Santa Fe’s Monthly
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of and for the Arts • July 2010
JOIN US July 8, 2010, 6-8 p.m.
Mythic Figures SOFA Shiprock
SHIPROCK SANTA FE ■ 53 OLD SANTA FE TRAIL (UPSTAIRS ON THE PLAZA) ■ SANTA FE, NEW MEXICO 87501 ■ 505.982.8478 ■ SHIPROCKSANTAFE.COM
CONTENTS 5 Letters 22 Universe of art couple Michael Sumner & Melody Sumner Carnahan 27 Studio Visits: Kay Kahn, Lucho Pozo, and Michele Worstell 29 Food for Thought: Three Martinis, by Anne Valley-Fox 31 One Bottle: The 2007 Castello Banfi Centine Rosé, by Joshua Baer 33 Dining Guide: Santacafé, Lamy Station Café, and Tree of Life’s Vegan Restaurant & Café 37 Art Openings 38 Out & About
46 Previews: Art Santa Fe at the Santa Fe Convention Center; Like Death, New Mexico Will Catch Up With You in the End at The Fisher Press; SOFA WEST: 2nd Annual Sculpture Objects & Functional Art Fair at the Santa Fe Convention Center 49 National Spotlight: Pictures by Women, at the Museum of Modern Art, New York City
James Havard at Linda Durham Contemporary Art; Jumble at Richard Levy Gallery (Alb.); Michael Scott at Gerald Peters Gallery; Patrick Mehaffy at Shiprock Santa Fe; Nick Veasey at Klaudia Marr Gallery; and Peter Sarkisian at James Kelly Contemporary 71 Green Planet: Erin Currier, photograph by Jennifer Esperanza
50 Person of Interest: Marina Abramovic and the Aesthetics of Self-Regard, by Diane Armitage
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55 Critical Reflections: August Muth at Hulse-Warman Gallery (Taos); First Annual Photography Invitational at Skotia Gallery;
74 Writings: An Abstract Art, by Christine Hemp
Architectural Details: Our Lady of Guadalupe Church, photograph by Guy Cross
In the 1950s, Ed Ruscha studied graphic design while taking classes in fine art. His goal was to become a commercial artist. He worked part-time in a print shop, learning to set type by hand. By the time he left school he had discovered the work of artists such as Marcel Duchamp, Jasper Johns, and Robert Rauschenberg. He decided that he would become a fine artist, not a commercial artist. Nevertheless, it was his design background that set the stage for the work that was to come. Ed Ruscha: Fifty Years of Paintings ($65. Hayward Gallery, London. Distributed by D.A.P. ) is a marvelous book, one that reveals the scope of Ruscha’s achievements as a painter. The book is divided into three sections. The first is printed on a heavy matte stock and is comprised of five essays—by James Ellroy, Ralph Rugoff, Alexandra Schwartz, Bruce Wagner, and Ulrich Wilmes—which put Ruscha’s career into context. As well, Kristine McKenna conducts an intelligent and informative interview with Ruscha. The second section’s plates—works from 1958 to 2007—are printed on a glossy stock, and the third section—the chronology—reverts back to the heavy matte stock. The book comes in a slipcase featuring Ruscha’s Standard Station painting which, when the slipcase is removed, reveals another version of the painting—Burning Gas Station. If you thought that you knew all there was to know about Ed Ruscha, who is considered by many to be an American master, read the essays carefully—they are laden with information. This book is a must for those who love contemporary art.
LETTERS
magazine
VOLUME XVII, NUMBER X WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 & 2006 Top-5 Best Consumer Tabloids P ublis h e r / C r e ativ e D ir e ctor Guy Cross P ublis h e r / F ood Editor Judith Cross A rt D ir e ctor Chris Myers E x e cutiv e E D I T O R Kathryn M Davis C op y Editor Edgar Scully P roof R e ad e r S James Rodewald Kenji Barrett Lori Johnson staff p h otograp h e rs Dana Waldon Anne Staveley
Tlingit artist Preston Singletary collaborates with Choctaw artist Marcus Amerman in a show titled Voices From the Temple Mound at Blue Rain Gallery, 130 Lincoln Avenue, Suite C, Santa Fe. Reception: Friday, July 9, from 5 to 8 pm.
C al e ndar Editor Liz Napieralski C ontributors
Diane Armitage, Joshua Baer, Melody Sumner Carnahan, Jon Carver, Kathryn M Davis, Anthony Hassett, Christine Hemp, Alex Ross, Marin Sardy, Michael Sumner, Richard Tobin, and Ann Valley-Fox CoVER
Detail from Mystic Reader, by Michael Scott Courtesy Gerald Peters Gallery
A D V e rtising S al e s
THE magazine: 505-424-7641 Cynthia Canyon: 505-470-6442 Vince Foster: 505-690-1010 Lori Johnson: 505-670-8118 Eli Follick: 505-331-0496 D istribution
Jimmy Montoya: 470-0258 (mobile) THE magazine is published ten times a year by THE magazine Inc., 1208-A Mercantile Road, Santa Fe, NM 87507. Corporate address: 44 Bishop Lamy Road, Lamy, NM 87540. Phone: (505) 424-7641. Fax: (505) 424-7642, E-mail: themagazineSF@gmail.com. Website: www.TheMagazineOnLine.com. All materials are copyright 2010 by THE magazine. All rights are reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. All submissions must be accompanied by a SASE envelope. THE magazine is not responsible for the loss of any unsolicited materials.THE magazine is not responsible or liable for any misspellings, incorrect dates, or incorrect information in its captions, calendar, or other listings. The opinions expressed within the fair confines of THE magazine 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 and editorials represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel, and are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity or quality of objects and/or services advertised. As well, 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.
| july 2010
TO THE EDITOR: Santa Fe has wanted for a long time to be taken seriously by the art world. Early in the past century it was satisfied to be an enclave of the vernacular styles of its local cultures and its first art-colony transplants. The kitschier Southwestern fare that clutters galleries on Canyon Road is the ugly stepchild of that more sincere original regionalism. But over the past few decades, a more worldly art scene has also taken root here. Many of us who live and work here would love to take that ball and run further with it—invent a distinct art of our own that is regionally conceived but which aspires to global significance. Unfortunately, it is so easy now to measure oneself against what is being done somewhere else that real regional independence is difficult to achieve. Much of the contemporary art made in smaller cities like ours ends up looking like an imitation of whatever’s happening in New York City. Everybody seems to want to go to the art fairs and look like they came out of a gallery in Chelsea. The marketplace is dominated by a panoply of catchy, colorful styles concocted by the hordes of young artists who roll out of MFA programs every Spring, hungry for their slice of Andy Warhol’s fifteen-minute pie. After a while, it all begins to smack of a certain corporate homogeneity. Why is this so? Postmodernism was supposed to free us up to do as we pleased, but we are still desperately in thrall to the idea of a center of the art world, and that center still adheres to the old modernist orthodoxy—innovation above all—that the critical prophets brought down from the mountaintop at the end of World War II. The celebrity buzz around the mythic, innovative art star is the opium on which the system thrives. The whole international marketplace is an exponentially multiplied clone of an opening at Castelli, circa 1957. Investors and collectors trawl the grad schools, fairs, and galleries in search of the novel “look” that will be the “next big thing” in their portfolio—oblivious to the oxymoronic irony of a revolutionary cycle that has become paradigmatic. I often joke with my friends that it’s just a matter of time before we see a reality TV show, like Project Runway, for artists. Sure enough, BRAVO has recently premiered just such an offering, produced by Sarah Jessica Parker and modeled on that series, which discovers hot young designers for the fashion biz. This is what we’ve finally come down to: fine art as couture. It’s all well and good to lob these sorts of complaints over the wall like so many incendiary grenades, but what would something different look like? Well, there are other ways to make art that moves the heart, engages the mind, and inspires the soul. The path to finding them simply requires stepping back a bit from the status quo. We might begin by abandoning our infatuation with
the appearance of expertise. Modernism was originally a reaction to an Academy system much like the one we see today, where officially accredited art schools trained young people and gave them license to practice by way of an authenticating credential. How exactly did we manage to circle back to that place? Why did we let ourselves be persuaded that creativity was something that could, or even should, be legitimized by a diploma? Who decided that the distinction of mastery could be awarded in exchange for six years of college tuition? Isn’t real mastery built over a lifetime of hard work, self-directed study, and complex living? All the way back to the time of the founders, the Achilles’ heel of our collective American consciousness has been its preoccupation with the appearance of youthful vitality. The darker side of that infatuation is what we forget and discard from history in our haughty national provincialism. The rest of the world sees this clearly even if we choose not to. More and more, we are defined less by our sometimes good works and more by the self-congratulating, myth-conjuring hucksterism of a delusional, proudly ignorant, and childlike national psyche. Which begs the question: Have we ever made any genuinely grown-up art in this Neverland of perennial adolescence, or is the best stuff yet to come? And if it is, why not make it right here, right now? —Chris Benson,The Fisher Press, Santa Fe
TO THE EDITOR: I want to thank Roger Salloch for his powerful words and insightful article I just read in Santa Fe’s THE magazine. A response like this to my work keeps me going. Thanks again for the words. I wish Mr. Salloch the best, and if he is ever in New York City, please ask him to stop by the studio. –Robert Longo, New York City
TO THE EDITOR: I wish to thank Diane Armitage for her insightful review of the Meander exhibition at the Santa Fe Community Gallery, and especially her kind words regarding my work Portrait of a River. I have been amazed that most people I have recommended the exhibition to have never heard of the Santa Fe Community Gallery. It is a shame that there hasn’t been more publicity about the gallery and the fine work they are doing to showcase contemporary New Mexico artists. –Ward Russell, Santa Fe
Letters: themagazineSF@gmail.com or 1208-A Mercantile Road, SF 87507. Letters may be edited for clarity or for space consideration.
THE
MAGAZINE
| 5
ART SANTA FE CELEBRATES TEN YEARS!
PICTURED LEFT TO RIGHT, TOP ROW: Billy Hassell, William Campbell Contemporary Art, Fort Worth, TX; Mark di Suvero, Zane Bennett Contemporary Art, Santa Fe, NM; Danae Falliers, Launch Projects, Santa Fe, NM; Jorge Fernandez, JoAnne Artman Gallery, Laguna Beach, CA; Yayoi Kusama, EDEL, Osaka, Japan; “How Things Are Made” Landfall Press etching demonstration SECOND ROW: Robert Turner, Robert Turner Photography, Del Mar, CA; Merlin Cohen, Tansey Gallery, Tucson, AZ; Robert Kelly, Linda Durham Contemporary Art, Santa Fe, NM; Konstantin Lvovich, Thomas Charles Editions, Phoenix, AZ; Richard Whiteley, Bullseye Gallery, Portland, OR; Friederike Oeser, Walter Bischoff Galerie, Berlin, Germany THIRD ROW: Chiyomi Longo, Sandra Lee Gallery, San Francisco, CA; Hyun-Gon Ahn, Park Fine Art, Albuquerque, NM; Manuel Carrillo, VERVE Gallery of Photography, Santa Fe, NM; Jean Wells, San Diego, CA; Michael Schultheis, David Richard Contemporary, Santa Fe, NM FOURTH ROW: Yih-Wen Kuo, Santa Fe Clay, Santa Fe, NM; Peter Anton, Unix Fine Art, Key Biscayne, FL; Ellen Harvey, Stephan Stoyanov Gallery, New York, NY; Doris K. Hembrough, Hembrough Gallery, Mazomanie, WI; Jimmy Ernst, Osuna-Lennon, Washington, DC; Pard Morrison, Rule Gallery, Denver, CO FIFTH ROW: Peter Weber, Galerie Renate Bender, Munich, Germany; Ahmed Al-Bahrani, Paul Scott Gallery, Scottsdale, AZ; Bruce Clarke, Bekris Gallery, San Francisco, CA; Ed Paschke, Thomas Robertello Gallery, Chicago, IL; Paula Castillo, William Siegal Gallery, Santa Fe, NM SIXTH ROW: Charles Arnoldi, Charlotte Jackson Fine Art, Santa Fe, NM; “How Things Are Made” Bullseye Glass Co. kiln-formed glass demonstration; Valentin Popov, New Gallery/Thom Andriola, Houston, TX; Stephen Wilkes, Monroe Gallery of Photography, Santa Fe, NM; Michele Mikesell, Decorazon Gallery, Dallas, TX; Jeanette Pasin Sloan, Landfall Press, Inc. Santa Fe, NM
JULY 15 - JULY 18, 2010
ART SANTA FE .2010
THE CRITIC IN YOU, THE CRITIC IN ME New York Times art critic
ROBERTA SMITH to lecture at ART Santa Fe Presents
AN INTERNATIONAL ART FAIR S A N TA F E C O N V E N T I O N C E N T E R 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 1 5 , 5 - 8 P. M . , $ 1 0 0 F R I D AY J U LY S AT U R D AY J U LY S U N D AY J U LY $10 AT THE DOOR /
16 11- 7 PM 17 11-6 PM 18 11-6 PM TEL 505.988.8883
W W W. A R T S A N T A F E . C O M
ALL TICKETS AVAILABLE AT THE LENSIC BOX OFFICE 505.988.1234
Saturday, July 17, 6:30 pm New Mexico History Museum 113 Lincoln Ave, Santa Fe ART Santa Fe Presents welcomes Roberta Smith, Senior Art Critic for the New York Times, as our keynote speaker. Ms. Smith brings to this year’s ART Santa Fe Presents lecture series over forty years of experience working within and writing about the complexities and nuances of the contemporary art world. Please call the L e n s i c B o x O f f i c e f o r tickets, 505.988.1234. This lecture is made possible by Art Santa Fe Presents, a not-for-profit corporation, through the generous contributions of private donors.
RUTH DUCKWORTH
1919 - 2009
MO
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Manjari Sharma
RN IS
Paani
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July 9 - August 20
SC
Reception: Saturday, July 17, 6-8 pm
ULPTOR
Richard Levy Gallery
• Albuquerque • www.levygallery.com • 505.766.9888
Photograph: James Hart
TIME MAGAZINE: ONE OF 2OO9’S TOP TEN ART EXHIBITIONS
GEORGIA O’KEEFFE: ABSTRACTION
UNTITLED #362193 1993 22 x 14 x 9.5 in
Opening porcelain Friday, July 31st 5 - 7 pm
JULY 2 - AUGUST 8, 2010 Reception, Friday 130 x 12 x July 16 inches9, 2010 5 -7 PM NUDO 1 2009 fiber, gesso, acrylic paint
Bellas Artes 653 Road Santa Santa Fe, 87501 NM 87501 505 983-2745 653Canyon Canyon Road Fe NM 505 983-2745 bc@bellasartesgallery.com www.bellasartesgallery.com bc@bellasartesgallery.com www.bellasartesgallery.com
Georgia O’Keeffe, Series 1, No. 4, 1918. Oil on canvas, 20 X 16 in. Städtische Galerie im Lenbachhaus, Munich. Gift of the Georgia O’Keeffe Foundation. Georgia O’Keeffe, Series I–No. 3, 1918. Oil on board, 20 x 16 in. Milwaukee Art Museum. Gift of Jane Bradley Pettit Foundation and the Georgia O’Keeffe Foundation. M1997.192. Photography by Larry Sanders. © Milwaukee Art Museum.
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SUMMER HOURS NOW THROUGH SEPTEMBER 11
OPEN LATE, TILL 8 PM, THURSDAY, FRIDAY, SATURDAY
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Support the Arts & Enjoy 365 Days of Free Museum Admission Become a Member Today at OKEEFFEMUSEUM.ORG
SELF AND FAMILY... A RECENT LOOK guest curated by BOBBIE FOSHAY Monika Bravo / Ellen Harvey / Alex C o k e W i s d o m O ’ N e a l / S a n d r a
Katz / Hendrik Kerstens S c o l n i k / K i k i S m i t h
O p e n i n g R e c e p t i o n F r i d a y , J u l y 9 , 5 - 7 P. M .
INAUGURAL EXHIBITION
/
J U LY 9 - A U G U S T 8
CHARLOTTE JACKSON FINE ART
In the Railyard Art District / 554 South Guadalupe, Santa Fe, NM 87501 T e l 5 0 5 . 9 8 9 . 8 6 8 8 / w w w . c h a r l o t t e j a c k s o n . c o m
Upcoming at SITE Santa Fe this summer: TUESDAY, JULY 13, 6 PM
My Life in Art Rethinking the Art Institution and Its Audience Mark Allen and Adam Lerner Co-sponsored by TAI Gallery TUESDAY, JULY 20, 6 PM
SITE SANTA FE EIGHTH INTERNATIONAL BIENNIAL SARAH LEWIS and DANIEL BELASCO, Curators ADJAYE ASSOCIATES, Exhibition Designer
Through JANUARY 2, 2011
www.thedissolve.net
My Life in Art Marlene Meyerson with Sarah Greenough Co-sponsored by Turner Carroll Gallery TUESDAY, JULY 27, 6 PM
My Life in Art Susan Sollins with Juliet Myers Co-sponsored by Zane Bennett Gallery TUESDAY, AUGUST 10, 6 PM
Artists Talk about Artists Jennifer and Kevin McCoy Co-sponsored by David Richard Contemporary TUESDAY, AUGUST 17, 6 PM
My Life in Art Talk and Draw Patrick Oliphant and Morley Safer Co-sponsored by Gebert Contemporary FRIDAY, AUGUST 27, 7 PM
Live at SITE: Gallery Gig FOLKy TONK: Weedpatch or Bust Co-sponsored by Allsup’s and Coca-Cola Free admission; suggested donation $1 Part of RAD Final Fridays
Ticket Information $10 for adults; $5 for students, seniors, and SITE members at Friend and Family levels. Free with advance reservation for members at the Supporter level and above. The Art & Culture series is made possible by a generous endowment from the Marlene Nathan Meyerson Family Foundation.
1606 Paseo de Peralta, Santa Fe, NM 87501 | 505.989.1199 | www.sitesantafe.org
SITE is greatful to the following for their generous support of this Biennial: HONORARY CHAIRMAN Agnes Gund HONOREES Jeanne & Michael L. Klein LEAD UNDERWRITERS Anonymous, The Andy Warhol Foundation for the Visual Arts, The Burnett Foundation, National Endowment for the Arts EXHIBITION PATRONS Anonymous, Agnes Gund, Jeanne & Michael L. Klein, Anne & John Marion CURATORS’ PATRONS Toby Devan Lewis, Marlene Nathan Meyerson CATALOGUE SPONSOR Rosina Lee Yue & Dr. Bert A. Lies EXHIBITION SUPPORTERS Karen & Steve Berkowitz, Cornelia Bryer & Herman Siegelaar, Katherine & James Gentry, Jeanne & Jim Manning / The Azalea Fund, Millstream Fund EXHIBITION FRIENDS Terry K. & Richard C. Albright, Dottie & Dick Barrett, Gay Block & Rabbi Malka Drucker, Suzanne Deal Booth, Carmel & Tom Borders, Century Bank, Susan Foote & Stephen Feinberg, Christopher Hill & Rodolfo Chopoena, Mondriaan Foundation, Rita & Kent Norton, Linda Pace Foundation, JoAnn & Steve Ruppert, Courtney Finch Taylor & Scott Taylor, Ann Tenenbaum & Thomas H. Lee, Kathy & Charles Webster, Zane Bennett Gallery CORPORATE SPONSOR UBS Financial Services, Houston BIENNIAL WEBSITE SPONSOR Avalon Trust PANEL DISCUSSION SPONSORS TAI Gallery, Alicia & Bill Miller, Nancy Ziegler Nodelman & Dwight Strong SITE GUIDE SPONSOR Marcellin Simard, MD/Santa Fe Cardiology; and the SITE Board of Directors. This announcement is made possible in part by the City of Santa Fe and the 1% Lodgers Tax.
