Santa Fe’s Monthly
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of and for the Arts • August 2013
TEXTILES INDIGENES DE MAYO AUG UST 1 – SE P T EMB E R 30
53 OL D S AN TA F E TR AIL
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CONTENTS
5 20 Whether you consider Santa Fe a vacation destination or home, the city’s hotels are an undeniable element of its distinctive image. For locals, the oldest of Santa Fe’s hotels are familiar landmarks, and tourists are often pointed in the direction of La Fonda’s tableside guacamole, afternoon tea at the Hotel St. Francis, or a spa day at Bishop’s Lodge. But did you know that Bishop’s Lodge was purchased by Bishop Jean Baptiste Lamy—the inspiration for Willa Cather’s novel Death Comes for the Archbishop—for a mere $80? Or that an establishment called The Exchange Hotel, frequented by the likes of Kit Carson and General Ulysses S. Grant during the 1800s, was demolished by a World War I tank called “The Mud Puppy” in 1919 and sold to finance the new La Fonda? The unusual and little-known stories in Santa Fe’s Historic Hotels (Arcadia Publishing, $21.99), which are accompanied by archival photographs, will intrigue the history buff in everyone.
24
46
letters universe of art forum:
27
Swentzell
Justo’s Backyard by Antonio
studio visits:
50
one bottle:
The Dom Ruinart
53
Changing
the Albuquerque Museum; Chris Benson, Tom Birkner, and Peri Schwartz at Gerald
The Compound, Terra at
Peters Gallery; Currents at various
the Four Seasons Rancho Encantado,
venues in Santa Fe; Javier Lopez Barbosa
and Swami’s Cafe (La Mesa, CA)
at Mark White Gallery; Jonathan Morse
35
art openings
36
out
42
previews:
&
at Byzantium Lofts; Matthew Gray at Matthew Gray Studio; and William Clift
about
at the New Mexico Museum of Art
Cannupa Hanska Luger at
the Museum of Contemporary Native
67
at Gerald Peters Gallery; and Darren
69
Vigil Gray at Kristin Johnson Fine Art national spotlight:
Circle of Dance
at the National Museum of the American Indian, New York City
green planet:
Artist Laird Hovland,
photograph by Jennifer Esperanza
Arts; Clifford Smith and Susan Schwalb
45
critical reflections:
Perceptions of the Western Landscape at
Joshua Baer dining guide:
Swimming in the
by Richard Polsky
Champagne “Blanc de Blancs” by 31
person of interest:
Deep End: The Work of Tony Abeyta
Frank Buffalo Hyde
and Will Wilson 29
The Continuous Path at the
Poeh Museum, with text by Roxanne
artist Nocona Burgess
Álvarez Morán
feature:
architectural details:
Duke City
Wall, photograph by Guy Cross 70
writings:
“Sunset at the Indian
Cemetery” by Adrian C. Louis
letters
magazine VOLUME XXI, NUMBER II
WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 & 2006 Top-5 Best Consumer Tabloids P u b l i s h e r / C r e at i v e D i r e ct o r Guy Cross P u b l i s h e r / F o o d Ed i t o r Judith Cross A r t D i r e ct o r Chris Myers C o p y Ed i t o r Edgar Scully P r o o fR e ad e r S James Rodewald Kenji Barrett staff p h o t o g r ap h e r s Dana Waldon Anne Staveley Lydia Gonzales P r e v i e w / C a l e n da r e d i t o r Elizabeth Harball WEB M EI S T ER
Jason Rodriguez social media
Laura Shields
C o n t r i b ut o r s
Abigail Adler, Antonio Álvarez Morán, Diane Armitage, Joshua Baer, Davis Brimberg, Jon Carver, R.L.Charles, Jennifer Esperanza, Hannah Hoel, Marina La Palma, Adrian C. Louis, Iris McLister, Richard Polsky, Roxanne Swentzell, Richard Tobin, Lauren Tresp, Charles Veilleux, and Susan Wider C o VER
Detail of Poeh Museum installation Sculpture by Roxanne Swentzell
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Jimmy Montoya: 470-0258 (mobile) THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: themagazinesf@gmail.com. Web address: themagazineonline.com. All materials copyright 2013 by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable, for any misspellings, incorrect information in its captions, calendar, or other listings. Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel. All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised. THE magazine is not responsible for any claims made by its advertisers for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.
AUGUST
2013
From August 1 to August 31, the Encaustic Art Institute Gallery will be showing the largest collection of encaustic/wax artwork in the United States. Many of the artists have combined encaustic/wax with other mediums—photography, collage, sculpture, and more. Open on weekends from noon to 5 pm. For an appointment, call Douglas Mehrens at 505-424-6487. For location map and directions, go to EAINM.com. Image by Willow Bader. TO THE EDITOR: Last month has been a reminder to me of the many different types of heroes that exist. I woke up last month to the news about the nineteen fallen firefighters from Arizona, who had also bravely fought fires here in New Mexico. While I was attempting to process this tragedy I received a phone call that dropped my heart into my stomach. I was being asked to help with a search and rescue mission for two missing boys out at Quemado Lake. The boys had actually gone missing the day before and I was recruited as relief personnel. Over the course of the next few days we had K9 teams, State Police Dive teams, Ground Teams, ATV teams, Air Support, and even a group of twenty of the Lolo Regulars Fire Crew from the Lolo National Forest in Montana. These teams responded from all over the State, searched wherever they were assigned, and when those assignments were completed they returned to base and simply asked where we needed them next. These are the kind of people that most of us think of when we hear the word “Hero,” the people in uniform and the volunteers that have had training to officially help in one way or another. They are indeed heroes and do deserve recognition. However, we also have other heroes that so rarely get the recognition that is due. These are the people behind the scene—the family and friends that hold us and listen when we come home broken from witnessing tragedy first hand, the loved ones that realize each call may be the one their hero never returns from. It also includes the people in the communities that step up out of the blue when the need arises and wholeheartedly give any and everything they can to assist those on the front lines. To many the thought of someone handing you a sandwich or a cup of coffee may seem trivial, but to someone who has spent hours poring over maps and running through one scenario after another to develop task assignments, or to the people coming back after hours in the field, these small thoughtful things mean so very much. The community of Quemado, the Reserve Fire Department, and the staff from the Apache Creek Deaf and Youth Ranch were exactly these kinds of heroes. Not only did they try to make sure the people at incident base and other volunteers were taken care of, they also ensured that the needs of the families were being met,
as well as taking turns making sure there was always someone sitting alongside, giving a shoulder to cry on or a hand to squeeze. Out of all of the missions I have been on this was one of the most difficult. However, seeing all the love and support being offered from complete strangers was both heartwarming and humbling. On behalf of New Mexico Search and Rescue, I would like to offer a very heartfelt thank you to all of our heroes! —Carrie Hale, The New Mexico Search and Rescue Council, Santa Fe, via email TO THE EDITOR:
I’ve been drinking Vodka for over forty-five years. I enjoyed your page in the June issue on Beluga Vodka so much that I had to go online and buy a bottle. This Vodka is—hands down—the best Mother Russia can offer. It is elegant, complex, smooth, impressively crisp, no burn, a rich bouquet, easy on the palate, and has a clean, sweet, slightly malty finish. It goes well with oysters, of course, but treat yourself and try it with Beluga caviar—unreal. Take it from Mr. Vodka (that’s me), Beluga is easily the King of Vodkas, made for the true vodka enthusiast. —Vladimir Vdovichenkov, Scranton, PA, via email TO THE EDITOR: Concerning your gracious review of Beluga Vodka in the June Issue of THE, where it is stated as retailing at $199 a bottle, I found this bottle for no more than $30 online. Whoops. I recently tried Beluga and frankly it was not a great, but just an okay bottle. Much too hot on intake and few complexities at the end. There is a beautiful vodka by the name of MONOPOLOWA, which retails in town for $17-$22 a bottle and has such smoothness and character that it is generally a shame to put it on ice. Hey, THE magazine, you may want to do more research into products such as Beluga—and don’t believe the hype.
—David Solomon, Santa Fe, via email Letters: Email to themagazinesf@gmail.com Mail: 320 Aztec St., Suite A - Santa Fe NM 87501 All etters may be edited for clarity and for space consideration.
THE magazine | 5
RUTH DUCKWORTH
(1919 - 2009)
THE MAQUETTES May 24 - July 27, 2013
Ruth Duckworth’s last maquette, 2009 Porcelain 9¼ x 9 x 9 inches
OLGA DE AMARAL POZOS AZULES August 1 - September 28, 2013
POZO AZUL 7 2012 Fiber, gesso, acrylic paint 38 x 28 inches
Bellas Artes
653 Canyon Road Santa Fe NM 87501 505 983-2745 bc@bellasartesgallery.com www.bellasartesgallery.com
ED MOSES
GREEN/BRONZE AUGUST 30 - SEPTEMBER 23, 2013 Reception for the Artist Friday, August 30, 5-7 P.M.
CHARLOTTE JACKSON FINE ART 505.989.8688 . 554 South Guadalupe Street, Santa Fe, NM 87501. www.charlottejackson.com Ed Moses, G + B, 2012, 48 inches diameter, mixed media on canvas
PREVIEW: Friday, July 26, 5–7 pm ARTIST RECEPTION: Thursday, August 15, 5–7 pm PUBLIC EVENTS:
Breaking Through the Buckskin Ceiling Panel, Wednesday, August 14th, 1–3 pm Masters of Contemporary Film Panel, Wednesday, August 14th, 3–5 pm Bunky Echo-Hawk Live Performance Painting, Saturday, August 17th, 2–3 pm N. Scott Momaday Lecture, Saturday, August 17th, 3–4 pm
Contemporary Masters JULY 26 – AUGUST 23
John Feodorov David Johns
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•
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T.C. Cannon
Anita Fields
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Roxanne Swentzell
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Sunday, August 18th, 3–5 pm
Bunky Echo-Hawk
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Armond Lara
N. Scott Momaday
Robert Rauschenberg
The Contemporary Indian Painters Movement Panel,
Edgar Heap of Birds
Steven Paul Judd
George Longfish
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Sunday, August 18th, 2–3 pm
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George Morrison
Ramona Sakiestewa
CURATED BY RAOUL PAISNER
505 982-8111 www.zanebennettgallery.com Monday–Saturday 10–5 or by appointment
Yazzie Johnson +
Gail Bird A SPECIAL EXHIBITION during Indian Market week featuring Yazzie Johnson and Gail Bird’s acclaimed contemporary jewelry ARTIST RECEPTION:
Friday, August 16, 4–6 pm Artists will be present
505 982-8111 www.zanebennettgallery.com Monday–Saturday 10–5 or by appointment
Illustration by Edgar Heap of Birds
Frank Buffalo Hyde
Alfred Young Man Lecture,
Naut iCuS
Works by Karen Gunderson, David Henderson and tom Waldron
August 16 – September 14
opening Reception Friday, August 16 , 5 –7pm
RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 875 01 505.820.3300 | wILLIAMSIEGAL.CoM
fORREsT mOsEs jOHN fINcHER wOOdy gwyN
Santa Fe’s Holy Trinity of Landscape Painting: John Fincher, Woody Gwyn & Forrest Moses July 19 - September 1.2013
NATHAN OLIVEIRA
Nathan Oliveira: Paintings & Sculpture July 19 -September 1.2013
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
Willis F. Lee Diablo Canyon #2, 2012, gelatin silver print, 20 x 24�, edition 10 Diablo Canyon #8, 2012, gelatin silver print, 20 x 24�, edition 10
WILLIS LEE Studio: 505.982.1115
willisflee.com
MITCH DOBROWNER
STOR M S
photo-eye
GALLERY
376 GARCIA STREET, SANTA FE 505.988.5152 X202 TUES-SAT 10-5 OR BY APPT EXHIBITION CONTINUES THROUGH SEPT 21, 2013
Important Works from the Estate of
Fritz Scholder 1937 - 2005
Paintings, Drawings, Prints, Sculpture
August 2013 439 C a mino Del Monte Sol 505-982-3367
c h i a r o s c u r o 439 CAMINO DEL MONTE SOL, SANTA FE, NM, 505-982-3367
www. GebertArtAZ .com
NAMPEYO / FANNIE
The Artistic Legacy of Five Generations of Hopi Women Potters
“The Destination in Santa Fe for Historic Native Jewelry and Pueblo Pottery.”
STEVE ELMORE INDIAN ART 839 Paseo de Peralta, Santa Fe • Free Parking between Palace and Alameda 505.995.9677 • gallery@elmoreindianart.com
Photography: Craig Clark
elmoreindianart.com
fine western & contemporary art
203 West Water St. • Santa Fe, NM 87501 • www.casweckgalleries.com • 505.988.2966
CLOUDS #2 Indiana Limestone 18” x 7” x 7” Arlo Namingha © 2013
I FOUND MYSELF IN ABIQUIU Inkjet on Paper edition of 3 18” X 12” Michael Namingha © 2013
Dan, Arlo, and Michael Namingha New Works Opening Reception August 16, 2013 5-7:30pm 125 Lincoln Avenue • Suite 116 • Santa Fe, NM 87501 • Mon–Sat, 10am–5pm 505-988-5091 • fax 505-988-1650 • nimanfineart@namingha.com • namingha.com
“Round-Up” B. F. Smith & Son Saddlery circa 1942 Graphite on Mylar Drawing 57”x 54” Recipient of the 2013 Hunting Art Prize
LIFE-SIZED, PHOTOREALISTIC SADDLE PORTRAITS AND OTHER ICONIC SUBJECTS OF THE AMERICAN WEST EXECUTED IN GRAPHITE ON MYLAR. WORKS DRAWN ON A 1:1 SCALE, WITH ACCURACY DOWN TO THE STITCH. PLEASE CONSULT WITH THE ARTIST TO COMMISSION DRAWINGS OF VINTAGE SADDLES AND ADDITIONAL RANCHLAND RELICS THAT TESTIFY TO THE HONOR AND TIMELESS PASSION FOR THE WESTERN FRONTIER.
MARSHALL K. HARRIS D R A W I N G
S C U L P T U R E
M A R S H A L L K 2 2 2 @ M A C . C O M
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WWW.MARSHALL K H A R R I S . C O M 817-709-5444
N ocona B urgess
is a Comanche Indian, descended from a line of Comanche chiefs that includes his father, artist Ronald Burgess, and goes back to his great-great grandfather Quanah Parker, the subject of the book Empire of the Summer Moon. The Comanche influence is vital to Nocona’s paintings. “The Comanche were romantic,” he says. “They were a horse-riding society and moved around frequently. I’m often inspired to paint landscapes from the Oklahoma and Texas land where the Comanche once roamed.” In 1991, Burgess graduated from the Institute of American Indian Arts, in Santa Fe, where he learned about Native art and its contemporary origins. His paintings reflect a blend of contemporary imagery with a historical vision. An exhibition— Tsaa’ Yumuh Kitu—of works by Nocona Burgess will open at Giacobbe-Fritz Fine Art, 702 Canyon Road on Friday, August 16, with a reception from 5 to 7 pm. A lecture and a Q & A will take place from 4 to 5 pm. photograph by
Dana Waldon
UNIVERSE OF
STUDYING OTHER ARTISTS When I was a kid I looked at a lot of Oklahoma and Comanchestyle art—like Rance Hood, Doc Tate Nevaquaya, Woody Crumbo, and TC Cannon. When I came to New Mexico, I was drawn to TC, John Nieto, and Dan Namingha. But as I explored and researched I came across Bay Area figurative art from 1950-65. Artists like Wayne Thiebaud, Nathan Oliveiras, and James Weeks, that whole movement. I also looked at art by Sebastian Kruger and saw how he approaches texture and edges. I love to check out galleries and look and read up on artists. With art you never know what is gonna stick in your head. I get that “I want to try that or explore that” look or feeling from this or that art piece. Wherever I go I try to find the art scene—galleries, museums, and studios.
