THE magazine April 2011 by FlavorGrafix Design

Santa Fe’s Monthly

of and for the Arts • April 2011

PHILLIP VIGIL

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

Letters

Universe of artist Maurice Burns

Studio Visits: Bettina Lancaster and Chris Jonas

One Bottle: 2007 Riofavara Nero D’Avola “Sciavè,” by Joshua Baer

Dining Guide: The Dragon Room at The Pink Adobe and Pho Kim

Art Openings

Out & About

Previews: Ansel Adams: Gems from New Mexico at Andrew Smith Gallery; Erik Benson at Eight Modern; and Folk Art of the Andes at the Museum of International Folk Art

s 37

David Lynch does not like mere prettiness. Instead, he declares, “I like mistakes s s s s s s s and accidents, which is why I like things like cuts and bruises, they’re like little flowers. I’ve always said that if you have a name for something, like ‘cut’ or ‘bruise,’ people will automatically be disturbed by it. But when you see the same thing in s s s s s s s nature, and you don’t know what it is, it can be very beautiful.” This conception of beauty is natural coming from the director of eerie, disjointed films such as Mulholland Drive, Eraserhead, and Inland Empire. The above quote, however, may be more aptly applied to Lynch’s work as a visual artist. Lynch began his career studying at the Corcoran School of Art in Washington D.C. and graduated from the Pennsylvania Academy of Fine Arts, Philadelphia. He turned to film when he began to see movement in his work. Throughout Lynch’s career as a filmmaker, he has continued to produce visual art that echoes the uneasy tone of his movies. His Distorted Nudes series is simultaneously erotic and grotesque, and his mixed-media works tweak the subconscious in a manner that is difficult to place. David Lynch: Dark Splendor (Hatje Cantz, $85) is the companion book to the Lynch retrospective at the Max Ernst Museum Brühl, in Germany. Essays by aficionados Werner Spies and Stefanie Diekmann illuminate the brilliance lurking behind Lynch’s disquieting images. Thomas W. Gaehtgens’ essay confronts the issue of beauty in Lynch’s work. He observes, “The uncanny, the ominous, [the] shuddering are also part of the experience that not only can be regarded as beautiful, but also as strikingly, compellingly, and frighteningly beautiful.” If David Lynch’s work must be considered beautiful, it is because it participates in just such an experience.

National Spotlight: Take Me to the Water: Photographs of River Baptisms at the International Center of Photography, New York City

Feature: Art and Memory: Anselm Kiefer Today, by Roger Salloch

Critical Reflections: a.k.a. Zen at David Richard Contemporary; Amy Cutler, Ruth Claxton, and Runa Islam at SITE Santa Fe; Braldt Bralds at La Tienda Exhibit Space (Eldorado); David Wojnarowicz at the Santa Fe Art Institute; Francesca Yorke at Fisher Press; Petro Hul at Hulse-Warman (Taos); Latino/a Visual Imaginary at 516 Arts (Alb.); and Roadcut and Through a Narrow Window at University of New Mexico Art Museum

51 Green Planet: Jane Goodall, photograph by Jennifer Esperanza 53

Architectural Details: Santa Fe Art Institute at Night, photograph by Guy Cross

Writings: “The Unforgiven,” by Julie Motz

— Kay Ryan

T I C K E T S O N S A L E N O W at the Lensic box of fice • W W W.LANNAN.ORG

211 W. San Francisco St, Santa Fe, NM. Tel 505.988.1234 www.lensic.com

Everything contains some silence. Noise gets its zest from the small shark’s—tooth shaped fragments of rest angled in it. An hour of city holds maybe a minute of these remnants of a time when silence reigned, compact and dangerous as a shark. Sometimes a bit of a tail or fin can still be sensed in parks.

TICKETS: $6 general / $3 student + senior with ID. Lensic Performing Arts Center

Sharks’ Teeth

Lannan is podcasting Readings & Conversations! Please visit http://podcast.lannan.org, to learn more, listen, and subscribe to have the events automatically downloaded to your computer.

Wednesday 13 April, 7 pm

R E A D I NG S & CON V E R SAT I O N S R E A D I NG S & CON V E R SAT I O N S

Kay Ryan with Atsuro Riley

LETTERS

magazine

VOLUME XVIII, NUMBER VIII 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 C t O R Guy Cross PUBLiSheR / FOOD eDitOR Judith Cross ARt DiReCtOR Chris Myers COPy eDitOR edGar sCully PROOFReADeRS JaMes rodewald KenJi Barrett S tA F F P h O t O G R A P h e R S dana waldon anne staveley e D i t O R i A L A S S i S tA N t elizaBeth harBall WeBMeiSteR

Jason rodriGuez CONtRiBUtORS

diane arMitaG ita e, veronniCa itaG C aronson, Ca Joshua Baer, susanna Carlisle, Jon Carver, JaKe Cross, Kathryn M davis, Jennifer esperanza, iris MClister, Julie Motz, roGer salloCh, riChard toBin, and GrahaM turner COVeR

By david lynCh froM Dark SplenDor Courtesy: hatJ at e Cantz and d.a.p p.

ADVeRtiSiNG SALeS

the MaGazine: 505-424-7641 edie dillMan: 505-577-4207 vinCe foster: 505-690-1010 Cynthia Canyon: 505-470-6442 DiStRiBUtiON

JiMMyy Montoya: 470-0258 (MoBile) ThiS iSSue DeDicaTe T D To The Te T liveS of elizabeTh T Taylor, Th Duke SniDer, anD arThur T Thur ”bullfrog” WhiTTall TT THE magazine is published 10x a year by THE magazine Inc., 1208-A Mercantile Rd., Santa Fe, NM 87507. Corporate address: 44 Bishop Lamy Road, Lamy, NM 87540. Phone: (505) 424-7641. Fax: (505) 424-7642, E-mail: themagazineSF@gmail.com. Website: www.TheMagazineOnLine.com. All materials are copyright 2011 by THE magazine. All rights are reserved by THE magazine. magazine. Reproduction of contents is prohibited without written permission from THE magazine. All submissions must be accompanied by a SASE envelope. THE magazine is not respon sible for the loss of any unsolicited materials. THE magazine is not responsible or liable for any misspellings,incorrectdates,orincorrectinformationinitscaptions,calendar,orother listings. The opinions expressed within the fair confines of THE magazine do not necessarily represent the views or policies of THE magazine, magazine, its owners, or any of its, employees, members, interns, volunteers, agents, or distribution venues. Bylined articles and editorials represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel, and are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity or quality of objects and/or services advertised. As well, THE magazine is not responsible for any claims made by its advertisers; for copyright infringement by its advertisers .and is not responsible or liable for errors in any advertisement.

| A P R i L 2011

The New Orleans Jazz & Heritage Festival is alive, well, and, yes, wild. Each year since 1970, thousands of music lovers have flocked to the festival—an event vast in magnitude and musical variety. Jazz, folk, rock, gospel, and rhythm & blues will be presented over the course of two weekends—April 29 to May 8. If you love music, good times, and down-home food, you belong at this gathering. Headliners include Robert Cray, Ahmad Jamal, Dr. John, Willie Nelson, Arlo Guthrie, Allen Toussaint, Marcia Ball, Pee Wee Ellis, Lucinda Williams, and The Neville Brothers. Details: nojazzfest.com or nola.com. Photograph by Jake Cross. TO THE EDITOR:

I was born in Paris and lived there until the 1980s. I was surprised to read Mr. Gustafson’s elitist dismissal of the recent exhibition of French painting at the Albuquerque Museum. I imagine that most of us have never been to the National Museum Wales where these paintings have been housed. It was a treat for me to see these works for the first time. Yes, some of us living in New Mexico have been fortunate enough to see important works by these artists in major museums in larger cities of the United States and Europe. Most of our fellow citizens in this state, however, have never had those opportunities. Perhaps Mr. Gustafson needs to understand the realities of local poverty before he discounts the great benefit that the Albuquerque Museum provides to our community by bringing exhibitions like this to New Mexico. Just as Marie Antoinette advised the starving crowd to eat cake, she would also encourage our citizens to travel abroad to see masterpieces. The French citizens had a solution for her insensitivity.

—linda duCluzeau, alBuquerque

TO THE EDITOR: A few comments on a letter writer’s attack (February/March) on Diane Armitage’s review of the Turner to Cezanne show at the Albuquerque Museum. The letter seems to attribute the perceived weaknesses of the show to the fact that the collectors were unmarried older women. I did not realize that age and gender were impediments to artistic judgment. The letter faults your reviewer for discussing the paintings in front of her in the context of the northern New Mexico art scene. To me, that was her job, not taking a grand tour of the major museums here and abroad. I can’t recall the last time I saw a Turner or a Cezanne on Cerrillos Road. For many in this area, the show was a once-in-a-lifetime chance to see the work of such artists in person. Methinks the letter writer’s true mission was to let us all know that he has seen “the truly great masterpieces” in the United States and Europe. Noted!

—hal Kahn, santa fe

TO THE EDITOR: After seeing Greta Young’s one-woman, one-night show Lights Out! at the Eli Levin Studio in February, I was compelled to write this letter, as the show offered on-site insight to the viewer. Stepping into the darkened space, I saw bodies silhouetted against dim bobbing light as viewers directed flashlights at Young’s eight large canvases lining the walls. Tall candles on the floor let some low, flickering light dance on the paintings, but most of the illumination came from the flashlights. “Seeing” the show had meaning on several levels. You could direct your own flashlight onto paintings or parts of paintings, or you could study the art in the beams of everyone else’s flashlights. You could select one work and cause it to blur into semi-darkness by killing your own light, or you could illuminate a painting at close range to examine texture and detail. Young is an experimental artist whose work should be seen by many. My impressions? Our eyes have to search more for the art. We focus in a different way in the dark. Light from errant flashlight beams gets in our eyes. Viewing the show reminded me of clandestinely reading a book under the covers at summer camp.

—susan wilder, santa fe

TO THE EDITOR: Just a note to you to say I usually enjoy the “One Bottle” articles by Joshua Baer. However, in your December/January issue I found his article most offensive and ridiculous. He seems to have forgotten any message about the bottle of wine and talked about politics, which we are all tired of hearing about. A very bad article—I was very disappointed.

—elaine weaver,

via

TO THE EDITOR: THE magazine is just phenomenally wonderful in many ways! I would like to know the name of your printer, because it could not be done without the level of excellence that your printer has achieved! Surprisingly, I could not find the name of the printer listed anywhere in your magazine. Hopefully you will correctly give this attention in future issues.

—rosaMund evans,

via

The

vanguarD prinTing: 505-242-5426

magazine ’ S prinTer :

THE magazine | 5

April 15 - May 27 Teo González Cloudy Skies

opening reception: Friday, April 15 from 6-8 pm

Spectres 1960

Eva Hesse The paintings are very much of a piece with Hesse’s sculptures. A few will be familiar, but the majority are not, and the combined force is little short of stunning.

Richard Levy Gallery Albuquerque www.LevyGallery.com

WesHempel Model citizens April 1-May 1.2011 Artist reception: FridAy, April 1, 5:30-7:30 pM

Roberta Smith, New York Times

On view through July 24

UNIVERSITY OF NEW MEXICO ART MUSEUM ALBUQUERQUE

www.unm.edu/~artmuse • 505.277.4001

No Title,1960, oil on canvas, 48 x 48 inches, collection Ursula Hauser Collection, Switzerland

LewAllenGalleries d o w n t o w n

125 West Palace Avenue Santa Fe, NM 87501 505.988.8997 www.lewallengalleries.com info@lewallengalleries.com Images posted on website

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Santa Fe Art Institute

4/29 – Eve Andrée Laramée lecture, 6pm Tipton Hall Eve Andrée Laramée makes sculptures, installations and works on paper dealing with the complex triadic relationship between art, science and nature. $10 general | $5 students/ seniors/ sfai members 4/22 – 5/31 Eve Andrée Laramée & Kim Stringfellow Exhibition, 9am-5pm M-F SFAI A small exhibition of work by SFAI Visiting Artists Eve Andrée Laramée and Kim Stringfellow 4/28 – Residency Readings & Open Studios, 5:30pm SFAI Join us for a sneak peek into studio practice 4/22 – NY Foundation for the Arts Presentation, 10am SFAI. Learn about the services NYFA’s Artspire has to offer in this free presentation! March1 – April 30 Exhibition of Work by Past SFAI Artists in Residence Collected Works Bookstore 202 Galisteo Street Santa Fe (505) 988 - 4226 WWW.SFAI.ORG, 505- 424 5050, INFO@SFAI.ORG, SANTA FE ART INSTITUTE, 1600 ST.MICHAELS DRIVE, SANTA FE NM 87505 | THE SANTA FE ART INSTITUTE EXPLORES THE INTERCONNECTIONS OF COMTEMPORARY ART AND SOCIETY THROUGH ARTIST AND WRITER RESIDENCIES, PUBLIC LECTURES AND WORKSHOPS, EXHIBITIONS, & EDUCATIONAL OUTREACH THIS PROGRAM PARTIALLY FUNDED BY THE CITY OF SANTA FE ARTS COMMISION AND THE 1% LODGER’S TAX AND BY NEW MEXICO ARTS, A DIVISION OF THE DEPARTMENT OF CULTURAL AFFAIRS

The Fisher Press presents

DAVID LANCE GOINES A Life in Posters Co-sponsored by AIGA and THE PALACE PRESS of the

NEW MEXICO HISTORY MUSEUM

the professional association for design

Artist’s talk in the museum auditorium from 2 to 3pm Saturday, April 23rd at 113 Lincoln Avenue, Santa Fe. Phone: 505 476-5096 A recepion for the exhibition at The Fisher Press will follow from 4 to 6pm at 307 Camino Alire Phone: 505 984-9919 – Web: www.thefisherpress.com Email: fisherpress@comcast.net

BE THERE

J U LY 7 - 1 0 , 2 0 1 1

ART SANTA FE 2011 / AN INTERNATIONAL ART FAIR T H E S A N TA F E C O N V E N T I O N C E N T E R WWW.ARTSANTAFE.COM

TEL

505.988.8883

MONROE GALLERY of photography

RICHARD C. MILLER 1912 - 2010

Laurence Olivier, Tony Curtis, Peter Ustinov, Spartacus 1959

A Retrospective Exhibition continues through April 24 Open Daily 112 DON GASPAR SANTA FE NM 87501 992.0800 F: 992.0810 e: info@monroegallery.com www.monroegallery.com

DAVID RYAN GLITCHES & FIXES JAMES KELLY CONTEMPORARY MARCH 25 – MAY 7 OPENING RECEPTION FOR THE ARTIST FRIDAY, MARCH 25, 5–7 PM 1601 PASEO DE PERALTA, SANTA FE, NEW MEXICO 87501 T 505.989.1601 F 505.989.5005 JAMESKELLY.COM ABOVE: FAC 501 2010 ACRYLIC ON MDF, 22 X 38 X 3-1/2 INCHES

BELOW: LEFT ON PAN AM FWY 2010 ACRYLIC ON MDF, 30-1/2 X 37 X 3 INCHES

UNIVERSE OF

t, r, collagis e t in a p — f rks out o o w d n a . He lives ts such n is t ia r a m e h h it o hanging w is a true b , ld — r urns’ r o e B v s w t lo e n h e ic t s s e u d and m s travele that repr a h m e io h id ; t f e ws for h lo t o ll e is a F z d a z t n a a n J a e j. a his S rmonies, s structur a nd RB Kit a h a h , n z m z e h d ja t r t y a sition, rh ork in tha o as Brice M p w or soft. m is d o h u c o lo t , — s h w c m a lo r ppro usical te g fast or s m in e in musical a b s t s a in a g f a paintin , 2-5 pm. g. Burns p o 6 in 1 s is k il v r o in p r h t p A im po—and Saturday, m n e o t t , r s a d ia is nd see h scales, tr a io d u t s t Road). is r h o t p a ir s A n f r f Visit Bu ad, #3 (o o R s s a r falo G s My friend 3920 Buf teresting.