PETER SARKISIAN NEW WORK JAMES KELLY CONTEMPORARY ALSO ON VIEW: DUSTED (1998 ) MIXED MEDIA AND VIDEO PROJECTION
JUNE 11 – JULY 24 1601 PASEO DE PERALTA , SANTA FE, NEW MEXICO 87501 T 505.989.1601 F 505.989.5005 JAMESKELLY.COM REGISTERED DRIVER FULL SCALE SERIES, FERRARI # 1, 2010 MIXED MEDIA AND VIDEO PROJECTION
karen gunderson NE W WOR K JULY 16 – AUGUST 6 Opening Reception Friday, July 16, 5 – 7pm
Churning Sea – Moby’s Warning 2009, oil on linen, 72 x 72 inches
polly barton NE W WOR K JULY 16 – AUGUST 6 Opening Reception Friday, July 16, 5 – 7pm
EnRoute 2 2009, silk warp ikat with metallic and silk weft ikat, 9.5 x 12.25 inches
WIL L I A M SIE GAL G A L L E RY ANCIENT CONTEMPORARY
Railyard District ◆ Santa Fe, NM ◆ 505.820.3300 Tues – Sat 10am – 5pm ◆ williamsiegal.com
Jim Dine Louise Bourgeo James Rosenqu
Bernar Venet Chuck Close Tom Friedman Marilyn Minte Robert Mother Jay Kelly Andrew Millne Donald Baechl Jasper Johns 129 West San Francisco, 2nd Floor, Santa Fe 505 989.8020, info@shearburngallery.com shearburngallery.com
EL EMENTAL
Rey Móntez Private Art Collection
AUCTION To Help Benefit El Museo Cultural de Santa Fe
Chris McCaw Sunburned Series
Saturday July 24 6 pm (5 – 6pm Viewing) Including Eliseo Rodríguez (his largest painting plus 7 more) Eliseo & Paula Rodríguez (Straw Appliqué Crosses)
Mitch Dobrowner Storm Photographs
Tommy Maccione Kathleen Morris (Self-portrait) Frank Brito George López Ricardo López Ben Ortega Antique Santos including 18th C. New Mexico More! Eliseo Rodriguez
Edward Ranney Down Country
CHRIS McCAW, MITCH DOBROWNER, EDWARD RANNEY E X H I B I T I O N O P E N I N G F R I D AY, J U LY 9 , 5 -7 P M A L S O I N T H E G A L L E R Y: A B O O K S I G N I N G F O R
LUCY R. LIPPARD
AND
EDWARD RANNEY
D O W N C O U N T R Y , P U B L I S H E D BY M U S E U M O F N E W M E X I C O P R E S S
El Museo Cultural 555 Camino de la Familia
B O O K S I G N I N G F R I D AY, J U LY 1 6 , 5 -7 P M
Next to the Farmers Market
photo eye GALLERY
For More Information Call
G A L L E R Y: 3 7 6 - A G A R C I A S T B O O K S TO R E : 3 7 0 G A R C I A S T R E E T S A N TA F E , 5 0 5 . 9 8 8 . 5 1 5 2 X 1 2 1 G A L L E R Y @ P H OTO E Y E . C O M
982-1828
Un-Titled (abstRaction) July 20–auGust 28, 2010 | OpeninG Reception SatuRday, July 24, 2010, 5:00–8:00 PM a GRoup shoW featuRinG: Jay Davis, Peter Demos, Shirley Kaneda, Clarence Morgan, Matthew Penkala and Ben Weiner
Shirley KaneDa
Peter DeMoS
Jay DaviS
Ben Weiner
ClarenCe Morgan
MattheW PenKala
130 lincoln avenue, Suite D, Santa Fe, nM 87501 | p (505) 983-9555 | f (505) 983-1284 www.DavidrichardContemporary.com | info@DavidrichardContemporary.com
DIVERGENT WORKS CAROLYN MILLS
Animus: The Architect
LUCA BATTAGLIA
Luminous Bay
July 9th - September 12th, 2010 Opening Reception: July 9th, 2010, 5pm - 8pm
W E B S T E R
C O L L E C T I O N
54½ Lincoln Avenue, On Top of The Plaza, Santa Fe, NM 87501 505 954 9500 WebsterCollection.com
Nickolas Muray, Frida in pink and green blouse, 1939, Color carbon print, 7/30
FRIDA KAHLO & DIEGO RIVERA by Eminent Photographers
July 30th - September 12th, 2010 Opening Reception: July 30th, 2010, 5pm - 8pm
Throckmorton Fine Art/NYC and Webster Collection/Santa Fe
W E B S T E R
C O L L E C T I O N
54 1/2 Lincoln Avenue, On Top of The Plaza, Santa Fe, NM 87501 505 954 9500 WebsterCollection.com
RE-PRESENTING THE NUDE
curated by John O’Hern sharon allicotti steven assael daniel barkley michael bergt christyl boger f. scott hess sabin howard anna karin geoffrey laurence michael leonard robert liberace javier marĂn lee price paul rahilly wade reynolds jon eric riis karin rosenthal scherer + ouporov david simon frederick spencer daniel sprick roxanne swentzell bernardo torrens james tyler patricia watwood gary weisman kent williams will wilson Will Wilson | String Theory, 23 x 17, oil on linen on panel courtesy John Pence Gallery | San Francisco
view online catalogue at EVOKEcontemporary.com
1982 Monotype
by Forrest Moses
Dana WaLDON
Forrest Moses, “Irises”, monotype, 53 1/2” x 29”, 1982
In creating his monotypes, Santa Fe-based artist Forrest Moses brushes, pushes, wipes, scratches, thins, and manipulates etching inks on a Plexiglass plate. He then transfers the image to paper on an etching press to produce one unique image. Of his monotypes, Moses says, “The monotypes use the same subject as the more formal oil paintings, but are looser in line and color.” Contemplative and serene, Moses’ monotypes reflect his studies of Eastern art and philosophy.
Market Price: $ 14,000 Your Price: $ 7,500 505-570-1460
MONROE GALLERY of photography
BILL EPPRIDGE An American Treasure
Bill Eppridge is one of the most accomplished photojournalists of the Twentieth Century and has captured some of the most significant moments in American history. His assignments were as varied, exhilarating and tumultuous as the times he covered.
Opening Reception with the Photographer July 2, 5 - 7 PM Bobby Kennedy campaigns in IN during May of 1968, with various aides and friends: former prizefighter Tony Zale and N.F.L. stars Lamar Lundy, Rosey Grier, and Deacon Jones
Exhibition continues through September 26
Open Daily 112 DON GASPAR SANTA FE NM 87501 992.0800 F: 992.0810
e: info@monroegallery.com
www.monroegallery.com
RE-PRESENTING THE NUDE
curated by John O’Hern sharon allicotti steven assael daniel barkley michael bergt christyl boger f. scott hess sabin howard anna karin geoffrey laurence michael leonard robert liberace javier marĂn lee price paul rahilly wade reynolds jon eric riis karin rosenthal scherer + ouporov david simon frederick spencer daniel sprick roxanne swentzell bernardo torrens james tyler patricia watwood gary weisman kent williams will wilson Bernardo Torrens | Liz II, 32 x 19.75, acrylic on wood courtesy Bernarducci Meisel Gallery | New York
view online catalogue at EVOKEcontemporary.com
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Many say the same traits that make a good marriage also make for a good working relationship. Jackson Pollock and Lee Krasner, Bruce Nauman and Susan Rothenberg, Willem and Elaine de Kooning, Jean Arp and Sophie Taeuber-Arp, and Claes Oldenburg and Coosje van Bruggen are but a few of the many “art couples” that have lived and worked together. Add to this list writer Melody Sumner Carnahan and artist/designer Michael Sumner. In 1979, in Oakland, California, the two co-founded
BURNING BOOKS, publishing forward-
thinking books with and for artists, publishers, and museums. Michael is the graphic-arts meister, while Melody is the wordsmith of the couple.Their client list includes Chronicle Books,Thames & Hudson, the Museum of Fine Arts in Santa Fe, 516 ARTS in Albuquerque, the Guggenheim Museum in New York City, and the San Francisco Museum of Modern Art. In the late eighties, the pair moved to New Mexico, where they expanded their collaborations to include installations for galleries and museums. Together they have produced more than twenty books with a range of world-class artists, including John Cage, Yoko Ono, Laurie Anderson, Robert Ashley, Joan La Barbara, and
Which time of day do you find most depressing?
Santa Fe’s Woody Vasulka and Steina. In a break with the
After such a long ride, we are happy to walk. Black puddles, dim yellow lamps, the air smells of sea and petroleum. A few awkward blocks brings us to the town center. Inside a corral of bright white bulbs, a carnival is in progress, announced by a monstrously over-amplified Voice from Hell. I wonder if it’s rain or that horrid sound that keeps away the crowds. Hotel Regina—where we plan to spend the night—is just across the street. A lurid poster advertises Last Night in Rio. Special American sexport comedy. This is how we get them. Trivialize. Weaken the moral sanctions. They are already too familiar with brutality.1
norm, THE magazine asked the duo to write and design their own “Universe of ” article for this issue.
. . .
Any distinguishing features or birthmarks? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The raised and textured surfaces of the Maiden’s palms were scanned and enhanced and discovered to contain a replica in code of every song written as a lamentation for lost loved ones. Revived, like a . . . . .draft . of . beer, . . she . .survived . . . in.the. countryside . . . . .by.collecting . . . children’s . . . . art. expressing . . . . a.toylike . . miraculous tenderness. She saw things outside herself as real and final. She observed people standing silent in a subway, going about their business on foot, listening to jazz on headphones, bicycling hatless on an open road, carrying their sorrows inside their enjoyments. In one sense, all worthwhile work ultimately refuses to settle differences but is only worthwhile if it attempts, in some manner, to do so.2
. . . .
The most distasteful thing you have ever done for money?
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . When . . .I had . .a baby, . . I.lost. my . .sex.drive. . . My . husband . . . came . . .home . .from . .the. war . .and. found . . me . .sleeping . . .with . . . . . a woman. He took her away. They ran off together. My baby died. I got my sex drive back and had another baby. I married a man who brought with him two children of his own. He loved them dearly. He stayed home to care for them. I went out each day to make money but found I hated my job. I quit. The man who gave me the job threatened to kill me if I left. He didn’t kill me. I got another job. I fell in love. The person I loved did not love me. He told me to get lost. I threatened to kill him if he went out with other women. He did. I shot him. He recovered and came back to me, begging my forgiveness. I couldn’t love him anymore.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . What . . . . do . . you . . . understand . . . . . . . .the . . word . . . .“regret” . . . . . .to. mean? . . . . . . . . . . . When you finally realize your mistake, it is always too late. This statement applies to everything. Regret is a sentiment without alternative, a fixed state. It is something we must levitate from, to within a distance of our breath, past the most cruel aspects of need. The regret of the shadow is the empathy of the slave. I have learned from the immobility of intractable regret to be more careful with every precious future step. . . .4
Have you made arrangements for the disposal of your body?
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . In. the . .physical . . .world, . .movement . . . .is .accomplished . . . . by . .an .expenditure . . . . of.energy. . . .A few . .in .our. material . . . world . . . . . . are born with the ability to will themselves to another location without engaging the body. During such travel, the physical body remains fixed while a mind conglomerate travels to another location. In examining accounts, it seems verifiable that emotions themselves perform as fuel. The traveler is said to “sense” heat and cold, to “see” certain details, to “hear” what is being said by people she observes, even to experience the “touch” of another. An expenditure of energy is always required. . . .5
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UNIVERSE OF
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PHOTOGRAPHS BY
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ANNE STAVELEY
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FOOTNOTES Answers at left are excerpts from stories by Sumner Carnahan, published by Burning Books: 1 2 3 4 5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
“Dialogue Between the Self” — 13 Stories “Her Life and Times” — One Inch Equals 25 Miles “What Happened” — The Time Is Now “Mona Lisa” — 13 Stories “The X,Y, Z of It” — One Inch Equals 25 Miles
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | july 2010 2010
The time is now. It is the year of the simple message. The style is imitation, the technique to cheat.The world has abandoned the lion eagle ox in favor of the thirtysecond spot. There are no presents for children, everything is obvious, envy has erased all sympathetic response. Fire burns on unencumbered by water, uninspired by air. This is a description of mediocrity. There is more headroom, but one’s feet are forced into slippers of steel. Pride holds the multitudes in a continual, habitual process of re-adornment. The sun sets and rises without saturation of the senses, rises and sets without redemption of the soul. Approaching the azimuth now, the sun condenses its message to opposites.There will be good fortune, there will be evil. — M.S.C.
THEmagazine m a g a z i n e||23 23 THE
Books of Interest
C L A I B O R N E
G A L L E R Y
Photo: Elizabeth Cook–Romero
Leo and Elizabeth, Booksellers
ART BOOKS ■ Photography New Mexico ■ Music (CDs & Records) Literature ■ History ■ Movies ■ More USED/DISCOUNT 311 Aztec ■ One block N. of Montezuma (between Sandoval and Guadalupe) Mon-Sat. 10-5 984-9828 Parking in back
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STUDIO VISITS
(1)
David Hockney said, “The moment you cheat for the sake of beauty, you know you’re an artist.” Three artists respond to this statement.
(1) Beauty is the imagined perception that exists within each
Probably—it’s enticing. A friend, a painter, once said that she
(3) Well, without going for a ride around the old block—
being, not within the object seen.
was wary of becoming “dutiful” to her imagery. I’ve always liked
and me, being kind of old fashioned, this is the day when
—Michele Worstell
that. Sometimes a piece seems to be rendered perfectly, and
THE is the reason I go deep down into the hole. In other
yet it lacks vibrancy. Part of you wants to hold on to the original
words, if painting is what you do, it is the paint that
achievement, but the truth is you need to disrupt it to make it
becomes your main concern.
work. The concept, the intuitive view, and the final impact are
—Lucho Pozo
Worstell creates Nila Bindu jewelry, which are sacred adornments. They are sold locally at Maya, Beadweaver, and the Spandarama Yoga Studio, and nationwide at Anusara Yoga Intensives (www. anusara.com). Worstell’s website is www.nilabindu.com
Photograph of Worstell by Anne Staveley
(2) When I first read this quote I wondered about the context. Was Hockney referring to his interest in the possible use of optics by the old masters or staging in photography? Was he simply commenting about artistic license and the subjective point of view, or was it more personal? Let’s imagine he’s speaking of artistic process. Artists have leeway and they use
key. Art isn’t just a “means to an end”—it’s any means to an end.
—Kay Kahn Kay Kahn is represented in Santa Fe, NM by Chiaroscuro Contemporary Art. Upcoming shows in 2010: SOFA Artists at Chiaroscuro Contemporary Art (July 9 to August 7). Shows from 2009-2010: Museum of Arts and Design, New York, NY; Bellevue Museum of Art, Bellevue, WA; the New Mexico Museum of Art, Santa Fe, NM; Morris Museum, Morristown, NJ; Melissa Morgan Fine Art, Palm Desert, CA; Jane Sauer Gallery, Santa Fe, NM; Mobila Gallery, Cambridge, MA; Fountainhead Gallery, Seattle, WA; Santa Fe Weaving Gallery, Santa Fe, NM; and the Community Gallery, Santa Fe.
Pozo is a participant in the Roswell Museum’s Artist-inResidence Program. He had a one-man show at the Roswell Museum and Art Center in January 2010. In April 2010, Pozo had a one-man show at Isaac’s Gallery, also in Roswell, NM. www.bucheon.com
Photograph of Pozo by Guy Cross
artifice, but I wouldn’t think of that as “cheating.” Art does begin with desire, but desire for what? Expression? Yes. Beauty?
Photograph of Kahn by Anne Staveley
(2) (3)
| july 2010
THE magazine | 27
Loretto loves Celebrations
NOSTR ANI R I S T O R A N T E Offering Seasonal Northern Italian Cuisine and a Comprehensive Wine Program PRE - OPERA DINNE R SPEC IAL : Purchase Dinner for 3 and the 4th Diner is our Guest
C E L E BR AT E LU M I NA R I A’ S 2ND A N N I V E R SA RY Celebrate Luminaria Restaurant & Patio’s 2nd Anniversary with specials inspired by the grand opening date of July 22! During the entire month of July, enjoy selected wines by the glass, appetizers and desserts for just $7.22. For a bigger celebration, enjoy a Chef’s Table dinner for up to 8 diners for only $722. Chef’s Table includes special dinner menu, wine, and personal interaction with Chef Brian Cooper. Tax and gratuity not included - available Tuesday-Saturday, 48 hours prior notice required with credit card confi rmation.
On Thursday, July 22, enjoy a specially created four course menu of Chef Brian Cooper’s signature dishes. The price is $45 per person, $75 per person with selected wine parings. Reservations are recommended : 505-984-7915.
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PATIO NOW OPE N • FRESH GARDE N VEGETABLES ONE OF F ROMM E R’S TOP 500 RE STAU RAN T S
3o4 Johnson Street in Downtown Santa Fe Tuesday - Saturday 5:3o - 1o pm Reservations 983.38oo or www.trattorianostrani.com
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Tax and gratuity not included - credit card required for all reservations
…succulent, tender natural spare ribs…
211 Old Santa Fe Trail | 505.988.5531 | lorettoexperience.com
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FOOD FOR THOUGHT
Three M artinis
by
A nne Valley-Fox
Each night the bartender spirits the napkins home and stacks them on top of the others like a book. Tonight the square beneath the novelist’s first martini is marked with a bar graph crowned with rays, as a lighthouse or phallus. The second napkin, rolled at one edge, bears the words: Wm. James—feeling as a legitimate form of the rational. After an hour, a third napkin floats the martini glass—pitched roof in delicate strokes, grasses penciled high around a barn. And scribbled slantwise across it: Is meaning inserted or found there?
