Santa Fe’s Monthly
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of and for the Arts • July 2011
s T an
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MEHAFFY
P AT R I C K M E H A F F Y
B OT H M A N A N D B IR D AND BE AST
T HRO U G H J U LY 2 011
Opening Reception Friday, July 1, 5 –7 pm
SHIP RO C K S AN TA F E L E C T URE SERIE S S AT UR DAY JULY 2 , 1 P M A portion of sales from this exhibition will be donated by the artist and by Shiprock Santa Fe to The Wildlife Center in Espanola, NM
53 Old Santa Fe Trail Upstairs on the Plaza Santa Fe, New Mexico 505.982.8478 shiprocksantafe.com
5
Letters 36 Out & About
18
Universe of artist Carol Anthony
25 Studio Visits: Cannupa Hanska Luger and Christopher Rote
42 Previews: ART Santa Fe 2011 at the Santa Fe Convention Center; Fifteen-Year Anniversary Celebration at Patricia Carlisle Fine Art; and Daniel Brice at Chiaroscuro
27
Food for Thought: Culinary Ephemera
45 National
29
One Bottle: The 2010 Robert Sinskey Vin Gris of Pinot Noir, by Joshua Baer
22
Art Forum: Neo Rauch
El Museo Cultural and the Center for Contemporary Arts; Robert Natkin at LewAllen at the Railyard; and Shared Intelligence at the Georgia O’Keeffe Museum
67
Green Planet: Tim DeChristopher, photograph by Jennifer Esperanza
48 Feature: From the Sublime to the Slightly Ridiculous—Art in the Big A, by Diane Armitage
69
Architectural Details: The Pedernal in O’Keeffe Country, photograph by Guy Cross
55 Critical Reflections: Cannupa Hanska Luger at Tower Gallery; Carola Clift at the William Siegal Gallery; Currents at
70
Writings: “The Renny Golden
Spotlight: The Missing
Peace at the San Antonio Museum of Art
31 Dining Guide: Terra at Encantado and 315 Restaurant & Wine Bar 35 Art Openings
Millennium,”
by
CONTENTS
In an interview with GQ’s Glenn O’Brian, Todd Eberle confesses that his childhood dream was to become an architect. However, when he saw pictures of Frank Lloyd Wright’s Fallingwater, he was “profoundly intimidated” and decided to pursue other paths. Instead of studying architecture, Eberle became a photographer, but retained his fascination with architectural forms. After a serendipitous meeting with Donald Judd in 1990, he was asked to photograph the minimalist’s work in Marfa, Texas. Eberle learned that he had an instinctual knack for framing and composing Judd’s geometric works. These photographs were later published in Vanity Fair, and Eberle became known as one of America’s finest art and architectural photographers. His images are artworks in themselves, each a commentary on space, context, and form. In Empire of Space (Rizzoli, $85) the photographer has juxtaposed many of his finest photographs of buildings—like the Getty, the White House, and the Bellagio Hotel—with his other work, including portraits of Hillary Clinton and Agnes Martin. Sometimes humorous, sometimes reverent, each pairing tells a story. Critic and essayist Dave Hickey writes, “There is always a heartless little sting in [Eberle’s] images, a frisson of worldly dissonance, like Degas in a newspaper. This sting derives, I think, from the fact that Eberle is making photographs and not taking pictures of things.” Empire of Space is a comprehensive collection of Eberle’s finest work, and moreover, a singular commentary on the modern world.
GUY TILLIM : AVENUE PATRICE LUMUMBA 23 july– 4 september 201 1
apartment building, avenue bagamoyo, beira, mozambique, , Archival pigment ink on cotton rag paper, x inches, Collection Lannan Foundation
In many African cities, there are streets, avenues Artist Reception Saturday 30 July 5:30 –7:30 pm Lannan Gallery
and squares named after Patrice Lumumba, one of the first elected African leaders of modern times,
Artist slide lecture & discussion FREE Sunday 31 July 4:00 pm
winning the Congo election after independence
Lensic Theater with Adam Hochschild, author of King Leopold’s Ghost:
from Belgium in . Today his image as a nation-
A Story of Greed,Terror, and Heroism in Colonial Africa. www.lensic.com
alist visionary necessarily remains unmolested by the accusations of abuse of power that became synonymous with later African heads of state. — guy tillim
FOUNDATION GALLERY 309 Read Street, Santa Fe, NM Tel. 505.986.8160 ext. 102 GALLERY HOURS: Saturdays and Sundays, noon – 5:00 pm ( weekends only ) For more information: www.lannan.org
LETTERS
magazine
VOLUME XVIII, NUMBER X 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 lydia Gonzales 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, Joshua Baer, davis BriMBerG itaG er , erG Jon Carver, Kathryn M davis, Jennifer esperanza, renny Golden, iris MClister, susan wider, and anneliese zeMp COVeR
huGo GarCia urrutia
Courtesy: deCorazon Gallery: nyC ny and dallas see art santa fe preview: paGe 42
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)
THE magazine is published 10x a year by THE magazine Inc., 1208-A Mercantile Rd., SantaFe,NM87507.Corporateaddress:44BishopLamyRoad,Lamy,NM87540.Phone: (505) 424-7641. Fax: (505) 424-7642, E-mail: themagazineSF@gmail.com. Website: www.TheMagazineOnLine.com. All materials are copyright 2010 by THE magazine. All rights are reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. All submissions must be accompanied by a SASE envelope. THE magazine is not respon sible for the loss of any unsolicited materials. THE magazine is not responsible or liable for any misspellings, incorrect dates, or incorrect information in its captions, calendar, or other listings. The opinions expressed within the fair confines of THE magazine do not necessarily represent the views or policies of THE magazine, its owners, or any of its, employees, members, interns, volunteers, agents, or distribution venues. Bylined articles and editorials represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel, and are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity or quality of objects and/or services advertised. As well, THE magazine is not responsible for any claims made by its advertisers; for copyright infringement by its advertisers .and is not responsible or liable for errors in any advertisement.
| j U L y 2011
Save these dates—August 5, 6, and 7 to attend the 39th Crested Butte Arts Festival, an event that celebrates the visual, performing, and culinary arts. The festival features 175 visual artists who will be exhibiting their work on Saturday and Sunday, and includes a highly competitive juried show. There will also be a host of artist demonstrations, chef demonstrations, children’s activities, an art auction, and a wide variety of entertainment throughout the weekend. All culinary events begin on Friday. Artist’s exhibitions take place on Saturday and Sunday, 10 am to 5pm. For details, go to crestedbutteartsfestival.com. 800-451-5699 for lodging. Above left: ceramic work by Peter Karner. Above right: photograph by John Charbonneau. TO THE EDITOR: Much appreciation to THE magazine and Diane Armitage for such a thoughtful article in response to my letter inviting them to look at the Kandinsky essay “Concerning the Spiritual in Art” on the one hundredth anniversary of its publication (June issue). What is the spiritual in art in our time is the question that has been my passion and inquiry for many years. Anyone interested in dialoguing on this question to contact me. Email: heartisdm@aol.com —doMinique Mazeaud, santa fe, via eMail
TO THE EDITOR: Thanks to THE magazine for great coverage of Meow Wolf and The Due Return. Kudos to Jon Carver for a very lively and interesting article. Although I was in Los Angeles the evening that SPREAD was launched by SITE Santa Fe, I was delighted to learn that Meow Wolf came in the winner and that paradoxically SITE Santa Fe and the community ended up supporting this great project at the Center for Contemporary Arts. I love the way the universe works... what goes around (my sevenyears at SITE) came back around! I have the utmost respect for Irene Hofmann as well as the board and staff at SITE. They’re true pros and we appreciate their professionalism. Meow Wolf and The Due Return have generated a momentum that has engaged the community and moved us to extend its run until August 21. It’s an immense artistic achievement for a terrific group of local artists. —CraiG anderson, direCtor tor/Curator, CCa, santa fe, via eMail
TO THE EDITOR: Your June issue has been receiving rave reviews. The cover was fantastic. I did a little research on the artist Hilma Af Klint and was most impressed. Obviously, she deserves more attention. Thanks for drawing my attention to her. —Jerry warMan, hulse warMan Gallery, taos
TO THE EDITOR: Thanks so much for the role that THE magazine played in helping me to have a successful opening at ViVO by publishing the image Billy Whiskers in Mischief in the June issue. —Joy CaMpBell, santa fe
TO THE EDITOR: June’s Food for Thought (Ai Weiwei’s River Crab Banquet: Where Politics and Food Meet) was much more than a food piece. I spent a lot of time thinking about how much we bend to Real Politik and how terribly destructive it is for us to do so. Real Politik means something different today than it did when it was coined during the Cold War. Today, it means both buying Chinese-made goods because that’s all most of us can afford—hey, that’s real, right?— and buying into China as a partner and ally because they are too big for us to do anything else; that’s realer that real. Buying from China is foolish for so many reasons. When it comes to Chinese goods, let’s put aside any debate as to the vapid consumerist nature of our culture (yes, this is the ‘hey now we don’t really need any more plastic crap googaw landfill fillers section,’ and I explicitly say that that’s true, but no matter). Let’s look instead at the fact that just the act of buying cheap Chinese S**H**I**T (yes, that’s the word) is stupid beyond belief. The Chinese have exported all manner of not only useless, but toxic goods, to us in recent years including, but not limited to, (1) poisoned baby food, (2) toxic pet food, (3) lead-coated children’s toys, and (4) sulfuric acid–laced drywall. Are we so broke that we’re willing to buy deadly products just so that we can have things? When it comes to buying into China as an ally, what are we thinking? This is a governemnt that censors all media, that detains, harrasses, and jails dissenters, that denies the Dalai Lama, and that actively works to subvert democracy. A reality check would be great Let’s not buy Chinese—let’s just not do it. Let’s, at least, impose an import tarriff that counters the Chinese government’s artificial control of their currency. Do you know that China’s currency is artificially devalued against ours making their goods cheaper to buy and ours harder to export? That’s right, we are being prodded to buy Chinese goods through economic incentives, and our government is unwilling to take a stand against this because we are in hock to the Chinese government—yes, they are the U.S.’s biggest creditor and the single largest purchaser of our currency. Take a stand, folks. Eat some river crab and tell China’s government to stick it where the sun don’t shine by boycotting all Chinese goods. —Monte stillMan, via eMail TO THE EDITOR: I love the new “Art Forum” page. Including a psychologist is a stroke of genius by the editors. I wait for the July issue, wanting more “Art Forum.” —sarah herriot, travers City, Mi, via eMail
THE magazine | 5
MUST SEE EXHIBITIONS! • OPEN THROUGH JULY 24 AT UNM
PREDOCK
ROADCUT:
THE ARCHITECTURE OF
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. Roberta Smith, New York Times
On view through July 24
UNIVERSITY OF NEW MEXICO ART MUSEUM ALBUQUERQUE
ANTOINE PREDOCK
LIKE A SIGNATURE: SKETCHES AND MODELS
“... Predock returns architecture to its original, sacred purpose of marking our place in the world in a poetic and lasting way.” Christopher Mead Guest Curator
THROUGH JULY 24
UNM Center for the Arts by Popejoy Hall Tuesday – Friday 10am – 4pm Saturday – Sunday 1– 4pm
www.unm.edu/~artmuse • 505.277.4001
No Title,1960, oil on canvas, 48 x 48 inches, collection Ursula Hauser Collection, Switzerland
UNIVERSITY OF NEW MEXIC O ART MUSEUM ALBUQUERQUE Located in the UNM Center for the Arts by Popejoy Hall Tuesday – Friday 10am – 4pm • Saturday – Sunday 1– 4pm www.unm.edu/~artmuse • 505.227.4001
Sculpture Objects & Functional Art Fair + NEW! The Intuit Show of Folk and Outsider Art August 4-7, 2011 Santa Fe Convention Center
Nino Caruso, 222 Shelby Street Gallery
Opening Night Wednesday, August 3
Produced by The Art Fair Company, Inc.
Become a fan
JUDY PFAFF
railyard Gallery
Robert Natkin
TWENTY YEARS AT
the architecture of atmosphere thru July 24, 2011
BELLAS ARTES JULY 1 to 30, 2011 Opening Friday, JULY 1st - 5 to 7 PM
Pablo Picasso important works on paper thru July 24, 2011
OLGA de AMARAL
downtown Gallery
VII PUEBLOS VII POLICROMOS
Forrest Moses
AUGUST 5 to SEPTEMBER 10, 2011
clearings July 1-31, 2011 artist reception: friday, July 1, 5:30-7:30pm
Opening Friday August 5th 5 - 7 PM
Peter Bremers points of ascent July 1-31, 2011 artist lecture: wed, June 29, 6:00pm artist reception: friday, July 1, 5:30-7:30pm Pueblo I 2010 fiber, acrylic paint gold leaf 53” x 22”
BELLAS ARTES
653 Canyon Road Santa Fe, NM 87501 505.983.2745 bc@bellasartesgallery.com www.bellasartes gallery.com
LewAllenGalleries Railyard: 1613 Paseo de Peralta (505) 988.3250 Downtown: 125 W. Palace Ave. (505) 988.8997 www.lewallengalleries.com info@lewallengalleries.com
S U M M E R
S H O W
GROUP EXHIBITION / JULY 2011
CHARLOTTE JACKSON FINE ART In the Railyard Arts District / 554 South Guadalupe, Santa Fe, NM 87501 Tel 505.989.8688 / www.charlottejackson.com
Ed Moses, Flite, 2004, Acrylic on canvas, 60 x 60 inches
A NEW EXHIBITION – LOO’K WHO’S HERE C I N D Y SH E R M A N • ANDY WARHO L • NO RM AN RO CKWELL THOMAS EAKINS • GEORGIA O’KEEFFE • AND MORE
patricia carlisle fine art inc
15 Year Anniversary
Shared Intelligence: AMERICAN PAINTING AND THE PHOTOGRAPH NOW THROUGH SEPTEMBER 11, 2O11 Cindy Sherman, Untitled (#213), 1989. Color photograph, 41 ½ x 33 in. Courtesy of the Artist and Metro Pictures.
