Santa Fe’s Monthly
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of and for the Arts • June 2015
A celebration for the opening of the
Wheelwright Museum’s Center for the Study of Southwestern Jewelry
Orlando Dugi Thursday, June 4th 5 – 7pm
53 Old Santa Fe Trail | Upstairs on the Plaza | Santa Fe, NM | 505.982.8478 | shiprocksantafe.com
CONTENTS We know the late works of Beethoven and operas of Verdi, and without question, the groundbreaking work done by Monet and Matisse as they neared the end of their long creative lives. Cy Twombly was seventy-five when he began the works in Cy Twombly, Late 2003-2011(Thames and Hudson, $65). The large-scale paintings, with their bold use of color, exude a creative vitality that surged through the canvases until the final months of his life. Twombly’s reliance on gesture to communicate is present in full force. The motifs he had long addressed are still apparent, with flowers, boats, and script now present in densely painted compositions, or in some cases more fluidly rendered with thin, layered washes dripping down the canvases. Writing and drawing were an integral part of Twombly’s process. The late works include the poetry of Rainer Maria Rilke or haiku by Basho intermingled among the peony forms in the series Blooming, A Scattering of Blossoms and Other Things (2007). Ships return as a theme present in the late works until 2009, an influence from his home in Gaeta, Italy, with its window looking out to the Ionian sea, as well as his boyhood love for summers by the ocean in Massachusetts, where the boats, not cars, interested him. Twombly noted, “I’ve found when you get old you must return to certain things in the beginning or things you have a sentiment for or something. Because your life closes up in so many ways or doesn’t become as flexible or exciting or whatever you want to call it. You tend to be nostalgic. And I think about my boats. It’s more complicated than that, but also it’s going out and also there’s a lot of references to crossing over.” The final works are brilliant green panels of orange, yellow, and red acrylics applied in endless loops. The last paintings, completed two months before Twombly’s death, as he suffered from lung cancer and heart disease, utilize a similar color palette, but the loops and gestures are intensely loose, random, and agitated. Author Nela Pavlouskova sees them as a final tribute to his attention to gesture, in this case “leaving the impression of something on the verge of disappearing.”
03 LeTTers 14 universe oF: Artist Richard Kurtz 18 arT ForuM: Mailer for a show by Enrique Martínez Celaya at L|A Louver, Venice, California 21 sTuDio visiTs: Rush Cole and Sheryl Zacharia 23 anCienT CiTy appeTiTe: El TapatioTaqueria by Joshua Baer 25 one BoTTLe: The 2005 Château de Fargues Lur Saluces Sauternes by Joshua Baer 27 DininG GuiDe: Santacafé and Santa Fe Bite 31 arT openinGs 32 ouT & aBouT 38 previeWs: Katherine Lee at Tai Modern and Review Santa Fe 41 FLashBaCK: RC Gorman and Elizabeth Taylor, Taos, NM
43 naTionaL spoTLiGhT: Yoko Ono: One Woman Show, 1960-1971 at the Museum of Modern Art 45 FeaTure: Ricardo Mazal’s Bhutan Abstractions by Jon Carver 49 CriTiCaL reFLeCTions: Gary Bibb at Nisa Touchon Fine Art, Georgia O’Keeffe: Line, Color, Composition at the Georgia O’Keeffe Museum, Goldfinch Variations at Peters Projects, Kansas at Phil Space, Margaret Bourke-White at Monroe Gallery of Photography, Mery Collet at Warehouse 1-10 (Magdalena, NM), New Landscapes, New Vistas: Women Artists of New Mexico at Matthews Gallery, and Utilities at Radical Abacus 59 Green pLaneT: Naomi Klein: Author, Social Activist, and Filmmaker, photograph by Jennifer Esperanza 61 arChiTeCTuraL DeTaiLs: Wooden Shutters, photograph by Guy Cross 62 WriTinGs: “The soul of Chihuahua” by John Macker
ROMANCE, DRAMA, FUN!
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LETTERS
magazine VOLUME XXII NUMBER X WINNER 1994 Best Consumer Tabloid
SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 and 2006 Top-5 Best Consumer Tabloids puBLisher/CreaTive DireCTor GUY CROSS puBLisher/FooD eDiTor JUDITH CROSS arT DireCTor CHRIS MYERS Copy eDiTor
EDGAR SCULLY prooFreaDers
JAMES RODEWALD KENJI BARRETT sTaFF phoToGraphers
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, JON CARVER, CAROL COATES, KATHRYN M DAVIS, JENNIFER ESPERANZA, HANNAH HOEL, MARINA LA PALMA, JOHN MACKER, THOMAS ROTH, RICHARD TOBIN, LAUREN TRESP, AND SUSAN WIDER Cover
YOKO ONO, HALF-A-ROOM VARIOUS OBJECTS CUT IN HALF, MOST PAINTED WHITE. © YOKO ONO 2014 - SEE PAGE 43.
New drawings by Friedrich Geier on view at A Sea Gallery, 407 South Guadalupe Street, Santa Fe.
TO THE EDITOR: I’m afraid I have a complaint to lodge against THE magazine. I subscribe and receive my copy in the mail. Every month, without fail, your magazine pulls me away from all of my more responsible activities. I swear to myself I won’t open its plastic container when I pick it up at the post office, at least not until I’ve exercised and finished the day’s chores. But no matter my repeated resolutions to do otherwise, I do open that container and lift out your magazine, its fine aromas of newsprint and ink overtaking my senses. And I open that inevitably lovely front cover only to be consumed by beautiful photos and compelling text, all leading me to Joshua Baer’s intoxicating One Bottle page and I am, once again, lost in your pages. Couldn’t you produce a less enticing publication just once? —JEANE WEIGEL, TRUCHAS, VIA EMAIL TO THE EDITOR: Thank you for the cogent review in your February/ March issue of Tales from a Dark Room by Richard Baron. It was well informed, personal, and free of art speak. I agreed with his viewpoint that it is not the camera or methodology that produces a transcendent photograph—it is the person behind the lens. —EVALYN BEMIS, VIA EMAIL
aDverTisinG saLes
THE MAGAZINE: 505-424-7641 LINDY MADLEY: 505-577-6310 CoLoraDo aDverTisinG saLes JOAQUIN SALAZAR: 970-394-0047 DisTriBuTion JIMMY MONTOYA: 470-0258 (MOBILE) THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: themagazinesf@ gmail.com. Web address: themagazineonline.com. All materials copyright 2015 by THE magazine. All rights reserved 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.
June
2015
TO THE EDITOR: Thanks for the well-written review on Noel Hudson’s art by Lauren Tresp and her insightful thoughts on the town of Truth or Consequences. A wonderful read. —NOEL WINKLER, VIA EMAIL TO THE EDITOR: It is rare that I find myself writing to an editor but in this case I feel compelled to do so after being made aware of the highly unprofessional review written by Ms. Hannah Hoel on Ms. Eileen Braziel’s Gallery [Eileen Braziel Art Advisors]. It is one thing to not like an installation, everyone is entitled to their opinion, but her writing came across as vindictive and as someone with an ax to grind. I took the time to look up Ms. Hoel’s credentials as an art critic, and she basically has
none. She is not from any major art market, New York City, Los Angeles, Miami, etc., but is simply a recent college grad working for a small-town publication. Her inexperience is obvious and her actions affect these artists in a negative manner, something she does not seem to care about. Worse yet is that THE magazine allowed this trash piece to be published, and frankly it devalues THE’s credibility as well. That is part of the problem with Santa Fe—it likes to think it is a major art market in the league of New York City and Los Angeles. It isn’t. I have had the pleasure of working with Ms. Braziel on three of the previous highly regarded TIME projects. I have never come across someone so hard-working, dedicated, and one who is innovative and thinks so out of the box. She is not peddling the same ole, same ole art you see in Santa Fe. She adds a fresh option. Ms. Braziel developed and curated the TIME project in partnership with Navajo artists working alongside non-Native artists to create unique land-based art installations. Is Ms. Hoel doing anything this innovative and community based? I think not. Ms. Braziel was also able to procure the world famous artist Ai Wei Wei [sic] [Ai Weiwei] to collaborate with Navajo artists for the most recent TIME installation, which is significant and generated great public relations for New Mexico. Does Ms. Hoel have these types of connections or the ability to pull something like this off on an international scale? I think not. The TIME projects all have received wonderful accolades by Planet Magazine, The Huffington Post, and The New York Times, just to name a few (by real art critics). Many of these artists are included in her current installation and deserve to be seen and appreciated. —JULIEN MCROBERTS, NEW YORK CITY, VIA EMAIL TO THE EDITOR: Never send your idiot writers to my gallery again. Hannah Hoel walked in with a serious attitude, didn’t “look” at the work, and literally took five minutes prancing around. Perhaps she had something in mind before she walked in? She never highlighted in her article that this was a teaser exhibit. You think that she would have emphasized that the future projects were what this exhibit was all about? No. —EILEEN BRAZIEL, SANTA FE, VIA EMAIL
The magazine | 5
Scott Swezy, Burning Sky, Soft pastel, 40” x 58”
C AT E N A R Y ART GALLERY
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Rumi Vesselinova, Burnt Forest #2, Archival print, 10” x 9”
ART
SANTA FE . 2015 INTERNATIONAL CONTEMPORARY ART FAIR
JULY 9 -12 SANTA FE CONVENTION CENTER
ART Santa Fe won 4th place in USA Today’s “Top 10 Best Art Fairs in the USA”! O P E N I N G N I G H T G A L A | T H U R S D A Y , J U L Y 9 , 5 : 0 0 - 8 : 0 0 P. M . FRIDAY, SATURDAY, SUNDAY | JULY 10, 11, 12 | 11-6 PM | $10 AT THE DOOR | 505.988.8883 | WWW.ARTSANTAFE.COM
George Kovenchuk, 2002, Paris, Mixed Media, 11 x 9 inches; IB Clark Gallery, Pennsylvania
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ART Santa Fe Presents
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EXPERIENCE one of the oldest re-emerging art forms in history. Mark White, Sup?, acrylic on panel, 12 x 9 inches
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414 Canyon Road, Santa Fe, NM
learn more at ww.markwhitefineart.com or by calling 505-982-2073
Open seven s days a week, from 9:30-5:30
Karen Frey (CA) Girl On The Beach (detail)
wax • resin • pigment ART Gallery features over 200 works of art, representing old style, new style with photography, paper, mixed media work and more.
Learn more, come visit. Beginning encaustic wax classes at the Institute, call Douglas Mehrens.
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EAI is a 501C3 non profit arts organization.
632 Agua Fria Street (Also access from Romero Street) Santa Fe NM 87501 • 505 989 3283
A STONE’S THROW New work by Leopoldo Cuspinera Madrigal and Tim Rowan
Exhibition: May 29 – June 23, 2015
Opening Reception May 29th, 2015 from 5–7pm RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 875 01 505.820.3300 | WILLIAMSIEGAL.COM
Dan Christensen (1942-2007)
Prominent New York School Color Abstractionist Atmospherics mAy 15 - June 21.2015
MONROE GALLERY of photography
The Road to Civil Rights 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 ©Whitney 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
Untitled, 1969, acrylic on canvas, 101½" x 75"
Easy Over, 1988, acrylic on canvas, 51¼" x 45¼"
LewAllenGalleries Railyard Arts District 1613 Paseo de Peralta Santa Fe, NM 87501 (505) 988.3250 www.lewallengalleries.com info@lewallengalleries.com
CREATING SHAPE OPENING RECEPTION FRIDAY, MAY 29, 5-7 PM THROUGH JUNE 19, 2015
FEATURING NEW WORK BY KAREN YANK
ZANE BENNETT CONTEMPORARY ART 435 S GUADALUPE ST, SANTA FE, NM 87501 T: 505-982-8111 ZANEBENNETTGALLERY.COM KAREN YANK, XO SERIES FREE-STANDING SCULPTURE TRIO (A,B,C) , 2014, GALVANIZED STEEL, 50 X 48 X 8”
Melinda Tidwell Studio #33
5 Days 2 Weekends 68 Artists 44 Studios Artists Reception Friday June 19 5:30-7:30PM at the Santa Fe University of Art and Design Preview Gallery and Studios Open June 20-21 10AM-5PM Studios Open www.turquoisetrail.org June 27-28 10AM-5PM
www.santafestudiotour.com
Blue Rain Gallery’s 2nd Invitational Glass Show June 5 – 27, 2015 Artists’ Reception: Friday, June 5th, 5 – 7 pm in Santa Fe
Curated by Preston Singletary Participating artists include Tobias Mohl, Michael Cozza, Sasha Tepper-Stewart, Ben Cobb, Ben Edols and Kathy Ellio , Dan Friday, Erich Woll, Sean Albert, Joe BenVenuto, Laura Beth Konopinski, Armelle Bouchet O’Neill, and Janusz Pozniak.
Blue Rain Gallery | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com
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The magazine | 15
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Paintings on view at David Rothermel Contemporary at the corner of Lincoln and Marcy Streets
ART FORUM
THE WHO
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THEY WERE SHOWN ONLY THE IMAGE AND WERE GIVEN NO OTHER INFORMATION.
moment-to-moment choices, this image reached my gut. It stirred empathy, not only for the artist portrayed contemplating his work, but for all artists, and perhaps most especially for the challenged artist in me. When a work can reach in and give me a nudge toward wisdom, I’m grateful. —CAROL COATES, ARTIST, SANTA FE
We see creation and destruction—an image teeming
At first glance, I thought, odd. The images puzzled me and
with energy and emotional conflict. Fire is one
provoked thoughts about the solitary task of developing
It is Friday afternoon in the studio. An artist is sitting in
of the most powerful psychological symbols. It
and executing meaningful work; about the aesthetic choices
front of a large painting. He has been struggling with the
represents purification, change, alchemy, the sun,
made and being considered by this artist. I saw the white
big canvas for weeks. He wants to say that this was the
passion, aggression, and even war. Here, an empty
marks as (possibly) a sign of the artist’s resignation to
place where he made a stand—this is the significance
road leads to a burning, hazy sky. Are we seeing a
failure, as an act of creative vandalism. I thought of my own
of the painting. A long time ago, when the artist was
path of new beginnings or the entrance to a disaster
work at that scale, remembering how, while some pieces
sixteen years old, he had to make a decision about his
zone? Similarly, the foreground shows a Tree of
were strong and enduring, others were instantly imposing
future. His parents didn’t recognize his artistic talent.
Life ablaze, as if purifying itself. Two white lines are
monuments to mistakes and limitations. While the painted
They wanted him to choose something a bit safer. In the
splashed on the scene like graffiti. It seems the artist
image in the photo appeals to me in its symbolism, and
painting he is showing his anger and fury with the tree
shown here cannot decide if he wants to create or
I enjoy the irony of the text on the painting—This is where I
in flames. The bird represents the angry parents, seeing
destroy his own piece. The large bird represents a
made my stand—my inner critic would have been delighted
their son wanting to become a crazy artist. They see
messenger about to land on the artist. Perhaps the
to see the entire initial gesso layer reappear. The acts of
their home (nest) being destroyed by the flames. The
bird’s presence will help clarify the artist’s feelings.
creating and destroying are both acts of courage. Did he
fence is restricting the artist from reaching his potential.
Sigmund Freud wrote extensively on the life and
just scrape and re-prime these small areas, or is this the
The time has come for him to make a stand. To tell his
death instincts. He called these opposing drives Eros
beginning of a total return to white? I love the provocation,
parents, “This is my destiny.” The road is a symbol of the
and Thanatos, respectively. This work represents
the photo’s color and composition, the movement, and the
way to freedom. He is ready to take it. And he is trying to
such emotional turmoil.
way that the reds, whites, and grays play off one another.
make sense of the two white “things” in front of the tree.