BECOMING AN ARTIST Picking up a crayon started it all. Art has always been around, and as kids, rather than using coloring books, we used drawing pads. Through school I always excelled at art. But becoming and being an artist in a sense of that is what you do, and that art is more than a hobby dawned on me when I came to Santa Fe. I could see that there was the possibility of being an artist. I studied at the IAIA and the University of New Mexico, and it was in Santa Fe where I gave it a run. I painted and tried to get into galleries and have shows. Ira Clark gave me my first shot at gallery representation and everything really took off from there. I love being an artist, figuring things out in the studio. I am into history, and painting historical images means a lot to me.
TECHNIQUES: GLAZING, LAYERING, TEXTURES I use acrylic paint, but I try to paint in an oil style, with a lot of layers and glazing. I really like under-painting as it gives the brushstrokes a raw and loose look. I paint on a dark or neutral surface and paint the light by starting in the middle and working my way out of the painting. I use tape, stencils, toothbrushes, paper towels, rubbing alcohol, water sprayers, and I cut and manipulate brushes for certain effects. There are lots of layers for sure in these paintings, and the colors underneath may or may not show up on the surface or the final layer. I like to use subliminal colors.
MUSIC AND POETRY I’m a music guy; I think I’ve got over fifteen thousand songs on my iPod. My favorite is old soul (Al Green, Otis Redding, Marvin Gaye, and Aretha) and old blues (Muddy, Howlin’ Wolf, Fred McDowell) and classic country (Merle, Hank, and the Georges). Music is always around in the car, the house, the studio—it’s almost always on. I play a few instruments myself. Poetry, well I like Langston Hughes and Jack Kerouac, Maya Angelou, and Charles Bukowski. But I’m more of a history reader—mainly Native history. Right now I’m reading Comanche Empire, by Pekka Hamalainen. AUGUST
2013
THE magazine | 21
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ART FORUM
THE magazine asked a clinical psychologist and three people who love art to share their take on this 1992 painting,titled Justo’s Backyard, by Antonio Álvarez Morán. They were shown only the image—they were not told the title, medium, or name of the artist.
worlds. I would call the artist who made this work a Magical Realist. Magical Realists do not copy their surrounding
Bright colors and swirls provide a radiating quality to this
so sure. The old man, abuelito, in the foreground, is looking
reality; instead they seize and lift the veil to expose the
painting. However, closer inspection shows the work
away and taking a fortifying shot of tequila—he’s on the
mystery that lies behind things—suggesting that ordinary
contains a sharp contrast: Energetic brush strokes oppose
pig’s side. The one woman in the scene hangs back. She
life may also be the scene of the extraordinary. The
physically distant and emotionally blunted figures. For
doesn’t want any part of this but she wants to see what
painting includes commonplace objects from everyday life
example, while each character is arranged in a circular
happens. Will she be cooking meat tonight or bringing slops
mixed with elements of the fantastic, all interwoven into a
manner, none of them touches or looks at the other. They all
to the pig? Meanwhile, the rooster is paying close attention,
miraculous fabric—an amalgamation of realism and fantasy.
exist in their own private world. Such physical and emotional
as well he should. The painting is done in a deceptively
Cutting to the chase, this painting is a doorway into the
isolation adds a somber tone to an otherwise lively piece. A
primitive style. The figures and composition are simple
mystical and supernatural, enabling the viewer to enter into
girl in the upper right corner is the only figure facing the
but the artist is effectively directing our attention around
aspects of non-ordinary reality, while awakening an interest
viewer. She is frightened, and by far the most animated of all.
the circle of action and drawing us in with a skillful use of
in the infinite mystery that surrounds us.
This girl is literally and metaphorically an outsider. Is she the
brushstrokes and color. Stylistically, there are shades of
—R.L. Charles, Novelist
child version of the artist? Does she feel ignored by the other
van Gogh (or Tommy Maccione?). Even though there are
players? Curiously, the animals are also disproportionately
vibrant swirls of color, the scene is charged with tension
A tribute: We often look back to days gone by and say, “Life was
large. Symbolically, their size underscores their importance
because the pig’s fate is not yet sealed. However, I think
simpler back then.” This painting reminds me of that phrase as
as providers to this rural community. Psychologically, this
that in the end everyone will have some of abuelito’s tequila
I reflect on those painters who painted their surroundings—
work is simultaneously intense and emotionally cold, a
and forget about slaughtering the pig, whose name is Wilbur
often referred to as “regionalists.” I think that we frequently
compelling feature that highlights the artist’s ambivalence.
and will live happily ever after.
want to see the romantic version of history, remembering the
—Davis Brimberg, Ph.D., Clinical Psychologist
—Abigail Adler, Journalist, KSFR Radio Santa Fe
good versus the struggles of those who have walked here before us. This amazing Land of Enchantment had many who,
Eeeeee—this doesn’t look good for the pig! The pig is on a
This intriguing painting reads as an illustration from a book
through great sacrifice, paved the way for us to live here. We
leash so it is either a pet or it’s soon going to be sausages.
that does not exist. Let’s call the book Carlos Castaneda
are privileged to live in such a rich culture, with vistas and
The central figure stands on a pedestal of brush strokes—
Meets Magic Realism Meets the Ghost of Vincent van Gogh.
artisans—both native and not—who work parallel to each
perched like the Virgin of Guadalupe on the angel. Perhaps
The painting is about the transformation of the common
other. Thank you to the families whose ancestors established
he’s considering being merciful. He had planned to
and the everyday into the awesome and unreal. It reads
this great territory before it joined the Union.
eventually use the pig to feed his family, but now he’s not
as a dream, and through dreaming we can perceive other
—Charles Veilleux, Director, Mark White Gallery
24 | THE magazine
AUGUST
2013
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Studio Visit
Fritz Scholder once said, “I give thanks every day that I’ve been able to take my craziness and make it work for me.” Two artists respond to his statement. Most days I’m just happy that the “schwein-hund” (pig-dog) hasn’t commandeered my inner team of rivals and run amok in a desperate and furious charge through the mundane. Once in a while, however, I can harness the irrational in a manner that sublimely reveals a pathway to beauty. I’m very thankful for these moments, knowing that they are the result of a lot of hard work.
—Will Wilson In 2012, Wilson presented Critical Indigenous Photographic Exchange at Photo L.A. Also in 2012, his work was shown at the Denver Art Museum, the University of Southern Australia, the Alexandria Museum, in Louisiana, and the Georgia O’Keeffe Museum. He will be presenting Critical Indigenous Photographic Exchange at the New Mexico Museum of Art during Indian Market. In 2013, he will be showing work at SITE Santa Fe, Metro State, in Denver, Fort Lewis College, the Abbe Museum, and Photo L.A. Read Wilson’s blogs at pomonavajo.blogspot.com.
It’s time that contemporary Native American art be included in the national and international conversation of Modern Art. I’ve never felt uncomfortable being a Native artist—it’s my perspective that sets me apart.
—Frank Buffalo Hyde In 2012, Hyde’s solo exhibition—SKNDNS: Native Americans on Film was purchased by the Smithsonian National Museum of the American Indian. Hyde’s work is on view as part of the Native Vanguard Contemporary Masters group show at Zane Bennett Contemporary Art, 435 South Guadalupe Street, Santa Fe. Reception: Thursday, August 15 from 5 to 7 pm.
photographs by
AUGUST
2013
Anne Staveley
THE magazine | 27
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The Ruinart Champagne “Blanc de Blancs” by Joshua
Put on your red dress, baby Lord, we’re goin’ out tonight Put on your red dress, baby Well, we’re goin’ out tonight And bring along some boxin’ gloves ‘Case some fool might wanna fight Put on your high-heel sneakers, child Wear your wig-hat on your head now Put on your high-heel sneakers, baby Wear your wig-hat on your head Ya know you’re looking mighty good, really I’m pretty sure you’re gonna knock ‘em dead From “Hi-Heel Sneakers” by Tommy Tucker. Checker Records, Chicago, 1964.
Robert Higginbotham was born on March 5, 1933, in Springfield, Ohio. By the time he was ten, he could play blues piano. By the time he wrote and recorded “Hi-Heel Sneakers,” in 1963, he had changed his name to Tommy Tucker and was known as an accomplished organist, piano player, singer-songwriter, and studio musician. Checker released “Hi-Heel Sneakers” as a single. The song was produced by Herb Abramson, Tucker’s manager. The twelve-bar blues guitar that gives the song its agitated charm was played by Welton Dean “Cousin Sugar” Young. “Hi-Heel Sneakers” hit number one on the Cash Box R&B Locations Chart. It peaked at number eleven on Billboard’s Hot 100 Chart, and at number twenty-three on the U.K. Singles Chart. The flip side of “Hi-Heel Sneakers’” was Tucker’s “I Don’t Want ‘Cha (Watcha Gonna Do).” “Hi-Heel Sneakers” made Tommy Tucker famous. The song was recorded by the Beatles, the Rolling Stones, Janis Joplin, the Faces (with Rod Stewart), Elvis Presley, Jerry Lee Lewis, Jerry Garcia, John Lee Hooker, Chuck Berry, Stevie Wonder, and Sting. In 1964 and 1965, Tucker’s live appearances were introduced by an emcee who ran on stage, grabbed the microphone, and shouted, “Tick-tock, tick-tock, it’s Tommy Tucker Time!” When people asked, Tommy Tucker told them he wrote “Hi-Heel Sneakers” about a groupie, a southern girl from the Douglas College for Women, in Rutgers, New Jersey, who used to bring him food and whiskey. “She had a great body but was real ugly,” he would say. Unfortunately, “Hi-Heel Sneakers” did not make Tommy Tucker rich. After a string of less-than-successful follow-ups, including “Long Tall Shorty” (“They call me Long Tall Shorty / ‘Cause I know what love is all about…”), “Chewing Gum,” “Alimony,” “All About Melanie,” “Wine Bottles,” and “Real True Love (I Ain’t Had None Lately),” Tucker decided to call it a day. In 1966, he left show business, earned his high school equivalency diploma, and enrolled at the Vale School of Real Estate, in East Orange, New Jersey. In 1968, he recorded “Harpsy-chording,” a demo of jazz improvisations for the harpsichord. The demo went nowhere. By 1969, Tucker was selling real estate in East Orange. By the late 1970s, after numerous failed attempts
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Baer to revive his career as a recording artist, Tucker became a freelance writer for This Week, an African American family newspaper published in East Orange. In his weekly column, “Jazz Notes,” he accused the establishment media of making false promises to African Americans about equal rights, and criticized African American males for their gullibility. In January of 1982, Tucker was admitted to Orange County General Hospital for food poisoning. Doctors pumped out his stomach, and Tucker briefly recovered, but after relapsing into a coma, he contracted jaundice and was transferred to the New Jersey College of Medicine and Dentistry in Newark, where he was placed on life support. He died on January 22, 1982. You can listen to Tommy Tucker’s original recording of “Hi-Heel Sneakers” here: http://www.youtube.com/watch?v=hjEyvivWb4U What I’ve always liked about “Hi-Heel Sneakers” is the way Tucker speaks directly to the woman in question. Like most American men, I think twice before I tell a woman what to wear. Tommy Tucker never had that problem. Which brings us to the Ruinart Champagne “Blanc de Blancs.” Founded in 1729, in the city of Reims, Ruinart is the oldest Champagne house in the world. Ruinart is owned by the French luxury conglomerate LVMH Moet Hennessey Louis Vuitton, SA. Frédéric Panaiotis, the Chef de Caves, oversees all aspects of making Ruinart’s vintage and nonvintage Champagnes. Panaiotis is a man of many attributes, including humility: “People think I am gifted in food and wine pairings,” he told Wakawaka Wine Reviews. “No. No. No. I am not gifted. I work very hard all the time to keep learning.” In the glass, the Ruinart “Blanc de Blancs” is a slippery gold, with highlights of pale jade and smoked pearl at its edges. The bouquet is an adventure, a point of view, and a memory of the adventure, all rolled into one decisive aroma. On the palate, this blanc de blancs makes you happy to be alive. The finish is a kiss on the cheek—the surprising kind, the kind that makes you wonder if you underestimated the person who gave it to you. Tommy Tucker used to tell people that he wrote “Hi-Heel Sneakers” for Jimmy Reed, and that makes sense. Jimmy Reed had a thing about honky-tonk guitar lines wrapped around soft, world-weary lyrics. If I close my eyes, I can almost hear the harmonica solo Reed might have played between “Hi-Heel Sneakers”’ verses. I think the world of Jimmy Reed, but I’m glad Tommy Tucker had the opportunity to write “Hi-Heel Sneakers,” record it, perform it, and reap the whirlwind that followed. Maybe he never got the credit he deserved. Maybe it was all downhill from there. But he put his lyrics to his music. He got his shot, took it, and gave the world a classic. You can read Wakawaka Wine Reviews’ article about Frédéric Panaiotis at wakawakawinereviews.com. One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. The name “One Bottle” and the contents of this column are ©2013 by onebottle.com. For back issues, go to onebottle.com. Send comments or questions to jb@onebottle.com.
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dining guide
Seared Diver Scallops
The Compound 653 Canyon Road, Santa Fe Reservations: 982-4353
$ KEY
INEXPENSIVE
$
up to $14
MODERATE
$$
$15—$23
EXPENSIVE
$$$
VERY EXPENSIVE
$24—$33
$$$$
Prices are for one dinner entrée. If a restaurant serves only lunch, then a lunch entrée price is reflected. Alcoholic beverages, appetizers, and desserts are not included in these price keys. Call restaurants for hours.
$34 plus
EAT OUT OFTEN
Photo: Kitty Leakes
...a guide to the very best restaurants in santa fe, albuquerque, taos, and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: A beautiful new bar with generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. Watch for special dinners and wine pairings. 317 Aztec 317 Aztec St. 820-0150 Breakfast/ Lunch. Patio. Major credit cards. $$ Cuisine: Café and Juice Bar. Atmosphere: Casual. House specialties: Breakfast: Eggs Benedict and the Hummus Bagel, are winners. Lunch: we love all of the salads and the Chilean Beef Emanadas. Comments: Juice bar and perfect smoothies. Andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Good wines, great pizza. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236 . Breakfast/Lunch/Dinner. Full bar. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American w/ a Southwestern twist. Atmosphere: A classy room. House specialties: For lunch, we suggest the Ahi Tuna Tacos or the Fried Ruby Trout. For dinner, start with the Heirloom Beet Salad. Follow with the flavorful Achiote Grilled Atlantic Salmon or the Free Range Northern New Mexico Lamb Roast. Dessert fave is the Chef’s Selection of Artisanal Cheeses. Comments: The new patio menu is wonderful. Add attentive service and a creative chef (Juan Bochenski), and you will have a superb dining experience. Body Café 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual. House specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Avocado and Cheese Wrap. Comments: Teriffic / must have selection of soups and salads.
B ouche
451 W. Alameda Street 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: Standouts starters are the “Les Halles” onion soup and the Charcuterie Plank. You will love the tender Bistro Steak in a pool of caramelized shallot sauce, the organic Roast Chicken for two with garlic spinach, and the Escargots a la Bourguignonne. Comments: Menu changes seasonally. Chef Charles Dale and staff are consummate pros. Cafe Cafe Italian Grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad, the tasty specialty pizzas, or the grilled Eggplant sandwich. For dinner, try the perfectly grilled Swordfish. Café Fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch. Patio Cash/major credit cards. $ Cuisine: Contemporary comfort food. Atmosphere: Casual and bright. House specialties: Ricotta pancakes with fresh berries, the chicken enchiladas; and the green-chile Cheese burger. Comments: Organic and housemade products are delicious. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian maiden posters. House specialties: Hotcakes got a nod from Gourmet magazine. Huevos motuleños—a Yucatán breakfast—is one you’ll never forget. For lunch, try the Grilled Chicken Sandwich. Chopstix 238 N. Guadalupe St. 982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, Kung Pau Chicken, and Broccoli and Beef. Comments: Friendly owners. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. Comments: Good selection of beers and wine.
Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: Good old American. fare. Atmosphere: Patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are fantastic. Super buffalo burgers. Comments: Huge selection of beers. Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: For your main course, go for the grilled Maine Lobster Tails or the grilled 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines. Doc Martin’s Restaurant 125 Paseo del Pueblo Norte. 575758-2233. Lunch/ Dinner/WeekendBrunch Full bar. Major credit cards. $$$ Cuisine: Regional New American. Atmosphere: Friendly—down home. House specialties: For lunch try Doc’s Chile Relleno Platter or the Northern New Mexico Lamb Chops. Dinner faves are the Pan Seared Whole Boneless Trout and the Green Chile Smothered Chicken Burrito. Comments: Great bar, wonderful desserts, and a kid’s menu. Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room with with a nice patio outside where you can sit, read periodicals, and schmooze. Tons of magazine to peruse. House specialties: Espresso, cappuccino, and lattes. El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish. Atmosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-tocheek dancing. House specialties: Tapas, Tapas, Tapas. Comments: Murals by Alfred Morang. El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign
supreme, with classics like Manchego Cheese marinated in extra virgin olive oil. Go, you will love it.
Tai Hoi: vegetarian soup loaded with veggies. Comments: Friendly waitstaff and reasonable prices.
Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: French/Asian fusion. Atmosphere: Elegant and stylish. House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass served with black truffle scallions, and the classic peppery Elk tenderloin.
La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Enclosed courtyard. House specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad. For your entrée, try the Braised Lamb Shank with couscous, and vegetables.
Il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad; the Lemon Rosemary Chicken; and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to Table, all the way.
Maria’s New Mexican Kitchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner (Thursday-Sunday) Beer/wine. Patio. Major credit cards. $$ Cuisine: American/New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: Freshly made Tortillas and Green Chile Stew. Comments: Perfect margaritas.
Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers, Comments: Chef Obo wins awards for his fabulous soups. Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake. It is smooth and dry. La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast / Lunch / Dinner / Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian tamales. Comments: Nice Sunday brunch. Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: The Pho
Midtown Bistro 910 W. San Mateo, Suite A. 820-3121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Large open room. House specialties: For lunch, start with the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrées we love are the Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop. Comments: Good dessert selection. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic products. New York Deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. Comments: Deli platters to go. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile.
continued on page 33 AUGUST
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squash Blossoms award-Winning Wine List Classic French Bistro Farmers Market produce Join our e-newsletter at www.315santafe.com for specials, promotions & wine dinner updates.
Join us on the patio! Sun-Thur, 5:00 -9:00 pm u Fri - SaT, 5:00 - 9:30 pm 315 Old SanTa Fe Trail u SanTa Fe, nm u www.315 SanTaFe.cOm reServaTiOnS recOmmended: (505) 986.9190
CLOUD CLIFF BAKERY at the SANTA FE FARMERS MARKET TUESDAY and SATURDAY
Photos ŠKate Russell
2
$
oysters, Crab Claws & shrimp 5:00pm to Close Daily
dining guide
Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to tableto mouth. Atmosphere: Casual. House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox. A variety of teas from around the world available, or to take home.
Executive Chef Andrew Cooper of the Four Seasons Resort Encantado Santa Fe will open his kitchen on Sunday, August 4, to four prominent local chefs—Joseph Wrede, Martin Rios, Ka’ainoa Ravey, and Juan Bochenski. A “Snout to Tail” dinner of amazing delights will be created for diners. Dinner at 6 pm in the Terra Restaurant. Reservations and details: 505-946-5800. Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American, all the way. Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs and Burgers. Haystack fries rule Recommendations: Nice wine list. Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Patio. Major credit cards. $$$ Cuisine: Southwestern with a French flair. Atmosphere: Contemporary. House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Nice wine list. Rose’s Cafe 5700 University W. Blvd SE, #130, Alb. 505-433-5772 Breakfast/Lunch. Patio. Major credit cards. $ Cuisine: A taste of the Yucatán with a Southwest twist. House specialties: We love the Huevos Muteleños: corn tortillas w/ refried black beans, eggs topped with Muteleños sauce, cotya cheese, and fresh avocado. Lunch: the Yucatán Pork Tacos. Comments: Kid’s menu and super-friendly folks. San Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ Cuisine: Japanese Sushi and Tapas. Atmosphere: Large room with a Sushi bar. House specialties: Sushi, Vegetable Sashimi and Sushi Platters, and a variety of Japanese Tapas. Comments: Savvy sushi chef. San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: All-American. Atmosphere: Casual. House specialties: The San Francisco Street Burger or the Grilled Yellowfin Tuna Nicoise Salad. Comments: Sister restaurant in the DeVargas Center. Comments: Reasonable prices. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Southwest Contemporary. Atmosphere: Minimal, subdued, and elegant House specialties: The worldfamous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Pan-seared Salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Happy hour special from 4-6 pm. Half-price appetizers. “Well” cocktails and House Margaritas only $5.
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Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmeal-crusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet. Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. Atmosphere: Contemporary and hip. House specialties: Start with the Seared Ahi Tuna. For your main, we suggest the Chicken Fried Chicken, with mashed potates and bacon bits, the flavorful Ceviche, or the Beer Battered Fish and Chips. All desserts are right on the mark. Comments: Wines from around the world. Quality beers. Two happy hours: 3-6 pm and 9 pm on. Generous portions/reasonable prices. Mention THE magazine and receive an appetizer on the house. Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily specials, gourmet sandwiches, wonderful soups, and an excellent salad bar. Comments: Organic coffees and super desserts. Do not pass on the Baby-Back Ribs. Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Real casual. House specialties: Beers are outstanding, when paired with the Beer-steamed Mussels, Calamari, Burgers, or Fish and Chips. Comments: Sister restaurant in the Railyard District. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff. Station 430 S. Guadalupe. 988-2470 Breakfast/Lunch Patio Major credit cards. $ Cuisine: Light fare and fine coffees and teas. Atmosphere: Friendly and casual.
House specialties: For breakfast, get the Ham and Cheese Croissant. Lunch fave is the Prosciutto, Mozzarella, and Tomato sandwich. Comments: Special espresso drinks. Steaksmith at El Gancho
Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant House specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce. Comments: They know steak here. Sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner. Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. Atmosphere: Large open room. House specialties: In the am, try the Mediterranean Breakfast— Quinoa with Dates, Apricots, and Honey. Lunch favorites is the Indonesian Vegetable Curry on Rice; Comments: For your dinner , we suggest the Prix Fixe Small Plate: soup, salad, and an entrée for $19. Wines and Craft beers on tap. Tecolote Café 1203 Cerrillos Rd. 988-1362. Breakfast/Lunch Major credit cards. $$ Cuisine: New Mexican and American. Atmosphere: Real casual. House. specialties: For breakfast, go for either the Sheepherder’s Breakfast: new potatoes with jalapeno and onion, topped with red and green chile, melted chees, and with two eggs any style or the perfect Eggs Florentine: two poached eggs with hollandaise and an English muffin or the made-from-scratch pancakes. Lunch favorites are the Carne Adovada Burrito; the Green Chile Stew; the Tostada Compuesta; and the Frito Pie. Comments: No toast is served at Tecolote. Why? Tecolote tradition, that’s why.
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Terra at Four Seasons Encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties: For breakfast, we love the Blue Corn Bueberry Pancakes and the Santa Fe Style Chilaquiles. For dinner, start with the sublime Beet and Goat Cheese Salad. Follow with the Pan-Seared Scallops with Foie Gras or the delicious Double Cut Pork Chop. Comments: Chef Andrew Cooper partners with local farmers to bring fresh seasonal ingredients to the table. A fine wine list and top-notch service. The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive. 505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: Local flavors. Atmosphere: Casual, calm, and friendly. House specialties: At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, foillow with the Trout with a Toasted Piñon Glaze. Comments: Nice wine bar. The Compound 653 Canyon Rd. 982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: Contemporary. Atmosphere: 150-year-old adobe. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef/owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award. The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: Modern Italian Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch: the Prime Rib French Dip. Dinner: go for the Scottish Salmon poached in white wine, or the Steak au Poivre. The Pink Adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club. For dinner, Steak Dunigan or the Fried Shrimp Louisianne. Comments: Cocktails hour in the Dragon Room is a must! The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$
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Cuisine: New Mexican. Atmosphere: A local institution located just off the Plaza. House specialties: Order the red or green chile cheese enchiladas. Comments Always busy. The Ranch House 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: BBQ and Grill. Atmosphere: Family and very kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: The best ribs. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$ Cuisine: Traditional New Mexican. Atmosphere: Easygoing and casual. House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese. Comments: The real deal tomme: a restaurant
229 Galisteo St. 820-2253 Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Innovative Contemporary. Atmosphere: Casual and friendly. House specialties: Start with the Carmelized Leek Tart. Entrée: We love the Brick Chicken and the Pan Seared Yellowtail. Comments: Super desserts—get the Panna Cotta!
NE GO
Tune-Up Café 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home. House specialties: For breakfast, order the Buttermilk Pancakes or the Tune-Up Breakfast. Comments: Real friendly. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: Light and cheerful. House specialties: All organic salads. Love the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: When in Albuquerque, visit their their sister restaurant at 1828 Central Ave., SW. Zacatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Slow Cooked Pork Ribs. Also offered are over sixty-five brands of Tequila. Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: All-American Atmosphere: Down home. House specialties: The Chile Rellenos and Eggs is our breakfast choice. At lunch, we love the burgers, the Southwestern Chicken Salad and the crispy Fish and Chips. Comments: The bar is place at cocktail hour.
TH E
ma g a z i n e
SWAMI’S CAFE 8824 La Mesa B’lvd
La Mesa, CA
619-688-9030
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TED LARSEN
Some Assembly Required
DAVID RICHARD GALLERY
PETER DEMOS Ten Paintings
LILLY FENICHEL High Contrast
MATTHEW PENKALA There’s No Shame In It
August 2 - September 7, 2013 Opening reception: Friday, August 2, 5:00 - 7:00 p.m.
DavidrichardGALLEry.com RAILYARD ARTS DISTRICT 544 South Guadalupe Street, Santa Fe, NM 87501 p (505) 983-9555 | info@DavidRichardGallery.com Peter Demos, Untitled, 2013, Gloss and matte acrylic on dyed canvas, 36” x 30” Matthew Penkala, Until You Can’t Wait No More, 2013, Acrylic on canvas, 48” x 48”
Ted Larsen, Orderly Confusion, 2013, Salvage steel welded steel rivets, 24” x 8” x 3”
Lilly Fenichel, #13, 2013, Oil on polypropylene, 37” x 25 1/2”
openings
A U G U S TA rt openings FRIDAY, AUGUST 2
Fe. 992-2882. Breaking Through with Light: realist works by Eric G. Thompson. 5-7 pm.
A Gallery Santa Fe, 154 W. Marcy St. #104, Santa Fe. 603-7744. Sculptures by Noel Aronov and Clark Man. 5-7 pm.
Nüart Gallery, 670 Canyon Rd., Santa Fe. 988-3888. Works by Hyunmee Lee. 5-7 pm.
David Anthony Fine Art, 132 Kit Carson Rd., Taos. 575-758-7113. Heading for the Light: rare images of the Beatles and other photography by Mike Mitchell. 5-7 pm.
Palette Contemporary Art and Craft, 7400 Montgomery Blvd. NE, Alb. 505855-7777. Calder’s Primarily Colors: signed lithographs by Alexander Calder. 5-8 pm.
David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Some Assembly Required: works by Ted Larsen. Ten Paintings: works by Peter Demos. There’s No Shame In It: works by Matthew Penkala. High Contrast: works by Lilly Fenichel. 5-7 pm.
Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-3432. Peter Schmid and Atelier Zobel Return: jewelry by Peter Schmid and Atelier Zobel. 5-7 pm.
Marigold Arts, 424 Canyon Rd., Santa Fe. 982-4142. Marigold Recycled!: tapestries and wearables by Barbara Marigold. 5-7 pm. Matthews Gallery, 669 Canyon Rd., Santa
Peyton Wright, 237 E. Palace Ave., Santa Fe. 989-9888. Idioms: paintings from the 1960s and 1970s by Charles Green Shaw. 5-8 pm. Selby Fleetwood Gallery, 600 Canyon Rd., Santa Fe. 992-8877. Paper Proof: works by Kevin Box. 5-7:30 pm.
Stranger Factory, 109 Carlisle Blvd. NE, Alb. 505-508-3049. Lost Worlds—Creatures from Beyond: group show. 6-9 pm. Sun Gallery, 656 Canyon Rd., Santa Fe. 983-8743. Love the Land: paintings by Dan Boldman. 5-7 pm. Taos Artist Collective, 106 Paseo del Pueblo Norte, Taos. 575-751-7122. Skyline Sentinels—New York Water Towers: photographs by Jeremy G. Landau. 4-7 pm. Touching Stone, 539 Old Santa Fe Trail, Santa Fe. 988-8072. Tadashi Nishihata and Haruna Nishihata: ceramics by a father and daughter duo. 5-7 pm. Weyrich Gallery, 2935-D Louisiana Blvd. NE, Alb. 505-883-7410. Echoes: oil, mixed media, sculpture, and clay works by women artists from the Luna Project. 5-8:30 pm.
SATURDAY, AUGUST 3
203 Fine Art, 203 Ledoux St., Taos. 575751-1262. Taos Moderns—Postwar Modern Art: modernist artwork from the 1940s to the 1970s. 5-8 pm. SUNDAY, AUGUST 4
Jemez Fine Art Gallery, 17346 Hwy. 4, Jemez Springs. 575-829-3340. Peace’s New Century Art Project: collaborative work by Betsie MillerKusz and Masaru Tanaka. 1-4 pm. Leich Lathrop Gallery, 323 Romero St. NW, Alb. 505-243-3059. Lost and Found: prints by Laurie Alpert and Janet Yagoda Shagam. 3-5 pm. MONDAY, AUGUST 5
Adobe Gallery, 221 Canyon Rd., Santa Fe. 6294051. Special Exhibit—Hopi and Zuni Pueblos Katsina Dolls: dolls from the estate of Tom Mittler. 4-6 pm.
New abstract paintings by Emmi Whitehorse (Navajo) on view at Chiaroscuro Contemporary Art, 702½ Canyon Road. Reception: Friday, August 16 from 5 to 7 pm. continued on page 38 AUGUST
2013
THE magazine | 35
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openings
group show by indigenous artists curated by Ellen Taubman. Stereotype—Misconceptions of the Native American: work by Cannupa Hanska Luger. Divided Lines: work by Jacob Meders. The Mountain: work by Steven J. Yazzie. 5-7 pm.
TUESDAY, AUGUST 6
Fuller Lodge Art Center, 2132 Central Ave., Los Alamos. 662-1635. Peace’s New Century Art Project: collaborative work by Betsie MillerKusz and Masaru Tanaka. 4-7 pm.
Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Native Vanguard—Contemporary Masters: works by T.C. Cannon, N. Scott Momaday, Frank Buffalo Hyde, and Roxanne Swentzell, among many others. As well, there will be panel discussions and lectures by prominent Native artists. Details: zanebennettgallery. com. 5-7 pm.
WEDNESDAY, AUGUST 7
John Ruddy Textiles and Ethnographic Art, 129 W. San Francisco St., Santa Fe. 4901187. Selected Textiles—Tribal, Ceremonial, and Utilitarian: works from Japan, Indonesia, Cambodia, Bolivia, China and more. 5-8 pm. Taylor A. Dale Fine Tribal Art, 129 W. San Francisco St., 2nd Floor, Santa Fe. 670-3488. 26th Anniversary Show: antique tribal art from Africa, Oceania, and the Americas. 5-8 pm.
