I MADE MIX TAPES.THESE WERE NOT simple accounts of music trends; they were audio

Because photography is weird. As the most ubiquitous

her face anticipating one version of ecstasy. A third shows

documents of our teenage belief systems, our “aural

art form on the planet, the sheer volume of images seen

a kid lying on a half-made bed, her body surrounded by a

ammunition.” Including artwork, making the tape was

each day certainly can kill the magic of the medium.

hazy halo of darkness, two shimmering coins laid over her

an all-day affair, stopping and starting playback on one

It often seems so thin, promoting, especially online,

eyes. Coburn’s work is a clear example of the strength in

deck at the exact spot you needed to begin recording

a twee version of the world in a solipsistic, selfie-

each artist’s chosen point of view.

on another. The large investment of time resulted in

driven riot of nothing. Here’s some food. Here I am at

If 516 ARTS has the indie mix tape version of this

total control of every second of the album—how things

this place. Here’s a cat. In Fraction of a Second, though,

exhibition, the work at UNM Art Museum is its brooding,

flowed together, tone, deep cuts, finding the best and

Bram has found artists with individuated approaches that

cinematic cousin. Comprised of ten artists from across

most obscure one-minute-and-fifty-second tracks for

demonstrate the relevance and continued development

Europe and Asia, the work just feels heavier. The tone is

the end of each side. Walking a fine line of good and evil,

of

visual-rhetorical

set from the start by Jiehao Su’s Woman Picking Leaves,

these mix tapes could tempt love and dance, or could be

powerhouse. And, for a curator, the record-bin search

Girl Behind the Window, and Sisters. These images function

used to say goodbye or fuck off. Whatever. They did it all

is essential, investing energy to cull something better,

less as sealed-off moments, isolated and reduced, than

more effectively than real words ever did.

something new, something confounding.

like links in larger narrative chains. The images are more

photography

as

a

flexible,

Fraction of a Second feels like a really great mix tape.

That’s the best way to describe this sprawling, geeked-out collection of images. Guest curated by Fraction Magazine cofounder David Bram, the exhibition is aswarm with his thoughtful choices and reflect a focused, cogitative approach to the development of image and process relationships. Founded in 2008, Fraction Magazine is an online photography venue that promotes a dialogue around contemporary photography by showcasing the portfolios of established and emerging photographers from all over the world. Fraction of a Second is a realworld encounter with some of those photographs. 516 ARTS and the UNM Art Museum host the exhibition, with the former showing work by regional and national artists and UNM showing the work of ten international artists. This is the inaugural exhibition of PhotoSummer 2015, a multi-venue exploration of contemporary and historical photography in New Mexico.

When I said the show feels like a mix tape, what I should have said is that the show feels like a mix tape I might have found under the seat of friend’s car. 516 ARTS was in the process of hanging Fraction of a Second when I went to see it. The images had been placed but were still leaning against the walls. I was blind and not blind;

Still, at first, I found myself—especially without the aid

expansive, I suppose. You feel that throughout this part of

I could see the show without the usual systematized

of labels—puzzling over the various levels of manipulation

Fraction of a Second, from Paul Gaffney’s Untitled series to

framing devices—wall text, labels—and wander dumbly,

each photographer had employed in his or her work, trying

Yvette Monahan’s sublime Bugarach landscapes.

waiting for the images to do something to me.

to guess the type of camera used to capture the images,

Fraction of a Second is not only a profuse distillation

The range of work is mind-boggling. From Edward

but at some point I stopped caring. Instead, I found myself

of work from Fraction Magazine, it is a real-world

Ranney’s seemingly straightforward landscape images

consumed by Jim Stone’s decommissioned base photos or

statement on the present condition of contemporary

to Clare Benson’s hunting photos and Galina Kurlat’s

lost in the voyeuristic sorrow of Daniel Coburn’s rapture

photography.

process investigations, Bram has found space to create

imagery. In Coburn’s images (most artists have three on

—David Leigh

new propositions about the ability of photography to

view), we see an eerie pond reflecting the big sky above it.

communicate fresh, credible experiences of the world.