—DAVIS K. BRIMBERG, PH.D., CLINICAL PSYCHOLOGIST, SANTA FE
Perhaps because my own work explores the power of
—THOMAS ROTH, ARTIST, SANTA FE
magazine magazine 18 | The 20 | The
Jun Me a y 2015 2015
MAPS DOOR S A ND COFFINS LOC AT I N G A BSENCE
TO TA K E A W O R D A N D T R E AT I T L I K E A P L AC E / TO TA K E A LOS S A N D T R E AT I T L I K E A T H I N G / TO TA K E A N A M E A N D T R E AT I T L I K E A P O I N T O F EN T RY
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1601 Paseo de Peralta
Santa Fe NM
Coffin 1, Coffins for My Family (detail)
ALI BAUDOIN Paintings > Sculptures
On view through July 11 at The South Broadway Cultural Center > 1025 Broadway Boulevard SE, Albuquerque Artist seeks National Representation by Qualified Professional www.alibaudoin.com > baudoin@comcast.net > 505.688.9643 Serious Inquires Only On view through July 11 at The South Broadway Cultural Center > 1025 Broadway Boulevard SE, Albuquerque Artist seeks National Representation by Qualified Professional www.alibaudoin.com > baudoin@comcast.net > 505.688.9643 Serious Inquires Only
STUDIO VISITS
ERICH FROMM WROTE, “CREATIVITY REQUIRES THE COURAGE TO LET GO OF CERTAINTIES.” TWO ARTISTS RESPOND. Agreed. I am never more uncertain of even the smallest detail in my creative process than when I initially decide to paint a new artwork, tackle a writing project, or begin a photo shoot. Aside from determining a rough direction to head, and then gathering the necessary materials, I rarely take time for preliminary sketches or color studies. I love the immediacy and the sense of venturing into the unknown. Even preparing a simple meal sometimes turns into a wondrously unscripted experiment, edible or not. Results seem to be directly connected to how drifty I am during the actual legwork; the less grounded, the more satisfying the outcome. Is it any wonder that my life-long addiction to “making stuff” is my greatest treasure?
—RUSH COLE Cole is currently working on the set of the Longmire TV series, gearing up for Rodeo de Santa Fe 2015 (June 24 to June 27), and entering juried national exhibits. (“No rest for the wicked,” as me Irish grannie always declared.) rushcolefineart.com
PHOTOGRAPHS:
ANNE STAVELEY
Most things in life are uncertain and sometimes unsettling. On the other hand, my creative life—which began at a very early age and included writing songs, painting, performance, and now my clay work—requires freedom. Creativity in any form is a joyful release, and artmaking is a process that should not be feared or attempted with too much hesitation. The subconscious should open up and enhance what is conscious. You can always begin again, and you do… it is a constant exercise in improving and elaborating one’s efforts. My imagination is what has made my life rich, and it has also in a way been a safety net for the difficulties of my emotional and personal life. There is no one more important to judge my work than myself, so why not work without restraint? My goal is that I continue to grow and improve, and that is the most gratifying thing. My work is somewhat planned, as I do a lot of simple sketching of ideas, but is then transformed with spontaneity. Those unexpected surprises are often what make my best work. Color, line, and form must flow from an uncharted space in my heart and mind, and that uncertainty can be thrilling, all the more when you achieve success. Why be afraid of uncertainties? After all, you can do it again and again.
—SHERYL ZACHARIA Zacharia will be one of three artists in the exhibition Unconventional Con‘form’ity: 3 Contemporary Ceramic Approaches to the Vessel Form at Tansey Contemporary, 652 Canyon Road, Santa Fe. Reception: Friday, June 5 from 5 to 7 pm. sherylzacharia.com
2015 2015
JJuunn e e
magazine| 21 21 The Themagazine
KNOW YOUR FOOD SOURCE GROW YOUR OWN YEAR-ROUND GIVE THE GIFT OF FOOD TO OTHERS
CLOUD CLIFF BAKERY at the SANTA FE FARMERS MARKET TUESDAY and SATURDAY
ANCIENT CITY APPETITE
anCienT CiTy appeTiTe BY JOSHUA
BAER
eL TapaTio TaCos y TorTas 1640 Hopewell Street, Santa Fe Mondays through Saturdays, 8:00 am – 6:00 pm 505-501-3421 El Tapatio is a lonchera, or food truck, that serves great Mexican tacos. The best
tacos de lengua are the best I’ve had. As soon as I leave the lonchera, the
times to go are either before eleven-thirty in the morning or after one-thirty
craving to turn around, go back, and get another order begins.
in the afternoon. As you get closer to noon, the truck gets busy with takeout
Tacos de Cachete (four to an order, with the same sides and sauces
orders. I recommend that you not get takeout from El Tapatio. The tacos are
that come with the tacos de lengua); $8.00. Cachete means “cheek”—
just as good, but if you eat them someplace else you’ll miss the experience
in this case, beef cheek. When I invite people to lunch at El Tapatio, and
of sitting at the tables under the Russian olive trees and watching the ongoing
they hesitate about eating beef tongue, I recommend the tacos de cachete
pageant of car and foot traffic that passes through the intersection of Sixth
or tacos de adovada ($8). My wife orders the adovada. It’s delicious, but
and Hopewell.
it’s not in the same league of authenticity as the lengua or the cachete.
These are the tacos you don’t want to miss:
If I wasn’t addicted to El Tapatio’s lengua, I’d be addicted to their cachete.
Tacos de Lengua (four to an order, with grilled onions, a grilled jalapeño,
The cachete’s texture is more complex than the texture of the lengua,
a lime wedge, and two kinds of sauce); $8. I order tacos de lengua every time
but its flavor is less distinct.
I go to El Tapatio. To be at the truck, smell the lengua on the grill, and not order
Miguel Ángel Torres Galván and his wife, Evelia Segura, who own the
it would be my idea of hell. Each taco is made with one small, soft corn tortilla.
lonchera and cook all the food, are good people. I can’t thank them enough
I top the lengua with the grilled onions, a squeeze of lime, and a healthy dollop
for making El Tapatio one of the happiest parts of my life.
of both sauces. The tacos are too large to eat in one bite but small enough
Photograph by Joshua Baer. Ancient City Appetite recommends places to eat, in and out of Santa Fe. Send favorites to places@ancientcityappetite.com.
to eat in two. Lengua means “tongue”—in this case, beef tongue. El Tapatio’s JUNE
2015
The magazine | 23
happy hour special - 50% off our famous classic appetizers calamari, dumplings, egg rolls selected wines-by-the-glass, “well” cocktails and our house margaritas - $5.00 full bar with free wi-fi monday thru friday from 4:30 - 6:30 pm
Summer’s Here! And our New Garden Bar is Open!
LUNCH • DINNER • BAR
lunch & sunday brunch • from $9.50 (11:30 - 2 pm) dinner nightly • from $19.00 (open 5:30 pm) open every day restaurant bar 231 washington avenue - reservations 505 984 1788
gift certificates, menus & special events online www.santacafé.com
Reservations 505.982.4353 653 Canyon Road compoundrestaurant.com
ONE BOTTLE
o ne B oTTLe
The 2005 ChÂTeau
De
FarGues Lur saLuCes sauTernes
BY J OSHUA
B AER .
One of the interesting things about life is that life comes to an
In the glass, the 2005 Château de Fargues is a glimpse of gold.
end. Depending on how lucky you are, life starts and lasts for
You can look at the gold, and looking right at it will give you a sense
a while, but then it stops, and the end is final, regardless of
of weightlessness, but you can also see through the gold, and seeing
how lucky you are. We do what we can to prolong life. Art,
through it will give you a sense of being both inside and outside its
love, medicine, and religion are here to help. Music helps a lot.
beauty. From the outside, the gold appears to be lovely. Inside, the gold
And pets. But sooner or later, either by accident or by design,
is alive.
we come face to face with the limited-time offer we accepted at birth, and life goes on without us.
Château de Fargues’ bouquet is precise, and its precision is exciting. On the palate, the bouquet’s precision reasserts itself through
Another interesting thing about life is the way it really does go
a spectrum of flavors. Each flavor is a marvel—caramelized peaches,
on without us. We die, but life lives forever. A fraction of the world’s
Meyer lemon ice, pineapple tart—but to say that Château de Fargues
bacteria and viruses die with us, in a kind of anonymous parasitic empathy, but the rest of the world goes on living. That’s what makes life so confounding. As individuals, we live mortal lives, but the life that passes through us is immortal. Now, you can argue that there was no life before
“tastes like” any or all of its flavors is to misunderstand the gift of Sauternes. A great Sauternes—and the 2005 Château de Fargues is nothing less—is simultaneously multiple and singular. People who love Château de Fargues drink it for its multi-faceted bouquet and hallucinogenic flavors, but we
the Big Bang, that nothing existed before the universe
celebrate this wine for its finish. A good wine will always
took the mother of all deep breaths and gave birth
leave you with a good finish, but some good finishes last
to existence. The problem with that argument is the way
longer than others. With Château de Fargues, especially
the human mind works. Our lives begin and end, but our
the 2005 vintage, the finish lasts long enough to remind
minds are blessed—or cursed, if you think that way—
you of how lucky you are to live in a world where the
with the ability to imagine what happens before a
middle of your life lasts longer than its beginning or end—
beginning and after an end. If the Big Bang started all this,
long enough, one would hope, to reflect on the beginning
what started the Big Bang? If nothing created existence,
and embrace the end.
what created nothing? And, if “God” is your answer, what kind of god creates nothing? Death is not what you would call a popular topic,
The key to enjoying the 2005 Château de Fargues is to disassociate yourself from the common misconception that
Sauternes
are
dessert
wines.
Sauternes
are
at least not among the living. If there is an afterlife—
sweet, but just because a wine is sweet does not
a zone where disembodied spirits speak the lingua franca
mean you have to drink it with sweet foods. Sauternes
of the dead—then conversations about how, when,
work beautifully with duck confit, grilled flank steak,
where, and why you died must be popular. Among the
lobster club sandwiches, or seared foie gras. Like all
living, the common approach to death is, “Not now. Yes,
dramatic wines, Sauternes perform well in the company
I know it’s inevitable. Did you have to remind me? Can’t
of bacon.
you see I’m busy?”
If you want to do what the French do—not always
Our willful neglect of all that death has to offer takes
a sound strategy, though in this case an inspired one—
myriad forms. One of those forms is eating and drinking.
get a Wonder Roast chicken at Kaune’s, take it home,
Like sex, drugs, rock and roll, and litigation after fifty, the
cut it up, put the pieces on a hot platter with some salsa
art of eating and drinking is what keeps us alive. Consider
verde and mango-habanero chutney, and eat the Wonder
the alternative. If you stop eating and drinking, your life
Roast as slowly as your appetite will allow, with an open
might last a month, but the end of that month will be
bottle of the 2005 Château de Fargues on the table. You
haunted by your starved body’s transition from life to
will remember the meal, maybe for the rest of your life.
death. Not only does eating and drinking keep us alive,
As the chicken and the Château de Fargues disappear, do
it keeps us in the food and wine bubble. We may not be
yourself a favor and reflect on the timeless adage, “It’s not
able to survive our mortality but at least we can enjoy it
how you start. It’s how you finish.”
while it lasts. Which brings us to the 2005 Château de Fargues Lur Saluces Sauternes. JUNE
2015
One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. All content is ©2015 by onebottle.com. Send e-mail to jb@onebottle.com.
The magazine | 25
DINING GUIDE
Under the Stars on the Patio at
Santacafé
231 Washington Avenue Reservations: 984-1788
$ K e y
ineXpensive
$
up to $14
MoDeraTe
$$
eXpensive
$15—$23
$$$
$24—$33
very eXpensive
$$$$
Prices are for one dinner entrée. If a restaurant serves only lunch, then a lunch entrée price is reflected. Alcoholic beverages, appetizers, and desserts are not included in these price keys. Call restaurants for hours. PHOTOGRAPHS BY
$34 plus
eaT ouT oFTen
G UY C ROSS
...a guide to the very best restaurants in santa fe, albuquerque, taos, and surrounding areas... 315 resTauranT & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: French. aTMosphere: An inn in the French countryside. house speCiaLTies: Chicken, Seared Pork Tenderloin, and the Black Mussels are perfect. CoMMenTs: Generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. anDiaMo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Italian. aTMosphere: Casual. house speCiaLTies: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. C oMMenTs : Great pizza. anasaZi resTauranT Inn of the Anasazi 113 Washington Ave. 988-3236. Breakfast/Lunch/Dinner. Full bar. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American. aTMosphere: A classy room. house speCiaLTies : For dinner, start with the Heirloom Beet Salad. Follow with the Achiote Grilled Atlantic Salmon. CoMMenTs: Attentive service. arroyo viono 218 Camino La Tierra. 983-2100. Dinner (Tuesday-Saturday) Full bar. Major credit cards. $$$$ Cuisine: Progressive American. aTMosphere: Warm and welcoming. house speCiaLTies: The Charcuterie Plate, the Grapefruit and Almond Salad, the Prosciutto Wrapped Norwegian Cod, and the N.M. Rack of Lamb—all perfect. CoMMenTs: Menu changes depending on what is fresh in the market. Superb service. Top-notch wines in the restaurant and wine shop. BanG BiTe 502 Old Santa Fe Trail & Paseo de Peralta. 469-2345 Breakfast/Lunch Parking lot, take-out, and catering. Major credit cards Cuisine: American.Fresh, local & tasty. aTMosphere: Orange food truck in parking lot. house speCiaLTies: Burger and fries and daily specials. Lotta bang for the buck. BouChe 451 W. Alameda St 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ 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. $$ C uisine : We call it contemporary comfort food. a TMosphere : Casual. h ouse speCiaLTies : For breakfast, both the Huevos Motulenos and the Eldorado Omelette are winners. For lunch, we love the One for David Fried Fish Sandwich. C oMMenTs : Chris Galvin CaFÉ pasQuaL’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. aTMosphere: Adorned with Mexican streamers and Indian posters. house speCiaLTies: Hotcakes got a nod from Gourmet The Huevos Motuleños is a Yucatán breakfast—one you’ll never forget. CheZ MaMou 217 E. Palace Ave. 216-1845. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Artisanal French Bakery & Café. aTMosphere: Casual. house speCiaLTies : Start with the Prosciutto Melon Salad. For your main, try the Paillard de Poulet: lightly breaded chicken with lemon and garlic sauce, or the Roasted Salmon with white dill. C o M M e n T s : Pastas are right on the mark. ChopsTiX 238 N. Guadalupe St. 982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ aTMosphere: Casual. Cuisine: Chinese, Japanese, and Korean. house speCiaLTies: Lemon Chicken, Korean barbequed beef, and Kung Pau Chicken. CoMMenTs: Friendly owners. CounTer CuLTure 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. aTMosphere: Informal. house speCiaLTies: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. CoMMenTs: Good selection of beers and wine. CoWGirL haLL oF FaMe 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: Good old American. fare. aTMosphere: Patio shaded by big cottonwoods. Great bar. h ouse speCiaLTies : The smoked brisket
and ribs are the best. Super buffalo burgers. CoMMenTs: Lot of beers. CoyoTe CaFÉ 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. aTMosphere Bustling. house speCiaLTies: Main the grilled Maine Lobster Tails or the 24-ounce “Cowboy Cut” steak. CoMMenTs: Great bar and good wines. Dr. FieLD GooDs KiTChen 2860 Cerrillos Rd. 471-0043. Lunch/Dinner Beer/Wine Major credit cards. $$$ 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. eLoisa 228 E. Palace Ave. 982-0883. Lunch/Dinner Full bar. Major credit cards. $$$ Cuisine: Nuevo New Mexico. aTMosphere: Open and inviting. house speCiaLTies: Start with a Small Plate. Try the Maize Budino: white and green corn, black quinoa, and red amaranth, or the Squash Tamalli: acorn squash, red chile pork, goat cheese, and masa. Large Plates: we love the Potato-Wrapped Scallops and the Salmon Painted Desert: grilled salmon, salmon mousse tamal, calabacitas,
and cilantro-lime sauce. CoMMenTs: A great bar with many specialty cocktails and a good wine list. Chef John Sedlar’s menu is inspired by his grandmother Eloisa. Sedlar’s presentation of food is impeccable. Fire & hops 222 S. Guadalupe St. 954-1635 Dinner - 7 days. Lunch: Sat. and Sun. Beer/Wine. Patio. Visa & Mastercard. $$$ Cuisine: Susatainable local food. a TMosphere : Casual and friendly. house speCiaLTies: The Green Papaya Salad and the Braised Pork Belly. Fave large plates: the Cubano Sandwich and the Crispy Duck Confit. C oMMenTs : Nice selection of beers on tap or bottles. GeorGia 225 Johnson St. 989-4367. Patio. Dinner - Full bar. Major credit cards. $$$$ Cuisine: Clean and contemporary. aTMosphere: Friendly and casual. house speCiaLTies: Start with the Charcuterie Plate or the Texas Quail. Entrée: Try the Pan-Roasted Salmom—it is absolutely delicious. CoMMenTs: Good wine list, a sharp and knowledgeable wait-staff, and a bar menu that you will love. GeroniMo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: We call it French/Asian fusion. aTMosphere: Elegant and stylish. house speCiaLTies: Start with the superb foie gras. Entrée we love is the classic Peppery Elk Tenderloin. CoMMenTs: Wonderful desserts. harry’s roaDhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. aTMosphere: Down home house speCiaLTies : For breakfast go for the Scrambled Eggs with Smoked Salmon, Cream Cheese. Lunch: the Buffalo Burger. Dinner: the Hanger Steak. C oMMenTs : Friendly. iL piaTTo iTaLian FarMhouse KiTChen 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. a TMosphere: Bustling. h ouse speCiaLTies: Our faves: the Arugula and Tomato Salad, the Lemon Rosemary Chicken, and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. CoMMenTs: Nice wine list. Farm to table. iZanaMi 3451Hyde Park Rd. 428-6390. Lunch/Dinner
Sake/Wine/Beer Major credit cards. $$$ C uisine : Japanese-inspired small plates. a TMosphere : A sense of quietude. h ouse speCiaLTies :. We loved the Nasu Dengaku, eggplant and miso sauce, and the Pork Belly with Ginger BBQ Glaze. C oMMenTs : Innovative. JaLapeno’s Barrio CaFe 2411 Cerillos Road 983-8431 Breakfast/Lunch/Dinner Major credit cards. $$$ Food truck parked in front Cuisine: Call it New Mexican/ Mexican. a TMosphere: Food truck with seating in the building. h ouse speCiaLTies : The Chicharon Burritom and the Stuffed carnitas quesadilla are faves. CoMMenTs: Pricey, JaMBo CaFe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ C uisine : African and Caribbean inspired. a TMosphere : Casual. h ouse speCiaLTies : Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers. C oMMenTs : Truely fabulous soups. Joseph’s CuLinary puB 428 Montezuma Ave. 982-1272 Dinner. Beer/Wine Major credit cards. $$$ Cuisine: Innovative. aTMosphere: Intimate. h ouse speCiaLTies : Start with the Butter Lettuce Wrapped Pulled Pork Cheeks. For your main, try the Crispy Duck, Salt Cured Confit Style. C oMMenTs : The bar menu features Polenta Fries and the New Mexican Burger. Ask about the daily specials. Wonderful desserts abound and great service. KohnaMi resTauranT 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ 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. $$ Cuisine: An Authentic Salvadoran Grill. aTMosphere: Casual. house speCiaLTies : The Loroco Omelet, Pan-fried Plantains, and Salvadorian Tamales. C oMMenTs : The Sunday brunch is a real winrer—not to be missed.
