Santa Fe’s Monthly
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of and for the Arts • June 2014
SANTA FE’S LARGEST SELECTION OF VINTAGE NAVAJO WEAVINGS
SANTA FE | 53 OLD SANTA FE TRAIL | UPSTAIRS ON THE PLAZA | SANTA FE, NM | 505.982.8478 | SHIPROCKSANTAFE.COM
5
letters
14
universe of:
18
art forum:
21
studio visits:
23
ancient city appetite:
25
one bottle:
artist Patrick McFarlin
44
interview:
47
critical reflections:
Nijinsky: halftone montage by John O’Reilly
Joel-Peter Witkin at Andrew Smith Gallery;
K’un at A Virtual Artspace; Life Out of Balance at the IAIA; Melanie
Josie Adams, Edwina Milner, and Matthew Young
Yazzie at the University of New Mexico Art Museum; Panorama at 333 Montezuma; Poetics of Light at the New Mexico History
Johnnie’s Cash Store
The Pascal Redon Champagne Brut Rosé by Joshua
Museum; Toast + Cowboys at Offroad Productions; and Walter W.
Baer
Nelson at Chiaroscuro and Pasqual’s Gallery
27
dining guide:
31
art openings
32
out
38
previews:
&
Sanjit Sethi, director of the Santa Fe Art Institute
Santacafé and Desert Rose Restaurant
about
Holly Roberts at Zane Bennett Contemporary Art and
59
green planet:
Joanna Harcourt Smith, photograph by Jennifer
Esperanza 61
architectural details:
62
writings:
Peace Like a River by Lenny Foster
“I Am a Boat” by Cathy Aten. Painting by Jim Sloan
Mark White at Mark White Gallery 41
national spotlight: Gorgeous at the Asian Art Museum, San Francisco
CONTENTS
Brian Weil’s world certainly isn’t pretty. Junkies, violent crime scenes, AIDS victims, sex workers, death, bestiality, and, oddly, Hasidic Jews in the Catskills fill the pages of Brian Weil, 1979-95: Being in the World (The MIT Press, $39.95). Weil’s gelatin silver prints— originally shot in Super 8 video—are black-and-white, raw, grainy images, and are followed in the book by color video transfers of transgendered people at a convention in the Midwest. The overall style of the book is reminiscent of 1930s documentary work and film noir. However, this is the story of a later time and a way of being in the world radically foreign to the mainstream—a world that advertisers rarely represent as desirable, a world that Weil chose and inhabited before he succumbed to a heroin overdose. An image of a woman shooting up with a clean needle from a clinic and another of a pregnant mom awaiting the birth of her HIV-infected child are human and very real. His Hasidim series, in the making for two years, focuses on a world of tradition, rules, and post-Holocaust culture that Weil saw as altered but intact—a culture he entered in Hasidic drag in order to capture his staged portraits. Edited by Stamatina Gregory, the book has texts to help viewers come to terms with the images, with requisite references to Georges Bataille, Susan Sontag, and Diane Arbus. Of his work, Weil said, “What making my photographs is to me is something you will never understand, because you didn’t make them. But you can look at them and go away with whatever you want.”
Leopold Bloom and his Adulterous Molly: Can this Marriage be Saved? A Lecture in Celebration of Bloomsday Presented by James Heffernan
Sunday 15 June from 3-5pm New Mexico History Museum Auditorium
FREE (FIRST-COME, FIRST-SERVED) 113 Lincoln Avenue (USE WASHINGTON AVENUE ENTRANCE) Santa Fe, NM 505-476-5200 www.nmhistorymuseum.org
Bloomsday is a commemoration and celebration of the life of the Irish writer James Joyce during which the events of his novel Ulysses (which is set on 16 June 1904) are relived. It is observed annually on 16 June in Dublin and many cities around the world. This year, we will celebrate Bloomsday on Sunday, 15 June at the New Mexico History Museum with a lecture by Professor James Heffernan. James Heffernan, Professor of English Emeritus at Dartmouth College, has written extensively on James Joyce, particularly Ulysses. For the Teaching Company he has taped 24 lectures on Ulysses and another 24 on great authors from Wordsworth to Camus. Yale University Press has just published his latest book, Hospitality and Treachery in Western Literature. [ For more see www.jamesheff.com ]
www.lannan.org
LETTERS
magazine VOLUME XXI, NUMBER IX
WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 and 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 CALENDAR EDITOR B Milder WEBMEISTER
Jason Rodriguez SOCIAL MEDIA Laura Shields
CONTRIBUTORS Teresa Anastasion, Diane Armitage, Cathy Aten, Joshua Baer, Christopher Benson, Davis Brimberg, Jon Carver, Kathryn M Davis, Jennifer Esperanza, Lenny Foster, Hannah Hoel, Ellen Premack, Jim Sloan, Richard Tobin, Lauren Tresp, and Susan Wider COVER
Venus in Chains, 2010 Photograph by Joel-Peter Witkin Courtesy Andrew Smith Gallery See page 49z.
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Jimmy Montoya: 470-0258 (mobile) THE magazine is published 11x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: themagazinesf@gmail.com. Web address: themagazineonline.com. All materials copyright 2014 by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable, for any misspellings, incorrect information in its captions, calendar, or other listings. Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel. All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised. THE magazine is not responsible for any claims made by its advertisers for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.
JUNE
2014
516 ARTS in Albuquerque and Parallel Studios in Santa Fe present New Media New Mexico. The collaboration kicks off June 6 to June 8 with the Digital Latin America Weekend Symposium in Albuquerque, along with other events. Details: www.516arts.org. The three-week Currents Festival opens on June 13 and runs to June 29 at El Museo Cultural de Santa Fe. Details: http://currentsnewmedia.org. Image: Jessica Angel.
TO THE EDITOR: Using the space of a review to proclaim from the mountaintops that Georgia O’Keeffe was “an inconsistent painter at best; at times she was just plain bad” strikes me as a missed opportunity. Kathryn M Davis’ review of Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures in the April issue of THE places a lot of effort in dismissing O’Keeffe as a painter, instead of attempting to unravel some of the reasons these paintings might not carry the status of her more famous works. It is a conscious consideration that O’Keeffe’s brush strokes are slow and her paint thin. Her colors and composition favored a flattened and slow space. There is a grand stillness in her work. To be out of her familiar environments of New York City and New Mexico must have been a great challenge. Her nine week visit to Hawaii was a short time to absorb and translate her experience to the visual vocabulary she was accustomed to. O’Keeffe’s Hawaiian palette of lush greens, blue oceans, black lava, and vibrant flowers may have been shocking. This is a landscape of fast and aggressive color. Like a traveler to a new country who cannot speak the language or read the signs, a painter must grapple with new problems to solve in light and color when they drastically change environments. For O’Keeffe, painting this unfamiliar environment must have been a daunting task. This was also a time when she was in the throes of marital duress and health challenges, according to Georgia O’Keeffe’s Hawaii. A written review is often the first portal of introduction that an art-going public has. When visitors come to our galleries and museums, I hope they are provided with insightful information that can assist them in a deeper understanding of their experience. —David Forianoh, via email
TO THE EDITOR: “As good as it gets—and whose fault is that?” Any journalist with the professional wherewithal to ask questions instead of making assumptions would know the answer to that. If Richard Tobin had spoken to anyone involved with CCA’s The Armory Show he would have known that it was not a curated show—it was a community arts show. And like an elementary school talent show, talent was not part of the criteria for this exhibition, nor was the art selected for being contemporary. The Armory Show is a bunch of artists from the past who selected a bunch of artists from the present. There was little structure other than that the CCA Board of Trustees thought it was a good idea. The show is a portrait of this town, with its stodgy cronyism and lack of critical discourse. The Armory Show reflects on CCA’s partnership with The Rotary Club, a businessdriven organization that is in conflict with contemporary art. The exhibition revealed what non-art objectives look like when they pretend to be art, primarily blanketing inclusiveness. Showing over one hundred and three artists in one space only serves to compromise the quality and integrity of each of those artists’ work. I hope that The Armory Show is as bad as it gets, and that Tobin’s poor reporting is also as bad as it gets. He is incorrect that contemporary art is no longer a viable force to convey grand narratives, meaning, and social import. He only needs to take a look at CCA’s very recent past (primarily Making Places and Atomic Surplus) to find soulful, beautiful, meaningful, and well-curated exhibits that have addressed issues far greater than blind inclusiveness, cultural pluralism, and the commodity market. May The Armory Show be the low-water mark for CCA, a capable and competent institution that can assure a greater, more rigorous, and more vibrant future for contemporary art. —Suzanne Mueller, via email
This issue is dedicated to the life and art of Billy Soza Warsoldier. THE magazine |5
NEW MEDIA NEW MEXICO This June, experience the work of over 100 international new media artists from 15 countries in Santa Fe and Albuquerque.