Reception: July 15th 5 to 7pm
217 JOHNSON STREET, SANTA FE 505.946.1000 WWW.OKMUSEUM.ORG OPEN DAILY 10 AM – 5 PM OPEN LATE, UNTIL 7 PM, THURSDAY – SATURDAY
20th Anniversary What I Saw: Photographs by Richard Levy June 4 - July 29th
DAVID
PEARSON Roman de la Rose
40” High Bronze
© David Pearson
554 canyon road, santa fe, new mexico 87501 toll-free 888-820-0596 • www.carlislefa.com © 2011 Photos by Addison Doty
project room: selections from The Richard Levy Postcard Collection Albuquerque
•
www.LevyGaller y.com
Richard Levy Gallery
JOHN SONSINI LOS VAQUEROS JAMES KELLY CONTEMPORARY THROUGH AUGUST 6 1601 PASEO DE PERALTA, SANTA FE, NEW MEXICO 87501 T 505.989.1601 F 505.989.5005 JAMESKELLY.COM ROGER & FRANCISCO 2011 OIL ON CANVAS, 72 X 60 INCHES
H I R S C H F I N E A RT Museum Quality Works on Paper For the New to Experienced Collector MILTON AVERY
BEATRICE MANDELMAN
EMIL BISTTRAM
REGINALD MARSH
DONNA GUNTHER BROWN
ROBERTO MATTA
MARIO CARRENO
CARLOS MERIDA
LEONORA CARRINGTON RANDALL DAVEY
ALFRED MORANG ROBERT MOTHERWELL JANE PETERSON
RICHARD DIEBENKORN
LOUIS RIBAK
WERNER DREWES
DIEGO RIVERA
ANNE FARRELL
ROLPH SCARLETT
NORMA BASSETT HALL
LOUIS SCHANKER
CAROL CORELL
SA N TA F E C LAY CONTEMPORARY CERAMICS
STEVEN HEINEMANN · TOM PHARDEL
JOHN SLOAN
CARL HOLTY
NILES SPENCER
WOLF KAHN
RUFINO TAMAYO
GENE KLOSS
ABRAHAM WALKOWITZ
GINA KNEE
WILLIAM ZORACH
WIFREDO LAM
FRANCISCO ZUNIGA
BY APPOINTMENT 505.988.1166
August 5 - September 17 545 Camino de la Familia, Santa Fe, NM 87501 505.984.1122
HANS HOFMANN
LITERALLY STEPS OFF CANYON ROAD www.santafeclay.com
www.hirschfineart.com
The Andrew Smith Gallery, INC. Presents
Louviere + Vanessa Exquisite Collaborations: Concerto da Camera July 1st - September 10, 2011 Artist Reception: Friday, July 1, 2011, 5 - 7 p.m. The Andrew Smith Gallery is pleased to introduce New Orleans multimedia artists Jeff Louviere and Vanessa Brown to Santa Fe. Known artistically as Louviere + Vanessa, the couple have been collaborating on photographs, films and multimedia prints since 2004. Louviere + Vanessa have created a fascinating hybrid of photographically generated prints and objects from an arsenal of antique and modern technologies. Unlike so much contemporary photographic work that merely documents or constructs events as technically proficient but artistically inferior digital prints, Louviere + Vanessa’s art works transcend imagery. Instead, they craft exquisitely beautiful objects rich in physicality that are also supremely intelligent.
To The Flower, The Sun Is More Amazing Than God, 2011 © Louviere + Vanessa
122 Grant Ave., Santa Fe, NM 87501 Next to the Georgia O’Keeffe Museum •
505.984.1234 • www.AndrewSmithGallery.com
JUDY CHICAGO Now represented by
David Richard ContemporarY The Gallery congratulates Judy Chicago, recipient of the Governor’s AwardS for Excellence in the Arts Governor Susana Martinez will present the 38th Annual Governor’s Awards for Excellence in the Arts in the category of Multidisciplinary Arts at a ceremony in Santa Fe on Friday, September 16, 2011
Sky Sun - Flesh Garden Series, 1971, Sprayed acrylic on acrylic, 96” x 96”
Photographed by Donald Woodman
DavidrichardContemporary.com 130 Lincoln Avenue, Suite D, Santa Fe, NM 87501 | p (505) 983-9555 | f (505) 983-1284 info@DavidRichardContemporary.com
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MONROE GALLERY of photography
HISTORY'S BIG PICTURE Opening Reception Friday, July 1 Exhibition continues through September 25
Santa Fe Art Institute
July
Media Artists Brooke Singer & Ricardo Miranda Zuñiga Friday 7/29, Lecture, 6pm Tipton Hall Sat & Sun 7/30 -31, Rotoscoping Workshop, SFUAD Media Lab M-F 6/10 – 7/31, Exhibition, Brooke Singer/Ricardo Miranda Zuñiga & Postcommodity, 9am – 5pm SFAI
SFAI Summer Architectural Tour Series Mickey & Jeannie Klein Home Wed 7/27, 5:30 – 7:30pm Joe Rosenthal: Marines of the 28th Regiment of the 5th Division raise the American flag atop Mr. Suribachi, Iwo Jima, February 23, 1945 ©AP
Celebrating Ten Years in Santa Fe Open Daily 112 DON GASPAR SANTA FE NM 87501 992.0800 F: 992.0810 e: info@monroegallery.com www.monroegallery.com
Artists & Writers in Residence Open Studios Thurs 7/28, 5:30pm SFAI 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
Former British Army Major R. Hunter Clarkson created the Indian Detours for The Fred Harvey Company in 1924 as a means for adventurous “De-Tourists” to experience and participate in the beauty, history and culture of The Southwest in Fred Harvey Company standards of safety, style and comfort. Clarkson originally ran the Indian Detours out of the old Santa Fe ticket office and later, from the La Fonda Hotel lobby. Above left, Indian Detour couriers in regulation “Southwestern” dress outside La Fonda. Above right, Detours courier Farona Konopak with renowned Pueblo potter Maria Martinez at San Ildefonso.
The setting Major Robert Hunter Clarkson’s spectacular 1928 John Gaw Meem designed home in Tesuque where he, his family, his Fred Harvey Company and Santa Fe Railway business associates, his wide circle of famous friends and, later, two subsequent owners and their friends and families enjoyed these eight exceptional pieces of furniture made by Santa Fe artist William Penhallow Henderson (1877-1943).
R. Hunter and Louise W. Clarkson House, Tesuque, NM, c.1957-1965. In addition to the elaborately hand-carved hall chairs pictured herethe Clarkson collection of
Henderson furniture includes a pair of large, carved armchairs, a pair of small, carved side tables, a carved coffee table and an adzed trestle library table.
The R. Hunter Clarkson collection of William Penhallow Henderson furniture. If only it could talk, what an amazing Santa Fe story it would tell. The characters Major Clarkson, his wife Louise, W.P. Henderson, his wife and daughter, John Gaw Meem, Mary Colter, Rita Hayworth, The Fred Harvey Company, Byron S. Harvey Jr., The Santa Fe Railway, The Indian Detours staff, The La Fonda Hotel, Ansel Adams, Jesse Nussbaum, Gustave Baumann, Gerald Cassidy, Carlos Vierra, Theodore van Soelen, British Field Marshal Allenby, Sir Winston Churchill, Lawrence of Arabia, Chicago Archbishop John Shiels, his various lady friends and a great many others. R.H. & Louise Clarkson with their dog Blitz in Santa Fe, 1928
The best part Now, for just a fleeting moment, this incredibly historic Santa Fe collection can be yours and you can write this fascinating story’s next chapter.
William Penhallow Henderson Santa Fe, circa1932
FINE ARTS OF THE SOUTHWEST, INC. email info@fineartsofthesouthwest.com www.fineartsofthesouthwest.com copyright 2011 Fine Arts of the Southwest, Inc. All rights reserved. All furniture is subject to prior sale.
2011 SFO THE magazine Faust HP:Layout 1
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Soul or Sin? Choose. This once-a-year printed Guidebook is your trusted companion while collecting art and handcrafts in New Mexico USA 700+ full-color images in 300+ pages 5000+ artists indexed to their galleries Gallery, Studio & Museum profiles Detailed street-by-street maps Informative articles Dining & lodging resources Glossaries of art terms
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DECADENCE CURATED BY JOHN O’HERN
01 july 2011 5 – 7 pm | opening reception friday evening
D
ecadence will encompass some of the most illustrious examples of artistic lavishness in the mediums of painting, drawing, photography + sculpture. Do not miss this spectacular group show that showcases an exhilarating + masterful group of 34 artists ~ many of whom are exhibiting for the first time in Santa Fe! Featuring Daniel Barkley, Luigi Benedicenti, Michael Bergt, David Michael Bowers, Braldt Bralds, Victoria Carlson, Sean Cheetham, Marc Dennis, Carl Dobsky, Phillip Dvorak, Teresa Elliott, Sergio Garval, Mikel Glass, Scott Goodwillie, Laurie Hogin, Cheryl Kelley, Heidi Loewen, Cheryl Anne Lorance, Catherine Lucas, Heather Neill, Yuriko Nishimura, Charles Pfahl, Clayton Porter, Lee Price, Christopher Pugliese, Jeffrey Ripple, Christopher Rote, Jorge Santos, Ian Troxell, Debb Vandelinder, Iris Vazquez, Eric Wert, Pamela Wilson and Irina Zaytceva
EvokeContemporary.com
Photograph by Dana Waldon
UNIVERSE OF
Carol Anthony had a dream:
One day I will design and build a small casita and studio near an arroyo, with a meadow nearby. The exit and the coyote gate from the kitchen door will become the entrance and gateway to the cloistered herb garden and thatched sanctuary. The light and shadows will join, both will create a continuing dance. My dog, my horse, my cat, and all the birds will be family—we’ll all have a home. Anthony’s dream came true. She lives just outside of Santa Fe on five acres, painting in an environment where all things coexist in harmony and quietude. An exhibition of Anthony’s recent work entitled “Landscape of Memory” will be on view at Gerald Peters Gallery, with an opening reception on Friday, July 8, from 5 to 7 pm. My Quiet Life My life is simplified and hushed. The straw bale cloister and gardens, the dogs, the arroyo—all have become an expression of self, a medium of personal and artistic exploration. They are the signposts to the clearings that come through listening to the “betweens,” and those shared silences become careful and shy. Now begins the self-wonder and the capacity to be touched by the unknown and to be spared.
My Work My paintings are about old-fashioned beauty. They will hopefully remind people how to deal with loss and acceptance within their journeys. They are about remembered connections into dark and light, and into the deep quiet beyond
| july 2011
the noise of today’s techno gadgetry. My paintings are my calling and my way of being. Where a painting comes from is where I am—in that moment, in that place, a place without time.
Creating from Intuition I intuit when I allow flow. I learned and earned my need to become connected to the deeper ecology of courage and compassion when my twin sister died. Her death gave me a continuing prophecy to listen to and to accept death and suffering as lessons for healing. I try to help others, as they help me to empower place and allow magic to happen.
The Sphere Sphere is a whisper of our own humanity. She is separate and she is among us. Her surrounding rings are the gentle rays of light and sacred narratives that vanish, yet return to protect and honor the mystery that is the landscape within and around us.
Dogs My dogs are my children and my best friends. They are the magic and inspiration that enters my work, my dailyness, and my spirit. On our walks they help me to see and feel nature in a deep way. They surround me as I paint. I stay within me when I am with these spirits, these partners. D THE magazine | 19
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ART FORUM
THE magazine asked three members of our art community—and a clinical psychologist—to share their interpretations of this 2008 painting by Neo Rauch. They were shown only the image— they were not told the name of the artist or the title of the painting. Their responses follow. Anger permeates this painting. Something happened to the little girl on the left and she wants vengeance. We also see conflict about her sexuality in her pose. The girl’s legs are spread open while her arms are crossed. Was she raped? She exudes both rage and shame. Two hunters on the right are shoved into a tar pit by an older, gigantic version of the child. It seems as if the woman and the girl are the same person, but at different ages. The woman, however, is more masculine than feminine. Was the adult’s femininity stripped away due to shame over her sexual past? Does the woman’s size convey the girl’s wish for power and revenge against these men? A tar pit speaks of the primordial sludge from which we all evolved. By sending these men into the boiling trap, the woman commands, “Drown in your own animal instincts.” The tarry swamp symbolizes the unconscious as well. There is a pile in the distance, suggestive of a possible future fire. Yet the only flames in the piece come from a fire-breathing man in the center. Perhaps he is telling the girl’s story to the doctors before him? Do those physicians work in the white building? The structure looks more like a psychiatric institution or orphanage than a private residence. It is also unclear whether the dark mound next to the center man’s foot is a pile of tar or a monster emerging from murky waters. Maybe they symbolize the same thing—hidden dangers beneath the surface.
—Davis K. Brimberg, PH.D., Clinical Psychologist, Santa Fe X marks the spot in this multi-X composition, a sexually charged series of stitched memories making controlled mayhem out of havoc. Bad boys are taken to task by Fräulein Mama, pictured on the right. “You two are coming with me,” she says, wearing a bowstring instead of a g-string between her legs. One can only imagine what they did and what loving punishment awaits them. The X is repeated in her young female counterpart’s pose—a sexual XXX this time—starting with the girl’s backpack straps up through her thigh-caressing arms, right into her collared neckline. This is, potentially, the memory of her youth by the adult female on the right. Could it be that her memories of
Neo Rauch, Die Aufnahme (The Recording), oil on canvas, 118 1/2” x 98 3/8”, 2008
men and youth are being played out? Innocence lost? Anger present? This could explain the male cleansing process taking place at the table—“Step right up sir, we are here to help rid you of yourself.” Then there is the man at the table breathing fire out of his mouth, while stepping out of a pile of dung— the symbolism is obvious. The beauty of the painting is in the decoding of it—the fact that it refuses to reveal itself, the fact that essays can be written in the viewer’s imagination, the fact that time is so disjointed, and that the players’ histories interact with our own histories—all of this is part of the puzzle and the wealth of the psycho-symbolism that this painting contains.
—Michael Scott, Narrative Painter, Santa Fe When I saw this painting, it brought back memories of the Leipzig paintings at the Rubell collection in Miami. The painting refers to something more real than the dream world of the Surrealist painters—it makes me think of the act of the creative process and of what it means to be an artist. The painting provides a storyboard of why men envy women who give birth. I think about what it might look like when Oedipus takes over the psyche, which is also part of the creative process. The painting reminds me of a spotlight shone on the unfinished business of the creative process—it is the light and shadows inside Plato’s Cave that reveal the nakedness of art, mocking the metaphor of the un-transformative world inside the kiva. In a transformative world, we might contemplate Plato’s Cave, where we are conscious of the world above, and we can
22 | THE magazine
calculate when to use the ladder and when to go underground, as in the kiva. The place called the conscious world deserves something better than war and destruction. Fools we are! The painting also reminds me that all is cyclical and that history repeats itself, because in the world of birth and death—similar to an artist’s creative process—we all return to the muck and the womb of the Mother.
—Eileen Braziel, Art Advisor, Santa Fe A subversive Germanic and somber mood pervades this painting—and the trees seem hauntingly alive. Robotic formulas determine these people’s actions and movements. Perhaps rations are being provided by the doctors in this dream of power, struggle, defeat, and duty. A determined giant, a lady drags away a non-conformist—perhaps a laborer—as she pushes past a dutiful-looking young character with a bow. How is it that the lute player seems happy-go-lucky in this depressing farm, camp, forest, or hell? Does the artist escape the hell of drudgery? The painting is seductive, yet the psychological trauma is extremely unsettling. Cadmium yellow directs the eye through each of the different scenes, and then draws the eye to the luscious paint in the road—the painting’s fulcrum. Is it a snail that divides these scenes? I’m sure all of it has references, meanings, political identity, and social implications that are fiercely understood by the artist and by his/her therapist.
—Marion Wasserman, Video & Graphic Artist, Santa Fe july
2011 |
505-982-7474
www.danielquatphoto.com
Steve and Destiny Š 2011 Daniel Quat
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Account minimum $1 million
STUDIO VISITS
“ The
need to be a great artist makes it hard to be an artist. The need to produce a great work of art makes it hard to produce any art at all.” —Julia Margaret Cameron
There’s no question it’s hard to be an artist. Day to day life guarantees perpetual challenges when you’re counting on the public’s appreciation of your work to survive, and perhaps history tells us that the “greater” you are (usually in retrospect after you’re dead and gone) the less likely you might be to enjoy such appreciation and recognition while alive. Though I understand where Julia is coming from, for me at least there is an unquenchable need to produce the most uncompromising and genuine work I am capable of. I live to raise the bar and strive for greater excellence in every piece I do, so the reach for “greatness” is precisely what motivates me to work in the first place.