FRIDAY, AUGUST 16
Canyon Road Art Brokerage, 618 Canyon Rd., Santa Fe. 995-1111. Group Show: works by Bruce LaFountain, Forrest Moses, Earl Biss, Harold Joe Waldrum, Michael Wright, and Kathleen Morris. 5-7 pm.
FRIDAY, AUGUST 9
A Gallery Santa Fe, 154 W. Marcy St. # 104, Santa Fe. 603-7744. Drawings and paper sculpture by Tayo Heuser. 5-7 pm.
Chiaroscuro Contemporary Art, 702 1/2 Canyon Rd., Santa Fe. 992-0711. Solo Show: works by Emmi Whitehorse. Contemporary Native American Group Show. 5-7 pm.
Axle Contemporary, in the Railyard (Farmers Market shade structure) Santa Fe. The Gesture Rendered: work by Sam Scott, Zachariah Rieke, Timothy Nero, Steve Storz, and Nina Mastrangelo. 5-7 pm.
Giacobbe-Fritz Fine Art, 702 Canyon Rd., Santa Fe. 986-1156. Tsaa’ Yumuh Kitu’: work by Nocona Burgess. Lecture and Q&A: 4-5 pm. Reception: 5-7 pm.
Casweck Galleries, 203 W. Water St., Santa Fe. 988-2966. The Spirit of Santa Fe: graphite and oil portraits of Santa Feans by Robbi Firestone. 5:30-7:30 pm. Counter Culture, 930 Baca St., Ste. 1, Santa Fe. 995-1105. Then & Now: 2-D art by Bunny Tobias. 5-7 pm. Eggman and Walrus, 130 W. Palace Ave., Santa Fe. 660-0048. Power, Vulnerability, and Gender: paintings by Amina Re. 5-7 pm. New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Paintings, Then and Now: works by Aaron Karp. 5-7 pm. SATURDAY, AUGUST 10
Act One Gallery, 218 Paseo del Pueblo Norte, Taos. 575-758-7831. Cletus Smith Arrives: watercolors and oils by Cletus Smith. 4-6 pm. Eggman and Walrus, 130 W. Palace Ave., Santa Fe. 660-0048. Power, Vulnerability, and Gender: paintings by Amina Re. Interpretive performances and music. 6-9 pm. Las Vegas Arts Council Gallery, 140 Bridge St., Las Vegas. 505-425-1085. The Land as Legacy: group show of photography and clay pottery. 2-4 pm. THURSDAY, AUGUST 15
Canyon Road Contemporary, 403 Canyon Rd., Santa Fe. 983-0433. Explorations of Native Culture and Natural History: ceramic totems, kachinas, and animals by Molly Heizer. 5-7 pm. Museum of Contemporary Native Arts, 108 Cathedral Place, Santa Fe. 983-1777. Changing Hands—Art Without Reservation 3: Contemporary Native North American Art from the Northeast and Southeast, Selected Works:
Some Assembly Required—new works by Ted Larsen on view at David Richard Gallery, 544 South Guadalupe Street. Reception: Friday, August 2 from 5 to 7 pm. Geometric Painting after Piero della Francesca opens on August 15 at Gebert Contemporary, 558 Canyon Road. In this body of work, Keiko Sadakane translates the underlying geometries of Piero’s painting into the language of twenty-first century abstraction. Reception: Friday, August 23 from 5 to 7 pm.
Karan Ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-0807. The Post-Modern Landscape: works by Kurt Meer, Stephen Pentak, and Pauline Ziegen. 5-7 pm. Kristin Johnson Fine Art, 323 E. Palace Ave., Santa Fe. 780-5451. Solo Exhibition: paintings by Darren Vigil Gray. 5:30-7:30 pm. Mark Sublette Medicine Man Gallery, 602-A Canyon Rd., Santa Fe. 820-7451. New Works: paintings by Shonto Begay. 2-4 pm. Matthews Gallery, 669 Canyon Rd., Santa Fe. 992-2882. Magical Realism: paintings by Diane White. 5-7 pm. Niman Fine Art, 125 Lincoln Ave., Santa Fe. 988-5091. New Works: paintings and sculptures by Dan, Arlo, and Michael Namingha. 5-7:30 pm. Silver Sun Gallery, 656 Canyon Rd., Santa Fe. 983-8743. Traditional and Modern: jewelry by Shane Hendren and Gary Custer. 4-7 pm. William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. Nauticus: paintings and sculpture by David Henderson, Karen Gunderson, and Tom Waldron. 5-7 pm. Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Contemporary Jewelry—New Work: jewelry by Yazzie Johnson and Gail Bird. 4-6 pm. FRIDAY, AUGUST 23
Gebert Contemporary, 558 Canyon Rd., Santa Fe. 992-1100. Geometric Painting after Piero della Francesca: works by Keiko Sadakane. 5-7 pm.
continued on page 40
38 | THE magazine
AUGUST
2013
openings
GVG Contemporary, 202 Canyon Rd., Santa Fe. 982-1494. Sculpniture: sculptural art furniture by Ernst Gruler, Jamie Monroe, and Dean Pulver. 5-7 pm.
Niman Fine Art,125 Lincoln Ave., Ste. 116, Santa Fe. 988-5091. Dialogue Through Form: works by Arlo Namingha. Through Aug. namingha.com
Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. Beyond Form: sculptures by Eric Boyer and paintings by Charlotte Foust. 5-7 pm.
Rieke Studio/Gallery, 416 Alta Vista, Santa Fe. 988-5229. Shadowcatcher: collage, assemblage, journals, photos, and prints by Gail Rieke. Open house August 2-4, 10:30 am-7:30 pm. By appt.– August 5-31.
New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Ethnic Pottery Prints: carborundum collagraphs and etchings of original Native American pottery designs by Julia Roberts. 5-7 pm.
Silver City Museum, 312 W. Broadway, Silver City. 575-538-5921. Turnover—Live Auction: benefit for the Silver City Museum. Sat., Aug. 17, 9 am. silvercitymuseum.org
Nüart Gallery, 670 Canyon Rd., Santa Fe. 9883888. Works by Alberto Galvez. 5-7 pm.
Six Inch Gallery, online exhibition space. 505670-5423. Grand Opening—Six Inch Gallery on Your Desktop, Notebook, and Smartphone: featuring paintings by Bob Richardson. Fri., Aug. 16 to Fri., Oct. 18. sixinchgallery.com
Turner Carroll Gallery, 725 Canyon Rd., Santa Fe. 986-9800. New Work: work by Rex Ray.
St. John’s College, 1160 Camino Cruz Blanca, Santa Fe. 984-6000. Lectures, concerts, and performances throughout August. sjcsf.edu
ViVO Contemporary, 725 Canyon Rd., Santa Fe. 982-1320. Momentum: works by Marina Brownlow, Linda Fillhardt, and Russell Thurston. 5-7 pm.
SWAIA Santa Fe Indian Market, Santa Fe Plaza, Santa Fe. 983-5220. Santa Fe Indian Market 2013: market, contests, film screenings, and other events. Mon., Aug. 12 to Sun., Aug. 18. swaia.org
FRIDAY, AUGUST 30
Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Lines of Liminality: works by Clifford Smith and Susan Schwalb. 5-7 pm. Marigold Arts, 424 Canyon Rd., Santa Fe. 982-4142. The Art of the Tree: turned wood vessels and sculptures by Jim McLain. 5-7 pm. Mark Sublette Medicine Man Gallery, 602-A Canyon Rd., Santa Fe. 820-7451. Kodachrome Memory—American Pictures 1972-1990: book signing and new works by Nathan Benn. 5-7 pm. Matthews Gallery, 669 Canyon Rd., Santa Fe. 992-2882. Figurative and Landscapes: works by Jamie Chase. 5-7 pm. Millicent Rogers Museum, 1504 Millicent Rogers Rd., Taos. 575-758-2462. Group exhibition by the Taos Society of Watercolorists. 5:30-7:30 pm. Silver Sun Gallery, 656 Canyon Rd., Santa Fe. 983-8743. Chigiri-e: contemporary interpretation of traditional Japanese paper art by Hisae Tamura. 5-7 pm. SPECIAL INTEREST
Albuquerque ArtsCrawl, various locations in Alb. 505-244-0362. First Friday ARTScrawl: citywide gallery openings. Fri., Aug 2, 5-8:30 pm. East Mountain ARTScrawl: gallery openings in the East Mountain area. Sat., Aug. 3, 10 am-5 pm. Third Friday ARTScrawl: Old Town gallery openings. Fri., Aug. 16, 5-8:30 pm. artscrawlabq.org
Taos Art Museum at Fechin House, 227 Paseo del Pueblo Norte, Taos. 575-758-2960. A Russian Night in Taos: annual gala. Sat., Aug. 24, 5 pm. taosartmuseum.org On Friday, August 9 Axle Contemporary presents The Gesture Rendered: work by Sam Scott, Zachariah Rieke, Timothy Nero, Steve Storz, and Nina Mastrangelo at the Farmers Market shade structure in the Railyard. Image: Sam Scott. Reception: 5-7 pm. Details: axleart.com City of Santa Fe Community Gallery, 201 W. Marcy St., Santa Fe. 955-6705. “The Other Environmentalist”: lecture by David Witt. Wed., Aug. 7, 6-8 pm. santafenm.gov Couse Foundation, 146 Kit Carson Rd., Taos. 575-751-0369. Open House: studio tour and exhibition. Sat., Aug. 3, 5-7 pm. 3rd Biannual Gala and Art Auction: twenty new paintings. Sat., Aug. 31. cousefoundation.org David Anthony Fine Art, 132 Kit Carson Rd., Taos. 575-758-7113. Annual DAFA Photography Invitational: artist talk and film screening. Sat., Aug. 3, 1:30-5:30 pm. davidanthonyfineart.com Encaustic Art Institute Gallery, 18 Country Rd. 55-A, Santa Fe. 424-6487. Self-Portrait: A Journey Within: encaustic-themed show for members of the Institute. Weekends, 12-5 pm. eainm.com Hunter Kirkland Contemporary, 200B Canyon Rd., Santa Fe. 984-2111. Sculptures by Ted Gall and paintings by Michael Madzo. Through Sun., Aug. 11. hunterkirklandcontemporary.com
Armory for the Arts Theater, 1050 Old Pecos Trail, Santa Fe. 988-1234. Why the Future Belongs to Walkable Cities: lecture, Q&A, and book signing by Jeff Speck. Tues., Aug. 13, 6 pm. jeffspeck.com
KTAOS Solar Center, 9 State Rd. 150, Taos. 575-758-5826. Dog Days of Summer: benefit oncert for Stray Hearts Animal Shelter. Sat., Aug. 10, 5-10 pm. ktao.com
Bellas Artes Gallery, 653 Canyon Rd., Santa Fe. 983-2745. Pozos Azules: tapestries by Olga de Amaral. Thurs., Aug. 1 to Sat., Sept. 28. bellasartesgallery.com
La Fonda on the Plaza, 100 E. San Francisco St., Santa Fe. 983-5220. Indian Market Week— Live Auction Gala. Sat., Aug. 17, 5-9:30 pm. swaia.org
40 | THE magazine
Mark Sublette Medicine Man Gallery, 602A Canyon Rd., Santa Fe. 820-7451. 15th Annual Maria Martinez and Family Show and Sale: sale of over eighty pieces by Maria Martinez and family, including Popovi Da. Fri., Aug. 9 to Fri., Aug. 23. medicinemangallery.com Mesa Public Library Gallery, 2400 Central Ave., Los Alamos. 662-8240. Mostly Clear and Partly Cloudy—Climate as Metaphor: works by Shaun Gilmore and Janice Wall. Through Sun., Aug. 4. shaungilmorestudio.com Mosaic Restaurant, in the La Fonda Hotel, 108 S. Plaza, Taos. 575-751-3438. An Evening of Poetry: readings from 8 Voices: Contemporary Poetry from the American Southwest, by Karla K. Morton, Dora McQuaid, and others. Sun., Aug. 11, 6 pm. mosaicfinedining.com Museum of Indian Arts and Culture, 710 Camino Lejo, Santa Fe. 982-5057. Breakfast with the Curators: preview discussions of upcoming exhibits and events at the Museum Hill Cafe. Fri., Aug. 9, Tues., Aug., 13, Fri., Aug. 16, and Fri., Aug. 23, 8:30 am-10 am. indianartsandculture.org New Mexico History Museum, 113 Lincoln Ave., Santa Fe. 476-5200. Wild West Weekend: events celebrating the exhibition Cowboys Real and Imagined. Fri., Aug. 9 to Sun., Aug. 11. museumofnewmexico.org New Mexico Museum of Art, 107 W. Palace Ave., Santa Fe. 476-5072. Critical Indigenous Photographic Exchange, 2013: photographs by William Wilson. Sat., Aug. 17 to Sun., Aug. 18, 10:30 am-3:30 pm. nmartmuseum.org
Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Native Vanguard—Contemporary Masters: exhibition of Native American contemporary artists T.C. Cannon, David Johns, John Feodorov, Frank Buffalo Hyde, and others. Through Fri., Aug. 23. Exhibition and lectures throughout August. zanebennettgallery.com PERFORMING ARTS
Federal Plaza Park near the Federal Courthouse, 106 S. Federal Plaza, Santa Fe. Mind Site—The Federal Dances: interpretative dance performance. Fri., Aug. 16 to Sun., Aug. 18. usaprojects.org/ project/mindsite_the_federal_dances Lensic Center for the Performing Arts, 211 W. San Francisco St., Santa Fe. 988-7050. Aspen Santa Fe Ballet—Program B: pieces featuring retiring dancer Katie Dehler. Sat., Aug. 31, 8 pm. aspensantafeballet.com Loretto Chapel, 207 Old Santa Fe Trail, Santa Fe. 988-2282. Northern Lights: performance by the Santa Fe Desert Chorale. Thurs., Aug. 1, 8 pm. desertchorale.org Mine Shaft Tavern, 2846 Hwy. 14, Madrid. 473-0743. Rock, Americana, country, and more through Aug. themineshafttavern.com Music from Angel Fire, various locations in Angel Fire, Taos, Raton, and Las Vegas. 888377-3300. 30th Season of Music from Angel Fire: chamber music performances with Chick Corea, composer-in-residence. Fri., Aug. 16 to Sun., Sept. 1. musicfromangelfire.org St. Francis Cathedral, 131 Cathedral Place, Santa Fe. 988-2282. The Road Home—Songs of America: performance by the Santa Fe Desert Chorale. Tues., Aug. 6, 8 pm. desertchorale.org
AUGUST
2013
previews Stereotype—Misconceptions of the Native American: works by Cannupa Hanska Luger August 16 to December 31 Museum of Contemporary Native Arts, 108 Cathedral Place, Santa Fe. 983-1666 Reception: Thursday, August 15 from 5 to 7 pm Since he appeared on the Santa Fe art scene, in 2011, Cannupa Hanska Luger has quickly become a local favorite, blending references to his Mandan, Hidatsa, Arikara, Lakota, Austrian, and Norwegian heritage with an introspective, punky, cartoonish exhibition of his ceramic and multimedia works. His upcoming show at the Museum of Contemporary Native Arts directly confronts the too-prevalent ignorance surrounding the umbrella term “Native American” in today’s culture. These works take the shape of ceramic boom boxes and attach painfully misunderstood symbols like feathers, fur, and dream catchers, forcing the viewer to confront the absurdity of the manufactured American Indian cliché. Stereotype: The Barrymore parodies a controversial photo posted on Drew Barrymore’s Facebook page—the blonde, grinning actress donned a feather war bonnet and flashed a peace sign, oblivious of any meaning that might be behind her fashion statement. “Appropriation of cultural regalia, such as the war bonnet … causes sacred objects to lose their power when they are represented out of context,” Luger writes about this series. “Adopting a culture, without context or understanding, drags the stories and history of that culture through the mud.”