THE SANTA FE INTERNATIONAL NEW MEDIA FESTIVAL JUNE 13 -29 / 2014 516arts.org
SYMPOSIUM
EXHIBITION
June 7 & 8
June 7 – August 30
Register today at:
regonline.com/DLA
516 ARTS UNM Art Museum The Albuquerque Museum
Keynote Speakers: Pablo Helguera Alex Rivera
Opening & Block Party: Saturday, June 7, 5-9pm
Produced by 516 ARTS at the Albuquerque Museum
516 ARTS, 516 Central SW Downtown Albuquerque
currentsnewmedia.org
VIDEO & INTERACTIVE INSTALLATIONS, ANIMATION, ART-APPS, DIGITAL DOME SCREENINGS, EXPERIMENTAL DOCUMENTARIES, MULTIMEDIA PERFORMANCES Presented by Parallel Studios, El Museo Cultural de Santa Fe, Center for Contemporary Arts, Institute of American Indian Arts, Santa Fe University of Art and Design, Zane Bennett Contemporary Art, Santa Fe Art Institute, Heath Concerts, David Richard Gallery, Axle Contemporary, SARC, the Santa Fe Railyard and the City of Santa Fe.
FREE ADMISSION Javier Villegas, Herbaceous
Luftwerk, Synthesis, photo by Kate Joyce
is Digtal Latin America & CURRENTS 2014 are supported in part by: Digtal Latin America is supported in part by:
CURRENTS 2014 is supported in part by:
ART SANTA FE
/ INTERNATIONAL CONTEMPORARY ART FAIR
SANTA FE CONVENTION CENTER
JULY 10-13, 2014
O P E N I N G N I G H T G A L A / T H U R S D A Y , J U L Y 1 0 , 5 : 0 0 - 8 : 0 0 P. M . FRIDAY, SATURDAY, SUNDAY / JULY 11, 12, 13 / 11-6 PM/ $10 AT THE DOOR / 505.988.8883 / WWW.ARTSANTAFE.COM 1st Row: Edgar Medina, Texas; Ana Tzarev, New York; August Muth, Hulse/Warman Gallery, New Mexico; Viviane Brickmanne, Galeria Gaudi, Spain 2nd Row: Gioconda Rojas, Costa Rica; © EGUCHI Ayane, Zane Bennett Contemporary Art, New Mexico; Brian Goodman, California 3rd Row: Hasan Pehlevan, Galeri MERKUR, Turkey; Martha Braun, Arizona; Kusama Yayoi, Gallery EDEL, Japan; Nancy Macko, California Art in America Party, lead sponsor Zane Bennett Contemporary Art Opening Night Gala, lead sponsor Art & Antiques
SATURDAY, JULY 12, 6:30 P.M. / $15
ART S A N TA F E
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St. Francis Auditorium, New Mexico Museuem of Art
ART Santa Fe Presents
KEYNOTE SPEAKER acclaimed author
JAMES MEYER “Return to the Sixties: On the Meaning of the Sixties in Art and Culture.”
James Meyer is Associate Curator of Modern Art, National Gallery of Art, Washington D.C., and professor of Art History at Johns Hopkins University
ALL TICKETS AVAILABLE AT THE LENSIC BOX OFFICE 505.988.1234, WWW.TICKETSSANTAFE.ORG
ED RUSCHA
JOHN BALDESSARI
June 7 - July 25, 2014 Gallery Reception Saturday, June 7, 2014, 6:00-8:00 pm Richard Levy Gallery • Albuquerque • www.levygallery.com • 505.766.9888
Joe Ramiro Garcia tRansfeRence May 30-June 29. 2014
Call Center, 2014, oil & alkyd on birch panel, 42" x 42"
LewAllenGalleries Railyard Arts District 1613 Paseo de Peralta Santa Fe, NM 87505 (505) 988.3250 www.lewallengalleries.com info@lewallengalleries.com
HOLLY ROBERTS HOLLY ROBERTS a day in the life
a day ReCePtiOn: in thefRiday, lifeMay 30, 5 - 7 PM
May 30 - JUne 20, 2014 May 30 - JUne 20, 2014
ReCePtiOn: fRiday, May 30, 5 - 7 PM
zane bennett contemporary art 435 S GUadalUPe St, Santa fe, nM 87501 t: 505-982-8111 f: 505-982-8160 zanebennettGalleRy.COM zane bennett contemporary art 435 S GUadalUPe St, Santa fe, nM 87501 t: 505-982-8111 f: 505-982-8160 zanebennettGalleRy.COM
SIGNE STUART
Continuum
May 30 –June 24, 2014 RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 875 01 505.820.3300 | WILLIAMSIEGAL.COM
RE-PRESENTING THE NUDE III Curated by John O’Hern
June 27th through August 27th
Steven Assael Carlos Barahona Possollo Daniel Barkley Francisco Benitez Michael Bergt Christyl Boger Alice Leora Briggs Peter Cox Nicholas Crombach Marc Dennis Phillip Dvorak Alberto Gálvez Steve Huston Steven Kenny Adam Miller Kathleen Morris Alyssa Monks Peter Muehlhausser Teresa Oaxaca Colin Poole Kristine Poole Lee Price Wade Reynolds Scherer & Ouporov Ken Smith MD Jorge Santos Daniel Sprick Cia Thorne Kent Williams Pamela Wilson
Adam Miller, The Roses Never Bloomed so Red, oil on canvas, 96 x 60
some of the participating artists:
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in multiple s k r o w o h st w s lf-taught arti e s d marvelou a te in is a p IN s a L h R CFA . He d PATRICK Mting, drawing, and sculpturepe, focusing on the West and a pain at he dubbe rican landsc e th mediums— m n A lo a e s th n f e op ersions o n created an e Santa Fe li r th a f F c o abstracted v M s it , a s 0 tr por E t. In the 199 ndred-plus u h e e ibited at SIT r h x th the Midwes e e e h r T e . w b lub town Clu owntown C rn as Pat’s o D b e e r th Pat’s Down n f e o e t b u tly o, that came o b has recen lu C n San Francisc w , k to community r n o Y w o w D e e N d in 1997. Th een exhibite b s a h Santa Fe in k r o w s. b. McFarlin’s ng other citie o m a , e F Dirtroad Clu ta San ttsdale, and o c S , n to s u Ho
Photograph by Dana Waldon
UNIVERSE OF
BEING SURPRISED BY THE WORK
can’t do anything about it, like change
THE LATEST WORK
Being surprised is why we make
your way of being. You can’t become
I call my latest paintings the McFarlin
pictures—to get to that place where “it
a perfectionist. Not that any exuberant
OIL Great Books Foundation. The work
paints.” Philip Guston said it this way:
or perfectionist would want to change
consists of painted words. First question
“You go into the studio and everybody
their mindset. If you want to know if
I am often asked is, “Did you write the
is in the studio—your friends, the art
someone is a perfectionist, you look
words?” Only in one painting in the last
writers, and the museum people, and
the person in the eye and ask, “Are
year and a half did I write and paint the
you’re just there, painting. And one by
directs everything for me. I just put my
you a perfectionist?” If there is a pause,
words. Most of the words are first lines
one they leave until you’re really alone,
voice at his disposal.”