—Christopher Rote Rote will be participating in a group show—Decadence—at EVOKE Contemporary, 130 Lincoln Avenue, Suite F. Reception: Friday, July 23, 5 to 7 pm. Rote is concentrating on building a body of work for his next shows, scheduled for Paris and Berlin in 2012. christopherrote.com Photograph by Lydia Gonzales
The need to be great and the need to produce are external expectations. And expectations limit possibility. Great artist? Great work of art? It all seems so relative. From the point of view of an artist, I believe that all we really need is freedom—freedom of expression. I try to leave the dogs of economics at the door of my studio. I will continue to create, and when the dust settles, then the work can be criticized. Only creation is perfect, and the hardest thing about that is honesty. All that I am, honestly, is Cannupa Hanska Luger. I exist and this is all. I create and this is enough.
—Cannupa Hanska Luger An exhibition of Luger’s sculptures will be on view through July 30 at Roxanne Swentzell Tower Gallery, 78 Cities of Gold Road, Pojoaque. Photograph by Anne Stavely
| july 2011
THE magazine | 25
Mimmo Paladino SCULPTURE, PAINTING, AND PRINTS
Donald Woodman ATTRACTIONS, ADDICTIONS, AND OTHER KODAK MOMENTS
July 29 through August 26, 2011 OPENING RECEPTION:
Friday, July 29th, 5–7 pm MIMMO PALADINO Etrusco, 2003. Bronze 66 1/8 x 39 x 20 1/8 inches (168 x 99 x 51 cm)
ZANEBENNETT CONTEMPORARY
ART
435 South Guadalupe Street, Santa Fe, NM 87501 505 982-8111 www.zanebennettgallery.com Mon–Sat 10–5, Sun 12–4, or by appointment Railyard Arts District Walk last Friday of every month
FOOD FOR THOUGHT
Culinary Ephemera Ephemera are printed materials that were not meant to last: newsletters, coupons, informational pamphlets, and the like. When ephemera survive longer than originally intended, they can provide a telling glimpse of past attitudes and opinions. Culinary Ephemera: An Illustrated History, by William Woys Weaver (University of California Press, $39.95), is a collection of food-related ephemera, such as postcards, matchbook covers, menus, advertisements, and other nineteenth- and twentieth-century American treasures. The above postcard was printed in Chicago in 1907. The quaint image belies a perhaps more sinister trend in American advertising: What kind of pie is it? Only a bona-fide American knows the answer: “...this ad relies on a stereotype,” writes Weaver, “about the kind of food eaten by red-blooded Americans and about Americans’ perceptions of themselves in 1907 as waves of immigrants arrived on the nation’s shores. This image probably tapped into fears about the dilution of American Protestant values at a time of massive social change.” A message that rings familiar today, from an early-twentieth-century postcard that could easily have ended up in the dustbin. Additional images in Weaver’s Culinary Ephemera provide similar fascinating revelations about America’s relationship with food and itself. D
| july 2011
THE magazine | 27
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ONE BOTTLE
One Bottle:
The 2010 Robert Sinskey Vin Gris of Pinot Noir by Joshua Baer
Once upon a time, in the Kingdom Between the Oceans, a man and
that come off the water stunt the growth of the vines and retard the
a woman decided to start a family. The man and the woman had known
maturation of the grapes that grow on those vines. The Pinot Noir grape
each other since childhood. They had always loved each other, but their
does well in these adverse conditions. In the Land of Wine, Pinot Noir is
love was not the result of a decision. It was the result of an attraction,
known as “the grape that likes to suffer.”
a system of magnetic lines that connected their minds and their bodies.
In the glass, the 2010 Robert Sinskey Vin Gris of Pinot Noir is
The man and the woman could not see the magnetic lines but they knew
a headline from the Kingdom of Big Stories. Its reddish-gold color makes
the lines were there. They believed in the lines the way birds believed
you wonder if the wine will taste as good as it looks. The bouquet is lively
in the wind.
and direct but also disarming and enchanting. On the palate, the wine
As soon as the man and the woman began talking about starting
splits the difference between temptation and satisfaction. There was
a family, everything changed. The woman had always loved animals,
a time when California was a state of mind, a place where sex and
children, and older people. She had a good heart and never hesitated
climate were the coins of the realm and hospitality was a way of life.
to share her heart’s goodness. Animals, children, and older people trusted her. They looked into her quiet eyes and knew she would move heaven and earth to protect them from harm. The man had always liked animals but had his doubts about children and older people. Children bothered him because they ran around in circles and made loud, sudden noises. Their voices reminded the man of stories he had heard about the Kingdom of Screams. None of those stories had happy endings.
This wine tastes like that time. You can buy the 2010 Robert Sinskey Vin Gris of Pinot Noir on line at robertsinskey.com for $26 a bottle or you can buy it at Whole Foods for $27 a bottle. Regardless of where you buy it, let your first bottle chill for a couple of days before you open it. This is the kind of vin gris that appreciates a deep chill. The man and the woman had two children, a boy and a girl. The boy had the kind of eyes that saw around corners
Older people also bothered the man. Whenever he was in
and over the tops of mountains. He loved animals and children
a room with older people he felt like they could see through
and could not wait to start his own family. The girl had the
his skull and read the naked thoughts that flew back and forth
kind of eyes that searched for hope, love, and reconciliation.
through his mind. The man was not afraid of his own thoughts.
By the time she was eight, she had already saved three
He had a good mind and he knew how to use it, but the idea
people’s lives.
of older people reading his mind made him nervous.
The man and the woman did their best to watch their
When the woman suggested to the man that it might be
children grow up but the act of being parents came and went
a good time to have a baby, the man told the woman that
too quickly. Something had happened to the way time passed,
he would have to think about it. The man knew it was time
something beyond the reach of their intentions. There were
to have a baby but he also knew that one baby usually led
times when the woman burst into tears, not because she
to another, which made him want to think before he acted.
was unhappy, but because she was overwhelmed by the way
This was contrary to the way the man had lived his life.
that time kept moving, even when everything else appeared
It had always been his pattern to act before he thought.
to be standing still.
When he had fallen in love with the woman his mind had
The man loved his son and his daughter so much, he
been empty. Falling in love was easy. Sorting through the
felt guilty about the time when he had told the woman
maze of your own decisions was not easy, and neither was
that he would have to think about starting a family. Then,
raising children. It made no sense to say no to the woman.
one day, he read a line in a story: “Doubt is the beginning
Her desires were impeccable. Giving her what she wanted
of wisdom.” The man was smart enough to know that he
had always been the right thing to do. The more the man
was not wise, but the line consoled him. Hesitating, having
thought about it, the more he hated himself for hesitating.
doubts, remembering to think before
So, after allowing himself the indulgence of a good night’s
you act—these were not faults. They
sleep, he woke up, looked over at the woman’s beautiful
were decisions. They were the kind of
face, waited for her eyes to open, and said, “Yes.”
choices you made when you lived in the
Which brings us to the 2010 Robert Sinskey Vin Gris of
Kingdom of Time. D
Pinot Noir. Robert Sinskey makes wine in the Carneros, at the north end of San Pablo Bay in northern California. (In Spanish, los carneros means “the rams.” The name is left over from the days when Spanish ranchers grazed their rams on the hills that overlook the bay.) The fog and the cool breezes
| july 2011
This month’s column is dedicated to Susanna Clarke, author of Jonathan Strange & Mr Norrell. 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 | 29
DINING GUIDE
Sweet Pea Ravioli with Carrot Broth and Local Goat Pecorino at
Te r r a a t Encantado 198 State Road 592, Tesuque Reservations: 988-9955
$ key
iNeXPeNSiVe
$
up to $14
MODeRATe
$$
$15—$23
eXPeNSiVe
$$$
VeRy eXPeNSiVe
$24—$33
$$$$
Prices are for one dinner entrée. If a restaurant serves only lunch, then a lunch entrée price is reflected. Alcoholic beverages, appetizers, and desserts are not included in these price keys. Call restaurants for hours.
$34 plus
eAT OUT MORe OFTeN!
Photos: Guy Cross
...a guide to the very best restaurants in santa fe and surrounding areas... azTEC zTEC CafE & rESTauran EST T 317 Aztec St. 820-0025. Breakfast/Lunch/Sunday Brunch. Dinner soon. Smoke-free. Major credit cards. $$ Cuisine: Organic comfort food. Atmosphere: Casual and friendly. house specialties: For our breakfast, we love the Smothered Vegetarian Breakfast Burrito and the Organic Egg Sandwich. Lunch favorites include the “real deal” Philly Cheesesteak Sandwich and the super-fresh Garden Salad. Don’t miss the Fresh Fruit Smoothies and the delicious Housemade Ice Cream. Comments: Chef de Cuisine, Aidan Maloney knows his stuff.
311 CafE on THE Trail 311 Old Santa Fe Trail. 984-8500. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$
Cuisine: International. Atmosphere: Casual. house specialties: For breakfast, have La Fruits Rouges Crepe (mixed berries and whipped cream) or the Stuffed and Toasted French Croissant. For lunch, choose from any of the homemade quiches or wonderful salads. Tempting dinner entrees include the Grilled Flat Iron steak and the Seared Duck Breast and Glazed Turnips Comments: Authentic French bistro fare. 315 rESTauran EST T & WinE Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Smoke-free inside. Patio. Major credit cards. $$$ 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 rESTauran EST T 221 Shelby St. 988-2355. Dinner/Sunday Brunch Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Mediterranean. Atmosphere: Elegant. house specialties: The tapas appetizer thrills and the pollo al mattone, marinated for two days and served with pancetta, capers, and house preserved lemon, may be the best chicken dish you’ve ever had. Also try the tiger shrimp. Comments: Farm to table. Chef Megan Tucker is doing it right. anaSazi rESTauran EST T Inn of the Anasazi 113 Washington Ave. 988-3236. Breakfast/Lunch/Dinner Smoke-free. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American cuisine. Atmosphere: A casual and elegant room evoking the feeling of an Anasazi cliff dwelling. house specialties: We suggest any of the chef’s signature dishes, which include blue corn crusted salmon with citrus jalapeno sauce, and the nine spice beef tenderloin. Comments: Attentive service.
| july 2011
anDiaMo! 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ 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 a BiTE rESTauran aT EST T 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 T 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. $$$$ Cuisine: Contemporary American. Atmosphere: 150-year-old adobe with pale, polished plaster walls and white linens on the tables. house specialties: Jumbo crab and lobster salad. The chicken schnitzel is flawless. Desserts are absolutely
perfect. Comments: Seasonal menu. Chef/ owner Mark Kiffin didn’t win the James Beard Foundation’s “Best Chef of the Southwest” award for goofing off in the kitchen.
tables inside and a nice patio outside where you can sit, read periodicals, and schmooze. Over 1,600 magazine titles to peruse. house specialties: Espresso, cappuccino, and lattes.
Copa DE oro Agora Center at Eldorado. 466-8668. Lunch/Dinner 7 days a week. Take-out. Beer/Wine. Smoke-free. Major credit cards. $$ 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.
El faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Smoking. Patio. Major credit cards. $$$ Cuisine: Spanish. Atmosphere: Wood plank floors, thick adobe walls, and a postage-stamp-size dance floor for cheekto-cheek dancing. Murals by Alfred Morang.
Corazón 401 S. Guadalupe St. 424-7390. Lunch/Dinner Full bar. Major credit cards. $$ 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 CulT ul urE 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. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. house specialties: For your main course, go for the grilled Maine lobster tails or the Southwestern Rotisserie, or the grilled 24-ounce “Cowboy Cut” steak. Comments: Good wine list. DoWnToWn SuBSCripTion 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Smoke-free. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room with small
El MESón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ 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. $$$$ Cuisine: French–Asian fusion fare. Atmosphere: Kiva fireplaces, a portal, and a lovely garden room. house specialties: Start with the superb foie gras. Entrées we love include the green miso sea bass, served with black truffle scallions; and the classic peppery Elk tenderloin. Comments: Tasting menus are available. il piaTT ia o 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Smoke-free. Major credit cards. $$ 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 use 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 rESTauran EST T 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Smoke-free. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. house specialties: Miso soup; soft shell crab; dragon roll; chicken katsu; noodle dishes; and Bento box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake. It is clear, smooth, and very dry. Comments: New noodle menu. Friendly waitstaff. la planCHa DE ElDoraDo 7 Caliente Road at La Tienda. 466-2060 Hiway 285 / Vista Grande Breakfast/Lunch/Dinner/ Beer/Wine. Smoke-free Major credit cards. $$ Cuisine: Salvadorian Grill. Atmosphere: a casual open space. house specialties: Loroco omelet and anything with the panfried 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 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
continued on page 33
THE magazine | 31
TR ADIT IO N AL JAPAN E S E RA M E N H O U S E
shibumi R
A
M
E
N
Y
A
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
Stop in or call ahead for your pool-side & pic-nic lunches and ice-cream specials. Get a coupon on the back of your Eldorado Supermarket receipt! Such a deal! NEW! Gene’s Outdoor Grill near the Tap Room serving Angus Burgers, Nathan’s Dogs, Johnsonville Brats and Frito Pies!
Carry Out and Eat In 466-4206 LA TIENDA, Eldorado Monday–Saturday 11 am – 7 pm
■
Parking Available
Copa de Oro courtyard, where community wines and dines together! With our fabulous new pasta specials and traditional fish & chips, consider these selected choices: Featured Wines
McManis Cabernet Sauvignon Budini Malbec Varas (Portuguese table wine) Lot 205 Zinfandel Napa Valley
Featured Beers
Stella Atrois (Belgian Original) Old Speckled Hen (Amber, English Fine Ale) Weather permitting — live music 6-8pm 6-8pm, weekends. Reservations and take-outs available.
466-8668
CopaDeOro.net Summer Hours: 11:30 am – 3 pm and 5 – 8:30 pm AT THE AGORA IN ELDORADO
BREAKFAST - LUNCH - DINNER International cuisine with southwestern accent, serving wine and beers. Fixed price dinner menu every day $20 Happy hour on the patio from 3 to 5pm Free parking at Garrett’s Desert Inn Open very day from 7am to 9pm Ideally located at 311 Old Santa Fe Trail Reservations at 505-984-8500
DINING GUIDE
Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Start with the cornmealcrusted calamari. For your main course, try the Santa Fe Rotisserie chicken, the Rosemary and Garlic Baby Back Ribs, or the Prawns à la Puebla. Comments: Chef Carlos Rivas is doing a yeoman’s job in the kitchen. 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 and buildyour-own sandwiches, wonderful soups, and an excellent salad bar). Comments: Breakfasts, organic coffees, and super desserts. Family-run.
315 Restaurant & Wine Bar Full Bar / Great Steaks • 315 Old Santa Fe Trail • Reservations: 986-9190 sausage, capiccola ham, roasted peppers, and provolone cheese. Comments: For dessert, choose from the pasteries, cookies, cakes, and gelato. Maria’s New Mexican Kitchen
555 W. Cordova Rd. 983-7929. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: Freshly made tortillas, green chile stew, and pork spareribs. Comments: Perfect margaritas. Max’s 401½ Guadalupe St. 984-9104. Dinner Beer/Wine. Non-smoking. Major credit cards. $$ 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
| july 2011
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. $$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: Stir Fry beef w/ Broccoli, Rice Vermicelli Noodles w/ Grilled Chicken, Broken Rice w/ Grilled Pork Chop, and the Crispy Sea Food Bird Nest. Comments: Good food that is simply prepared. Easy on the wallet. Pizza Centro Santa Fe Design Center. 988-8825. Agora Center, Eldorado. 466-3161 Cash or check. No credit cards. $$ 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. $$$ Cuisine: Farm to table with an on-site organic garden. Atmosphere: Cheery, light, and downright healthy. House specialties: A salad sampler might include the red quinoa, roasted beets), and potato with dill. Muffins and croissants are baked in-house. Recommendations: Inspired breakfast menu. Restaurant Martín 526 Galisteo St. 820-0919. Lunch/Dinner/Brunch
Beer/Wine Major credit cards. $$$ 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. 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. $$$ Cuisine: All-American classic steakhouse. Atmosphere: Gorgeous Pueblo-style adobe with vigas and plank floors. House specialities: USDA prime steaks and prime rib. Haystack fries and cornbread with honey butter. Recommendations: For dessert, we suggest that you choose the chocolate pot. Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Smoke-free. Patio. Major credit cards. $$$ 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 pan-seared 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. Santa Fe Bar & Grill 187 Paseo de Peralta. 982.3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$
Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers are outstanding when paired with beer-steamed mussels, calamari, burgers, fish and chips, or the grilled bratwurst. Second Street Brewery at the Railyard 1607 Paseo de Peralta. 989-3278. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers here are truely outstanding, especially when paired with beer-steamed mussels or the beerbattered calamari, burgers, fish and chips, or the truly great grilled bratwurst. Comments: Fun bar and great service. The Pink Adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ 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 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: Zen-like setting. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Smoke-free. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell crab tempura; sushi, and bento boxes.