Maurice

in has been rather t I live a t to say it a p e th c x k e in , e th v I g the life I li whereas t I’m livin HEM ht say tha e to name at means, THE BO ig m th m G r to u e v IN o d y e te IV a L h e, so ver occurr e box, w appy dud nkly, it ne tside of th it. I’m a h u g o ta n e Quite fra le e p b o pe ays let other at I’ve alw o and just d tell me th I t a h w . I just do visit. normal life places to te ri o . v fe fa li y the happy es in the some of m ade chang nkyards— m ju n a in M ty t. u n a be mind. nme a state of ral enviro lder. I find o BEAUTY tu ly h a p e F n b m O e si e E th th is S f in ty MY SEN the eye o at beauty ers. Beau on to oth liness, is in w. I see gre ti g o u ra d c e in k se w li e , y d a iffan Beauty some and auty in a T eautiful to ay see be b ol m m rs e e se th O land Scho s may t Rhode Is structure a r r a o . e e y im p r h a out senio landsc a little ab uring my e d m re o ld st to don myself seum from Lon ly found j in a mu a d d it e te K c rn e B p tu R x re y ne an older painting b o had just r later I u KITAJ stances— card of a th. A yea friend wh m st g u a o n c p t ir le u c a e b v r d a j, a mil ew rough Kita I discovere Britain th heard of s under si n the sam p t r o a e te v re re ts e e o n G w fo d in t d we aj’s . I ha He invite t any artis ing in Kit ay—I felt of Design cks away. y to mee n, follow w me aw it o lo n d le b u n b r o rt u L o st e fo p ju as w ll out e op Art in His work g only ab ffered th at advice in o ollege of v re C s li g a l e e a w b y m I o R to re. gave the ned When ays treasu rtive and ho happe G.I. Bill. attending lw o w a p e p l j, th il a su it w n s K o I a student him that n, I chose lot. He w American talked a connectio ards from e c rt st W A o f s. p o d e d n g n a frie Colle of letters ame fast my Royal number d we bec a n a e v se a u h o I h ring some f his. me to his pting to b friends o m e to tt a e m m ademic d. I a ucing rather ac lly finishe as introd , a ll a re is sm G f rk N o , to F NOTHI when a w to do a lo e associate not sure play. I fre G OUT O continue m N ll to I’ I’ in . — g s d e in ETHI e d rc n oth SOM g more fo er open-e g out of n MAKING I can brin been rath somethin re s e e y h k a a w lw m s a e c s to ie ha h larger p my mind— My work chaos of enting wit e m ri th e f p o x t e ile order ou me. ps up, wh they take g is an p my cho re e e e h k w to e s e, paintin se m d r n o a studie F w s. flo onsibilitie e forms to s only resp t’ is T allowing th S rt a TI e R th A re OF THE honesty a SIBILITY ruth and T N . O lf P se S e E n o CIAL R rtist is to THE SO y of the a it il b si ther. n o ro b resp Amen y. it il b The main si n respo aldon om social ana W D y b escape fr h p a r photog THE magazine | 13 IAN LIFE

| april 2011

Burns

Account minimum $1 million

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MOROCCANOIL

GLASS + KILN = ART Bullseye Resource Center, Santa Fe CLASSES

•

DEMONSTRATIONS

CLASS

Painting with Glass March 31–April 3

•

SUPPLIES

CLASS

Introduction to Fusing and Slumping April 26–27 & 29

SALE!

On Glass & Supplies April 7–10 FREE DEMO

Printmaking for Kiln-glass April 13

FREE DEMO

Lost Wax Kilncasting May 11 CLASS

Drawing with Glass May 19–22

is te r a il to r e g m e r o ll a C 805 Early Street, Building E 505- 467-8951 santafe@bullseyeglass.com www.bullseyeglass.com/santafe

CONTEMPORARY ARTIST:

JASON APPLETON You are very prolific and have so many painting styles. How does that work for you? My creativity is mercurial…it will shift from day to day. I have a lot of different aesthetics in me. I’ll be in a certain place creatively, and then the next day it will have changed. It’s the process… my styles vary from fine line to grungy wide strokes. I’ll look at something I’m working on the next day and I may not feel the same way about it anymore. Because of the emotional and conscious shift I will morph the painting into something different, and I think the viewer can sense a composite of ideas in that particular work. Is it the same with your contemporary ceramics works? Yes I would get bored doing just one style. How do you think having no formal art training, has affected your art? I’m not schooled in the contemporary “tricks of the trade”....I’m not brainwashed by the academic dialogue that has dominated art for the last forty years or so... So, I’m not speaking a “canned language”... With a lot of artists, I see their intentions immediately. When I create art, I want my intentions to be wrapped in ambiguity. The mind takes a break and allows emotion to flood in. Then the viewer goes back to try and pick apart the work intellectually. Ultimately I don’t want to create art that is in pre-agreement with its audience. There seems to be a strange conspiracy between academia, museums, galleries, collectors, dealers, writers, and critics, a kind of big brother mind meld. I always thought that was laughable even when I was 15 and green and going on instinct. All I had to do was go back a few decades in art and see how these true greats were carving up the creative landscape to see how paltry and pretentious the art era I was living in was. What era is that specifically? The late 80’s to now. But are you saying Post Modernism is worthless? No, I’m saying it’s inadequate. It’s too dry for my tastes. The main problem as I see it is this stratification between feeling and intellect. You divorce intellect from emotion and you get a very dry, boring, and inauthentic intellectual impact. It is only the visual art world since the mid-sixties that has had this obsession with dryness. You don’t see it in any of the other arts- music, theater, prose, poetry, movies. I’m not totally against conceptualism...I have conceptualism in my art...I use it as one ingredient in my art…it’s not the whole entree. I heard you were working on a giant painting on the roof of a house… Yes. I built a 36 foot by 10 foot stretcher frame for the

canvas, and the flat adobe rooftop is the only space large enough to accommodate it at the moment. Spaces inspire me…I had the idea to create a painting this size for the outdoor area at Gallery LouLou. The winds are pretty fierce on the roof, so I had to create a kind of cement block ballast to weigh the frame and keep the piece from blowing over because a canvas that size standing vertically is like a big sail in the wind. I like the challenge of going big... Like the FETKET vase…how long did it take for you to make it and why is it called that? FETKET is the Egyptian Sun God’s drink supplier. His bartender, essentially…and I figured a vase that gigantic was fit for a supernatural being. It took a year to produce it. I was talking to a guy about doing a four foot vase at one of my openings, and he said, “Well, if you ever want to do it, call me.” One thing led to another and I found myself hiring a man in Albuquerque to create a mold for a vase that size. There were multiple mishaps along the way. Failures, cracks… the first attempt resulted in losing 90 gallons of liquid clay that flooded the garage and the room below my studio. It took five attempts over a course of five months to successfully cast the piece. It took me several months to paint it. Then I had to actually wait another two months to test the glaze for the second firing. There was a one in ten chance that the vase was going to fire successfully. When I opened the kiln door, it was absolutely perfect. I couldn’t believe it, but I was relieved. Fetket was a big challenge. So what is your next big project? I have a private commission for a 51 foot by 21 foot painting. This is the largest undertaking in my career so far. I think it’s going to be my “Guernica”. It’s good to keep pushing the envelope and stretching the concept of “one’s limitations”…but I don’t feel I have any at this point in my life.

Appleton Art opening Save the Date: July 8, 9, 10 6-9pm each night

Gallery LouLou

343 East Palace Avenue Santa Fe, NM 87501

www.appletongallery.com

347-281-1332 Free valet parking at la posada viewings by appointment after the show interview by nicole glassman Photo by Brad Bealmear

STUDIO VISITS

“eVeRy

“Paintings for me are anchors to other worlds, other realities, other consciousnesses. these worlds, and states of consciousness, are not always easily accessible in the daily momentum of our everyday lives. Art connects us to parts of our being, our soul, that may be at some times elusive, but are where we ultimately vibrate at the deepest level. “

—BETTina lancasTEr Lancaster had a solo show at Bittersweet Designs on Canyon Road, in 2010. She had a show at Counter Culture in February 2011. She plans to show in Bermuda this summer. www.bettinalancaster.com

SiGNiFiCAN ANt t ARtiSt iS A MetAPhySiCiAN, A PROPOUNDeR OF BeAUtytRUthS t RU AND FORM ORM--theORieS.” We A ASKeD tWO ARtiStS t tO O ReSPOND R tO ALDOUS hUxLey’S h Ux StAteMeNt. photoG photo Graphs By

anne staveley

For too many genertions, the continuum of the european/American artist has looked outside of daily life for that which is extraordinary and rings of the metaphysical—but how isn’t this consumerist tourism? Over these ten years in New Mexico, i have found that the most profound depths that are reachable are those that are the simplest and most personal, that seek root and are too close to be in focus. these realms defy clear narratives and, at their richest and most powerful, contain contradictory and irresolvable perspectives and feelings. if there are “beauty-truths” to be “found” then the best that anyone can do is to hold space for that which is hard to define, utilizing open-ended, responsive forms, in the way that a parent holds the space for a child to play and to experience the world.

—cHris Jonas 2010 presentations of Jonas’s work: Crosstown #5, A Bus Opera. 20’ Multi-arts project on the Santa Fe bus lines portraying the city via the dreams of the riders of the buses; GARDEN Chapter 2 “House”; Salve: Women on Warriorship. Multi-arts performance at the National Hispanic Cultural Center. Albuquerque, NM; Premiere performance and installation of GARDEN Chapter 1 “Night” at the Muñoz-Waxman Gallery, Center for Contemporary Arts, Santa Fe. Upcoming/ Ongoing 2011: Turn the Lens, an ongoing two-year new media leadership-through-storytelling project with teens in five rural New Mexico high schools; Ongoing development workshops for GARDEN Chapter 2 “House”, NYC and NM..chrisjonas.com and littleglobe.org/garden

| april 2011

THE magazine | 17

The Natural World in the Nineteenth Century

Archival pigment prints 22 x 17 on Rives BFK 310 gsm paper $135.00 includes shipping. View other images www.gwahl.com

G.WAHL Gallery

1408 Wazee St. Denver, CO 80202 303 825-9928

RECOMBINANT

Guy Dill SculpTuReS

New Mexico Women Artists SculpTuReS, pAiNTiNG, AND pRiNTS April 29 – May 20 OpeNiNG RecepTiON:

Friday, April 29th, 5–7 pm

Alex Chavez: Solo Exhibit

105 Art Gallery, 105 4th Street SW Albuquerque, NM. May 6th through the 28th, 2011 Opening Reception May 6th, 5-8 PM. 505-238-3491

www.105artgallery.com www.alexchavez.com

ZaneBennett contemporary

art

435 South Guadalupe Street, Santa Fe, NM 87501 505 982-8111 www.zanebennettgallery.com Tue–Sat 10–5, or by appointment • Railyard Arts District Walk last Friday of every month

ARTISTS HELPING ARTISTS: A FUNDRAISER

by JuditH

VeJVoda

betty HaHn

The family and friends of Judith Vejvoda, artist and educator at Northern New Mexico College are uniting to raise money to help her with the costs of alternative treatments. Judith was diagnosed with a rare sarcoma that has little conventional treatment options. Artists contributing “affordable art” include: Carol Anthony, Sam Scott, Tasha Ostrander, Carol Mothner, Anne Noggle, Patrick Nagatani, Darren Vigil Grey, Betty Hahn, Tim Jag, Emmi Whitehorse, Rod Lazorik, Vera Sprunt, Joyce Stolaroff, Guy Cross, Leigh Anne Langwell, Jennifer Esperanza, Judith Vejvoda, and many others. A beautiful “Zuni” Edward Curtis gravure print will also be for sale. Friday, April 15, 5-7 pm and Saturday April 16, 12-3 pm MuDu Noodles, 1494 Cerrillos Road, Santa Fe Asian Tapas, Wine, and Green Tea by Mu Du Noodles Desserts by Counter Culture In gratitude for donations of $50 or more, you will receive an original 8 x 10 silver gelatin print signed by Judith Vejvoda. To donate, please send a check to Judith Vejvoda, PO Box 361, Dixon, NM 87527 or you can donate online at: http://foundation.nnmc.edu/judithv-donations

open every day patio dining available

“...it may be the most attractive spot in town, and the eclectic cuisine is equal to the handsome setting.” –New York Times

Reservations 505.982.4353 Reservations 505.982.4353 653 Canyon Road, Santa Fe 653 Canyon Road, Santa Fe compoundrestaurant.com compoundrestaurant.com

231 washington avenue - reservations 505 984 1788 INSTANT GIFTCERTIFICATES, menus and special events online at santacafe.com locally owned and operated for over 28 years

Now Serving Our New Spring Menu Now Serving Our New Spring Menu

a Santa Fe tradition since 1944

The Pink Story The Pink Adobe was established in 1944 by Rosalea Murphy. Known affectionately by locals as "The Pink," the restaurant has grown into a local and national landmark since its humble beginnings serving Dobe Burgers, French onion soup, and hot apple pie. The restaurant is housed in historic adobe building, the décor is a mixture of old Santa Fe, old New Orleans, and Rosalea’s bohemian life style. Our menu remains Pink Adobe Classic and features dishes that five generations of Santa Feans grew up eating, plus new favorites and occasional specials.

PINK ADOBE

Lunch: Monday-Friday in Dragon Room Dinner: 7 nights a week from 5:30 pm.

DRAGON ROOM BAR

Weekdays, afternoon, and 7 nights Dragon Room Bistro Menu available all afternoon & evening

The Pink Adobe • 406 Old Santa Fe Trail • Reservations: 983.7712

ONE BOTTLE

One Bottle:

The 2007 Riofavara Nero D’Avola “Sciavè” by Joshua Baer Dionysus stood at the end of the stone pier in Chios. He was watching the sky,

Two of the pirates, Medon and Opheltes, walked behind Acoetes. Opheltes

the horizon, and the light on the water. He saw the pirate ship make its way

grabbed Acoetes’ arms. Medon pulled a dagger from his belt and held the blade

into the bay. It was an old, solid ship with a black hull and a frayed white sail.

against Acoetes’ throat. “Go ahead and kill me,” said Acoetes. “The boy is a god.

There were twelve pirates on board. With the exception of the helmsman, each

When he wakes up and sees what we’re doing, he will sink this ship and kill us all.

pirate was either a murderer or a thief. Dionysus knew what the pirates wanted.

Better to die here on deck in a pool of my own blood than drown at sea.”

Their greed had an odor. They saw Dionysus’s flowing hair and purple robes

Dionysus pretended to wake up. He looked at the sky, the horizon, and the

and assumed that he was an indolent fool who could be abducted and held for

light on the water. “I thought we were going to Naxos,” he said. As he spoke, white

ransom. With any luck, his father would turn out to be a merchant, maybe even

whiskers grew from his eyebrows.

a king. The pirates had no idea that they were about to kidnap a god. After the pirates rowed to the pier and shipped their oars, they called out to Dionysus and asked him where he was going. Dionysus said nothing.

“We took a little side trip,” said Lycabas. “We’ll be in Naxos before you know it.” Dionysus looked at his ankles. As the rope untied itself, it turned into ivy. Layers of leopard fur covered the god’s skin. Claws emerged from his fingers and toes.

The pirates dropped anchor, then they dove into the water, swam to the

As the pirates backed away from the leopard, vines grew up the mast of the ship

pier, and stood in a half-circle around Dionysus. There were eleven of them on

and wound their tendrils around the upper and lower beams of the sail. Black grapes

the pier. Only the helmsman remained on board. The helmsman was older than the other pirates. He stood at the stern of the ship with his hands on the tiller. “Where are you going?” said one of the pirates. His name was Lycabas.

hung from the vines. The oars turned into stalks of fennel. Music—it sounded like a thousand flutes, each one playing its own sad song—filled the air. The leopard considered each pirate. As the flute music grew louder, the pirates covered their ears with their hands. The leopard grabbed Medon and tore his right arm from his torso. As Medon’s arm disappeared into the

“I was thinking about going to Naxos,” said Dionysus.

leopard’s mouth, the other pirates jumped overboard. The leopard spoke

“Ten thousand islands in the Aegean,” said Lycabas, “and

to the water. As the pirates tried to swim away from the ship, they turned

we’re all going to the same one. What a coincidence. Is that

into dolphins. Each dolphin leaped into the air but fell back into the water.

where you live, on Naxos?”

The dolphins knew the god had spared their lives but the dark sea made

Dionysus nodded. “I live in a temple on the slopes of Mount Zas.”

no sense to them. It felt like a cold, endless prison. The only man left on deck was Acoetes. He and Dionysus

“Mount Zas,” said Lycabas. “I’ve heard stories about the

arrived in Naxos the next morning. After they docked in the harbor,

forest there. It’s supposed to be full of wild game. You don’t live

the god and the man left the ship and walked through the forest to

in a palace?”

the ancient temple on Mount Zas. Acoetes became a priest. The

“The forest is my palace. It surrounds my temple.”

prayers, rites, and secrets of the god of wine became his whole life.

“Are you a priest?”

Which brings us to the 2007 Riofavara Nero D’Avola “Sciavè.”

“No, I’m the god of wine.”

Azienda Agricola Riofavara is located in Ispica, a village near

All of the pirates laughed. “The god of wine!” said Lycabas.

the southeast corner of Sicily. The estate is run by Massimo Padova,

“Well, good for you, my young friend. Come with us. We’ll take

his sister Marianta, their cousin Antonella, and Massimo’s wife,

you to Naxos.”

Margherita. The Nero D’Avola grapes used in Riofavara’s “Sciavè”

“I’d like that,” said Dionysus, “but I get seasick on the open

are grown in the Noto Valley, northeast of Ispica. Massimo’s

water. If you let me lie down on the deck of your ship and sleep

grandfather, Don Saverio Padova, used to own farms and vineyards

until we get to Naxos, I’ll be all right. But if you need me to row,

in the Noto Valley. In Ispica, “Sciavè” (pronounced sha-VEH) was

I’d better stay here.”

Don Saverio’s nickname.

“We’ll do all the rowing,” said Lycabas. “You can sleep the

In the glass, the 2007 Riofavara “Sciavè” is an opaque scarlet touched

whole way. We’ll even tie a rope around you, to make sure you

with royal purple. The bouquet is a moment of truth. On the palate, the

don’t slip over the side.”

surprise is the way the wine unlocks your heart. The promise of ripe

After they left Chios, Dionysus lay down on the deck of the

flavors yields to the gift of raw emotions. The finish

ship and pretended to fall asleep. He heard the pirates whispering,

is like being at sea. Danger and safety move in and

then he felt a rope being tied around his ankles.

out of balance.