In another image, we see a woman in the hands of a healer,

Clare Benson, Ascension, archival pigment print mounted on board, 26” x 236”, 2014

CRITICAL REFLECTION

Chuck Connelly and John Connell

Peters Projects 1011 Paseo de Peralta, Sanata Fe

PETERS PROJECTS IS CELEBRATING ITS FIRST ANNIVERSARY, AND INCLUDED in the festivities are these two complementary, gallery-

the side, all solidly at home on a red and white table cloth.

sharing exhibitions. Both articulate beautifully the

There are brightly clad figures

Like a creature out of Doctor Who, Ladybug is a monster at twenty-nine by twenty-two by twelve and a quarter

organization’s mission of bringing to the Southwest the

in The Gift and Connelly lets us decide whether the gift

inches. The carapace is highly textured, and Connell has

art of “significant nationally and internationally based

in question is in the wrapped box or in the relationship

captured the legs in mid-step and the antenna in mid-

contemporary artists whose work is better known in the

between the woman and the clown. We can’t even tell

wiggle, all while the bug sits placidly on the gallery’s floor.

major art cities of the world.”

who is giving the box to whom. And then there’s Fluffy.

Similarly, Goose, atop a pedestal, is about to lift its right leg

Chuck Connelly’s résumé says all the right things—

Connelly’s cat stars here, taking up most of the canvas.

in mid-waddle. Raven II is captured mid-peck. Fish looks

art school, exhibitions hither and yon, paintings in the

The cat’s green eyes are a near match for the color of

ready to grab for a hook, tail in full motion. I tell him to

right collections—but his art-making trajectory has been

the dead mouse under its paw. The expression is pure

stop. There, I’ve saved a fish in the desert.

troubled and tortuous. The expressionistic oil paintings in

cat, and not unlike Connelly’s own in his self-portrait. He

Not only are the dark tones of Connell’s bronzes

this exhibition give us a sense of that. The brush strokes

frames Fluffy with a painted-on border that has cat-like

echoed on the walls in Connelly’s paintings, but there is

he uses to lay down the paint are bold, the incisions into

paw prints, in groups of six, pressed into the paint along

another more subtle visual link: hidden turquoise. Many

the paint with brush handles are impulsive, and the paint

the edges.

of Connelly’s paintings are underpainted with a pale

is applied so lavishly at times that it curls and droops

Cleverest of all is Mermaid. Here Connelly is in total

turquoise that shines up from beneath the other layers

from the canvas as though melting. Snowstorms pound

control of the viewer. The boat’s sail on the horizon in

when he scrapes into them. This is not unlike the hints of

relentlessly and somber factories scream with bleakness.

the upper right corner shimmers in bright white, peach,

blue-green patina that emerge from the twists and turns

We despair for the precariously pitched craft in Lifeboat.

and gold and draws the eye completely. Below it on the

of Connell’s tar-like surfaces. It was gallery director Ylise

The passengers on board appear no safer than those in the

bank are swirls of shore plants. Look left and they are not

Kessler who conceived of combining the work of these

sea. And Connelly’s own gaze in Self-Portrait is disarming.

plants at all, but rather, the iridescent fluke and body of a

two artists. “They both tell stories that are parallel and

Distinct vertical brushstrokes through his hair, forehead,

mermaid. Connelly tricked us. Beautifully.

completely different,” she says. “Both are visceral, under

nose, chin, neck, and upper torso have the effect of splitting Connelly in two.

John Connell’s bronze sculptures are placed throughout

the radar, and should be better known.” Her curatorial

the gallery and complement Connelly’s work in many

eye guides us around the sculptures and paintings, making

In addition to the factories, there are other Soutine-

ways. The dark, almost black, highly textured surfaces

connections as we go.

like, off-kilter buildings. In Snowed In, even the window

mirror the dark Soutine swirls and distortions on the walls.

—Susan Wider

frames droop and sway. Nearby is a tipsy tree. The fence

Eyes, gears, and branches reach out of paintings; feathers,

and shrubs swirl as much as the snow. And then sometimes

fins, and Buddha chins reach back from the sculptures.

Connelly gives us common things to enjoy, in lovely bright

The figures demonstrate Connell’s present-day iteration

Left: John Connell, Fish, mid 90s, bronze, 15½” x 8½” x 6”, circa 1995

colors. In Cheerios there’s a chipper yellow cereal box,

of his earlier work in tar and plaster, yet the sensation and

Right: Chuck Connelly, The Gift, oil on canvas, 36” x 24”, 2013

with a brimming bowlful in front of it and a glass of milk to

impression of tar remains in these sculptures’ textures.