Steaksmith at El Gancho
Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Smoke-free dining room. Major credit cards $$$ 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. 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! 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 | 33
Southern California Painting: Painting Per Se CuRAteD by PeteR FRANk AND DAviD eiChhoLtz
JuLy 1 – 31, 2011
opening Reception Friday, July 8, 5:00 - 8:00 PM
GALLeRy DiSCuSSioN
Saturday, July 9, 2:00 PM with curators and artists
PANeL DiSCuSSioN
Peter Frank with artists: Judy Chicago, tony DeLap, Maxwell hendler, Jerrold burchman and others. Friday, July 8, 2011, 2:00-3:30 PM, Santa Fe Convention Center, Coronado Room at Art Santa Fe
Charles Arnoldi billy Al bengston karl benjamin Jerrold burchman hans burkhardt karen Carson Judy Chicago Ron Davis tony DeLap Doug edge Merion estes Charles Garabedian Scott Grieger Marvin harden Maxwell hendler ynez Johnston Matsumi kanemitsu Craig kauffman helen Lundeberg ed Moses Margaret Nielsen Peter Plagens tom Wudl Norman zammitt DavidrichardContemporary.com 130 Lincoln Avenue, Suite D, Santa Fe, NM 87501 | p (505) 983-9555 | f (505) 983-1284 info@DavidRichardContemporary.com
ART OPENINGS
JULY A R T
OPENINGS
FRIDAY, JULY 1
Beast: works by Patrick Mehaffy. 5-7 pm. Beast
105 arT r gallEry, 105 4th St. SW, Alb. 505238-3491. Photosynthesis: photography group show. 5-8 pm.
TouCHing STonE gallEry, 539 Old Santa Fe Trail, Santa Fe. 988-8072. Eminence: ceramics by Yoshitaka Hasu. 5-7 pm.
jo oHn ruDDy DDy TExTilES anD ETHnograpHiC DDy r anD Taylor DalE finE TriBal arT r , arT 129 W. San Francisco St., Santa Fe. 9899903. Indigo Blues: A Selection of Fine Textiles. 12-5:30 pm.
alan BarnES finE arT, 402 Old Santa Fe Trail, Santa Fe. 989-3599. The Whole World is a Garden Garden: works by John Kingerlee. 6-8:30 pm.
vEnTana T Tana finE arT r , 400 Canyon Rd., Santa Fe. 983-8815. Where the River Takes Me: paintings by John Axton. 5-7 pm.
pHoTo-EyE gallEry, 376-A Garcia St., Santa Fe. 988-5159. Photography Salon: work by Patrick Nagatani and David Hyams. 6:30-9 pm.
anDrEW EW SMiTH gallEry, 122 Grant Ave., Santa Fe. 984-1234. Exquisite Collaborations— Concerto da Camera Camera: photographs by Jeff Louviere and Vanessa Brown. 5-7 pm.
SUNDAY, JULY 3
FRIDAY, JULY 8
MuSEuM of inTErnaT rna ional folk arT rnaT r , 706 Camino Lejo, Santa Fe. 476-1200. The Arts of Survival: Folk Expression in the Face of Natural Disaster Disaster. 1-4 pm.
axlE ConTEMporary porary at SITE Santa Fe, 1606 Paseo de Peralta, Santa Fe. 670-7612. Reprocessed: Photography in the Physical World World: 5-8 pm.
WEDNESDAY, JULY 6
Box gallEry ry, 1611-A Paseo de Peralta, Santa Fe. 989-4897. Scar Paper: work by Krista Peters. 5-7 pm.
angEl ToWn, 303 Romero St. NW, Alb. 505243-8490. Tradicionales y Actuales: folk art by Effie Chavez and Diane Chavez. 5-8 pm.
Canyon roaD ConTEMporary arT r , 403 Canyon Rd., Santa Fe. 983-0433. Paintings by Javier Lopez Barbosa. 5-7 pm. CHiaroSCuro, 702 ½ Canyon Rd., Santa Fe. 992-0711. Painting: work by Daniel Brice. 5-7 pm. DaviD riCHarD ConTEMporary, 130 Lincoln Ave., Santa Fe. Painting Per Se—Southern California Painting, 1970s 1970s: group show. 5-8 pm. E ExHiBiT/208 T T/208 , 208 Broadway SE, Alb. 505450-6884. Wax: works by Susan Wing. 5-8 pm. gEBErT r rT ConTEMporary, 558 Canyon Rd., Santa Fe. 992-1100. Paintings: works by Bim Koehler 5-7 pm. gEralD pETErS gallEry, 1011 Paseo de Peralta, Santa Fe. 984-5700. Landscape of Memory: works by Carol Anthony, John Memory Felsing, and John Macker. 3Perspectives: works by Leon Loughridge. 5-7 pm.
BrigHT rain gallEry, 206 ½ San Felipe NW, Alb. 505-843-9176. The Black Series: works by Eason Eige. 5-8 pm. El paSo ElECTriC gallEry, 211 N. Main St., Las Cruces. 575-523-6403. Works by Jeri Langlois. 5-7 pm.
gf ConTEMporary, 707 Canyon Rd., Santa Fe. 983-3707. Monolith: works by Roland Ostheim. 5-8 pm.
E EvokE ConTEMporary, 130 Lincoln Ave. Suite F, Santa Fe. 995-9902. Decadence: group show. 5-7 pm.
jay ETkin gallEry, 703 Camino de la Familia, Santa Fe. 901-550-0064. New Paintings and Ceramics: work by Jason Appleton. 5-8 pm. Ceramics
gEBErT rT ConTEM rT onTEMporary, 558 Canyon Rd., Santa Fe. 992-1100. Dangos, Glass: work by Jun Kaneko. 5-8 pm.
Mark WHiTE finE arT r , 414 Canyon Rd., Santa Fe. 982-2073. Ocean’s Twenty 11: works by Mark White. 5-8 pm.
lEWallEn gallEriES DoWnToWn, 125 W. Palace Ave., Santa Fe. 988-8997. Points of Ascent: works by Peter Bremers. Clearings: Ascent works by Forrest Moses. 5:30-7:30 pm.
MEyErr EaST gallEry, 225 Canyon Rd., Santa Fe. 983-1657. Fuego: work by Nathan Bennett. 5-7 pm.
ManiTou gallEriES, 123 W. Palace Ave., Santa Fe. 986-0440. Paintings by Kim Wiggins. Sculptures by Liz Wolf. 5-7:30 p.m.
MEyEr gallEry, 225 Canyon Rd., Santa Fe. 983-1434. Paintings by William Hook. 5-7 pm.
MarigolD arTS r , 424 Canyon Rd., Santa Fe. 982-4142. Summer Watercolors: works by Robert Highsmith. 5-8 pm.
nEW ConCEpT gallEry, 610 Canyon Rd., Santa Fe. 795-7570. Three Visions: works by Ann Hosfeld, Jane Abrams, and Reg Loving. 5-7 pm.
MaripoSa S gallEry Sa ry, 3500 Central Ave. SE, Alb. 505268-6828. Myth and Metal: paintings by Thomas Christopher Haag, sculptures by Mark Garcia. In the Midst of it All All: works by Ernest Doty. 5-8 pm.
paT a ina gallEry, 131 W. Palace Ave., Santa Fe. 9863432. Temptations: jewelry by Claire Kahn. 5-7 pm. pluSH gallEry, 621 Old Santa Fe Trail, Santa Fe. 577-9008. C.J. Davis—Calm Manufacturer: C.J. Davis with Joel Kiser, Peter Ligon, and Scuba Collective. 5-8 pm . prESTon ConTEMporary arT r CEnTEr, 1755 Avenida de Mercado, Mesilla. 575-523-8713. July Exhibition Exhibition: group show. 6:30-8:30 pm.
Monroe Gallery of Photography, 112 Don Gaspar,Santa Fe. 992-0800. History’s Big Picture: masterpieces from the gallery’s archives. 5-7 pm. SHiproCkk SanTa T fE, 53 Old Santa Fe Trail, Ta Santa Fe. 982-8478. Both Man and Bird and
| july 2011
Reprocessed: Photography in the Physical World World—a group exhibition by artists who use photography as a starting point for further exploration. Visit Axle Contemporary on Friday, July 8, 5 to 8 pm in front of SITE Santa Fe,1606 Paseo de Peralta. Exhibition continues at diverse locations around Santa Fe through August 7. Location details: axleart.com
continued on page 38
THE magazine | 35
WHO SAID THIS? “The artist is likely to be looked upon with some uneasiness by the more conservative members of society.” 1. John Baldessari 2. Robert Henri 3. Allan Kaprow 4. Ben Shahn 5. Francis Bacon
HERE’S THE GREAT DEAL! $500 B&W full-page ads ($900 for color) in the August issue for artists without gallery representation in New Mexico. Reservations by Friday, July 15. 505-424-7641
OUT & ABOUT Photos: Mr. Clix, Lydia Gonzales, Dana Waldon, Lisa Law,
and Jennifer Esperazana
There is Nothing Like a Frame Since moving to Denver I have connected with several of my Santa Fe customers. I will be making monthly deliveries and pick-ups. If you would like to schedule a pick-up of your artwork please call me at 303 825-9928.
Randolph Laub Studio www.laubworkshop.com
ART OPENINGS
rED DoT gallEry, 826 Canyon Rd., Santa Fe. 428-1320. LUMEN—Fine Art Santa Fe: work by Santa Fe Community College students, alumni, staff, and faculty. 4:30-7:30 pm. SElBy B flEETWooD gallEry, 600 Canyon Rd., By Santa Fe. 992-8877. New Work: paintings by Gigi Mills and Sandra Pratt. 5-7 pm. STEv TE E ElMorE inDian arT r , 839 Paseo de Peralta Suite M, Santa Fe. The Tree of Life and Healing the World: World works by Steve Elmore. 5-7 pm. SanTa T Ta fE univErSiTy of arT & DESign, 1600 St. Michael’s Dr., Santa Fe. 9825009. Mining the Unconscious II: the role of the unconscious in art. Three exhibits and twenty community programs, Info: miningtheunconscious.org vErvE gallEry, 219 E. Marcy St., Santa Fe. 982-5009. A Retrospective: works by Cy DeCosse. 5-7 pm.
Fe. 983-1657. Land and Light: works by Peter Campbell. 5-7 pm. nüarT üar gallEry, 670 Canyon Rd., Santa Fe. 988-3888. Native Mumblings: Da Da Ga Ga: mixed-media paintings on canvas by Ga Hyunmee Lee. 5-7 pm palETTE ConTEMporary, 7400 Montgomery Blvd. NE, Alb. 505-855-7777. Wall of Sound: vintage radios restored by Ken Shaw. 5-8 pm. SEConD STrEET STuDioS, 1807 Second St., Santa Fe. 983-7187. Double Vision—Two Perspectives on Living in Place Place: works by Martha Iwaski and Ben Haggard. 5-7 pm. TranSCEnDEnCE DESign ConTEMporary, 1521 Upper Canyon Rd., Santa Fe. 984-0108. Green Thought Forest Forest: works by Charlotte Cain. 5-7 pm. TurnErr Carroll gallEry, 725 Canyon Rd., Santa Fe. 986-9800. New Work: mixed-media works by Rex Ray. 5-7 pm.
Exquisite Collaborations—photographs Collaborations by Jeff Louviere and Vanessa Brown at Andrew Smith Gallery, 122 Grant Avenue. Reception: Friday, July 1, 5 to 7 pm.
SATURDAY, JULY 9 arT r iSTa ST S DE TaoS gallEry, 104 Juan Largo STa Lane, Taos. 303-995-5044. Artists’ Reception and Grand Opening Event. Event 5-8 pm. DWigHT HaC a kETT projECTS, 2879 All Trades Rd., Santa Fe. 474-4043. Interstitial: sound installation by Tyler Adams. The Vanquished: video/new media installation by Jennifer Steinkamp. 3-5 pm.
vivo ConTEMporary, 725 Canyon Rd., Santa Fe. 982-1320. Bewitching Summer Flowers: works by Mary L. Parkes. Matrix Moments: works by George Duncan. 5-7 pm. WEyriCH gallEry ry/THE rarE viSion arT r galEriE, 2935-D Louisiana Blvd. NE, Alb. 505-883-7410. Book of Seasons: woodblock prints and poems, group show. 5-8:30 pm.
Santa Fe. 820-0807. Excavated Passages works by Martha Rea Baker and Mary LongPostal. 5-7 pm. MEyErr EaST gallEry, 225 Canyon Rd., Santa Fe. 983-1657. New Works: wors by Douglas Atwill. Solo Show Show: paintings by Milt Kobayashi. 5-7 pm.
SATURDAY, JULY 23 SATURDAY, JULY 16
HarW ar ooD MuSEuM of arT r , 238 Ledoux St., Taos. 575-758-9826. Nod Nod Wink Wink: Conceptual Art in New Mexico and Its Wink Influences. 5-7 pm.
203 finE arT r , 203 Ledoux St., Taos. 575-7511262. Modernism in Taos: group show. 5-7 pm.
FRIDAY, JULY 15
piEDra luMBrE EDuCaT a ion anD viSiTor aT CEnTEr, U.S. Hwy. 84, Abiquiu. 505-6854333. El Rito 7: mixed-media event. 2-4 pm.
aDDiSon roWE oWE finE arT rT, 229 E. Marcy St., Santa Fe. Little Gems: works by Oscar Bluemner. 5-7 pm.
FRIDAY, JULY 22
Canyon roaD ConTEMporary arT r , 403 Canyon Rd., Santa Fe. 983-0433. I Am Not I: works by Mark Horst. 5-7 pm.
gvg ConTEMporary, 202 Canyon Rd., Santa Fe. 982-1494. Dangerous Playground: new paintings by Blair Vaughn-Gruler. 5-7 pm.
MEyErr EaST gallEry, 225 Canyon Rd., Santa
karan ruHlEn gallEry, 222 Canyon Rd.,
la TiEnDa Da ExHiBiT SpaCE Da pa , 7 Caliente Rd., Eldorado. 428-0024. Transfer of Innocence: works by Donald Rubinstein. 5-8 pm.