“All of you are crazy,” said a man’s voice. It was Acoetes,

Be careful of this wine. It has a sneaky side.

the helmsman. He was speaking to the rest of the pirates. “That

Its charm will make you laugh but its beauty can

boy is no boy. I saw lightning in his eyes. He has a god inside of

be terrifying. This is what happens when gods and

him—Apollo, Poseidon, or almighty Zeus. We should just take him

men appear on the same stage. D

to Naxos.” “Acoetes,” said Lycabas, “you’re the one who’s crazy. If he’s a god, why did he let us tie him up? This is an opportunity. Forget about a ransom. I say we head south to Alexandria and sell him to the Egyptians.” “I won’t do it,” said Acoetes.

| april 2011

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 ©2011 by onebottle.com. For back issues, go to onebottle.com. You can write to Joshua Baer at jb@onebottle.com.

THE magazine | 21

DINING GUIDE

Lunch / Dinner / Cocktails / People

T h e D r a g o n Ro o m at The Pink Adobe 406 Old Santa Fe Trail • 983-7712

$ KEY

INEXPENSIVE

up to $14

MODERATE

$15—$23

EXPENSIVE

$$$

VERY EXPENSIVE

$24—$33

$$$$

Prices are for one dinner entrée. If a restaurant serves only lunch, then a lunch entrée price is reflected. Alcoholic beverages, appetizers, and desserts are not included in these price keys. Call restaurants for hours.

$34 plus

EAT OUT MORE OFTEN!

Photos: Guy Cross

...a guide to the very best restaurants in santa fe and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: Reminiscent of an inn in the French countryside. House specialties: Earthy French onion soup made with duck stock; squash blossom beignets; crispy duck; and one of the most flavorful steaks in town. Comments: Recently expanded and renovated with a beautiful new bar. Superb wine list. Amavi Restaurant 221 Shelby St. 988-2355. Dinner/Sunday Brunch Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Mediterranean. Atmosphere: Elegant. House specialties: The tapas appetizer thrills and the pollo al mattone, marinated for two days and served with pancetta, capers, and house preserved lemon, may be the best chicken dish you’ve ever had. Also try the tiger shrimp. Comments: Farm to table. Chef Megan Tucker is doing it right. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236 . Breakfast/Lunch/Dinner Smoke-free. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American cuisine. Atmosphere: A casual and elegant room evoking the feeling of an Anasazi cliff dwelling. House specialties: We suggest any of the chef’s signature dishes, which include blue corn crusted salmon with citrus jalapeno sauce, and the nine spice beef tenderloin. Comments: Attentive service. Andiamo! 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ 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 pizzas, and a sharp waitstaff. Bobcat Bite Restaurant Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Smoking. Cash. $$ Cuisine: American. Atmosphere: This is the real deal—a neon bobcat sign sits above a small, low-slung building. Inside are five tables and nine seats at a counter made out of real logs. House specialties: The enormous inch-and-a-half thick green chile cheeseburger is sensational. The 13-ounce rib-eye steak is juicy and flavorful. Body Café 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual. House specialties: In the morning, try

the breakfast smoothie or the Green Chile Burrito. We love the Asian Curry for lunch or the Avocado and Cheese Wrap. Comments: Soups and salads are marvelous, as is the Carrot Juice Alchemy. Cafe Cafe Italian Grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad; the tasty specialty pizzas or the grilled eggplant sandwich. For dinner, we loved the perfectly grilled swordfish salmorglio and the herb-breaded veal cutlet. Comments: Very friendly waitstaff. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Smoke-free. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: The café is adorned with lots of Mexican streamers, Indian maiden posters, and rustic wooden furniture. House specialties: Hotcakes get a nod from Gourmet magazine. Huevos motuleños, a Yucatán breakfast, is one you’ll never forget. For lunch, try the grilled chicken breast sandwich with Manchego cheese. The Compound 653 Canyon Rd.  982-4353. Lunch/Dinner Full bar. Smoke-free. Patio. Major credit cards. $$$$ Cuisine: Contemporary American. Atmosphere: 150-year-old adobe with pale, polished plaster walls and white linens on the tables. House specialties: Jumbo crab and lobster salad. The chicken schnitzel is flawless. Desserts are absolutely perfect. Comments: Seasonal menu. Chef/ owner Mark Kiffin didn’t win the James Beard Foundation’s “Best Chef of the Southwest” award for goofing off in the kitchen. Copa de Oro Agora Center at Eldorado. 466-8668. Lunch/Dinner 7 days a week. Take-out. Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: International. Atmosphere: Casual. House specialties: Start with the mussels in a Mexican beer and salsa reduction. Entrees include the succulent roasted duck leg quarters, and the slowcooked twelve-hour pot roast. For dessert, go for the lemon mousse or the kahlua macadamia nut brownie. Comments: Well worth the short drive from downtown Santa Fe. Corazón 401 S. Guadalupe St. 424-7390. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Pub grub. Atmosphere: Casual. House specialties: You’ll love the thincut grilled ribeye steak topped with blue cheese, or the calamari with sweet chili dipping sauce; or the amazing Corazón hamburger trio. Comments: Love music? Corazón is definitely your place.

Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Smoke-free. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Breakfast: burritos and frittata. Lunch: sandwiches and salads. Dinner: flash-fried calamari; grilled salmon with leek and Pernod cream sauce, and a delicious hanger steak. Comments: Boutique wine list. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: All-American. Atmosphere: Popular patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are fantastic. Dynamite buffalo burgers and a knockout strawberry shortcake. Comments: Lots of beers Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: For your main course, go for the grilled Maine lobster tails or the Southwestern Rotisserie, or the grilled 24-ounce “Cowboy Cut” steak. Comments: Good wine list. Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Smoke-free. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room with small tables inside and a nice patio outside where you can sit, read periodicals, and schmooze. Over 1,600 magazine titles to peruse. House specialties: Espresso, cappuccino, and lattes. El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Smoking. Patio. Major credit cards. $$$ Cuisine: Spanish. Atmosphere: Wood plank floors, thick adobe walls, and a postage-stamp-size dance floor for cheekto-cheek dancing. Murals by Alfred Morang. El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego cheese marinated in extra virgin olive oil; sautéed spinach with garlic and golden raisins. Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Smoke-free dining room. Patio. Major credit cards. $$$$ Cuisine: French–Asian fusion fare.

Atmosphere: Kiva fireplaces, a portal, and a lovely garden room. 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. Comments: Tasting menus are available. Il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Smoke-free. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Arugula and tomato salad; grilled hanger steak with three cheeses, pancetta and onions; lemon and rosemary grilled chicken; and the delicious pork chop stuffed with mozzarella, pine nuts, prosciutto, potato gratin, and rosemary wine jus. Comments: Prix fixe seven nights a week. Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Smoke-free. Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Basic cafe-style. House specialties: We love the tasty Jerk chicken sandwich. Try the curried chicken salad wrap; or the marvelous phillo stuffed with spinach, black olives, feta cheese, roasted red peppers and chickpeas served over organic greens. Comments: Obo was the executive chef at the Zia Diner. Josh’s Barbecue 3486 Zafarano Dr., Suite A. 474-6466. Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: Barbecue. Atmosphere: Casual, House specialties: Delicious woodsmoked meats, cooked low and very slow are king here. Recommendations: We love the tender red-chile, honey-glazed ribs, the tender brisket, the barbecue chicken wings, the smoked chicken tacquitos, and the spicy queso. Comments: Seasonal BBQ sauces. Josh’s was written up in America’s Best BBQs. Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Smoke-free. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; soft shell crab; dragon roll; chicken katsu; noodle dishes; and Bento box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake. It is clear, smooth, and very dry—like drinking from a magic spring in a bamboo forest. Comments: New noodle menu. Friendly waitstaff. La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Hiway 285 / Vista Grande Breakfast/Lunch/Dinner/ Beer/Wine. Smoke-free Major credit cards. $$ Cuisine: Salvadorian Grill. Atmosphere: a casual open space. House specialties: Loroco omelet and anything with the pan-

fried plantains. Try the Salvadorian tamales and the poblano del dia. Everything is fresh. Recommendations: The buttermilk pancakes are terrific. Comments: Chef Juan Carols and family work hard to please. Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual and friendly. House specialties: Start with the Pho Tai Hoi, a vegetarian soup loaded with veggies, fresh herbs, and spices. For your entree, we suggest the Noung—it will rock your taste buds. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Smoke-free. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: A gorgeous enclosed courtyard with skylights and hand-painted windows exudes Old World charm. House specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad with baked New Mexico goat cheese. For your entrée try the Braised Lamb Shank, served with a spring gremolata, roasted piñon couscous, and fresh vegetables. Comments: Seasonal menus Luminaria Restaurant and Patio Inn and Spa at Loretto 211 Old Santa Fe Trail. 984-7915. Breakfast/Lunch/Dinner/Sunday Brunch Smoke-free. Valet parking. Major credit cards. $$$ Cuisine: American meets the Great Southwest. Atmosphere: Elegant and romantic. Recommendations: Start with the awardwinning tortilla soup If you love fish, order the perfectly prepared coriander crusted kampache or the Santa Fean paella—it is loaded with delicious shrimp, salmon, clams, mussels, roasted peppers, and onions. Comments: Organic produce when available. Mangiamo Pronto! 228 Old Santa Fe Trail. 984-2002. Lunch/Dinner Beer/Wine/Sake. Smoke-free. Visa & Mastercard. $$ C uisine : Italian. A tmosphere : Casual. H ouse specialties : Great pizzas—we suggest the Pesto pizza, with roasted chicken, basil pesto, red bell peppers, caramelized onions and mozzarella cheese or the Fritzo pizza, with spicy sausage, capiccola ham, roasted peppers, and provolone cheese. C omments : For dessert, choose from the pasteries, cookies, pies, cakes, and gelato. M aria ’ s N ew M exican K itchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: Freshly made tortillas, green chile stew, and pork spareribs. Comments: Perfect margaritas.

continued on page 25

| april 2011

THE magazine | 23

Taste the New Southwest Chef Charles Dale’s modern rustic cuisine introduces a Contemporary American fare that is regionally inspired by Northern New Mexico and infused with local and organically sourced ingredients.

TR ADIT IO NAL JAPAN E S E RA M E N H O U S E

shibumi R

Lunch: 11:30 am – 2:30 pm Monday – Friday Dinner: 5:30 – 10 pm Monday – Saturday Kaiseki / Izakaya Dinner: Last Thursday of the Month 26 Chapelle Street, Santa Fe, NM 87501 505.428.0077 ■ shibumiramen.com Fragrance Free

877.262.4666

198 State Road 592, Santa Fe

■

Parking Available

encantadoresort.com

Taste our fabulous new menu entrees including Fish & Chips, Pan Seared Salmon with raspberry chipotle sauce or an Oven Roasted Half-chicken with your choice of dry rubs! For a more invitingly lush dining experience, we’ve uplifted Copa’s interior decor with claret-hued walls and linen table-cloths!

466-8668 ~ CopaDeOro.net OPEN EVERY DAY ~ Hours: 11 am – 2 pm and 5 – 8 pm AT THE AGORA IN ELDORADO

® Consignment

Studio

Come see our expanding summer collections

10 am – 5 pm / Tuesday – Saturday | Studio B2. The Agora | 505.603.6382

Don’t miss our coupons on the back side of your Agora Supermarket sales receipts! Call in your orders!

Carry Out 466-4206 LA TIENDA, Eldorado Monday–Saturday ~ 11 am – 7 pm

DINING GUIDE

and build-your-own sandwiches, wonderful soups, and an excellent salad bar). Comments: Breakfasts, organic coffees, and super desserts. Family-run. Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers are outstanding when paired with beersteamed mussels, calamari, burgers, fish and chips, or the grilled bratwurst.

A Variety of Vietnamese dishes at

Pho Kim

919 West Alameda • 820-6777 Max’s 401½ Guadalupe St. 984-9104. Dinner Beer/Wine. Non-smoking. Major credit cards. $$ Cuisine: Contemporary. Atmosphere: Intimate and caring. House specialties: Specializing in “sous vide,” a method that maintains the integrity of the ingredients. Start with the Baby Beet Salad. For your main, try the Pan Seared Day Boat Scallop or the Sous Vide Chilean Sea Bass. For dessert, we love the Dark Chocolate Globe. Comments: Chef Mark Connell is making magic. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: Noodle house. Atmosphere: Casual and friendly. House specialties: Salmon dumplings with oyster sauce, and Malaysian Laksa. Museum Hill Cafe Museum Hill, off Camino Lejo. 984-8900. Breakfast/Dinner Beer/Wine to come. Smoke-free. Major credit cards. $$ Cuisine: American, Mediterranean and Mexican. Atmosphere: Casual and friendly. House specialties: The Thai Beef Salad is right on the mark. Try the Smoked Duck Flautas—they’re amazing. Comments: Menu changes depending on what is fresh in the market. Nostrani Ristorante 304 Johnson St. 983-3800. Dinner Beer/Wine. Smoke-free/Fragrance-free Major credit cards. $$$$ Cuisine: Regional dishes from Northern Italy. Atmosphere: A renovated adobe with a great bar. House specialties: For your main, try the Stuffed Gnocchetti with Prosciutto and Chicken, or the Diver Scallops. Comments: European wine list. Frommer’s rates Nostrani in the “Top 500 Restaurants in the World.” O’Keeffe Café 217 Johnson St. 946-1065. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwest with a French flair. Atmosphere: The walls are dressed with photos of O’Keeffe. House specialties: Try the Northern New Mexico organic poquitero rack of lamb with black olive tapenade. Pho Kim 919 E. Alameda. 820-6777. Lunch/Dinner Sake/Beer. Smoke-free. Major credit cards. $$ Cuisine: Vietnamese. Atmosphere: Casual and friendly. House specialties: Stir Fry beef w/ Broccoli, Rice Vermicelli Noodles w/Grilled Chicken, Broken Rice w/ Grilled Pork Chop, and the Crispy Sea Food Bird Nest. Comments: Good food that is simply prepared. Easy on the wallet. Pizza Centro Santa Fe Design Center. 988-8825. Agora Center, Eldorado. 466-3161

| april 2011

Cash or check. No credit cards. $$ Cuisine: Real New York-style pizza. Atmosphere: Counter service and a few tables. House specialties: The Central Park and the Times Square thin-crust pizzas are knockouts. Comments: A taste of the Big Apple. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light, colorful, and friendly. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. The Brisket Taquito appetizer rules. Try the green chile stew. Rasa Juice Bar/Ayurveda 815 Early St. 989-1288 Major credit cards. $$ Cuisine: Organic juice bar. Atmosphere: Calm. House specialties: Smoothies, juices, teas, chai, cocoa, coffee, and espresso. Rasa offers a varied selection of the above, made with organic ingredients. If you love smoothies, try the Berry Banana or the Going Green—you will love them. If juice is your thing, our favorites are the Shringara (love and passion), made with beet, apple, pear and ginger, and the Bhayanka (inner strength), made with spinach, kale, carrots, celery, and lemon. As well, Rasa has vegan thumbprint cookies, granola, and Congee (a traditional rice soup). Comments: Add to this mix vintage clothing, handmade jewelry, Ayurvedic herbs and treatments. Rasa is an expansion of Spandarama Yoga Studio, and serves to support and inspire a healthy and mindful lifestyle. Real Food Nation Old Las Vegas Hwy/Hwy 285. 466-3886. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: Farm to table with an on-site organic garden. Atmosphere: Cheery, light, and downright healthy. House specialties: A salad sampler might include the red quinoa, roasted beets), and potato with dill. Muffins and croissants are baked in-house. Recommendations: Inspired breakfast menu.

prime rib. Haystack fries and cornbread with honey butter. Recommendations: For dessert, we suggest that you choose the chocolate pot. Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Southwestern with French flair. Atmosphere: Elegant bar with a nice bar menu, sophisticated and comfortable dining rooms. House specialties: Mediterranean mussels in chipotle and mint broth is superb, as is the ahi tuna tartare. Comments: Ristra won the Wine Spectator Award of Excellence in 2006. San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: As American as apple pie. Atmosphere: Casual with art on the walls. House specialties: At lunch, do try the San Francisco Street hamburger on a sourdough bun or the grilled yellowfin tuna nicoise salad with baby red potatoes. At dinner, we like the tender and flavorful twelve-ounce New York Strip steak, or the Idaho Ruby Red Trout served with grilled pineapple salsa. Comments: Visit their sister restaurant at the DeVargas Center. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwestern. Atmosphere: Minimal, subdued, and elegant. House specialties: For starters, the calamari with lime dipping sauce never disappoints. Our favorite entrées include the perfectly cooked grilled rack of lamb and the panseared salmon with olive oil crushed new potatoes and creamed sorrel. Comments: The Chocolate Mousse with Blood Orange Grand Marnier Sauce is perfect. Appetizers at the bar during cocktail hour rule.

Restaurant Martín 526 Galisteo St. 820-0919. Lunch/Dinner/Brunch Beer/Wine Major credit cards. $$$ Cuisine: Contemporary American fare. Atmosphere: Casual. House specialties: For your main course we suggest you try the grilled Berkshire pork chop with shoestring tobacco onions and peach barbecue jus, or the mustard-crusted Ahi tuna. Comments: Chef-owned.