Summer evenings the writer breaks from the bar to slurred melon pastels. Tonight a snowstorn has soundlessly changed the world. A pickup truck leaving the lot turns too wide and mounts the sidewalk, missing the lone pedestrian by a breath. The walker walks on, carrying snow on his shoulders. A coward summons failure before the finish . . . and what of his protagonist? Character determines fate, yet in the realm of behavior, substitutes are sometimes accepted—a tigress held in captivity nurses a piglet . . . the third martini delivers you over the falls in a barrel . . . a breakthrough may still be possible. D Photograph: Guy Cross
| july 2010
THE magazine |29
memorable food...historic setting
“santacafé, a time-honored choice” lunch from $8.50 / dinner from $19.00 open every day
231 washington avenue - reservations 505 984 1788 menus, special events, instant gift certificates online www.santacafe.com locally owned & operated for over 25 years
What’s a Growler? Growlers are half gallon jugs you can purchase at the Second Street Brewery. The jugs are reusable and can be filled with any of our hand-crafted beers on tap. Once you purchase a Growler, there is no need to continue to buy bottles to throw away or recycle. After use, simply wash with water and leave it open to air dry. And bring it back to the Brewery for your refill. A half gallon Growler is 64 ounces, which equals four pints of our delicious beer. A Growler bottle is $4. A Growler fill is only $10.25.
Try our Second Street Brewery Railrunner Pale Ale Light in color, refreshing with a sophisticated floral nose, a citrus hop profile, a grapefruit tanginess, and a complex English yeast character of earth and fresh apples. The Railrunner Pale Ale is hopped with three signature Washington State hops: Columbus, Cascade, and Centenial. Try it, You’ll love it!
Two Locations:
1607 Paseo de Peralta In the Farmerʼs Market Building 1814 Second Street at the Railroad Tracks
ONE BOTTLE
One Bottle:
The 2007 Castello
Banfi Centine Rosé by Joshua Baer
Peace and quiet are one thing. Silence is another. Everybody needs
on the altar in your meditation room and venerate it. No. You open
a little peace and quiet, but silence scares people. Being alone with
the bottle, pour the wine, and drink until the bottle is empty. In other
the sound your brain makes when your ears have nothing else to hear
words, when it comes to food and wine, you surrender. You consume, in
is unsettling. It reminds you that the world inside of you is trying to
the same way that you will one day be consumed. I think this is why the
tell you something, the same way the world outside of you is trying
practice of eating and drinking with friends and family is more satisfying
to tell you something. What are those worlds trying to tell you? Are
than meditating, making money, making history, praying, or making art.
there two different messages involved, or are they the same? And what
At some basic, incorruptible level, when you eat and drink, you are doing
about those two worlds? The world inside of you is definitely a part
to life what life does to you.
of you. It goes where you go. It lives where you live. But what about the world outside of you? Is it a part of you or are you a part of it? These are the kinds of questions that priests, philosophers, and poets have been asking since the art of asking questions
Which brings us to the 2007 Castello Banfi Centine Rosé. The cepage of the 2007 Centine Rosé is 60% Sangiovese, 20% Cabernet Sauvignon, and 20% Merlot. The grapes are grown in the Mariani family vineyards at Castello Banfi in Montalcino, an
was invented. They are good questions because they lead
hour south of Siena. If you go to castellobanfi.com, you will
the mind to a confluence of answers. As those answers
find pictures of the castello waiting for you. If you look at
emerge and evolve and contradict each other, a picture of
those pictures long enough, the urge to drive to the airport,
life comes into view. That picture is not like a photograph
catch a flight to Milan, rent a car, and drive to Tuscany will
or a realistic painting, where you can look at the image
overwhelm you.
and recognize a face, a landscape, or the eyes of God. No.
In the glass, the 2007 Centine Rosé plays its cards
The picture of life is unclear. Any attempt to make sense
close to the vest. At first the wine looks pink, but then that
of the picture—to impose the mind’s religion of logic on
pink mutates into a transparent blend of ruby, garnet, and
the ambiguity of chaos—is doomed to failure.
carnelian. By refusing to make a definitive statement, the
The only way to look at a picture of life and
color prepares you for what you are about to taste.
understand it is to accept the fact that life is not your
The bouquet is simultaneously careful and aggressive,
mother. Life does not want you to do well in school or
the way a cat is careful and aggressive with a mouse. On the
marry the right guy. Life wants to confound you. Life
palate, the wine resolves itself into a simple pleasure. The
wants you to struggle. Life wants to give you a run for
flavor is as direct as the color and bouquet are indirect. The
your money, then it wants to pick your pocket and say,
finish is long and honest and softly emphatic. It reminds you
“You came into this world with nothing and you will leave
of why you drink wine.
the same way.” Human beings have come up with a number of innovative ways to deal with the nature of life. Among
You can buy the 2007 Castello Banfi Centine Rosé at Liquor Barn for $11 a bottle or $120 a case—proving, now and forever, that price has nothing to do with value.
disciplined, religious people, meditation and prayer
I recommend this wine for the same reason I
are popular. Among avaricious, competitive people,
recommend sitting around the dinner table with family and
corporate life offers a lucrative alternative to a world that
friends. Drinking the Centine Rosé is an antidote to all the
does not, as a rule, pay dividends. For men and women
tricks life plays on you.
who believe in love, family life can become a sanctuary,
As you drink this wine, and as you watch the other pairs
a holy zone where they can console themselves with the
of eyes in the room, take a moment and slip from the world
memories of their ancestors and the aspirations of their
outside of you into the world inside of you. The sound you
descendants. For individuals with talent, the arts offer the
hear inside that world is a gift. If you want to thank someone
mystery of interpretation and a chance for immortality.
for that gift, thank yourself. The gesture will be appreciated.
Unfortunately, all of these remedies are temporary. They
After you thank yourself for the gift, keep listening. Pay close
can distract you from the symptoms but they cannot
attention. If you are lucky, you will hear the sound the earth
defeat the disease. Life has always been, and will always
makes as it turns, the sound blood makes as it flows through
be, a parasite that outlives its hosts.
the heart of silence. D
One of the things I like about food and wine is the way that food and wine do not pretend to be permanent. When you buy a red tomato, you do not take that tomato home and hang it on the wall. No. You slice it up and eat it. And when you go into your cellar and pick out a bottle of wine, you do not take that bottle of wine and put it
| july 2010
One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. The name “One Bottle” and the contents of this column are ©2010 by onebottle.com. For back issues of One Bottle, go to onebottle.com. Joshua Baer can be reached at jb@onebottle.com
THE magazine | 31
il piatto
Real Food prepared by Real Chefs Featuring local farm fresh produce Three course Lunch prixe fix, 14.95 Three course Dinner prixe fix, 29.50
Dinner 7 Nights at 5 pm Lunch Monday – Saturday
Patio Dining
95 West Marcy Street One block north of the Historic Plaza Santa Fe, New Mexico
505-984-1091
ilpiattosantafe.com
Photograph by Cassie Raney
DINING GUIDE
Dining under the stars at
Santacafé 231 Washington Avenue Reservations: 984-1788
$ KEY
INEXPENSIVE
$
up to $14
MODERATE
$$
$15—$23
EXPENSIVE
$$$
VERY EXPENSIVE
$24—$33
$$$$
Prices are for one dinner entrée. If a restaurant serves only lunch, then a lunch entrée price is reflected. Alcoholic beverages, appetizers, and desserts are not included in these price keys. Call restaurants for hours.
$34 plus
EAT OUT MORE OFTEN!
Photos: Guy Cross
...a guide to the very best restaurants in santa fe and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: Reminiscent of an inn in the French countryside. House specialties: Earthy French onion soup made with duck stock; squash blossom beignets; crispy duck; and one of the most flavorful steaks in town. Comments: Recently expanded and renovated with a beautiful new bar. Superb wine list. New spring menu. A La Mesa! 428 Agua Fria St. 988-2836. Dinner Beer/Wine. Smoke-free. Major credit cards. $$$ Cuisine: Eclectic. Atmosphere: Bustling and friendly. House specialties: Start with the Calamari Jardiniere or the Tataki of beef. For your main course, try the Steak Frites or the perfectly cooked Salmon Osso Bucco. Comments: Good wine list. Amavi Restaurant 221 Shelby St. 988-2355. Dinner Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Mediterranean Atmosphere: Intimate. House specialties: For your main course, we recommend the Pollo Mattone; the tiger shrimp with garlic, shallots, smoked pimentos, and sherry; and the pan-roasted ribeye chop. Recommendations: The bouillabaisse is not to be missed. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236 . Breakfast/Lunch/Dinner Smoke-free. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American cuisine. Atmosphere: A casual and elegant room evoking the feeling of an Anasazi cliff dwelling. House specialties: To start, try the smoked chile and butternut squash soup with pulled spoon bread croutons and cumin crema. For your entrée, we suggest any of the chef’s signature dishes, which include blue corn crusted salmon with citrus jalapeno sauce, and the nine spice beef tenderloin with chipotle modelo glaze. Comments: Attentive service Andiamo! 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Cozy. House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin Comments: Good wines, great pizzas and a sharp waitstaff. Bobcat Bite Restaurant Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Smoking. Cash. $$
Cuisine: American. Atmosphere: This is the real deal—a neon bobcat sign sits above a small, low-slung building. Inside are five tables and nine seats at a counter made out of real logs. House specialties: The enormous inch-and-a-half thick green chile cheeseburger is sensational. The 13-ounce rib-eye steak is juicy and flavorful. Body Café 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual. House specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Asian Curry for lunch or the Avocado and Cheese Wrap. Comments: Soups and salads are marvelous, as is the Carrot Juice Alchemy. Cafe Cafe Italian Grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad; the tasty specialty pizzas or the grilled eggplant sandwich. For dinner, we loved the perfectly grilled swordfish salmorglio and the herb-breaded veal cutlet. Comments: Very friendly waitstaff. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Smoke-free. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: The café is adorned with lots of Mexican streamers, Indian maiden posters, and rustic wooden furniture. House specialties: Hotcakes get a nod from Gourmet magazine. Huevos motuleños, a Yucatán breakfast, is one you’ll never forget. For lunch, try the grilled chicken breast sandwich with Manchego cheese. The Compound 653 Canyon Rd. 982-4353. Lunch/Dinner Full bar. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Contemporary American. Atmosphere: 150-year-old adobe with pale, polished plaster walls and white linens on the tables. House specialties: Jumbo crab and lobster salad. The chicken schnitzel is flawless. Desserts are absolutely perfect. Comments: Seasonal menu. Chef/owner Mark Kiffin didn’t win the James Beard Foundation’s “Best Chef of the Southwest” award for goofing off in the kitchen. Copa de Oro Agora Center at Eldorado. 466-8668. Lunch/Dinner 7 days a week. Take-out. Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: International. Atmosphere: Casual. House specialties: Start with the mussels in a Mexican beer and salsa reduction. Entrees include the succulent roasted duck leg quarters, and the slow-cooked twelve-hour pot
roast. For dessert, go for the lemon mousse or the kahlua macadamia nut brownie. Comments: Worth the short ten-minute drive from downtown Santa Fe. Corazón 401 S. Guadalupe St. 424-7390. Dinner till late. Full bar. Major credit cards. $$ Cuisine: Pub grub. Atmosphere: Casual. House specialties: You cannot go wrong with the not-to-be-believed thin-cut grilled ribeye steak topped with blue cheese, or the flash fried calamari with sweet chili dipping sauce; or the amazing Corazón hamburger trio. Comments: Love music? Corazón is definitely your place. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Smoke-free. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Breakfast: burritos and frittata. Lunch: sandwiches and salads. Dinner: flash-fried calamari; grilled salmon with leek and pernod cream sauce; and a delicious hanger steak. Comments: Boutique wine list. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: All-American. Atmosphere: Popular patio shaded with big cottonwoods. Cozy bar. House specialties: The smoked brisket and ribs are fantastic. Dynamite buffalo burgers and a knockout strawberry shortcake. Comments: Lots of beers— from Bud to the fancy stuff. Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: For your main course, go for the grilled Maine lobster tails or the Southwestern Rotisserie, or the grilled 24-ounce “Cowboy Cut” steak. Comments: Good wine list and unique signature cocktails. Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Smoke-free. Patio. Cash. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room with small tables inside and a nice patio outside where you can sit, read periodicals, and schmooze. Over 1,600 magazine titles to buy or peruse. House specialties: Espresso, cappuccino, and lattes. El Farol 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$$ Cuisine: Spanish. Atmosphere: Wood
plank floors, thick adobe walls, and a postage-stamp-size dance floor for cheekto-cheek dancing. Murals by Alfred Morang. El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego cheese marinated in extra virgin olive oil; sautéed spinach with garlic and golden raisins. Galisteo Bistro 227 Galisteo Street. 982-3700 Dinner Beer/Wine. Smoke-free. Visa/Mastercard/Discover. $$$ Cuisine: International. Atmosphere: Friendly. House specialties: Start with the pan-seared yellow fin tuna or the crabcakes casalinga. For your main, the lamb duet or the chicken saltimboca. Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Smoke-free dining room. Patio. Major credit cards. $$$$ Cuisine: FrenchAsian fusion. Atmosphere: Kiva fireplaces, a portal, and a lovely garden room. House specialties: Start with the superb French foie gras, Entrées we love include the green miso sea bass, served with black truffle scallions, and the classic peppery Elk tenderloin. Comments: Tasting menus for available. Il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Smoke-free. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Arugula and tomato salad; grilled hanger steak with three cheeses, pancetta and onions; lemon and rosemary grilled chicken; and the delicious pork chop stuffed with mozzarella, pine nuts, proscuitto, potato gratin, and rosemary wine jus. Comments: Prix fixe seven nights a week. Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Smoke-free. Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Basic cafe-style. House specialties: We love the tasty Jerk chicken sandwich. Try the curried chicken salad wrap; or the marvelous phillo stuffed with spinach, black olives, feta cheese, roasted red peppers and chickpeas served over organic greens. You cannot go wrong with the East African coconut lentil stew. Comments: For the past ten years, Obo was the executive chef at the Zia Diner. Josh’s Barbecue 3486 Zafarano Dr. Suite A. 474-6466. Lunch/Dinner
Beer/Wine Major credit cards. $$ Cuisine: Barbecue. Atmosphere: Casual, House specialties: Delicious woodsmoked meats, cooked low and very slow are king here. Recommendations: We love the tender red-chile, honey-glazed ribs, the tender brisket, the barbecue chicken wings, the smoked chicken tacquitos, and the spicy queso. Comments: Seasonal BBQ sauces will wow your taste buds. Josh’s was written up in America’s Best BBQs. Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Smoke-free. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; soft shell crab; dragon roll; chicken katsu; noodle dishes; and Bento box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake. It is clear, smooth, and very dry—like drinking from a magic spring admist a bamboo forest. Comments: New noodle menu. Friendly sushi chefs and waitstaff. Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual and friendly. House specialties: Start with the Pho Tai Hoi, a vegetarian soup loaded with veggies, fresh herbs, and spices. For your entree, we suggest the Noung—BBQ beef, chicken, or shrimp with lemongrass, lime leaf, shallots, garlic, cucumber, pickled onion, lettuce, and fresh herbs on vermicelli noodles—it will rock your taste buds. Lamy Station Café Lamy Train Station, Lamy. 466-1904. Lunch/Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: 1950’s dining car. House specialties: Fantastic green chile stew, crab cakes, omlettes, salads, bacon and eggs, and do not forget the fabulous Reuben sandwich. Sunday brunch is marvelous. Comments: For your dessert, order the apple crisp. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Smoke-free. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: A gorgeous enclosed courtyard with skylights, carved furnishings, and hand-painted windows exudes Old World charm. House specialties: For your starter, we suggest the Classic Tortilla Soup or the Heirloom Tomato Salad with baked New Mexico goat cheese—both are absolutely delicious. For your entreé include the Braised Lamb Shank, served with a natural jus lie, spring gremolata, roasted piñon couscous, and fresh vegetables. Comments: Seasonal menus created by Chef Lane Warner. A good wine list and attentive service.
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| july 2010
THE magazine | 33
Santa Fe’s Oldest Restaurant and Cantina Authentic Spanish Cuisine served in an exciting atmosphere
o! c n m e July
in Fla week a s t igh Six n
Come dine with us beneath the stars. Experience the drama and passion of our Flamenco Dinner Show
Dinner begins at 7:00 pm The show begins at 8:00 pm Don’t miss this! Reservations a must!
808 Canyon Road • www.elfarolsf.com • 983-9912
Summer’s here and the time is right for Fine Courtyard Dining and Ongoing Fabulosity! Exciting new Tapas menu and new wine options. Live music Friday, Saturday & Sunday 6-8pm See website for schedule. Artists Market every Friday, June ~ September 4–7pm With Nathan’s Hot Dogs by Gene
466-8668 ~ CopaDeOro.net
Jonas Povilas Skardis
Mac (and PC) Consulting ®
Training, Planning, Setup, Troubleshooting, Anything Final Cut Pro, Networks, Upgrades, & Hand Holding
phone: (505) 577-2151 email: Pov@Skardis.com Serving Northern NM since 1996
OPEN EVERY DAY: Summer hours 11:30–3 & 5–8:30 IN ThE COuRTYARD AT ThE AgORA IN ElDORADO
Soups Salads Chile Pasta Stuffed Potatoes Garnish Bar and much more!
La Tienda Community Village Marketplace Eldorado
466-4206
OPEN EVERY DAY • 11-7 • Take-Out Available
DINING GUIDE
variety of pizzas with names that reflect The Big Apple, a.k.a. New York City. Recommendations: The Central Park and Times Square thin-crust pizzas are knockouts.
sorrel. Comments: Pastry chef Cindy Sheptow’s Key Lime Semifreddo and Chocolate Mousse with Blood Orange Grand Marnier Sauce are perfect. Appetizers at the bar at cocktail hour rule.
Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light, colorful, and friendly. House specialties: For your breakfast go for the Huevos Rancheros, the Chile Rellenos Omelet, or the Blue Corn Piñon Pancakes. The Brisket Taquito appetizer rules. We love the green chili stew.
Santa Fe Bar & Grill 187 Paseo de Peralta. 982.3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Start with the delicious cornmeal-crusted calamari. For your main course, we love the Santa Fe Rotisserie chicken, the Rosemary and Garlic Baby Back Ribs, and the Prawns a la Puebla. All of the salads are top notch. Comments: Chef Carlos Rivas is doing a yeoman’s job in the kitchen.
Real Food Nation Old Las Vegas Hwy/Hwy 285. 466-3886. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $ Cuisine: Farm to table with an onsite organic garden. Atmosphere: Cheery, light, and downright healthy. House specialties: A salad sampler might include the red quinoa, roasted beets (both vegan), and potato with dill. The roast veggie panini is perfect. Eveything—muffins, croissants— is baked in house. Wonderful soups and desserts are a must. Recommendations: Good breakfast menu and fabulous coffee drinks. Comments: Look for “The Supper Club at in late June or early July.
Sunday Brunch: 10am-3pm
La Stazione Ristorante & Saloon 530 S. Guadalupe St. 989-3300. Lunch Monday-Saturday/Dinner Bar menu daily Smoke-free. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: The appetizer we love is the Frito Misto del Mare (fried calamari, prawns, sardines, and oysters, presented with a spicy pomadoro sauce and caper salsa verde). For your entreé, order the Whole Cornish Game Hen, marinated in garlic and chili. Comments: Panini sandwiches at the bar, and a very generous pour at the bar.