Solo Exhibition: paintings by Darren Vigil Gray August 1 to August 24 Kristin Johnson Fine Art, 323 East Palace Avenue, Santa Fe. 780-5451 Reception: Friday, August 16 from 5:30 to 7:30 pm While studying under the legend that was T. C. Cannon, modernist painter Darren Vigil Gray was told to “create his own mythology.” Vigil Gray has taken this advice to heart: “There are too many old myths to comprehend, so I prefer to make new ones,” he told THE magazine in 2011. Vigil Gray now carries the torch for a venerable artistic tradition that has its roots in the Institute for American Indian Arts and its branches in top galleries and museums around the world. Born in Santa Fe and raised on New Mexico’s Jicarilla Apache reservation, Vigil Gray paints playful landscapes using layer after layer of paint, a vision of Northern New Mexico that contains hints of Willem de Kooning, and an identity influenced—but not defined—by the artist’s Native American heritage. This year, he was the recipient of the Governor’s Award for Excellence in the Arts—past winners include Georgia O’Keeffe and N. Scott Momaday. Kristin Johnson Fine Art celebrates his work with a solo exhibition.
Lines of Liminality: works by Clifford Smith and Susan Schwalb August 30 to October 5 Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700 Reception: Friday, August 30 from 5 to 7 pm Occasionally, Clifford Smith’s paintings are of oceans you want to dip your feet into, wade into your knees, and perhaps run your hands through the surface of the water as it laps at the seams of your shorts. Other times, the New Hampshire artist portrays an ocean as if seen from the side of a boat, spreading like silk as it reflects the summer light in myriad shades of whites, blues, greens, and grays. If you spend a little time with Smith’s work it begins to seem like something more than just the ocean, but rather, something approaching an abstract study in immensity. At Gerald Peters Gallery this month, the Pratt Institute–trained artist will show four works depicting darker, stormier seas. At the same show, metal-point works by artist Susan Schwalb will be on display. Schwalb, whose works have appeared in the Museum of Modern Art and the Metropolitan Museum of Art in New York City, and the National Gallery of Art in Washington, D.C., has succeeded in taking an ancient technique and delivering it into a contemporary context. Like a luminescent Agnes Martin, Schwalb carefully draws pieces of silver across prepared surfaces, leaving stacks of thin, shimmering lines on her square canvasses, creating, as she says in her artist’s statement, “what often appears to be a threedimensional undulating surface.”
42 | THE magazine
Top: Cannupa Hanska Luger, Stereotype: The Barrymore, ceramic and mixed media, 21” x 25” x 14”, 2013 Middle: Darren Vigil Gray, Thunder Landscape No. 2, acrylic on paper mounted on board, 43” x 63”, 2013 Bottom: Clifford Smith, Gray Surf I, oil on linen, 44” x 66”, 2013
AUGUST
2013
A N D R E W S M I T H G A L L E RY I N C .
CLASSIC AND HISTORIC, MASTERPIECES OF PHOTOGRAPHY
RAY METZKER SHADOW CATCHER
EXTENDED THROUGH AUGUST 31, 2013
Ray Metzker, Philadelphia, 1963
Featuring exhibitions of ANSEL ADAMS photographs from THE DAVID H. ARRINGTON COLLECTION N e x t t o t h e G e o r g i a O ’ Ke e f f e M u s e u m a t 1 2 2 G ra n t Ave . , S a n t a Fe , N M 8 7 5 0 1 5 0 5 . 9 8 4 . 1 2 3 4 • w w w. A n d r e w S m i t h G a l l e r y. c o m • H o u r s : 1 1 - 4 , M o n d ay - S a t u r d ay.
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n at i o n a l s p o t l i g h t
Circle of Dance There is far more to the dance traditions of Indigenous peoples than the colorful and
appeared, representing animal spirits like jaguars, butterflies, and even caterpillars
widely recognized powwow. For the Tlingit peoples of far northwestern North America,
that would swing from the rafters of a longhouse. At the end of the ceremony the
a dance is more than a dance—it is property, something that can be given to another
masks were burned in a bonfire and the dead person was never to be mentioned again.
clan or house. Up until the twentieth century, if a house performed a dance that was
To learn more about these and other ritual, ceremonial, and social Native dances, head
“owned” by a different house, it was considered a transgression worthy of punishment.
to the National Museum of the American Indian, at 1 Bowling Green, New York City.
Thousands of miles to the south, the Cubeo peoples of Brazil and Colombia performed
Not able to make it to the Big Apple this month? Not to worry, the exhibition runs
the Óyne dance at funerals. On the last day of a three-day ritual, masked dancers
through October 2017.
AUGUST
2013
THE magazine | 45
N ah Poeh Meng
( T he C ontinuous Path )
An illuminating installation—The Continuous Path—on view at the Poeh Museum, in Pojoaque, portrays the Pueblo worldview of their history through contemporary art and sculpture, historic reproductions, and both traditional and contemporary stories. The installation is portrayed as the four seasons: Winter, Spring, Summer and Fall. The artwork is exhibited in an accessible context—there are no cases, no glass separating visitors from the art. Individual pieces are not labeled, putting less emphasis on the individual artist, and focusing the viewer’s attention on the overall themes. The exhibition highlights the work of numerous Pueblo artists, including the figurative sculptures of Roxanne Swentzell (Santa Clara Pueblo) and painted murals by Marcellus Medina (Zia Pueblo).
Tracks by Roxanne Swentzell In the darkness there was a feeling that we wanted to be. To exist. And so we did. A beautiful world we were born into. And we could see it. And we could taste it. And we could touch it. And it felt good. The days became seasons, and we did too. All the seasons were different and had things to give. The old ones to the young ones, we filled up the space with our colors and tastes. Our hearts filled with the great mystery of it all. We had grown from the earth into the Clay People. There was also the Bird People, the Fish People, the Corn People, and even the Insect People. A large extended family leaving tracks in the world—a story of our journey. And the tracks walked into the summertime and we felt strong. We had learned many skills. We felt loved by
f e at u r e
all the beauty that was around us. It filled us up so much
another people. These people came with crosses and
Now the Clay People wondered if they could go
that we spilled over. And expressions of it emerged.
some wore metal. They did not see what the Clay
back to the way things had been before the Metal People
Songs came to us and sang out of us, and they made our
People or the Bear People or the Corn maidens saw.
came. They tried, but something had changed. The
hearts happy and drums came to beat for us and our feet
They didn’t understand that the Cloud People and the
footsteps wouldn’t go backwards. They had breathed
wanted to dance, so we did. Fibers from Cotton People
Fish People were close relatives. They didn’t understand
in the Metal People’s world and could not forget what
wanted to join in so we wove them into cloth so we
that the Worm People and the Bean People were in
happened. As time went on, more peoples came—
could wear them close to us. Our mother gave us clay
love. They didn’t see that the world was much, much
pink ones, black ones, hairy ones, and yes, the Metal
from her belly and we made vessels that resembled her.
bigger than themselves. They saw only themselves.
People came back too. This time, the Clay People knew
On these little bowl mothers, we painted the patterns
I think they were very unhappy, these Metal People.
they would take it all in because that’s what living is—
of the world around us. Father Sky warmed the plant
They must’ve been hurt very badly where they came
breathing in and out. So we kept breathing. We watched
people with the sun and they grew tall and strong. The
from to leave and come here. They were so miserable
the world change. And change and change. It seemed like
corn maidens came in all colors and blessed the people.
that they hated the world and beat on it. They tried to
we had lost ourselves in all the change. We seemed faded
And the people remembered the blessing, and corn
make everything like themselves. The Metal People’s
like the Buffalo People, the Horny Toad People, and the
became part of the prayer. And we were very thankful.
sadness swept over the world. They said that our songs
Rain People.
In the time of the dying season, far away, came
and our dances were “evil.” We didn’t know what “evil”
Sometimes when all the noises of cars and
was, but when they would say it, it didn’t feel good. And
televisions and lights go to sleep, I can feel my heart
the Clay People cried because it hurt. This went on for
pounding in my chest. I hear a distant drum beat inviting
a long time ‘til the Clay People wove a thought together
a song to come join it. I feel my breath as the wind
and decided to fight back. I think they got that idea from
gathering up the clouds. Thunder breaks the sky open
the Mountain Lion People, who knew how to fight back
and the rain mixes with my tears, falling to the ground,
after they cried. They asked the Mountain Lion People
soaking deep into the earth. Can you smell it? Wet clay
to give them strength. They asked the Bear People to
under my feet, between my toes. I walk on, leaving
give them strength. They asked the Eagle and Turkey and
tracks in the mud.
Beaver People to give them strength. They asked for all who loved them to give them strength, and they chased the Metal People out of their sight.
AUGUST
2013
From left to right: Spring: Time of Winter’s Thaw; Summer: Time of Creativity and Growth; Fall: Time of Death and Rebirth—Time of Change; Winter: Time of Being Close to Our Mother Source; Now: Time of Reflection and Deciding Where We Go
THE magazine | 47
TONY ABEYTA New Drawings, August 1 – 10, 2013 Artist Reception: Friday, August 2nd from 5 – 7 pm New Paintings, August 14 – 18, 2013 Artist Reception: Friday, August 16th from 5 – 8 pm
Untitled, charcoal and ink wash on Belgium paper mounted to canvas, 59" h x 80" w
Blue Rain Gallery | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com
Swimming in the Deep End: The Work of Tony Abeyta
by
Richard Polsky The morning after the opening of the art fair,
Abeyta invited me to join him and the Santa Fe jewelry artisan Cody Sanderson for an early meal in Santa Monica. Over some deluxe breakfast sandwiches, I couldn’t resist asking him about his thoughts on Scholder. Abeyta expressed his admiration for the work and acknowledged his trailblazing efforts, both
I admit it; I’m a tremendous Fritz Scholder fan. I
I soon discovered that Abeyta had simultaneously
as an artist and an influential teacher. Interestingly,
was hooked the day I stumbled upon the exhibition
created three distinctive bodies of work: landscapes,
the painter who had the greatest philosophical
catalogue from the artist’s National Museum of the
kachinas, and what he calls “analogous forms and
American Indian retrospective, enigmatically titled
shapes,” which reference music. My favorite Abeytas
Indian/Not Indian. At the time, I had been hunting for
are the landscapes that depict adobes. Abeyta’s
art books at Green Apple, in San Francisco, when
adobes also have a strong sense of history and feel
the volume seemed to leap out at me. After carefully
like they’ve been occupied for many generations.
studying the reproductions, I felt the poignancy
These paintings speak of the ancient Taos Pueblo all
of the work and began to appreciate Scholder’s
the way up to the modern adobe-style homes that
authenticity.
surround downtown Santa Fe. They convey Abeyta’s
Fritz Scholder’s career was star-crossed. He was a Native American painter whose prime work
appreciation of art history and pay homage to the painters who came before him.
from the 1960s and 1970s was exhibited in the
As I continued to sift through Abeyta’s paintings,
serious Manhattan contemporary art world—a
Diego and Tony told sordid tales of their early days
phenomenon which had never occurred before and
together (mostly involving wild women). While
hasn’t since. Though he died a multi-millionaire, and
listening to them relive their misspent youth, I
received more honors and accolades than you can
noticed a sand-cast silver and Bisbee turquoise ring
imagine, he was conflicted over his very identity. Was
on a small table. The craftsmanship and design were
he an artist or an Indian artist? It was a conundrum
superb.
he would never resolve and one that haunts many Native American painters to this day. Since Scholder’s death, in 2005, one of the
“Whose work is this?” I asked Tony. “Oh, you like that?” he replied. “It’s mine but I’m no longer making jewelry.” Too bad, I thought.
few painters to step forward with the talent and
Later that day, I went online and found a
self-confidence to take his place is Tony Abeyta. A
tuffa bracelet of his for sale from Fine Arts of the
Navajo, originally from Gallup, Abeyta currently lives
Southwest. Price: $3,850. It turned out that Fritz
and works in Santa Fe. Ironically, his studio was the
Scholder also briefly tried his hand at jewelry making,
former Janus Gallery, which once housed Scholder’s
mostly colored enamel and silver bolo ties depicting
first Santa Fe exhibition in 1971. When I first met
human skulls and buffalo heads. It was yet another
Abeyta, he impressed me not only with his art, but
unexpected connection between the two artists.
also with his firm grasp of the national art scene.
About six months later, I met Abeyta for a
Scholder also closely followed the New York art
second time, at the Los Angeles Art Fair. His work
world and even owned a studio in SoHo. Though
was featured in Blue Rain Gallery’s booth. There was
both artists were/are art market savvy, the difference
a tasty variety of paintings, which ran the gamut from
is Abeyta, unlike Scholder, also knows who he is.
realism to abstraction. What tied the pictures together
I was originally introduced to Abeyta’s work
was their confident paint handling. Abeyta reminded
by the extraordinary ceramic artist Diego Romero,
me of the ballplayer Reggie Jackson. “Mr. October”
during the summer of 2012. Just as the two of us
(so-called for his clutch play during the World Series)
arrived at Abeyta’s studio, an assistant whisked a
had a reputation for hitting a ton of home runs; but he
framed canvas out the door. A fleeting glance revealed
also set a record for strikeouts. Yet whether Jackson
imagery inspired by the early Taos Modernists—but
parked one in the upper deck or went down swinging
with a twist. The clouds, mountains, and piñon trees
on three straight pitches, he was never cheated out of
retained their identities, but appeared as if they had
an at-bat; he left everything he had to give at the plate.
been run through a contemporary art filter—like a
And so does Tony Abeyta at his easel, though happily
streamlined Ernest Blumenschein.
his batting average is much higher than Jackson’s.
person of interest
influence on him was Agnes Martin. When he lived
Still only in his forties, Abeyta has a chance to take
they’re sure to inspire his audience to search for
in Taos he used to take her to lunch approximately
Southwestern imagery in a new direction. While
greater truths.
once a month, using the opportunity to absorb her
most artists are content to develop one cohesive
wisdom. After Martin passed away, he even briefly
body of work, Abeyta continues to successfully
rented her studio.
spread his energy among the three aforementioned
As to whether Tony Abeyta is better than Fritz
groups of pictures. As someone who lives with one
Scholder or the next Fritz Scholder, that’s ultimately
of his landscapes, I’ve learned how looking at it on a
irrelevant. Artists hate labels and comparisons.
daily basis eventually reveals its secrets. As Abeyta
They simply want to be seen as individual painters.
continues to deepen the mystery in his paintings,
Richard Polsky is the author of The Art Prophets. Richardpolsky.com
Blue Rain Gallery ’s Annual Celebration of Contemporary Native American Art takes place from August 14 to 18, with a reception for Tony Abeyta on Friday, August 16 from 5 to 8 pm.
photograph by
AUGUST
2013
Dana Waldon
THE magazine | 51
Eric Tillinghast
•
Water/Nymph
August 2 - September 27, 2013 opening reception: Friday, August 2, 6-8 pm
Richard Levy Gallery • Albuquerque • www.levygallery.com • 505.766.9888
J I M WAG N E R :T RU DY ’ S H O U S E
AT T H E
H A RWO O D M U S E U M T H R O U G H S E P T E M B E R 8 T H
THE RANCHO MILAGRO COLLECTION 127 BENT STREET TAOS, NM
575.758.3733
www.ranchomilagrocollection.com
J im W agner
critical reflection
Matthew Gray: MULE
Matthew Gray Studio 821 West San Mateo Road, Santa Fe
Matthew Gray’s show MULE USES TWO TONS OF HARD CANDY, plywood, spray paint, and glitter to create large-scale in-
neon that’s engulfed by peculiar candied objects and an
foot-high display of candied products. It acts as a sizable
stallations that suggest extravagant window displays while
overall dusting of glitter.