Santa Fe Bar & Grill 187 Paseo de Peralta. 982.3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Start with the delicious cornmeal-crusted calamari. For your main course, we love the Santa Fe Rotisserie chicken, the Rosemary and Garlic Baby Back Ribs, and the Prawns à la Puebla. Comments: Chef Carlos Rivas is doing a yeoman’s job in the kitchen.

Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Sunday Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American classic steakhouse. Atmosphere: Gorgeous Pueblo-style adobe with vigas and plank floors. House specialities: USDA prime steaks and

Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Smoke-free. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily chef specials, gourmet

Second Street Brewery at the Railyard 1607 Paseo de Peralta. 989-3278. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers here are truely outstanding, especially when paired with beersteamed mussels or the beer-battered calamari, burgers, fish and chips, or the truly great grilled bratwurst. Comments: Fun bar and great service. The Pink Adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: Try the Creole Mary—a Bloody Mary made with Stoli, finished with a skewer of celery, olives, and pickled okra. For lunch in the Dragon Room, we love the Gypsy Stew with cornbread, the Pink Adobe Club—smoked turkey breast, bacon, lettuce and tomato, and fresh sprouts topped with spinach mayonnaise, or the Combination Plate—a Cheese Enchilada, Pork Tamale, guacamole, pinto beans and posole with red or green chile and a tortilla. For dinner, you cannot go wrong ordering the classic Steak Dunigan—a New York cut smothered with green chile and sauteed mushrooms or the Fried Shrimp Louisianne. Comments: Great pour at the bar. The Pink is almost 70 years old. The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: This local institution is in an adobe hacienda just off the Plaza. House specialties: You an’t go wrong ordering the stacked red or green chile cheese enchiladas. Comments: Try their sister restaurant, La Choza. Shibumi 26 Chapelle St.At Johnson St. 428-0077. Lunch/Dinner Smoke-free/Fragrance-free Cash only. $$. Parking available Beer/wine/sake Cuisine: Japanese noodle house. Atmosphere: Tranquil and elegant. Table and counter service. House specialties: Start with the Gyoza—a spicy pork pot sticker or the Otsumami Zensai (small plates of delicious chilled appetizers), or select from four hearty soups. Shibumi offers sake by the glass or bottle, beer, and champagne. Comments: Suberb service in a Zen-like setting. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Smoke-free. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell crab tempura; sushi, and bento boxes. at El Gancho Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Smoke-free dining room. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant with full bar and lounge. House specialties: Aged steaks; lobster. We suggest you try the pepper steak with Dijon cream sauce. Comments: They know steak here.

S teaksmith

Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days

Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork. Atmosphere: Casual. House specialties: We love the Salmon Benedict with poached eggs, the quiche, the gourmet cheese sandwich, and the Teahouse Mix salad. Terra at Encantado 198 State Rd. 592. Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: Contemporary. Atmosphere: Elegant, with great views from the dining room and the bar. House specialties: Enjoy cocktails with appetizers like the Smoking Nachos in the cozy ambience of the bar. At lunch, our favorites are the Wild Mushroom Quesadilla and the always teriffic Encantado Burger with perfect Pomme Frites. For dinner, if available, start with the Risotto with Shaved Truffles or the Guajillo Glazed Jumbo Prawns. You cannot go wrong at dinner ordering the perfectly-cooked Harris Ranch Beef Tenderloin served with foie gras butter and brandy sauce, or the exquisite Fish of the Day—both are simply delicious. Comments: The service is excellent, enthusiastic, and unobtrusive. Chef Charles Dale certainly knows what “attention to detail” means. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch No alcohol. Smoking/non-smoking. Major credit cards. $ Cuisine: New Mexican. Atmosphere: This restaurant is absolutely a Santa Fe tradition. House specialties: Green chile stew and the huge breakfast burrito stuffed with bacon, potatoes, chile, and cheese. Comments: Tia Sophia’s is the real deal. Tree House Pastry Shop and Cafe 1600 Lena St. 474-5543. Breakfast/Lunch Tuesday-Sunday Smoke-free. Major credit cards. $$$ Cuisine: Only organic ingredients used. Atmosphere: Light, bright, and cozy. House specialties: You cannot go wrong ordering the fresh Farmer’s Market salad, the soup and sandwich, or the quiche. Tune-Up Café 1115 Hickox St.. 983-7060. Breakfast/Lunch/Dinner Major credit cards. $$ Cuisine: American, Cuban, Salvadorean, Mexican, and, yes, New Mexican. Atmosphere: Down home, baby. House specialties: Breakfast faves are the scrumptious Buttermilk Pancakes and the Tune-Up Breakfast. Lunch: the El Salvadoran Pupusas are the best. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: Call it farm-to-table-tofork. Atmosphere: Light, bright and cheerful. House specialties: All of the salads are knockouts— fresh as can be. We love the Nutty Pear-fessor salad—it rocks! Ze French Bistro 311 Old Santa Fe Trail. 984-8500. Breakfast/Lunch/Dinner Major credit cards. $$ Cuisine: International. Atmosphere: Casual. House specialties: For breakfast, have La Fruits Rouges Crepe (mixed berries and whipped cream) or the Stuffed and Toasted French Croissant. For lunch, choose from any of the homemade quiches or wonderful salads. Tempting dinner entrees include the Grilled Flat Iron Steak or the Seared Duck Breast. Comments: Authentic French bistro fare. Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: All-American. Atmosphere: Down home. House specialties: Huevos Rancheros or the chile rellenos and eggs are cannot miss breafast choices. For lunch or dinner, we love the meat loaf, chicken-fried chicken, and the fish and chips. Comments: Friendly waitstaff. The hot fudge sundaes are always perfect and there are plenty of dessert goodies for take-out.

THE magazine | 25

matthew penkala tower, lobby, floor

MATThEw PENkALA, flying saUcer eye, 2010, Acrylic on canvas on stretched panel, 48” x 48”

april 1 - 30, 2011 OPENING RECEPTION: Friday, April 1, 5:00 – 7:00 pm

Painted Black A group exhibition featuring artwork by: Lisa Cahill, Peter Demos, Merion Estes, Beverly Fishman, Maxwell Hendler, Ward Jackson, Otis Jones, Matsumi Kanemitsu, Scott Malbaurn, Beatrice Mandelman, Robert Motherwell, Clarence Morgan, Rakuko Naito, Louis Ribak, Benjamin Sewell, James Wines PETER DEMOS, Untitled 3, 2010, Acrylic on polyester, 53” x 45”

130 Lincoln Avenue, Suite D, Santa Fe, NM 87501 | p (505) 983-9555 | f (505) 983-1284 www.DavidRichardContemporary.com | info@DavidRichardContemporary.com

ART OPENINGS

APRIL

ART OPENINGS

FRIDAY, APRIL 1 105 arT r GallEry, 105 4th St. SW, Alb. 505-2383491. Tres Amigas: Living La Vida Orgánica: works by Anna Keene, Jade Leyva, and Laura Robbins. Moments and Stories Stories: photography by Jakob Schiller. 5-8 pm.

maniTou GallEriEs, 123 W. Palace Ave., Santa Fe. 986-0440. Douglas Aagard, Harry Greene and Fran Larsen Larsen: group show. 5-7:30 pm.

ToucHinG sTonE GallEry, 539 Old Santa Fe Trail, Santa Fe. 988-8072. Still Point: ceramics by Yukiya Izumita. 5-7 pm.

mariposa GallEry, 3500 Central Ave SE, Alb. 505-268-6828. Skullyland: works by Eric McCollon. Isaac AlaridPease: new works. 5-8 pm.

vivo conTEmporary, 725 Canyon Rd., Santa Fe. 982-1320. A Moment in Time: works by Pam Egan. 5-7 pm.

BriGHT rain GallEry, 206½ San Felipe NW, Alb. 505-843-9176. Black For Spring: works by Travis Bruce Black. 6-9 pm.

masTErrWorKs of nEW mExico at Expo New Mexico, 300 San Pedro NE, Alb. 505-260-9977. 13th Annual Fine Art Show. 5-8 pm.

WEyricH GallEry ry/THE rarE vision arT r GalEriE, 2935-D Louisiana Blvd. NE, Alb. 505883-7410. Earth Rhythms: work by Patricia Cohen and Marta Light. 5-8:30 pm.

EGGman and Walrus arT rT Emporium, 130 W. Palace Ave., Santa Fe. 660-0048. BLOW UP!: works by Stephanie Plichta and Claire Ashley. 5:30-9 pm.

musEum of conTEmporary naT a ivE arT r s, 108 Cathedral Pl., Santa Fe. 983-1666. Robert Tenorio: pottery. 5-7 pm. Tenorio

HarW ar ood arT r cEnTEr, 114 7th St. NW, Alb. 505-242-6367. How Far From Home Are We?An Illustrated Radio Journey Journey: works by Rebecca Beinart, Claire Coté, and Anna Keleher. 6-8 pm.

nEW concEpT GallEry, 610 Canyon Rd., Santa Fe. 795-7570. 3 Photographers: Woody Galloway, Bill Heckel, and Steven A. Jackson. 5-7 pm.

lEWallEn GallEriEs doWnToWn, 125 W. Palace Ave., Santa Fe. 988-8997. Wes Hempel: Model Citizens. 5:30-7:30 pm. Citizens

rosWEll musEum and arT r cEnTEr, 100 W. 11th St., Roswell. 575-624-6744. Reflected in Real Time: works by Anna Hepler. 5:30-7 pm. Time

pHoTo-EyE BooKs, 370-A Garcia St., Santa Fe. 988-5152. First Wednesday April Salon: featuring Dornith Doherty and Phil Doherty. 6:30-8 pm.

THURSDAY, APRIL 7 ins nsTiTuTE of amErican indian arT r s, 83 Avan Nu Po Rd., Santa Fe. 424-2300. Walking the Walk: IAIA Senior Thesis Art Walk. 5-7 pm. Walk

FRIDAY, APRIL 8

WoodEn coW W GallEry, 7400 Montgomery Blvd., Alb. 505-999-1280. Spring Bling: New Mexico jewelry artists. 5-8 pm.

222 sHElBy B sTrEET GallEry, 222 Shelby St., By Santa Fe. 982-8889. Capriccio: 1985 – 2010: works by Kay Harvey. 5-7 pm.

SATURDAY, APRIL 2

HarW ar ood arT r cEnTEr, 1114 7th St. NW, Alb. 505-242-6367. ARTiculation - CNM Art Career Concerns 2011 2011: group show. 6-8 pm.

la TiEnda nda GallEry, 7 Caliente Rd., Eldorado. 466-4211. The Weavers and Fiber Artists of Northern New Mexico Mexico. 4-7 pm.

WEDNESDAY, APRIL 6

maslEyy GallEry, 1 University of New Mexico, Alb. 505-277-4112. Spring 2011 Graduating M.A. Exhibition Exhibition: group show. 5:30-7:30 pm.

HIDE: Skin As Material and Metaphor—a show challenging notions about the representation of Native people—on view at the Museum of Contemporary Native Arts, 108 Cathedral Place. Reception: Friday, April 15, from 5 to 7 pm. Image: Terrance Houle.

continued on page 30

| april 2011

THE magazine | 27

WHO SAID THIS? "Artists are better at finding a way to kill their time." 1. Allan Kaprow 2. Wayne Thiebaud 3. Andy Warhol 4. John Baldessari 5. Joseph Beuys

HEREâ&#x20AC;&#x2122;S THE GREAT DEAL! $500 B&W full-page ads ($800 for color) in the May issue for artists without gallery representation in New Mexico. Reservations by Wednesday, April 13. 505-424-7641

OUT & ABOUT

Photos: Mr. Clix, Lydia Gonzales, Dana Waldon, Anna Hansen,

Lisa Law, Jennifer Esperazana, and Fotozozo

ART OPENINGS

works by DL Stark. 5-7 pm. nEW mExico musEum of arT r , 107 W. Palace Ave., Santa Fe. 476-5041. Earth Now: American Photographers and the Environment Environment. 5:30-8 pm.

mEyErr GallEry, 225 Canyon Rd., Santa Fe. 9831434. Andrei Kioresku. 5-7 pm.

pH HoTo-EyE GallEry, 376-A Garcia St., Santa Fe. 988-5159. The Bridge at Hoover Dam: photographs by Jamey Stillings. 5-7 pm.

san anTa T fE clay, 545 Camino de la Familia, Santa Ta Fe. 984-1122. Figurines: national invitational exhibition. 5-7 pm.

MONDAY, APRIL 11

SATURDAY, APRIL 23

cca cinEmaTHE ma maTHE quE, 1050 Old Pecos Trail, Santa Fe. 982-1338. Fluid Dynamics: The Watershed Series: videos by Diane Armitage. 7-8:30 pm. Series

nEW mExico HisTory musEum, 113 Lincoln Ave., Santa Fe, in association with the Fisher Press Gallery, 307 Camino Alire, Santa Fe. 9849919. David Lance Goines: A Life in Posters: talk at NM History Museum, 2-3 pm. Reception to follow at Fisher Press Gallery, 4-6 pm.

FRIDAY, APRIL 15 EGGman and Walrus arT r Emporium, 130 W. Palace Ave., Santa Fe. 660-0048. Zentropy: works by Ernest Doty, Thomas Haag, Ben Utigard, and Evan Glassman. In conjunction with Mural Series #2 at BODY of Santa Fe by the same artists. 5:30-9 pm.

ros osWEll musEum and arT r cEnTEr, 100 W. 11th St., Roswell. 575-624-6744. Spellbound: works by Jennifer Moses. 5:30-7 pm.

EiGHT modErn, 231 Delgado St., Santa Fe. 995-0231. Eminent Domain Domain: works by Erik Benson. 5-7 pm.

vEEnTana T Tana finE arT rT, 400 Canyon Rd., Santa Fe. 9838815. Spring into Summer: group show. 5-7 pm.

musEum of conTEmporary naT a ivE arT r s, 108 Cathedral Pl., Santa Fe. 424-2351. Hide: Skin as Material and Metaphor Metaphor. 5-7 pm.

zan anE E BEnnETT conTEmporary arT r , 435 S. Guadalupe St., Santa Fe. 982-8111. Guy Dill / NM Women Artists: sculpture, paintings, and prints. 5-7 pm.

FRIDAY, APRIL 29

Model Citizens, new work by Wes Hempel at LewAllen Galleries Downtown, 125 West Palace Avenue. Reception, Friday, April 1, from 5:30 to 7:30 pm.

juried group show. Through Sun., May 29. Info: tcataos.org GEorGia o’KEEffE musEum, 217 Johnson St., Santa Fe. 946-1000. Various public programs throughout April. Info: okeeffemuseum.org GErald pETErs GallEry, 1011 Paseo de Peralta, Santa Fe. 954-5700. Albert Paley: new sculptural works. Mike Glier: new paintings. 5-7 pm. On view through Sat., Jun. 11. Info/details: gpgallery.com HarW ar ood musEum of arT, 238 Ledoux St., Taos. 575-758-9826. New Mexorado: group show. Through Sun., June 19. Info: harwoodmuseum.org

Jam amEs KElly conTEmporary, 1601 Paseo de Peralta, Santa Fe. 989-5005. Glitches & Fixes Fixes: works by David Ryan. Through Sat., May 7. Info: jameskelly.com mauricE Burns sTudio, 3920 Buffalo Grass Rd., #3, Santa Fe. 471-0501. Open Studio. Sat., April 16, 2-5 pm. See Universe of article: pages 12-13. musEum of conTEmporary naT a ivE arT r s, 108 Cathedral Pl., Santa Fe. 424-2351. In the Courts of the Conqueror: A Native American Experience: talk and book signing by Walter Experience Echo Hawk. Thurs., Apr. 7 at IAIA Campus, 10:45 am. Fri., Apr. 8, 6-7:30 pm at the Museum of Contemporary Native Arts. Info: iaia.edu.

Configuring A Meadow Meadow—photo-based mixed-media works by DL Stark at Box Gallery, 1611-A Paseo de Peralta. Reception: Friday, April 22, from 5 to 7 pm.

nEW mExico capiTol roTunda unda GallEry, 490 Old Santa Fe Trail, Santa Fe. 986-4614. Timeless New Mexico: mixed-media fiber art by New Mexico artists. 4-6 pm. ricHard lEvy vy GallEry, 514 Central Ave. SW, Alb. 505-766-9888. Cloudy Skies: works by Teo González. 6-8 pm. v vErvE GallEry, 219 E. Marcy St., Santa Fe. 982-5009. Photography by Stanko Abadžic, Manuel Carrillo and Jacko Vassilev. 5-7 pm. WEyricH GallEry ry/THE rarE vision arT r GalEriE, 2935-D Louisiana Blvd. NE, Alb. 505883-7410. Earth Rhythms: work by Patricia Cohen and Marta Light. 5-8:30 pm.