FRIDAY, JULY 29 aDDiSon roWE gallEry, 229 E. Marcy St., Santa Fe. 982-1533. Suspended Movement: The Female Form in Clay Clay: works by Michael Young. 5-7 pm. gEralD pETErS gallEry, 1011 Paseo de Peralta, Santa Fe. 954-5700. Romantic Contours, Modern Terrain Terrain: group show. 5-7 pm. lEWallEn gallEriES aT a THE railyarD, 1613 Paseo de Peralta. Santa Fe, 988-3250. Inclinations: new glass works by John Kiley. Inclinations 5:30-7:30 pm. ManiTou gallEriES, 225 Canyon Rd., Santa Fe. 986-9833. New Works: paintings by Billy Schenck. 5-7:30 pm. pHil SpaCE pa , 1410 Second St., Santa Fe.
983-7945. Particles and Orbs: works by James Hart and Tom Martinelli. 5:308:30 pm. roSWEll MuSEuM anD arT CEnTEr, 100 W. 11th St., Roswell. 575-624-6744. Goodnight!: works by Heidi Pollard. 5:30-7 pm. SElBy flEETWooD gallEry, 600 Canyon Rd., Santa Fe. 992-8877. Paper Navigator: works by Kevin Box and Warren Culler. 5-7 pm. zanE BEnnETT ConTEMporary arT r , 435 S. Guadalupe St., Santa Fe. 9828111. Attraction, Addiction, and other Kodak Moments Moments: photographs by Donald Woodman. 5-7 pm.
SATURDAY, JULY 30 lannan founDaT a ion, 313 Read St., Santa aT Fe. 986-8160. Avenue Patrice Lumumba: works by Guy Tillim. 5:30-7:30 pm.
SPECIAL INTEREST 16TH annual linColn CounTy Ty “SElf-guiDED” Ty r loop STuDio Tour. Twenty-nine artists, arT refreshments, and live music. Friday to Sunday, July 8, 9, and 10, 10 am-7:30 pm. Info: artloop.org 222 SHElBy By STrEET gallEry, 222 Shelby St., By Santa Fe. 982-8889. Assemblage: paintings by Agustin Pozo. Through Sat., July 9. Info: 222shelbystreet.com
Decadence—a group exhibition featuring the work of thirty artists working in painting, drawing, photography, and sculpture at EVOKE Contemporary, 130 Lincoln Avenue, Suite F. Reception: Friday, July 23, 5 to 7 pm. Sculpture by Iris Vasquez. Photo: Kim Kurian.
38| THE magazine
continued on page 40
| july 2011
Red Dot Gallery
TaosArtCalendar:July2011
Taos See more at TaosArtCalendar.com
HARWOOD
TCA
SOMOS
Ongoing Exhibits
Encore Gallery Exhibits
Literary Events
Agnes Martin painting installation Ken Price altar installation
to august 07 The Art of Order, installation by Natalie Carlton, Siena Sanderson, and Community Collaborators
july 07 Summer Writers Series, Teresa Dovalpage and Jacqueline St. Joan, Harwood Museum of Art july 09 Preparing your Manuscript for Publication Workshop at Mabel Dodge Luhan House july 14 Summer Writers Series, Robert Boswell and Antonya Nelson, Harwood Museum of Art july 21 Summer Writers Series, Hampton Sides, Harwood Museum of Art july 28 Summer Writers Series, Poetry by Logghe, Gregorio, and Sagan, Harwood Museum of Art july 30 Marketing Your Book Workshop at Taos Public Library
july 09 - september 05 For Roman: Drawings by Paul Sarkisian The Art of Cady Wells, 1933-53 Nod Nod Wink Wink: Conceptual Art in NM
Ongoing Events
Film Series, Sunday afternoon, Monday and Tuesday evenings
Ongoing Events
Events
Children’s Art Classes, Saturdays Museum Store Trunk Shows, Saturdays Yoga in Agnes Martin Gallery, Wednesdays
july 02 2011 NM Filmmakers Showcase Free screening of 2011 winners july 03, 17, 20, and 31 Taos School of Music Chamber music concerts july 07 Verdi’s Simon Boccanegra Live from the Met in HD Encore july 15, 16, and 23 The Cherry Orchard from National Theatre London july 28 Puccini’s Tosca Live from the Met in HD Encore
Selected Events
july 09 Children of Paradise Live in HD from Paris Opera Ballet july 11 – august 01 Mixed Media Portrait Class with Katie Woodall july 15 and 22 Look Look Think Think gallery lectures july 23 Herb and Dorothy film by Megumi Sasaki july 30 Women Without Men film by Shirin Neshat
HARWOOD MUSEUM OF ART, UNIVERSITY OF NEW MEXICO harwoodmuseum.org 575.758.9826
SOCIETY OF THE MUSE OF THE SOUTHWEST somostaos.org 575.758.0081
MARK YOUR CALENDAR:
TAOS CENTER FOR THE ARTS tcataos.org 575.758.2052
37th Annual Taos Fall Arts Festival september 23 – october 02 Two comprehensive exhibitions: Taos Select and Taos Open, Taos Convention Center open 10am – 5pm, taosfallarts.com
ART OPENINGS
alBuQuErQ r uE MuSEuM, 2000 Mountain Rd. rQ NW, Alb. 505-243-7255. Special events and performances throughout July. Info: cabq.gov/ museum alTE l rMann gallEriES, 345 Camino del Monte Sol, Santa Fe. 983-1590. The Kim Mackey Show and The Spanish Mustang Foundation Fundraiser. Sat., July 30. Info: altermann.com arT rT SanTa T fE at the Santa Fe Convention Center, 201 W. Marcy St., Santa Fe. 505-9888883. Art Santa Fe: international art fair. Thurs., July, 7 through Sun., July 10. Info: artsantafe.com CHarloTTE arlo arloTTE jaC a kS k on finE arT r , 554 S. Guadalupe St., Santa Fe. 989-8688. Summer Show Show—Group Exhibition. Through July. Info: charlottejackson.com Exhibition CHuMani gallEry, 2839 S. Hwy. 14, Madrid. 505-424-3813. The Avianic Structural Steel Sculptures: sculptures by Jeff Laird. Show runs Sculptures through Thurs., Sept. 8. Info: visitmadridnm. com/chumanigallery CorralES ES BoSQuE gallEry, 4685 Corrales Rd., Corrales. 505-898-7203. Shared Visions: group show. Through Tues., Aug. 23. Info: corralesbosquegallery.com gEorgia o’k kEEffE MuSEuM rESEar ESEarCH arCH CEnTEr r at the Hilton Santa Fe, 100 Sandoval St., Santa Fe. 946-1002. Georgia O’Keeffe Museum Research Center Symposium. Symposium Thurs., July 14 through Sat., July 16. Info: okeeffemuseum.org HarW arWoo WooD MuSEuM, 238 Ledoux St., Taos. 575758-9826. Under the Skin of New Mexico: The Art of Cady Wells. Wells Nod Nod Wink Wink: Conceptual
Art in New Mexico and Its Influences. Through Mon., Sept. 5. Info: harwoodmuseum.org HigH DESErT r rT arT r anD fraME, 12611 Montgomery Blvd. NE, Alb. 505-265-4066. Transforming Lives—Vulnerable Children of Uganda Uganda: photographs by Stephen Shames; fundraiser. Fri., July 1, 5-8 pm. Info: highdesertartandframe.com ja aMES kElly ConTEMporary, 1601 Paseo de Peralta, Santa Fe. 989-1601. Los Vaqueros: works by John Sonsini. Through Sat., Aug. 6. Info: jameskelly.com laS aS CruCES CES MuSEuM of arT r , 491 N. Main St., Las Cruces. 575-541-2150. lived:living: paintings by Isadora Stowe and Jordan Schranz. Lost Connections: works by Monique Jannsen-Belitz. Connections Clay and Smoke Smoke: works by Sandria Hu. Through Sat., Aug. 6. Info: lascruces.org/museums lEWallEn aT a THE SanTa T fE railyarD, 1613 Paseo de Peralta, Santa Fe. 988-3250. Pablo Picasso: Selections from La Suite Vollard Vollard. Through Sun., July 24. Info: lewallengalleries.com SanTa T fE arTS rTS CoMMiSSion CoMMuniTy T Ty gallEry, 201 W. Marcy St., Santa Fe. 955-6705. Mining the Unconscious Unconscious: group show of art inspired by Carl Jung’s Red Book. Through Sun., Aug 21. Info: santafe.org SanTa T fE Clay, 545 Camino de la Familia, Santa Fe. 984-1122. Summer Slide Lecture Series. Wed. July 6; Wed., July 13; Wed., July 20; Wed., July 27. All at 7 pm. Info: santafeclay.com SanTa T fE inTErnaT rna ional folk MarkET, 725 rnaT Camino Lejo, Santa Fe. 476-1197. Santa Fe International Folk Market Market. Fri., July 8 through Mon., July 11. Info: folkartmarket.org THE SCrEEn gallEry, 1600 St. Michael’s Dr., Santa Fe. 629-6568. Kaleidoscope Series: works by Gail Buono. Fri., July 8 through Fri., Aug. 5. Info: gailbuono.com
A Retrospective—photographs Retrospective by Cy DeCosse at Verve Gallery of Photography, 219 East Marcy Street. Reception: Friday, July 8, 5 to 7 pm. Conversation with the artist on Saturday, July 9, 2 pm.
spanishcolonial.org TaMarinD inSTiTuTE, 2500 Central Ave. SE, Alb. 505-277-3901. A Taste of Argentina: dinner, performance, and live music. Sat., July 16, 6-10 pm. Info: tamarind.unm.edu TaoS SuMMErr WriTEr’S ConfErEnCE at the Sagebrush Inn, 1508 Paseo del Pueblo Sur, Taos. 575-277-5572. Public readings by faculty Sun., July 10 through Sun., July 17. Info: unm. edu/~taosconf TErESa ES nEpTunE STuDio ESa io/g /gallEry, 728 Canyon Rd., Santa Fe. 982-0016. Sevillanas Jam— Flamenco and Photography Fridays Fridays. Fri., July 22, 6-7:30 pm. Info: teresaneptune.com
S TE SanTa SiTE T fE, 1606 Paseo de Peralta, Santa Fe. 989-1199. Auction SITE 2011. Fri., July 22 and Sat., Jul. 23. Info: sitesantafe.org
univErS r iTy rS T of nEW MExiCo arT Ty rT MuSEuM, 1 University of New Mexico, Alb. 505-277-4001. Spectres 1960 1960: works by Eva Hesse. Roadcut: The Architecture of Antoine Predock Predock. Through Sun., July 24. Info: unm.edu/~artmuse
S TE SanTa SiTE T fE, 1606 Paseo de Peralta, Santa Fe. 989-1199. I Write the Songs: mixed-media works by Suzanne Bocanegra. Material Mutters: tapestries by Pae White. Through Sun., Sept. 18. Info: sitesantafe.org
WilliaM SiEgal gallEry, 540 S. Guadalupe St., Santa Fe. 820-3300. Tethered: drawings and sculpture by Paula Castillo. Kain Lawons: resistdyed silk textiles from Palembang, Sumatra. Through July. Info: williamsiegal.com
¡SoSTEnga! anD nnMC univErS r iTy rS Ty CEnTEr, Ty 921 Paso de Oñate, Española. 505-747-5454. Third Annual Garlic Harvest Festival. Sat., July 2, 6 am-2:30 pm. Info: sostengalavida.com
PERFORMING ARTS
SpaniSH Colonial arTS rTS SoCiETy ETy on the Santa ETy Fe Plaza, Santa Fe. 982-2226. Traditional Spanish Market. Sat., July 30 to Sun., July 31. Info: Market
alBuQuErQ r uE THEa rQ HEaT aTrE guilD, P. O. Box 26395, Alb. Various performances through July. Info: abqtheatre.org aSpEn SanTa T fE BallET at the Lensic, 211 W. San Francisco St., Santa Fe. 988-5591. Kiss Me
Goodnight—Stamping Ground Ground: contemporary ballet. Fri., July 8, 8 pm. Info: aspensantafeballet.com jaaMES a. a liTTlE THEa HEaTE aTEr, 1060 Cerrillos Rd., Santa Fe. 988-1234. Be Aware Tour: cosmopop and fusion music. Sat., July 16, 7 pm. Info: beawaretour.org rio granDE DE THEa HEaT aTrE, 211 N. Main St., Las Cruces. 575-523-6403. Concerts and theatre performances through July. Info: riograndetheatre.com SanTa T fE ConCErT r aSSoCiaT rT ia ion at the Scottish Rite iaT Center, 463 Paseo de Peralta, Santa Fe. 984-8759. Mezzo-soprano Isabel Leonard and pianist Joseph Illick. Sun., July 31, 4 pm. Info: santafeconcerts.org ST. joHn’S CollEgE, 1160 Camino Cruz Blanca, Santa Fe. 984-6000. Music on the Hill: weekly Wednesday concerts in July. 6-8 pm. Info: stjohnscollege.edu
CALL FOR ARTISTS 516 arTS r , 516 Central Ave. SW, Alb. 505-2421445. SEA2012 Albuquerque—Machine Wilderness: exhibition and call for proposals. Deadline: Sat., Oct. 15. Info: isea2012.org railyarD arT rT CoMMiTTEE, 805 Early St. 204-B, Santa Fe. 316-3596. Open spaces available for temporary art projects. Info: railyardpark.org SanTa T fE arTS rTS CoMMiSSion, 200 Lincoln Ave., Santa Fe. 955-6707. Common Ground: City of Santa Fe art exhibition and prize. Deadline: Fri., Aug. 15. Info: santafeartscommission.org
Rock Paper Scissors—a collaboration by Kevin Box and Warren Culler at Selby Fleetwood Gallery, 600 Canyon Road. Reception: Friday, July 29, from 5 to 7 pm.
40 | THE magazine
| july 2011
CELEBRATING THE VISUAL, PERFORMING AND CULINARY ARTS
Larry Fielder
FESTIVAL AFTER HOURS EVENTS FRIDAY, AUGUST 5
SATURDAY, AUGUST 6
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Featuring Colorado’s HOTTEST Celebrity Chefs Join Bicycle Pros Dave Wiens & Doug Bradbury
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PREVIEWS
ART Santa Fe 2011 July 7 through July 10 Santa Fe Convention Center, 201 West Marcy Street, Santa Fe. 988-8883 Vernissage: Thursday, July 7, 5 to 8 pm. Now in its eleventh year, ART Santa Fe is Santa Fe’s take on the contemporary art fair, attracting galleries and artists from around the world to exhibit their finest work. This year, ART Santa Fe will showcase Hugo Garcia Urrutia’s installation piece The Mexican Tsunami—a massive wall of yellow, kilo-size bags representing marijuana. Originally from Juárez, Mexico, Urrutia lost his oldest brother, Fernando, in 2010, at the hands of an unknown killer. Urrutia’s work is made to bring awareness to the wave of crime, drugs, and poverty that plagues presentday Mexico. Another special event will be the staging of German artist Peter Weber’s Footsteps Project, an interactive floor installation. Weber has received international acclaim for his fabric and paper “folds” sculptures. Bullseye Glass’s Ted Sawyer will demonstrate the company’s one-of-a-kind glass-working process. During the course of the fair, ART Santa Fe patrons will leave their footprints on a large piece of canvas installed by Weber. At the conclusion of the event, the artist will unfold the canvas for display. Additionally, ART Santa Fe has coordinated numerous events outside the fair itself—at venues such as SITE Santa Fe and the New Mexico Fine Arts Museum.
15-Year Anniversary Celebration July 12 through July 22 Patricia Carlisle Fine Art, 554 Canyon Road, Santa Fe. 820-0596 Reception: Friday, July 15, 5 to 8 pm.
View of Peter Weber’s interactive floor installation.