altar filled with stringy caramel strands that hang over the
questioning forms of high and low art. The main floor of the
Poured from an extensive collection of found objects,
wood like waterfalls, “flower fields” of lollipops, crystalized
warehouse space is filled with six structures, four enormous
Gray’s latex molds fashion jewel-toned crystalized replicas
hammers, billboard planks coated in muddy colors of tinted
photographs, and a Flavin-esque light box. They are kind of
of Chanel perfume bottles, Manolo Blahnik heels, travel
corn syrup, and more. Despite the oral fantasies, eating it is
vulgar, but fun, and as I write, the show is not quite finished.
shampoos, vintage Coca-Cola bottles, tires, axes, limes, and
not the point, and the show teases with the anticipation of
Six weeks before the opening, Gray set up shop in the
more. Most of the candy is edible and any intent for inciting
wanting. González-Torres stressed that all art is political, an
warehouse to work on site. The whole place smells like
oral fantasy is barely subsidiary. These are objects of desire,
assertion that seems truer today, and Gray’s installations are
burnt sugar, and in the far corner is a small plug-in stovetop
and when made literally consumable they are very hard to
nearly a site of protest against societal consumption.
with two burners, a few large, stainless steel crockpots,
resist. A blue and red, opalescent, sugary, Chanel perfume
Gray is a seasoned artist who’s been showing his work
and a dozen handmade, food-safe latex molds. Everything
bottle begs to be licked or groped. Sucking on something
for twenty years across the globe with pieces in a number
is covered in a molten black encrustation, especially the
artificially lustrous is kind of sexy—a strawberry-flavored hard
of impressive collections. Installations like MULE are merely
burners, and it’s surprising there isn’t an ant infestation. This is
candy turns your tongue redder. Display it between your teeth
fodder for his photographs, which are the saleable object.
by no means a sterile culinary environment, and Gray makes
and it becomes a gemstone that entices. The often-shiny,
It is perhaps unfortunate that Gray monetizes the work at
no excuses for his artistic process. This is, as he says, “cotton
crinkly wrappings, magnified and idealized by Koons, are like
all, considering his taste for nearly offensive forms of low
candy on steroids,” referring to the ridiculously colorful candy
tinsel and reminiscent of late-night parties or something a
art. Then again, it is this juxtaposition of high and low that
sculptures already on display somehow spawned from this
little taboo and possibly bad for you. Gray’s larger-than-life
gets Gray really excited. Local artist Nic Nicosia also creates
mess of severely burnt sugar, water, copious amounts of corn
photograph of a candied Chanel bottle, framed by a border of
elaborate installations for his photos, but somehow his sets
syrup, and muddled food coloring that’s all over the floor.
sparkly black car enamel, looks like an ad on steroids.
don’t suggest Studio 54 and uppers. MULE’s impossibly
Gray is working against the elements, and some of the long,
Using food isn’t anything new: and Vik Muniz, Janine
bright colors, harsh floodlights, and glittery chaos make
phallic extensions are drooping in the heat. Undoubtedly,
Antoni, and Marina Abramovicć are some of the most notable
the staging feel like the fun part, but Gray’s sweet tooth is
his materials lack sophistication, but that is kind of the point.
artists to indulge in sweets. Félix González-Torres is probably
decidedly ephemeral. After the show is over and the work is
Most of them can be found in aisle nine of the local grocery
the most well known for specifically using candy, and in his
photographed, Gray will boil down the salvageable candy for
store or at a truck stop, and this fact makes the artist proud.
piece, Untitled (Portrait of Ross in L.A.) (1991), he piled one
reuse. In attempts at preservation, some pieces are varnished
A wad of neon yellow chewing gum is stuck to the base of
hundred and seventy-five pounds of candy in a corner to
with an inedible coating, so lick with caution.
the central sculpture, a seven-foot-tall mule. Gray’s basic,
symbolize his deceased partner and invited visitors to take a
—Hannah Hoel
unrefined plywood structures are merely stages for his
piece from the pile. Eating the food depleted the pile, which
candied fanfare. Two-by-fours project off the mule and form
was then replenished. Candy served as communion and
its body and raised platform, all of it spray-painted with hot
offered a delicate demonstration of love and even prosperity.
pink, yellow, orange, green, and blue in a shock of eighties
The back wall of MULE boasts a forty-foot-long-by-sixteen-
AUGUST
2013
Left: Installation view Right: Matthew Gray, MULE: Lollipops, C-print on Dibond, 64” x 48”, 2013
53 THE magazine | 51
Dwellings: Christopher Benson, Tom Birkner & Peri Schwartz
Gerald Peters Gallery 1011 Paseo de Peralta, Santa Fe
Three seemingly disparate artists contribute to Dwellings, a show of contemporary paintings at Gerald Peters Gallery. The
of a low-volume radio and feel the condensation on the metal
Roswell on foot, but anonymously, as if in a dream: they negate
title of the show invites associations of the familiar, and hopefully
door handle. Perhaps most of us don’t associate vehicles with
intimacy and are deliberately, tantalizingly vague.
cozy, aspects of domestic life, but the exhibition in fact posits
dwellings, but indeed the picture made me feel contained
With her colorfully expressive paintings, Peri Schwartz
that “dwellings,” as a concept, is an expansive one, big enough to
and relaxed, cozy and safe from the rain outside. The painting
suggests that her studio is her happy sanctuary, and it’s also the
comfortably accommodate feelings of uncertainty and adventure,
encourages us to consider the car as a means of protection as
subject matter for each of the just-this-side-of-figurative still-life
as well as self-discovery and simple contentment. To effectively
well as travel, a place where we reflect, anticipate, and observe.
paintings in this exhibition. Despite a cheery palette, Schwartz’s
recall the familiarity of one’s living environment or comfort zone
Other works, like Gold Town, are meticulously painted, poignant
compositions are nervy and intimate: behind-the-scenes glimpses
is no small feat, but this show proves to be an aesthetic and
vignettes of everyday life. While a cat plays in the background, an
of an artist at work, they occur to the viewer as a reverential
intellectual success.
old man stoops along a dirt road with a metal detector. Beyond
and rarely seen portal into the creative process. For Schwartz,
Realist painter Tom Birkner captures everyday scenes
him is a dazzling expanse of blue sky, but his eyes are focused
the studio is dwelling and respite—a place in which she feels
of American life—cheerleaders, hot rods, and trailer parks.
on the ground beneath him. Quintessentially American, Birkner’s
creatively alive and inspired. Indeed, the bright colors and
Cerebral and modestly sized, Early Morning R&B places the
take on contemporary realism is infused with evocative detail and
insouciant brushstrokes that characterize these works attest
viewer in the driver’s seat of an automobile, navigating city
multitudinous interpretive possibilities.
to Schwartz’s obvious comfort with her creative environment.
streets in drizzling rain. Rivulets of water run across the surface,
Christopher Benson’s paintings are irrefutably figurative,
The riot of Hans Hoffmanesque hues in Bottles and Jars #9 at first
and the foggy morning skyline is punctured by the neon lights
and also sensually textural and lushly crafted. Benson used an
looks gestural and abstract. In fact it’s a scene from the artist’s
of restaurants and truck stops; you can almost hear the static
extended visit to Roswell, New Mexico, to capture desolate
workspace, a row of containers and jars, of colored paints and
street scenes. Those of us familiar with the Southwest, where
oils: the ephemera of an artist, captured in Schwartz’s loosely
sloped-walled, beige-colored domiciles can look like cakes
figurative style. In straddling realism and non-objectivity, Schwartz
waiting for frosting, will take immediate pleasure in Benson’s paint
manages to inject a bit of mystery into her work, while also
application; it’s as if he uses a frosting spatula to apply his colors.
maintaining the essential privacy of her dwelling.
Sun-soaked street scenes, dark corners, and dramatically lit
Dwellings is an elegant tribute to that most tender human
monochromatic adobe buildings dominate this small but muscular
desire: finding and possessing a safe haven. From each of these
body of work. The paintings are solidly built, with thick, smooth
artists’ perspectives, we arrive at surprising interpretations of
texture and deep, luminescent layers of color; in one, simmering
what domesticity and shelter can be: the densely observational,
oranges and pinks occur as visually pleasing and even whimsically
longing realism of Tom Birkner; the deeply private discovery of
logical complements to a flat expanse of cement parking lot. The
Chris Benson; and a sense of cheerful belonging in the case of Peri
robin’s egg sky beyond a jagged wall of pale rose makes Roswell 3
Schwartz. In different ways, we’re reminded that home is quite
a study in subtle contrast. A wide swath of pavement comprises
literally what we make it.
almost half of Roswell 2, an un-peopled urban scene where long
—Iris McLister
shadows stretch across sidewalks and a blank street sign leans almost menacingly against a dull blue wall. Invariably, Benson’s perspective is unexpected, making the viewer feel he’s travelling
Left: Christopher Benson, Roswell 3, oil on linen, 20” x 24”, 2013 Bottom: Tom Birkner, Gold Town, oil on canvas, 27” x 42”, 2013
critical reflection
Shiprock
and
Mont St. Michel: Photographs
by
William Clift
New Mexico Museum of Art 107 West Palace Avenue, Santa Fe
“For me, photography is about mystery, not facts.” —William Clift
T w o enormous roc k s . O ne rises nearly sixteen hundred feet into the air in the northwest corner of New
peer over edges, gaze through archways, and look down
onto a dark cluster of rooftops. Beyond them are details of
Mexico. The other lies off the coast of Normandy, France, on
on gargoyles. We see rooflines and spires and carvings and
sea and sand that reveal a curve of repeated ripple patterns
a two hundred and forty-seven acre tidal island. One natural,
railings and friezes. Across the way at Shiprock we experience
in the sand—caused by the tide—that flow from a blindingly
one “human made.” Shiprock was formed by volcanic
details of dikes, rock faces, erosion, a tiny waterfall, and yes,
sunny patch of sparkling sea. Clift does not intend for these
activity. Mont St. Michel resulted from an earthquake and
even spires. Clift’s skies are everywhere and are important
photographs to document or catalogue the monuments,
is now covered with a church, monastery, and tiny town.
in each location. Both monuments seem to support the sky
rather he tries to capture the experience of being there.
The powerful presence of both places inspires writers,
and clouds and storms in a not so dissimilar way.
The images are intentionally untitled to encourage us to
artists, and pilgrims of all descriptions. We are fortunate to
The remaining alcoves present images that perhaps did
interpret them. When I worked in France, I made seasonal
be able to experience both sites through the mysterious
not fit the themes of the prior groupings. Here is Shiprock
pilgrimages to Mont St. Michel. During one of these visits my
lens of Santa Fe photographer William Clift in a beautiful
rising behind a flock of sheep and Le Mont’s giant shadow of
friend Florence and I lagged behind our group while visiting
presentation at the New Mexico Museum of Art.
itself stretching long at day’s end. And then there is a lovely
the crypt. Ours was the final tour of the day and the guide
Clift has been photographing Shiprock and Mont St.
wall of photographs revealing human touches captured at
locked doors behind her as she went. Flo and I were nearly
Michel for over forty years, and the approximately seventy
Shiprock. In one image a woman sits alone on the sand. In
locked in and that sense of isolation, of disappearing into
black-and-white images presented here convey a strong
another, Shiprock casts its shadow on a single car far below.
the bowels of the rock inside this ridiculously busy place, is
sense of how each monolith dominates its landscape and
In another there is a cairn and a walking stick. The few
exactly what Clift captures.
reaches into the sky and how each has magnetized Clift.
images of France and New Mexico that are displayed side
Organized by the Phoenix Art Museum, this traveling
The images are dark and brooding, dense with detail. We
by side are welcome and create a wonderful experience for
exhibition occupies the NMMA’s Goodwin Gallery.
sense the emptiness of the desert around Shiprock and the
the viewer. One pairing—they are even framed together—
An eight-minute video profile of Clift from the PBS
loneliness of Mont St. Michel—difficult to achieve given that
combines waves swirling on the sand at Mont St. Michel
program ¡Colores!, well worth watching, is available for
this is one of France’s top tourist attractions, with some
and an intricate desert plant on the raw dirt at Shiprock.
viewing in a side alcove, just outside the main exhibition
three million visitors annually.
Another pairing lets us look down on Mont St. Michel’s own
space.
shadow and up at towering Shiprock. I wanted more of
—Susan Wider
For the most part, the pictures are segregated, which I found to be a bit sad. The wall text says that the separate
these contrasts.
bodies of work from 1973 to 2010 are “in conversation with
Clift’s photographs really help us look and question. In
one another,” which begs for a few more of these views to
one image taken from high in Le Mont we look down directly
Left: William Clift, Mont St. Michel, gelatin silver print, 1982 Below: William Clift, Shiprock, gelatin silver print, 1984
be located side by side. Instead there is an alcove of Mont St. Michel exteriors across the gallery from an alcove of Shiprock “exteriors.” At Mont St. Michel, Clift shows us Le Mont at a distance, looming in the fog, and then a view from high in the monastery looking down on the structure’s many spires. There’s even a view of my favorite little staircase that descends through small gardens. The photograph reveals a hidden satellite dish and spotlights for nighttime illumination. In the corresponding Shiprock alcove we find a Mont-like iconic shot and views from above and from afar and along the dike. There’s an image where we feel we are climbing Shiprock, can even touch it, and also see the view outward. The next two alcoves offer details and interiors—still segregated—of each place. At Mont St. Michel, Clift lets us
AUGUST
2013
THE magazine | 55
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critical reflection
Cosmotiana: The Measured Paintings (1970-1986)
333 Montezuma Arts 333 Montezuma Avenue, Santa Fe
Encountering the lucid palette and hip geometric shapes sprawling across the walls of 333 Montezuma Arts, one might scan the gallery for
San Francisco’s Skid Row and with migrant workers in Central California, Smith accepted a
information on this young emerging artist. It comes as an invigorating surprise that each
teaching position at the CSFA where he taught alongside Clyfford Still, Mark Rothko, Elmer
of these seventeen acrylic-on-canvas squares is older than most art school grad students.
Bischoff, David Park, and Richard Diebenkorn, among others, until 1952. Smith then split his
The incredibly fresh and loose paintings in Cosmotiana: The Measured Paintings (1970-1986),
time between the West Coast and England, eventually making the U.K. his permanent home.
curated by Dr. Petra Giloy-Hirtz, are the work of West Coast “underground legend” Hassel
Smith’s dynamic life is paralleled by the developments in his painting styles, often
Smith (1915-2007).
fluctuating between representational and abstract conceptions of visual expression.