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THE magazine | 71

123: An Evening Length Dance Concert

New Mexico School for the Arts 275 East Alameda Street, Santa Fe

ON A WARM SUMMER NIGHT, NEARLY FORTY PEOPLE GATHERED ON METAL folding chairs in the New Mexico School for the Arts’ gymnasium to watch seven

out as a dancer who moved through the choreography without effort or concentration,

dances organized around the numbers 1, 2, and 3—solos, duets, trios—and ending

making every move appear as simple as walking. In another piece this might have come

with an ensemble piece. The scoreboard lights above the basketball hoop and quasi-

off as lackadaisical, but in this piece it was oddly natural, leaving the impression that

techno dance music playing prior to the performance were oddly disconcerting, but

dance is as simple as being. The final piece, aptly named Traffic, included the full cast.

provided a certain resonance for the collective choreographers who, according to their

Choreographic reference was made to all previous pieces woven throughout additional

website, hoped to evoke “the wondrous possibilities of an after hours gym.”

choreography. What might have been a satisfying harmonic resolution was disrupted

Modern dance can be difficult to define. The succinct, if dismissive, explanation is

by several dancers who, one at a time, flung themselves outside the patterns before

that it was a rebellion against the discipline, look, and limited fantastical content of late-

being rescued physically by the ensemble. This nearly violent image of losing dancers

nineteenth-century ballet. In the early twentieth century, modern dance choreographers

to the gymnasium’s void did not convey the sense of “the wondrous possibilities of

were more influenced by socioeconomic and political concerns rather than dispensing

an after hours gym.” As each dancer was bodily brought back into the group, new

with pointe shoes, sylphs, and tutus. Modern dance eras took on the names of the

patterns emerged based on previous combinations and a sense of care for each other

most inspired choreographers and teachers such as Denisshawn (Ruth St. Denis and Ted

was established, finally, when they retreated to the sides of the space. The piece ended

Shawn), Holm, Graham, Cunningham, and Halprin. Modern dance, as with ballet, evolves

with Delaney running backward into center stage, a reversal of her opening spiral.

generationally through choreographers to dancers, teachers to students. Today, modern

Lighting was minimal but effective, at one point creating dancers’ shadows as

dance is most frequently described using the catchall term “contemporary dance”—a

participants. All the dancers wore the same black, sleeveless construction worker–style

phrase familiar to audiences of Dancing With the Stars—but the work presented by

jumpsuit and performed primarily in bare feet. This one-costume-suits-all approach

ballroom dancers and their celebrity partners is hardly representative of modern dance

supported the choreographic vision of each piece, seamlessly leading into the next

practiced today. Still, the disintegration of named styles makes description difficult.

without starts and stops for setting up production elements or even applause. The 123

The 123 dance concert started with a short speech from Sarah Ashkin, curator

dance collective as produced by Ground Series has the potential to find its place in the

of Ground Series. The speech was memorable, if a bit earnest, in assuring the audience

next generation’s efforts to connect with the audience by extending the work of Halprin,

that they were part of the performance and that their emotional reactions to the pieces

Trisha Browne, and Mary Wigman—choreographers who have clearly influenced these

“were right.” This approach to audience engagement is unusual, but did relax some

performers. Gardner, Ashkin, Rog, and the other members of the collective put a great

in the audience who were unfamiliar with the genre. It was a bit like a middle school

deal of effort into constructing the evening’s work. It would be fascinating to see what

art teacher before a museum field trip assuring the class that there is no right way to

they might accomplish with more financial and institutional support.

interpret modern paintings. Reaction to art is always personal, and while choreographers

—Kristin Bundesen

and performers may hope to elevate, educate, or provoke an emotional response from the audience, stating it so directly before a dance performance is novel.

The first piece, titled Steady Spiral, choreographed and performed by Brittany Delaney, started with the well-worn trope of a single dancer circumnavigating the performance space at a run. The ballet superstar Mikhail Baryshnikov opened a piece at City Center in New York City exactly the same way in 1998. Once Delaney came to the center of her spiral, she was compelling as a performer, eminently watchable, transcending the choreography. Nautilus, the first duet, kept the dancers primarily on the floor, using it as a percussive accompaniment.

Choreographed and performed by Micaela Gardner and Sophia Rog, the dominant impression was one of struggle and frustration keeping the dancers’ bodies curled and pushing off each other in tight proximity.

The second duet, Afternoon, referenced iconic Nijinsky images through gestures and poses from his Afternoon of a Faun and was performed to Debussy music of the same name. These references, humorous to those who might recognize the image from dance history, but perhaps lost on most of the audience, progressed into original material by the end, although it was unclear why Adam McKinney performed in combat boots for this piece. He removed them before participating in the first trio of the evening, Ayáázh—a playful all male dance that took full advantage of the surroundings. At one point, the dancers mimed shooting hoops at the basket at the center back of the performance space.