they’re not. If the answer is something
from great books. I pick passages that are
like, “In some situations, or depends
comfortable to live with, the armchair
prepare yourself—there’s nobody there
THE PLACE OF EXUBERANCE
on . . .” they’re not a perfectionist. A
thing: romantic, poignant, inspiring, but
and then, ideally, you leave.” In a similar
Is it a matter of choice? I think not.
perfectionist straightens his or her back
never preachy. Why painted words?
vein, Federico Fellini in a late interview
To divide artists into the categories
and answers in the affirmative with
Nothing to do with Tom Wolfe. They are
said, “When I become a filmmaker,
of
“perfectionist”
pride and without a blink. What do you
just an armature to prop up the paint, a
someone takes over, a mysterious
may be an oversimplification—but
ask an exuberant artist? Don’t know—
way of making an abstraction, a way of
invader takes over the whole show. He
it’s useful to know who you are. You
go ahead.
exploring color.
and that’s what painting is. You wait. You
JUNE
2014
“exuberant”
or
THE magazine |15
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IN
ART FORUM
THE MAGAZINE ASKED A CLINICAL PSYCHOLOGIST AND TWO PEOPLE WHO LOVE ART TO SHARE THEIR TAKE ON THIS 1977 HALFTONE MONTAGE BY JOHN O’REILLY ENTITLED NIJINSKY (COURTESY TWIN PALMS PUBLISHERS, SANTA FE). THEY WERE SHOWN ONLY THE IMAGE AND WERE GIVEN NO OTHER INFORMATION. This piece represents physical, emotional, and spiritual
caught in the question of what happens next. Poised
one age dances with the other. In this photo we are at
transformation. We see a man becoming. He is caught
in the instant before a beautiful man engages with the
the moment of transformation. Even though the statue is
between stillness and motion. Joyfully, he poses behind an
ancient and floating statue of another beautiful man,
rigid and stylized, it seems to be waiting for the other’s
ancient statue that symbolizes his former self. The man
I have a magnetic sense of anticipation. The implied
breath to give it life. Like Pygmalion’s Galatea, soon it will
conceals his face. As a work-in-progress, his new, vibrant
movement creates a bridge from ancient to modern. And
bend and dip and twirl and love. And what about love?
self is emerging but not yet ready for its full debut. The
in this bridge we also see how the modern man is the
Through desire and finesse can we melt the object of
piece’s blending of classicism with modernity highlights
universal embodiment of the ancient. Through harmony
our desire from a rigid statue to a lover? Can we bridge
the timeless nature of spiritual metamorphosis. Likewise,
and balance each figure seems to complete the other,
the chasm of yearning to embrace what we thought was
many sections of this piece are bathed in shadow.
and as breath stirs the stone, the statue’s limbs will be
unattainable, whether in bringing ancient art to life or
The artist may be doing this symbolically. Carl Jung
restored and he will reach to take his partner’s hand. As
winning the heart of another? This image tells me that
discovered the psychological concept of the shadow. He
black envelops white, I expect to see the ancient young
yes, we certainly can.
described it as the unconscious part of our personality,
man relax into the other’s arms in timeless movement as
—Teresa Anastasion, Writer and Singer, Santa Fe
“the reservoir for human darkness,” and often “the seat of creativity.” According to Jung, wrestling with one’s shadow is an essential part of transformation. Growing emotionally involves confronting our darkness. Perhaps a later version of this work would show the man’s face. Then, we would see his new and improved self.
—Davis Brimberg, Ph.D., Clinical Psychologist Are they long-time Grecian lovers or did they just meet on the dance floor? They dance on a cloud together, yet apart, and there is an exact Kabbalistic alignment of their noses. Surely, they must be breathing life into each other. This photographer has paired the soft, supple texture of a modern human man with the hard marbleized ancient sculptural artifact. Confidently, the base of the broken leg rests intact on the foot of the human dancer… a kind of balance assist for the sculpture, helping them to stay in sync. Petitely and imaginarily held, the hands of the realistic male dancer cannot grasp the cold-stone hand of the sculpture, but still manages the weight of the stone-man in their duo-ballet. At a second blackand-white look, this contemporary photo or couldbe painting has motion combined with stiff harshness, emotional daintiness matched to proper sculptural form, and a clothed gentleman in contrast to simple nakedness. They are clearly in a world of their own because nothing surrounds them or intrudes upon their space. This get-together dance is just for them. Eye contact cannot be made: It would be impossible, as they both have to go back to their own universes after their soirée.
—Ellen M. Premack, Director, Mizel Museum, Denver As I contemplate this photograph, with its elegant composition of fluidity approaching the unyielding, I am
18 | THE magazine
JUNE
2014
MONROE GALLERY of photography
BILL EPPRIDGE 1964
Santa Fe Scout Collection
available at
The Beatles arrive, New York, February 7, 1964
Celebrating the publication of “The Beatles: Six Days that Changed the World”
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Exhibition continues through June 22 open daily 112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e: info@monroegallery.com www.monroegallery.com
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707 Canyon Rd, Santa Fe, NM 87501 . 505 983 3707 . gfcontemporary.com
STUDIO VISITS
JIM JARMUSCH WROTE, “NOTHING IS ORIGINAL. STEAL FROM ANYWHERE THAT RESONATES WITH INSPIRATION OR FUELS YOUR IMAGINATION. DEVOUR OLD FILMS, NEW FILMS, MUSIC, BOOKS, PAINTINGS, PHOTOGRAPHS, POEMS, DREAMS, RANDOM CONVERSATIONS, BRIDGES, STREET SIGNS, TREES, CLOUDS, LIGHT, AND SHADOWS. SELECT ONLY THINGS TO STEAL FROM THAT SPEAK DIRECTLY TO YOUR SOUL. IF YOU DO THIS, YOUR WORK WILL BE AUTHENTIC.” THREE ARTISTS RESPOND TO HIS STATEMENT. Influence is a better descriptive word than steal. I have been influenced by Gustav Klimt, specifically by his use of gold, and by the freedom I see in Jackson Pollock’s paintings. What a thrill to study art history and learn how so many artists were influenced by politics, landscapes, people, and everything around them. Stealing is taking something that belongs to someone else, but that word does get one’s attention.
—Edwina Hawley Milner Milner has a one-woman show at New Concept Gallery, 610 Canyon Road. Reception: Friday, June 20, from 5 to 7 pm. Milner has also worked closely with the New Mexico Committee of the National Museum of Women in the Arts. www.edwinamilner.com
I’m like a magpie. There’s nothing mundane about the world—there is beauty and inspiration everywhere. Having my attention caught by something doesn’t make my observation a theft; each little element becomes something entirely new as I translate it onto my canvases.
—Josie Adams Adams will be showing her work at the Flying Fish Studio & Gallery, 821 Canyon Road, from May 30 to June 30. Other works will on view at the Art Shack, 2833 State Road in Madrid on May 30.