continued on page 29 June
2015
The magazine | 27
apricot chutney & madras curry sauce
House-Smoked Trout Rillettes with Grilled Flat Bread $17 pickled red onion, caper berries, spicy greens & local radish
a
Housemade Charcuterie with Pickles & Mustard $16 duck rillettes, country paté, bresaola & mortadella
eNtrÉes Local Pork Schnitzel with Whole Grain Mustard Sauce $25 mashed potatoes & caramelized brussel sprouts
a Steak Frites $31
10 oz. New York strip served with au poivre, bernaise or herb butte
Potato & Horseradish-Crusted Salmon $30 braised fennel, leeks & swiss chard
a
To thank you 1lb. Salt Spring Mussels with Club Fries $30
a
Santa Fe for amazing years, & Black Garlic Sau Roasted Colorado Chicken20 with Exotic Mushroom creamy cheese polenta & winter we’re offering vegetables white wine, garlic, lemon & herbs
1/2 price by the Wine a bottle
Braised Veal Osso Bucco with Madeira Wine & Rosemary $3 wild rice blend & turnip purée Gluten Free
e x e c u t i v e c h e F, louis Moskow
Reservations: (505) 986-9190
315 Old Santa Fe Trail
every tuesday night u
All bottles on the wine list
Discover romance in the land of enchantment at Santa Fe’s oldest restaurant and cantina SPANISH CUISINE AND UNIQUE WINE SELECTIONS FAMOUS TAPAS • TRADITIONAL PAELLA LUNCH, DINNER AND HAPPY HOUR SPECIALS DAILY • SEASONAL PATIO DINING AND DELUXE BANQUET FACILITES 808 Canyon Road Santa Fe,NM 87501 (505) 983-9912 www.elfarolsf.com
Sun- Thur, 5:00 - 9:00 pm Fri - SaT, 5:00 - 9:30 pm 315 Old SanTa Fe Trail SanTa Fe, nm (505) 986.9190 www.315SanTaFe.cOm
u
www.315san
DINING GUIDE
BURGERS GALORE AT SANTA FE BITE | 311 OLD SANTA FE TRAIL | 982-0544 Lan’s vieTnaMese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. aTMosphere: Casual. house speCiaLTies: The Vegetarian Pumpkin Soup is amazing. Fave entree is the BoTai Dam: Beef tenderloin w/ garlic, shallots, and lemongrass. CoMMenTs: Friendly. La pLaZueLa on The pLaZa 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. aTMosphere: Casual house speCiaLTies: Start with the Tomato Salad. Entrée: Braised Lamb Shank with couscous. CoMMenTs: Beautiful courtyard for dining. Masa sushi 927 W. Alameda St. 982-3334. Lunch/Dinner Sake/Beer Major credit cards. $$ C uisine : Japanese. a TMosphere : Low-key. h ouse speCiaLTies : For lunch or dinner: Start with the Miso soup and/or the Seaweed Salad. The spicy Salmon Roll is marvelous, as are the Ojo Caliente and the Caterpiller rolls. The Tuna Sashimi is delicious. C oMMenTs : Highly recommended. MiDToWn BisTro 910 W. San Mateo, 820-3121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ C uisine : American fare with a Southwestern twist. a TMosphere : Beautiful open room. h ouse speCiaLTies : For lunch: the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrée: Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop. C oMMenTs : Nice desserts. Mu Du nooDLes 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. aTMosphere: Casual. house speCiaLTies: Vietnamese Spring Rolls and Green Thai Curry, CoMMenTs: Organic. neW yorK DeLi Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. aTMosphere: Large open space. house speCiaLTies: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. neXus 4730 Pan American Frway. Albuquerque. 505 242-4100 Breakfast/Lunch/Dinner Major credit cards. $$ 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.
June
2015
pLaZa CaFÉ souThsiDe 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. aTMosphere: Bright and light. house speCiaLTies: Breakfast: go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. All of the burritos are great. Patty Melt is super. CoMMenTs: Green Chilie is perfect.
sanTa Fe CapiToL GriLL 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. aTMosphere: Contemporary. house speCiaLTies: Tuna Steak, ChickenFried Chicken with mashed potates and bacon bits, and the New York Strip with a yummy Mushroom-Peppercorn Sauce. Desserts are on the mark. CoMMenTs: Nice wine selection.
rio ChaMa sTeaKhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American. aTMosphere: Easygoing. house speCiaLiTies: Steaks, Prime Ribs, and Burgers. Haystack fries rule. reCoMMenDaTions: Excellent wine list.
saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. aTMosphere: Casual. Buffet-style service for salad bar and soups. h ouse speCiaLTies : Hot daily specials, gourmet sandwiches, Get the Baby-Back Ribs when available.
s an F ranCisCo s T . B ar & G riLL 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ C uisine: Good bar food. aTMosphere: Casual, with art on the walls. house speCiaLTies: Lunch: the San Francisco St. hamburger or the grilled Salmon filet with black olive tapeade and arugula on a ciabatta roll. Dinner: the flavorful twelve-ounce New York Strip steak, with chipotle herb butter, or the Idaho Ruby Red Trout with pineapple salsa. CoMMenTs: Visit their sister restaurant at Devargas Center. sanTaCaFÉ 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: souThWesT Contemporary. aTMosphere: Minimal, subdued, and elegant. house speCiaLTies: Their world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Pan-seared Salmon with olive oil crushed new potatoes and creamed sorrel. CoMMenTs: Happy hour specials from 4 to 6 pm. Great deals: Half-price appetizers. “Well” cocktails only $5. sanTa Fe Bar & GriLL 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. aTMosphere: Casual and friendly. house speCiaLTies: Cornmeal-crusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. CoMMenTs: Easy on the wallet. sanTa Fe BiTe 311 Old Santa Fe Trail. 982-0544 Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: American and New Mexican. aTMosphere: Casual and friendly. house speCiaLTies: Lunch: the juicy 10 oz. chuck and sirloin Hamburger or the Patty Melt. Dinner: the Ribeye Steak is a winner. The Fish and Chips rivals all others in Santa Fe. C oMMenTs : Try any of the burgers on rye toast instead of a bun. Their motto: “Love life. Eat good.” We agree.
seConD sTreeT BreWery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Pub grub. aTMosphere: Real casual. house speCiaLTies: We enjoy the Beer-steamed Mussels, the Calamari, and the Fish and Chips. CoMMenTs: Good selection of beers. shaKe FounDaTion 631 Cerrillos Rd. 988-8992. Lunch/Early Dinner - 11am-6pm Major credit cards. $$ Cuisine: All American Burger Joint. aTMosphere: Casual with outdoor table dining. house speCiaLTies: Green Chile Cheeseburger, the Classic Burger, and Shoestring Fries. Amazing shakes made with Taos Cow ice cream. CoMMenTs: Sirloin and brisket blend for the burgers. shohKo CaFÉ 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. aTMosphere: Sushi bar, table dining. house speCiaLTies: Softshell Crab Tempura, Sushi, and Bento Boxes. CoMMenTs: Friendly waitstaff. sWeeTWaTer 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner. Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. aTMosphere: Large open room. house speCiaLTies: The Mediterranean Breakfast—Quinoa with Dates, Apricots, and Honey. Lunch: the Indonesian Vegetable Curry on Rice; C oMMenTs : Wine and Craft beers on tap. Terra aT Four seasons enCanTaDo 198 State Rd. 592, Tesuque. 9889955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American with Southwest influences. aTMosphere: Elegant house speCiaLTies:. Start with the Beet and Goat Cheese Salad. Follow with the Pan-Seared Scallops or the
Double Cut Pork Chop. CoMMenTs: Chef Andrew Cooper brings seasonal ingredients to the table. Excellent wine list. The arTesian resTauranT aT oJo CaLienTe resorT & spa 50 Los Baños Dr. 505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ C uisine : Southwest and American. a TMosphere : Casual, calm, and friendly. h ouse speCiaLTies : At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, and foillow with the Trout with a Toa ste Piñon Glaze. C oMMenTs : Nice wine bar.
Tia sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$ Cuisine: Traditional New Mexican. aTMosphere: Easygoing and casual. house speCiaLTies: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese or the daily specials. C oMMenTs : The real deal. Tune-up CaFÉ 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, New Mexican. a TMosphere : Down home. house s p e C i a LT i e s : Breakfast:We like the Buttermilk Pancakes. Lunch: Great specials C o M M e n T s : Easy on your wallet.
The CoMpounD 653 Canyon Rd. 982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American Contemporary. aTMosphere: 150-year-old adobe. h ouse speCiaLTies : Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. C oMMenTs : Chef and owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award.
434 W. San Francisco St. 982-9966 Dinner Full bar. Smoke-free. Major credit cards. $$$ 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.
The paLaCe resTauranT & saLoon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ C uisine : American a TMosphere : Victorian style merges with the Spanish Colonial aesthetic. h ouse s peCiaLTies : For lunch, the Prime Rib French Dip or the Lemon Salmon Beurre Blanc. Dinner: go for the Lavender Honey-Glazed Baby Back Rib, or the Prime Rib Enchilada C oMMenTs : Super bar.
vinaiGreTTe 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ 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 in Albuquerque.
The ranCh house 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: Barbecue and Grill. aTMosphere: Family and very kid-friendly. house speCiaLTies: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. CoMMenTs: The best BBQ ribs.
verDe 851 W. San Mateo Rd.. 820-9205. Major credit cards. $$ Cuisine: A variety of gourmet ColdPressed Juice blends. 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.
The sheD 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican.aTMosphere: A local institution located just off the Plaza. h ouse speCiaLTies : If you order the perfect red or green chile cheese enchiladas. C oMMenT s They are always busy. Go— you will never be disappointed. The Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to table-to mouth. aTMosphere: Casual. house speCiaLTies : For breakfast, get the Steamed Eggs or the Bagel and Lox.. All of the salads are marvelous.. Many, many sandwiches and Panini to choose from. CoMMenTs A variety of teas from around the world make The Teahouse the best source for teas in the great Southwest.
vanessie
oF
sanTa Fe
ZaCaTeCas 3423 Central Ave., Alb. 255-8226. Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. aTMosphere: Casual and friendly. h ouse speCiaLTies : Try the Chicken Tinga Taco with Chicken and Chorizo or the Pork Ribs. Sixty-five brands of Tequila for your drinking pleasure. Zia Diner 326 S. Guadalupe St. 988-7008. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine American a TMosphere : Real casual. house speCiaLTies: The perfect Chile Rellenos and Eggs is our breakfast choice. Lunch: Our favorite is the Southwestern Chicken Salad, the Fish and Chips, and any of the Burgers C o M M e n T s : A variety of delightful pasteries and sweets are available for take-out.