The final trio, Ellipses, choreographed by Gardner and performed by Gardner, Ashkin, and Rog, was more lyrical in nature. In this piece, Rog stood

Spencer Toll with Sarah Ashkin in Muck. Photo: Andrew Primm

CRITICAL REFLECTION

Jane Cook: Force of Nature

New Concept Gallery 610 Canyon Road, Santa Fe

IF THE POWER YOU USE ISN’T YET RENEWABLE, THEN IT IS TIME TO START thinking of conserving the energy you use as an act of environmentalism. Every time you

a famed and infamous performance art-activist duo who are releasing their new film.

turn off the lights when you leave the room, switch to a low-watt LED, choose not to

Catch it at the CCA; it’s hilarious. In the Q & A following the Lensic premiere, Mike

leave the TV running while nobody is watching it, or drive more slowly to work to go

Bonanno, one of the affirmative fellows, stressed the importance of the fight against

farther on less gas, you strike a tiny blow against the fossil fuel industry, and the tiniest

the fossil fuel industry as the biggest focus of their current work. But this isn’t a review

bit less money in their pockets is the tiniest bit less power they have because of you.

about the Yes Men, though my reason for mentioning them will will become clear. This

Along with divestment movements, activists’ actions to stop the tar sands pipeline, and

is a review about Jane Cook, a landscape-based abstractionist who just opened an

you, perhaps the coal and oil industries can be disbanded alongside the dino graveyards

exhibition at the lovely New Concepts Gallery on Santa Fe’s scenic Canyon Road.

they exploit, and a process of cleanup and remuneration by the oil corporations and

Despite lights that still aren’t bright enough, Cook’s paintings are strong and

coal companies for their large part in producing global warming and poisoning so many

competent. She has been showing since the late 1960s, and in Force of Nature she

habitats can begin. Like the man said, know justice, know peace. And ideally before the

presents spaces balanced between elements of representational intention and gestural

climate goes completely berserk.

improvisation, à la the great Abstract Expressionists. Earth Aria spans a divinely vast

Worldwide, one of the fastest growing sectors of the new green energy economy

distance and the shimmering lapis blues below the horizon line light up the piece. It

is private individuals installing solar, wind, or geo-thermal systems on their own homes

reads like a blue-green elegy to a planet that will never be the same. Cook’s talent is

and small businesses, on their own dime. Think about how you can make your energy

for suggesting landscape spaces convincingly through a minimum of elemental gestures.

renewable. Renewable energy is now more affordable than fossil fuels and nuclear when

This isn’t something everybody can do. Her compositional instincts have obviously been

you look at costs over time. Soon we will reach a tipping point at which renewables will

honed over years. Lagoon, a much smaller piece than the rest, was a standout for its

become the new necessity, or “the new normal,” as expressed by the Yes Men, one of

perfect use of painterly holidays. The sense of place and space in these pieces are at

whom I saw recently (if it wasn’t a hoax) in scenic downtown Santa Fe. The Yes Men are

odds. This is the tension that holds her work together. Through the formal qualities of color and composition Cook solidly establishes a deep sense of space (usually a painterly plus) and at the same time the sense of specific place remains vague.

The mark making hovers at the edge of representation, hanging back from any real specific info, letting the viewer fill in the details, or hover between worlds.

Cook works out of the tradition of Abstract Expressionism, hardly a “new concept” despite the gallery’s name, while the Yes Men use the tradition of performance art and activism, but, interestingly, Jane Cook and the Yes Men share content. Both are promoting a new relationship to the natural world and updating the cult of nature tradition set in motion by painters like John Constable or William Turner (whom Cook surely admires) and who could be seen as the first artists to oppose global warming, even though they probably never heard the term during their lifetimes used the way we use it today. The messages that are made explicit in environmental-activist art are here, too, in Cook’s somewhat atavistic paintings.

Abstract Expressionism has had its day. We now know that the movement was funded, manipulated, and supported by the CIA, and in retrospect was part of the cultural denialism that dominated the United States during the 1950s. That doesn’t mean the movement didn’t produce some great painting, but maybe a lot of it isn’t quite as great as advertised.

Environmental activists, the Yes Men and others, fly all over the world on carbon-spewing airplanes to save the earth. Jane Cook uses acrylic petrochemicalbased paints to make paintings about the power of nature. I drive around with a “NO OIL” bumper sticker on my gas-powered car. Time for all of us to take the next step.