I look to “steal” my inspiration is from trees. The language that I use is that of Celtic and Scythian artists. In their language, I express my passion for these amazing, regal, sensual, life-giving beings. I appreciate the way those artists depicted beautiful nature in a stylized manner. I am not looking to copy a tree; I am taking it down to a minimal state to express a moment—a connection of the earth to air. —Matthew Young To see Young’s stone carvings: www.facebook.com/matthewstonecarver
Photographs by Anne Staveley
JUNE
2014
THE magazine |21
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You go to Johnnie’s Cash Store because being in an authentic place is an
Green Chile Tamale: $2.00
experience you can’t buy or sell no matter how little or how much money you
Fast Bites Sausage and Cheese Sandwich: $1.00
have. You go because you really like a woman and want to take her to lunch at
Baken-Ets Hot ‘N Spicy Chicharrones: $1.15 a bag
a place that matters to you, a place that says, “I may not be as rich or sophisticated
Yoo-hoo: $2.75
as the other men you’ve dated, but there’s a place in my heart that appreciates time
Starbucks Frappucino: $2.00
and space.” You go because you really like a man and want to take him to lunch
Goodart’s Peanut Pattie: $1.15
at a place that reminds you of your parents, maybe even of your grandparents,
Blue Sky Jamaican Ginger Ale: 85¢
a place that says, “I’m tired of pretending to like what I don’t like. I’m ready to like
Nestle’s Dibs: $2.99 a carton
what I love.”
Ice: $2.50 a bag
You go because, outside the store there’s a sense of peace and quiet at the picnic tables, a sense of watching the world go by without watching it go to hell.
You don’t go to Johnnie’s Cash Store for cuisine. You go because, less than fifty
You go because, inside the store there are displays of trophies, some tall, some
years ago, there were five hundred groceries stores in Santa Fe, one store per
short, some shiny, some not so shiny, all of them won by members of the Armijo
block. You go because the East Side is still a soulful neighborhood, even for the
family. You go because you went a long time ago, had a tamale, and wondered why
people who sold their souls in order to buy houses there. You go because the
you didn’t go there more often. You go because Johnnie’s Cash Store is a survivor,
Armijo family, which runs Johnnie’s Cash Store as much as a shrine as a business,
an echo of the Santa Fe we all wish we had discovered.
decided that selling their property, watching a crew tear down the store, and watching another crew erect yet another six-thousand-square-foot monument to
Ancient City Appetite recommends places to eat, in and out of Santa Fe.
people with more money than taste was not in the best interests of their family,
Photograph by Guy Cross. Send the names of your favorite places to places
Camino Don Miguel, the East Side, or Santa Fe.
@ancientcityappetite.com.
JUNE
2014
THE magazine |23
Let’s Celebrate Dad’s Special Day! Friday, June 13th The Gruet Wine Dinner six courses and six award-winning New Mexican wines open seating from 5:30 – 95.00 per person
The Perfect Summer Table The Compound A Santa Fe Tradition
Lunch • Dinner • Bar
Father’s Day, Sunday, June 15 “Day of the Dad” sunday brunch on the patio always a la carte – menus to come
Reservations 505.982.4353 653 Canyon Road compoundrestaurant.com
restaurant bar 231 washington avenue - reservations 505 984 1788
gift certificates, menus & special events online www.santacafé.com
Drink different.
e Los L od u ch
ros ce
Ra n
Small Batch Heirloom Spirits from the Great Southwest www.kgbspirits.com
ONE BOTTLE
One Bottle :
The Pascal Redon Champagne Brut Rosé by Joshua Once upon a moon, a man and a woman made a deal. The man had developed the unfortunate habit of staring into the woman’s eyes without speaking, so the woman spoke first. “You’re going to get what you want,” she said.
Baer. “What if I want to belong to you?” said the man. “Can we please avoid ‘what if?’” said the woman. “At all costs? Now and forever?” “Sure. But if I spend the night, there’s one thing you should know.”
“Why are you telling me this?” said the man.
“Okay.”
“Because I’m about to give it to you. Which means you can stop
“I’m not perfect. The more you’re around me, the less you’ll like what you see.”
acting like the little lost boy who didn’t get what he wanted for Christmas.
“I’m not asking you to be perfect.”
In about an hour, or less if you behave, you’re going to get what you want.
“Good. Great. What are you asking me to be?”
But here’s the deal. After I give you what you want, you’re going to do
“I’m asking you to be here.”
something for me. Something big.”
“With you.”
“How big?” “As big as big gets. The thing is, I can either tell you what you’re going to do, or not tell you. It’s up to you.” “I think I want to know now,” said the man. “Okay, but once I tell you, you lose the chance to do what you’re going to do without me asking you to do it.” “I definitely want to know now.” After the woman told the man what she wanted him to do, his blood ran cold. For days, his desire for the woman—for her past, for her future, for the giddy, intricate world that lived inside her, for every hair on her head, for the smile on her
“Can we go outside?” said the woman. She took the man’s hand and led him out onto the porch. A crescent moon was overhead, near the center of the sky. Which brings us to the Pascal Redon Champagne Brut Rosé. In the glass, Redon’s Brut Rosé is a study in the art of love. The bead is a spiral of lace. The color is a clear, available, rosy copper. The mousse dances on top of the copper the way moonlight dances on the ocean. At first, the bouquet is delicate and guarded—until it becomes feral. On the palate, the Redon gets to the point. Its flavors are layered, a raw menagerie, but it delivers those layers all at once. The finish is long and slow and lovely, like a friendship that turns the corner and becomes a matter of the heart. Pascal Redon’s Brut Rosé is available through Fat Cork,
face, for the sound of her voice, for the way she folded her
a store in Seattle that specializes in grower Champagnes. Bottles
hands, and for the way she held still—had brought the
are $49. Magnums are $119. You can order with confidence
man’s blood to a slow boil. But now that he knew what
through fatcork.com.
she expected of him, he wanted her less than he had
“Should we make a wish?” said the man.
wanted her before he knew.
“Why not?” said the woman. “Let’s make it out loud.”
He still wanted her. The desire beat inside his chest like a second heart, or maybe a heart within
“My wish—our wish—is that we never get everything we want from each other.”
a heart. As a boy, he had wanted games. As a young
“So we’ll always want more?”
man, he had wanted sex, drugs, and rock and roll,
“Exactly. Now and forever.”
and as those experiences delivered themselves, sometimes separately, other times in bundled layers,
“That’s a good wish,” said the woman. “If I had a glass in my hand, I’d drink to that wish.”
they fed his lust and thrilled his curiosity in ways that
After the woman gave the man what he wanted, the
made him feel more lucky than good. As a grown man,
man’s blood began to boil again. It boiled, slowly but surely,
he had never wanted anyone or anything as much
for the rest of his life. People would meet him and make
as this woman. And now here she was, in the flesh,
comments about the hunger in his eyes, about the way he
telling him in no uncertain terms that she was about to
blushed, and about his weakness for salacious remarks. The
give herself to him, about to let him do with her what
woman was the only person who knew the truth. She had
he had experienced only at the blurred edges of his
fallen in love with a man who had wild blood his veins, and
dreams. What was she up to? Didn’t she understand
she could make it boil with nothing more or less than her
that not knowing was more exciting than knowing?
smile. As the years went by, the man and the woman turned
The woman touched his arm. “Relax,” she said.
into memories of themselves, memories of the night when
“I was only kidding. After I give you what you want, you
they made their deal, made their deal and honored it, once
can leave. You don’t have to call me everyday, or act like
upon a moon.
you can’t wait to see me again. You can go and tell your buddies how easy I was, how I did all the work. You don’t have to spend the night. I’ll always belong to you, but you don’t have to belong to me.” JUNE
2014
One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. All content is ©2014 by onebottle.com. If you can’t find a wine, write to me at jb@onebottle.com, and I’ll help you find it.