The magazine | 29
MERIDEL RUBENSTEIN
EDEN TURNED ON ITS SIDE: PHOTOSYNTHESIS, PART II MAY 22 - JUNE 21, 2015
OP INFINITUM: ‘THE RESPONSIVE EYE’ FIFTY YEARS AFTER (PART II) AMERICAN OP ART IN THE 60S MAY 29 - JULY 6, 2015
OPENING RECEPTION: FRIDAY, MAY 29, 5:00 - 7:00 PM
OPENING RECEPTION: FRIDAY, MAY 29, 5:00 - 7:00 PM 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
Meridel Rubenstein, Summer Seasonal, 2009 - 2011, 54” x 40”
Rakuko Naito, RN1468-64, 1964, Acrylic and metallic acrylic on linen, 68” x 68”
STROUD, TADAAKI, TADASKY, LEO VALLEDOR, MARIO YRISARRY, LARRY ZOX
GABRIEL J. SHULDINER
JEWEL CURTAIN
postapocalypticBLACK™
JUNE 26 - AUGUST 9, 2015
JUNE 26 - AUGUST 9, 2015
OPENING RECEPTION: FRIDAY, JUNE 26, 5:00 - 7:00 PM
OPENING RECEPTION: FRIDAY, JUNE 26, 5:00 - 7:00 PM
Stephen Westfall, Reclining Harlequin, 2015, Acrylic on canvas, 78x66”
Gabriel J. Shuldiner, Could.Have.Been//, 2015, Mixed media, 33.2 x 25 x 3.5”
STEPHEN WESTFALL
DavidrichardGALLEry.com The Railyard Arts District
DAVID RICHARD
544 South Guadalupe Street, Santa Fe, NM 87501
GALLERY
(505) 983-9555 | info@DavidRichardGallery.com
OPENINGS
JUNEARTOPENINGS FRIDAY, MAY 29
THURSDAY, JUNE 4
aXLe C onTeMporary, The Railyard, Santa Fe. Not This, Not That: mobile and online exhibition of works struggling to describe the indescribable. 5-7 pm. Online at axleart.com
s hiproCK s anTa F e , 53 Old Santa Fe Tr., 2nd Fl., Santa Fe. 982-8478. Orlando Dugi: Dugi couture designs and an interactive fashion show by Dugi, in honor of the opening of the Wheelwright Museum’s Center for the Study of Southwestern Jewelry. 5-7 pm.
JaMes KeLLy ConTeMporary, 1611 Paseo de Peralta, Santa Fe. 989-1601. Miles & Miles: new works by Stuart Arends. 5-7 pm. phoTo-eye
GaLLery, 541 S. Guadalupe St., Santa Fe. 988-5152. Emergent Behavior: vivid images of constructed installations by Thomas Jackson. Home by Nightfall: powerful, blackand-white photographs by Angela BaconKidwell. 5-7 pm. WheeLhouse arT, 418 Montezuma Ave., Santa Fe. 919-9553. Revealing Natures: paintings by Sheila Miles and Jane Shoenfeld. 6-8 pm. Zane BenneTT ConTeMporary arT, 435 S. Guadalupe St., Santa Fe. 982-8111. Creating Shape Shape: sculptures by Karen Yank. 5-7 pm.
FRIDAY, JUNE 5
BLue rain GaLLery, 130-C Lincoln Ave., Santa Fe. 954-9902. Invitational Glass Show: 2nd annual glass show, curated by Preston Singletary. 5-7 pm.
n eW C onCepT G aLLery , 610 Canyon Rd., Santa Fe. 795-7570. Force of Nature: paintings by Jane Cook that express Nature’s spirit and subtle light. 5-7 pm. p aTina G aLLery , 131 W. Palace Ave., Santa Fe. 986-3432. The Language of Color: bold, chromatic jewelry by collaborating artists Steven Ford and David Forlano. 5-7 pm. s anTa F e C Lay , 545 Camino de la Familia, Santa Fe. 984-1122. Sharbani Das Gupta & Brian Molanphy: Molanphy ceramic works by Gupta and Molanphy. 5-7 pm.
Java Joe’s, 1248 Siler Rd., Santa Fe. Abstract Landscapes Landscapes: paintings by Nicholas Montenegro. 5-7 pm.
s orreL s Ky , 125 W. Palace Ave., Santa Fe. 501-6555. Unbridled Souls—Portrait of the American Horse: Horse western paintings by Carrie Fell. Artist demonstration: 5-7:30 pm.
Karan ruhLen GaLLery, 225 Canyon Rd., Santa Fe. 820-0807. Recent Works— Abstractions of Color and Line: Line colorful steel sculptures by Bret Price. Abstract paintings by Kevin Tolman. 5-7 pm.
Tai M oDern , 1601 Paseo de Peralta, Santa Fe. 984-1387. Maps, Doors and Coffins—Locating Absence Absence: new works by Katherine Lee. 5-7 pm.
Tansey ConTeMporary, 652 Canyon Rd., Santa Fe. 995-8513. Unconventional Con‘form’ity Con‘form’ity—3 Contemporary Ceramic Approaches to the Vessel Form Form: group show. 5-7 pm. W eyriCh G aLLery , 2935-D Louisiana Blvd. NE, Alb., 505-883-7410. Echoes of Nature 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. SATURDAY, JUNE 6
516 arTs arTs, 516 Central Ave. SW, Alb. 505242-1445. Fraction of a Second: multi-site exhibition of photographs by established and emerging artists. Reception at UNM Art Museum: Fri., June 5, 6-8 pm. Members preview: 5-6 pm. 516 reception: Sat., June 6, 6-8 pm. Curator talk: 5 pm. Oil-on-panel paintings by Robert Anderson on view at Mark White Fine Art, 414 Canyon Road, Santa Fe.
continued on page 34 June
2015
The magazine | 31
WHO WROTE THIS? WHO WROTE THIS? “Everyone thinks of changing “Everyone thinks of changing the the world, butone no thinks one thinks world, but no of of changing himself.” changing himself.” Margaret or Warren Buffet Margaret MeadMead or Warren Buffet Leo Tolstoy or Lebron Leo Tolstoy or Lebron JamesJames
THE REAL DEAL THE REAL DEAL
For artists without gallery representation in New Mexico. For artists without gallery representation in New Mexico. Full-page ads$750. for $750. $1,000. Full-page B&WB&W ads for ColorColor $1,000.
Reserve forJune the July by Wednesday, Reserve spacespace for the 20152015 issueissue by Wednesday, MayJune 13 17
505-424-7641 or email: themagazinesf@gmail.com 505-424-7641 or email: themagazinesf@gmail.com
Big Show TheThe Big Show
with Honey with Honey HarrisHarris and magazine THE magazine and THE Thursday, June 11 Thursday, June 11 98.1 FM KBAC 10:3010:30 am am 98.1 FM KBAC
OUT & ABOUT OUT & ABOUT
photographs by
photographs by Mr. Clix Mr. Clix Audrey Derell
OUT & ABOUT photographs by Mr. Clix Audrey Derell
Audrey Derell
Jonas Povilas Skardis Mac (and PC) Consulting Jonas Povilas Skardis Training, Planning, Setup, Troubleshooting, Anything Final Cut Pro, Networks, Upgrades, & Hand Holding Training, Planning, Setup, Troubleshooting, phone: (505) 577-2151 Anything Final Cut Pro, Networks, Upgrades, email: Pov@Skardis.com & Hand Holding
Mac (and PC) Consulting
速
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577-2151 phone: (505) Serving Northern NM since 1996 email: Pov@Skardis.com Serving Northern NM since 1996
OPENINGS
Taos arTisT CoLLeCTive, 106-A Paseo del Pueblo Norte, Taos. 575-751-7122. Photographers’ Recollections of Cuba Cuba: photographs by Marcus Best and Jeremy G. Landau. 4-7 pm. FRIDAY, JUNE 12
Free ForM arT spaCe, 1619 C de Baca Ln., Santa Fe. 505-753-7713. Ground Work: recent works inspired by the natural world by Linda Fillhardt and Maryellen Stewart. 5-8 pm. MariGoLD arTs, 424 Canyon Rd., Santa Fe. 982-4142. Disappearing Act: watercolors of endangered species by Ruth Tatter. 5-7 pm. nÜarT GaLLery, 670 Canyon Rd., Santa Fe. 988-3888. Land’s End: narrative paintings John Tarahteeff. 5-7 pm. Turner CarroLL GaLLery, 725 Canyon Rd., Santa Fe. 986-9800. Glow—Excerpts from Beauty Reigns Reigns: works by Jamie Bruson, Rex Ray, and Fausto Fernandez. 5-7 pm. Zane BenneTT ConTeMporary arT, 435 S. Guadalupe St., Santa Fe. 982-8111. Future Parks Parks: interactive video and new-media works highlighting creative, participatory play for children of all ages. 5-7 pm.
C
TUESDAY, JUNE 16
M
Y
phiL spaCe, 1410 2nd St., Santa Fe. 983-7945. At Last Last: retrospective celebrating forty years of Cissie Ludlow’s photographic works. 5-8 pm. FRIDAY, JUNE 19
riCharD Levy GaLLery, 514 Central Ave. SW, Alb. 505-766-9888. Exposure: photographs by Gordon Parks and Rania Matar. 6-8 pm.
CM
MY
Top: Abstractions of Color and Line—recent sculptures by Bret Price and recent paintings by Kevin Tolman at Karan Ruhlen Gallery, 225 Canyon Road, Santa Fe. Reception: Friday, June 5 from 5 to 7 pm. Image: More Than Enough by Bret Price.
CMY
Bottom: Acrylic oil-stick and collage works by Paul Pascarella on view at Nüart Gallery, 670 Canyon Road, Santa Fe. K
sorreL sKy, 125 W. Palace Ave., Santa Fe. 501-6555. Cody Sanderson: Navajo jewelry by Sanderson. 5-7 pm. FRIDAY, JUNE 26
CiTy oF sanTa Fe arTs CoMMission’s CoMMuniTy GaLLery, 201 W. Marcy St., Santa Fe. 955-6705. 30 Under 30: works by 30 emerging artists in New Mexico. 5-7 pm. DaviD riCharD GaLLery, 544 S. Guadalupe St., Santa Fe. 983-9555. Jewel Curtain: new paintings that explore the interaction of color and negative space in the two-dimensional picture plane by New York–based artist Stephen Westfall. postapocalyptic BLACK™: Gabriel J. Shuldiner uses found objects in his BLACK™ explorations of object-making and painting. 5-7 pm. DuranGo arTs CenTer, 802 E. 2nd Ave., Durango, CO. 970-259-2606. Reprise: photographs by nine local artists, expanding on the conversation begun with last year’s show, 970. 5-7 pm. GeraLD peTers GaLLery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Life and Shadow: Shadow camera-less photographs by Robert Buelteman. 5-7 pm. hunTer KirKLanD ConTeMporary, 200-B Canyon Rd., Santa Fe. 984-2111. Interwoven Life: Life oil paintings by Rick Stevens. 5-7 pm. continued on page 36
34 | The magazine
CY
June
2015
TANSEY CONTEMPORARY TANSEY CONTEMPORARY “Unconventional Con’form’ity”
“Unconventional Con’form’ity” 3 Contemporary Ceramic Approaches to the Vessel Form 3 Contemporary Ceramic Approaches to the Vessel Form
Lara Scobie, Avital Sheffer, Sheryl Zacharia Lara Scobie, Avital Sheffer, Sheryl Zacharia
Aboveleftleft Above OMPHALIA OMPHALIA IVIV 1/4"x 14 x 141/2" 1/2"x 7x 1/2" 7 1/2" AvitalSheffer Sheffer~ ~21211/4" Avital Aboveright right Above LARGE LARGETILTED TILTEDVESSEL VESSEL#1#1 Lara ~ 181/2" 1/2"x 10 x 101/2" 1/2"x 4" x 4" LaraScobie Scobie~ 18 Below Belowleftleft MAGIC MAGICSKY SKY ~ 20" Sheryl Zacharia x 24"x 7" x 7" Sheryl Zacharia ~ 20"x 24"
Group GroupExhibition, Exhibition,Main MainGallery Gallery June June55––30, 30,2015 2015 Join us for the opening, Friday, June 5th, Join us for the opening, Friday, June 5th, 5-7 pm at 652 Canyon Road 5-7 pm at 652 Canyon Road
OPENINGS
siLver sun GaLLery, 656 Canyon Rd., Santa Fe. 983-8743. Finding Color in the Land: paintings by Lee MacLeod based on plein air sketches. 5-7 pm. WiLLiaM sieGaL GaLLery, 540 S. Guadalupe St., Santa Fe. 820-3300. Vokoun—Linear Functions: new works by John Vokoun. 5-7 pm. SATURDAY, JUNE 27
arT shaCK, 2833 State Hwy. 14, Madrid. 505660-2923. Nubes Viajeras (Roaming Clouds): Mexican realist paintings by Jade Leyva and Armando Adrian López. 4-7 pm.
activities, musicians, art, and fine crafts. Sun., June 7, 9:30 am-3:30 pm. CurrenTs inTernaTionaL neW MeDia FesTivaL, Santa Fe. Fri., June 12 through Sun., June 28. Full schedule and venue info: currentsnewmedia.org CurrenTs, Santa Fe. New (+ Old) Media— Restoration, Preservation, Archiving and Access Access: invitational working meeting, special public symposium, and screening as part of the festival. Thurs., June 25 through Sat., June 27. Details: currentsnewmedia.org/events/newold-media-restoration-preservation-archivingaccess
SPECIAL INTEREST
arT house, ThoMa FounDaTion, 231 Delgado St., Santa Fe. 995-0231. Luminous Flux: innovative computer, digital, interactive, video, and electroluminescent art. Ongoing: Thurs.-Sat., 10 am-5 pm. thomafoundation.org arTsCraWL, Alb. Citywide, self-guided arts tour: Fri., June 5, 5-8 pm. Artful Saturday along Route 66: Sat., June 20. Create your own tour: artscrawlabq.org 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 ChiarosCuro ConTeMporary arT, 558 Canyon Rd., Santa Fe. 992-0711. John Garrett— New Works: mixed-media wall sculptures and a site-specific installation. Through Sat., June 20. chiaroscurosantafe.com CorraLes soCieTy oF arTisTs, La Entrada Park, Corrales. Art in the Park: children’s
CurrenTs WorKshops, Santa Fe. Thinking and Writing About New Media Art—Art and Technology in Collaboration Collaboration: Wed., June 10, Sat., and Sun., June 13-14. Projection Mapping for Everyone: Sat., June 20, 1-3 pm. Controlling VJ Software with Ableton Live Live: Sat., June 20, 3:30-5 pm. Info and registration: currentsnewmedia.org DaviD riCharD GaLLery, 544 S. Guadalupe St. Santa Fe. 983-9555. Eden Turned on its Side: Photosynthesis, Part II: II the second presentation by Meridel Rubenstein that focuses on intersections of nature and culture in relationship to ecological and social imbalance. Through Sun., June 21. DaviD riCharD GaLLery, 544 S. Guadalupe St. Santa Fe. 983-9555. Op Infinitum—The Responsive Eye Fifty Years After American Op Art 60s second presentation in a four-part In The 60s: series that critically reviews and reconsiders The Eye Responsive Eye—the seminal Op Art exhibition organized by William C. Seitz at the Museum of Modern Art in 1965. Through Mon., July 6. enCausTiC arT insTiTuTe, 632 Agua Fria St.,
Santa Fe. 989-3283. Over one hundred fifty encaustic works in a new gallery location. In June, works by Elle MacLaren are featured. Open Wed. through Sun., 11 am-5 pm. eainm.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 June include: Breakfast with O’Keeffe, O’Keeffe Walks in the American West, Research Center Conversation, Conversation and Opera Makes Sense, among others. Details: okeeffemuseum.org GeraLD peTers GaLLery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Albert Paley: solo exhibition of decorative art by the Rochester-based artist. Through Sat., June 13. gpgallery.com hiLLsiDe GaLLery, 86-B Old Las Vegas Hwy., Santa Fe. 982-9944. Open-Air Market: painters, jewelry-makers, potters, woodworkers, fabric artists, sculptors, craftspeople, and authors gather to showcase and sell. Fri., June 26, 10 am-4 pm. huLse/WarMan GaLLery, 222 Paseo del Pubelo Norte, Taos. 575-751-7702. Ronald Davis—Unwrapped Davis—Unwrapped: works by Davis from the 1960s, including an unseen resin painting from 1969. hulsewarmangallery.com
insTiTuTe oF aMeriCan inDian arTs, 83-A Van Nu Po Rd., Santa Fe. 424-2300. Currents International Media Festival: Festival screening of student films: 2:30 and 4:15 pm. Screening of works from electronic arts and experimental video pioneers, Steina and Woody Vasulka, and others: 3 and 5 pm. Sat. and Sun., June 13-14. Johnson sTreeT eXperienCe, Johnson St., Santa Fe. Events at restaurants, galleries, and museums along the historic street. Sat., June 6, noon-4 pm. Las CruCes MuseuM oF arT, 491 N. Main St., Las Cruces. 575-541-2137. Portrait Painting Workshop with Michael Poncé: Poncé multiday workshop focused on painting from life. Sat., May 30 and Sat., June 6, 9-11 am. Here & Now: Now works by artists living and working near Las Cruces. Through Sat., July 25. Here & Now Panel Discussion: Discussion Fri., June 5, 5:30 pm. las-cruces.org/museums as revoLuTion FesTivaL, The Lotus & Mine Shaft Tavern Amphitheatre, 2846 Hwy. 14, Madrid. Music, yoga, meditation, and art. Join others working to create positive change through love and peace. Fri., June 5 through Sun., June 7. Schedule: loveasrevolution.com Love
MuseuM oF inTernaTionaL FoLK arT, 706 Camino Lejo, Santa Fe. 476-1200. The Red
That Colored the World: more than one hundred thirty objects that explore the history of cochineal and the seductive nature of the color red. Through Sun., Sep. 13. internationalfolkart.org
revieW sanTa Fe phoTo FesTivaL, Santa Fe. Fifteenth annual festival of international photography. Artist portfolios. Keynote by Lucy Lippard and more. Thurs., June 11 through Sun., June 14. Details: visitcenter.org/overview
nÜarT GaLLery, 670 Canyon Rd., Santa Fe. 988-3888. Layers: chromatic, geometric works by Antonio Puri. Through Sun., May 31. nuartgallery.com
sanTa Fe pLein air FesTivaL, Santa Fe. Exhibitions and outdoor painting sessions throughout downtown. Sat., June 6 through Fri., June 12. Info: papnm.org
phoTosuMMer 2015, Alb. and Santa Fe. Exhibitions and public programs in Albuquerque and Santa Fe focusing on contemporary photography. Fri., June 12 through Sun., June 14. Participating venues and schedule: 516arts. org/photosummer
sanTa Fe sCreenWriTers WorKshop, Mangiamo Pronto!, 228 Old Santa Fe Tr., Santa Fe. The Successful Screenwriter—The Art and Business of Writing for Film and Television Television: 6-9 pm, Tuesdays, June 2-23. donalddavenport.com
reD DoT GaLLery, 820 Canyon Rd., Santa Fe. 820-7338. NMSU Faculty & Graduate Students Exhibition: book art, ceramics, drawings, woodworking, jewelry, paintings, photographs, and sculptures by faculty and graduate students. Through Fri., June 19. red-dot-gallery.com
sanTa Fe sTuDio arT Tour, Santa Fe. Self-guided arts tour featuring seventy-six artists and forty-eight studios. Fri., June 19 through Sun., June 28. Map and schedule: santafestudiotour.com sChooL For aDvanCeD researCh, James A. Little Theatre, 1060 Cerrillos Rd., Santa Fe.