—Jon Carver Jane Cook, Lagoon, acrylic on canvas, 20” x 20” 2015

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THE magazine | 73

EsperanzaVintage Curated Vintage Fashions & Objects on Etsy

Jeff Laird PERFORATED

Hook Shafts + New Perforated Polygons

JeffLaird.net 505-384-1336 Hook Shaft - Tall Yucca, 2015, aluminum, 102” x 30”

INTERNATIONAL CONTEMPORARY ART FAIR SANTA FE CONVENTION CENTER, Santa Fe, NM July 9,10,11,12, 2015 ArtSantaFe.com Thursday Vernissage 5-8, Friday, Saturday, Sunday 11-6

Who Reads THE magazine?

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Jennifer Esperanza Photography Beauty • Culture • Style • Identity

www.jenniferesperanza.com ~ 505 204 5729 Why, dental patients who live in Canada read THE magazine, that’s who!

Subscribe $40 a year - $75 for 2 years

Check to THE magazine - 320 Aztec Street, Santa Fe, NM 87501 or call in with your Visa or Mastercard: 505-424-7641

GREEN PLANET

CAROLYN PARRS Green Marketer, Life and Business Coach, Founder of “Women of Green”—a multimedia blog, news source, and community celebrating the many women who are leading the way in sustainability and social justice. womenofgreen.com photographed in santa fe

“

by Jennifer

Esperanza

Enough of

“us” versus “them”.

We need every body, every soul to be part of the solution. So instead of standing on our planetary pulpit, demonizing the so-called ‘enemy,’ let’s dialogue instead.

J U LY

2015

THE magazine | 75

THE PREMIER COMPANION FOR YOUR ART JOURNEY

An

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2015

Guy Cross THE magazine |77

WRITINGS

IN THE SLEEP OF REASON

by Jon

Davis

In “The sleep of reason,” the bats, whose true meaning might be delicacy, benign mystery— a flight of hazards, their comic faces thrust into the night flowering cactus— have become emblems of a dangerous chaos because they fly in darkness, because they should be birds and are not, because they twitter like mice and have access to our secret skins, because the teeth, because they careen, dodging what we cannot see, because their stories are told in the night, in caves, because they are sudden, walk upside-down on wings, because darkness is a kind of water, because they can be upon us unexpectedly—like spiders and snakes, sickness and death, because the unseen is a threat, because hope and danger fly on the same wings, because they stream out of the caves of our sleep and map us with inaudible languages, because they listen to us without reproach, because their voices return with news of the solid world, because we are earthbound, light-locked, governed by appearance and theory, while they navigate the solid, glistening darkness.

“In the Sleep of Reason” is from Scrimmage of Appetite (University of Akron, 1995). Jon Davis is the current Poet Laureate of Santa Fe and the author of seven collections of poetry including, most recently, Preliminary Report (Copper Canyon, 2010). Two chapbooks, Thelonious Sphere (Q Avenue Press) and With: A Collaborative Poem (Firewheel Editions) came out in 2013. He is currently Chair of the Creative Writing Department at the Institute of American Indian Arts.

78 | THE magazine

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2015

ROBERT BUELTEMAN LIFE AND SHADOW

J U N E 2 6 – J U L Y 2 5 , 2 015 G E R A L D P E T E R S G A L L E R Y, S A N TA F E 10 0 5 PA S E O D E P E R A L TA , S A N TA F E , N E W M E X I C O 8 7 5 01 F O R I N Q U I R I E S C A L L ( 5 0 5 ) 9 5 4 5 7 0 0 O R V I S I T G P G A L L E R Y. C O M

R O B E R T B U E L T E M A N , M U L E ’ S E A R , E D I T I O N O F 2 5 , C H R O M O G E N I C , D E V E L O P M E N T P R I N T, 2 5 X 2 0 I N C H E S . © 2 0 1 5 R O B E R T B U E L T E M A N , C O U R T E S Y G E R A L D P E T E R S G A L L E R Y

FIRS T A N NI V E R SA RY E XH IBITION S In celebration of Peters Projects first anniversary, we are pleased

to introduce Programme; ongoing exhibitions in the disciplines of

ceramics, design, installation, photography, and a featured gallery artist showing concurrently with our highlighted contemporary exhibitions.

NOW THROUGH AUGUST 1, 2015 CONTEMPORARY HIGHLIGHTS Chuck Connelly: Westward Bound John Connell: Earth-Touching Buddha

CERAMICS

Matt Merkel Hess: MRKL

DESIGN

Contemporary Furniture

INSTALLATION

Ryan Wolfe: Branching Systems

PHOTOGRAPHY

Sadaf Rassoul Cameron: Half-Timbered

FEATURED GALLERY ARTIST Matt McClune: Spacial Color Studies

1 0 1 1 PA S E O D E P E R ALTA, SAN TA F E | 505 954 5800 | PET ERSPRO JEC TS.C OM