Intimate. House specialties: Wonderful variety of salads, succulent baby-back pork ribs, flavorful grilled baby lamb chops, and perfectly-prepared seared black peppercrusted yellowfin tuna. Comments: Organic ingredients when available.
Luminaria Restaurant and Patio Inn and Spa at Loretto 211 Old Santa Fe Trail. 984-7915. Breakfast/Lunch/Dinner/Sunday Brunch Smoke-free. Valet parking. Major credit cards. $$$ Cuisine: American/Southwest. Atmosphere: Elegant and romantic. Recommendations: Start with the awardwinning tortilla soup or the Maine lobster cakes. Love fish? Order the perfectly prepared coriander crusted kampache or the Santa Fean Paella—loaded with delicious shrimp, salmon, clams, mussels, roasted peppers, and onions. The flavorful New Mexico chile pork tenderloin is top notch. Comments: Organic produce when available. Good wine list. Chef Brian Cooper is a steady hand in the kitchen. Maria’s New Mexican Kitchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: Rough wooden floors, hand-carved chairs and tables set the historical tone. House specialties: Freshly-made tortillas, green chile stew, and Pork spareribs in a red chile sauce. Comments: Perfect margaritas. Max’s 21st Century Food 401½ Guadalupe St. 984-9104. Dinner Beer/Wine. Non-smoking. Patio. Major credit cards. $$ Cuisine: Contemporary. Atmosphere:
| july 2010
Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: Noodle house Atmosphere: Casual and friendly. House specialties: Salmon dumplings with oyster sauce, and Malaysian Laksa (wild rice noodles in a red coconut curry sauce). Nostrani Ristorante 304 Johnson St. 983-3800. Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$$$ Cuisine: Regional dishes from Northern Italy. Atmosphere: An 1887 renovated adobe with a great bar. House specialties: For your main course try the Stuffed Gnocchetti with Proscuitto and Chicken, or the Diver Scallops. Comments: Wonderful European wine list. Nostrani won Gourmet magazine’s “Top 50 U.S. Restaurants.” Frommer’s rates Nostrani in the “Top 500 Restaurants in the World.” O’Keeffe Café 217 Johnson St. 946-1065. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwest with a French flair. Atmosphere: The walls are dressed with photos of O’Keeffe. House specialties: Try the Northern New Mexico organic poquitero rack of lamb with black olive tapenade. Comments: Nice wine selection. Pizza Centro Santa Fe Design Center. 988-8825. Agora Center at Eldorado. 466-3161. Lunch/Dinner Wednesday-Sunday Cash or check. No credit cards. $$ Cuisine: Real New York-style pizza. Atmosphere: Casual. Counter service and a few tables. House specialties: A
Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Sunday Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American classic steakhouse. Atmosphere: Pueblo-style adobe with vigas and plank floors. House specialities: USDA prime steaks and prime rib. Haystack fries and cornbread with honey butter. Recommendations: For dessert, choose the chocolate pot. Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Southwestern with French flair. Atmosphere: Elegant bar with a nice bar menu, sophisticated and comfortable dining rooms, and a lovely outdoor patio. House specialties: Mediterranean mussels in chipotle and mint broth is superb, as is the ahi tuna tartare. Comments: Ristra won the Wine Spectator Award of Excellence in 2006.
The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: This local institution—some say a local habit—is housed in an adobe hacienda. House specialties: We suggest the stacked red or green chile cheese enchiladas with blue corn tortillas. Comments: They make great chile here. Check out their sister restaurant, La Choza. Shohko Café 321 Johnson St. 982-9708.
Tree House Pasttry Shop and Cafe 1600 Lena St. 474-5543. Breakfast/Lunch Tuesday-Sunday Smoke-free. Major credit cards. $$$ Cuisine: Only organic ingredients used. Atmosphere: Light, bright, and cozy. House specialties: You cannot go wrong ordering the fresh Farmer’s Market salad, the soup and sandwich, or the quiche. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: Farm-to-table. Atmosphere: Light and cheerful. House specialties: The Nutty Pear-fessor salad with grilled Bosc pears, bacon, toasted pecans, and Gorgonzola, Comments: Organic greens deliver the freshness that slow food promises. Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. PatIo. Major credit cards. $$ Cuisine: All-American. Atmosphere: Down home. House specialties: Possibly the best meat loaf, chicken-fried chicken, and fish and chips in town. Comments: The hot fudge sundaes are always perfect.
San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: As American as apple pie. Atmosphere: Casual with art on the walls. House specialties: At lunch, do try the San Francisco Street hamburger on a sourdough bun or the grilled yellowfin tuna nicoise salad with baby red potatoes. At dinner, we like the tender and flavorful twelve-ounce New York Strip steak, or the Idaho Ruby Red Trout served with grilled pineapple salsa. Comments: Visit their sister restaurant at DeVargas Center. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwestern. Atmosphere: Minimal, subdued, and elegant. House specialties: For starters, the calamari with lime dipping sauce never disappoints. Our favorite entrées include the perfectly cooked grilled rack of lamb and the pan-seared salmon with olive oil crushed new potatoes and creamed
ma ga zin e
Saturday Breakfast: 9-11:30 am
Second Street Brewery 1607 Paseo de Peralta. at the Railyard. 989-3278. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers are outstanding, especially when paired with beer-steamed mussels, the beerbattered calamari, burgers, fish and chips, or the truly great grilled bratwurst.
Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch No alcohol. Smoking/non-smoking. Major credit cards. $ Cuisine: New Mexican. Atmosphere: This restaurant is absolutely a Santa Fe tradition. House specialties: Green chile stew and the huge breakfast burrito stuffed with great goodies: bacon, potatoes, chile, and cheese.
w/ THE
Dinner: Fri & Sat 5-8:30pm
The Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork. Atmosphere: Casual. House specialties: Salmon Benedict with poached eggs, quiche, gourmet cheese sandwich, and the amazing Teahouse Mix salad, a wonderful selection of soups, and the Teahouse Oatmeal, which many say is the “best oatmeal in the world.”
th eR oad
@ the Lamy Rail Station 466-1904 Lunch: Wed-Sat 11:30am-3pm
Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers are outstanding, especially when paired with beer-steamed mussels, the beerbattered calamari, burgers, fish and chips, or the truly great grilled bratwurst.
at El Gancho Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Smoke-free dining room. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant with full bar and lounge. House specialties: Aged steaks and lobster. We suggest you try the pepper steak with Dijon cream sauce. Comments: They sure know steak here.
S teaksmith
On
Table for 4 at the Lamy Station Cafe
Restaurant Martín 526 Galisteo St. 820-0919. Lunch/Dinner/Brunch Beer/Wine Major credit cards. $$$ Cuisine: Contemporary American fare. Atmosphere: Casual. House specialties: For your main course try the grilled Berkshire pork chop with shoestring tobacco onions and peach barbecue jus, or the mustard-crusted Ahi tuna. Comments: A chef-owned restaurant. Good service.
Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Smoke-free. Patio. Visa/Mastercard. $$ Cuisine: French/American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily chef specials (try the maple-glazed pork tenderloin), gourmet and build-yourown sandwiches, the best soups, and an excellent salad bar. Comments: Wonderful breakfasts, organic coffees, and super desserts. A family-run restaurant.
Lunch/Dinner Sake/Beer. Smoke-free. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell crab tempura; hamachi kama; Kobe beef with Japanese salsa, and Bento boxes.
Delicious and healthy food at Tree of Life’s Vegan Restaurant & Café, Patagonia, Arizona. Reservations: 48 hours in advance. Phone: 866-394-2520
THE
MAGAZINE
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M I C H A E L S C OT T E D I T I O N S NEW RELEASE
WILD WEST DIORAMA’S
SEVERAL EDITIONS AVAILABLE FROM FINE ART FRAMERS, INC. Contact William Schmitt | 1415 W. Alameda, Santa Fe, NM 87501 | 505-982-4397 | finaeartframers@aol.com
B u f fa l o B u l B s . c o m
ART OPENINGS
july A R T Thursday, July 1 Arroyo, 241 Delgado St., Santa Fe. 988-1002. In the Garden: new bronze pieces by Helen Frost Way. 5-7 pm. Evoke Contemporary, 130 Lincoln Ave., Suite F, Santa Fe. 995-9902. Re-Presenting the Nude: unique depictions of the nude. Curated by John O’Hern, Santa Fe editor of American Art Collector and Western Art Collector magazines. 6-8 pm.
OPENINGS
New Grounds Print Workshop & Gallery, 3812 Central Ave. SE, Suite 100-B, Alb. 505-268-8952. Distant Views: monotypes by Leonora Durrett. 5-8 pm. Palette Contemporary Art & Craft, 7400 Montgomery Blvd. NE, Alb. 505-855-7777. Surface: new enamel paintings by Daniel North. 5-8 pm.
Sunday, July 4 Museum of International Folk Art, 706 Camino Lejo, Santa Fe. 476-1200. Empowering Women: Artisan Cooperatives That Transform Communities: part of International Folk Art Week. 2-4 pm.
Thursday, July 8 Peterson-Cody Gallery, 130 W. Palace Ave., Santa Fe. 820-0010. Interior Spaces: paintings by Sherry Loehr and Jim McVicker. 5-7:30 pm.
Skotia Gallery, 150 W. Marcy St., Suite 103, Santa Fe. 820-7787. Naked Group Show: nudes in various media. 6-8 pm.
Touching Stone Gallery, 539 Old Santa Fe Trail, Santa Fe. 988-8072. Still Point: contemporary Japanese ceramics by Yukiya Izumita. 5-7 pm.
Friday, July 2
Saturday, July 3
Arroyo, 241 Delgado St., Santa Fe. 988-1002. In the Garden: new bronze pieces by Helen Frost Way. 5-7 pm.
M illicent Rogers M useum , 1101 Millicent Rogers Rd., just north of Taos. 575-758-2462. Cultural Legacies/Sacred Places: oil paintings by Mark Asmus. 5:30-7:30 pm.
Launchprojects, 355 E. Palace Ave., Santa Fe. 670-9857. Deer Heart, Dog Dick: new paintings by Clayton Porter. 6-7 pm. Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-1879. Whispering Tones: new work by Merete Larson. 5:30-7:30 pm. Shiprock Santa Fe, 53 Old Santa Fe Trail, Santa Fe. 982-8478. SOFA (Sculpture Objects & Functional Art Fair) WEST: SOFA opening, featuring works by Keri Ataumbi, Nathan Hart, Teri Greeves, and Heidi BigKnife. Folk Art/Outsider Artist: works by
Bright Rain Gallery, 206½ San Felipe NW, Alb. 505-843-9176. Cody Riddle: new paintings. 6-9 pm.
Sheldon Harvey, Charles Willeto, and selections from Shiprock Santa Fe’s outsider artists. 6-8 pm.
Friday, July 9 Bellas Artes, 653 Canyon Rd., Santa Fe. 9832745. Modernist Sculptor: sculptures by the recently deceased Ruth Duckworth. 5-7 pm. Blue Rain Gallery, 130 Lincoln Ave., Santa Fe. 954-9902. Voices from the Temple Mound: work by Preston Singletary and Marcus Amerman. 5-8 pm. Charlotte Jackson Fine Art, 554 S. Guadalupe St., Santa Fe. 989-8688. Self and Family... A Recent Look: inaugural exhibition curated by Bobbie Foshay. 5-7 pm. Chiaroscuro Contempoary Art, 702½ and 708 Canyon Rd., Santa Fe. 992-0711. Two Shows opening: Materials Matter and Australian Indigenous Art–Now. 5-7 pm. Finale Fine Art Gallery, 717 Canyon Rd., Santa Fe, 983-1228. New Talents from China: group show. 5:30-7:30 pm.
Factory on 5 Gallery, 1715 5th St. NW, Alb. 505977-9643. Rota Fortunae (The Wheel of Fortune): paintings and installation by Deborah Gavel. 6-8 pm.
Gebert Contemporary at the Railyard, 544 S. Guadalupe St., Santa Fe. 983-3838. Howard Werner and Michelle Stuhl: sculptures and paintings. 5-7 pm.
FireGod Gallery, 217 E. Palace Ave., Santa Fe. 252-3330. TimeKeepers Moon: new work by Doug Coffin. 5-10 pm.
Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Music, Art, and Dance: paintings, works on paper, and prints by Max Weber. 5-7 pm.
Gebert Contemporary, 558 Canyon Rd., Santa Fe. 992-1100. Marcia Myers: the Artist and Her Work: fresco on paper. 5-7 pm.
GF Contemporary, 707 Canyon Road, Santa Fe. 983-3707. SLANT: group show of art of a different inclination. Artists selected by jurors Juliet Myers, Devon Jackson, Sabine Hirsch, and Paul Shapiro. 5-7 pm.
Harwood Art Center, 1114 7th St. NW, Alb. 505242-6367. Saints of the Day: paintings that explore the humanity of the Mexican people and today’s politics of immigration. 6-8 pm. Legends Santa Fe, 143 Lincoln Ave., Santa Fe. 9835639. Native Modern: Earth, Wind, and Fire: pottery. 5-7 pm.
Hahn Ross Gallery, 409 Canyon Rd., Santa Fe. 984-8434. Shared Visions: large-format pieces by Adrian Pellegrini. 5-7 pm.
LewAllen Contemporary, 129 W. Palace Ave., Santa Fe. 988-8997. Luminous Forms: group glass exhibition. Rock, Paper, Rivers: landscape paintings by Forrest Moses. 5:30-7:30 pm.
Jane Sauer Gallery, 652 Canyon Rd., Santa Fe. 995-5813. Intimate Views of Nature: work by Paul Stankard. 5-7 pm.
Manitou Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Miguel Martinez & Nicholas Herrera: paintings by Martinez. Sculptures by Herrera. 5-7:30 pm.
Linda Durham Contemporary Art, 1807 Second St. #107, Santa Fe. 466-6600. Poetic Archaeology: sculptural work by Robert Gaylor. 5-7 pm.
Marigold Arts, 424 Canyon Rd., Santa Fe. 982-4142. Robert Highsmith: solo show of watercolors. 5-7 pm.
Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-3432. A Designing Nature: jewelry. 5-7 pm.
Mariposa Gallery, Nob Hill, 3500 Central Ave. SE, Alb. 505-268-6828. Animals I Have Never Known: mixed-media collages by Diana Stetson. 5-8 pm.
Preston Contemporary Art Center, 1755 Avenida de Mercado, Mesilla, NM. 575-5238713. 2010 Summer Exhibition: anniversary show of works in various media. 6:30-8:30 pm.
Matrix Fine Art, 3812 Central Ave. SE, Suite 100B, Alb. 505-268-8952. Photo New Mexico–A Juried Show: various media juried by Andrew Connors. 5-8 pm. Gallery talk: Sat., July 24, 1-2 pm. Monroe Gallery of Photography, 112 Don Gaspar St., Santa Fe. 992-0800. An American Treasure: photographs by renowned photojournalist Bill Eppridge. 5-7 pm.
| july 2010
Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe. 984-1122. Hicks & Sannit: large-scale works by David Hicks and Patricia Sannit. 5-7 pm.
Eminent Photographers: photographs of Diego Rivera and Frida Kahlo by acclaimed photographers, including Manuel Álvarez Bravo and Tina Modotti, at Webster Collection, 54½ Lincoln Avenue (upstairs). Above photograph by Nickolas Muray. Courtesy Throckmorton Fine Art, NYC. Reception: Friday, July 30, 5-8 pm.
Steve Elmore Indian Art, 839 Paseo de Peralta, Suite M, Santa Fe. 995-9677. Triangle Mountain: Geometry of the Soul: oil paintings by Steve Elmore. 5-7 pm. continued on page 40
THE magazine | 37
WHO SAID THIS? “I hate flowers. I only paint them because they're cheaper than models and they don't move. ”
1. Forrest Moses 2. Louise Bellefleur 3. Georgia O’Keeffe 4. Oskar Kokoschka
HERE’S THE DEAL! $500 B&W full-page ads ($800 for color) in the August issue for artists without gallery representation in New Mexico. Reserve Space by Thursday, July 15. 505-424-7641
OUT
& ABOUT
Photos: Mr. Clix, Lisa Law, Jennifer Esperazana,
Monique de Nys, and Joemar
MARK Z. MIGDALSKI, D.D.S. GENERAL AND COSMETIC DENTISTRY “DEDICATED TO PREVENTION, SERVICE & EXCELLENCE”
ART OPENINGS
Friday, July 16 Webster Collection, 54½ Lincoln Ave. (upstairs), Santa Fe. 954-9500. Divergent Works: sculpture and monotypes by Luca Battaglia. Mixed media on paper by Carolyn K. Mills. 5-8 pm.
Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Three Generations of Wyeths: paintings. 5-7 pm.
Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Shaffer Revisited: new sculptures with selected earlier works by glass artist Mary Shaffer. 5-7 pm.
Jay Etkin Gallery, 703 Camino de la Familia (behind Warehouse 21), Santa Fe. 901-5500064. Head above Water & Bush Nostalgia: new paintings by Monika Steinhoff. 5-8 pm.
Saturday, July 10
La Tienda at Eldorado, 7 Caliente Rd., Santa Fe. Dean Howell: lifetime retrospective with auction and sale. From 5 pm.
Dwight Hackett Projects, 2879 All Trades Rd., Santa Fe. 474-4043. Summer Landscape: oil paintings by Jay DeFeo. 3-5pm. Ghost Ranch Piedra Lumbre Center, U.S. Hwy. 84, between mile markers 225 and 226. 505-685-4312. The El Rito 7: various media by seven artists. 2-4 pm.
Thursday, July 15 Art Santa Fe, Santa Fe Convention Center, 201 W. Marcy St., Santa Fe. 988-8883. Art Santa Fe: 10th Annual International Art Fair. 5-8 pm. New Mexico History Museum, 113 Lincoln Ave., Santa Fe. 476-5200. Working the Line: David Taylor and Friends on Life and Photography on the Border: book signing. 5:30-7:30 pm.
Meow Wolf, 1800 Second St., Santa Fe. 401261-9109. Nick Toll: solo show. From 5 pm. Nü Art Gallery, 670 Canyon Rd., Santa Fe. 988-3888. A Pilgrim’s Progress: new work by Howard Hersh. 5-7 pm.
New monotypes by Forrest Moses at LewAllen Galleries, 129 West Palace Avenue. Reception: Friday, July 2, 5:30-7:30 pm.
Shaffer, and Günther Förg. 5-7 pm.
Turner Carroll Gallery, 725 Canyon Rd., Santa Fe. 986-9800. Rex Ray: collages, paintings, drawings, and design work. 5-7 pm.
Saturday, July 17
William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. 820-330. Karen Gunderson/Polly Barton: black painting imagery by Gunderson. Indigo and metallic Ikat weavings by Barton. 5-7 pm.
516 ARTS, 516 Central Ave. SW, Alb. 505242-1445. Restoration: creative work by textile conservators and restorers. 6-8 pm. Panel discussion Tues., July 20, 6:30 pm.
Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Prints, Glass Sculpture, Painting: work by Peter Halley, Mary
Richard Levy Gallery, 514 Central Ave. SW, Alb. 505-766-9888. Paani: photographs by Manjari Sharma. 6-8 pm.