476-6300. “Can We Reshape Humanity’s Deep Future?”: Nick Bostrom discusses possibilities and risks of artificial intelligence, human enhancement, and other emerging technologies. Sun., June 7, 2 pm. Tickets: sarweb.org/specialevents/bostrom
ARTIST CALLS
spanish CoLoniaL arTs soCieTy, 750 Camino Lejo, Santa Fe. 982-2226. Tradición, Devoción y la Vida Vida: eighty years of black-and-white photography in New Mexico and Mexico. Opening Fri., June 12. spanishcolonial.org souTh BroaDWay CuLTuraL CenTer, 1025 B’way Blvd SE, Alb. 505-848-1320. Vantage Points Points: group show with stainless steel sculptures and paintings by Ali Baudoin and other. Through July 11. WiLLiaM sieGaL GaLLery, 540 S. Guadalupe St., Santa Fe. 820-3300. Retablos—A New Voice: Voice new works by Victor Huaman Gutierrez. Fri., June 26 through Tues., July 28. williamsiegal.com PERFORMANCE
BLooMsDay eLevenTy-one, Warehouse 21, 1614 Paseo de Peralta, Santa Fe. Celebrate the one hundred eleventh anniversary of Bloomsday, western literature’s most fêted fictional holiday, with readings, music, and food. Tues., June 16, 7-9 pm. joycegeek.com/ neW MeXiCo sChooL For The arTs, 275 E. Alameda St., Santa Fe. 123: ensemble performance created and performed by local dance artists Micaela Gardner, Adam McKinney, Sarah Ashkin, Brittany Delany, Spencer Toll, Miles Tokunow, Ehren Natay, and Sophia Rog. Fri. and Sat., June 5 and 6, 8pm, and Sun., June 7, 2 pm. Tickets: 123dance.brownpapertickets.com rio GranDe CenTer For spiriTuaL LivinG, 4374 Alexander Blvd. NE, Alb. 505-2249405. Randy Granger: original, spiritually tinged music by the Native American musician. Sat., May 30, 7 pm. Tickets: riograndecenterforspiritualliving.org TheaTer GroTTesCo, Santa Fe Playhouse,
June
2015
142 E. De Vargas St., Santa Fe. 474-8400. The Moment of YES! YES!: theatrical event about communication and creating common culture. Performances through Sun., June 7. Schedule and tickets: theatergrottesco.org
CiTy oF sanTa Fe arTs CoMMission’s CoMMuniTy GaLLery, 201 W. Marcy St., Santa Fe. 955-6705. Call for theme ideas for 2016 exhibitions. Priority is given to proposals submitted by June. Proposal forms and details: santafeartscommission.org enCausTiC arT insTiTuTe, 632 Agua Fria St., Santa Fe. 989-3282. 5th Annual National Juried Encaustic/Wax Exhibition: Exhibition apply by Mon., Aug. 3. Details: eainm.com insTiTuTe oF aMeriCan inDian arTs, 83-A Van Nu Po Rd., Santa Fe. 424-2300. Sundance Institute and IAIA Native Writers Workshop Workshop: five-day intensive summer writing workshop to support six emerging Native storytellers in film and television. Apply by Fri., May 29: sundance.org/ programs/native-program Images from left to right across spread: Force of Nature Nature—new paintings by Jane Cook at New Concept Gallery, 610 Canyon Road, Santa Fe. Reception: Friday, June 5 from 5 to 7 pm. Exposure Exposure—an exhibition of photographs by Gordon Parks and Rania Matar on view at Richard Levy Gallery through Friday, July 24. Opening reception: Friday, June 19 from 6 to 8 pm. Image: Yasmine by Rania Matar. Works in ceramic by Sharbani Das Gupta and Brian Molanphy on display at Santa Fe Clay, 545 Camino de la Familia, Santa Fe. Reception: Friday, June 5 from 5 to 7 pm. Image: Drifters by Das Gupta. IV After Dark IV—a national juried show celebrating darkness—opens with a reception on Saturday, June 6 from 5 to 7 pm at Greg Moon Art, 109-A Kit Carson Road. Show runs through Saturday, June 27. Image: Calacas by Janelle Pietrzak.
JuLy CaLanDer LisTinGs All listings for the July calendar are due no later then Thursday, June 18. Email: themagazinesf@gmail.com Or mail to 320 Aztec Street, Santa Fe NM 878501
The magazine | 31
PREVIEWS
Katherine Lee—Maps, Doors and Coffins: Locating Absence Tai Modern 160-B Paseo de Peralta, Santa Fe. 984-1387 Friday, June 5 through Sunday, July 5, 2015 Reception: Friday, June 5, 5 to 7 pm The exquisitely painted oils of Katherine Lee are the maps in this exhibition. With images of grass or empty highways at night, familiar yet solitary, and indicative of an uninhabited space, these works take on deeper meaning when paired with the hand-crafted coffins and wooden doors Lee constructed. The coffins—explored artistically in many cultures but not often by Americans, who prefer to avoid reminders of death—were made by Lee for five family members. Simply painted in black and embellished with skulls and flowers, quiet, not morbid, the coffins sit next to her wood doors, which might be the entrances or exits to offices from the past. There is obviously a story here that belongs to the artist, but it can take on personal meanings for viewers. Although working in a relatively new medium, Lee is as adept at the craft of fine woodworking as painting. That is a simple fact, but not the focus of this series of works. As telegraphed by the exhibition title, the paintings, monotypes, and doors have words on them that seem to disappear into their compositions. The stillness within these stark spaces serves as a reference to absence, and perhaps loss. What is occurring in the artist’s interior landscape is hinted at, not described, but who among us cannot resonate with the grass, the doors, or the coffins that fill these poignant places? The exhibition promises to be one that leaves a haunting residue. Perhaps the maps tell us where to go, or maybe just record the comings and goings that relationships are inevitably about in all our lives. Katherine Lee, Maps, Doors and Coffins: Locating Absence, studio installation, 2015
Review Santa Fe: International Photography Festival Drury Plaza Hotel (festival headquarters) 828 Paseo de Peralta, Santa Fe. 984-8353 Thursday through Sunday, June 11-14 Schedule of events: www.visitcenter.org/overview/ If you are interested in seeing a range of work by photographers from around the world, there is an opportunity this June that is not to be missed. Santa Fe–based CENTER, a not-for-profit organization dedicated to providing opportunities for photographers to advance their careers, presents a weekend of viewing work, meeting artists, and discovering photography from noted practitioners to emerging talents. The fifteenth annual portfolio review on Friday, June 12, offers the public a chance to see bodies of work and meet the artists whose images will be reviewed by more than forty professionals in the field, including curators, editors, publishers, and gallerists associated with The New Yorker, MSNBC, the Museum of Contemporary Photography, the Library of Congress, and other organizations. The work of eleven international winners of various awards is on exhibition at the Center for Contemporary Arts through September 13. In addition, Lucy Lippard offers a keynote address on Thursday evening. A dinner on Saturday night will honor the esteemed curator Anne Wilkes Tucker upon her retirement from the Houston Museum of Fine Arts after twenty years devoted to advancing the field. Twelve artists per day will speak hourly about their projects at the Drury Plaza Hotel on Friday and Saturday from 11 am to 5 pm. The Santa Fe University of Art and Design will host two exhibitions, the Center Alumni & Member Exhibition and the Student Showcase, from June 1 through July 31. From photojournalism and documentary to fine-art photography, the diverse range of the photo projects on view during the weekend events and exhibitions can’t help but expand your awareness of current explorations in the ever-expanding medium of photography. Event view.
38 | The magazine
June
2015
THE PREMIER COMPANION FOR YOUR ART JOURNEY
An
ANNUAL GUIDE for
ART LOVERS featuring galleries and artists across New Mexico Available FREE at art venues throughout the state
To order your copy visit www.NorthLightShop.com or call 800.258.0929
RC GO RM A N W I T H E L I Z A B E T H TAY LOR , TAOS , N M
FLASHBACK
June
2015
The magazine |41
2015 SUMMER WORKSHOPS Esther Shimazu Alessandro Gallo Cristina C贸rdova Farraday Newsome Victoria Christen Kensuke Yamada Sunshine Cobb Sam Chung Christina West Tom Jaszczak
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
N AT I O N A L S P O T L I G H T
Yoko Ono: One Woman Show, 1960-1971 YOKO ONO, TOUCH POEM #5, HAIR, INK ON PAPER, 9 7/8” × 13 7/16”, CIRCA 1960. © YOKO ONO 2014 For the general public, the name Yoko Ono brings up John Lennon, the Bed-In,
an interactive participatory work that features a canvas on the floor requiring
Give Peace a Chance, and her relationship issues with the rest of the Beatles more
the audience to complete the work by walking on it. Grapefruit (1964), an early
than it does her own art. On the cutting edge of conceptual, performance, and text-
text-based piece that introduced her work to the world and is still in print, is
as-art, Ono, during the period documented in the MoMA exhibition, introduced
a book of instructions with poetic or quirky references. In Tuna Fish Sandwich
idea- and action-based art, also explored by the Fluxus group with
Piece, Ono directs the reader to “Imagine one thousand suns in the sky at the
which her name is associated. In 1971, she announced an unofficial
same time. Let them shine for one hour. Then, let them gradually melt into the
one-woman
objects.
Instead,
sky. Make one tuna fish sandwich and eat.” Or, in the chapter titled “Music”
museum
grounds.
there is Laugh Piece, which advises, “Keep laughing a week.” Good advice
A sign at the entrance instructed viewers to track the insects’ movements
in these somber times. Yoko Ono: One Woman Show, 1960-1971 is on view at
across the city of New York. The current “official” show surveys a decade
the Museum of Modern Art, 11 West 53rd Street, New York City from May
of work prior to her relationship with Lennon and includes one hundred twenty-
17 to September 7, 2015. An illustrated catalogue of the show is available
five of her early objects, works on paper, installations, performances, audio
with essays that discuss the artist’s evolution and the cultural context of
recordings, films, and archival materials. Painting to Be Stepped On (1960-1961) is
the works.
Yoko
June
was
2015
show said
at to
MoMA have
that
released
contained flies
on
no the
The magazine | 43
RICARDO MAZAL’S BHUTAN ABSTRACTIONS BY JON CARVER
F E AT U R E
As if in a dream Magritte might have had a half century ago, a high school student in Mexico City is assigned by his aging art teacher to sculpt life-size plasticine representations of three elements of human sensory anatomy—an ear, an eye, and a mouth. He is given two weeks to complete the project and told that it is to be his final exam. At the end of the first week he presents himself at the Maestro’s office and announces that he has already completed the eye and the mouth, both of which he presents to his teacher. The maestro is impressed. The sculpted mouth speaks clearly of the young student’s skill, his understanding of how lips curl, while the eye stares up at the teacher from the desk with an unblinking conviction, clearly expressing the student’s promise as an artist. Perhaps unconsciously, because of his love of music, the ear is the piece into which the student puts his best effort, carefully observing his own ear in the mirror and working late at night to translate every curve and concavity with accuracy and correct proportion. At the end of the two weeks the student is ready to present to his teacher the most perfect ear. “I have my ear today, Maestro.” “But you already presented your ear last week.” ““No, last week I brought in my mouth and my eye, remember?” “No, you brought in your ear. I’ve seen enough of your ear already. Is this a joke? What are you trying to pull?” And with that the teacher, jealous of the most perfect ear, suddenly seizes it, crushes its calibrated curves in his fist, and lets fall onto the desktop a lifeless lump of senselessness. Heart pounding, the student stares—the ear he alone had brought from nothing into being, the most perfect ear is now nothing again—and in a moment of inspired defiance the student grabs the negation, raises his arm and sends the un-ear, like a rock, crashing through the glass of the window, behind this person he will never call Maestro again. The sound of the shattering glass still ringing, he turns and runs out of the school building, tears rising in the spring sunshine of Mexico City.
continued on page 46 June
2015
The magazine | 45
MEXICO
CITY STILL SHINES
Toca Galeria looking out at the scene below, I had alternate
solidity that lends dignity to decent work, and allows
in the springtime sun,
flashes of carnevale in the Piazza San Marco, a mestizo
excellent work to soar. Frida Kahlo rode the streetcar
more so than in recent memory, perhaps. The violence
Portlandia, and the Pearl Street Mall, in Boulder. There was a
here as a student, and often supped across the street at
is down and the city feels safe. Robbery and kidnapping
taste of the indigenous surrealism that surfaces in Alejandro
her favorite broth shop. Like something out of a Gabriel
remain a concern in the border towns to the north, and
Jodorowsky’s crowd scenes, or the spellbinding paintings
García Márquez novel, a red awning spans the entrance
in the southern villages. Corruption at the highest levels of
of Remedios Varo as a trumpet player on a unicycle circled
to a legendary hole in the wall that has for over a
government remains rife, but people are no longer scared
the square.
century served the most amazing soup you will ever
to walk the streets in Mexico’s largest urban center. Uber
Long-time Santa Fe resident Ricardo Mazal was
taste in this life or any afterward. Entering the entrance
has stopped the tide of taxicab shakedowns that were so
born here. He was the child in the dream Magritte might
hall of the Estación Indianilla you encounter five larger-
prevalent ten years or so ago, and young lovers are kissing
have had, though it could have easily been Vincent van
than-life video stills of close-up fragments of Bhutanese
on park benches, as always. So despite Mexico’s hardships,
Gogh’s, or Gogol’s, or even dreamt by mad scientist
prayer flags blowing in the wind against a pale grey
or perhaps because of them, the city seems to be
Marc Stelarc. Ricardo Mazal the righteously defiant art
sky. Unique in the world, the flags take the form of
undergoing a cultural renaissance, a resurrection of sorts.
student is today a very successful painter, photographer,
white rectangles with prayers printed and drawn upon
On weekend evenings, which in Mexico means at least
and video installation artist with major exhibitions of
them, and streamers of red, yellow, and blue sewn in
Thursdays through Sundays, in the neighborhood known as
new works from his Butan Abstracto series going up in
horizontal bands so that their ends extend freely. When
Roma, the streets are alive with people moving in and out of the
venues worldwide, including the former tram station
lifted by the breeze, they dance and twirl independent
many art galleries and posh shops, panaderías and street markets
that is now one of Mexico City’s prime contemporary
of the main flag, creating the ephemeral arabesques and
to the interwoven sounds of music in all denominations. They
museos. He also has a piece in the Venice Biennale this
serpentine forms that inspire Mazal’s newest series.
eat at sidewalk cafes surrounded by some of the best Baroque
year. Art was the only subject he excelled at in school.