Smith’s artistic career spanned six decades and he worked in several distinct painting
However, the fluidity with which Smith shifted between figurative and abstract systems
styles. The history of his life and trajectory of his artistic output transcend the scope of this
suggests that his inspirations and motivations were never a question of representational
review—a recent monograph published by Prestel, Hassel Smith: Paintings1937-1997 (2012),
versus non-representational worldviews. Rather, Smith’s oeuvre can be viewed as a broad
has been dedicated to this complex task. The exhibition Cosmotiana revisits Smith’s abstract
compendium, a visual record of the artist’s commitment to explore the endless potential for
geometric “measured paintings,” a stylistic period within Smith’s work that fell flat among his
pictorial communication available within paint.
contemporary audience. However, these sixty-eight-inch square paintings provide significant
In the so-called “measured paintings” on view in Cosmotiana, basic Euclidian shapes—
insight into the artist’s lifetime commitment to intellectual exploration of pictorial language.
circles, rectangles, triangles—float over expanses of paint, sometimes overlapping,
Smith was born in 1915 in Sturgis, Michigan, and grew up in the Midwest. He studied
sometimes slipping beyond the edge of the canvas out of view. Precisely penciled outlines
art history and English literature at Northwestern University, and while he became a painter,
are variously fleshed out in color, or simply left to hover in monochromatic space. These
he never abandoned his love for many art forms including music, poetry, and dance. Turning
subtle lines, threaded throughout each of the works, create a grid-like substructure that is
down an offer to continue his studies at Princeton, Smith enrolled in the California School
detected just under the surface. This carefully calculated substrate supports the events and
of Fine Arts (now the San Francisco Art Institute) in 1936. After stints working with men on
intervals taking place between forms, organically orbiting according to a broad ordering principle. Smith’s shift to geometric abstraction also coincided with his shift to exclusive use of a still relatively new medium: acrylic paint. In his constellations of forms, there are bodies made up of loose, painterly texture alongside shapes made opaque with pigment. The result, rather than a flattened, rigid configuration of hard-edge lines, is a dimensional interplay between static order and mutable dynamism. The palette is fresh and bizarre: placid shades of rose and mint are set against punchy reds, oranges, and mustards; wedges of raw canvas peek through unexpectedly. All of these elements of color, texture, and line seem to trace the artist’s process—a conception of pictorial creation as building each composition from the ground up. It is as though Smith became more certain of a given circle than a given rectangle, resulting in a circular pop of pure red, while the rectangle was left with the painterly texture of the undecided. Where a shape is left underdeveloped in one painting, however, it is taken up again on another canvas, creating an energy of rediscovery and playfulness throughout the exhibition. Cosmotiana leaves the impression that each canvas is an iteration of a single driving motivation. Within this body of “measured paintings,” as well as within the broader arc of his artistic development, there is an insatiable and intellectual commitment to explore, if not exhaust, all facets of pictorial creation. These paintings read like a jazz soloist venturing into the potential improvisations that lie within the contours of a tune, or a poet rediscovering the flowering of language within the constants of metered verse. Smith, a student of poetry and lover of jazz, spoke of his painting as not only closely related to traditional art forms, but also to such forms as games, maps, and quilts: foundations built upon a blueprint of rules and order, giving life to innumerable expressive outpourings. —Lauren Tresp
Hassel Smith, Cosmotiana, acrylic on canvas, 68” x 68”, 1982
AUGUST
2013
THE magazine | 57
Robbi’s portrait project is composed of a brave range of Santa Feans from a beloved judge to a homeless youth. Known for her highly prized commissions, her “Spirit Capture” portraits deftly reflect subjects’ inner selves, hopes, and dreams. Her clients include Grammy Winner Keb’Mo’, singer Bart Millard of best-selling band, “MercyMe”, & Michael Beckwith of famous film and book, “The Secret”.
fine western & contemporary art
203 West Water St. • Santa Fe, NM 87501 www.casweckgalleries.com • 505.988.2966
critical reflection
Changing Perceptions
of
Western Landscape
The Albuquerque Museum of Art and History 19th and Mountain Road NW, Albuquerque
No One believes in landscape anymore. As a self-contained genre, pretty vistas and sublime scenes feel compromised. There’s a shadow moving across those sylvan fields, the shadow of ideology… Today, like so much else, landscape has been unmasked. Its aesthetic is culturally constructed, its origins philosophically tainted, and its politics downright dodgy… The image is no longer innocent. —Ginger Strand in an essay from Badlands: New Horizons in Landscape
A viewer could take a cursory look at Erika Osborne’s work Looking for Moran and think that it was
artists such as Albert Bierstadt, Frederic
This in turn is mirrored in an archive of
of what at first looks like a bombing range
a throwback to America’s great age
Edwin
Cole,
encyclopedic knowledge stacked, carved,
out in the middle of a desolate nowhere.
of landscape painting—but not only a
approached landscape painting as if
and rendered as a visual aid for understanding
Their piece, Manifest Destiny, turns out
throwback, almost a carbon copy of Thomas
America was a vast cathedral and the
the nature of geologic strata. The real and
to be a miniature version of upscale
Moran’s The Chasm of Colorado from 1874—
artists who immortalized it were its
the imaginary circle around each other in
tract housing—with circular culs-de-sac—
and a slavish imitation of a tradition no
clergy. The Hudson River School, to
superb conceptual fashion, and Laramée’s
on the edge of a desert mesa devoid of
longer so innocently embraced. However,
which these men belonged, became part
piece becomes an endlessly refracting
anything but a parched bleakness.
Osborne’s answer is right there in the
of America’s nineteenth-century cultural
narrative about deep time.
foreground of her painting with its references
underpinnings and supported America’s
to tour buses and scenic overlooks with their
Church,
and
Thomas
What is clear in this show is that the included
artists have grappled with the nature/
sense of Manifest Destiny, with its license
in this survey of artwork representing
culture debate in a variety of ways,
suggested vantage points—the better to
to exploit as well as aggrandize. As we all
approximately forty years of landscape
commenting on the devastation to the
frame the tourist snapshot of that topographic
know, times have changed dramatically,
interpretations;
land from strip mining, raging fires,
grandeur. Actually, this exhibition is all about
and one can only wonder if any scenic
individuals in the show are Mary Tsiongas,
over-development,
framing one’s responses to landscape: to
overlook does not come with a frisson
David Hines, Joanne Lefrak, Donald
Like Burke’s painting, however, not all
what may still inspire us, fill us with dread, or
of cynicism as the romance of the West
Woodman, Vincent Valdez, and Ursula
the work evinces negative attitudes.
provide us with moments for philosophical
continues toward a dicey denouement—a
Coyote, who shot publicity stills for the
Gus
speculation, with or without the irony.
theme definitely touched upon in this
television series Breaking Bad. In her
degree panoramic photograph, Wingdom
wide-ranging and provocative exhibition.
photographs, the New Mexico landscape
Peak, Colorado, is an elegy for high-altitude
Thomas Moran, along with fellow
Twenty-five
artists
some
are
of
the
other
Foster’s
and
indifference.
three-hundred-and-sixty-
The Grand Library,
appears like a malevolent third rail in
experiences, and William Lamson’s video,
by Canadian artist Guy
the plot twists of the series. There
Untitled (Blowing Blanket), is a study in
Laramée, is a kind of
are text pieces as well such as Jack
whimsy. Lamson, with his unseen camera,
conceptual
bookend
Loeffler’s Consciousness as Commons—
tracked a silver space blanket that blew
to Osborne’s painting.
audio recordings of individuals like Edward
a scant few inches above the ground
Carved
from
Abbey, Gary Snyder, and Peter Warshall
or sensuously rolled and tumbled along
books—eighty volumes
commenting on our varied relationships to
the playa. The blanket seemed to have a
of
Encyclopedia
the land. Each work in this exhibition is its
mind of its own, bent on creating a desert
Britannica to be exact—
own narrative about how we experience
choreography with no beginning or no
Laramée’s work is a
the geography of the West and no two
end; there wasn’t any message that I could
wonderfully
stories or visual meditations are alike.
fathom in this piece except what might
entirely
the
wrought the
Charlie Burke’s large painting, Sundance, is
be written on the wind by an invisible
Grand Canyon as an
a lyrical view of what it means to lie in a field
someone with an ambiguous point of view.
archive
statement
billions planetary
about
of lush grasses; yet Burke’s idyllic vision
It remains to be seen if human beings
of
segues right into Amelia Bauer and Robert
have rigged our existence on this planet
processes.
de Saint Phalle’s mixed-media sculpture
beyond redemption, but in the meantime,
representing of
years
artists continue to reframe the debate embedded within a host of geographic uncertainties, and they keep on wrestling with the idea of the collapse of nature. In the end is our beginning, T. S. Eliot suggested in Four Quartets, and this exhibition loops us backward and forward within a topography of thorny questions that began with the first cry of “Westward Ho!”
—Diane Armitage
Top: Guy Laramée, The Grand Library, carved books on steel frame, 60” x 96” x 36”, 2004 Bottom: Erika Osborne, Looking for Moran, oil on canvas, 48” x 96”, 2012
AUGUST
2013
THE magazine | 59
MONROE GALLERY of photography
THOSE WHO DARED
Fritz Scholder, 1982
E L L IOT T MC D OW EL L P H OTO G R A P H E R Ralph Morse ©Time Inc.: Jackie Robinson rounding Third base during World Series against the Yankees, 1955
Exhibition continues through September 22 open daily 112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e: info@monroegallery.com www.monroegallery.com
ElectroBiking of Santa Fe Power-assisted Biking - Sales • Rentals • Tours Guadalupe Station - 328 Guadalupe Street at Montezuma, Suite H, Santa Fe 505.819.5165 www.electrobiking.com santafe@electrobiking.com
E L L I OT T M C D OW E L L .C O M
critical reflection
REACTS 1-11
and
FACETS 1-8
Jonathan Morse 1348 Pacheco Street, Suite 105, Santa Fe
The exhibition of prints on view in Jonathan Morse’s studio in July represented the artist’s most recent
yield black-and-white images with rich, dark
dimensional grid. Yet the foreshortened top
emerge again in Reacts 10 in the familiar solid
work with digital imaging. Reacts contains
blacks and intensely bright highlights. The
and front of each cube, reinforced by the
formation, and finally as a single monumental
an edition of eleven, and Facets an edition
selection of Moab Slickrock for the Reacts
front facet’s black surface, effectively tip the
expression in Reacts 11.
of eight prints. Both series were completed
and Facets series over the Entrada Rag—or
cubes forward and hence shift the viewer’s
It is this monadic version of the cube
in 2013. The digital images in each series
the imported Japanese Moenkapi Unryu
vantage to a position above the floating
motif that is featured in the subsequent
are printed on Epson inkjet printers using
which the artist used for an earlier series
formation, producing an ongoing optical
series Facets, hovering in the high-contrast,
pigment inks in place of the dyes associated
(Sguardi)—represents an aesthetic choice
ambiguity as the composition goes back and
high-resolution space of some distant
with Iris printers. Morse’s care in his selection
more than simply a technical preference,
forth from a flat grid on a plane to a solid
galactic quadrant like the iconic Borg ship
of pigment inks extends to his choice of
as it involved Morse’s intent to extend his
armada floating in space. Morse exploits this
from Star Trek. It is here that the full effects
paper. Most of his images are printed on
concept for a given series to engage the very
two-dimensional versus three-dimensional
of the properties of digital imaging are felt,
Moab Entrada Rag, a 100% cotton paper
look and texture of the paper used to realize
tension throughout both series, thus drawing
reinforced by the pigment inks and metallic
that provides the natural look and feel that
its images.
upon the optical ambiguity at the core of the
paper. While the cube in Facets 1 is actually
Morse requires, as well as the wide range
Specifically, the mirror-like surface
Renaissance perspective system dating back
no larger than its image in Reacts 11, Morse’s
of color and value contrast and the high
of the Slickrock Pearl paper captures the
to Uccello and Piero della Francesca, whose
deployment of high black-and-white contrast
definition that he seeks in the final result.
perlucid geometry and deep-space clarity of
own recourse to similar rectilinear illusion in
and luminous, irregular red striations on the
But for these two series Morse turned to
both series, whose central motif is a massive,
the architectonic backdrops of some of his
foreshortened cube sides vastly alters the
Moab Slickrock Metallic (Pearl 250), named
solitary cube with its multiple facets and the
frescoes is recalled here, and again in Reacts
perceived scale of the cube here to that of
after the Moab Desert’s renowned mountain
myriad effects of its disposition in space.
10. In the several images following Reacts 1,
some alien Cyclops. This new scale pervades
bike trail whose ultra-smooth sandstone is
In Reacts 1, the cube’s iteration creates an
the sharply projecting cube seems to retreat
the Facets series, even more so in close-up
recalled in the paper’s surface. The Slickrock
ordered sequence of three rows of cubes
into a vast grid of its constituent squares
views of the cube (Facets 2-4, 6-8). By the
Pearl paper’s high gloss and metallic sheen
placed one above the other to form a two-
to yield a rich tapestry of surface, only to
last image of the Facets series, the viewers who began with the rich patterns of the Reacts prints now encounter portals into deep space, through which they observe the absolute clarity and subtle variations of color and texture on geometric forms that imperceptibly turn in colossal stasis. And yet, due to the metallic property of the paper, the black facets in several prints from both series reflect back the actual, studio space of the viewer, playfully disrupting the imagery’s “suspension of disbelief” at the same time as the deep-space imagery sustains it. Morse’s command of the digital print process dispels the conventional notion of digital imaging as simply high-end graphics. A printer for over three decades, Morse speaks with authority in asserting that digital imaging is an original printmaking medium. The artist brings his experience with traditional
printmaking
materials
and
techniques to bear on this new, and by now pervasive, printing medium. All of Morse’s images are original to the computer, not altered versions of images created with, or objects captured by, photography. His approach to the role of the medium in his art is straightforward: “I will continue to think about, touch, and experiment with papers that I come upon to harness their unique character in the service of my expanding visions.”
—Richard Tobin Jonathan Morse, Facets 3, archival digital print, 22” x 28”, 2013 AUGUST
2013
THE magazine | 61
critical reflection
Javier Lopez Barbosa
Mark White Fine Art 414 Canyon Road, Santa Fe Mark White Contemporary 1611 Paseo de Peralta, Santa Fe
J av ier Lopez B arbosa trained as an opera singer . In the earliest days of his childhood he remembers seeing himself as an adult, as an artist, a
building investment vehicles for ill-gotten gains. Plenty has been penned of late to say that the
painter. He retains his passion for both forms, but for the past twenty-five years he has made
high-end art world has become an empty form (which is kinder than calling it a full-on money
his living by making paintings in his Santa Fe studio. Just recently he has returned to training his
laundering operation for the world’s biggest human rights violators. Not that there will
voice, but his most significant singing is done with paint. His recent exhibition, titled Music in
always be a market for formaldehyde marinated shark or sheep, per se (because they don’t
Color, filled both Mark White Fine Art on Canyon Road and Mark White Contemporary at the
taste very good), but in 2011 Forbes magazine noted that the blue-chip art market was the
Railyard, the now one-year-old successor to the lost BOX Gallery.
most robust economy in the world. It has been since the fall of ’08. There is no better place
The budding Mark White empire is built on the perpetual-motion machines that artist
to plop your war profits, your bailout bonus, your mercenary gains, your outlandish insurance
Mark White has produced for many years in the center of Canyon Road. These meditative
company profits, and your weapons sales income than in modern and contemporary art
whirligigs and wind and water sculptures are certainly as compelling rhythmically and
investments, the most active of the many commodities the auction houses pimp. This is the
perceptually as any Vasarely or Bridget Riley and as pleasantly playful as a Calder. Their sales
best place the one percent has to park cash, outside their own private Federal Reserve.
are how White has been able to raise a family and run his two galleries. The emperor in this
Those of us who love to make and look at art know full well there can never be any genuine
case appears to be perfectly capable of clothing himself. Both Mark White and Barbosa are
connection between financial value and the quality of an artwork. The financial value is established
excellent examples of hard-working artists who make it on the strength of their mercantilism,
by a set of empty forms that capitalism keeps faith with and uses to maintain oppressive societal
rather than by ascending to the lofty echelons of the art world ziggurat. They are, like a great
control that terrifically impinges upon any true flowering of human creativity. Picture a Mark
many good artists, horizontalists, egalitarians.
White in every big museum sculpture garden instead of a David Smith and you begin to glimpse
Economic anthropologist Stuart Plattner has transposed the idea of a “Tournament
the arbitrariness of a given artist’s position on the pyramid.
Structure” into the art world, and in many ways the analogy holds, as do the trumpeting
The higher you rise the less based upon anything real it all becomes. Eventually
echoes of Dark Age medievalism. The winner-take-all approach is the one percent in action,
the hype drowns out any actualities and the market becomes a series of power plays, and up here the emperor begins to show a lot more skin. It’s all very sexy, in a depraved and desperate sort of way. Back on the ground floor, Barbosa and White function in a real economy. Their patrons purchase for pleasure and the demand is real. Real enough to send kids to college on, and to run businesses, and to pay for vocal training, etc. So these are honest exchanges. The qualities paid for and taken home have nothing really to do with investment, they have to do with the complex intricacies and pleasures of the human spirit/body apparatus, and as such remain phenomenologically unpriceable. That this isn’t widely grasped in relation to all commodities is a major blind spot within Euro-derived cultures, and the main reason for their rampant materialistic greed. In Barbosa’s case the unquantifiable qualities are indeed operatic and closely related to music. He employs the full chromatic scale, often against mottled white grounds with big basso profundo black holes. The contrast and drama is high, even hyperbolic, while certain sustained notes of color hang in the atmosphere with a pure and ethereal lyricism. Some people like opera more than others. Some people like kinetic sculptures. On the horizontal level, at the foundation of the pyramid, everybody gets their cup of tea. If this level of the pyramid were to walk away, the priesthood up top would up and topple. And it doesn’t matter financially what some writer thinks about any of it. It only matters that the thoughts be worth reading. Art is for seers and lookers. We really should all be allowed to fall in love differently. The neo-medieval art world tournament system, the most robust portion of the world economy since the fall of 2008, a scam, like the rest of the one percent projects, is also an impingement upon respect for the diversity of taste, which is of utmost importance if we are ever to inhabit, as artists and authentic human beings, the real empire of human creativity that is our birthright.