David Pearson’s bronze sculptures of willowy women have been a presence at Patricia Carlisle Fine Art for almost fifteen years. During that time, he has won numerous awards, created public installations for cities around the country, made sculptures for the Governor’s Mansion in Santa Fe, and ornaments for the White House Christmas tree. Pearson has been sculpting since the age of fifteen, when he began working as an apprentice at Shidoni Gallery in Tesuque. He has been interested in mythology and ancient civilizations since his youth, which is evidenced by the religious and cultural themes present in his work. Pearson’s unique sense of proportion and minimalism lends an ethereal quality to his bronzes. He is also masterful in his use of patina, carefully planning his use of color and texture throughout the process of creation. His work is elegant and universally appealing, making him one of the most popular artists at Patricia Carlisle Fine Art. This July, the gallery is celebrating its fifteen-year anniversary, and will feature Pearson’s sculptures as well as the work of five painters—Jim Alford, Joseph Bellacera, Marie Najera, Adam Shaw, and Bonnie Teitelbaum—in a group exhibition.
Daniel Brice: Paintings July 8 through August 6 Chiaroscuro 702 ½ and 708 Canyon Road, Santa Fe. 992-0711 Reception: Friday, July 8, 5 to 7 pm.
Daniel Brice, O.X. 12, oil on burlap, 55” x 96”, 2011
42 | THE magazine
David Pearson, Blue Moon, bronze, 24” high, 2008
Something about the bright Southern California light has affected Los Angeles artist Daniel Brice’s work. Referred to by Brice as his Oxnard Series, his new paintings are a striking departure from his linear series, which was exhibited at Chiaroscuro in 2009. Paintings will feature twelve of the artist’s vivid, geometrical color-field paintings. These works are minimalistic yet rich—thick layers of oil paint are applied to seemingly weathered burlap canvas panels, conveying an earthy emotionality. According to John Addison of Chiaroscuro, “The line is gone; what have emerged instead are large planes of saturated color, some opaque, some transparent, that immerse the viewer in varied yet subtle surfaces, and the emotion of pure color.” Christopher Knight of the Los Angeles Times called the series “eloquent,” saying, “It’s as if abstraction, once enthroned on a critical Olympus, is hanging on by its fingernails—and turns out lovelier for its tenacity.” Brice was the artist-in-residence at the Tamarind Institute at the University of New Mexico three times, and has been exhibited at galleries and museums nationwide. This is Brice’s third exhibition at Chiaroscuro.
| july 2011
G
ALAGalleries ARTSAtDISTRICT Lincoln Avenue ďŹ rst friday artwalk monthly ~ 5 - 7pm
Evoke Contemporary decadence | group show
Allan Houser allan houser seminal works
Niman Fine Art arlo namingha
Legends Santa Fe nicholas herrera
Windsor Betts tc cannon (1946-1978)
One Artist Road Fine Art george toya
Blue Rain Gallery deladier almeida
David Richard Contemporary southern california painting, 1970s
Pippin Contemporary gilberto romero
CONNECT TO OUR GALLERIES WWW.SFGALA.ORG
Themes Show B R A N DON M ALDON ADO
July 29–August 13, 2011 in Santa Fe Artist Reception: Friday, July 29th from 5–7 pm
Undertow, oil on panel 30"h x 40"w
Blue Rain Gallery | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com Blue Rain Contemporary | 4164 N Marshall Way, Scottsdale, AZ 85251 | 480.874.8110
N AT I O N A L S P O T L I G H T
Female by
Bill Viola
Peace will always be elusive, or missing, in our world, but the Dalai Lama has consistently shown that dedicating oneself to peace is anything but pointless. Reflecting on this belief, the Committee of 100 for Tibet and the Dalai Lama Foundation created The Missing Peace, an exhibition in honor of the fourteenth Dalai Lama, the spiritual leader of Tibet and an iconic symbol of peace. The installation investigates art’s role in interpreting and initiating peace, and is divided into ten thematic sections—each a meditation on concepts like unity and compassion. The exhibition features over eighty artists, both established and emerging, who explore the Dalai Lama’s many roles and meanings through different artistic media. Notable works in the show include Salustiano’s Reincarnation, a startling painting of the Dalai Llama as a Chinese girl with bright red hair, and The Laughing Club, a video installation of a laughing yoga class by Jesal Kapadia. Other artists included in the show are Marina Abramovic, Chuck Close, Jenny Holzer, Richard Avedon, and Bill Viola. The exhibition is ending its five-year tour at the San Antonio Museum of Art, having already been shown in Los Angeles, Chicago, Tokyo, Madrid, Stockholm, and many other cities around the world. The Missing Peace will be on view through July 31, at the San Antonio Museum of Art, 200 West Jones Avenue, San Antonio, Texas. D
| july 2011
THE magazine | 45
Dignified Design... Down to Earth Value
WILLIAM AGNEW Architect Santa Fe New Mexico USA 505 577 1778 bill@williamagnew.com
The Encaustic Art Institute The Encaustic Art Institute represents more than 140 artists from across the globe, working in a wide array of media, from painting to photography, collage, sculpture and more. Some examples of our artist s work...
Sheary Clough Suiter, Ak.
Gallery open to the public weekends from 1 to 6 pm March through October.
www.eainm.com
Patricia Aaron, Co.
Michelle Belto, Tx.†††††††††††
A non profit arts organization. For latest info, go to www.eainm.blogspot.com or call: 505/424-6487
18 County Road 55A(General Goodwin Road), Cerrillos, NM 87010
MARK BECK paintings
The Tyranny of Beauty, 50” x 60”, oil on linen
www.markbeckpaintings.com • To make an appointment to visit the artist’s studio in Los Ranchos de Albuquerque: 505-342-9000
From the Sublime to the Slightly Ridiculous When I saw Will Ryman’s gigantic flowers I was riding in a cab on a balmy evening
generation who were influenced by him in some way. Rarely do we get to see an artist’s
in late May. Heading uptown on Park Avenue, there were enormous roses in the
retrospective in a context as rich as this one; there were pieces by Bontecou, Matthew
medians that ranged from three feet to twenty-five feet high and from five to ten feet
Barney, Martin Puryear, Nancy Rubin, and Julian Schnabel, along with work by Willem
in diameter, complete with thorns, leaves, and an assortment of bugs. This ten-block
de Kooning, Alberto Burri, Lucio Fontana, and Robert Rauschenberg.
long, very colorful installation called The Roses is difficult to miss, and I think darkness is
I came to really like the work of John Chamberlain after seeing it installed in its own
the flowers’ best friend, emphasizing their surreal nature while blunting their comical
industrial-strength building in Marfa. Walking through Chamberlain’s sculpture is one of
obviousness. Maybe liking them is an acquired taste? Installed in late January, The Roses
Marfa’s highpoints, second perhaps to Donald Judd’s own incomparable installation of
might have been more endearing when experienced in the snow and the cold of a
sculpture in the Artillery Sheds. At Gagosian’s Chelsea space, there was new work by
brutal urban winter, but I found them perplexing. I was more intrigued with Jaume
Chamberlain of—what else?—crushed and crumpled car parts, similar to his older work
Plensa’s Echo, the colossal head of a young girl, in Madison Square Park. Forty-four
but now much larger in scale and more monochromatic. There was lots of black, gray,
feet high, this stylized, stark white, elongated portrait was modeled after a nine-year-
and shiny chrome and, like Chamberlain’s work of old, this sculpture is very painterly
old neighbor of Plensa’s in Barcelona. The artist is probably best known for his Crown
and complex, but not mannered. It’s as if a passing giant had ripped apart and scrunched
Fountain, situated in Chicago’s Millennium Park. This latter work is a video display of the
up parts of automobiles and just happened to drop them in this very classy space. If
faces of real people who wind up pursing their lips and spurting water out and down
Chamberlain’s work has an accompanying imaginary soundtrack of jazz, Judd’s untitled
upon a delighted crowd. Echo has another vibe altogether, and the face seems less like
anodized aluminum boxes at David Zwirner seem to resonate with the silence of the
an actual portrait than a kind of stylized Buddha head that exudes an overwhelming
tombs. Judd’s work tends to absorb everything around it, transmuting the unpredictable
sense of meditative calm in the midst of the constant ruckus of midtown Manhattan.
and the extemporaneous into sustained beams of clarifying attention. You find yourself
Throngs of people rested against the base of the sculpture, sprawled out around it, or positioned themselves for pictures standing by the neck of this dreamy-looking child. But there is something faintly kitschy about this sculpture as well. Ai Weiwei’s Circle of Animals is a group of bronze sculptures representing the signs of the Chinese Zodiac, and they have been attached to poles that rise out of the Pulitzer Fountain at the entrance to Central Park. The animal heads are accessible and picturesque, but also strange, vaguely out of place, and a faint aura of kitsch hangs over them, too. The twelve heads seem to exist in a kind of cultural void unless you happen to learn about the back story to this work. That Ai Weiwei took on this project— about an aspect of China’s looted cultural past—gives the Circle of Animals an oblique poignancy, as the inscrutable arm of the Chinese government still will not release him, although they finally allowed his wife, Lu Qing, to visit him in Beijing in mid-May. She told the Associated Press, “He seemed conflicted, contained, his face was tense.” I like to think of Ai Weiwei’s own head as the thirteenth sign in an updated version of the zodiac,
Louise Bourgeois, Cinque, 5 panel piece, fabric and stitching, 18” x 14” each panel, 2005. Courtesy Cheim & Read, New York
which now, astronomers say, needs to be represented by thirteen cycles. Most of my time in New York, though, was spent in galleries. At Marianne
holding your breath as you tiptoe around this austere work with its contrasting surfaces
Boesky, the late American artist Salvatore Scarpitta (1919-2007) had been given a small
of colored Plexiglas that break up the strictness of the rectangles, altering the aluminum
retrospective called Trajectory. Leo Castelli, who invited the artist to show in his gallery
sides and making them blush with the reflections of colors like royal blue and bright
in the ’50s, lured Scarpitta back to America from living in Italy when his service in WW
orange.
II was over. Although I knew about the artist’s enigmatic sled pieces, I didn’t know
Another type of rigorous pursuit was in evidence in Ryoji Ikeda’s monumental
about his performance work as a racecar driver or his penchant for wrapping things
sound and video installation The Transfinite in the cavernous Park Avenue Armory.
like canvases and found objects. Scarpitta’s early bandaged paintings, with their straps,
One of the most conceptually dazzling video and audio works I’ve ever experienced
toggles, and belts, remind me of Lee Bontecou’s work from the same period in the ’60s.
is Ikeda’s exploration of mathematical structure—configured by him through a
And indeed, one of the aspects of Trajectory that was so satisfying was seeing Scarpitta’s
sequencing of binary code that coordinates his sonic composition with black-and-white,
work in relation to other artists who were his peers, or individuals from a younger
mathematically generated patterns. These are projected on a huge, double-sided screen over fifty-feet high as well as on the floor where viewers can sit, their bodies literally blending into the sound and the images. Yet, what could have been an experience that maximally eclipsed all human presence was instead wholly mesmerizing, and Ikeda’s percussive score was quite soothing, as if the mind was in tune with a universal logic based on 0s and 1s. Part of Ikeda’s artist statement read, “To me, beauty is crystal: rationality, precision, simplicity, elegance, delicacy; the sublime is infinity: infinitesimal, immensity, indescribable, ineffable.” At the heart of our expanding cosmos is a matrix of number and time, and Ikeda’s grappling with the transfinite was an incredibly brilliant re-creation of this elegant reality. When I saw the show of Louise Bourgeois’s fabric-based pieces at Cheim & Read, I was in the gallery with a woman who did the reverse of holding her breath— she kept gasping and sighing loudly. Why? I can only assume that she reacted like this
Salvatore Scarpitta, Harpoon Sled (Boom Sled), canvas, wood, and mixed media; sled (top), 17 ¾” x 120” x 6 ¾” ; canvas (bottom), 47” x 106” x 2 ½”, 1974-77
F E AT U R E
—Art in the Big A by
Diane Armitage
because she was viscerally moved by what she saw. So was I, but I kept it to myself. Bourgeois died last year at the age of ninety-nine, and according to the dates on this work, the artist was designing and stitching right up to the end of her long life. The gallery refers to The Fabric Works as drawings, and they were assembled from the artist’s personal collection of material—cotton sheets, linen towels, napkins, lace, old clothes, and accessories like beads, hooks and eyes, buttons, and rhinestones. The Fabric Works represents Bourgeois’s central focus in the last decade of her life, and perhaps that’s why these pieces—most of them on a relatively small scale—seem so extraordinarily gripping. This work became the final platform for the artist’s protean inventions and obsessions and her visual/emotional equivalents akin to Flaubert’s le mot juste. One suite of images in the show is actually based on a story from French literature. The sixteen pieces that comprise the series Eugénie Grandet were taken from the novel by Balzac about a young woman involved in an unhappy love story. There is a new book out about Bourgeois by Germano Celant, the well-known curator, which deals with the artist’s long engagement with textiles. In it there is a quote by Bourgeois that caught my attention: “It is not an image that I am seeking. It’s not an idea. It is an emotion you want
strangeness. Savage Beauty at the Metropolitan Museum lives up to its title and all its hype. I wasn’t prepared for my own reaction to McQueen’s extreme manner of transforming the female body. I can see now why McQueen’s oeuvre resides several light years beyond the idea of simply wearing lavish and expensive designer clothes. McQueen worked his way through actual or virtual social/sexual trauma, and he carried with him a kind of punishing revenge toward a world that fed off the oppression of others. His clothes are often, but not always, a form of penance and a trumpet call to the apocalypse. Sometimes, though, his clothes are severe yet eminently wearable. But what of the embroidered coat that straps a woman’s arms to her torso as if she’s in a straightjacket? And the outsize rectangular box of a hat, dripping with live amaranthus, that goes with it? And the blood-red balsa wood corset with its extended wings? Savage Beauty is an exhibition of attitude more than anything else, and it will be talked about for a long time to come, along with McQueen’s cryptic persona— wild and bleak like the Scottish Highlands in winter—and totally evident in his collections and the bizarrely beautiful videos he staged for his runway shows. McQueen dwelt with uncanny ease in zones of the macabre and fantastically surreal where a Scottish-plaid ensemble could carry the weight of history and memory and a tortured desire. To say that the world of fashion lost one of its most prolific geniuses only scratches the surface of McQueen’s mythic visions realized in the realm of the sublimely raw and the cooked. D
Courtesy of Alexander McQueen
Bourgeois’s statement brings me to the extravagant drama of the clothes designed and sculpted by the late Alexander McQueen. His show was staggering in its intensity and
Alexander McQueen, from the collection It’s Only a Game, lilac leather and horsehair, spring/summer 2005.
to recreate, an emotion of wanting, of giving, of destroying.”
Diane Armitage is a video artist and writer who also teaches art history at the Santa Fe Community College.
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The La Tienda Exhibit Space presents DONALD RUBINSTEIN “Transfer of Innocence� Astilli provides professional hands on fine art services and projects for the protection and preservation of fine art and valued objects. Established in 1997, we have maintained a reputation of integrity and excellence. We created our 7,000 square foot facility solely for the purpose of safely and securely storing fine art and to provide related services. Our storage facility is secure and climate controlled, including humidity.
Works on paper, canvas, mixed media installation July 23 - August 20 Opening Reception Saturday, July 23 from 5 to 8 pm 7 Caliente Road Santa Fe, NM 87508 505.428.0024
Other services include: Photo documentation and collection cataloging. Art safe wrapping, packing & boxing for transport or storage. Crates for traveling exhibitions, traveling frames & single use crates. Responsible arrangement for local and national fine art transport. Storage & transportation insurance for local, national & international shipments. Aesthetic placement & secure installation of fine art.