The most successful moments in this exhibition
architecture in the Americas, or dine on the grand stone patios
The brick façade of the Estación Indianilla Centro
of successful moments comes through a five-screen,
of fine restaurants like Maison de Famille, which serves the
Culturarises imposingly. The interior is large, open,and
interactive video installation. Composed from tightly
freshest, most delicious salmon you’ll ever experience, and
grand, with massive metal girders recalling a more soot-
cropped shots of prayer flags blowing in the wind on
offer each other street-side samples of their latest mezcal,
filled era, and an amazing lattice-and-wood barrel-vault
an overcast afternoon, the colors are replete in the
which every hipster in la ciudad is now apparently hand-forging
ceiling. Refinished with soaring white walls, a wood
diffused light, and the movement as the flags flap and
in micro-batches. Sitting on the sill of a second floor window of the
floor, and theater lighting, the space has a massive
furl across scrim-like screens is hypnotic. Interactivity
F E AT U R E
takes the form of a tablet upon which you can write a
moment will be unique depending upon the random
act, intended or not, an element of decolonization
prayer or message that will be immediately uploaded
order and spontaneity of the messages. “Somos todos
and the construction of a way to understand culture
into the video image. The installation is accompanied
Ayotzinapa 43” appears and poignantly wings away.
phenomenologically through the principles of spiritual
by a soothing musical score created in collaboration
“Order vs. Chaos. Chaos wins” flies up and disappears.
abstraction established by longstanding traditions the
with Santa Fe composer Chris Jonas that includes
A moment later it is replaced by “Que viva el amor.”
world over (think Hopi, Arab, or Australian Aborigine
found sounds that Mazal gathered in Bhutan. The
One wealthy dealer who visited the show
for starters) and grasped by Mondrian, whose work
overall breeziness of the piece and the chance to send
critiqued the video piece for “too much freedom.”
the centuries-old Bhutanese prayer flag designs so
your prayers aloft is completely transformative. This
She wanted Mazal to edit the transmissions or exclude
resemble.
may just be the best fictive wind to blow since the
certain messages. He took an all-or-nothing position.
The Bhutan Abstractions series continues Ricardo
Nike of Samothrace spread her synaesthetic wings.
“You include absolutely everyone,” he said, or you
Mazal’s exploration of impermanence and revives his
Over a year ago, when visiting a family friend
don’t do it at all.” The largest space in the museum is
themes of life, death, and transformation through the
employed by the Kingdom of Bhutan’s Gross National
given over to Mazal’s huge paintings, six of which run
musicality of color and painterly space. The dark portals
Happiness Project, Mazal chanced upon the Bhutanese
along the tram station wall with a colorful elegance
in the geometric pieces are haunting tunnels of tenebrism,
tradition of prayers given to the wind. During the run
that hovers at the fulcrum of intense movement and
memento mori images of nothingness without end. The
of the exhibition texts can be posted from anywhere
absolute stasis. In conversations with Mazal, one
implicit wish to save the world (Mexico City included)
through Mazal’s website: ricardomazal.com. They
phrase stands out. “I am fascinated by abstraction,” he
that the prayer flags represent is perhaps the artist’s
will instantaneously appear within the installation in
says, “because I can hold the content without actually
unspoken content, the secrets the lips curl around, seen
Mexico City, and are added to the database for random
saying what it is.” Mazal’s ability to hone his abstract
by the eye in silken movement, but not heard, not spoken
reappearances. The brilliance of the installation is
work to the minimal elements of reference while
aloud, perhaps because there is no perfect ear to hear
that the piece is time-based but not time-bound. You
still holding a specific content has more to do with
it anymore.
can watch a little or a lot, but it will never exactly
multicultural postmodernity than it does with earlier
repeat. You can’t leave with that bad video installation
Euro-modernist ideals of non-objective abstraction.
feeling, should I have watched the whole thing and how
He is advancing Euro-platonic notions of “pure”
long was it really anyway, because the whole thing
abstraction by returning them to the indigenous
will take place over the entire exhibition and every
roots from which they were stolen. There is in this
Jon Carver is an artist, educator, and art writer. He believes that United States legalization of marijuana at this point could save many lives by undermining the flow of money to the Mexican cartels. Marijuana remains the cartels (and the world’s) largest cash crop.
THE IMPLICIT WISH TO SAVE THE WORLD IS PERHAPS THE ARTIST’S UNSPOKEN CONTENT
June
2015
The magazine | 47
LUMINOUS FLUX
Digital, electroluminescent and geometric art
Luminous Flux, the inaugural exhibition at Art House, presents innovations in computer, digital, interactive, video and electroluminescent art from the Carl & Marilynn Thoma Art Foundation collection. Significant works by: Jim Campbell Rafael Lozano-Hemmer Manfred Mohr Jason Salavon Leo Villareal and others
Hours: Thursday – Saturday 10 a.m. – 5 p.m. 231 Delgado Street Santa Fe, NM 87501 505.995.0231 www.thomafoundation.org
$30,000 to JON IPPOLITO
$15,000 to JOANNE MCNEIL
Congratulations to our inaugural Digital Arts Writing Awards recipients for their significant contributions to new dialogues and scholarship in the digital arts. Leo Villareal, Double Scramble, 2013
CRITICAL REFLECTION
neW landscaPes: neW vistas—Women artists of neW meXico
mattheWs Gallery 669 canyon road, santa fe
“ W E ’ R E J U S T G O I N G T O C A L L T H I S T H E G I R L - P O W E R S H O W, ” says gallery owner Linda Matthews. And powerful it is. Curator
included are not presented in chronological order, nor are
is nearly overpowered by its whitewashed, decorative frame.
Lawrence Matthews has assembled nearly forty creations
they necessarily grouped by artist. This makes the viewing
Other Mandelman collages in the show include White, Pink, and
of pottery, works on paper, and paintings that represent art
even more instructive. For example, Beatrice Mandelman’s Still
Black Forms, which surely is Matisse-inspired with its bold black,
made by women in New Mexico, beginning with its early
Life, with its pretty pink vase and glass marble grapes, shares a
red, and yellow shapes on a blue background.
pueblo roots and continuing right into today’s studios. The list
corner with the angular, yet surprisingly soft flowers and fruits
What Mandelman does with torn paper in her collages is
of names reads like a who’s who of oil painters, mixed-media
of contemporary artist Annie O’Brien Gonzales’s Spring Table,
echoed in Doris Cross’s Untitled (Nude), in which Cross appears
artists, and pueblo and contemporary potters, from Nampeyo
making it easy to compare and contrast these artists’ style
to have painted her subject’s jolly, flirtatious figure and then
to Beatrice Mandelman to Dorothy Brett. Experiencing the
and technique. To enhance the contrast, one of Mandelman’s
torn through the brown paper (grocery bag? butcher paper?)
show feels like a mini art-history lesson. Wisely, the works
collages, White, Beige. Red, hangs on a nearby wall, where it
as if articulating the limbs. Cross is a delightful surprise and will likely be a new discovery for many viewers, but not readers of THE. In her Untitled (Portrait) in ink, the figure’s eyes bore right through the viewer and, for me, the leaf motif around her head suggests a regal Statue of Liberty. In Llano Ridge, Janet Lippincott applies oil paint in a way that also suggests torn paper because she leaves ragged brushstrokes between the geometric shapes of the mesas. Nearby is Beulah Stevenson’s Place of the Drums, NM which also presents cliff sides and narrow canyons with an abstract touch, using vivid oranges and yellows. There are also less familiar works by the two Dorothys, Brett and Morang. Brett’s Moon Ray is a tall, thin painting, just like the milky splash of moonlight it depicts. The trees on the mountainside descend like stair steps, as does the roofline of the pueblo in the foreground. Morang’s Summer Storm is a polite watercolor in which New Mexico’s dirty-green trees have been reimagined in wonderful blues; and it is an example of her earlier figurative work before she evolved toward abstraction. The work of potters Helen Cordero, Margaret Tafoya, Blue Corn and others contrasts wildly with Heidi Loewen’s Back to Egypt, a smoke-fired porcelain sculpture with twentytwo-karat gold leaf interior. But in some sense the golds and burgundies of all these potters are similar across styles and decades. Even more direct pueblo influence is evident in Petroglyph by Agnes Sims, a contemporary of potter Maria Martinez. Sims studied pueblo petroglyphs and they became sources of inspiration for her paintings and sculpture. They are again evident in Dance Rattles, a watercolor full of movement— and even sound—that is suggested by the way Sims portrays the swirling and shaking of the rattles. It’s like hearing her brushstrokes. What unites these women is an overarching theme of independence, yet constraint. “For all the social freedom these women found in the Southwest,” says gallery owner Lawrence Matthews, “it was still a struggle.” On the way to the gallery’s back room where many of the contemporary works hang, there is a room lined with paintings by male artists, some of whom were known to have discouraged several of these women. But in the case of Janet Lippincott, according to the gallery website, she described her mentor, Alfred Morang— at one time married to Dorothy Morang—as “one of the few people who encouraged me in my abstract expressionism.”
—susan WiDer Doris Cross, Untitled (Nude), mixed media on paper, 12” x 9”, 1938
June
2015
The magazine | 49
CRITICAL REFLECTION
GeorGia o’Keeffe: line, color, comPosition
GeorGia o’Keeffe museum 217 Johnson street, santa fe
THIS SHOW HONORS ITS NAMESAKE, WHO IS OVER-RECOGNIZED BUT not easily understood. What is the appeal of O’Keeffe’s
The painting alone, with its gorgeous and idiosyncratic
occur throughout the exhibition greatly enriching our
work, beyond its iconic beauty? For me it has always
coloration, would not allow the viewer the same insight.
understanding of O’Keeffe’s singularity. She could look
been its multivalent appeal to coherence of form
O’Keeffe painted skyscrapers and slices of sky in
at something and see it as a finished artwork. And while
and composition along with bold and individualistic
street views of Manhattan. Among my favorite of her
she often drew from actual places or objects, whether
use of color. In terms of looking at modern painting,
works, these depict a very different environment from
a landscape or a found cow’s pelvis, she also sometimes
I most value that edge between abstraction and
most of her work, which shows wide-open spaces. But
altered the original if it suited her purposes, as in On the
representation, and that is where O’Keeffe primarily
the viewed-from-below angle, her open way of looking,
River, where she not only reversed the image left to right
cultivated her practice.
and ability to directly transform her vision into an artwork
but also used an unthinkable shade of pink for the rocky mass that dominates the composition.
From the late teens of the twentieth century, O’Keeffe
operates in the cityscapes as well. She particularly relished
stated with authority how and what she saw when she
the challenge of painting New York City when everyone
Good fortune for viewers of O’Keeffe’s work is her
looked at her environment. The Museum does viewers
said it had “already been done.” She became interested
connection with a great photographer who happened to be
a tremendous service in its thoughtful placement of her
in abstraction early in her career through her own artistic
in love with her. We thus have an adult lifespan record of her
pen, pencil, or charcoal studies on paper next to paintings
concerns rather than via any outside influence. As she said
self-presentation. Even in youth she seemed sure of herself
on canvas of the same view, where color is so powerful
in 1977, abstraction was “the most definite form for an
and her talents, and unwilling to submit to conventions,
that in responding to it, it’s easy to miss the way she
intangible theory … that I can only clarify in paint.” Her
whether social or aesthetic. In an early close-up by Stieglitz
grasped the form of the thing she was looking at. Whether
method doesn’t depend on size: the interior contours of
she looks into the camera with a self-possessed, ironic gaze.
observing landscapes, buildings, a flower or a bone, she
a blossom yielded to her vision in the same way as the
The same amused wit is visible in photos from decades later
claimed the whole page or canvas as her arena from the
massive forms of slot canyons did.
out in the southwestern wilderness. The museum recently
start, expressing the entire composition in line. Seeing the
One gallery has several photographs of O’Keeffe with
added more prints of O’Keeffe by other photographers
pen sketch Untitled Abstraction, from 1959, next to the oil
friends at Glen Canyon in the mid-1960s. Todd Webb’s
to its substantial collection. An accomplished painter
painting Tan Orange Yellow Lavender, from 1960, gives us
photograph shows her leaning back against some rocks,
during the 1920s, O’Keeffe produced a remarkable body
access to O’Keeffe’s immediate process in terms of line
sketching. Nearby are sketches she made of the area and
of work; then she continued to work for more than half
and composition, and then in the painting letting color
the painting White and Brown Cliffs, where she completes
a century beyond that. The milestones we note stretch
loose to the point that it becomes the title of the painting.
the idea in color. Such enlightening juxtapositions
over a lifetime. She was in her late twenties when she met Alfred Stieglitz and thirty-one when they married. And it was at the age of forty-one, in 1929, that she first visited New Mexico. Although spending considerable time in New Mexico through the 1930s and 1940s, O’Keeffe did not move permanently to Abiquiu until 1949, three years after Stieglitz’s death, when she was sixty-one. O’Keeffe’s oeuvre was astonishingly consistent both in terms of quality and of fundamental vision. O’Keeffe grew up in Wisconsin and Virginia, studied in Chicago, lived and worked in South Carolina, Texas, New York City, and rural New York—an American painter in her confidence and her love of the landscape. Eventually finding her power spot in Northern New Mexico, she took on multiple representations of the Cerro Pedernal—apparently in a similar spirit to Cezanne’s lovingly rendered iterations of Montagne Sainte-Victoire near his home in Provence. Born in 1887, Georgia O’Keeffe died in 1986, which means she lived for ninety-nine years. In her final years her eyesight was largely destroyed by macular degeneration. Yet her watercolors from the 1970s, when she was in her eighties, show a mastery of line and composition as seemingly spontaneous as a Zen master’s calligraphy, perfectly integrated with a profound joy in color.