FRIDAY, APRIL 22 GallEry, 1611-A Paseo de Peralta, Santa Fe. 989-4897. Configuring A Meadow: mixed-media Box B ox

30 | THE magazine

SPECIAL INTEREST 516 arT r s, 516 Central Ave. SW, Alb. 505-2770564. Latino Literary Imagination: East Coast/ South West Dialogue on Narrative Voices and the Spoken Word Word: conference Thurs., Apr. 14 through Sun., Apr. 16, reception Fri., Apr. 15, 6-8 pm. Info: finearts.unm.edu cHiaroscuro GallEry, 702½ Canyon Rd., Santa Fe. 992-0711. Revolving Group Show: works by gallery artists. Fri., Apr. 1 through Sat., Apr. 30. Info: addisonarts.com crEaT a ivE alBuquErquE at Coaches Sports Grill, aT 1414 Central Ave. SE, Alb. 505-268-1920. Geeks Who Drink: Quiz for a Cause Cause. Thurs., Apr. 14, 8:30 pm. Info: creativeabq.org EncorE GallEry ry at the Taos Community Auditorium, 145 Paseo del Pueblo Norte, Taos. 575-758-2052. Transformed by Taos: 3 Photographers—Woody Photographers Galloway, Bill Heckel, and Steven A. Jackson at New Concept Gallery, 610 Canyon Road. Reception: Friday, April 1, from 5 to 7 pm. Image: Bill Heckel. april 2011 |

RO U N DSTON E STUDIO

GALLERY

2nd St Studios SANTA FE NM 505.919.9354 Photography of Norman F.Carver Jr. normancarver.com Architecture of Mitch Witkowski roundstonedesign.com Artifacts of the Ancient World

ART OPENINGS

JudiTH vEJvoda at Mu Du Noodles, 1494 Cerrillos Rd., Santa Fe. Artists Helping Artists Fundraiser: benefit for Judith Vejvoda. Friday, April Fundraiser 15, 5-7 pm, Saturday April 16, noon-3 pm. Info: http://foundation.nnmc.edu/judithv-donations

sanTa T Ta fE pErformancE ExcHanGE, 7 Caliente Rd., Santa Fe. 988-1234. Rory Block: country blues. Thurs., Apr. 7, 7:30 pm. Info: thirstyearfestival.com

lannan foundaT ounda ion at the James A. Little Theater, 1060 Cerrillos Rd., Santa Fe. 986-8160. In Pursuit of Cultural Freedom Freedom: lecture series featuring Maria Hinojosa. Mon., Apr. 4. Info: lannan.org las crucEs musEum of arT r , 491 N. Main St., Las Cruces. 575-541-2137. Sight Unseen: sculpture by Michael Naranjo. Through Sat., Apr. 2. Info: las-cruces.org/museums

Zentropy—a show of paintings and constructions at Eggman and Walrus, 130 West Palace Avenue, 2nd Floor. Reception: Zentropy Friday, April 15, from 5 to 7 pm. Image: Ernest Doty.

monroE GallEry, 112 Don Gaspar, Santa Fe. 992-0800. Richard C. Miller: photography. Through Sun., Apr. 17. Info: monroegallery.com

sHiprocK sanTa T fE, 53 Old Santa Fe Trail, Santa Ta Fe. 982-8478. Phillip Vigil: ongoing selection of works on view. Info: shiprocksantafe.com

musEum of inTErnaT rna ional folK arT rnaT r , 706 Camino Lejo, Santa Fe. 476-1200. Folk Art of the Andes. Sun., Apr. 17 through Feb. 2012. Creative Andes Spark: The Life and Art of Tony Da Da. Through Dec. 31. Info: internationalfolkart.org

souTH BroadW roadWay Way culT ul ural cEnTEr, 1025 Broadway SE., Alb. 505-848-1320. Gamut: works by Russell Adams, Kim Arthun, Claudia Baragiola, and Felice Lucero. Through Sun., May 8.

nEW mExico HisTory musEum, at La Fonda Hotel, 100 E. San Francisco, St., Santa Fe. 9881234. A Mary Jane Colter Weekend: The Shaping of Southwest Style Style. Fri., Apr. 1 and Sat., Apr. 2. Info: nmhistorymuseum.org nEW mExico HisTory musEum/palacE of THE GovErnors, 113 Lincoln Ave., Santa Fe. 476-5096. Broadsides from the Al-Mutanabbi Street Project Project: exhibition open by appointment. Through Sat., Apr. 30. prEsTon conTEmporary arT r cEnTEr, 1755 Avenida de Mercado, Mesilla. 575-5238713. Group exhibition: works by Kevin Box, Craig Dongoski, Fran Hardy, and Suzanne Kane. Through Sat., June 25. Info: prestoncontemporaryart.com sanTa T fE communiTy Ta T collEGE, 601 Richards Ty Ave., Santa Fe. 428-1501. Olor de leña - The Scent of Wood Wood: exhibition by Manuel López. Through Thurs., Apr. 28. Info: sfcc.edu sf sfai at Collected Works Bookstore, 202 Galisteo St., Santa Fe. 988-4226. Exhibition of work by past SFAI artists-in-residence. Through Sat., Apr. 30.

sTa T BlEs arT r GallEry, 133 Paseo del Pueblo Norte, Taos. 575-587-1076. Beyond the Fringe: Body Language Language: juried fiber arts show. Through Sun., Apr. 3.

Jessica Helen Lopez, Mary Oishi, and Lisa Gill. Apr. 6, 13, 20, and 27, 12 pm. William r.. TalBoT finE arT r , 129 W. San Francisco St., Santa Fe. 982-1559. Moradas & Missions of New Mexico by 20th Century Regionalists: Fri., Apr. 8 through Sat., May 28.. Regionalists Info: williamtalbot.com

PERFORMING ARTS alBuquErquE THEaT a rE Guild, various locations aT in Alb. Performances throughout April. Info: abqtheatre.org

sT. JoHn’s collEGE, 1160 Camino Cruz Blanca, Santa Fe. 984-6000. Franz Kafka’s “The Trial” and “The Metamorphosis” Metamorphosis”: community seminar. Fri., Apr. 15, 5:30-7:30 pm, Sat., Apr. 16 and Sun., Apr. 17, 1-3 pm. Info: stjohnscollege.edu

BisHop’s lodGE, 1297 Bishop’s Lodge Rd., Santa Fe. 983-6377. Spring Musicale: Ida Kavafian and friends; benefit for Music from Angel Fire. Sun. Apr. 3, 2:00 pm. Info: musicfromangelfire.org

THrouGH THE floWEr, 107 Becker Ave., Belen. 505-864-4080. Secret Garden, Fertile Ground: works by Shirley Klinghoffer. Through Mon., May 30. Info: throughtheflower.org

HarW ar ood musEum of arT r , 238 Ledoux St., Taos. 575-758-9826. The Eli Degibri Quartet: jazz concert. Thurs., Apr. 7, 7pm. Info: harwoodmuseum.org

TranscEndEncE dEsiGn conTEmporary arT r , 1521 Canyon Rd., Santa Fe. 984-0108. Necessary Beauty: group show. Through Sat., Apr. 30. Info: Beauty transcendencedesign.com

iron ronWEEd producTions at El Museo Cultural, 555 Camino de la Familia, Santa Fe. 6602379. American Buffalo by David Mamet. Thurs., Apr. 14 through Sun., May 1. Info: ironweedproductions@yahoo.com

univErsiTy T Ty of nEW mExico arT r musEum, 1 University of New Mexico, Alb. 505-2776773. Eva Hesse Spectres 1960. Through Sun., July 24. Info: unm.edu/~artmuse

THE lEnsic, 211 W. San Francisco St., Santa Fe. 988-7050. Nrityagram Dance Ensemble: Southern Indian dance. Fri., Apr. 8, 7:30 pm. Info: lensic.org

univErsiTy T of nEW mExico BooKsTorE, 2301 Ty Central Ave., Alb. 505-277-7494. Wednesdays at Noon Poetry Series Series: readings by Renny Golden,

ouTposT pErformancE spacE, 210 Yale Blvd. SE, Alb. 505-268-4014. Various performances throughout April. Info: outpostspace.org

sT. JoHn’s collEGE, 1160 Camino Cruz Blanca, Santa Fe. 984-6000. An Evening of Haydn, Dvorak, and Shostakovich Shostakovich: Christine Chen, David Bolotin, Chase Morrison. Sun., Apr. 3, 7 pm. Selections for the Classical Guitar: guitarist David Russell. Fri., Apr. 8, 7:30 pm. Women Composers in the Modern Era Era: Carin Gilfry, mezzo-soprano. Sun., Apr. 10, 4 pm. Info: sjcsf.edu

CALL FOR ARTISTS Girls inc., 301 Hillside Ave., Santa Fe. 9822042. 2011 Girls Inc. Arts & Crafts Show: juried show on Sat., Aug. 6. Info: girlsincofsantafe.org

OUT OF TOWN BEllaGio GallEry of finE arT, 3600 S. Las Vegas Blvd., Las Vegas, NV. 702-693-7871. A Sense of Place Place: Landscapes from Monet to Hockney. Sat., Apr. 16 through Jan. 2012. Info: Hockney bellagio.com/bgfa BluE rain conTEmporary, 4614 N. Marshall Way, Scottsdale, AZ. 480-874-8110. Where Earth Touches Sky Sky: landscapes by Doug West. Pentimento: glass works by Shelley Muzylowski Allen. Through Sat., Apr. 16. Info: blueraingallery.com dEsErT caBallEros WEsTErn musEum, 21 North Frontier St., Wickenburg, AZ. 928-6842272. Cowgirl Up!: art exhibition with New Mexico artists Trish Booth, Glenna Goodacre, Lisa Gordon, Louisa McElwain, Linda St. Clair and Liz Wolf. Through Sun., May 8. Info: westernmuseum.org musEum of finE arTs, HousTon, Audrey Jones Beck Bldg., 5601 Main St., Houston, TX. 713-639-7300. Heinrich Kühn: The Perfect Photograph. Through Mon., May 30. Info: Photograph mfah.org TrailsidE GallEriEs, 130 E. B’way, Jackson Hole, WY. 307-733-3186. East Meets West: featuring nine Chinese artists including An He, James Jiang, Mian Situ, and Tong Luo. Through April 9. Info: trailsidegalleries.com

Sculptural work by Shirley Klinghoffer—Secret Secret Garden, Fertile Ground Ground— on view through May 30 at Through the Flower, 107 Becker Avenue, Belen, NM. Curated by Laura Addison, New Mexico Museum of Art.

32 | THE magazine

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2011 |

SHIRLEY KLINGHOFFER:

Secret Garden, Fertile Ground February 19 – May 30, 2011

“Shirley Klinghoffer uses sculpture as a vehicle not only to celebrate diversity but to censure inequities. Hers is an approach that insists that art open the gate of the secret garden and reveal the beauty and the beast within. For, as we know from Eden, even the most well-kept garden has its serpents.”

Curated by Laura Addison, Contemporary Art Curator, New Mexico Museum of Art

Through the Flower 107 Becker Avenue, Belen, NM 87002

www.throughtheflower.org For more information please contact Susannah Rodee, 505-864-4080 or info@throughtheflower.org.

HARWOOD MUSEUM OF ART, UNIVERSITY OF NEW MEXICO

TCA – TAOS CENTER FOR THE ARTS

Ongoing Exhibits

Encore Gallery Exhibits

Agnes Martin painting installation Ken Price altar installation

through may 29 Juried Exhibition, Transformed by Taos

to june 19 New Mexorado: Artists in NM and CO

Ongoing Events

SOMOS – SOCIETY OF THE MUSE OF THE SOUTHWEST

Taos Ongoing Events

Children’s art classes, Saturdays & Sundays Museum Store trunk shows, Saturdays Yoga in Agnes Martin Gallery, Wednesdays Selected Events

april 1-2 Royal Ballet in London in HD Don Quixote by the Bolshoi april 7 Eli DeGibri Jazz Quartet in concert april 15 Lecture by Libby Lumpkin New Mexorado april 23 Alice Neel documentary film april 30 Lecture by Chris Enos My Life in Photography

harwoodmuseum.org 575.758.9826

Film Series, Sunday afternoon, Monday & Tuesday evenings Events

april 1 Arlo Guthrie Journey on Tour april 2 National Theatre Live in HD Frankenstein by Nick Dear april 9 Live from the Met in HD Rossini’s Le Comte Ory april 23 Live from the Met in HD Strauss’s Capriccio april 27 Taos Chamber Music Group concert Lore of the Land april 30 Live from the Met in HD Verdi’s Il Trovatore

tcataos.org 575.758.2052

Celebrating Poetry Month! april 1-5 Poetry workshop with Lise Goett april 13 Marjorie Agosin reading From Dear Anne Frank Taos Jewish Center april 30 Youth Mentorship Program Season final event Ongoing

Used book sale at SOMOS office, first Saturdays of the month, 10am-1pm Monday-Friday Youth mentorship program

somostaos.org 575.758.0081

Taos april 2011

See more Taos art events and travel planning info at TaosWebb.com/artcalendar

PREVIEWS

Ansel Adams: Gems from New Mexico Exhibition runs through December 31. Andrew Smith Gallery, 122 Grant Avenue, Santa Fe. 984-1234 Ansel Adams believed that there was a spiritual power to photography. In his 1976 book Photographs of the Southwest, Adams wrote, “…wherever one goes in the Southwest, one encounters magic, strength, and beauty… there is no end to the grandeurs and intimacies, no end to the revival of the spirit which they offer to all.” His photographs of churches exemplify his passion for the Southwest. Santuario de Chimayó is a sublime study of the church, famously the site of “el pocito,” a small pit of “holy dirt” which many of the faithful believe has healing properties. The church is also the site of many pilgrimages. Adams composed the image so that two great cottonwoods frame the structure, as if to shelter it. When he took this photograph, El Santuario de Chimayó was a family-owned chapel. This year, the Andrew Smith Gallery is exhibiting sixteen of Adams’ New Mexico photographs. Gems of New Mexico is a fine opportunity to see both classic and rarely seen Adams photographs, including the original print of Moonrise, Hernandez, New Mexico. Also included in the exhibition are Adams’ studies of Taos Pueblo, Ghost Ranch, and several other churches. These works are Adams’ tribute to the beauty of New Mexico. Ansel Adams, Santuario de Chimayó, New Mexico, silver gelatin print, 7 ½” x 9 ½” (approx.), 1950

Erik Benson April 15 through June 4 Eight Modern, 231 Delgado Street, Santa Fe. 995-0231 Opening reception: Friday, April 15, 5 to 7 pm. Erik Benson’s paintings are quiet commentaries on our architectural world. His works critique uniformity and gentrification in American neighborhoods. In an ARTnews review, Christopher French observed, “Erik Benson represents a persuasive, dystopian take on the American landscape. In his paintings on canvas and paper, the normalcy of suburban views dominated by edifices of glass and steel is rudely interrupted-marked by decay or overwhelmed by ominous emissions suggestive of pollution or explosion.” Benson employs a flat, shape-based technique to deliver an atmospheric feeling of loneliness. Using an X-ACTO knife, he cuts shapes out of acrylic paint, which he has allowed to dry on sheets of glass. He then “builds” his paintings with these shapes, layering them on canvas or paper in a manner that mimics the construction of an actual building. Benson developed his distinctive technique after he became allergic to oil paints during graduate school and was forced to experiment with the more plastic quality of acrylics. He lives and works in Brooklyn, New York, surrounded by the buildings that inspire his work.

Erik Benson, Eminent Domain, acrylic on canvas over panel, 20” x 30”, 2011

Folk Art of the Andes Museum of International Folk Art 706 Camino Lejo, Santa Fe. 476-1200 Opening reception: Sunday, April 17, 1 to 4 pm. Much of the world’s finest folk art is created for religious ceremonies. South American folk art exemplifies this tradition, and Andean cultures are known for their colorful portable altars, houseblessing ornaments, and masas. Masas are ceremonial offerings made by the Quechua and the Aymara peoples of Bolivia and Peru. A family or individual provides a ritualist with a number of small offerings, including the masas, which are laid on an altar. The objects are wrapped in coca leaves and cloth, and then sprinkled with alcohol or sugar. At night, the ritualist takes the bundle and goes to a sacred place in the mountains, where he burns the offering in order that the smoke carries the prayers to the gods. On April 17, the Museum of International Folk Art opens a major exhibition entitled Folk Art of the Andes, which will include an interactive section devoted to masas and their creation. More than 850 other works will be displayed, showcasing the region’s spectacular textiles, ceramics, and paintings. This is the first exhibition of its kind in the United States. Details: internationalfolkart.org

Examples of ceremonial offerings—masas—made by the Quechua and the Aymara peoples of Bolivia and Peru.

34 | THE magazine

april

2011 |

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

Negro Baptizing Scene, Greenville, Miss.,1920s Photograph by Curt Teich & Co. River baptism is a dramatic Christian symbol of cleansing and salvation. As the baptized rises from the water, he or she is said to be reborn into a new faith. Now a dying practice, the river baptism was once an important tradition. At the turn of the twentieth century, religious fundamentalism was commonplace and river baptisms were a public statement of faith that brought together the entire religious communityâ&#x20AC;&#x201D;they were especially embraced by African-American plantation churches. As the slaves abandoned their African religious beliefs and entered into Christianity, the ritual also symbolized their entry into Western society. Baptisms were generally held during the summer or early fall when the water was warm. Even though the majority of urban and rural churches have indoor baptismal pools, some have chosen to maintain the traditional natural setting for this important rite of passage. Take Me to the Water: Photographs of River Baptisms is an exhibition of vintage baptismal photographs on display through May 8 at the International Center of Photography, 1114 Avenue of the Americas, New York City. The photographs were originally donated to the Center by Jim Linderman, whose collection was also the basis for the 2010 Grammy-nominated CD and accompanying book Take Me to the Water: Immersion Baptism in Vintage Music and Photography 1890-1950. D

| april 2011

THE magazine | 37

A N D R E W S M I T H G A L L E RY,

Masterpi e c e s

o f

P h o t o g ra p h y

INC.