Tuesday, July 20
Friday, July 30 Eight Modern, 231 Delgado St., Santa Fe. 9950231. Brand New, Slightly Used: new work by Ted Larsen. 5:30-7:30 pm. Gebert Contemporary, 558 Canyon Rd., Santa Fe. 992-1100. New Plexagraphs: Photographs by Michael Eastman using the new Plexagraph technique, which incorporates layers of acrylic within which the photograph is contained. 5-7 pm.
David Richard Contemporary, 130 Lincoln Ave., Suite D, Santa Fe. 983-9555. Un-Titled (Abstraction): group show featuring Jay Davis, Peter Demos, Shirley Kaneda, Clarence Morgan, Matthew Pankala, and Ben Weiner. 5-8 pm.
Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Under Western Skies: group show of paintings and sculpture. 5-7 pm.
Friday, July 23
James Kelly Contemporary, 1601 Paseo de Peralta, Santa Fe. 989-1601. Ron Nagle: ceramic work. 5-7 pm.
box gallery, 1611-A Paseo de Peralta, Santa Fe. 989-4897. Juxtaposed: encaustic paintings on paper and panel by Ellen Koment. 5-7 pm.
photo-eye
FireGod Gallery, 217 E. Palace Ave., Santa Fe. 252-3330. Spanish Market at FireGod Gallery: work by Gordon Micunis, Silvester Hustito, and Alvin GillTapia. 4-9 pm. Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. Ted Gall and Hal Larsen: bronze sculpture by Gall. Acrylics on canvas by Larsen. 5-7 pm. Karan Ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-0807. New Drawings: works on panel by Vanita Smithey. 5-7 pm. Linda Durham Contemporary Art, 1807 Second St. #107, Santa Fe. 466-6600. Where Have You Been?: mixed-media work by Erika Wanenmacher. 5-7 pm. New Concept Gallery, 610 Canyon Rd., Santa Fe. 424-7641. Aaron Karp–Selections: 1980–2010: paintings by Karp. 5-7 pm.
Saturday, July 24 POP Gallery Santa Fe, 133 W. Water St., Santa Fe. 820-0788. Memento Mori: group show. 6-9 pm. Art Santa Fe—contemporary galleries, cutting-edge installations, and emerging artists and dealers at the Santa Fe Community Convention Center, 201 West Marcy Street, Santa Fe. 988-8883. Thursday-Sunday, July 15-18. Above image by Michele Mikesell. Courtesy Decorazon Gallery, Dallas, Texas.
more than sixty nationally recognized artists. 1-6 pm. Family Time: Make monoprints from noon to 2 pm. Map: www.eainm.com.
The Encaustic Art Institute, 18 County Rd. 55A (General Goodwin Rd), 2 miles north of Cerrillos. 424-0487. Works on Paper: work by
Gallery, 370 Garcia St., Santa Fe. 988-5159. photo-eye Gallery Summer Exhibit: work by Mitch Dobrowner, Chris McCaw, and Edward Ranney. 5-7 pm.
Transcendence Design Contemporary Art, 1521 Upper Canyon Rd. (first building), Santa Fe. 984-0108. The Resonant Field: Solo show of work by Charlotte Cain. 5-7 pm. Victoria Price Art & Design, 1512 Pacheco St. Santa Fe. 982-8632. We Are Here So Lightly: mixed-media symbolic imagery by Alexandra Eldridge. 5-7 pm. Webster Collection, 54½ Lincoln Ave. (upstairs), Santa Fe. 954-9500. Eminent Photographs: photographs of Diego Rivera and Frida Kahlo by Florence Arquin, Lucienne Bloch, Lola Álvarez Bravo, Manuel Álvarez Bravo, Leo Matiz, Tina Modotti, Nicholas Murray, Emmy Lou Packard, and Bernard Silberstein. Courtesy Throckmorton Fine Art, NYC. 5-8 pm.
Special Interest 3rd Annual Taos Art Glass Invitational and Walking on Glass Tour, Taos. 575-613-6484. Festival of contemporary art glass. Fri., July 9-Sun., Aug. 15. Info: tiganm.org Abiquiu Workshops, Abiquiu Inn, 21120 U.S. 84, Abiquiu. 505-685-0921. Abiquiu Lectures Series:
continued on page 42
40 | THE magazine
| july 2010
Three Generations of Wyeths
Now Showing at the Railyard THROUGH JULY 25.2010
JudyChicago THE TOBY HEADS
Andrew Wyeth, KnApsAcK, 1978, watercolor on paper, 21 1/2 x 29 7/8 inches. Image Š 2010 courtesy, Gerald peters Gallery.
July 3 - August 3, 2010 c u r at e d b y P e t e r M a r c e l l e
1011 Paseo de Peralta, Santa Fe, NM 87501 | tel (505) 954-5700
Grand Toby Head with Copper Eye (detail), 2009, cast glass, bronze, and copper gilding, 64" x 26" x 26". Image courtesy Donald Woodman.
WoodyGwyn EXPANDED VIEWS
Midday (detail), 2010, oil on linen, 72" x 72"
LewAllenGalleries AT T H E R A I LYA R D
1613 Paseo de Peralta Santa Fe, New Mexico (505) 988.3250 www.lewallengalleries.com info@lewallengalleries.com
ART OPENINGS
weekly lectures with artists, writers, scientists, and historians. Info and schedule: abiquiuworkshops. com/schedule/artist-lecture-series Behind Adobe Walls, Santa Fe. 984-0022. Tour of private home interiors with art and furniture collections. Tues., July 20 and Tues., July 27. Reservations: call or e-mail Terry@ westwindtravel.net Canyon Road Contemporary Art, 403 Canyon Rd., Santa Fe. 983-0433. Javier Lopez Barbosa:
abstract oil paintings. Through Sat., July 10. Center for Contemporary Arts, 1050 Old Pecos Trail, Santa Fe. 982-1338. Latin American Perspectives: screening of Pirinop. Tues., July 13, 7:30 pm. Chalk Farm Gallery, 729 Canyon Rd., Santa Fe. 983-7125. All Makes, All Models: fundraiser for Used Pets, an organization for animal welfare. Sun., July 18, 3-7 pm. Info: chalkfarm@ newmexico.com or usedpets.net
Mixed-media exhibition—Rise and Fall—by Robert Berman at Linda Durham Contemporary Art, 1801 Second Street #107. Show runs through Saturday, July 17.
Corrales Society of Artists, Corrales. Art in the Park: a series of fine arts and crafts shows sponsored by the Village of Corrales. Sun., July18. Info: corralesartists.org
Folk Arts Week: week-long events of art and artists in conjunction with Santa Fe International Folk Art Market. Fri., July 9 and Sat., July 10. Info: folkartmarket.org
Eight Modern, 231 Delgado St., Santa Fe. 9950231. Arrows and Dice: work by Jason Salavon. Through Sun., July 25.
New Mexico History Museum, 113 Lincoln Ave., Santa Fe. 476-5200. Book signing: Viola Peña will sign copies of Los Chilitos. Sun., July 25, 1 pm.
July Art Hop, Truth or Consequences. Walking tour of studios, shops, and restaurants. Sat., July 10, 6-9 pm. Info: promotions@torcmainstreet. org
Northern New Mexico College, 921 Paseo de Oñate, Española. 2nd Annual Garlic Harvest Festival: breakfast, music, prizes, and activities for all ages. Sat., July 3. Info: sostengalavida.com
Milner Plaza, 706 Camino Lejo, Santa Fe. 4761200. Santa Fe International Folk Art Market: international folk and contemporary art fair. Fri., July 9 and Sat., July 10. Info: folkartmarket.org
photo-eye
Monte + Santa Fe, 125 E. Palace Ave., Santa Fe. 982-1828. 21st Spanish Market Show: work by Frank Zamor and Andrea Fresquez-Baros, among others. July 24-25. 11 am-5 pm.
Rey Móntez Private Art Collection. Auction to Benefit El Museo Cultural de Santa Fe on Sat., July 24 at 6 pm at El Museo Cultural de Santa Fe, 555 Camino de la Familia. Info: 982-1828.
Museum of International Folk Art, 706 Camino Lejo, Santa Fe. 476-1200. International
Gallery, 370 Garcia St., Santa Fe. 988-5159. Knock on Wood: The Stances and Dances of Joel Lipovetsky: photography, film, and custom skateboards. Through Sat., July 31.
S anta F e C lay , 1615 Paseo de Peralta,
The Picture Show: The Sequel, works on paper by Linda Hunsaker at El Zaguan Exhibition Space, 545 Canyon Road. Reception: Friday, July 2, 5-8 pm.
Paani, an exhibition by Indian photographer Manjari Sharma at Richard Levy Gallery, 514 Central Avenue SW, Albuquerque. Reception: Saturday, July 17, 6-8 pm.
continued on page 44
42 | THE magazine
| july 2010
The Encaustic Art Institute A non-profit arts organization presents
Now Showing Downtown THROUGH AUGUST 1. 2010 Reception: Friday, July 2, 5:30-7:30 PM
ForrestMoses ROCK, PAPER, RIVERS Opening reception: Saturday, July 24th, 1 - 6 pm Noon - 2 pm. Family Time - make a monoprint using encaustic.
505/424-6487
18 County Road 55A(General Goodwin Road), Cerrillos, NM 87010
18 miles south of Santa Fe on scenic Turquoise Trail, 2 miles north of Cerrillos
* ( $#
L10/12, 2010, monotype, 29ž" x 22½"
LuminousForms GROUP GLASS EXHIBITION
)!+ %( " &
& + )!+ ( %"
Lucy Lyon Rest, 2010, cast glass and fabricated steel, 28½" x 20½" x 18½"
$" !! & # ' $ #, $) ' % ) ( $#( #( & #'$ #
reston contemporary art center
1755 Avenida de Mercado | Mesilla, NM 88046 | 575 ¡ 523 ¡ 8713 | www.prestoncontemporaryart.com
LewAllenGalleries DOWNTOWN
129 W. Palace Avenue Santa Fe, New Mexico (505) 988.8997 www.lewallengalleries.com info@lewallengalleries.com
ART OPENINGS
Santa Fe. 984-1122. Summer Workshop Slide Lecture Series: artist lectures. Wednesdays. through Aug. 18, 7 pm. Info: santafeclay.com
Presents Courtyard Dining & Music: live music. Fri., 4-7 pm. Sat. and Sun., 6-8 pm. Through Aug. Call for info.
S anta F e C onvention C enter , 201 W. Marcy St., Santa Fe. 989-7541. Sculpture Objects & Functional Art Fair: SOFA WEST: Santa Fe 2010: international art fair. Thurs., July 8-Sun., July 11, 12-6 pm. The Desert is an Ocean: SOFA WEST Outdoor Party, featuring Meow Wolf installation and performance art in the Convention Center Courtyard from 6 to10 pm. Beer tent, grill, and live music. Free. Info: sofaexpo.com
F ifth A nnual N ew M exico J azz F estival , Santa Fe and Albuquerque. 505-268-0044. Concerts and events by major touring artists and New Mexico–based musicians. Tues., July 13-Sun., July 25. Schedule and info: newmexicojazzfestival.org
W heelwright M useum of the A merican I ndian , 704 Camino Lejo, Santa Fe. 9824636. Folk Art Sales Show: contemporary Navajo and Pueblo folk art. Fri., July 9-Sun., July 11. Joe Hayes: tales of Southwest lore, Native American myth, and Spanish legends. Sat., July 17-Sun., Aug. 15, 7 pm. Info: wheelwright.org
Music A gora S hopping C enter , Avenida Vista Grande, Eldorado. 466-8668. Copa de Oro
N ew M exico M useum of A rt , St. Francis Auditorium, 107 W. Palace Ave., Santa Fe. 982-1890 or 888-221-9836. Santa Fe Chamber Music Festival: Sun., July 18-Mon., Aug. 23. Schedule and info: santafechambermusic.com O utpost P erformance S pace , 210 Yale SE, Alb. Summer Thursday Jazz Nights: Jackie Zamora Brazilian Quintet and Greg Abate Quartet. Thurs., July 15, 7:30 pm. Info: outpostspace.org S anta F e A rt I nstitute , 1600 St. Michael’s Drive, Santa Fe. 424-5050. Mon., July 19, 6 pm: Lecture by photographer and installation artist Will Wilson. Thurs, July 22, 5:30 pm:
SOFA WEST at the Santa Fe Community Convention Center, 201 West Marcy Street. Event runs Thursday, July 8 to Sunday, July 11. Above image by Klaus Moje. Courtesy Bullseye Glass, Santa Fe and Portland, OR.
Open Studio: Artists and writers in residence. S anta F e D esert C horale , 811 St. Michael’s Dr., Suite 206, Santa Fe. 988-2282. Summer Season: Tues., July 13 to Fri., Aug. 13. Schedule and info: desertchorale.org
Performing Arts A lbuquerque T heatre G uild , 712 Central Ave. SE, Alb. 505-341-9590. July 2010 Performances: weekly performances through July. Schedule and info: abqtheatre.org K i M o T heatre , 423 Central NW, Alb. 505768-3544. Billy Goat Ballad: puppet and theatre performances for families. Sun., July 18, 2 pm and Tues., July 20, 10 am. Tickets: ticketmaster.com L ensic P erforming A rts C enter , 211 W. San Francisco St., Santa Fe. 988-1234. Paul Taylor Dance Company: dance performance. Wed., July 28, 8 pm. Info: lensic.com Restoration: creative work by textile conservators and restorers on Saturday, July 17 at 516 ARTS, 516 Central Ave. SW, Albuquerque. Reception: 6-8 pm. Panel discussion Tuesday, July 20, 6:30 pm. Above image by Norma Cross.
44 | THE magazine
N ational D ance I nstitute D ance B arns , 1140 Alto St., Santa Fe. 983-7646. Tap Dance Jam: classes taught by guest artists.
Mon., July 19-Sat., July 24. Performance Fri., July 23 and Sat., July 24, 7:30 pm. Info: 8721800 ext. 1103 or ndi-nm.org National Hispanic Cultural Center, 1701 Fourth St. NW, Alb. 246-2261. Miss Margarida’s Way: theatrical performance. Thurs., July 15Sun., 18 and Thurs., July 22-Sun., July 25. Call for details.
Call for entries M useum & A rts C enter , 175 W. Cedar St., Sequim, WA. Transcendence—The Magic of Glass: call for artists for a contemporary glass-art exhibition. Deadline: Fri., July 9. Info: glassartfestival.org S tables A rt G allery , 133 Paseo del Pueblo Norte, Taos. 575-758-2036. Seeking work with discardedrecycled materials for Arte de Descartes X. Exhibition runs Sun., Aug. 15 to Sun., Aug 29. Deadline: Sat., July 17. For prospectus, send SASE to Wholly Rags, P.O. Box 1051, Ranchos de Taos, NM 87557.
AUGUST LISTINGS DUE BY JULY 15
themagazineSF@gmail.com
| july 2010
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Celebrating 30years on Canyon Road!
Innovative Native American Pottery Alan E. Lasiloo | Diego Romero | Nathan Begaye 419 Canyon Road, Santa Fe, NM 87501 | 505.982.2145 www.robertnicholsgallery.com | gallery@robertnicholsgallery.com
PREVIEWS
ART Santa Fe 2010 July 15 to18 Santa Fe Community Convention Center, 201 West Marcy Street, Santa Fe. 988-8883 Opening Night Gala Vernissage: Thursday, July 15, 5 to 7 pm. Tickets $100. It’s an auspicious year for ART Santa Fe as the art fair turns ten years old. Emblematic of ASF’s growth over the past decade is the return to its original downtown location, at the Santa Fe Community Convention Center. As part of its expanding How Things Are Made program, ART Santa Fe welcomes the artists’ cooperative Bullseye Glass. They will share their unique kiln-forming glass program with a demonstration of various methods of glass application by Ted Sawyer, director of the Research and Education Department at Bullseye. Demonstrations will take place every day of the fair. Building on its track record of presenting lectures by art notables such as TIME Magazine art critic Robert Hughes, former Guggenheim director Thomas Krens, architect Frank Gehry, and New York Times critic Michael Kimmelman, this year ART Santa Fe Presents features the Times’ Senior Art Critic Roberta Smith as its keynote speaker. Smith has been writing about art for forty years, and earlier in 2010 she raised a ruckus when she called on contemporary art critics and curators to “think outside the hive mind” and create daring and imaginative exhibitions that don’t play it safe. Smith gives her lecture on Saturday, July 17, at 6:30 pm, at the New Mexico History Museum. www.ticketssantafe.org Jean-Marie Haessle, Untitled 12, oil on canvas, 68” x 54”, 2007. Courtesy David Richard Contemporary, Santa Fe.