—Marina La paLMa
Georgia O’Keeffe, Pelvis Series, Red with Yellow, oil on canvas, 361/8” x 481/8”, 1945. © Georgia O’Keeffe Museum
June
2015
The magazine | 51
Gary A. Bibb: At the Threshold of Becoming
Nisa Touchon Fine Art 1925-C Rosina Street, Santa Fe
THERE IS A FASCINATING NEW ENTRY TO THE ROSTER OF GALLERIES IN SANTA FE. With its inaugural exhibition, At the Threshold of Becoming, Nisa
which Bibb sent out his own work to be installed in public
Collage, Assemblage and Construction. New to Santa Fe, but
Touchon Fine Art can be added to the list of galleries spreading
places internationally by fellow artists and then documented,
operating for nearly twenty years, the museum is an archive
outside of the usual Santa Fe circuits. In a sore-thumb-pink
and Fluxface in Space (2010-11, fluxfaceinspace.blogspot.com),
and gallery that organizes exhibitions both physically and online.
building on Rosina Street, this newcomer splits the gap between
in which an international group of artists submitted work to be
Impressively inclusive, the museum accepts donated work
two emerging districts, Baca Street and Siler Road. The gallery
launched into orbit onboard shuttles Discovery and Endeavor.
using a “specimen gathering” model, sampling a global
specializes in collage, assemblage art, and photography, and
These projects and initiatives are threaded by an ongoing
cross section of creators. The museum also actively fosters the
its roster currently includes Zach Collins, Gary A. Bibb, Lisa
interest in experimentation outside the traditional bounds of
collage arts by hosting workshops and selling cleverly selected
Hochstein, Hope Kroll, Dennis Parlante, Kareem Rizk, Joan
marketable, commodifiable art. The open-endedness of these
scraps in collage kits. Santa Fe is lucky to have received these
Schulze, Melinda Tidwell, Lanny Quarles, Paul Rousso, and
efforts is paralleled in Bibb’s compositions. It is a rewarding
two additions to the scene.
Jonathan Whitfill.
debut from Nisa Touchon, and well worth the trek to this new
—Lauren Tresp
The interior defied the sore-thumb exterior with the
destination.
tastefully minimal installation of Gary A. Bibb’s recent solo
While you’re there, be sure to wander upstairs. Sharing
show of mixed-media collages. Bibb, a midcareer artist living
the space with the gallery is the International Museum of
and working in Denver, creates painterly mixed-media works in unpredictable palettes that run the gamut from gloomy and menacing to lyrical and bright. The panels betray a wellhoned practice that includes foraging for found objects— paper, cardboard, wood, metal—in alleys and industrial sites, intervening in the afterlife of this human detritus, and the process of selecting, organizing, and reconciling these disparate materials. The process is evident, too, in Bibb’s aesthetic. The artist begins with a space of disorder and conflicting energies, and through a layering process brings his materials into compositions that seem frozen in the middle of unfolding. Each panel seems to vibrate as these opposing energies actively work out syntheses: vibrant colors quickly shift and limn expanses of darkness, heavy layering brings supple texture to divots and creases, collaged papers peek out and interrupt the otherwise abstract milieu with pattern or pop-culture signifiers. Never entirely at ease, each work feels like a question, not an answer. Bibb refers to himself as a Casualist, a highly personal and subjective approach to mark-making that is concerned with the alchemy of process, a process filtered through the multivalent, even mundane reality of daily experience. In 2011, Sharon L. Butler described the New Casualist abstract painting as “a studied, passive-aggressive incompleteness… a broader concern with multiple forms of imperfection: not merely what is unfinished but also the off-kilter, the overtly offhand, the not-quite-right.” (brooklynrail.org) This tendency toward “incompleteness” is evident in the body of work Bibb presents, as many works engage with similar formal questions. The most striking example throughout the exhibition is the reiteration of dominant horizontal and vertical lines engaging as a primary dynamic, in which the rest of the composition falls around this conflict to widely differing effects. Some of these dynamics become resolved into harmonies, others maintain dissonance. The strength of the exhibition is its multiplicity. Bibb has also been the creative and curatorial force behind several projects, often with leanings toward guerilla exhibitions or grass-roots inclusiveness using online exhibitions and a global network of artists. These include Remarque (2014, jackthehack-remarques.blogspot.com), in which international artists were sent digital works to complete and exhibit online, Public Art Project (2011-12, publicartists.blogspot.com), in
Gary A. Bibb, Tepitaw, mixed media, 30” x 24”, 2011
CRITICAL REFLECTION
the Goldfinch variations 1011 Paseo
de
Peters ProJects Peralta, santa fe
I WA S H E A D I N G O U T T O TA K E I N T H E G O L D F I N C H V A R I AT I O N S , at age thirty-two.
I said, replying to a friend’s inquiry. She paused, then asked
museum’s costume collection and the Bata Shoe Museum,
me to hum the first few bars. I whistled an adenoidal opening
also featured contemporary heels from a covey of high-end
No artist in the Peters Projects show attempted to equal
to James Cohn’s Goldfinch Variations for wind trio, Op. 61, and
designers and design houses and was sponsored by upscale
the trompe l’oeil clarity and simplicity of the original’s subject
then informed her that I actually meant the group show at
fashion retailer Nordstrom and by trendy W magazine. But
and rich handling. But many sought inventive ways to ply the
Peters Projects curated by painter Patrick McFarlin. McFarlin
happily, with Killer Heels the Brooklyn Museum has made
offshoots of the theme. Several played with the painting’s
was inspired by the seventeenth-century painting entitled
a solid case for art and material culture. And so, in its own,
composition or its components (finch, feedbox, chain, wall)
The Goldfinch, by Carel Fabritius, and by the Dutch painting’s
playful way, does The Goldfinch Variations at Peters Projects.
from straightforward renditions like Priscilla Hoback’s Yellow
role in the eponymous novel by Donna Tartt—“painting as
If painting had a state bird it would be the finch, or
Bird Take Two to John Holmen’s Morning Coffee with Finches.
protagonist” as he put it. Anchored
Some artists stylized their rendition
by McFarlin’s own engaging visual
after an art movement, e.g., John
“essays” on de distelvink (thistle
Tinker’s droll Goldfinch Moderne, a
finch), the exhibition comprises some
spot-on homage to both bird and
seventy small panels in diverse media
Brancusi; the trompe l’oeil look of
and styles by over fifty artists invited
Ruth Tatter’s Unfolding Story, and
to submit pieces expressing their
Roger Williams’s realist What are you
personal ruminations (“variations”)
looking at, dude?; surrealist devices
on the Delft painter’s masterpiece.
in David Kimball Anderson’s Moon,
The only condition involved their use
Jupiter, John Massee’s Verdad, James
of panels supplied in the same size (13
Holmes’s Goldfinch Birdhouse, Colette
¼” x 9”) as the original work. Beyond
Hosmer’s Snake with Goldfinch, and
that, as McFarlin wrote in his original
the Max-Ernst-meets-Magritte motif
artist invitation, “In terms of imagery,
of Patrick Kikut’s Las Vegas Blues With
anything goes. Does not have to be
Full Moon; Tom Applequist’s gestural
an interpretation of The Goldfinch or
Action Painting, Karen Bondarchuk’s
have a bird in it, etc. Or be narrative
à la Rauschenberg BOOM!; Neo-
in any way. Could be a nude goldfinch,
expressionist nods in Steve Davis’s
a gold leaf panel, a bird’s-eye view, a
Goldfinch I, a bit of Baselitz in Eugene
cuckoo-clock sculpture, anything.”
Newmann’s A Bird in Hand, and Carl
Save for the nude goldfinch, which no
Johansen’s cheeky The Perfidious Finch;
one attempted (à la Manet’s Olympia?),
where the Beuys is: Michael Motley’s
the sky was the limit (sorry).
Variant. are
There is a sense of poignancy
problematic. By setting a topic in
in some works that may or may
advance, one that each participating
not reflect a touching conceit in the
artist must address, a show risks
original, revolutionary panel by this
ending up with work that is less
sensitive, ahead-of-his-time student
authentic, resembling an ad campaign
of Rembrandt. Finches are famously
where any originality is not matched
tractable, yet highly restive in a cage.
by the same level of authenticity—
Fabritius’s goldfinch chained to its
and integrity, at times—given the
feedbox conveys anything but the
symbiosis of art world and art market.
liberated flight of, say, composer
Yet theme-driven projects can also
Vaughan
be enormously creative—in one
Ascending. In a semiotic sense, the
famous instance, the competition for
most poignant element of his image
the artist commission to figurate the
of the captive finch is precisely what
east (now the north) bronze doors
he left out: the birdcage.
Themed
group
shows
Williams’s
The
Lark
of Florence’s Baptistery jump-started
Whatever the intent of the
the Italian Renaissance. But in these
seventeenth-century original in The
times we have to contend with factors like the pervasive
linnet, so named in English for the bird’s fondness for the
Hague’s Mauritshuis, in the variations on display at Peters
complicity of the art world with the fashion scene. There was
seeds of flax (linum in Latin), from which linen canvas is
Projects (through June 7), the light touch and playful tack
the recent exhibition at the Brooklyn Museum entitled Killer
made—hence le chardonneret or “thistle finch” in French
of the panels provide a visual treat for the eyes, a quirky
Heels: The Art of the High-Heeled Shoe, which, according to
and, less melodiously, de distelfink in Dutch. Perhaps Fabritius
kleine Nachtmusik for the mind.
its publicity, “looks at the high-heeled shoe’s rich and varied
intended his curious oil-on-panel Goldfinch of 1654 (also
—riCharD ToBin
history and its enduring place in our popular imagination.”
known as The Linnet)—as a study for a final version on linen
The one hundred sixty shoes, including pairs on loan from the
canvas, a plan cut short by his tragic death in the same year,
June
2015
John Tinker, Goldfinch Moderne, mixed media, 13¼” x 9” x 43/ 8 ”, 2015
The magazine | 53
Kansas: The Paintings of Scott Anderson and David Leigh
Phil Space 1410 Second Street, Santa Fe
I WAS BORN IN KANSAS, THE ELDEST OF THREE, AND RAISED TO THE AGE OF fourteen in Missouri (pronounced Miz-er-uh), just across the
three-sixty sunsets, and the devious Koch bros could all grow
referential abstraction because it’s easier than the stickiness of
state line. My parents lived in Kansas City, MO, at the time of
so tall side by side. According to James Hart, the generous
explicit content, I suppose. Both are capable of constructing
my birth and by crossing over onto the Kansas side my mom
patron of Phil Space, both our boys spent some years during
visually compelling compositions and energizing picture planes.
could deliver without having to shave her genitals, and would
their meandering pasts in the state, and therefore in the state
Leigh has an elegant and expressive line, and Anderson can surely
be allowed to take any position she wanted during childbearing
of mind, that is Kansas. Were my expectations for Kansas, and
move paint around, but neither appears to have the guts to say
(just so you know.) And the wee me would be allowed to stay in
perhaps for Kansas, too high all along? As they say out on the
much of anything specific to the passing viewer.
the same room with her right away. In their infinite wisdom, the
plains when your combine throws a rod at harvest time: Gosh
sage minds of the Missouri legislature had determined that these
darn and shucks.
kindly practices were utterly barbaric.
Leigh’s work is in a cartoon abstract vein that lifts the formal energizing elements of animation, graffiti, and comic
Like Arshile Gorky, Scott Anderson seems to be “with”
books, and uses them to produce Modernist abstractions. Peter
When I saw the title Kansas for the Scott Anderson and
Picasso at the moment. And he also seems to be “with” Gorky quite
Saul and Chicago Imagism have already mined this vein. Pop-
David Leigh show up at Phil Space, I dreamt of some insight
a bit these days as well. Though in his drawings he is clearly “with”
surrealism in general does more with the same source material.
that could reconcile a lifetime of Dorothy and Toto jokes with
Matisse. Perhaps too much so. Gorky took more real painterly
Full of tubular forms and bulbous interpenetrations in futuristic
the abortion clinic bombings, an aesthetic perspective that
risks, Matisse constructed more open and generous spaces, and
staccatos, Leigh references Picabia and Duchamp’s obsession
would peer deeply into the flatland of my youth, offering some
Picasso was more genuine in his acts of discovery. Both Anderson
with the erotica of the machine, but he’s no Mark Pauline, if you
reflection of the “flyover-state” where innocent sunflowers,
and Leigh are narrative painters hiding behind academically non-
want to chart that particular urge as it passes through Tinguely’s Homage to NYC and goes into Po-Mo overdrive. There is a lot of rhythmic thrusting in Leigh’s images, and a kind of Disneyfied polymorphous phallocentrism. These have real potential, but the lack of specific imagery leaves it largely unrealized. Leigh’s abstract forms rapidly move between extremes of turbid priapism and moist meltdown. He benefits when his imagistic intentions become clearer, as in the drawing Cellar, Leigh’s best piece here by far. There is a Hans Bellmer quality to some of his echoing lines, and one longs for the same explicitness of expression. His Pop sources are richer than the four paintings on display, both in terms of humor and erotic expression. The only way to argue for Leigh’s postmodernity is to read them as satirical, as send ups, à la Rauschenberg or Lichtenstein, of Abstract Expressionism, and even then they remain only art about art, and worse, just another riff on an awfully old joke. Producing work absent any real signifiers (read: insignificant work) is the wet dream of Modernism. The idea of abstraction without referent (read: signifying nothing) is the apex of early twentieth-century theory; this is the unique contribution of a Euro-culture in existentialist crisis to the long history of global abstraction. Their supposed genius was to steal forms from indigenous traditions worldwide and render them “universal” by stripping them of all but the vaguest of meanings. Hence we get formalism, or pure abstraction, wherein purity of form takes precedence over content that is reduced to vagueness, or in Modernism’s highest expressions, is as absent as content can be. Philip Guston applied a cartoonist’s ethic to a fine-art painter’s problems with profound results at a time when the boundaries between high and low art still meant something. He opened the door to cartoon abstraction in the seventies with his realization that universality, not the Loosian Modernist version, but the real deal, doesn’t lie in symbol systems or painterly obscurantism, but in the human figure and simple clarity and directness of image. Start with a real clear image of me kicking your butts with my boot to spur you on to make the better work I know both you fellers are capable of. We’re not in Kansas anymore.