THE magazine |25
DINING GUIDE
Dining Under the Stars at
Santacafé 231 Washington Avenue, Santa Fe Reservations: 984-1788
$ KEY
INEXPENSIVE
$
up to $14
MODERATE
$$
$15—$23
EXPENSIVE
$$$
VERY EXPENSIVE
$24—$33
$$$$
Prices are for one dinner entrée. If a restaurant serves only lunch, then a lunch entrée price is reflected. Alcoholic beverages, appetizers, and desserts are not included in these price keys. Call restaurants for hours.
$34 plus
EAT OUT OFTEN photographs :
G uy C ross
...a guide to the very best restaurants in santa fe, albuquerque, taos, and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: Generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. Watch for special wine pairings. Andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Great pizza. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236 . Breakfast/Lunch/Dinner. Full bar. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American with a what we call a “Southwestern twist.” Atmosphere: A classy room. House specialties: For dinner, start with the Heirloom Beet Salad. Follow with the flavorful Achiote Grilled Atlantic Salmon. Dessert: the Chef’s Selection of Artisanal Cheeses. Comments: Attentive service.. B ouche
451 W. Alameda Street 982-6297 Dinner Wine/Beer. Patio. Major credit cards. $$$ Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: Standouts starters are the “Les Halles” onion soup and the Charcuterie Plank. You will love the tender Bistro Steak in a pool of caramelized shallot sauce, the organic Roast Chicken for two with garlic spinach, and the Escargots a la Bourguignonne. Comments: Menu changes seasonally. Chef Charles Dale and staff are consummate pros. Cafe Cafe Italian Grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad, the tasty specialty pizzas, or the grilled Eggplant sandwich. For dinner, the grilled Swordfish. Café Fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch. Patio Cash/major credit cards. $$
Cuisine: Call it contemporary comfort food. Atmosphere: Casual. House specialties: For breakfast, both the Huevos Motulenos and the Eldorado Omlet are winners. For lunch, we love the Fried Fish Sandwich and the perfect Green Chile Cheeseburger. Comments: Annamaria O’Brien’s baked goods are really special. Try them. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian maiden posters. House specialties: Hotcakes got a nod from Gourmet magazine. Huevos motuleños—a Yucatán breakfast—is one you’ll never forget. Chopstix 238 N. Guadalupe St. 982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, Kung Pau Chicken, and Broccoli and Beef. Comments: Friendly owners. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. Comments: Good selection of beers and wine. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: Good old American. fare. Atmosphere: Patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are the best. Super buffalo burgers. Comments: Huge selection of beers. Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: Main the grilled Maine Lobster Tails or the 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines. Desert Rose Restaurant 38380 Cerrillos Rd. 470-5967. Breakfast/Lunch/Dinner Major credit cards. $$ Cuisine: All organic. Atmosphere: Casual. House specialties: for breakfast morning, get the Farm Breakfast Burrito. Lunch: we love
the Aisan Chop Salad. For dinner: the Italian Meat Loaf. Comments: Worth the trip to the Factory Stores. Doc Martin’s Restaurant 125 Paseo del Pueblo Norte. 575-758-2233. Lunch/Dinner/Weekend Brunch Full bar. Major credit cards. $$$ Cuisine: Regional New American. Atmosphere: Down home. House specialties: Try Doc’s Chile Relleno Platte, the Northern New Mexico Lamb Chop, or thePan Seared Whole Boneless Trout. Great bar. Dr. Field Goods Kitchen 2860 Cerrillos Rd. 471-0043. Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: New Mexican Fusion. Atmosphere: Casual and friendly. House specialties: Starters: Charred Caesar Salad, Carne Adovada Egg Roll, and Fish Tostada. Mains: El Cubano Sandwich, Steak Frite, and the Pizza Margartia. Comments: Nice portions and you leave feeling good. Real good. Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room where you can sit, read periodicals, and schmooze.. House specialties: Espresso, cappuccino, and lattes. El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish Atmosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-to-cheek dancing. House specialties: Tapas, Tapas, Tapas. Comments: Murals by Alfred Morang. El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme. Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: French/Asian fusion. Atmosphere: Elegant and stylish. House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass served with black truffle scallions, and the classic peppery Elk tenderloin.
Harry’s Roadhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Down home House specialties: For breakfast go for the Scrambled Eggs with Smoked Salmon, Cream Cheese, or the French Toast. Lunch: the All-Natural Buffalo Burger. Dinner the Ranchero Style Hanger Steak or the Grilled Salmon Tacos. Comments: Friendly. Il Piatto Italian Farmhouse Kitchen 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad; the Lemon Rosemary Chicken; and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to Table, all the way. Izanami 3451Hyde Park Road. 428-6390 Lunch/Dinner Saki/Wine/Beer Major credit cards. $$$ Cuisine: Japanese-inspired small plates. Atmosphere: A sense of quitetude. House specialties: For starters, both the Wakame and the Roasted Beet Salads are winners. We also loved the Nasu Dengaku—eggplant and miso sauce and the Butakushi—Pork Belly with a Ginger BBQ Glaze. Comments: A wonderful selection of Saki and very reasonable prices. Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers, Comments: Chef Obo wins awards for his fabulous soups. Joseph’s Culinary Pub 428 Montezuma Ave. 982-1272 Dinner. Beer/Wine Major credit cards. $$$ Cuisine: Innovative. Atmosphere: Intimate. House specialties: Start with the Butter Lettuce Wrapped Pulled Pork Cheeks or the Scottish Fatty Salmon Sashimi. For your main, try the Lamb & Baby Yellow Curry Tagine or the Crispy Duck, Salt Cured Confit Style. Comments: Produce is procured locally. The bar menu features Polenta Fries and the New Mexican Burger. Wonderful desserts, excellent wine, beer on draft, and great service.
Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: The sushi is always perfect. Try the utterly delicious Ruiaku Sake La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast / Lunch / Dinner / Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: An Authentic Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian tamales. Comments: Sunday brunch. Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: Pho Tai Hoi: vegetarian soup. Comments: Friendly waitstaff. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Casual House specialties: Start with the Tomato Salad. Entrée: Braised Lamb Shank with couscous. Comments: Beautiful courtyard for dining. Maria’s New Mexican Kitchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner (Thursday-Sunday) Beer/wine. Patio. Major credit cards. $$ Cuisine: American/New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: House-made Tortillas and Green Chile Stew. Comments: Perfect margaritas. Midtown Bistro 910 W. San Mateo, Suite A. 820-3121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Large open room with mirrors. House specialties: For lunch: the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrée: Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop. Comments: Good dessert selection.
continued on page 29 JUNE
2014
THE magazine | 27
full Bar/lounge area specialty cocktails summer patio Wine dinners private rooms available
award-Winning Wine list extensive selection of Wines by the Glass Join our e-newsletter at www.315santafe.com for specials, promotions & wine dinner updates.
Join us on the patio for seasonally-inspired cuisine Sun-Thur, 5:00 -9:00 pm u Fri - SaT, 5:00 - 9:30 pm 315 Old SanTa Fe Trail u SanTa Fe, nm u www.315 SanTaFe.cOm reServaTiOnS recOmmended: (505) 986.9190
Photos ŠKate Russell
classic french Bistro
Desert Rose Restaurant
where Infinity Farm vegetables meet the road at the corner of I-25 & Cerrillos Road in the Fashion Outlets Mall. We showcase 100% New Mexico grown, organic or eco-sourced delights at reasonable prices.