Like Death, New Mexico Will Catch Up With You in the End July 16 to August 18 The Fisher Press, 307 Camino Alire, Santa Fe. 984-9919 Opening reception: Friday, July 16, 5 to 8 pm. With its rather ominous exhibition title, you probably wouldn’t be shocked to find a tumbleweed somewhere in the visual vocabulary, but it might come as a surprise that said tumbleweed is, according to a press release, “a metaphor for teaching, in which often otherwise moribund ideas remain alive… through students.” The tumbleweed as an intellectual spore? “Why not?” ask New York–based artists Christopher K. Ho and Kevin Zucker. Their project consists of a chainsaw-chiseled log, an oil painting of that tumbleweed, and a book titled The Late Work, published by The Fisher Press, and containing images and descriptions of the (imaginary) “late” or endof-career works by the artists, envisioned by their former students, graduates of the Rhode Island School of Design. The duo conceived of the exhibition while considering their own current career trajectories, the direction of contemporary art, and the average productive lifespan of humans.” Rather than imagining a promising future for themselves based on contemporary culture’s fascination with the young, the beautiful, and the new, Ho and Zucker have consigned these artists to “the product of creative exhaustion, repetitiveness, capitulation to commercial pressures, irrelevance, and laziness, even senility.” Apparently the same environment that creates the tumbleweed is responsible for prematurely desiccating the futures of young artists—at least conceptually. Kevin Zucker, The Flowers of Romance, watercolor, pencil, silkscreen, and inkjet on canvas, 76½” x 52½”, 2007
SOFA WEST July 8 to 11 Santa Fe Community Convention Center, 201 West Marcy Street, Santa Fe. 989-1234 Opening reception: Wednesday, July 7, 6:30 to 9 pm with VIP ticket. Since 1994, SOFA—the International Sculpture Objects & Functional Art Fair—has been taking place in Chicago and New York. As postmodernism allows for broader definitions of art, SOFA’s identity has crept upwards from the crafts exhibition into a must-do for the global contemporary art-expo set in general. This year, SOFA WEST’s second incarnation establishes Santa Fe as one of the big three locations for the exposition, which is celebrating with extracurricular activities such as the pre-fair symposium, Historic Bond/Contemporary Spirit: Collecting New Southwest Native Pottery, taking place from July 6 through July 8. Lectures sponsored by Santa Fe’s Jane Sauer Gallery, Blue Rain Contemporary, SWAIA, and Stacey Neff’s New Mexico Experimental Glass Workshop are set for various days and times throughout the long weekend. Details: www.sofaexpo.com/santa-fe/2010/lectures.html. The fair itself features such stars as Joan B. Mirviss, Ltd. of New York, specializing in contemporary Japanese ceramics; top contemporary ceramics dealers Clark + Del Vecchio of Santa Fe; eminent fiber-art dealer browngrotta arts of Connecticut; New York’s Charon Kransen Ltd., a leading European art-jewelry dealer; and Linda Durham Contemporary Art of Santa Fe, featuring the ever decadently delightful Meow Wolf performance group. Christine Nofchissey McHorse, Untitled, ceramic vessel, 28” x 14” x13”, 2010 Courtesy Clark + Del Vecchio
46| THE magazine
| july 2010
Upcoming classes & events at BUllseye ResoURce centeR: class: Drawing with glass July 19 –22 Demonstration: painting With glass saturday, July 24 class: painting with glass July 30 –august 2 Demonstration: printmaking For Kiln-glass Wednesday, august 4 Demonstration: Drawing With glass Wednesday, august 11 class: How to Write an effective artist statement saturday, august 14
Kiln-glass
class: Drawing with glass august 19 –22 class: introduction to Fusing and slumping august 23 –24 & 26 Upcoming events FeatURing aRtists RepResenteD By BUllseye galleRy: lecture: “Klaus moje: artist innovator” saturday, July 10 sofa West: santa Fe www.sofaexpo.com
Meet international artists on the leading edge of the movement. Explore the materials and methods. At Bullseye Resource Center, Santa Fe.
lecture: Jessica loughlin sunday, July 11 new mexico museum of art www.nmartmuseum.org lecture: michael Rogers thursday, July 15 new mexico museum of art www.nmartmuseum.org How things are made: ted sawyer art santa Fe July 16 –18 www.artsantafe.com
CLASSES
•
Grand Opening: Wednesday, July 14, 4–8pm SUPPLIES
•
EVENTS
805 Early Street, Bldg E, Santa Fe, 87505 www.bullseyeglass.com/santafe
new works by:
juliette aristides katelyn alain agostino arrivabene rodrigo cifuentes sophia chorny valerio d’ospina roberto ferri alex gross steve huston geoffrey laurence graydon parrish mark spencer daniel sprick francesca sundsten timur tsaku rimi yang guest artists:
lyndall bass tony curanaj jacob collins jason john david larned jeremy mann richard murdock cesar santander elliott wall fred wessel
n a k e d Steve Huston, Gathering Off the Steps, 90.5 x 38, oil on canvas
preview thursday july 1 6-8pm | r aw
s u s h i by b o d y
•
c h a m pa g n e c o c k ta i l s
opening friday july 2 | 5-7pm
s k o t i a g a l l e r y | 1 5 0 w . m a r c y s t s t e 1 0 3 s a n t a f e n m 8 7 5 0 1 | 5 0 5 . 8 2 0 . 7 7 8 7 | s k o t i a g a l l e r y. c o m
N AT I O N A L S P O T L I G H T
The M anger (1899)
by
Gertrude Käsebier
Few women photographers have been cited in the history of photography, for which there may be several reasons. One is that history has a habit of becoming repeated, and in turn quoted, with the result that it becomes the established lore even when the story may have been incorrect. In fact, women have been extremely active in the field of photography, and deserve far greater prominence than has been accorded to them. Pictures by Women: A History of Modern Photography—on view at the Museum of Modern Art—is an acknowledgment that notice must finally be paid to women photographers. The entire third-floor of the Edward Steichen Photography Galleries are flush with more than two hundred works from 1850 to the 1980s by approximately one hundred and twenty women artists. The show is organized chronologically, beginning with a gallery of 19th- and early 20th-century photographs that illustrate the two traditions of documentary and pictorial photography. The mid-to-late 20th century is represented by color photographs of New York street life by Helen Levitt and remarkable images by Lisette Model and Diane Arbus. The exhibition also includes work by Gertrude Käsebier, Carrie Mae Weems, Berenice Abbott, Nan Goldin, Cindy Sherman, and Tina Modotti, among others. The earliest photograph in the exhibition was made in the 1850s by British photographer Anna Atkins, who used the cyanotype process to record her many plant specimens. The exhibition is on view at MoMA, 11 West 53rd Street, New York City. D
| july 2010
THE magazine | 49
Marina
Abramović andnda theeht AestheticsscitehtseA ofof Self--lfeS Regard Selfof Aesthetics the and
Show must go on… Artist must be beautiful… Show must go on… Artist must be beautiful… Show must go on… Artist must be beautiful…
The above lines are a variation on two famous phrases that performance artist Marina Abramović repeated continuously, in 1975, while violently combing her hair. Even at that formative stage in her career, Abramović had a ferocious and un-ironic dedication to enhancing and preserving the remarkable qualities of her appearance. For nearly four decades, Abramović has been a singularly beguiling—one could even say bewitching—figure in the arena of performance art, testing the limits of her endurance and commitment to ideas realized and magnified in defined settings of space and time. Now, Abramović has come full circle to her own history as a performer, and here comes the first question: Is she a showman or a shaman? No easy answer presents itself, but there is a steady build-up of indications that Abramović is enthralled with her own image and her hard-won celebrity status. Second question: Is being in love with one’s own image and its iconic power necessarily a bad thing? Can one’s heightened self-regard translate into a set of fantastic opportunities that might, perhaps, lead to moments of personal and transcendent self-awareness arrived at in full view of an audience? This spring, Abramović reigned supreme as she ascended to the center of the New York art world during her retrospective at the Museum of Modern Art. This comprehensive but circus-like exhibition veered toward its climactic days with grueling performances and accompanied by a cacophonous atmosphere. In The Artist Is Present— the title of Abramović’s retrospective as well as her on-site performance piece—this incredibly charismatic woman sat on a chair facing anyone who got to the museum early enough to sign up and participate in the artist’s sitting, staring, and enduring a long day’s journey to the museum’s closing. Abramović mostly blinked and hardly moved. In all, this piece lasted seven hundred hours and will generate, I’m sure, at least as many critiques, accolades, doubts, and digressions. Believe me, it was quite a scene with all the morbidly curious jockeying for position with Abramović’s devoted, or simply skeptical, following. But, circus atmosphere aside, The Artist Is Present was an undeniably powerful experience in a painful kind of way, and it’s a movie waiting to be made. Ultimately, everyone who cares about the artist and her work has to find their own path to the heart of the heart of the Balkan Diva and try to determine what makes Abramović run, walk, sit, cut herself, or urinate in public. Not having been born Maria
Callas—Abramović’s idol—the artist had to make do with the warmed-over model of a volatile, gifted, competitive, and passionate diva. And from Abramović’s early career as an artist in a Belgrade art school in the late 1960s and early ’70s, she became devilishly adept at seizing control of her image. When she began to perform in pieces that early on stamped her with masochistic tendencies and an unbelievable capacity for enduring the unendurable, she was, then as now, fearless in exposing herself to extreme situations that left the conservative Belgrade public scratching its head in wonder and sometimes horror. The artist, however, was surefooted in her gradual progression toward ever more extraordinary acts and deprivations, and if her performances were fueled by superhuman bursts of energy and concentration, they were not ever destined to be one-night stands. After every live performance, Abramović insisted on a rigorous repeat of the event in private so it could be filmed and photographed and added to her growing archive with its self-mythologizing overtones. Larger than life in every way, Abramović stunned her audiences, seduced her supporters, welcomed the adoration of strangers and friends, connived with curators, and would come to unequivocally love, and then hate, the artist Ulay who became the sorcerer’s partnering apprentice in a marvelous and sustained tango of similarities and differences that lasted for twelve amazing years. Shaman/Showman/Diva/Dreamer—put them all together and you get an artist who channels Maria Callas and Coco Chanel, Chris Burden and Valie Export, Yoko Ono and Joseph Beuys. Mix one part narcissist liqueur, one part derring-do, and a splash of death wish, and serve to the naked artist on a bed of ice sprinkled with several twists of fate and a few hungry boa constrictors. Is there nothing too difficult or exotic for Abramović to engage in
Marina Abramović, Dragon Heads, black and white photograph, 1993
and the Aesthetics of SelfRegard
F E AT U R E
The work in The Artist Is Present that I found the most arresting was, in fact, a virtual and actual meditation on St. Teresa of Avila called Holding Milk (The Kitchen Series), from 2009. The artist, in a floor-length black dress, hair pulled tightly back, eyes closed, held a pan of milk in front of her at waist height. At first, the artist’s hands were steady but then they began to shake a little, then a lot, and eventually the milk spilled in white rivulets down her long black dress. This was not a performance done for an audience by the way, but was designed to be filmed. It’s about trying to depict a state of total introspection and is based on anecdotes about St. Teresa who, it was claimed, in states of intense concentration, could levitate. Perhaps that will be the underlying thrust of Abramović’s next phase of ne plus ultra performances: raising herself above the pull of gravity. Diva/ Superstar/Cult Figure/Saint—I believe that Abramović has already defied gravity any number of times, and has risked everything to fly past the markers of ordinary fame in order to collect her Marina Abramović, Pieta, cibachrome print, 2002
fifteen minutes of divine immortality. D —Diane Armitage
Abramović: showman or shaman? even if it means appropriating and re-performing the work of other seminal artists? One questionable aspect of Abramović’s relatively recent practice is the taking on other artists’ iconic pieces and reperforming them in her own image. But why? Why does Export’s signature work Action Pants/Genital Panic, from 1969, need to be reincarnated by anyone else? Or Vito Acconci’s Seedbed, from 1972, or Beuys’ landmark work, How to Explain Pictures to a Dead Hare, from 1965? It’s true that Abramović did get permission to reperform these and other works at the Guggenheim in 2005— comprising the series Seven Easy Pieces—but I have my doubts about her motivations for doing so. Even if Abramović believes that her re-enactments are a way to boost the currency of these works for a new millennium, she has, in her own way, co-opted the legacy of other artists and covered these pieces with her own fingerprints, along with pilfering some of their DNA and dropping it into her own artistic gene pool. I don’t accept that Abramović has taken over these works in an egoless effort to keep them alive. For me, her appropriation of the work of Bruce Nauman, Gina Pane, Beuys, Acconci, and Export is a form of theft that furthers the reach of Abramović’s insatiable ambitions while stealing the thunder of these historical and canonical works. I guess one can ask: “Who owns performance
| july 2010
art?” Can it be treated like a series of plays and be presented ad infinitum? And does it invalidate or weaken the original to have it reprised by someone else? Especially when that someone else has launched herself into the realm of the superstar and the saint, and whose name now has the aura of a brand? In the push-andshove ambience of Abramović’s retrospective at MoMA, the details of her brilliant career were nearly drowned out by the attending raucous atmosphere. More importantly, there was the growing sense that Abramović’s exalted image is now the all-important signifier bequeathed to her status as an art star. Dominating Abramović’s oeuvre was the ubiquitous presence of her ageless face, her surgically enhanced breasts, her self-mythologizing, and the underlying subtext that she be regarded as a supernatural being—a levitating goddess with a tight-fisted control over “the archive.” Does the law of diminishing returns factor in somewhere? The older one gets—Abramović is in her sixties now—the harder one must try to be unforgettably seductive in the minds of a fickle audience. In the process, Abramović has become a combination of Lady Macbeth and Lady Gaga, blurring genres, stacking her deck of spectacles, confounding critics, and tweaking the history of art itself. Hey, St. Teresa! Look who’s knocking on your celestial door.
Marina Abramović, Portrait with Golden Mask, color video projection, 2010
THE magazine | 51
OPENING & PREVIEW PARTY | Friday, July 16 | 5 p.m. LIVE AUCTION | Saturday, July 17 at 10 a.m. (preview from 8 a.m.): 2-D Artworks | Sunday, July 18 at 1 p.m. (preview from 10 a.m.): 3-D Artworks | Auction by Spectrum Auction LLC | Jake Finkelstein, Auctioneer/Appraiser | www.spectrumauction.org | 10% Buyers Premium applies to all sales SALE | July 19 - July 31 | Noon - 6 LA TIENDA AT ELDORADO | 7 CALIENTE ROAD | SANTA FE, NM 87508
For more information, please call 505-466-2838 or email deanhowell@q.com www.deanhowellstudios.com In gratitude to my sponsors: La Tienda Shopping Center Agua Fria Self-Storage, Barn Dogs, Beyond SAF Borders, Blue Moon Cafe, Tony Bonanno Photography,Copa de Oro, Eldorado Animal Hospital, Eldorado Automotive, Four Sisters Consignment, Gene’s Sandwich Shop, Hagan Builders, Harry’s Roadhouse, Jamie Hart Photography, Josh’s Barbecue, Jack Arnold Photography, Melissa Latham-Stevens, Marcel Legendre, Mike’s Music, Quik Send: Fine Art Shipping, Real Food Nation, John Stevens, 1228 Parkway Art Space
Time Marker: Assimilated Black African, casted polychromed resin, 32'' x 32'' x 92'', 2005
LIKE DEATH, NEW MEXICO WILL CATCH UP WITH YOU IN THE END an installation in conjunction with the publication of
THE LATE WORK a book modeled on a festschrift by Christopher K. Ho and Kevin Zucker
THE FISHER PRESS – 307 Camino Alire, Santa Fe, NM July 16th to August 18th, 2010 Opening reception Friday, July16th, 5 to 8pm Gallery Hours: 11am to 3pm, Weds. – Sat. Or by appointment, by calling 505 984-9919 Email: bensonstudio@comcast.net Website: http://thefisherpress.com
CRITICAL REFLECTIONS
I
Michael Scott: Buffalo Bulb’s Wild West Show Buying beauty and selling beauty—what an idea! —from the exhibition catalogue
In the late 1630s, the Dutch were going crazy
Gerald Peters Gallery 1011 Paseo de Peralta, Santa Fe
conflated with the selling of the Wild West right here in the
sequel. This episodic exhibition leaves us with the certainty
Land of Enchantment, lies at the heart of this exhibition of
that our characters are, if not doomed, in untold danger. This
stunningly illusionistic oil paintings, starring the lovely tulip
is a tragic play presented in glorious carnival colors against the sublime Western landscape, a stylized Moulin Rouge with the
fragility. Buffalo Bill Cody takes on the role of hero (perhaps
moral “Never fall in love.” And its footnote: “Beauty, like love,
effects: the evolution of a mercantile-based middle class who
an alter-ego for the artist) in the saga told by some fifty
fades; only pictures last.”
bought and sold flower futures, and an art just for them.
paintings; if he’s more than vaguely uncomfortable in the role,
Ranging in size from medium to extra large, Scott’s
In their post-Reformation culture—minus a Catholic Church
we’re left uneasy by our own accountability as participants in
canvases cover the theoretical territory of Manifest Destiny
to play the popish role of arts patron extraordinaire—paintings
the defilement of absolute beauty as we try to make it ours.
as promoted in the nineteenth-century United States
in Northern Europe began to be made for, and bought by, the
Supporting roles include the American West as the whore
through the landscape and the commercialism of secular art
well-to-do layperson eager to keep up with the Van der Joneses.
with the heart of gold, and the buffalo and Native American
as spectacle—a phenomenon as relevant today as it was in
In fact, many seventeenth century paintings from the
as wise and valiant sidekicks. In this modern tableau, where
seventeenth-century Holland. Scott’s subjects are narrated via
Netherlands presented as subject matter—besides dazzling
things are neither black nor white, culpability and innocence
decidedly effective Baroque techniques including compressed
still lifes of flowers as allegorical narratives—wholly middle-
battle for the confused hero’s heart and soul. Will he wind
theatrical space and diagonal composition, a gem-like, return-
class values such as spotless housekeeping, frugality, and
up doing the right thing, or is the evil that emanates from the
to-Renaissance color palette, enough trompe l’oeil to give
morality tales about marriage and fidelity. Relatively minor
black suits who manipulate bulb, land, and art prices behind
things a funhouse appeal, and exquisite still lifes situated
collectors throughout history owe the allure of buying art for
the scenes too great? The courageous sidekicks nearly die
within a setting so energetic that the act of looking threatens
their homes to the hard-working Dutch and their fascination
in their efforts to save the hero, and all kinds of shenanigans
to exhaust the viewer. The paintings are placed in hand-built
with the exotic Orient in the form of the Ottoman Empire’s
ensue, threatening Beauty’s purity even while she flies free,
frames that suggest the circus wagons and snake-oil sellers of
incredible tulip bulbs. The mysterious glamour of Turkey
above it all. Knowing what we know now, the question
America nearly two centuries ago. There is real meat here,
and the allure of profit making combined to transform
remains: Why in heck don’t the sidekicks throw in the towel
and it’s not on the hoof. With this ambitious exhibition, the
seventeenth-century Dutch painting into the art that we
and get the hell out of Dodge? It’s got to be that danged
artist takes on painting itself, its history, and our complicity
know and venerate today.
West, with her golden heart and down-to-earth good looks.
as consumers. Scott’s paintings tell a story of beauty and its
Michael Scott’s fascinating grasp of art history is
Compared to Beauty, West’s is the kind of attraction that
consumption—and our helplessness in the face of it.
threaded through with the glitter of commercialism, and
lasts, magnificent to its last gasp. But that’s all fodder for the
—Kathryn M Davis
Michael Scott, The Tulip Traders, oil on canvas, 62½” x 80”, 2010
in the role of Beauty, ever steadfast despite her apparent
for tulips. Out of this mania came two most unexpected side
| july 2010
THE magazine | 55
VOICES FROM THE TEMPLE MOUND A collaboration in glass with P R E S TO N S I N G L E TA RY and M A R C U S A M E R M A N
July 7–17, 2010
Artist Reception: Friday, July 9th 5–8pm
O N E S TA R
Blown and sandcarved glass 8"h x 7.5"w x 7.5"d
B LU E R A I N GALLE RY 130 Lincoln Avenue, Suite C
Santa Fe, New Mexico 87501
505.954.9902
www.blueraingallery.com
G L A S S B LO W I N G D E M O S at Blue Rain Gallery Friday, July 9th and Saturday, July 10th 11am–4pm
B
CRITICAL REFLECTIONS
Peter Sarkisian: New Work
J ames K elly C ontemporary 1601 P aseo de P eralta , S anta F e
Bell Jar Genesis. You might come for Registered
mother and child breaks down as the pace accelerates, then
audible whispers, their hands and bodies brush the cube
Driver 2010—well worth the trip—but you’ll stay for
dissipates with the bodies themselves as the cube comes
walls, transferring the soot onto themselves while increasing
Dusted. A case can be made that Sarkisian’s allegory revives
to rest.
the cube’s transparency.
a figure—Everyman—familiar from a late-medieval literary
Sarkisian’s major new work, Registered Driver 2010,
Dusted is a digital tour de force and brilliant visual
tradition dating back to the English morality play of the same
could be read as a real-time riff on Hover’s allegory on
conceit. The paced, disjunctive choreography of the
name. “Everyman” stood for the universal yet ordinary
modern life. The window of the Ferrari, representing
nude figures in the contained space of the cube produces
human being placed in extraordinary circumstances, mired
Everyman’s world, eventually cracks from the frantic urban
momentary poses of epic beauty—the reclining male
in moral peril or facing a moral dilemma. The end game was
pace, while an old man in the back seat, oblivious to himself
becomes a Renaissance river god, the female a recumbent
always the same: to save one’s soul—or to find it. In the
and to the driver, is a tacit commentary on the dissolution of
Leda. The drama of the nude figures emerging like Adam
opening of Everyman, the fifteenth-century drama marking
the parental bond in Hover.
and Eve through the dust and being in turn smeared by it
the figure’s debut, we read that “Here beginneth a treatise
Dusted (1998) is the seminal piece for the cube format.
conjures growth and decay, in which the cube becomes at
how the high Father of heaven sendeth Death to summon
Five video channels projected on corresponding sides (and
once womb, world, and tomb—a bell jar Genesis: In the
every creature to come and give account of their lives in
top) of a thirty-three-inch cube create the illusion of what
sweat of thy face shalt thou eat bread, till thou return unto the
this world, and is in manner of a moral play.” Now you
appears as an opaque solid until a dusting of soot coating its
ground; for out of it wast thou taken: for dust thou art, and unto
know you’re in trouble when the verb endeth in “eth.” Sure
interior walls is gradually wiped away from within, revealing
dust shalt thou return.”
enough, we learn that God, seeing His people blinded by
a transparent void occupied by two cramped figures, a
Sarkisian’s projects combine rare qualities in cutting-edge
worldly prosperity, lamenting that “Everyman liveth after his
nude male and female, curled within its confines. As they
contemporary video: fluent postmodern allegory, virtuoso
own pleasure,” commands Death to bring him to reckoning.
maneuver slowly and with effort around each other in
command of the medium, and lean, compelling humanism.