George Duncan Matrix Moments July 13 – August 2
Opening Reception: Friday, July 15 • 5pm–7pm
ViVO contemporary
725 Canyon Road Santa Fe, NM 505-982-1320
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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
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CURRENTS
CRITICAL REFLECTIONS
LoCaTioNS
vaRy baSEd oN aRTiST aNd pERfoRmaNCE
On display for ten days and spread out
across many citywide exhibition spaces, CURRENTS gathered sixty artists from around the world working in a diverse and relatively young field: new-media art. Blazing an innovative trail even by the most cutting-edge contemporary art standards, this broad medium makes use of a variety of technological, experimental elements with many unique qualities and one consistent theme—that of being informed by technology. In its second year, CURRENTS includes single-channel video, experimental noise, interactive video exhibitions, multimedia performances, and video-game art. This is an ambitious show that strikes an acutely intellectual chord. New-media art installations employ various digital techniques to create immersive environments. NoiseFold, an interactive media ensemble comprised of Cory Metcalf and David Stout, uses digital media to create radically dynamic visual landscapes. Metcalf and Stout, who have worked together for nearly a decade, describe their latest project, El Umbral, as an exploration of threshold and shadow, and of the dueling aspects of “veiling and revealing.” What results is an atmospheric exhibition that shines with a haunting and intoxicating beauty. Two ten-foot-high pillars constructed of neatly stacked flat-screen televisions create a gateway through which one can enter into the CURRENTS exhibition area. The installation’s visual vocabulary includes both photographic figurative elements and a variety of synthetic digital-imaging techniques. Upon passing through this television gateway, a motion sensor is triggered, which causes the network of monitors to morph into a new set of visual constructs, wherein disembodied eyes might linger on endlessly multiplying shards of light. This immersive and interactive exhibit is symbolic of surveillance, whereby we, the surveyed, are both passive and active participants. The highly nuanced environment of sci-fi intrigue is one in which we are watched by large televisions, thus reversing our role as television watcher to television watch-ee. The creation of this constantly evolving visual landscape is carefully orchestrated by Metcalf and Stout, who call it a “psychological anti-monument to the deepening surveillance state ... that clouds the way forward.” NoiseFold has created an utterly visceral—and downright magical—audience experience. Like many new-media artists, San Francisco–based Surabhi Saraf uses technology to explore overlooked aspects of our modern lives. Her remarkable audio/visual installation, Fold, is a single-channel presentation made up of ninety-six small videos which individually depict the artist folding laundry. Combining elements of choreography and moving imagery, Saraf created Fold to “celebrate the mundane by taking a private, solitary activity and presenting it multiplied.” Using repetitive imagery to explore the monotonous nature of everyday activities is insightful, and transforms a simple chore into something uniquely complex, yet utterly relatable. The obvious suggestion is that we should take a closer look at the tasks we consider mundane; folding clothing is certainly an inevitable part of life, but it doesn’t need to be mindless. Multiplied across the screen, this solitary task morphs into a group activity suggestive of community and shared experience. In this way, the straightforward movements of folding laundry become infused with a hypnotic beauty, injecting additional layers of activity and meaning into this extraordinary installation.
Top: Surabhi Saraf, still from Fold, installation, single-channel video projection, 2010 Bottom: NoiseFold (Cory Metcalf and David Stout), still from El Umbral, interactive video installation, 2011
—iriS MCliSTEr
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J I M VOG E L Saints to Salvage July 15–30, 2011 in Santa Fe Artist Reception: Friday, July 15 from 5–7 pm
Blue Rain Gallery 130 Lincoln Avenue, Suite C Santa Fe, New Mexico 87501 505.954.9902 www.blueraingallery.com Blue Rain Contemporary 4164 North Marshall Way Scottsdale, Arizona 85251 480.874.8110
Black Sheep, oil on canvas on panel with handmade antique tin and wood frame, 64"h x 26.5"w
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CRITICAL REFLECTIONS
boRdERLiNES: NoN-RaTioNaL NaRRa RR TivES RRa Punched-up,
free-verse poetry dominates thematically in about thirty works of art by four artists: Zoe Blackwell, whose endearingly compulsive watercolors on paper are perhaps the surprise standout of the exhibition; the embroiderer Thelma Mathias, who comes closest of the four to actual storytelling, with more than a hint of an absurd yet touching vulnerability; Gerry Snyder, the well-known painter, whose richly hued contemporary interpretations of Titian and Tiepolo are rife with humor and Old Testament lyricism; and Jerry Wellman, a man of words and worlds, whose brilliant watercolors scat, jazz-like, with scrawled text against fantastic settings. In considering the four together, some may prefer a pairing of Blackwell with Snyder for a sleeker presentation within the limited confines of Axle, the van-turned-traveling-gallery. (See their web site for locations and hours, as well as for a history of the van itself.) The two artists have a commonality of relative restraint, although none of their works would suggest anything like moderation. Self-discipline is evident— absolutely, if self-discipline can presume the decadence of thorough abandonment to obsession. Mathias and Wellman provide both the funk and punk, respectively, that lend the show its current proletarian ambiance, which somehow seems more in keeping with presenting art in a converted 1970s stepvan. It’s good art, and the van itself an object to be admired; curating inside of it must be frustrating and delightful.
axLE CoNTEmpoRa R Ry Ra axLE . Com foR LoCaTioNS aNd hoURS
All of the artists except Snyder use actual text in their work, yet his is the most cogent in terms of expressing linear narrative. That is neither good nor bad, and besides, the whole point of Non-Rational Narratives is that the art’s content need not move from point A to B to C and onward in a linear fashion. Snyder makes art that addresses the Bible-thumping Christianity that would have Adam and Eve on Earth a mere eight thousand years ago, for example, and because our cultural familiarity with such lore provides the religious backdrops for his floating, Play-Doh–like figures, we tell the stories when we look at the pictures. Rapture Complete, an installation of thirty-seven gouaches of individual painted-paper figures, is an opulent, many-layered tale of a current event that didn’t happen on May 21, much to the bewilderment of preacher Harold Camping and his apocalypse-minded followers. Each of Snyder’s ascending figures is fastened to the wall, ripe in its own color and asexual innocence, seeming to dematerialize before us. Blackwell, like Snyder in a full-blown manic phase, presents her viewers with a subject she’s fixated upon with pen, pencil and watercolor, and allows that subject to glide and bump about in the atmosphere somewhere between our minds and hearts. Her Vanitas is a deconstructed seventeenth-century Dutch memento mori, a flower painting—complete with insects—that floats in and out of consciousness, where awareness of our own mortality lurks in grand Baroque tenebrism. How Blackwell can so lovingly
yet neurotically inhabit her work and then let it go is a mystery of generosity. Temper is a simple piece in which the word is written in tiny, barely legible squiggles and repeated thousands of times in different colors. Simple enough, yet a second viewing of it reveals the cost of clamping down on biting emotions. “Temper, temper!” we advise ourselves through gritted teeth. Blackwell’s control is somehow invigorating—not a concept we usually associate with OCD. Mathias uses embroidery to stitch her tales of woeful hilarity. In one, Parachute, she bemoans not getting a Heinz pickle pin—like all the other kids—when her dad took her to the 1939 World’s Fair. Who among us doesn’t still harbor an inordinately deep resentment and/or sorrow about some perceived act of treason by an adult against us during our childhood? Makin It Purdy is a terrific little yarn about a cowboy—his horse tied between two cars—trying to impress the artist while she sews away on a café patio. Wellman’s works function like amulets against too much linearity; in Candle Flyer, a light-bearing figure—a guardian of the dream world—flies against a starry sky. The artist uses his paper pieces to point us toward that place where “rational things start to slip away,” as he says, effectively employing saturated color and a loose, open compositional form to allow the viewer to access a fuller understanding of whatever they may choose to investigate from within the myriad levels of our collective subconscious.
—k kaTH aTHryn M DaviS
Zoe Blackwell, Vanitas(detail), graphite and watercolor, 19” x 22”, 2011
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NICHOLAS HERRERA TEMPATION DEL DIABLO 24” X 11” X 19” HAND CARVED WOOD, HAND PIGMENTED WATERCOLORS
NICHOLAS HERRERA NEW WORKS & NOCONA BURGESS UNFINISHED BUSINESS & OTHER WORKS OPENING RECEPTION FRIDAY 01 JULY 2011 5P TO 7P NOCONA BURGESS ARTIST DEMONSTRATION SATURDAY 02 JULY 2011 10A 125 LINCOLN AVENUE
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CRITICAL REFLECTIONS
CaNNUpa haNSka LUgER: ChimERa ER ERa Chimera, Cannupa Hanska Luger’s ceramic and
craft-foam sculpture installation at Roxanne Swentzell’s Tower (of power) Gallery, in Pojoaque, is ferociously fresh and fearlessly fine. The artist, a recent IAIA grad, is definitely one to keep an eye on. The chimera is a fire-breathing mythological beast of Greek origin with the body of a she lion, a goat’s head growing out of her back, and a fanged serpent for a tail. The most famous example in art is a stylized Etruscan bronze. The singular example in Greek mythology is the monster slain by Bellerophon, astride the winged white horse, Pegasus. From there, “chimera” comes to refer to any fantastical creature composed from the parts of real animals; more abstractly, chimera means an illusory hope, a dream that might be wished for, but in reality is impossible to achieve. A dreamer tumbling from a bed suspended from the ceiling is the off-center centerpiece of this perfect installation in the adobe gallery’s upperlevel round room. He balances in midair, suspended by his blood-red bedspread, with a surprisingly nonchalant expression on his face. He is apparently experienced in this type of nocturnal flight, and his tighty-whitey undies somehow don’t compromise his sense of calm dignity. You can interpret the various figures and hybrid creatures that surround him as all parts of his dream world, though that reading might lead you to fail to consider each piece individually, and that would be a big mistake. His dreams are of paunchy, vulnerable superheroes; a giant dragon-tailed rooster protecting a crouching clay figure hiding his head; and funny, multitoothed, multi-legged little monsters that are more mouth than anything else. Intimacy is my personal favorite. In this marvelously crafted piece, a snowy white owl with a beautifully crafted human face grasps in his talons an arctic hare. The bunny also has the visage of a human, and as the two creatures come face-to-face, the grip turns into an embrace, and with lips only a “hare’s-breath” apart, they are about to engage in a final kiss of death. The idea that the snowy owl and arctic hare have evolved over millennia to conduct this particular dance is a powerfully intriguing, if highly unexpected, take on intimate relations. The equally compelling, if equally disturbing, thought that our human affections contain elements of predator/prey interaction is not new exactly, but is enacted here in a novel, visceral, and chilling way. This ain’t your average Disney situation. Human faces, or expressions, on animals recur throughout Chimera, and the effect of comparing and equating human and animal natures is potent in its ramifications for morality, and the welcome erasure of the traditional Western line that says people aren’t animals and animals aren’t people. Following this direction you get a multi-tentacled squid-girl who writhes wondrously and a beautifully elongated cranewoman who is equally strange and seductive. Hanska Luger (who probably ought to go the Prince and Cher route and refer to his artistic self by his first name only) has a fantastic imagination that is matched by his incredible craft. The ability to successfully marry clay
RoxaNNE SwENTz ENT ELL T owER g aLLERy ENTz 215 CiTiES of goLd Road, pojoaqUE forms to banal Hobby Lobby materials like felt and multicolored craft-foam is evidence of both. If you saw The Moon is to Live On, the theatrical production last year by Meow Wolf, you saw Hanska Luger’s fantastic foam at work in many of the costumes and masks, and you also saw him perform, since he is in fact a mad-fly, free-style rapper, yo, when he’s not making amazing objects. All of the work has a theatrical sense and strong narrative presence. The artist is a member of a generation that tends to eschew abstraction in favor of more direct content and a strong emphasis on stylized figuration. Witness the fact that Juxtapoz magazine has surpassed
Artforum and other publications as the best-selling art rag around, and that Hanska Luger’s peeps are far more interested in artists like Mark Ryden than Mark Rothko, and you’ll see that this work is part of a new wave of recombinant representation that’s sweeping the nation. So stuff your innocuous abstraction, the pendulum is swinging back, and sharp artists like Hanska Luger, with anime-inspired, sophisticated quasi-cartoon stylings, unambiguous content, and hardcore figurative chops, are what’s next.
— on CarvEr —j
Cannupa Hanska Luger, Intimacy, fired clay and foam, 32”w x 22”h x 24”d, 2010
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R O N
P I C C O
PROFESSOR OF ART
RON PICCO FINE ART Solar Plate Etchings Former Professor of Art / College of Santa Fe / Seeking Gallery Representation Studio: 6941 Topeka Hills Drive, Rio Rancho, NM 87144 / 505-658-9001 / www.RonPicco.com / itrpicco@gmail.com Series 12-Strength, Solar Plate Etching on Reves, 28 x 36 inches,
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CRITICAL REFLECTIONS
ShaREd iNTELLigENCE: amERiCaN paiNTiNg Shared Intelligence,
an exhibition that seeks to prove the mutually transformative relationship between the mediums of painting and photography, is astutely presented and visually handsome—and unfortunately, strikes a single chord, albeit a very nice one. From nineteenth-century works by Thomas Eakins to the early-twentieth-century modernism of Georgia O’Keeffe and her husband, Alfred Stieglitz, and into the contemporary realm of artists including Sherrie Levine and Chuck Close, curators Jonathan Weinberg and Barbara Buhler Lynes (of the O’Keeffe Museum) achieve a beautiful note. In fact, they have conceived a complete yet simple melody in the long-running Modernist—and
Paul Strand, Abstraction, Bowls, gelatin silver print, 137/ 8 ” x 107/ 8 ”, negative 1916. © Aperture Foundation, Inc. Paul Strand Archive.
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aNd ThE
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therefore no longer terribly relevant in a postmodern, new-media age—musical drama about the roles of the two mediums in what was then considered fine art. The Modernist dilemma is posed as such: Was photography, still considered a new medium into the early-twentieth century, an art or merely a journalistic and scientific tool of observation? If it were an art like painting, then what adjustments must the older medium make in order to remain artful? Could photography’s function in art grow beyond that of the camera obscura—basically, a means of projecting an image so that the painter could trace it onto a canvas—which had been a widely employed technique since the Renaissance era? Is using that method a kind of
gEoRgia o’kEEffE mUSEUm 217 johNSoN STREET, SaNTa NT f E NTa copying, and if so, does it somehow defeat the purpose of painting as pure expression? These questions were, and apparently still are, rife in the study of modern art, and Lynes and Weinberg go at them in this exhibition with a clear resolve: Photography and painting are equally useful tools in an artist’s arsenal, to be used without regard to hierarchy according to each muse’s triumph. As stated in the brochure, “Everyone is influenced by the way photography permeates all forms of political, scientific and commercial discourse, and photographic seeing—the way the lens freezes, flattens, enlarges, and crops form— conditions all visual representations.” With names including Frederick Remington, Eadweard Muybridge, Edward Steichen, Norman Rockwell, Charles Sheeler, Audrey Flack, Robert Bechtle, and Andy Warhol, in addition to those already mentioned, the exhibition taps into works by some fifty artists. For the most part, it is visually and intellectually stimulating, with some of the panache of a really wellexecuted history museum exhibit: The visitor is led through a chronology via color, line, and form, and in this case, the excitement of art-star power. Shared Intelligence is a delight to experience, at least at the beginning of the experience. However, it lacks a certain Baroque complexity; even contemporary installation art can be a byzantine composite of sight, sound, memory, and ambience. This exhibition is pleasantly successful; it is instructive to view, for example, Remington and Rockwell’s use of photographs in their paintings. The case for photography as a painterly art is finely put by Steichen and Gertrude Kasebier. Paul Strand’s photographs as works of abstraction are pristinely elegant; in fact, if one can spend only five minutes at this show, head directly to the gallery with his prints and read what O’Keeffe had to say about how his work changed her way of seeing her own paintings’ subjects. The problem, however, is that once having gotten the message and seen it illustrated, however satisfyingly, there remains no mystery. Once the Eakins and Remingtons in the first gallery are taken in, the didacticism of the exhibition has been firmly established; the luxury of critical thinking isn’t encouraged. Generally, the show follows an AB formula: Here’s the work by the painter, and here are the photographs that influenced that painter. In the case of photographers, companion paintings serve to teach that the hierarchy of mediums is dead. There is something rather proletarian about all this, as if we, the masses, haven’t the requisite imagination to come to the proper conclusion on our own. In one of the few cases where the formula was not followed, it is a detriment: David Hockney’s California Copied from 1965 Painting in 1987 suffers without his Polaroidpanorama “painting” of men in a backyard pool, which is inexplicably placed in another gallery. The Polaroid piece would look great anywhere; unfortunately the same can’t be said for the later painting. Its flatness turns dull; the abstraction of the sunlight on the blue water translates as mere linear decoration, and the nude, floating men have lost their nerve, it seems, their lives scored by the same tune, repeated ad infinitum.