Global Comfort Food with Meaning
Breakfast - Lunch - 7 days a week Dinner by Reservation 8380 Cerrillos Road #414, Santa Fe, NM Mall entrance or back door entrance 505-470-5967 Find us on Facebook!
DINING GUIDE
Major credit cards. $$ Cuisine: New Mexican and American. Atmosphere: Casual ajnd Friendly. House. specialties: For brakfast, go for either the Sheepherder’s Breakfast: new potatoes with jalapeno and onion, topped with red and green chile, melted chees, and with two eggs any style or the perfect Eggs Florentine: two poached eggs with hollandaise and an English muffin or the made-from-scratch pancakes. Lunch favorites are the Carne Adovada Burrito; the Green Chile Stew; the Tostada Compuesta; and the Frito Pie. Comments: No toast is served at Tecolote. Why? It’s a Tecolote tradition, that’s why.
n New Locatio
Desert Rose Restaurant: Sandwiches, Salads, Burgers, Pizza, and more. 8380 Cerrillos Road, Ste. 414 at Fashion Outlets of Santa Fe. 470-5967. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic. New York Deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. Comments: Deli platters to go. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile. Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American, all the way. Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs and Burgers. Haystack fries rule Recommendations: Nice wine list. Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Patio. Major credit cards. $$$ Cuisine: Southwestern with a French flair. Atmosphere: Contemporary. House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Nice wine list. Rose’s Cafe 5700 University W. Blvd SE, #130, Alb. 505-433-5772 Breakfast/Lunch. Patio. Major credit cards. $ Cuisine: A taste of the Yucatán with a Southwest twist. House specialties: We love the Huevos Muteleños and the Yucatán Pork Tacos. Comments: Kid’s menu and super-friendly folks. San Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ Cuisine: Japanese Sushi and Tapas. Atmosphere: Large room with a Sushi bar. House specialties: Sushi, Vegetable Sashimi and Sushi Platters, and a variety of Japanese Tapas. Comments: Savvy sushi chef. S an F rancisco S t . B ar & G rill
50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar.
JUNE
2014
Major credit cards. $$ Cuisine: As American as apple pie. Atmosphere: Casual with art on the walls. House specialties: At lunch try the San Francisco St. hamburger on a sourdough bun; the grilled salmon filet with black olive tapenade and arugula on a ciabatta roll; 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, served with chipotle herb butter, or the Idaho Ruby Red Trout served with grilled pineapple salsa. Comments: Visit their sister restaurant at Devargas Center. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Southwest Contemporary. Atmosphere: Minimal, subdued, and elegant House specialties: The world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Panseared Salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Happy hour special from 4-6 pm. Half-price appetizers. “Well” cocktails only $5. Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmealcrusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet. Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. Atmosphere: Contemporary and hip. House specialties: Tuna Steak, the Chicken Fried Chicken with mashed potates and bacon bits, the flavorful Ceviche, the New York Strip with a Mushroom-Peppercorn Sauce, and Ruby Red Trout. Desserts are on the mark. Comments: A great selection of wines from around the world. Happy hours 3 to 6 pm and after 9 pm. Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily specials, gourmet sandwiches, wonderful soups, and an excellent salad bar. Comments: . Do not pass on the Baby-Back Ribs when they are available. Second Street Brewery 1814 Second St. 982-3030.
Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Real casual. House specialties: Beers are outstanding, when paired with the Beer-steamed Mussels, Calamari, Burgers, or Fish and Chips. Comments: Sister restaurant in the Railyard District. Shake Foundation 321 Johnson St. 982-9708. Lunch/Early Dinner - 11am-6pm Major credit cards. $$ Cuisine: All American. Atmosphere: Casual with outdoor table dining. House specialties: Green Chile Cheeseburger, the Classic Burger, and Shoestring Fries Comments: Sirloin and brisket blend for the burgers. Take-out or eat at a picnic table. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff. Station 430 S. Guadalupe. 988-2470 Breakfast/Lunch Patio Major credit cards. $ Cuisine: Light fare and fine coffees and teas. Atmosphere: Friendly. House specialties: For your breakfast, get the Ham and Cheese Croissant. Lunch fave is the Prosciutto, Mozzarella, and Tomato sandwich. Comments: Many Special espresso drinks. at El Gancho Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant House specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce. Comments: They know steak here.
Steaksmith
Sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner. Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. Atmosphere: Large open room. House specialties: In the morning, try the Mediterranean Breakfast— Quinoa with Dates, Apricots, and Honey. Our lunch favorite is the truly delicious Indonesian Vegetable Curry on Rice; Comments: For your dinner, we suggest the Prix Fixe Small Plate: soup, salad, and an entrée for $19. Wines and Craft beers on tap. Tecolote Café 1203 Cerrillos Rd. 988-1362. Breakfast/Lunch
Soon
Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to tableto mouth. Atmosphere: Casual. House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox. A variety of teas from around the world available, or to take home. Terra at Four Seasons Encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties: For breakfast, we love the Blue Corn Bueberry Pancakes. For dinner, start with the sublime Beet and Goat Cheese Salad. Follow with the Pan-Seared Scallops with Foie Gras or the delicious Double Cut Pork Chop. Comments: Chef Andrew Cooper partners with local farmers to bring fresh seasonal ingredients to the table. A fine wine list and top-notch service. The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive. 505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: Local flavors. Atmosphere: Casual, calm, and friendly. House specialties: At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, foillow with the Trout with a Toa sted Piñon Glaze. Comments: Nice wine bar. The Compound 653 Canyon Rd. 982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American Contemporary. Atmosphere: 150-year-old adobe. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef/owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award. The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: Modern Italian Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch: the Prime Rib French Dip. Dinner: go for the Scottish Salmon poached in white wine, or the Steak au Poivre. The Pink Adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club Sandwich. For dinner, Steak Dunigan or the SanFried Shrimp Louisianne. Comments: Cocktails and nibblles at cocktail hour in the Dragon Room is a must!
The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: A local institution located just off the Plaza. House specialties: If you order the red or green chile cheese enchiladas. Comments Always busy., you willnever be disappointed. The Ranch House 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: BBQ and Grill. Atmosphere: Family and very kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: The best BBQ ribs. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$ Cuisine: Traditional New Mexican. Atmosphere: Easygoing and casual. House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese. Lunch: choose from the daily specials. Comments: This is the real deal Tune-Up Café 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home. House specialties: For breakfast, order the Buttermilk Pancakes or the Tune-Up Breakfast. Comments: Easy on your wallet. Vanessie
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434 W. San Francisco St. 982-9966 Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American. Atmosphere: Piano bar and oversize everything, thanks to architect Ron Robles. House specialties: New York steak and the Australian rock lobster tail. Comments: Great appetizersgenerous drinks. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: Light, bright and cheerful. House specialties: Organic salads. We love all the salads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: NIce seating on the patio. In Albuquerque, visit their sister restaurant at 1828 Central Ave., SW. Zacatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Slow Cooked Pork Ribs. Over 65 brands of Tequila. Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: All-American diner food. Atmosphere: Casual.House specialties: The perfect Chile Rellenos and Eggs is our breakfast choice. At lunch, we love the Southwestern Chicken Salad and the Fish and Chips. Comments: A wonderful selection of sweets available for take-out. The bar is most defintely the place to be at cocktail hour.