Death assures God that “Everyman will I beset that liveth
halting exploration of their environment, tracked by faintly
—R ichard T obin
out of God’s laws, and dreadeth not folly.” Translation: he’s toast. To save himself, Everyman appeals to all his allegorical fast friends like Fellowship and Worldly Goods to accompany him on his journey to the grave and to speak on his behalf. But in the end, restored by Everyman’s flight to Confession and Penance, only Good Works stays the course and sees him through. Sarkisian’s morality plays do not judge. And his Everyman is less protagonist than passive player, a “patient” in its original, powerful etymology as one who endures. Some viewers must recall Sarkisian’s wondrous mixedmedia video installation New Project: I Don’t Want It, Take It Back, featured in Site Santa Fe’s Being and Time exhibition (1997). Projected onto the back wall of a tall, velvet-black alcove, a galactic hand descends into view like the compasswielding hand of William Blake’s crouching Creator. The curled fingers of the Sarkisian hand unfurl, releasing a blue-gold globe to roll down thundering through the starry firmament and into the viewer’s space. It rumbles to a stop on a real terrestrial billiard table, only to be dropped by the video-hand of the pool player into the side pocket and out of play—a Miltonic allegory of man’s ingrate reply to the invitation of Genesis to “be fruitful and multiply and fill the waters in the seas, and let birds multiply on the earth.” Sarkisian’s Strand installation (2001) featured four video channels projecting three eleven-foot transparent hollow chutes down which a procession of nude figures slide one after another in slow free fall, the brief narrative of each soul’s barely audible voice largely lost in the rush of descent, fleeting witness to what dreams may come “when we have shuffled off this mortal coil.” His Hover installation (1999) reprised the cube device introduced with Dusted one year earlier. In Hover, five video projections create the illusion of a transparent cube occupied by a mother and child at rest. The increasing momentum of the cube’s circling motion from slow revolution to frantic spinning evokes an allegory of the cycle of life, where the elemental human bond of
| july 2010
Peter Sarkisian, Dusted, mixed media and video projection, 1998
THE magazine | 57
H I R S C H F I N E A RT Museum Quality Works on Paper For the New to Experienced Collector MILTON AVERY
WIFREDO LAM
EMIL BISTTRAM
BEATRICE MANDELMAN
DONNA GUNTHER BROWN
REGINALD MARSH
LEONORA CARRINGTON
ROBERTO MATTA
HOWARD COOK
CARLOS MERIDA
CAROL CORELL
JUAN MIRABAL ROBERT MOTHERWELL
RANDALL DAVEY RICHARD DIEBENKORN WERNER DREWES
JANE PETERSON LOUIS RIBAK
ALBERT LOOKING ELK
ROLPH SCARLETT
NORMA BASSETT HALL
LOUIS SCHANKER
E. MARTIN HENNINGS
JOHN SLOAN
HANS HOFMANN
NILES SPENCER
CARL HOLTY
RUFINO TAMAYO
WOLF KAHN
ABRAHAM WALKOWITZ
GENE KLOSS
WILLIAM ZORACH
GINA KNEE
FRANCISCO ZUNIGA
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LITERALLY STEPS OFF CANYON ROAD
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MUSHROOM SPORES USED TO CLEAN UP THE GULF OIL SPILL!
H
James Havard: Homage
CRITICAL REFLECTIONS
to
Ancient Sculpture
from
Western Mexico Linda Durham Contemporary Art 1807 Second Street #107, Santa Fe
How much resides in a smile? How many permutations are there, not just in the mouth but also the eyes, the muscles of the face? There’s the smile of camaraderie, the smile that slips into a grimace and then immediately back, the startled, gentle, nervous, tragic, artful, or artless smile. Simple enough at first glance, every one of them turns out to be a gateway to infinity. And every one of the pieces in James Havard’s newest series was just like a smile. Exhibited in a single room and riffing off a basic compositional motif, all thirty-two mixed-media paintings consisted of one human figure in relief, coated with gold leaf and placed at the center of an encaustic background of bright, earthy colors. So Havard used his illusion to create its opposite—a show that was profound and encompassing enough to not just appear, but truly be, both artful and artless at the same time. The work’s impact grew out of its serial unity, as the
distinct sensibility of each piece became obvious. Within the familiar, ancient Mesoamerican iconography—stylized bodies with oversized ears and mask-like faces, adorned with belts, necklaces, earrings—there was a loose abstraction at work (or at play). The figures, up close, revealed heavy texture and imprecision, with an undercoat of color climbing through cracks and creases in the gold leaf to create complex and energetic variations. The same was true of the wax backgrounds, typically spotted, but at times overtaken by flocks of birds fluttering in a cacophony of brushstrokes. Framed in soothing cornflower blue and pale yellow, Untitled #28’s central figure, for instance, was so thoroughly abstracted and deformed that its human features were all but lost. Scrunched, creased, folded, split, and anchored only by a few toes in one corner and a mouth floating near the top, this and the rest of Havard’s idols, were so absent of idealizations as to be not even fully realized. Enthroned in their color fields, his golden homunculi hung there not as icons so much as little living gods—vibrating with the momentum of all that is alive and, therefore, always emerging, always incomplete. By never utilizing a symbol as its own end, Havard kept alive its ambiguity and unpredictability, and so kept open the communication between a signifier and its potential meanings. Never static, never decided, never concluded, it was a reminder that all symbols are potentially infinite hazy-edged fractals, and that to constrict them is to risk losing sight of them, and ourselves, completely. So as much as it was playful, the show was also vulnerable, revealing a thousand shades of fragile humanity with disarming care. This was the work’s true sophistication—reaching so far beyond our ideas of what sophistication looks like that it appeared utterly guileless. It’s a testament to Havard’s sophistication as an artist that he managed to harness that ragged open-endedness without lessening or defeating it. And it might be this knack that has led
James Havard, Untitled #28, oil, wax, gold leaf and mixed media on panel, 26” x 23¾”, 2010
critics to compare his work with children’s art, outsider art, and so-called “primitive” art. Take Untitled #25, in which a golden doll’s nearly legless rectangular body seemed to burst, with frontal directness, from its orange-red undercoat and black-spotted background, bounding open-mouthed straight at the viewer. It was like that uncomfortable moment when you can’t tell whether a dog wants to lick you or bite you. Then, in Untitled #31, a being more monkey than human clung to an implied baby and stared out from a red field with unreadable eyes—a suggestion of madness, but who knows whether of a fool or scared prey. These small, bizarre departures became mirrors for our own shadowy inner worlds: the unstructured parts, the parts that are uncanny, the alien within. The most astounding figure, then, was the head-on-a-blob gracing the unassuming Untitled #7. The nearly amorphous shape, with an oversized nose and a set of eyes that might actually be looking at you, was alone in seeming more person than icon. And the longer I peered at it, the more I suspected it was a self-portrait: Havard, bemused, contemplative, focusing his point about symbols and meanings and minds by turning it all back on himself. Or I’m projecting. It doesn’t matter. Havard had plunged so deep into these idols that he rendered them inseparable from the source that created them. His homage to them was in removing our distance from them, implicating us in them, and celebrating us as them. It was in showing us our beauty and ugliness in the same face. That he did so with humor and cheer is our saving grace, and his. After all, none of this information is new. It’s what we’ve always known about ourselves. We’re bright and textured and slippery and harsh and dynamic and resistant and strange and sometimes terrifying. We are, in a word, human.
—Marin Sardy
| july 2010
THE magazine | 59
The Golden Triangle, Oil on Canvas, 30” x 24”
Kay Kenton
Unraveling Tradition / Restoration July 17 - September 11, 2010
• Contemporary Artists Working with Fiber Media • Creative Work by Textile Conservators & Restorers
www.516arts.org Beili Liu, Lure/Forest
Visit www.newmexico.org
516 Central SW, Downtown ABQ • open Tue - Sat, 12-5 • 505-242-1445
Gallery J
Chartreuse
216 Washington Ave | Santa Fe, NM 87501 505.992.3391 | gallerychartreuse.com
A N D R E W S M I T H G A L L E RY, I N C .
122 Grant Ave., Santa Fe, NM 87501 Next to the Georgia O’Keeffe Museum
House and Car, Near Akromn, Alabama, 1978 © William Christenberry
Obama, 2009 © Pat Oliphant
Old Friends • Pat Oliphant & William Christenberry
Exhibition continues through July 26, 2010
• 505.984.1234 • www.AndrewSmithGallery.com
T
CRITICAL REFLECTIONS
X-Ray: Nick Veasey To hold momentarily
Klaudia Marr Gallery 229 Johnson Street, Suite C, Santa Fe in your human
The danger of postmodern thought in art and science
lives in the medical profession (though it has largely been
hand the clear waters of the depths mysterious—even as
and politics—through the acknowledgement of infinite,
replaced by safer forms of imaging) and, in the hands of
they run sparkling back to the darkening source—remains
endless cycles of interpretation, of multiple unfixed and
someone with a creative mind like Veasey, can be used
the classically fleeting dream of philosophy, art, and science.
often irreconcilable meanings, of stoppages that only signify
to produce amazing pictures. These pictures are old and
Transparency and honesty double for each other in the
a place to start thinking again—is that a kind of philosophical
new. Three dimensionality, which these images achieve
transfixing mirror land of metaphor. The pellucid is often
fatigue can set in. I can’t possibly handle these endless
better than conventional photography, is the hallmark
aligned with truth. And nothing in human interaction is
textual interpolations, I can’t grasp the infinite simultaneous
of High Renaissance art. Michelangelo and Leonardo
more reassuring than the clarity that arises from knowing
locations of all these electrons, I can’t wade through
envisioned Veasey’s world in ways that became part of
and trusting the other’s authenticity. To truly see is to see
all the opinions of the pundits and nitwits on the policy
the visual language that makes his particular translucent
through; past the surface sheen and glamour, past the oily
ramifications of x, y, or z. I can’t admit I didn’t know what I
images appealing. Their ability to grasp the structure of
propaganda and deception, past the rationalizations and the
thought I knew and now need to know in a new way, so I’ll
their subjects, anatomically and otherwise, represented a
slippery, shiny lies we tell ourselves, past the exteriority of
just give up. I’ll cease to consider. I’ll stop thinking. While at
revival of the Greek ideal of direct observation of reality
appearance, past our distracting illusions, past the flash in
first this might seem appealing in the face of overwhelming
after centuries of post-pagan symbolic representation. This
the pan, to encounter the profound, the deep, the real.
complexity, it very quickly becomes untenable and even
revival led ultimately to the dawn of empiricism, and to
Outwardly at least, something like this is the intention
dangerously delusional. It leads to all kinds of denials and
the science that made the invention of a technology like
of the X-ray photos of Nick Veasey. He wants us to look
dogmatisms. Those who are succeeding in the world today
the X-ray machine even conceivable. What goes around
at things more deeply, to see through our illusions, and
and will succeed in the world of tomorrow are those
comes around.
to present the importance of interiority in an increasingly
who embrace post-ideological, post-absolutist modes of
What is most fascinating, perhaps, as these images
superficial culture. The practice of pulling back the veils
thought; those who are willing to look again, to think and
hit the same turn in the spiral, is the way in which they
of illusion, as the mystics have always known, and as the
re-think. Veasey’s deep imaging opens up these possibilities.
abstract reality. Like High Renaissance work, these are
physicists now tell us, is a priori—an endless one. In an
The usurping of X-ray technology, a dominant tool in the
intensely detailed maps that in turn become new territories
attempt to use his X-ray vision to get at a kind of structural
kit of twenty-first-century surveillance, adds yet another
all their own. There is a kind of empiricism that doesn’t
truth, Veasey is paradoxically producing spellbinding
layer of spooky depth to Veasey’s project. The maxim that
stop with the idea of fixed truth or physical solidity.
illusions. These images are, in a way, a perfect illustration
technology becomes sinister or beneficial depending upon
There is an extreme rationality, a rigorous logic that says
of the postmodern dilemma of endless interpretation. Part
the intentions of the user is clearly illustrated here. While
that the infinite aspects of mysterious beauty are the only
of the beauty of truth lies in the complex unpeeling of its
this technology increasingly invades our personal lives and
viable firmament of existence. This is the place where
layers. The masterful aspect of Veasey’s work is that it
private rights for the sake of covering the mistakes of an ill-
science and mysticism flow into each other. This is the site
opens us up to the infinite unfolding of the complexities of
conceived and deliberately ceaseless war industry (“Let me
where Nick Veasey makes his work.
reality and begs that we keep considering.
be clear…” as Obama puts it), it also still assists in saving
—Jon Carver
Nick Veasey, Bus, C-print/Diasec, 24” x 60”, 1998
| july 2010
THE magazine | 61
t n a Sl
S A N TA F E C L AY CONTEMPORARY CERAMICS
art of a different inclination
Opening July 9, 2010 5-7pm New work unveiled by gallery artists: josephine ADAMS nigel cONwAy DeruShA tim JAg roland OStheiM martin Spei congratulations to:
gary DeNMArK david eZZiDDiNe christina hALL-StrAuSS rob hAMpSON dirk KOrtZ max LehMAN cease MArtiNeZ rachel riverA verne StANfOrD carol wAre who were selected by jurors: sabine hirSch, devon JAcKSON, juliet MyerS, paul ShApirO this show has no limit to its form or medium. Art that is personal and engaging, uncompromising in its vision and thought provoking.
gf c o nt e m p o r a r y
707 Canyon Road, Santa Fe, NM 87501 gfcontemporary.com
DAVID HICKS 路 PATRICIA SANNIT July 9 - August 21 545 Camino de la Familia, Santa Fe, NM 87501 505.984.1122
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T
CRITICAL REFLECTIONS
1st Biennial International Photography Invitational This spring,
150 West Marcy
Skotia Gallery Street, Suite 103, Santa Fe
Skotia Gallery, a relative newcomer
Another charming image was made by Kelsey Waggaman,
accident, they gain a certain control over their message, and
to the Santa Fe scene, mounted an impressive photography
the show’s youngest (at twenty-three) and most local artist
true masters create work with social and artistic resonance.
biennial within its expansive industrial walls. Organizing
(from Silver City). The title says it all: The Bi-Annual Meeting of
The genre’s rich history includes Meatyard, Saudek, Sherman,
this exhibition was no doubt a huge logistical and financial
the International Ex–Girl Scout Summer Sleepover Camp Day-Glo
Nagatani, Witkin, and Crewdson—artists whose subject
undertaking: Fifty-four prints by twenty artists from thirteen
Spandex Panties Fan Club. A girl lies on the top bunk of a bed in a dorm
matter is rich with meaning on personal and social levels.
countries (and six continents) were shipped here especially
room, legs sticking straight up, green panties flashing. Waggaman
That’s where the Skotia biennial fell short. As a whole,
for the show, including wall-sized prints from Iran. While the
captures the sassy spirit of girls, endearing and universal. Polish
the subject matter of the work was not particularly meaningful.
show was geographically broad, eighty percent of the work
artist Agata Stoinska takes a more philosophical approach by
The pieces were quirky, humorous, interesting, and sometimes
fell within a narrow genre: staged figurative photography.
photographing herself in antique dress, reflected in a life-size
beautiful; they were skillfully executed and presented. But they
Curator and gallery director Sofia Kanavle chose quirky,
gold-plated mirror. Yet the “real” Stoinska gazes not at her
lacked the kind of depth that makes images last in viewers’
colorful, arranged scenes in which the faces (and thus the
image in the mirror but at us, the viewers, thus bringing us into
minds. The artist who tries hardest for a political message
identities) of subjects were often obscured. Girls wearing
the photograph and revealing the nature of the photograph
doesn’t achieve it: Alireza Fani from Iran depicts a headscarved
pig masks harvest wheat in a pastoral landscape; women
itself as mirror.
woman and her double, who examine a femur bone as sliced
hang suspended in mid-fall through interior settings; a naked
Most of the artists in this show use digital manipulation,
fish swirl around them. Fani writes that the bones and fish are
woman in heels stands in an urban intersection, a wind-up
digital printing, or both, inviting today’s educated viewer to
meant as symbols of the death and violence facing citizens in
key extending from her back.
question which elements of each image are handmade or
her country. But her symbols seem contrived and the work
Photoshopped or found in nature. A few photographers,
overproduced, undermining the potential power of the work.
such as Stoinska, exploit the virtues of the digital medium to
The images of South African artist Roger Ballen, however, reach
it seemed odd that a biennial would entirely bypass decisive
do things that traditional photography can’t. French artists
an intimate, emotive place. In Companion, a man lies on a dirty
moments and documentary work. Unforgivable Children, by
Christoph Clark and Virginie Pougnaud paste miniaturized
bed under a blanket and a pile of detritus—wires, a stuffed
the Chinese filmmaker Maleonn, was a fascinating piece.
figures into dioramas with painted backdrops. Through
bird, and machine parts—his face obscured by the teddy bear
Two bare-chested Chinese men in white masks stand
technology, they explore a contrast between the hyperreal
that he clutches to his face in a gesture of despair. This gritty,
in front of a bizarre, anachronistic object—a decaying,
and the unreal, and play with an Alice-in-Wonderland scale.
textured print evokes a suffocating desolation.