Special Selection from the David H. Arrington Collection of Ansel Adams Photographs: Gems From New Mexico Gems From New Mexico includes classic photographs as well as seldom seen prints that demonstrate Adams’s full range of vision from his early soft-focused prints on Parmelian papers to crisp, dramatic expressions from his later years. The sixteen masterworks were photographed in New Mexico from the late 1920s through the early 1970s. On view is the very first print ever made by Adams of the legendary Moonrise, Hernandez, New Mexico, 1941.

In addition to the Gems From New Mexico exhibition the Andrew Smith Gallery has many other original Ansel Adams photographs on view in the gallery. 122 Grant Ave., Santa Fe, NM 87501

• 505.984.1234 • www.AndrewSmithGallery.com

Next to the Georgia O’Keeffe Museum

Jay Nelson

Kai Margarida-Ramírez de Arellano

Mark Newport

Latino/a Visual Imaginary: Intersection of Word & Image

Worlds Outside This One Curated by Erin Elder

Superheroes: Icons of Good, Evil & Everything in Between

Amalia Mesa-Bains, Pepón Osorio & artists from across the U.S. Curated by Holly Barnet-Sanchez

Across the Great Divide Photographs by Roberta Price

Fall, 2011

June 4 — August 27, 2011

February 19 — May 14, 2011

exhibitions

516 ARTS • Downtown Albuquerque

ISEA2012: Albuquerque Machine Wilderness

516 Central SW • 505.242.1445 • open Tue - Sat, 12-5pm www.516arts.org

Conference + Collaboration, Fall 2012 Call for entries launches May 1, 2011 www.isea2012.org

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collaborations

F E AT U R E

Art and Memory:

Anselm Kiefer Today by

Roger Salloch

Is Anselm Kiefer the worldâ&#x20AC;&#x2122;s best-known artist? In the last three decades exhibitions of his work have taken place the world over. In 2007 he was the first artist invited by Monumenta to fill the vast Grand Palais Museum in Paris. He had a major exhibition at the Gagosian Gallery in New York City in December, and another exhibition opened on March 10 in London. This year, for the first time, the College de France in Paris, Franceâ&#x20AC;&#x2122;s elite court of intellectuals, invited a visual artist to be its guest fellow for the year. It was Kiefer they chose.

Photograph by Graham Turner/Guardian News & Media Ltd. continued on page 40

| april 2011

THE magazine | 39

In his art, we rise above the substance and see the metaphors

ONE

can imagine the slight figure smiling delicately at the

Merkaba invoked by another piece displayed at the Gagosian, allow us to accede to

question posed at the beginning of this piece. And

the inner illumination of one’s own true, completely free self, not to be encumbered?

retreating back into his labyrinth of crushed stone and

Shellac, ash, cotton dress, burned books, and plaster-coated thorn bushes in glass

dried flowers and solid lead books—history-heavy volumes actually made from the

and steel frame: therein lies Kiefer’s answer. This is the stuff of which the landscape

roof tiles of the Cologne Cathedral that were scavenged by Kiefer when the building

entitled Merkaba is made. It is not the stuff of tranquility, of inner peace, of absorption

was refurbished back in the seventies. Kiefer was born in Germany, in the Black

into the Buddha or other more common forms of yoga-induced bliss.

Forest, during the last few months of World War II. At home, no one talked about the

Someone once said, “History has no numbers. Pick it up where you like. Discard

war: what was there to say? Survival was the only question. There was no food, there

it. History doesn’t care.” Soberly, Kiefer might add, “History has no numbers, but

were no walls, roofs didn’t exist, the people staggered from one foul point of survival

it does have teeth.” To push the idea, you could say some of Kiefer’s landscapes

to the next. The aftermath of the war was Kiefer’s cradle: its reality was everywhere,

are like the mouth of history. They are enormous cavities, and in their obscurities,

in the devastation of Germany’s cities, in the clear skies without bombers passing

where the Enlightenment and the Renaissance get chewed to bits, truths come and

overhead, in the quiet echo of the horrors that had preceded his birth.

go like flickering dreams. To work with such a vision is a vast responsibility, and Kiefer

Before he went to art school, Anselm Kiefer studied law. He had the clear

struggles to rise to the occasion by using materials that are massive and absolutely

mind of a jurist, clear enough to consider his teachers fascists. Fascists in denial.

concrete. His paintbrush is made of stuff that hurts—bricks, stones, thorns, nails,

They seemed to know nothing about what had happened around them, nothing about

a slur of long black hair—and everything almost always in monumental size. To the

the Holocaust, what the Germans had done to others, and they were certainly loath

oft-repeated catch phrase “Whatever works,” Kiefer replies, “Everything works,”

to admit what they had also done to themselves—the utter destruction of their own

as long as it has been discarded or ignored in the modern rush—burned books and

country and culture and dignity (see W.G. Sebald’s The Natural History of Destruction

dead flowers, used palettes and clogged cityscapes, central urban arteries bleeding

for a description of what it was like to live in Dresden after the allies leveled that city

with the flow of taillights. Sometimes it is photography, sometimes it is opera, often

with firebombs). Of course there was shame. But were there not unfathomable levels

enough it borders on theater, drawing us into the endless drama of a world hell-bent

of guilt too? How to live with the reality of such denial? How to deny denial? Perhaps

on implosion. But at his best, in his art, we rise above the substance and see the

this too: how to be the son of the Kiefers, his father, a Nazi supporter, his mother,

metaphors. And begin to think about history differently.

probably long suffering and accepting? In Kiefer’s obsessive working-out of what it is

Take one theme, apparently far removed from today’s headlines, Lilith by the Red

to be a German, there is more than world history—there is also a biography. Kiefer

Sea. Lilith was more than Adam’s first wife. She was the first renegade. She refused

uses the ghosts in the closet but he does not linger. Art is not psychology. Art is not

Adam’s entreaties because he only wanted to use the missionary position to make

illustration. Art is consequence. His is the big view.

love. She had other ideas and went to the Red Sea, where she had children with

One of Kiefer’s first artistic gestures entailed doing the Heil Hitler salute in public places. To this end, he used his father’s army uniform (that ghost in the closet), and took pictures of himself executing the gesture. It was performance art, and loudly decried at the time. Germans do not take irony lightly. That didn’t stop Kiefer. At the show at Gagosian, he turned that gesture from the eighties into a time-frozen theatrical event: films of the salute performed over the years and photographs of it in different settings, all hung like ancient sheets on invisible lines and all encased in a great lead box with openings that deliberately made it difficult for the eye to pry. It is as though Kiefer wanted his public to make an effort commensurate with his own. In her review of the show for The New York Times, Roberta Smith referred to the people at the exhibition straining to see into this construction as “a cast of extras trapped in some museum of devastation.” “Extras” is the operative word. References to mythological and religious figures abound in Kiefer’s work, their names scrawled across vast landscapes like the whisperings of dreams. But in Kiefer’s paintings and his installations hardly ever does the silhouette of a living person appear. In Jacob’s Ladder, another piece at that exhibition, Jacob himself was nowhere in sight. Yet the ladder seemed invested with the power of its invisible protagonist’s reach for heaven, invested and arrested. It teetered, it got nowhere, it dwindled to a point. The roof of the vitrine stopped it and gave new meaning to the notion of a glass ceiling. In works such as these (and others, with chiffon gowns starched stiff and stabbed with shards, and melted children’s toys) one feels Kiefer’s longing for something more than what his art can capture, and behind that ambition a cosmic frustration that borders on despair. In his lectures at the Collège de France he almost admits it. Only art is real. And in art only poetry can really be assigned the highest order. How much freer it would have made him just to be a wordsmith. (He reads voluminously, certain poets and poetry over and over again as he reworks his own pieces, over and over again, looking for “the right word.”) His slogan is not political, “Yes we can.” Rather it is spiritual, “If only we could”—climb Jacob’s ladder and get there. But would even that be enough? Would it allow us to attain the goal of the

F E AT U R E

and begin to think about history differently... demons. At the Hamburger Bahnhof museum in Berlin, Lilith by the Red Sea fills one

a road on the way to oblivion, or hell. But they don’t get there. You cannot burn

wall of the room. It is a huge landscape cluttered with lead plaques. Little girls’ frocks

lead books. That is one of the points. You can only write them, one tome at a time,

are suspended against a landscape of desolation. White and light, these cotton shifts

something else Kiefer did twenty years ago, single editions of single volumes. Once

hang like faint hopes in the obscurity. Kiefer seems to be telling us that the origins

they had been edited, he stacked them on the shelves. And then forgot them. Until he

of what has gone wrong with the world began back then, before Adam and Eve had

wondered: and suppose we pulled them down, piled them high, and molded them in

even met. Our suffering at the hands of power is long-standing. Not incidentally, the

lead? Then they really never would be forgotten or burned—again. Then they might

painting is hung opposite another work by Kiefer, the sculpture of a reduced-in-scale

even become a metaphor for the weight of the horrors of the universe itself, finally

B-26 bomber, recast in lead, with lead books piled on its wings, and a few stray reeds

collapsing under the strain of its own massive inertia.

sticking out from under the bomber’s bay as if it had been discovered and unearthed

In the same spirit, Kiefer’s work mocks Albert Speer’s Nazi architecture by

from the swamp of another civilization. What a room. The melancholy is unbearable.

representing vast rooms with Dorian perspectives as though they were empty barns.

In the next room there are some Rauschenbergs from the sixties, and you go there

To add insult to injury, and beauty to desolation, Kiefer aligns flames along the edges of

with relief. Summer Rental is red and green, a wash of sand drifts toward the edge of

the work: such dreams as these will burn like paper, and Kiefer’s revenge is to strike

a terrace. Those were the good old days you are forgiven for thinking of because you

the match. In that spirit as well, flowers often punctuate the way to the inevitable

are American—the good old days when we still believed in the unbearable lightness

and unattainable vanishing point. Bright poppies scatter across a field of ashes and

of our past and the bright possibilities of our future. Still believed that our history was

shards. Dried or blackened sunflowers struggle to resist the encroaching fences, to

something that could be invented and painted from day to day, bright and quilted

hold their own in a wind of debris. Or when the subject is the sea, and the substance

together, out of light and dreams, made up on the spot.

a storm of orange and brown and angry oil paint, the real-life model of a small boat

What has happened, you have to wonder? The question can go unanswered here

might work itself up against the waves, the same small craft that Kiefer often puts

but it tells you something about the Kiefer effect. Look at a Kiefer and you struggle

on his stacks of dull gray, scorched lead books. It is clearly Kiefer’s ark, but with no

with the burden of imagining what your own country’s history would look like if it

animals clamoring for the artist’s attention. The captain is alone. Or not quite: poets

were put in glass tombs. What moments would be chosen, what lines of poetry float

keep him company. Bits and pieces of their verse are often inscribed on his work,

over the ruins like frail kites of hope and consolation? As Paul Ardenne has noted in

citations from Paul Celan and Ingeborg Bachmann, for example, persecuted poets

his remarkable work on contemporary art, Art, le Present (Editions du Regard, Paris),

whose spirits persevered, and seemed to rise above the corn rows of destruction,

Kiefer’s work does not evoke history, it re-creates it, in a different light. With Kiefer,

of fallow, dried-out earth that Kiefer favors, hoping to rise above the desolation like

when books are written, to stop them from being burned, or forgotten, they are

a cloud and a wish. These are not souvenirs, these are the references of something

made and then recast in lead, and piled one upon the next, like cairns set out along

remembered, something that wants to become part of history, to push at it absurdly, to throw its weight into the equation, to make it care. To quote Celan on his behalf, this verse from “Death Fugue”: Black milk of daybreak we drink it at evening we drink it at midday and morning we drink it at night You had to feel for Kiefer, a frail man, standing at the podium of the Collège de France one bleak January afternoon this year, elegant in his black jacket with just an inch or two of white shirt showing over his belt, speaking a language that was not his, trying to persuade his audience that poetry was what was best because it had no reference, because only it could create a world apart. The world to which Kiefer aspires, yet can never quite achieve. Such is Anselm Kiefer, one vast undertaking, a work in progress: the single editions of the books he has written are full of virtually empty pages, the drawing of a vagina here, or just of some sand, or in another volume, some errant patches of color cast like leaves on the wind, as if the artist himself was simply making notes for a way into the labyrinth of what he is after. In his landscapes the vanishing point beyond the killing fields appears to be miles away, and unattainable. Railroad tracks come and go (where?), plunge back into the soil, disappear beneath the pavement of a retouched photograph. Even the studio, call it rather a factory, where Kiefer works in Barjac, in the south of France, is an expression of Kiefer’s desire for the higher emptiness, tunnels and bridges connecting all the separate work spaces so that, like a body, the place acquires an unpredictable life of its own. As Kiefer puts it, these tunnels, these connections mean it is really just a void, waiting for the spirit that will inhabit it. From the inaugural lecture at the Collège de France: “Art is like the Evangile, there where we can never reach it.” But this too: “Art only exists where one can still discern the connection between its presence and what it speaks of, its subject.” D Roger Salloch lives in Paris. He is a writer and photographer whose stories have appeared in The Paris Review, The North Atlantic Review, Fiction, and Ploughshares. His articles on the arts appear in the French edition of Rolling Stone.

| april 2011

THE magazine | 41

Petro Hul: Stone SculPture Mass of contradiction:

what makes the work of Petro Hul so powerfully understated and engaging is easy to see but hard to define. Hul is a virtuoso carver of marble, and that’s part of it, of course. But you can still find this (rare) level of glyptic skill in, say, some superbly carved portrait of an Indian chief, where craft yields to cliché. And it’s more than the Modernist vein that runs through his work—Hul is not channeling Archipenko, Arp, or Moore. But perhaps one clue to the work’s strength is the nature of its relation to one current of that sculptural tradition. Hul’s work doesn’t imitate modern sculpture, it emulates it. For all its evocation of early Modernist precedents, Hul’s sculpture remains authentic, in the fundamental sense of its effect’s being highly personal, at the same time steeped in that tradition, yet not subservient to it. The best work in any medium or period—however innovative—offers the viewer entry into the entire continuum of which that work is a part. So it is fair to say that Hul’s sculpture is in part an homage to the likes of Arp and Archipenko, Lipchitz and Laurens, with maybe a nod to Moore and Zadkine. But what makes this work authentic, as well—more Hul than homage—is the artist’s respect for, and command of, the medium itself. Hul’s abstract sculptures occupy the viewer’s space in a way that is more intrusive than a Modernist piece—more than, for example, Arp’s ovoids, Moore’s odalisques, or Lipchitz’s Cubist constructs, whose allusive, abstracted forms

222 PaSeo belie their physical presence. Hul’s sculpture is instead more akin to the assertive, literal presence of a Minimalist object. His one limestone construction in the show, entitled 7 Elements, is a visual synesis: comprised of diverse geometric solids that can be detached and handled, yet defined by a formal whole of which they are discrete parts. Alluvium asserts its place with the inexorable force of an anvil, the seemingly tenuous balance of its T-square stance a feint for its iron grip on gravity. In Alluvium, as in all Hul’s work, the range and complexity of shifting planes, patterns of striation, texture, and topography underscore and celebrate the stone’s identity as material form. Hul’s carved sculpture is literally palpable: each piece is intended to be experienced as a tactile object. That physical immediacy conveyed by tactile impact is reinforced by the formal capacity of each piece to function inthe-round, even with the sculptures that claim a single, cardinal viewpoint, like Cubanismo, Reclining Figure, or Fruit Picker. A survey of Cubanismo from all sides yields radically different formal facets whose distinct views—almost at times autonomous—are visually intelligible and ultimately reconcilable within the overall composition. And in works like Jumble and Open Book an apparent chaos of sliding facets, deep fissures, and displaced stacks of strata finds resolution within unifying Cubist compositions. Over time, a viewer’s sustained engagement with each piece retrieves that subtler, more expansive effect familiar from Modernist abstraction carried over from earlier figurative

HulSe-Warman Gallery Pueblo norte, taoS

del

traditions. Under continued scrutiny, each sculpture shifts from the status of carved object to allusive image. That effect is achieved by Hul’s exploiting the form’s inherent potential for metaphor. This is manifest on its most abstract level by his ability to create sculptural forms whose actual sizes are suborned by a subtending sense of scale. The anvil of Alluvium, with its wedge of soft-furrow striations, transforms into a towering mesa whose former surface—half-shell leaf pod floating on a pond—is now the fan-shaped basin of some long-vanished river bed where dry rivulets funnel vanished silt to the edge of its steep, craggy drop. A minor distraction in the show is the occasional insertion of a stone plinth between sculpture and stand. Whatever the motive (aesthetics or statics), the plinths are visually gratuitous and risk short-circuiting for the viewer that visual capacity of Hul’s pieces to shift back and forth from tactile object to allusive image. Notwithstanding this intrusive element, even the pieces with figurative forms and descriptive titles (Fruit Picker,, Y Yoga, Reclining Figure) manage to evoke a strong narrative without conceding any of their formal rigor. A Petro Hul sculpture is a mass of contradictions—a carved object whose identity is defined by self-denial and presence, whose defining image is charged by a constant tension between obdurate tectonic form and pliant biomorphism, and whose lasting effect is achieved by a fusion of palpable immediacy and poetic reach.