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JUDY CHICAGO HEADS UP
June 14 - July 26, 2014 Opening Reception: Saturday, June 14th 2:00 - 5:00 PM
Face Lift, 2013, Cast glass and lacquered bronze, 13.5” x 6” x 9”
Photo by Donald Woodman
Gallery Discussion with Judy Chicago and Dr. Kathy Battista: Saturday, June 14th 3:30 - 5:00 PM
A fully illustrated catalogue with an essay by Dr. Kathy Battista will accompany the exhibition.
DavidrichardGALLEry.com DAVID RICHARD GALLERY
The Railyard Arts District 544 South Guadalupe Street, Santa Fe, NM 87501 (505) 983-9555 | info@DavidRichardGallery.com
OPENINGS
JUNEARTOPENINGS FRIDAY, MAY 30
Ralph Greene and Roger Green. 6-9 pm.
David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Projected: digital and new media works by Robert Drummond, Nancy Dwyer, Max Almy, and Teri Yarbrow. 5-7 pm.
Marigold Arts, 424 Canyon Rd., Santa Fe. 982-4142. Animales: paintings by Ruth Tatter and Janice Griffin. 5-7 pm.
FRIDAY, JUNE 6
Blue Rain Gallery, 130 Lincoln Ave., Ste. C, Santa Fe. 954-9902. 2nd Annual Invitational Show: established artists in a variety of mediums. 5-7 pm. Chiaroscuro Contemporary Art, 702½ Canyon Rd., Santa Fe. 992-0711. Irene Kung and Desert Montessori School Benefit: largescale photographs by Kung and plates from Bullseye Glass to benefit Desert Montessori School’s scholarship fund. 5-7 pm. Eggman & Walrus, 130 W. Palace Ave., 2nd Floor, Santa Fe. 660-0048. Down the Rabbit Hole: mind-altering installation by Sandra Butler, Jeff Madeen, and Joan Levine Russell. 5:30-9 pm. FreeStyle Gallery, 114 Central Ave. SW, Alb. 505-243-9267. An Odyssey Under the Sea and Series Pentimenti: exhibitions of works by
Mariposa Gallery, 3500 Central Ave. SE, Alb. 505-268-6828. One Thing or Another and Slightly Twisted Paintings of the Southwest: paintings by Eric McCollon, Jason Andrew Smith, Angelia Santistevan, and Sam Esmoer. 5-8 pm. Mark White Fine Art, 414 Canyon Rd., Santa Fe. 982-2073. A Pond Reflection: abstracted landscape paintings by Mark White. 5-8 pm. Nüart Gallery, 670 Canyon Rd., Santa Fe. 988-3888. Past Meets Present: witty paintings by Randall Reid. 5-7 pm. Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-3432. Drawn to the Wall— Ephemerist: collages and assemblages by Gail Rieke. 5-7:30 pm. photo-eye Gallery, 541 S. Guadalupe St., Santa Fe. 988-5152. Richard Tuschman— Hopper Meditations: inaugural exhibition and grand opening of new location. 5-7 pm. The Gallery ABQ, 8210 Menaul Blvd. NE, Alb. 505-292-9333. Reflections: encaustics,
jewelry, and oils by Lynne Laier, Rita Pongetti, and Robert Wirz. 5-8 pm.
national juried show celebrating all things nocturnal. 5-7 pm.
University of New Mexico Art Museum, 1 University of New Mexico, Alb. 505277-4001. Oscar Muñoz: Biografías and Luz Restirada: Latin American Photography from the UNM Art Museum. 6-8 pm.
R ichard Levy Gallery , 514 Central Ave. SW, Alb. 505-766-9888. Ed Ruscha and John Baldessari: work by both artists. 6-8 pm.
Weyrich Gallery, 2935-D Louisiana Blvd. NE, Alb. 505-883-7410. Imprints of Home— Works on Paper: prints and poems by twelve artists. 5-8:30 pm. SATURDAY, JUNE 7
555, 1 Ceramic Ct., Santa Fe, 316-0237. Group Show: work by New Mexico artists Sophia Livingston, Chandon Banning, and others. 5-8 pm. Galeria Arriba, at the Abiquiu Inn, 21120 Highway 84, Abiquiu. 505-685-4378. Julie Wagner: abstract works on paper inspired by the natural landscape. 4-6 pm. Gaucho Blue Fine Art Gallery, 14148 State Road 75, Penasco. 575-587-1076. Contemporary Art and Fine Crafts: work by the area’s artists. 1-6 pm. Greg Moon Art of Taos, 10-A Kit Carson Rd., Taos. 575-770-4463. After Dark III:
Taos Artist Collective, 106-A Paseo del Pueblo Norte, Taos. 575-751-7122. Three Photographers: photographs by Marcus Best, Jeremy Landau, and Ray Lovelace. 4-7 pm. Taos C enter for the A rts, Stables Gallery, 133 Paseo del Pueblo Norte, Taos. 575-758-2052. Plein Air—Earth Wind and Fire Series: mixed-media works by Dora Dillistone. 5-7 pm. Warehouse 1-10 A nnex, 201 S. Main St., Magdalena. 575-854-3253. Five Pieces by Michael Bisbee: painting and installation. Magdalena Gallery and Studio Tour: art, music and spoken word. Locations: magdalena-nm.com. 10 am-5 pm. FRIDAY, JUNE 13
GF Contemporary, 707 Canyon Rd., Santa Fe. 820-1888. Quiet Observations: recent paintings by Eric Reinemann. 5-7 pm. Matthews Gallery, 669 Canyon Rd., Santa Fe. 992-2882. Four Centuries—European Art from 1600 to 1950. 5-7 pm. McCreery Jordan Fine Art, 924 Paseo de Peralta, #2, Santa Fe. 501-0415. Ravenous: new raven bronzes and paintings by McCreery Jordan. 5-8 pm. Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1122. Finished with Fire: Bonnie Lynch and Mary Roehm exhibit clay works whose surfaces are influenced by fire. 5-7 pm. Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. New Media Transforms Tradition: works by Astrid Toha, Sophie Kahn, Sandy Kessler Kaminski, Esteban Garcia, Max Carlson, and Jeremy Rotsztain. 5-7 pm. SATURDAY, JUNE 14
CCA, 1050 Old Pecos Tr., Santa Fe. 9821338. Shebang: CCA’S thirty-fifth birthday celebration and block party, featuring works in partner with Currents New Media Festival by Guy Martin, Adam Reynolds, Lee Montgomery, Lessamyn Lovell, and many more. 11 am-7 pm. David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Heads Up: works by Judy Chicago. 2-5 pm.
Australian Contemporary Indigenous Art III at Chiaroscuro, 708 Canyon Road (at Gypsy Alley), Santa Fe. Show runs to August 3. Reception: Friday, June 27 from 5 to 7 pm. Image: Ned Grant JUNE
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Honey Harris in Conversation with THE magazine on Thursday, June 12 at 10:30 am 98.1 FM KBAC
THE DEAL
For artists without gallery representation in New Mexico. Full-page B&W ads for $750. Color $1,000. Reserve space for the July issue by Friday, June 13. 505-424-7641 or email: themagazinesf@gmail.com
WHO SAID THIS? “The wind is the greatest storyteller of them all.� Daphine du Maurier or Tomi Ungerer or Thomas Merton or Kobyashi Issa
OUT AND ABOUT photographs by Mr. Clix Linda Carfagno
Jonas Povilas Skardis
Mac (and PC) Consulting 速
Training, Planning, Setup, Troubleshooting, Anything Final Cut Pro, Networks, Upgrades, & Hand Holding
phone: (505) 577-2151 email: Pov@Skardis.com Serving Northern NM since 1996
OPENINGS
FRIDAY, JUNE 20
THURSDAY, JUNE 26
Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. Wilderness Within: paintings from nature by Rick Stevens. 5-7 pm.