Communist-style fairground apparatus whose spider arms
The genre of theatrical, staged photography (as distinct
While this biennial was somewhat lacking in depth and
sprout canvas balloons. Pink, breastlike party balloons rain
from straight portraiture or still life) first emerged in the
breadth, it exposed Santa Fe photophiles to new and intriguing
down from the storm-gray sky; one masked man pinches
1850s, led by Gustave Le Gray, Henry Peach Robinson, and
global artists. We can hope that the show’s strong sales (the gallery
the balloon “nipple” of his friend, a nod to art history. The
Oscar Gustave Rejlander. It helped to prove that photography
had sold twenty prints a month into the show) will encourage
“found” aspect of this photograph was compelling, and
is an art form unto itself, not only a technique to document life.
Skotia to mount more ambitious projects like this one.
Maleonn’s overlay of theater fit seamlessly.
Because artists working in this vein rely more on artifice than
—Kristin Barendsen
Maleonn, Unforgivable Children #1, archival pigment print, 24” x 35½”, 2005
The exhibition cohered well around this theme, avoiding the hodgepodge feel of some group shows, although
| july 2010
THE magazine | 63
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CRITICAL REFLECTIONS
August Muth: Holographic Images
in
222 Paseo
Glass Hulse/Warman Gallery Pueblo Norte, Taos
del
Light. Color. Abstraction. August Muth is definitely on to something. From
a line of holographic jewelry to “figurative” holographic sculptures, the artist has now arrived at modernist abstract light paintings that may just put him on the map. This recent vein of work is rich with shimmering possibilities, and disciplining himself to determine and achieve those with the most promise may be Muth’s next challenge. Perceptualism has always suffered from an unfortunate comparison to schlock. It’s a fine
but significant line between a Bridget Riley Op-Art painting and the optical-illusion posters with which pot-smokers surround their bean bag chairs. The biggest difference being price point, of course. James Turrell–esque effects inadvertently haunt dive bars and discos alike. Add to this the fact that perceptualists aren’t so much asking you to think or feel but rather to be (with your senses intact), and you can easily gather why a culture with Judeo-Christian roots might take issue. This seems an awful lot like some kind of bodily pleasure after all, and we all know how we can’t have that. Capitalists too, with their “work harder to destroy the planet faster” approach to life are adverse to the devilishly idle act of pure, purposeless looking. Throw in a dash of artsy pseudo-intellectualism and you’re guaranteed to pop perceptualism’s bright balloon because there’s not much to talk about on the level of theory. Gaping slack-jawed and muttering “That looks really wicked cool’’ doesn’t exactly make you sound like you know your art stuff.
August Muth, Acceleration, hologram, 13” x 20”, 2009
But let’s face it. There’s nothing at all wrong with a little eye candy, as artists like Riley and Larry Bell and Turrell and even the persnickety Donald Judd have made apparent—just like there’s nothing wrong with smoking pot in your Judeo-Christian bean bag chair, or with being devilishly idle for that matter. In fact, more of the latter might save the world. And as eye candy goes, Muth’s best work here is sweet indeed. It does the perceptualist dance and makes you dance with it. As you move, his holographic forms move with you in space, and the beautiful pure neon bright colors shift both in response to that action and to the ambient light in ways most fascinating and optically opulent. Plus, you gotta be there to appreciate it. This last fact may be the sine qua non of good perceptualist work. You can’t get it off the Internet, or in print, or produce these effects of 3-D light in any way other than the direct, real-time phenomenal experience. Can you say that about your art, Mr. Theory-dude? I didn’t think so. So if Muth is gonna work what he’s got here, and I believe he can, he needs a little constructive criticism. The most successful pieces here are the most minimal. The circular ring forms and the sun shape of Solar are decent and playful. The attempts to introduce elements of gestural abstraction through rips and tears in the holographic emulsion lose me. My favorite pieces are the constructivist rectangular forms like Luminous Field and Frame Shift; like Laszlo MoholyNagy on peyote. The best is Acceleration because something about the composition (even as it changes) is just right. There is a sense of not only projection into space, but also of a space within the projection that doesn’t occur as readily elsewhere. It’s almost an abstract, day-glo Dutch interior, and Mondrian’s ghost would really get off on it. The thing is, this is gonna take rigor and firmness to totally fly. Simplify, then simplify again. The colors are wildly saturated and sumptuously beautiful. The idea of hanging chroma in the air, free from the support, is every painter’s wet dream. When these work they are optically ecstatic, but the key to handling pleasure, to getting the most from it and to making it last, is to balance it with refinement. In fact, what the theory-dudes, and the Judeo-Christians, and the oil-slick capitalists have forgotten is that that’s actually what refinement is for.
—Jon Carver
| july 2010
THE magazine | 65
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CRITICAL REFLECTIONS
S
Patrick Mehaffy: Memory
and
Desire
Sculpture enjoys an enviable position
Shiprock Gallery 53 Old Santa Fe Trail, Santa Fe
among modes of visual
The six untitled paintings included in Memory and Desire continue Mehaffy’s program of
production. Largely absent from the reach of iconoclastic protocols congruent with Modernist
marshaling the intrinsic puissance of found materials. Where the artist’s sculptures retain figurative
practices, it continues to draw valence from its singular ability to concretize today’s transitory
characteristics despite diverse procedures of distress and overlay, his paintings are firmly grounded
experiences with those rich veins of emotional knowledge that inhere in an older, ritual stillness.
in abstraction. Incorporating soil, string, cloth, twigs, and encaustic, each owes a heavy debt to
Even for today’s artists operating at the bleeding edge of progressive visual programs, its
the aesthetics of Antoni Tàpies’s pintura matérica. Perhaps most explicit in its embrace of the
evocative materiality is marshaled to merge what is of this world with intimations of a world
weathered and degraded, Untitled #8 consists of nothing more than a field of russet earth strained
beyond us. Although commonly eschewing links to specific ideologies, art world luminaries the
into craquelure ornamented by a single once-folded ribbon of frayed, amethyst-colored cloth.
likes of Nathan Mabry, Kristin Morgan, and Anna Sew Hoy, broaden the conceptual reach of their
Evidencing a profound economy of means, the painting’s texture enacts the expressive role of
practices to extend past the impassive secularism of recent art history. Without trespass into the
gesture, and representation is eschewed for a minimally altered presentation of landscape’s literal
realm of idolatry, they comment upon sculpture’s roots in earlier periods in which objects were
materiality. Whereas Mehaffy’s sculptures sometimes stumble under the burden of competing
used to venerate more than quotidian experiences.
symbolic registers, his paintings communicate with a mysterious and muted eloquence. Despite the
Myths do not die suddenly. As much as the totemic potency of singular objects has been
difficulty of reconciling these two bodies of work, one may suppose that their juxtaposition further
challenged throughout the twentieth century, our contemporary reality has proven sufficiently
enunciates the artist’s spiritedly pluralistic program. Failing that, we would do well to remember
complex to sustain nearly infinite modes of image making. Although many artists have assimilated
that among mythology’s most enduring allures is its deafness to the persistent appeals of logic.
the pristine, predetermined visual effects and underlying percepts of Minimalist praxis, emerging
—Alex Ross
strategies of upcycling the debris engendered by the accelerated cycling of commodification into obsolescence (and often back again) have lately been marked by freely associative techniques and invocations of the mythic. Participating in an aesthetic of hybridity and fracture, many of the resulting works mobilize the primitive, the classical, and the contemporary towards simultaneously complementary, complicating, and—ultimately—compelling ends. Case in point: Patrick Mehaffy’s one-room exhibition of sculptural art and paintings at Santa Fe’s Shiprock Gallery. Engendering a complex meditation on art’s regenerative potential, the works presented are unified by the use of humble but obsessively reskilled materials. Committed to makeshift strategies of assemblage and accretion, the artist divorces commonplace objects from their ordinary stations both to critique an object-saturated civilization suffocating under the weight of its decadence and to indicate its distant relations to nearly forgotten origins warranting our remembrance. Indeed—and as suggested by the exhibition’s title—memory proves a salient concern to the artist. Working backwards from oblique citations of his own personal history, his informing paradigms run from Arte Povera—particularly the movement’s use, by such artists as Luciano Fabro and Michelangelo Pistoletto, of unglamorous materials and ancient references to envision alternative realities—through the development of Dadaist assemblage (especially in Mehaffy’s use of crosshatched steel plates to suggest personal identity’s subsumption in a lived reality whose textures have been determined by industrial practices), and arrive, finally, at references to Egyptian ritual objects. Mehaffy’s Memory and Desire series, represented by four sculptures for which the exhibition is titled, engenders a forceful tension between ascension and entombment, as well as encasement and entropy. Suspended from the gallery’s ceiling and confined to hinged boxes distressed to suggest the passing of several millennia, each presents a mummified figure engirded by remnants of the manufactured and natural worlds. In Memory and Desire IV, the figurine––resting on a bed of straw and rose petals––abuts a family photograph that features the artist as a child posing with a man in American Indian headdress. Here, as elsewhere, potential narratives emerge, but do so furtively. Shards of the past and juxtaposed familiar objects present an elegiac vision informed by a multiplicity of temporalities and filled with a chaos of information. In Mehaffy’s art, fragility and survival are issues explored through portentous references to the human body. In his Sometimes I Like to Wear a Disguise series—a pyramidally arrayed suite of bird-like effigies wrapped in cloth and coated in sand—the fertility of enlarged phalluses is offset by the statuette’s precarious footing on often-fettered legs. Characteristically inexplicit, the figurines suggest a meditation on mortality informed by Egyptian mythology; one reading might propose that the consolation afforded by hopes of reincarnation into avian forms untethered to earthly labors is counterpoised by the continual pull of our familiar bodily pleasures. Intensely ambivalent, the artist’s works reveal our condition of being vaguely cognizant of, but unable to subscribe to, the harmonious totalities of the past’s forms. By drawing on the gravitas of a largely unknowable antiquity, his sculptures amplify the sense that the art of our own ideologically fractured and post-monumental era presents few tools with which to memorialize anything but memorialization itself.
| july 2010
Patrick Mehaffy, Sometimes I Like Wearing a Disguise VII, mixed media, 19” x 7” x 7½”, 2010
THE magazine | 67
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Tesuque Pueblo Flea Market 6 miles north of Santa Fe on U.S. 84/285 Open Fri.-Sun. 8am-4pm
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T
CRITICAL REFLECTIONS
Jumble
Richard Levy Gallery 514 Central Avenue SW, Albuquerque
This faintly incoherent exhibition,
German photographer Thorsten Brinkmann’s amusing,
cynicism of the public, why involve oneself in a struggle?
aptly titled Jumble, is held together by an homage to
aristocratic self-portraits (staged and swathed in fake
Why not rather a meditative experience? The answer to
Process; namely, that moment when the artist has to
furs and other sartorial elements), never cease to amaze.
that question can likely be found in the work of Yinka
relinquish complete formal control over his or her
Why? Because Brinkmann engages in what Hegel called
Shonibare, a British-Nigerian artist who has long struggled
work to the printmaker, thereby opening the work to
“the silent weaving of the Spirit,” a project that re-sets
with race and class. In Shonibare’s work the decidedly non-
unintended surprises, even in the most carefully staged
the coordinates of, in this case, portraiture, turning an
spiritual mechanisms of inequality automatically built into
conditions. I have to admit that I was decidedly of two
act of personal prestige into a pathological costume
capitalist systems suggest that, if your social construct is a
minds on the exhibition. The premise seemed a little
party, a kind of blind drive with no symbolic value-
lie, then going into a “trance” isn’t enough. You might have
fragile and pathetic in the face of what appeared to be
form attached to it, a send-up of a Facebook culture
to get off your ass and struggle.
a looming social apocalypse just
constantly called upon to re-create itself.
The
paradigmatic
category,
which
reveals
the
outside the gallery doors. On the
helplessness of contemporary art, is
other hand, with small, affordable
Process. Process is the hyperintelligent
works by market heavyweights
idiot of art who “doesn’t get it,” who
like John Baldessari and Ed Ruscha,
understands a situation logically, but
I decided to take a step back
misses its hidden contextual rules.
and enjoy the atmosphere, and I
For example, Process is the subject
wasn’t disappointed. While there’s
who, when asked by a café waiter,
certainly a “Hmmm, I didn’t know
“How was your day?” misunderstands
that” quality to finding out what type
the remark as a real question, and
of paper was used by Richard Serra,
answers truthfully, “Oh, I’m so tired,
if one’s mind is on other things (for
I’ve been so busy…” But let us make
example, “How am I going to pay
a detour through the exhibition once
my rent with the ridiculous sum
again. On the north wall of the gallery
of money I earn writing reviews?”)
hangs a neat line of six prints by John
then Serra’s process seems, well,
Baldessari of an easily recognized organ
not
inappropriate,
of the human body—the ear. Its title
even indecent. Idiosyncrasies in
is Six Ear Drawings. An art-referential
the private development of art
reading of the ear would immediately
are sometimes pumped up into
spur one to think of Vincent van Gogh.
spectacular, ritualistic dimensions.
In compliance with the metaphors of
However,
stupid,
but
heavy
Process we would associate the artist
lifting they in fact remain private
with suffering, struggle, and eventually
idiosyncrasies, and sometimes it’s
insanity and failure. In that regard
hard to care.
there is nothing liberating in getting
But
despite
both
the
the message of the work. We should,
practitioners which
then, avoid the temptation of breathing
brings us to the virtues of the
in the fatiguing fumes of contemporary
Richard Levy Gallery’s exhibition.
art’s alienation, despair, anxiety, its fake
Thirteen influential contemporary
intimacy, its closed-loop history and
photographers and painters are
self-referential palaver—and shift the
out to convince us (much like
perspective a little bit… For example,
the designers of banknotes) that
an hour into Bernardo Bertolucci’s
the reproduced image is worth
film 1900, there is a violent scene
more than the paper—or, in Alex
during a confrontation between poor
Katz’s case, the aluminum—it’s
striking workers and their landowner-
printed on. Of the thirteen, I’d
employer. The employer explains that,
say roughly ten succeed in leading
due to catastrophic weather, which has
and
appreciators
care,
the viewer beyond the “cognitive map” of our present ideological torpor.
But
let’s
consider
Thorsten Brinkmann, Monte Fugla, C-print mounted on wood, unique frame, with book, 12½” x 9 ¾”, 2008
ruined the harvest, he has to cut the workers’ wages by half. Exasperated by their quiet resistance to his rational
Ed
Ruscha’s COLD BEER BEAUTIFUL GIRLS first. The Los
Another artist worth mentioning, who is not truly
arguments, he shouts at one of them, “Don’t you have two big
Angeles artist has long endeavored to underscore the
awful but just disappointing, is Matt Mullican. Mullican puts
ears to hear me?” The worker with the big ears then takes a
lack of connection between things and their names,
himself in a trance before composing his etchings. Here,
knife from his belt, and with one slice cuts off his left ear and
often with the deleterious effect of undermining his
there’s a very simple dilemma that confronts us: If we live
offers it to his employer who, terrified by the insane gesture,
own rectifications—a kind of air hammer for the bovine
in an alienated and commodified society, what is the maker
runs away in a panic.
spectator’s frontal lobe. Whereas, on the other hand,
of etchings to do? Likewise, when faced with the shameless
—Anthony Hassett
| july 2010
THE magazine | 69
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GREEN PLANET
E R I N
ERIN CURRIER
What began as a natural integration of my sociopolitical beliefs with a sheer joy of art making has since developed into a full-fledged artistic praxis by which I integrate the human realm I come in contact with in the course of my travels—its individuals, cultures, and struggles—with its refuse. I do this in order to comment on and participate in the issues I feel most passionate about. I have traveled to thirty-five countries, immersing myself in the daily life of countries like Nepal and Nicaragua, cities such as Istanbul and Caracas, studying languages, getting around on foot or by bus, sketching, documenting extensively, making friends, and collecting disinherited commercial “waste,” after which I return to my studio to create series of works. Aesthetically, Latin American muralist traditions, Eastern spiritual iconography, and Social Realism inform my work. In addition to drawing its subjects from the socalled developing world, my work often draws its aesthetic from the “Global South,” as well as its philosophical influence in the form of Paulo Freire, Eduardo Galeano, Augusto Sandino, and Edward Said. The more I travel, the greater my sense of urgency as an artist to address social inequality and economic disparity through my work. Above all, I am a humanist artist—politically active and unapologetically narrative in my repertoire of practices—for whom art and the social world are inseparable. D Erin Currier has built a reputation for innovative assemblages composed of recycled materials from all over the world, and has been represented in exhibitions and galleries in the Taos area and in California. Her work is in private international collections. To see Currier’s work, go to erincurrierfineart.com. She is represented by Parks Gallery in Taos, New Mexico (parksgallery.com), Blue Rain Gallery in Santa Fe and Taos, and Blue Rain Contemporary in Scottsdale, Arizona (blueraingallery.com).
photograph by
| july 2010
Jennifer Esperanza THE magazine |71
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Our Lady of Guadalupe Church photograph by
| july 2010
Guy Cross
THE magazine | 73
WRITINGS
AN ABSTRACT ART by
Christine Hemp
When the painter Kandinsky lay in hospital, aching from some mysterious complaint, he wept
“You do not understand!” he moaned, and the words like a jazz refrain traveled up the vents and out
to think about the surgeon’s knife, about being wheeled into a room without intersecting circles
the windows, through the operating room, behind the laundry door. “I have no skin! I have no skin!”
and squares in the cool blues that he loved, the altered shapes in which he lived. Nurses cooed and patted
Throwing off the nurses, he clutched himself, as if his arms could wrap his torso in the layer
his shoulder, but he was not assuaged. His cry spattered off the pale green walls and smeared
of gauze he needed to face those unknown places. What they didn’t see was that he knew his own
the yellow corridors, stopped those who heard its pitch and timbre, its truth if not the implication.
condition: Outside his picture plane—without a brush and palette knife–he lay naked and alone; arcs and lines could not stay the bleeding edges. Random forms conspired to erase him from creation.
Christine Hemp was a staff writer for THE magazine for six years. She has read her poems and essays on NPR’s “Morning Edition.” She is a recent recipient of a Washington State Artist Trust Fellowship for Literature, and currently lives in Port Townsend, Washington. She is a recent recipient of a Washington State Artist Trust Fellowship for Literature.
74| THE magazine
| july 2010
Chiaroscuro Contemporary Art, Santa Fe, NM, in association with Vivien Anderson Gallery, Melbourne, Australia, presents
Australian Contemporary Indigenous Art Roy Underwood, Mulaya, 2009, synthetic polymer paint on canvas, 56 x 77 inches
NOW
Opening Reception, Friday, July 9, 5-7pm Australian Artists Present
July 9 - August 31, 2010 Illustrated Catalog Available
Materials Matter
Gretchen Wachs
John Garrett
Kay Khan
July 9 - August 7, 2010
Opening Reception, Friday, July 9, 5-7pm Rebecca Bluestone: silk weaving
Siddiq Khan: ceramic
John Garrett: various materials
Tracy Krumm: crocheted wire
John Geldersma: wood
Flo Perkins: glass, steel
Kay Khan: soft sculpture
Gretchen Wachs: ceramic
c h i a r o s c u r o 702 1/2 & 708 canyon rd, santa fe nm, 87501 chiaroscurosantafe.com 505-992-0711