—ricHard ToBin

Petro Hul, Alluvium, Colorado Yule Marble, 10” x 19” x 11”, 2010

CRITICAL REFLECTIONS

roadcut: tHe arcHitecture of antoine Predock tHrouGH a narroW W W indo W : f riedl d icker -b randeiS

and

Her terezín StudentS tudent univerSity of neW mexico art muSeum univerSity of neW mexico, albuquerque

The Danish National Archive is conceived as a fortress of memory… The archive stands as an accessible fortress that protects against the loss of the past. Its architecture is created by cleaving the enormous storage volume of strong rooms into runes—ancient tablets. These great masses or towers express the monumental weight of this nation’s history. —From the Website of Antoine Predock Architect PC

While i was walking through Roadcut: The Architecture of Antoine Predock, an idea suggested itself— going “back to the future” on Predock’s 1951 black Vincent motorcycle (this gorgeous thing was installed at the beginning of the exhibition), rider and machine making a journey to his hugely charismatic building in Denmark. This anachronistic structure seems like it has its own ultimate subversion by time inscribed in its contemporary design. Although the celebrated architect has created more traditionally beautiful and alluring buildings, it was this looming brown fortress-like space that captured me the most. It appears as if out of some Babylonian dream from the reign of Nebuchadnezzar, and represents an ancient presence aligned with an inscrutability coming to fruition the day after tomorrow—a perfect roadside attraction for a contemporary road warrior. The Danish National Archive in Copenhagen is a dark and brooding behemoth strangely set in a city that international polls deem one of the most livable of cities. But perhaps the dense insularity one perceives in this structure is the necessary inward-turning doppelganger for a people so eminently civilized and easy-going. In any case, I was drawn to it, and it got me thinking about architecture’s preeminence in terms of the creative process and the cumulative effect of attention-getting buildings in the cultural landscape—the sense that architects are, and probably always have been, the presiding deities of our constructed, social landscapes. Guest curator Christopher Mead, from UNM’s School of Fine Arts, wrote about Predock that after a certain point in his career his work became “a seductively cinematic architecture of eye-popping imagery and scripted suspense.” This is a comprehensive analysis, really, and could be said about architecture in general since Frank Lloyd Wright’s Guggenheim Museum in New York City, or the Sydney Opera House by Jørn Utzon in Australia, or Frank Gehry’s Guggenheim Bilbao in Spain, which fabulously comes to life inside its titanium cladding and overshadows the art it should be showcasing. What work can hold its own against the drama of that building? Is there any doubt about the power of contemporary architecture to resolve our quiet dithering about the power of art to transform our lives? In terms of creativity architecture is the essence of the truly sexy and the truly divine. If there was any theme running through Predock’s work, it may have been my own projection. Many of his projects, or aspects of them, reminded me of Jantar Mantar, the 18thcentury astronomical observatory in Delhi, India, designed by the Maharaja Sawai Jai Singh. With Jantar Mantar’s surprising “Modernist” wedges, simple curves, and elegant staircases that lead up and into thin air, visually it is an altogether

anomalous complex of structures that rise to the heavens or sink into the earth according to Jai Singh’s plan. What is more, the observatory is impossible to place in terms of century or style. The same thing struck me about Predock’s work. There is a sense that each building appears timeless no matter its actual function—that it is part laboratory, particle accelerator, fortress, museum, library, grain silo, palatial estate, and observatory for, perhaps, recording the integers in the spread of knowledge where knowledge is always elastic. One comes away from Predock’s body of work with an idea of beauty that is continually reincarnated in a tapestry of buildings like glowing shards emerging from one bright whole. It wasn’t easy turning away from Predock’s expansive and ideal spaces in which to live, work, create, and think— when it’s finished, one of the architect’s most dazzling buildings will be the Canadian Museum for Human Rights, in Winnipeg—and then confront the worst that humanity has to offer. Yet, Through a Narrow Window: Friedl DickerBrandeis and Her Terezín Students has within it something

of the miraculous and the inspirational. That any of this artwork should have survived at all is quite astonishing. Somehow, Dicker-Brandeis managed to pack into suitcases over five thousand pieces that remained hidden from the Nazi authorities—work that she herself did as a practicing artist and pieces that her students created in Terezín in the art classes that she established. With her Bauhaus training, Dicker-Brandeis instructed children and adolescents in an environment that was set up by the Nazi regime as a “model” concentration camp with an emphasis on art and music. What is surprising about the work from DickerBrandeis’s students is how ordinary it looks—collages and paintings that tackle the same issues one might find in any art class for children or young adults: color, form, materials, spatial relations, portraits—and the work in this exhibition gives little or no indication of the realities that bracketed the existence of Terezín and those who lived within its walls.

—dianE armiTa TaGE Ta aGE

Antoine Predock, model of the Danish National Archive, Copenhagen, Denmark, 1996

| april 2011

THE magazine | 43

M a.k.a.

zen

d avid r icHard c ontemPorary 130 l incoln a venue , S uite d, S anta f e

Modern art, with its often intuitive use of color and space, has certainly

franceSca yorke tHe fiSHer PreSS 307 camino alire, Santa fe

english artist Francesa yorke y has created a series of compelling and thoughtful diptychs, works comprised of two seemingly disparate images placed side by side. On the left half of each diptych is a black-and-white photograph of cage fighters; on the right a calligraphic drawing on a colored ground (either blue, yellow, orange, red, or green). Each image has its own meaning—together they create new associative and interdependent meanings. As with all visual imagery, the questions must be: What is going on here? What is the code? What is the way to look at and really appreciate these works? Yorke’s black-and white photographs of cage fighters in the world Y of Ultimate Fighting are very beautiful—striking in both composition and lighting. They are violent photographs, yet sensual and intimate—somewhat reminiscent of George Bellow’s, but created in a monochromatic tonality. Take Blue Fight: One combatant has just been knocked down. He is on his back, while the man who put him on the canvas “lords it” over him. To the right is a calligraphic drawing in India ink on a dark blue background. Dark blue is a universal color, considered to be ultra-modern. But why are these two images placed next to each other? What do they mean? Now look carefully at the two images, and think of how constellations are represented by astrologers and astronomers. When a line is drawn through each star in a constellation, a shape is formed. Look closely again. The calligraphic drawing on the right is the visual equivalent of the photograph on the left. Like a sketch or an etching, there is a sense of immediacy about the mark of the artist. What Yorke does with her drawings is to hide all but the relevant data in order to reduce complexity, similar to the way that abstraction works in art—the object that remains is a representation of the original, with unwanted detail omitted. Abstract thinking like Yorke’s is the most complex stage in the development of cognitive thinking, in which thought is characterized by adaptability, flexibility, and the use of concepts and generalizations. I say, raise your glass and make a toast to abstract thinkers.

borrowed from the spiritual freedom and fluidity offered by Zen Buddhism. David Richard Contemporary’s exhibition a.k.a. Zen includes a broad variety of art forms motivated or shaped by Zen Buddhist thought. This rather honest method of art making allows the creative process to shine through, and rationality is set aside in favor of instinct. Indeed, the works on display have an unaffected sincerity. The sculptures of Jack Zajac are in keeping with this straightforward simplicity. Split Almond is an utter delight. Beautifully executed, two large halves of a bronze almond appear side by side. At first glance the piece is amusing, but it achieves a casual elegance thanks to its masterful execution and simple subject matter. Matsumi Kanemitsu was a celebrated Japanese Abstract Expressionist who spent his artistic career using sumi ink and tapered animal-hair brushes. Although he used traditional Japanese art materials, he boldly reworked conventional oriental calligraphy. In Pacific Series–2 A.M., layers of thick, wavy black lines create a softly mountainous shape. The harmony of this form is challenged, however, by three jagged, splattered streaks shooting down from the upper right corner. These uneven and dripping marks represent something of a contrast to the composure typically associated with Japanese art. The piece carries with it a sort of nonchalance, which is not to be confused with lack of intent or skill. Instead, the artist’s gestural simplicity and freedom of form result in an artwork of unique integrity. Ensō is a Japanese word that means “circle.” A commonly incorporated symbol in Zen art, the ensō signifies enlightenment, strength, and the mysterious nature of the Universe. Artist Sumiye Eugenia Okoshi interpreted this concept in Untitled, 1968 with brightly colorful modifications: her ensō is lime green, and by embellishing the classically stark form with joyous rings of hot pink and swirling, dripping blues, she shows us the influence of Color Field painting in her work. The artists featured in a.k.a. Zen are unified by an interest in discovering the true nature of an object, and the deeply intriguing works on display here create spaces in which new forms are liberated and new relationships may emerge.

—i ris m c l isTEr

— Eronica aronson —v

Francesa Yorke, Blue Fight, 37” x 49”, 2010

Matsumi Kanemitsu, Pacific Series - 2 A.M., sumi ink on paper, 39¼” x 28”, 1972

CRITICAL REFLECTIONS

david WojnaroWicz’S a fire

my belly, Panel

I would rather be exposed to the inconveniences attending too much liberty than to those attending too small a degree of it. —Thomas Jefferson

One of the inconveniences of liberty is censorship. The question is not “how do we eradicate all censorship,” because a certain level of monitoring what is put in front of us is necessary in any civilization. I’m grateful that I don’t have to look at pornography unless I seek it out—thanks to a middling amount of censorship of that which has been deemed to be obscene. The real question is who will do the censoring, of what, and on whose behalf? Last November 30, the Smithsonian Institution’s National Gallery of Portraiture in Washington, DC, took on the role of Censor Augustus when it singled out A Fire in My Belly, a video made by David Wojnarowicz, for removal from the exhibition Hide/Seek: Difference and Desire in American Portraiture, a study of gay identity that remains open despite a great deal of controversy among artists, curators, and critics. One artist insists that he be allowed to remove his own work until A Fire in My Belly is restored to the exhibition. The video was made by Wojnarowicz in 1987 after his lover had died and the artist had learned of his own diagnosis with AIDS. In the ’80s, AIDS was inevitably a death sentence, often believed by middle-America to be brought on by its victims in some kind of divine retribution for the sin of being gay. Wojnarowicz died in 1992 at the age of 37, a brilliant, activist artist up until his passing. At the end of last year, his video caught the baleful eye of conservatives in the Capitol—specifically Representatives John A. Boehner and Eric Cantor—and the Catholic League; under pressure to halt public funding to the institution, the secretary of the Smithsonian pulled the video in a hasty maneuver designed to avoid further condemnation. Ironically, that move has become iconic for cowardice, a small-minded political gesture to the ultra-right and their perceived mandate as the representatives of “the people.” Hardly scandal-worthy yet engagingly provocative, A Fire in My Belly is classic Wojnarowicz, and it’s fitting that censorship of it has prompted so many viewings of the video; the Santa Fe Art Institute played it on a continuous loop from January 18 through February 25. Fire consists of plenty of references to how individuals are marginalized by poverty, as well as by gender and culture. Shots of wrestling boys—young and grown—along with lotería tickets and images of streets in Mexico City—where most of the video was shot—are cut with young men breathing fire amid traffic, hoping for cash. Women in bathing suits and high heels pose in a shoddy beauty competition. Roosters fight to the bloody end; bulls pant in the arena, as if begging for a few moments of peace before dying; keepers poke at caged lions to make them roar. These displays of machismo at the expense of innocent animals are hard to watch, and Wojnarowicz doesn’t spare us the reality of how accepted cultural norms can be terribly cruel. In perhaps the most contentious scenes, the artist (it is presumed) undressed and masturbated. Mild by comparison, the passage that prompted swift censorship consists of a very few seconds of ants crawling over a crucifix, reminiscent of works by Kiki Smith, who was a friend of the artist.

c*nSorSHiP Santa fe art inStitute 1600 St. micHael H Hael ’S drive, Santa fe

SFAI closed its exhibition of the video with a panel, C*NSORSHIP, moderated by local writer Zane Fischer; on hand were artist and teacher Harmony Hammond, author Robert Atkins, and arts council director Roberto Bedoya. Each of them spoke intelligently about the long history of censorship of the arts. The discussion was stimulating but necessarily inconclusive. What struck me with the greatest clarity was a free-floating notion in Tipton Hall: how we absolve ourselves, as individuals, from responsibility for our personal freedom. It’s easy to do, and so long as we can still shop cheap at WalMart and gas is under $5 a gallon, we think we’re okay. After all, we didn’t beat anybody up today, so we’re not hurting anyone, right? And it’s true; sometimes it is enough that we don’t respond to this crazy world with our own violent infringement upon another’s rights. Most often it’s not. The kind of censorship that David Wojnarowicz undercut with his art is the kind that kills. His video and

its removal from the exhibition Hide/Seek at the National Gallery—a public institution where censorship is especially onerous—lead to the question of who should be legislating content in our national arts institutions. Isn’t public access to critical discourse crucial to good citizenship? I believe this is the essential purpose of, say, the remarkable Museum of Tolerance. Wojnarowicz’s art serves to forcibly call our attention to government-sanctioned neglect of the poor, the hungry, the sick, and the helpless. It may not be convenient to speak on their behalf, but it’s the price of liberty for all of the people, not just those with access to money, education, and health care. Stay tuned: According to an article posted online, the Smithsonian has decided to “hold a public forum in April to discuss all the issues that have been raised.”

—KaTH aTHryn m davis

David Wojnarowicz, A Fire in My Belly, video still, 1987

| april 2011

THE magazine |45

braldt braldS: tHe Way i SaW tHinGS la tienda exHibit ibit S Pace 7 caliente road, eldorado

in researching illustrator

Braldt Bralds’, I was overcome with déjà-vu. Certain that I had seen his work before, I began pursuing his past p ast projects. Aha. There it was. A Grand Marnier aadvertisement—I dvertisement—I remember seeing it in one of my mother’s m other’s Bon Appétit magazines in the early nineties.

It was a fantastical scene—grinning nutcrackers raised oranges into a luminous sky, and a gargantuan bottle of liquor lay haphazardly in the midst of the revelry. The image managed to capture both the charm and the bacchanalia of the holiday season—clever, but more importantly, unforgettable.

At that moment, I recognized Bralds as a great illustrator. According to the Media Awareness Network, Americans see an average of 3,000 advertisements a day. I’m twenty-four years old, so that means I’ve been exposed to over twenty-five million ads in my lifetime. That I happen to remember a specific advertisement published almost twenty years ago says volumes about the effectiveness of Bralds’ image. Bralds’ success, then, comes as no surprise. Born in Holland, he grew up admiring paintings by the great Dutch masters, whose influence can still be seen in his work. Although Bralds received little formal training, he had become a successful illustrator in Holland by his midtwenties. In 1978 he traveled to New York City to make his mark in the American illustration scene. Within twentyfour hours of his arrival in the United States, he was commissioned to create a cover for TIME magazine. After this fortunate beginning, his work was published in Rolling Stone, National Geographic, The Atlantic Monthly, and Playboy, to name a few. He also contributed several iconic covers to the German magazine Der Spiegel. He has won numerous awards for his craft, including the Hamilton King award in 1984, and the Clio award for best illustration in 1989. Bralds is a master of creating memorable images. His illustrations are not strictly photorealistic, but subtly cartoonish. His style is marked by the slight exaggeration of certain features and the smoothing over of others. The images have a cinematic glow, with colors and concepts that pop. The overall effect is soft, clean, and charming. The illustrator also seduces his viewer with references, some more subtle than others. A tomato is tied down Gulliverlike to advertise its size, John Lennon’s signature sunglasses reflect twin peace signs, and a voluptuous nude woman straddles Freud’s pipe in homage to the psychiatrist’s id. One also cannot help but note a deep respect for the natural world in his work. While he is often willing to make his human subjects a touch goofy, even bow-tied polar bears in a zoo advertisement are given an air of placid dignity. Some of his works come dangerously close to kitsch (Bralds has also painted a series of too-cute anthropomorphized pets), but the advertising world has always prioritized appeal over sophistication. Currently, Bralds rarely works in the field of illustration, instead focusing on his work as a fine artist. At the center of the exhibition at La Tienda Exhibit Space there is a section featuring his most recent paintings. His still lifes and portraits are, like his illustrations, wonders of technical skill. Stilled Beauty, a detailed study of a dead flicker, once again reflects his love of wildlife, exactly evoking the delicacy of a fallen bird. However, Bralds’ fine art is not a radical departure from his commercial work. He retains the habits of an illustrator, and has not yet achieved the emotional and philosophical substance of other fine artists. Nevertheless, his paintings show promise, and it will be interesting to see how his smart, illustrative style transforms as he continues to distance himself from the commercial art industry. The Way I Saw Things is a fascinating window into the world of illustration, and a unique opportunity to enjoy the work of one of its masters.

—ElizaBETH HarBall Braldt Bralds, The Crucifixion of Evolution, oil on canvas, 16” x 12”, 1983. From Mother Jones magazine.