—k kaTH aTHryn M DaviS
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June 24 – July 26 | Opening Reception Friday June 24 5 – 7 PM
PAULA CASTILLO Tethered
New Drawings and Sculpture
KAIN LAWONS
Resist Dyed Silk Textiles Palembang, Sumatra Late 19th/Early 20th Century RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 87501 505.820.3300 | WILLIAMSIEGAL.COM
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CaRoLa CLifT: RESoNaNCE Carola Clift
CRITICAL REFLECTIONS
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recently told me that art, like music, is “not an approximation; it’s specific, honest, and may be different every time, but every time, every nuance counts.” This emphasis on intentionality is compelling, given Resonance and Reverberation, Clift’s exhibition of highly intuitive and spontaneous watercolors and photographs on display at William Siegal Gallery. A Santa Fe native (her father is the highly regarded photographer William Clift), Clift was encouraged by her family to indulge her creative predilections and she began her artistic career as a gifted pianist. Clift has long been fascinated with the correlation between the visual and musical arts. Likening her method to that of a musician, she notes how music can reach deep inside a “listener” to coax out some unknown or unexplored content. The photographs in the Glimpses G series initially look like blurred landscapes, but we soon see that beyond the rushed foreground is a background of striking beauty and stillness. It becomes evident that these images were taken from the inside of a moving vehicle, invoking a headiness that is at once familiar and voyeuristic. The act of watching the world go by from within a car, with your mind and eyes wandering over bleak and brilliant landscapes, is enhanced by the viewfinder’s ability to capture the intoxication of action itself. A voyage by car is a fantastic theme because of its intimations of dynamism and adventure as well as its ability to suggest the ubiquitous American dreams of expansion and potentiality, themes which make Clift’s images familiar yet uniquely exhilarating. The inevitable monotony of a car trip is acutely rendered in Glimpse No. 7. Under a dreary sky we feel the exhaustion of the driver, the monotony of the road, and above all the implacable poignancy of a nameless place in which we have no intention of stopping. The series
wiLLiam SiEgaL gaLLERy 540 SoUTh gUada U LUpE S TREET , S aNTa NT f E NTa
in this way encourages us to contemplate the innumerable places and things that generally exist in a contemplation-less state. This creates an intriguing if ambiguous dialogue; Clift has crafted scenes that invite deeply personal reflection. That strangely cozy feeling of driving through the rain on an unknown highway is perfectly captured in Glimpse No. 2. From under a concrete overpass, the viewer is safe from blurry headlights and oncoming semis. The advancing and retreating swish of windshield wipers is almost audible, and the smell of wet cement so recognizable that a puzzlingly familiar sense of time and space emerges. Clift’s vision for this photographic series was built on the concept Carola Clift, 29 November, watercolor on board, 10½” x 10½”, 1999 of fleeting, momentary and Clift says she immerses herself in the act of their creation; for capture: “There was no turning around and driving past there her, “there is no going back and re-doing, re-thinking, modifying. again… I was either there, participating, or I missed it.” They are like live performances.” Variously rendered in pale Across from the photographs are a series of watercolors, blues or murky browns, they are enigmatic in nature, with strokes and stains of pigment in similar color groupings. Meant to evoke thought-form and memory, and challenging immediate definition, they are clearly made by the same inquisitive and energetic mind that took pictures from inside a moving vehicle. The watercolors are titled as diary pages might be, and indeed their introspective nature supports Clift’s statement that they are deeply personal explorations. The artist asserts that she created each painting late at night, in one sitting, as an exercise in forging a “correspondence between what is inside of me and what is outside.” In November 29, Clift covers a small square board with marked-off segments of saturated blues interspersed with hints of green. Clift isn’t working with a large area, but by overlapping and subtly dividing her canvas into windowpane-like gridded areas, she creates a compositional intrigue that is consistent throughout the series. Perhaps this is why these journal entry– style watercolors have more in common with the photographs than initially meets the eye. These watercolors are like visual concertos, supporting the emphatic quality of spontaneity that runs throughout her photographs. William Siegal Gallery, with its seamless melding of ancient and contemporary art, makes a lovely setting for this graceful exhibition. Clift’s earnest confidence in her intuition never detracts from her rigorous artistic approach, and her ability to capture the essential elusiveness of sensory experience is forceful and convincing. Clift’s ability to freeze the un-freezable is deftly realized; in doing so she reminds her audience that even the briefest interaction with something beautiful has the potential to become a lasting part of us.
—iriSS MCliSTEr Carola Clift, Glimpse No. 2, archival digital print, 22” x 30”, 2007
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C. JAMES PARSONS Fine Art Photography
C. James Parsons “Jemez Light” giclee on cotton 19” x 15” Limited Edition
www.cjamesparsonsphotography.com • cjamesparsons@me.com Santa Fe, New Mexico • 612.209.7971 ANY DAY • BY APPOINTMENT
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RobERT ERT N aTkiN : T h E a RChiTECTURE i knew there would be delicious
color and I knew there would be an array of geometric shapes and ssymbols. ymbols. What I didn’t expect was the direct invitation from Robert R obert Natkin to search inside each painting and discover so much m uch more behind the surface. The creative team at LewAllen at the Railyard—and yes, it is this team that makes the group decisions on exhibition design strategy—has built a beautiful Natkin-like atmosphere with this exhibition. The twenty-one works on display, painted between 1972 and 1983, represent five of Natkin’s series: Intimate Lighting, Apollo, Bath, Bath Apollo, and Bern. Every vintage wooden frame is original, in the standard simplicity of the New York School. Robert Natkin (1930-2010) is known for his color abstractions, often blended with dusky, post-impressionist tones. Sometimes he layered bright acrylics directly onto the canvas. Sometimes he used fabric, netting, or cheesecloth as stencils, overlays, applicators, or even as canvasses themselves, a carryover, perhaps, from his parents’ work in Chicago’s garment industry. Natkin’s work encourages the viewer to hunt within the paintings. From a distance there is a vertical stripe of thick electric blue blended with white in Apollo. At closer range, the stripe reveals cotton-candy pink underneath. Every stripe in an Apollo painting offers a different color, texture, treatment, and width. Some are dotted with paint, others have hatch marks. Some have had their top layer scratched off in a grid pattern to reveal a new underlying color. In an untitled work from the Bath series, Natkin presents
CRITICAL REFLECTIONS
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aTmo T SphERE
an overall sense of Bonnard yellow with smoky blues, greys, and oranges emerging from within the layers. Here, Natkin saves the color red for his signature alone, which itself trails off into a pointillist tail on the final “n.” Bern series, on the other hand, is all about red. It contains several of Natkin’s characteristic symbols painted just beneath the top layer: a squiggle, a square, an infinity sign. The LewAllen team gives this large, near-square canvas its own wall in an alcove, flanked by two of the more gauzy, ethereal works from the Intimate Lighting series on the other alcove walls. Although Natkin himself believed that a painting’s meaning was its material surface, he also admitted in a 1978 interview that he was “seeking an optical illusion where the space is both here, in the foreground, and way back there in the remote distance at the same time.” Icarus is textured throughout but palest at the center, invoking a dizzying sense of approaching the sun, where color washes out in the over-brightness. Even Natkin’s signature is barely visible here. Icarus is wisely displayed facing a large window, where it receives the most direct natural light of any painting in the exhibition. Amerindian hints at Native symbols and, with several good squints, could even reveal a profile. The subtle mauves and purples that Natkin applied with textured dish towels and sponges—his take on pointillism—are anchored in a solid mauve border. He even signed in mauve, this time prominently. Natkin is at his most provocative, and also his most playful, in The Last Word. Here he has taken text from a New York Times article about his own work, applied it to painted fabric that looks
LEw w a LLEN aT ThE R aiLyaRd 1613 paSEo dE pERa ER LTa LT , S aNTa NT f E NTa suspiciously like a tablecloth, and treated it in ways described in the article ((mesh overlay, paint applied with fabric, glowing tones). The text begins with Natkin’s name, and he partially paints over half of Robert with pink and orange. The text mentions his obsession with color, and he paints the second “o” in obsession blood red. The writer calls Natkin’s paintings “Chinese dinners… that don’t stay with you very long,” and Natkin paints the “C” in “Chinese” green. He sprinkles colored dot clusters between the lines of text but mostly near the reviewer’s nice words like interesting and shimmering. He even adds some of his signature hatch marks to three words: color, painting, and shimmering. From a sizzling critique, Natkin creates both art and commentary. LewAllen’s beautiful Railyard space and the team’s ingenuity make for joyous moments. With a glance up and to the left from a canvas where Natkin’s shapes nearly collide, the viewer’s eye finds outdoor sculptures by Bill Barrett echoing those symbols and shapes. Turn the corner from a side gallery and the eye lands on a bright, taffy-textured fuchsia stripe in an Apollo painting and then glides to a far wall where it catches the same color in a melty Bath Apollo work. And here’s a bit of fun that the mischievous Natkin himself might have liked: it is possible to stand at a spot outside the gallery’s front window and catch the reflection of a colorful Jerry Peart outdoor sculpture superimposed onto Natkin’s very blue Intimate Lighting, displayed in the front window, letting their complementary shapes and colors surprise in another new way.
—SuSan S San WiDEr
Robert Natkin, Bath Apollo, acrylic on canvas, 84” x 118”, 1978
| july 2011
THE magazine | 65
Jennifer esperanza photography jenniferesperanza.com 505.204.5729
The revelations continue...
“ Mining the Unconscious l l ” art inspired by Carl Jung’s Red Book
“Mining theUnconsciousll ”
“Mining the Unconscious ll ”
July 8 -August 7 Fine Arts Gallery, Santa Fe University of Art & Design 1600 St. Michaels Drive, Santa Fe, NM Opening Reception
Friday, July 8, 5 :00-8 : 00 P.M. Gallery hours: Thursdays-Sundays, 11: 00 A.M.- 6: 00 P. M. 3 exhibits, 20 + community programs. For more information:
www.miningtheunconscious.org
GREEN PLANET
TiM DECh ChR RiSTOP TOPh heR AkA k “Bidder 70” kA
CLiMATe jUSTiCe ACTiViST FOUNDeR OF PeACeFUL UPRiSiNG
“Ultimately I know that
obedience to the status quo means a future much darker than ten years in prison for one guy.” In late 2008, a twenty-seven-year-old economics student, Tim DeChristopher, disrupted a Bush administration auction for oil and gas leases. He bid on thirteen oil and gas leases on 22,000 acres of public land in Southern Utah, and won the bid. Tim, also known as “Bidder 70,” lacked the ability to pay at the time, yet his actions saved tens of thousands of acres near Moab and Canyonlands National Park from fossil-fuel extraction. DeChristopher later raised the 1.8 million dollars to pay for the leases but the US government rejected the money. In his trial, the jury was not allowed to hear that he raised the money for the leases; for his heroic act DeChristopher was convicted of “fraud.” He now faces up to ten years in federal prison and a $750,000 fine. DeChristopher will be sentenced in Salt Lake City, Utah on July 26, 2011. Dr. James Hansen, Naomi Klein, Bill McKibben, Robert Dr Redford, and Terry Tempest Williams co-wrote a letter calling for all concerned citizens to “stand with” Bidder 70. New Energy Economy hosted a fundraiser in Santa Fe for DeChristopher’s legal fees just ten days before his sentencing. He was centered, articulate, and inspiring as he called for action. He asked all in the audience to take a personal stand for change and take part in a full-on peaceful social uprising. To donate to Tim DeChristopher’s legal team, please go to T www.bidder70.org. www.peacefuluprising.org. D
photoGraphed on June 13, 2011 in santa fe, new MexiCo By By Jennifer esperanza | july 2011
THE magazine | 67
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A R C H I T E C T U R A L D E TA I L S
The Pedernal in O’Keeffe Country Photograph by Guy Cross | july 2011
THE magazine | 69
WRITINGS
THE MILLENNIUM By
renny Golden
The nuns have left small footprints in a desert that expects no allies. Wind and sand cover the histories of saints and sinners. But the people are partisans, carry altars, candles. Padre Martinez’s memoria burns on. The gringos still look for Billy the Kid’s grave. Apaches and Navajos watch canyon’s ochre silence, forgive the wild horses who run across the blood floors of ancestors, forgive those ghosts who walked Carleton’s frozen road, their grandparents’ terrible courage, forgive the Spirit. Forget nothing. The Loretto and Charity sisters accompany the wretched as if they held Mystery in torn, filthy breast pockets. What do they cling to as their time ends, the hour of nuns archaic as cowboys? Their novitiates empty, grand motherhouse rattling with white-haired sisters who sign away the green lawns, barns, refectories, convents ... and rejoice. Diminished, barely able to care for the elderly, they give away the store without regret. Who taught them these wild ways? photoGraph By anneliese zeMp
Renny Golden has written several books of poetry, including The Hour of the Furnaces and War on the Family: Mothers in Prison and the Families They Leave Behind. Her latest book, Blood Desert, (University of New Mexico Press, $16.95) gives voice to historical figures living in New Mexico during the nineteenth century, one of the most tumultuous eras in local history. “Blood Desert is history that breaks into song,” writes author Demetria Martínez. Golden lives and works in Albuquerque.
70 | THE magazine
july
2011 |
L a n d s ca p e o f M e M o r y New Works by Carol Anthony and John Felsing with poetry by John Macker
J u Ly 8 - au g u s t 6 , 2 011 Opening reception with the artists: Friday, July 8th from 5-7pm
F o r f u r t her information contact Maria Hajic, Director of Naturalis m , m h a j i c @ g p g a l l e r y. c o m T o 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 The Moon Hangs Like Heaven, oil on linen, 23 x 22 inches. Memory Sphere I, oil crayon on panel, 15 x 13 inches. All images Š 2011 courtesy, Gerald Peters Gallery.
1011 Paseo de Peralta, Santa Fe, NM 87501 | tel 505-954-5700
Dan i el Br ic e :
July 8 - August 6, 2011
4 by 4 : Renate Aller
Siddiq Khan
Phillis Ideal
Flo Perkins
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