—Jon Carver
Javier Lopez Barbosa, Study of Purpose, oil and mixed media on canvas, 70” x 62”, 2013
AUGUST
2013
THE magazine | 63
Currents: 2013 Santa Fe International New Media Festival
The future is here, that much is clear. While traditional media will not disappear, the artmaking field
with it for a considerable time.
El Museo Cultural de Santa Fe 555 Camino de la Familia, Santa Fe
carrying impossibly large loads. Jonathan Brainin’s Pendulum Video brought to mind Steve Reich’s piece by that name, which in fact was a catalyst
has expanded in marvelous ways, asking for a more open and
Another question fundamental to reception of these
for this work. It is very much in the video-art tradition that
tolerant kind of attention than we may be accustomed to paying.
works is their relation to older art forms. Matthew Chase-
followed upon and diverged from experimental cinema (and
The Santa Fe International New Media Festival included
Daniel’s River, a happy marriage of video and objects, was
is closely linked with the experimental music tradition).
multimedia performances, panels, workshops, shows at
ideally adapted to the particular circumstances of such a show.
Brainin attempted a reformulation of the relationship
multiple galleries, outdoors, and at the IAIA Digital Dome.
An aquarium stand held flowing water and rocks plus a video
between image and environment, between viewer
I will focus here on works shown at El Museo Cultural’s
image and sound of a stream. Approaching the seamless
and screen. An intervention was needed to make the
rambling space, which featured numerous single-channel
integration of media in Peter Sarkisian’s best pieces, it created
monitors swing, which causes variation in whether viewers
works by artists, college and high school students, and over
a lovely experience that can be as brief as one likes, with no
experience the piece as kinetic sculpture or video display.
thirty installations. For the opening evening, when several
captions necessary. Sculpturally successful in a quite different
Another pertinent issue raised by complex artworks is the
performances were in progress, one had many choices:
way was Myriam Tapp’s La Mancha II, which resembled a large
human need for narrative. Cesar Meneghetti’s I/O showed
give in, resist, or play with the pull of things pulsing, pinging,
fragment of eggshell with a little house perched on its slope.
interviews with people in the Sant’Egidio community of
wailing, and crackling. I let myself be drawn in by the come-
Projected light passed over it, shadows fled, speaking without
Rome who have physical or mental disabilities. Four people
hither aspects of some pieces, and watched people interact
words about impermanence and change.
were pictured at once, with one of their voices heard at a
with the art and, equally important, with one another. Kayla
Several works evoked experimental cinema of the 1960s.
time, speaking about life, love, death, work, the self, and
Anderson’s Artifact/Artifice had not engaged me until I asked
Orlando Liebovitz’s Nine Second Film—a man’s shadow and
ideas about normalcy. The cumulative yield is the blooming
a stranger what she thought about it, triggering enjoyable,
an ocean wave washing in and out under it—was an elegant
of each speaker as a fascinating individual.
speculative conversation. Many of the artists were present,
little self-portrait about the passage of time that has the virtue
On opening night there were three ongoing
so I could eavesdrop on their explanations to others or ask
of being timeless. Max Almy and Teri Yarbrow’s Portals, which
performances in the galleries. Paola Gaetano-Adi’s Desiring
questions of my own. Very different was the experience of
combined video projection with cut-out metal templates
Machine I (subtitled and/or the female reincarnation of
engaging with individual pieces at some length. Because I had
creating kinetic mandalas, harks back to the blossoming of
Sisyphus) brought to mind the paintings of Leonora
the opportunity to revisit the show multiple times, I was able
abstract or non-representational cinema in the 1960s, as
Carrington, Remedios Varo, and Dorothea Tanning. A
to receive it in a number of different modes, each of which
does Flame Schon’s Dissolve My Tongue, with its sonorous
white-sheeted tent held a bucket of milk, while the artist
had its own rewards and limitations. This leads to a prime
soundtrack. Like science, a lot of good art, through the
stood at the end of a long camshaft device transporting
question this type of art raises. What demands are made on
products of engineering, makes tangible what is not available
the milk through a long tube, catching it in the lap of her
the viewer’s time, attention, and resources? And how does
to us; it can reveal the world at a scale that is unavailable to
white dress in a dreamlike machine-mediated action. The
it reward us? This is most germane to claims for immersion
our limited range of senses (size, wavelengths), our inability
Bridge Club, a collaborative of four women, offered Medium.
and interactivity. In this regard, Michael Allison and Aaron
to be in certain environments (the tree canopy, underwater,
Wearing white dresses, they sat on chairs mounted high on
Sherwood’s Firewall was engaging. A sheet of spandex was
underground, in orbit), the length of our individual lifespans
the walls of one gallery; one of them tore pages from bound
stretched on a large doorway form. Your touch produced
(geological and astral processes), or the human metabolic cycle
books, letting them float to the floor below and around
fiery visual zigzags on its surface and how hard you pressed
(too slow or fast to perceive traffic patterns, plant growth, or
her like leaves from a tree. Xristina Penna donned and
determined the pitch and loudness of the prerecorded but
urban changes). Catherine Chalmers’ impeccable photography
shed various white garments from hangers in a small space,
not always predictable piano music emitted. Viewers played
brought us up close to bugs, frogs, spiders, and ants relentlessly
inviting viewers to draw her image. In following days, one
critical reflection
saw the drawings left on the hangers, a cryptic trace of what
between states of matter. This slow-motion circus is produced
game environment. In this, like the Villegas and Niemczyk
had happened. White clothing in all three performances
by a generative system oscillating between moments of frozen
pieces, a question cropped up that does not come up with
gave a unifying feel to the event.
stasis and swiftly accelerating change. Whether the work truly
traditional media: “is it working properly or is the artist being
A major question with installation art is what if any behavior
provides a “glimpse into deep time” each viewer must determine.
purposefully cryptic?”
is deliberately elicited? Wave Field, Robert Drummond’s
Karen Niemczyk’s The Evolution of Self—a suspended, three-
Many works here engaged the thematics of our
immersive interactive sound and light environment, contained
dimensional helix of copper wire with fiber optics intertwine—
problematic relationship with nature and in some way
a big black surfboard shape and four squares. Ambient
was intended to “interact with viewers around the work.” It
emphasized the cyclic nature of things. Time was an essential
sounds—a drone, waves crashing, water rippling—changed
was not clear how or whether this was happening, but it was
factor, both in terms of each piece’s internal rhythm and
by one’s movements, brought to mind Alvin Lucier’s standing-
graceful, and one of few that directly invoked the single human
duration, and how much of one’s own time to dedicate, given all
wave sound works of the mid-1970s. Much depended on my
organism. Video Dream Tent X2 by Marion Wasserman and Louis
the distraction and interference the world provides. This annual
interpretation of the result of my actions. Offering a freedom
Leray was nice to walk past and glance at. The greater intimacy
festival, truly a community effort, unfolds citywide in partnership
like the early new music scores of John Cage and others in his
of putting my body inside and being horizontal was a more
with numerous local galleries and organizations. Next June, plan
wake, the piece also invoked the arbitrary. Robert Campbell’s
coherent and interesting experience. The first sense engaged
to dedicate some time to Currents.
Interval Two, part of his Bardo series, is a triptych of slowly
by Susanna Carlisle and Bruce Hamilton’s Untitled environment
—Marina La Palma
changing, abstract, chance-driven, vertical image panels.
of suspended large balloons with scenes of nature and hurrying
Sitting on a couch watching it, one hopefully achieved a sort of
urbanites projected onto their surfaces was smell (vinyl, latex,
meditative alertness, akin for me to peak moments of viewing
rubber?). As the balloons deflated in the course of the show,
medieval or renaissance painting.
more coronas of light spilled over the spheres onto the walls
For Emily Martinez’s Anti-Apocalypse, the interface to a
behind them. The incidental
large screen is a sensor attached to the forehead, monitoring
can sometimes be a viewer’s
in some form the viewer’s brainwaves for “concentration”
favorite aspect of a piece.
and “distraction.” This work was composed entirely of
Satisfying
art
mirrors
downloaded imagery; the artistry is shifted away from the
us back to ourselves in
older means of production of footage entirely to the interface
some way. In Ant Theater, by
design and selection of pathways through the imagery based
Javier Villegas, the video ants
on your EEG. Several of us watched a sensor-wearing
“respond” to feedback from a
woman in the chair for at least twenty minutes, an interesting
camera pointed at the viewer
amalgam of voyeurism and community. Some early
by re-clustering in forms that
experimental cinema laboriously incorporated found and
mimic the viewer’s outline.
stock footage, but how stunningly different is today’s access
Joyce Rudinsky and Victoria
to a nearly infinite pool of diverse imagery.
Szabo’s
Psychasthenia
2,
David Stout and Cory Metcalf worked together in an
installed in a comfy cubicle
ongoing collaboration that is about process as much as product.
with couch, employed the
Melt, set on three walls, is ceaseless flux; one sees crags, caverns,
language
rifts, striations, splashes, icebergs, geysers, transformations
tests in a single-user video-
AUGUST
2013
of
Below: Catherine Chalmers, We Rule, single channel video, 2012 Left: Cesar Meneghetti, I/O, single channel video, 2010 Bottom: Paola Gaetano-Adi, Desiring Machine I, installation and performance, 2010
psychology
THE magazine | 65
CONTEMPORARY CERAMICS
GALLERY•STUDIOS•CLASSES•SUPPLIES 505.984.1122 545 Camino de la Familia, Santa Fe, NM 87501
www.santafeclay.com
jennifer esperanza photography
SANTA FE CLAY
505 204 5729
new mexico
california
The Encaustic Art Institute
Santa Fe Art Institute "My people will sleep for one hundred years, but when they awaken it will the be the artists who give them back their spirit." – Louis Riel, political and spiritual leader of the Métis people of the Canadian prairies
Kathleen Waterloo, IL
Métis artist Dylan Miner Anishinaabensag Biimskowebshkigewag
Gallery open to the public weekends from Noon - 5 pm or by appointment.
(Native Kids Ride Bikes)
Contact Douglas Mehrens at 505-424-6487.
Exhibition 8/12– 9/27, SFAI and throughout city Rodney Thompson, CA
Opening & Lecture: Art, History Memory: Artistic
March through October A non profit arts organization. For map and information go to
Practice in an Age of Ongoing Colonialisms
www.eainm.com
Monday 8/12, 6pm SFAI, $10 gen, $5 srs & studs
Artists and Writers in Residence
The Encaustic Art Institute represents more than 140 artists from across the globe, working in a wide array of media, from painting to photography, collage, sculpture and more.
Thanks to Los Alamos National Bank for their continued support. Willow Bader, WA
August Readings & Open Studios Thursday, 8/22, 6pm SFAI, free WWW.SFAI.ORG, 505 -424 -5050, INFO@SFAI.ORG. SANTA FE ART INSTITUTE, 1600 ST.MICHAELS DRIVE, SANTA FE NM 87505 | SANTA FE ART INSTITUTE PROMOTES ART AS A POSITIVE SOCIAL FORCE THROUGH RESIDENCIES, LECTURES STUDIO WORKSHOPS, EXHIBITIONS, COMMUNITY ART ACTIONS, AND EDUCATIONAL OUTREACH FOR ADULTS AND YOUNG PEOPLE. SFAI IS AN ENVIRONMENT WHERE CREATIVITY, INNOVATION, AND CHALLENGING IDEAS THRIVE. PARTIALLY FUNDED BY CITY OF SANTA FE ARTS COMMISION AND 1% LODGER’S TAX AND BY NEW MEXICO ARTS, A DIVISION OF DEPARTMENT OF CULTURAL AFFAIRS
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
GREEN PLANET
Artist Laird Hovland “This current series in bronze is based on the Fibonacci
sequence and the Golden Ratio. This is a naturally occurring phenomenon, illustrations of which can be found in such things as sunflowers and pine cones, in the arrangement of branches along the stems of plants and of veins in leaves, the proportions of chemical compounds and the geometry of crystals, and even the human body. It is a fundamental principle of nature, and in using this ratio in my work, I bring my sculpture into alignment with nature, designing geometric solids that incorporate this literal geometry, and repeat the solids in a fractal sense, automatically creating shapes that have a resonance with nature. My intention is to bring the artist and viewer into a deeper relationship with that great sense of connection with the creative force of the universe, by imitating its essential physical manifestations.” Hovland has worked on the sculptures of such notable and diverse artists as Bruce Nauman, Kiki Smith, Lesley Dill, Robert Graham, Frank Gehry, Daisy Youngblood, Maya Lin, Juan Muñoz, Valeska Soares, Terry Allen, Allan Houser, Roxanne Swentzell, and many others. Laird Hovland’s exhibition—Rhythms in Geometry— at William & Joseph Gallery in Santa Fe opens on August 2 and runs to the end of the month. www.lairdhovland.com
Photographed at White Sands, New Mexico by Jennifer Esperanza, May 2013 Lighting assistant: Gabriel Kessler
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photo: Celia Luz santos
eco - friendly serigraph studio 505-316-0237
now accepting appointments
SERIGRAFIX santa fe
.com
a r c h i t e c t u r a l d e ta i l s
Duke City Wall photograph by august aUGUST
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Guy Cross magazine||695 THE THEmagazine
WRITINGs
Sunset at the Indian Cemetery by
Adrian C. Louis
Not one of these red seeds planted will ever sprout. Pray for them. A chunk of yellow fat, the winter sun is circled by gaunt prairie crows. Pray for the crows. Pray into the lungshocking wind shrieking so fucking freakishly into these boundless yucca hills. Pray for all those who believe our DNA is forever tainted by the comic, brilliant truth that we have been here forever, maybe longer.
Adrian C. Louis a member of the Lovelock Paiute Tribe in Nevada. He has written twelve volumes of poetry and two of fiction. “Sunset at the Indian Cemetery� is from Savage Sunsets (West End Press, Albuquerque, NM). Louis has won various writing awards. His 2006 collection of poems, Logorrhea was a finalist for the Los Angeles Times Book Prize.
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G. RuSSeLL CASe LOGAN MAxWeLL HAGeGe W i L L i A M M AT T H e W S
Clockwise from top left: G. Russell Case, Trustees, oil on canvas, 30 x 24 inches. William Matthews, Optimister, oil on canvas, 39 1/2 x 20 inches. Logan Maxwell Hagege, Arched, oil on linen, 20 x 30 inches. All images Š 2013 courtesy, Gerald Peters Gallery.
August 2, 2013 - OctOber 19, 2013 Opening reception with the artists: Friday, August 2nd from 5-7pm
To view additional works by these artists please visit www.gpgallery.com For further information contact Peter Riess, priess@gpgallery.com or (505) 954-5771 1011 Paseo de Peralta, Santa Fe, NM 87501
Emmi Whitehorse Solo
www.chiaroscurosantafe.com
c h i a r o s c u r o 702 1/2 & 708 CANYON RD AT GYPSY ALLEY, SANTA FE, NM
August 16 - September 14
505-992-0711
Opening: Friday, August 16, 5-7
Native Group Show Rick Bartow, Yatika Fields, Harry Fonseca, Rose B. Simpson