CRITICAL REFLECTIONS

rutH claxton, amy cutler, runa iSlam Ruth Claxton, Amy Cutler, Runa Islam tumbles us down a rabbit hole into three unique yet overlapping exhibitions where natural and social worlds blend into a theatrical universe. A sculptor, a painter, and a filmmaker each present illusions that alter our perceptions, open our minds, and make our insides smile. The intricacy of Amy Cutler’s paintings reveals the artist’s fascination with Persian miniatures and illuminated manuscripts. Rich tapestries of color and tiny gouache brushstrokes blend the artist’s personal experiences into the complexity of events in our changing world. These are not illustrations of narratives like in fairy tales, but visual choreographies. The figures in the paintings are primarily women— ordinary women, fully clothed, and being intently industrious. Yet their tasks are often fanciful—gathering fruit with antlers, felling trees with large beaver-like incisors, becoming outcroppings of rock to lift goats to the highest point on a mountain, and suturing gashes or realigning stripes on tigers. Facial expressions give no indication of feelings, and clothing and costumes are so kaleidoscopically multicultural that we are provided with a mixed-up yet fertile palette for our own imaginative flights. Colorful knotted fabric bundles appear in many works, reminding me of the textile bundles and sculptures of Korean artist Soo-ja Kim. Like Kim, Cutler explores the evocative power of old fabrics inhabited with stories, memories, and the gestures of tying and knotting them. Her work also echoes Kim’s statement that bundles “cause us to reflect on a contemporary society whose technology and networks are creating nomadism on a planetary scale.” In Cutler’s Plot Line women in little black dresses carry tied bundles containing their possessions on their backs. They wander among tiny houses, peeking in the windows, searching for a place to live. Although Cutler paints women with densely patterned clothing taken from many periods and cultures, and depicts animals with explicit detail, the environments she creates are

1606 PaSeo sparse. White space abounds, a stage is created, and all is set in motion. Like Pina Bausch’s performances, we encounter psychic landscapes that present tragicomic, quirky, absurdist, and mercilessly revealing depictions of human behavior. Ruth Claxton’s large sculpture Synthetic Worlds presents another stage that addresses contemporary issues by incorporating elements with references to earlier times. Steel rings of various sizes are welded together, touching on the tangent. Some groupings are suspended from the ceiling, others seem to grow from the floor. Some contain mirrors, others colored discs. The choreography of rings, mirrors, and discs reminds me a bit of Judy Pfaff’s work, but Claxton spins hers in a different direction by perching ceramic figurines— contemporary “antiques” like those found in many British homes—throughout the structure. The eyes of each figurine have been covered by a “hood” of blown glass or “rubber bands” dangling like hair flipped forward. The structure and the community of figurines dance through the space—some of the figurines are actually dancing—bringing forth an optical universe that is both microscopic and telescopic. Claxton invents a language of motion using a vocabulary of images that leads us from the substantial and tangible towards the indeterminate and elusive. By gazing into mirrors, we fly up or tumble down multiple stories of curvilinear tunnels where we find a sensory a world that is familiar, yet not familiar at all. Reflective surfaces, off-kilter alignments, and haunting shadows shift our perspective while provoking us to reflect on unexpected images that pose questions about what we see and feel—like Plato’s allegory of the cave. What is real, what is unreal? Is our technology shrouding our vision, keeping us from the visceral experience of the real world? Or is it expanding our sensibility? Are we becoming avatars in a Second Life–like artificial world? Or are we digging deeper into who and where we are? Claxton does not answer our questions. Instead, she unveils the fragile dynamic equilibrium of our world.

Site Santa fe Peralta, Santa fe

Filmmaker Runa Islam is like a magician revealing her tricks. She makes films about making films. Her illusions embrace what the great cameraman and filmmaker Albert Maysles refers to as “creating distance from a point of view.” The Restless Subject portrays how still images shown in rapid succession merge into a single image. Using a device from the early 19th century called a thaumatrope (a flat spinning device) that has a drawing of a bird on one side and a cage on the other, Islam skillfully films the process of the instrument’s increasing speed to generate the seamless illusion of the bird in the cage. How Far to Faro honors the great Swedish filmmaker Ingmar Bergman who lived, filmed, and died on the island of Faro. The installation is presented on three screens, angled one to another. Narrative and image play tag across the screens, weaving together a sequence of moving images—very French New Wave. The film portrays two journeys—a passage by ferry to Faro and camera “passages” across a forest on the island. The film crew “acts” as passengers on a ferry and then appear as cameraman, dolly operator, etc. in the forest. Actors whose characters change from one scene to the next is also a nod to the French New Wave. The atmosphere created in the scenes on the ferry, however, is Bergman to the core—one of isolation, reflection, and intense chill. Closeups of individuals are mingled with pans across the deck of the ferry. There are also threads to Michelangelo Antonioni throughout the film in Islam’s emotionally illustrative and evocative uses of color. The meaning and interpretation of amber hair tangling in the wind, a red scarf slapping against a cape of charcoal grey, and trees and branches rolling through golden light is left to us. By referencing the history of film, Islam brings the past into the present. Elements in Cutler’s paintings and Claxton’s installation also honor the past, yet their work gives us a stronger sense of where we are now and where we may be going. —susanna carlislE

Amy Cutler, Plot Line, gouache on paper, 29” x 41½”, 2006. (detail) Courtesy Ann and Steven Ames, New York

| april 2011

THE magazine |47

Helen frankentHaler H

and

Zane Bennett

tony craGG

Contemporary Art recently exhibited prints by Tony Cragg and Helen Frankenthaler, two very different artists known for sculpture and original paintings, respectively. The expert utilization of various printmaking techniques results in a compelling group of masterfully executed works. These prints are an elegant addition to our understanding of Cragg and Frankenthaler. Arguably one of the most brilliant living American artists, Helen Frankenthaler has had a career rooted in experimentation. By pouring thinned paint onto raw canvas in the early 1950s, she elevated the primacy and power of color. In doing so she quietly influenced the course of postwar Abstract Expressionism. In a 2003 interview Frankenthaler said, “People seem to feel that canvas is more serious than paper, more desirable.’’ The indomitably confident artist tried her hand at printmaking with sumptuously beautiful results, and her characteristically impeccable use of color shines in this small but wide-ranging assortment from the 1960s through 2000. Chromatic washes flood the paper in a radiance that is

Helen Frankenthaler, Flirt, serigraph, 26¾” x 39½”, 1995 Inset: Tony Cragg, Test Tubes III, aquatint, 9” x 9”, 1990

both exuberant and measured, and the contrasting dabs and strokes that complement Frankenthaler’s rich backgrounds impart to these works a dreamy intensity. Flirt consists primarily of pale blush-pink administered in bold streaks, an application which belies the rosy shade’s inherent innocence. The print is partially bordered by strokes of chalky blue. In the bottom right corner we see a purple appendage reaching into the pervasive pink, sprouting a pod-like shape, which is curled under in a decidedly fetal way. This mammalian likeness is amplified by the blood-red color of the embryonic form. The print exudes a puzzlingly delicate strength, and indeed this paradoxical combination of weightiness and restraint could provide one with a cursory understanding of Frankenthaler’s oeuvre. On the opposite wall hangs the magnetic, mesmerizing Causeway. This lusciously colored aquatint was created in 2000 but seems brand new in its appropriation of haute neon purples and oranges. The print is dominated by a liquid coral center that gives way to hot pink and vivid fuchsia. The seamless, hypnotic gradation of color conveys a mood of potentiality and dynamism. Interestingly, the main forms’ edges are shadowed by a smoky, charcoal haze that threatens either to overtake this effulgence or to part—to let it be seen more clearly. It is perhaps necessary to pause here and wonder how exactly one should think of Frankenthaler’s enigmatic forms. This lovely exercise challenges us to reject any assumptions that a painted entity should be reminiscent of a recognizable shape. We are offered bursts of pure color whose amorphousness is captivating enough to transform a search for deeper meaning into an afterthought. It is difficult to describe this collection of Frankenthaler’s work. One piece may be blithe and bright and the next brooding and shadowy. There is something verging on the

zane bennett contemPorary art 435 SoutH GuadaluPe Street, Santa fe

erotic in works like Plaza Real, a golden print with an opaque black bottom border. Blazing yellow is a provocative backdrop for rounded orbs floating in the foreground, with dotted bright blue centers suggestive of nipples. If Frankenthaler’s prints hint at eroticism their innate elegance precludes indelicate interpretation. The tranquility of Frankenthaler’s images is at variance with the apparent spontaneity of her process; there is a sort of calculated ambiguity, which is central to her work. Tony Cragg is known best for his conversion of found materials and man-made objects into sculptural forms. Although printmaking is a departure from his traditional medium, this small collection from the late 1980s demonstrates the artist’s thorough understanding of texture and depth as well as his preoccupation with form. Cragg’s ability to control and manipulate material is showcased here, and although these works are not as intellectually dense as Frankenthaler’s, their directness is elegant. In the aquatint Six Bottles, the artist’s detailed reproduction of variously shaped containers imbues them with a strikingly gritty and stonelike appearance. Perhaps Cragg is reminding the viewer that his art is typically three-dimensional. The charmingly rendered Test Tubes III is comprised of a dozen or so of these instruments, casually arranged and bubbling with a vaporous blue substance. They are cartoonish but striking, and fit in well with Cragg’s assertion that “material is exciting and ultimately sublime.” The print-making process admittedly yields a somewhat flat result, but the pieces from these two distinct artists are thoughtfully executed and indicative of a captivating vision. Although they are two-dimensional, they nevertheless contain a wealth of intriguing dimensions and serve as a testament to the creative abilities of Frankenthaler and Cragg.

—iris mclisTEr

CRITICAL REFLECTIONS

latino/a viSual imaGinary A circular platform

filling the room slowly revolves. A vertical wall divides the revolving platform in half. Sometimes you see half the platform and one side of the revolving wall, but you can’t see the other half. Sometimes you see both halves at the same time. Sometimes you can only see the half you couldn’t see before. When the wall swings right in front in you, you see both halves equally, and you see yourself reflected in its mirrored edge. LATINO/a Visual Imaginary is on superfine display at Central Avenue’s 516 ARTS. Witness Pepón Osorio’s spellbinding installation, and most precisely how it draws the world of the exhibition, and the exhibition of the world, into itself. Drowned in a Glass of Water is an outstanding manifestation of readymade realism. On one side of the wall is an interior domestic space densely packed with the excessive, sentimental, material squalor of the age. A woman whose skin is made entirely of BandAids towers atop a swollen half egg–shaped dress of endless crocheting. A male child’s helmeted head is permanently stuck to a television that is broadcasting nothing. The teen daughter lounges deep in the couch, feet propped on an overturned coffee table, cheek-to-cheek with her cell phone. The apocalypse (lower case a) that is always upon us now. On the other side of the wall a hospital gurney sits on a manicured lawn, just in front of a rectangular reflecting pool, beside a tree. Here all is hushed, visually quieter, and slightly surreal; the tree trunk has a screen set inside it suggesting thoughts of aging, memory, dreams, and death. It is hard to explain the power of these two juxtaposed worlds as they steadily revolve, or the depths of the associations they trigger in their slow spin.

516 artS rt rtS 516 central avenue, albuquerque Osorio is here as just one excellent, internationally known participant in a series of interrelated events coming up all spring into summer at 516, the National Hispanic Cultural Center, the UNM College of Fine Arts, the UNM Zimmerman Library, the Outpost Performance Space, and Tamarind Institute examining the interconnections between the visual and verbal, between text and image in the contemporary Latino/a imagination.

The Curandera’s Botánica by Amalia Mesa-Bains is an equally successful installation piece. Part ofrenda, part altar, part laboratory, the peaceful scent of a sea of fresh-cut lavender effused the gallery on the night of the opening, covering the floor of the medicine woman’s space. On a stainless steel table and in a large upright cabinet are the healer’s herbs and extractions—her flasks and formulas, her books of knowledge open, suggesting all sorts of alchemical transformations. What a gift to the space of the exhibition—all that lavender! Powerfully transformative work is also presented by Kai Margarida-Ramírez de Arellano in her use of papel picado, the traditional cut-paper ephemera used for rituals and fiestas, to present sometimes brutal and always heartfelt imagery addressing the violence against women that haunts the tragedy in Juarez. Wanda Raimundi-Ortiz brings a great sense of humor and street smarts with her video series, Ask Chuleta, in which her alter ego addresses an imaginary audience of underprivileged kids about issues of contemporary art

and art history. Her hip-hop, trash-talking Bronx persona, set against a white-cube backdrop as she explains Jackson Pollock and Frida Kahlo, employs a sharp razor wit to expose significant lines of cultural, ethnic, and class division, while exploring issues of stereotyping versus identity, and pointing out sometimes painful truths. Ask Chuleta’s sly humor is also present in Raimundi-Ortiz’s graphic novel/comic book drawings from her Wepa Woman superhero series. These are an accomplished, elegantly drawn, complex narrative take on the subject of Chicana identity. A variegated tapestry of tongues speaks in Viva Paredes’s mixed-media My Poncha Tongues piece. She definitely wins the blown-glass and curandera’sherbs category hands down with these beautiful symbolic celebrations of the organ central to both taste and language. The Latin imagination runs deep and finds its sources in many rivers, across continents, nations, and centuries of peoples. This exhibition displays the remarkable breadth and profound depth of contemporary Latin aesthetic/ cultural perspectives and a museum-quality approach to installation. And it smells great. At one point you see only half the room. Then you see both halves from one side. Then you see only the other half of the room, the other side of the revolving wall. Then you see both sides of the room at once again from the other side. The platform continues to revolve, mirroring the world, churning out reflections with each passing, as the details are unspun. You examine them as they move past like memory, again and again—the

Amalia Mesa-Bains, The Curandera’s Botánica, mixed-media installation, 2008 | april 2011

THE magazine |49

| april 2011

THE magazine |49

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The year 2010 marked a monumental milestone for the Jane Goodall Institute and its founder, Dr. Goodall. Fifty years ago last July, Goodall first set foot on the shores of Lake Tanganyika, in what is now Tanzania’s T Gombe National Park. The chimpanzee behavioral

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Africa, as well as Jane Goodall’s Roots & Shoots, the Institute’s global environmental and humanitarian youth program. Roots R & Shoots engages young people from preschool through college in more than one hundred twenty countries to take positive action in their communities and beyond. The Santa Fe Children’s Museum is partnering with Jane Goodall’s Roots & Shoots to conduct monthly service learning and environmental education programming at the museum. Roots & Shoots will focus on empowering young teens to learn and deliver the curriculum to the museum’s visitors. Roots & Shoots will also hold a week-long summer camp at the museum for six to eight year olds. www.janegoodall.org

| april 2011

THE magazine | 51

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Santa Fe Art Institute at Night photograph by guy cross | april 2011

THE magazine | 53

WRITINGS

THE UNFORGIVEN By Julie By

Motz

You devoured my life, Cracked open the bones of my youth with your teeth And sucked out the marrow of my beauty You left me a shadow among shadows, bruised by the ones with sharper edges who had turned their deadness into jagged spears of shattered glass I was a girl with no skeleton, A woman without a spine. My shadow gave a performance of living, growing my nails and my hair, pasting expressions on my face that copied emotions, putting noises in my throat that sounded enough like speech to keep anyone from hearing the death rattle inside. And now, looking at the lines age has carved in my face I see rivulets of sorrow where no tears flow and I feel in my mouth the hot bitterness of a single question. You and Mother struck a bargain to waste each otherâ&#x20AC;&#x2122;s lives â&#x20AC;&#x201C; but who gave you permission to spill my blood upon the sand? 54 | THE magazine

Julie Motz has been a documentary filmmaker, a science journalist, a healer, and an author. Hands of Life, her book about her work in the operating room has been published in five languages. Read more of her poetry at www.juliemotz.com and her writings about the science of emotions at www.fourenergies.com. Motz blogs about social, political, and economic aspects of healing at www.juliemotz.zooloo.com. april

2011 |

Mike Glier

Albert Paley

Antipodes: botswana and hawaii

images ÂŠ 2011 mike glier, courtesy gerald peters gallery

image ÂŠ 2011 Albert paley, courtesy gerald peters gallery

April 29 - June 11, 2011

Opening reception: Friday, April 29th from 5-7pm

Opening reception: F r i d a y, A p r i l 2 9 t h f r o m 5 - 7 p m

Contact Abigail V. von Schlegell, Contemporary Director,

tel 505-954-5724 or email avonschlegell@gpgallery.com

To V i e w m o r e w o r k S i n T h i S e x h i b i T i o n

p l e A S e V i S i T w w w.g p g A l l e r y.C o m

1011 Paseo de Peralta, Santa Fe, NM 87501

Group Show: New Work 15 Gallery Artists April 1-30

SOFA NY Art Fair: Rebecca Bluestone John Garrett Kay Khan Peter Millett Flo Perkins

April 14-17 Gunnar Plake

May 6 - June 4

Gayle Crites 1

June 10 - July 2

Seth Anderson 2

July 8 - Aug 6

Daniel Brice

Aug 13 - Sept 10

Rose B. Simpson

Sept 16 - Oct 15

John Geldersma

c h i a r o s c u r o 702

1/2

& 708 Canyon Road, at Gypsy Alley Santa Fe, New Mexico 505.992.0711

www.ChiaroscuroSantaFe.com

Emmi Whitehorse, detail

2011 Solo Exhibition Schedule