—Jon Carver
David Leigh, Cellar, ink and colored pencil on paper, 12” x 9”, 2015
CRITICAL REFLECTION
mery GodiGna collet: eXtra virGin Petrus oil
Warehouse 1-10 110 north main street, maGdalena
I paint the subject with the subject. —Mery Godigna Collet
THERE IS ONE WORD AROUND WHICH THE MATERIALS AND CONTENT of Mery Godigna Collet’s work revolves, and that word is
products central to modern life—from gas to plastic bottles to
stricken from the lexicon is a dream out of reach for nearly
petroleum. This is Collet’s subject and it is also her prime
lipstick. So there is that aspect of Collet’s critique. But there
everyone in the Western world, and particularly in urban
medium—she paints with crude oil mixed with pigment on
are her aesthetics to consider as well—her skillful handling of
centers, a single bike-to-work-week a year seems like the
layers of vinyl in a series of abstract pieces devoid of an overt
light, sweet crude as a painting medium which yields pictorial
most pitiful of feel-good Band-Aids. So the impact of Collet’s
political narrative. Although Collet’s paintings are extremely
results that make you want to study every square inch of her
work is like visualizing an endgame that is both seductive
political in nature—indeed this work is an intense visual
complex surfaces. Collet’s paintings often have the appearance
and scary as hell. These paintings are compelling aesthetic
indictment of the petroleum industry—a viewer would be
of thick slabs of glass, and this is due to the slick sheets of vinyl
objects; for example, it’s hard not to want to dip a foot into
forgiven for not knowing about the philosophical underpinnings
that hold the oil, the ethanol, and the pigments in their place on
her blue, hypothetical Caribbean lagoons—before they are
in these riveting pieces, unless they have read the explanatory
the reverse side, coupled with sinuous bands of cellulose fibers
completely engulfed by the waves of black oil that the artist
text on the wall. Looking at the work without reading about it,
attached to the top layer—it is from cellulose that ethanol is
has rendered around the edges, as in the series of smaller
one might jump to the conclusion that, in Collet’s mind, we are
usually derived.
canvases, Sweet Life (Azul).
on the verge of a major metaphysical shift and some possible
Perhaps Collet is just like the rest of us as we make
Besides the paintings at Warehouse 1-10, there is an
scenarios that might emerge are that humanity is in the grips of
our grand bargains with nature and society to cut back,
untitled video that is part of a small sculptural installation. A
the rapture, or a fire-and-brimstone purgative redemption, or
recycle, and reuse, praying all the while that fracking won’t
litany of black-and-white still images dissolve into each other:
on its way to hell by way of a cosmic conflagration.
destabilize our continent, that there will be no more oil
oil rigs, dinosaur skeletons, pipelines, oil barrels, plastic toys,
Petroleum is that viscous substance we can’t live
spills, that we won’t rape the Arctic or any other pristine
smokestacks, oil-covered birds, diapers—all these things take
without, and yet we find ourselves increasingly unable to live
wilderness in the search for oil and natural gas, and that
their place within a repeated, ghostly ring of fire that comes
with it, with the manifold aftereffects of its acquisition and its
electric cars will rapidly become as ubiquitous as the canvas
and goes as part of the video. There is something totally
various uses. In this show, the atmosphere in many of Collet’s
tote bags in which we haul our groceries. However, the
hypnotic about seeing signifiers of our daily life appear and then
paintings replicates a fiery furnace, perhaps at the gates of
deeper we study Collet’s work the more we are struck
disappear and then reappear in a continuous cycle that points
the last judgment—certainly an apocalyptic vision of grand
dumb by a kind of hopelessness. How do we extricate our
to our dystopia. Regarding her paintings, however, if a viewer
proportions, worthy of a medieval doomsdayer who feels no
petroleum-addicted selves from the endless feedback loop
knew nothing about Collet’s embedded levels of meaning and
rapture will ever materialize. On the other hand, Collet’s work
of consumption entangling and corrupting us? How many of
materials, would they still feel the heat?
is undeniably beautiful to look at, which leads to a psychological
us live a self-sustaining life with little or no evidence of fossil-
—Diane arMiTaGe
push and pull. You feel part of your psyche go up in clouds of
fuel dependence, and anyway, is such a life actually possible
smoke thick with guilt as you think about all the ways you are
any more? Certainly not for the majority of us. Living in
dependent on petroleum derivatives—this world of fossil-fuel
such a manner that the words “plastic” and “gas pump” are
June
2015
Mery Godigna Collet, Pure Energy Diptych, crude oil, ethanol, pigment, and cellulose on layered vinyl mounted on canvas, 39¼” x 79” x 27/ 8”, 2012
The magazine | 55
Margaret Bourke-White: Pioneering Photographer
Monroe Gallery of Photography 112 Don Gaspar Avenue, Santa Fe
IMAGINE, IF YOU CAN, A WORLD IN WHICH PHOTOGRAPHS WERE A RARE FORM of artistic documentation whose workings few understood.
finally, on a late fall day in 1929, stock-market millions vanishing
its time), the first accredited female war photographer (in World
Imagine the United States in the first third of the twentieth
within hours, heartlessly slamming shut the doors to the anything-
War II), and the first Western photographer allowed into the Soviet
century, with illiteracy and poverty key defining characteristics of
goes twenties. (While you’re at it, imagine the unthinkable: Wall
Union to record the proletariat’s triumph of mega-industry over
the pitiable lives led by you and most everyone you knew. Images
Street investors with such an overwhelming sense of responsibility
the ease and comfort of privileged individuals.
had nearly the power and drama, then, that they did during the
that they jumped out of skyscrapers rather than face their own—
In that heyday of pioneering photographers whom Bourke-
Counter-Reformation in Europe, when the Catholic Church
and their clients’—financial ruin. Incomprehensible!) Meanwhile,
White epitomized, black-and-white photography equaled
fought back against dull Protestantism with paintings as theatrical
the Great Depression loomed in the drought-stricken plains of
photojournalism, which equaled truth with a capital T. This Truth
as opera sets, their shadowy depths filled with depictions of
America’s heartland. In the mind’s eye, these times could only have
was on a par with the same truth Americans revered in Norman
gruesome martyrdom—lit only at the moment of a would-be
existed in grayed-out shades of black and white. Color, it seems,
Rockwell’s “real-life” scenes lifted straight out of a Mayberry
saint’s transmutation from agonizingly human into gloriously divine.
had been forgotten.
without the laugh track, long before there was a Sheriff Taylor,
Radiant sculptural forms of gold and silver reflected not merely
Unlike now, when anybody with a cell phone can, and
Opie, Deputy Fife, or Aunt Bee. Or even television, for that matter.
the material wealth but the spiritual wealth of a religion that had
unfortunately does, take pictures of everything from their breakfast
When images were few and far between, they had a credibility that
dominated that part of the world for roughly a millennium. Bring
to their genitalia—and makes them available to an unwitting
is lost today in a thick overlay of irony and sheer disbelief. In the
yourself back now, from the seventeenth to the twentieth century
public—only a very few of those initiated into the science of
1930s, if it appeared in LIFE magazine, or the Saturday Evening Post,
and from Europe to the United States, populated by the shell-
the lens and the alchemy of the darkroom were able to make
or the newspaper, it was flat-out real. Viewers lacked the objectivity
shocked heroes of the Great War dancing with pretty little flappers,
photographs in the 1930s. Margaret Bourke-White was one of the
to read meaning into a photograph as social commentary, for
their bobbed hairdos gleaming, and the gangsters, with their molls,
few, and she led a charge of firsts: the first woman to photograph
example, any more than the illiterate could read the black marks
who kept the country’s beak wet during Prohibition; imagine,
for LIFE magazine (for you post-Millennials, sort of the Internet of
scratched into the white page. The always-excellent Monroe Gallery presented their exhibition of silver gelatin photographs by Margaret BourkeWhite as art, finding that, for her “as an artist,” photography served “as an instrument to examine social issues from a humanitarian perspective. She witnessed and documented some of the twentieth century’s most notable moments, including the liberation of German concentration camps by General Patton in 1945...” Bourke-White’s picture, “German civilians made to look at instruments of torture and execution at Buchenwald concentration camp, 1945,” is hardly an icon of objectivity. Nor should it be; some truths are beyond apprehension. Not to quibble with our dearly held ideals of photojournalism as an act of witnessing and documenting, but black-and-white imagery exists, among other reasons, when color cannot hold the entirety of its content. We demand this state of in-between-ness from art when what it depicts is too awful for mere reproduction. While today you can find images of gore online anytime you choose to search for them, that they are not generally reproduced ad infinitum speaks to our understanding of the power of imagery. What Warhol repeated in a nightmarish grid (Jackie’s grief-stricken face on Air Force One en route from Dallas), and Picasso abstracted in his Guernica, Bourke-White reflected in the faces of her “German civilians” at Buchenwald. Finally, when her country needed shoring up in 1936, during the height of the Depression, LIFE, a burgeoning publication that would become our society’s pocket mirror for at least a couple of decades, chose for its very first cover Bourke-White’s symbol of capitalism’s ultimate success. Her Fort Peck dam picture, all artdeco curves and fat-cat angles, describes more than the enormous potential for hydroelectric power: It is an image of America rediscovering her own righteous might, an America that, like the photographer “Maggie the Indestructible,” would liberate us from ourselves. There was the evidence, right in front of us in it-mustbe-true black and white.
—Kathryn M Davis Margaret Bourke-White, Fort Peck Dam, Fort Peck, MT, silver gelatin photograph, 14” x 11”, 1936
CRITICAL REFLECTION
utilities 1226-d calle
de
radical aBacus comercio, santa fe
JOHN MCKISSICK’S BACKGROUND IN PHILOSOPHY BURNISHED HIS CURATORIAL debut, Utilities, at Radical Abacus, the project space amid
the whole contraption is awkward, inexplicable, clunky, and
warehouses in the endearingly coined LSD (Lower Siler
disruptive to traffic flows.
with the tagline, “Let’s do this.” Geary’s Daley, the fictional Home Depot dude on
District), a.k.a. Santa Fe’s Utility Closet. The title suggests
In contrast, Lara Nickel’s Siena Bricks are foreign, carefully
YouTube, wears glowing face paint, neon rubber gloves, a
a collection of incredibly handy objects as useful as forks
cordoned off, and very clean. Her stretched canvases, each
plaid shirt, apron, and baseball cap and gives viewers step-by-
and spoons. However, within the caveat of art, utility gets
measuring 12.25” x 2.75”, lying on the floor and arranged in
step directions on how to clean the cord. He provides safety
questioned or even completely suspended. Although most
a herringbone pattern, emulate the bricks found at Piazza del
tips along the way and ultimately preserves a highly utilitarian
pieces in the show use industrial materials or otherwise
Campo in Siena, Italy. They are the most recognizable objects
household object, under the vague assumption that the
mimic industry, the ten pieces by eight artists in this intimate
in Utilities and cite something incredibly utilitarian—medieval
unthinking, manic consumer would otherwise throw the dusty
group exhibition (Amy Albracht, Nicholas Chiarella, Sean Di
infrastructure. Unlike Carl Andre’s floor pieces, Siena Bricks
thing away. Daley is the soothing voice urging thriftiness over
Ianni, Benji Geary, Lara Nickel, SCUBA, Martha Tuttle, and
are for conceptual inspection only, their astute crispness
expenditure. Regarding the show’s conceptual framework,
Bea Varnedoe Verrillo) are, like most art, beyond utility. The
referencing minimalism as opposed to the soles of billions of
curator McKissick does note, our own “preferences are cabled
works invoke the irony of utilitarianism when trumped by
pedestrians and horseshoes.
approaches, sheathed in color-coded plastic and towed into the
aesthetics.
Martha Tuttle’s Concomitance (1) and Concomitance (2)
seabed.” As if these objects by default signal a short attention
Sean Di Ianni’s piece, Wash Sand Ramp, is the only one
are wall pieces with cotton, silk, and other household items
span, for which the consumers desperately need a preventative
referencing Santa Fe, however indirectly via its list of materials
stretched across their cockeyed steel supports. Automotive
how-to. HOW 2 dailies with Daley: process as fetish feels
and obscure title. A two-foot-long white plaster, wheel-less
wire dangles, plastic melts like shriveled skin, and dusty plums
haphazard and derelict and, in true Meow Wolf style, curiously
vehicle with purple stripes holds an extracted chunk of floor
suggest ashen flesh. They push up against the wall, at odds
postapocalyptic.
removed from a nearby, once-neglected bowling alley: George
with its rigidity and ready to exit on their own, blood and
Thankfully, this show looks nothing like a utility closet.
R.R. Martin and art collective Meow Wolf’s newest venture.
body indivisible. Her domestic and industrial materials merge
Despite its Meow Wolf–heavy cast, it’s by no means a Meow
As exhibition director and chief operating officer of Meow
viscerally and individuate from formal structures.
Wolf production. Indie warehouses in B-list cities are already
Wolf, Di Ianni is in charge of coordinating design, construction,
Benji Geary’s installation mocks the dwindling intelligence
the new artistic hotspots and transforming a junkyard into
and permitting for the former alley. LSD is home to the most
of consumer culture. HOW 2 dailies with Daley: process as fetish
a gallery is as logical as dusting off an extension cord. Don’t
significant renovation/innovation happening in Santa Fe, and the
is set up on a low plywood platform comically surrounded by
throw it away.
repurposed floor remnant beckons to our city’s growing pains
yellow safety fence. There’s an instructional YouTube video
—hannah hoeL
of continued relevancy.
about how to clean a dusty orange extension cord that plays
Wash Sand Ramp outshines notions of aesthetic glee with
on a clunky, black, Sony tablet propped on an upside-down five
cumbersome industry. The inactive grey hunk with linoleum
gallon bucket. In a Joseph Kosuth manner, Geary also displays
accents casually rides in its parodied readymade (modeled after
on the plywood the actual materials: orange cord, cleaning
a nondescript structure at the adjacent concrete plant). Indeed,
products, gloves, etc. On the wall above are projected adverts
June
2015
Sean Di Ianni, Wash Sand Ramp, plaster, tint, polyethylene, bowling alley floor, 12” x 29” x 12”, 2015
The magazine | 57
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NAOMI KLEIN: AUTHOR, SOCIAL ACTIVIST, AND FILMMAKER
“It is a civilizational wake-up call. A powerful message— spoken in the language of fires, floods, droughts, and extinctions—telling us that we need an entirely new economic model and a new way of sharing this planet.” Naomi Klein, This Changes Everything: Capitalism vs. The Climate naomiklein.org PHOTOGRAPHED IN MARIN, CA
BY JENNIFER ESPERANZA June
2015
The magazine | 59
Metamorphosis 48”x 48” Acrylic on canvas
JANE COOK FORCE OF NATURE June 5 - 29, 2015
Artist Reception - Friday, June 5, 5 to 7 p.m. 610 Canyon Road • 505-795-7570 • newconceptgallery.com
The Works of D.Matlin
An Art Benefit for The Life Link
June 26, 27, 28, 2015
Sat Noon-8p | Sun Noon-4p | Friday 5-8p by invitation 3012 Monte Sereno Drive, Santa Fe | info@dmatlin.com
A R C H I T E C T U R A L D E TA I L S
W OODEN S HUTTERS PHOTOGRAPH BY
June
2015
GUY CROSS
The magazine |61
WRITINGS
The soul of Chihuahua BY JOHN
MACKER
the hard ground as quiet to the touch as starlight, if you put your ear to it you can hear a red-tail hawk soar, the cosmic maintenance of exodus memories the bones scattered with nimble indifference rearrange themselves back into words the souls of Chihuahua driving north, across ancient bridges over an eternity of dry river beds, suddenly remember after 400 years of passing by.
“The soul is fromBadlands Disassembled Badlands (Turkey Press, $17). soul of ofChihuahua” Chihuahua”by is John fromMacker Disassembled (Turkey Buzzard Press,Buzzard $17). Of Macker’s Of Macker’s author Jason Hardung book is aon meditation land notoffor the poetry, authorpoetry, Jason Hardung writes that thiswrites, book is“This “a meditation a land noton forathe faint heart. faint of heart. is not is present tellsThe the unforgiving truth. The unforgiving Macker is notMacker nostalgic, he nostalgic, is presenthe and he tells and the he truth. land comesland alivecomes with alive with beautiful Macker’sdescriptions, beautiful descriptions; hewho is a poet who is hypersensitive to his surroundings, Macker’s he is a poet is hypersensitive to his surroundings, and whatand it’s what it like to live in desolaton in century—a the 21st century—a ofand outlaws their beauty.” like toislive in desolation in the 21st world of world outlaws theirand beauty.”
62 | The magazine
June
2015
“Imagine Abstraction”, mixed media on canvas, 68” x 115”
G.WAHL
More information at gwahl.com
Prices and detailed information about these and other hand turned bowls can be found at www.laubworkshop.com
Picture Frame Specialist since 1971
Randolph Laub studio 2906 San Isidro Court
3
Santa Fe, NM 87507
3
505 473-3585
Programme One F i r s t A n n i v e r s A ry e x h i b i t i o n 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.
conteMporAry hiGhliGhts chuck connelly: Westward bound John connell: earth-touching buddha
cerAMic 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 A ltA , s A n tA F e , n M 505 954 5800
June 12 – August 1, 2015
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petersproJects.coM