The KiMo Theater, 421 Central Ave. NW, Alb. 505-768-3522. Plus and Minus: works by Roger Green and Rod Replogle. 6-8 pm. FRIDAY, JUNE 27
Karan Ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-0807. 20th Anniversary Exhibition and Celebration. 5-7 pm. New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Golden Paths: acrylic and gold-leaf paintings by Edwina Milner. 5-7 pm. Tansey Contemporary, 652 Canyon Rd., Santa Fe. 995-8513. Power Objects: blownglass sculptures by Noel Hart. 5-7 pm. SATURDAY, JUNE 21
Nedra Matteucci Galleries, 1075 Paseo de Peralta, Santa Fe. 982-4631. Dawn to Dusk: landscapes by Chris Morel. 2-4 pm.
WEDNESDAY, JUNE 25
Museum of Contemporary Native Arts, 108 Cathedral Pl., Santa Fe. Brown Bag it with MoCNA: bring your lunch and join IAIA Adjunct Professor and artist Alex Peña as he discusses his work in the second floor conference room. Noon-1 pm.
A ddison R owe G allery , 229 E. Marcy St., Santa Fe. 982-1533. Redefining Modernism: American Modernism from 1940 to 1970. 5-8 pm. C hiaroscuro C ontemporary A rt , 702½ Canyon Rd., Santa Fe. 992-0711. Australian Contemporary Indigenous Art III: third biennial in association with Vivien Anderson Gallery in Melbourne. 5-7 pm. E voke C ontemporary , 550 S. Guadalupe St., Santa Fe. 995-9902. Re-presenting the Nude III: group show with 30 international artists. Curated by John O’Hern. 5-7 pm. G erald P eters G allery , 1011 Paseo de Peralta, Santa Fe. 954-5700. Glenorchy: oil paintings and drawings by Mike Glier. 5-7 pm. W iford G allery , 403 Canyon Rd., Santa Fe. 982-2403. Voices of the West: new paintings by Barry Thomas. 5-8 pm. William Siegal Gallery, 540 S. Guadalupe
Quiet Observations: recent paintings by Eric Reinemann on view at GF Contemporary, 707 Canyon Road, Santa Fe. Reception: Friday, June 13 from 5 to 7 pm. Show runs to June 22.
St., Santa Fe. 820-3300. Ruah: new works with glass and fire by Judy Tuwaletstiwa. 5-7 pm. Windsor Betts Art Brokerage, 143 Lincoln Ave., Santa Fe. 820-1234. Fitzhugh Technique: abstract, expressionistic, realistic, and cubist paintings by Michael Fitzhugh Wright. 5-7 pm. Yares Art Projects, 123 Grant Ave., Santa Fe. 984-0044. Martin Cary Horowitz: solo show by the master gilder and fine artist. 5:30-7:30 pm. Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Complications and Byways: works by Matthew Szösz and Damian Stamer. 5-7 pm. SATURDAY, JUNE 28
Wade Wilson Art, 217 W. Water St., Santa Fe. 660-4393. James Surls. Coffee with the artist: 9:30-11:30 am. CALL FOR ARTISTS
Corrales Bosque Gallery, Mercado de Mayo at 4685 Corrales Rd., Corrales. 505898-7203. Applications due Sat., June 7, 5 pm. corralesbosquegallery.com Red Dot Gallery, 820 Canyon Rd., Santa Fe. 820-7338. Red Dot Gallery Summer Show: all media from SFCC, Highlands, IAIA, CCC, CNM, SFUAD, UNM, NMSU, NNM students, faculty, and alumni accepted. Deadline for entry: Sun., June 15, 5 pm. reddot-gallery.com SPECIAL INTEREST
After Dark III: a national juried show celebrating all things nocturnal at Greg Moon Art of Taos, 10-A Kit Carson Road, Taos. Reception: Saturday, June 7 from 5 to 7 pm. Photo: John Ritchie.
516 ARTS, at the Albuquerque Museum, 516 Central Ave. SW, Alb. 505-242-1445. Digital Latin America: multi-site exhibition, symposium, and downtown block party. Main exhibition at 516 ARTS. Opening on Sat., June 7, 5-9 pm. Symposium at the Albuquerque Museum of Art and History, 200 Mountain Rd., Sat., June 7, 10 am4:15 pm and Sun., June 8, 11 am-4:15 pm. Downtown block party, Central Ave., between 5th & 6th Sts., Sat., June 7, 5-9 pm. Satellite exhibition at the UNM Art Museum opening Fri., June 6, 6-8 pm.
ARTS crawl , Alb. 505-244-0362. ARTScrawl: a self-guided gallery tour. Citywide tour Fri., June 6, 5-8:30 pm. East Mountain tour Sat., June 7, 10 am-5 pm. Old Town tour Fri., June 20, 5-8:30 pm. artscrawlabq.org A xel C ontemporary , Santa Fe. 6705854. The Renga Project—One Year: 100 artists and poets in exhibition and roundtable. Opening at the Railyard Plaza, Fri., June 7, 5-7 pm. Roundtable and reading at the New Mexico Museum of Art, St. Francis Auditorium, 107 W. Palace Ave., Sun., June 22, 1-3 pm. axelart.com
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C afé P asqual ’ s G allery , 103 E. Water St., 2nd Floor, Santa Fe. 983-9340. The Black Place—Earth Paintings: works on paper, canvas, and wood by Walter W. Nelson, inspired by Georgia O’Keeffe’s Black Place. Through Mon., June 30. CCA C inematheque , 1050 Old Pecos Tr., Santa Fe. 982-1338. Santa Fe Jewish Film Festival: Commie Camp, documentary about a Jewish children’s camp. Sun., June 1, 4 pm. The Green Prince, documentary about the son of a Hamas founder. Sun., June 29, 7 pm. santafejff.org C harlotte J ackson F ine A rt , 554 S. Guadalupe St., Santa Fe. 989-8688. Joan Watts—Boundless: recent meditative paintings. Through Sat., June 21. charlottejackson.com C urrents N ew M edia F estival , various venues in Santa Fe. New media works from established, unrecognized, and emerging artists. Fri., June 13-Sun., June 29. currentsnewmedia.org G erald P eters G allery , 1011 Paseo de Peralta, Santa Fe. 954-5700. Forms in Balance: sculptures by Will Clift. Fri., June 6-Sat., July 5. gpgallery.com H ulse /W arman G allery , 222 Paseo del Pueblo Norte, Taos. 575-7517702. Jan Sessler: sculptures and new works on paper. Through Sun., June 22. hulsewarmangallery.com
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TANSEY TANSEYCONTEMPORARY CONTEMPORARY NOEL HART ~ POWER OBJECTS TANSEY CONTEMPORARY NOEL HART ~ POWER OBJECTS June 20 - July 15 20 - July 15 NOEL HART ~June POWER Opening Reception, Friday, JuneOBJECTS 20, 5 - 7 pm
Opening Reception, Friday, June 20, 5 - 7 pm
June 20 - July 15
Opening Reception, Friday, June 20, 5 - 7 pm
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“WILLIAM’S FIG PARROT” ~ Glass ~ 15 3/4" x 12 1/2" x 2 3/4"
“The concept behind these works is to create powerful objects that carry the essence of specific symbolic species that are largely threatened with extinction. This is accomplished through what could be described as a choreographic glass blowing process which focuses on empowering nature through the notion of increase.” THE Magazine 4 Noel Hart June 2014.pdf
5/7/2014
THE Magazine 4 Noel Hart June 2014.pdf
5/7/2014
12:32:53 PM
Noel Hart
12:32:53 PM “WILLIAM’S FIG PARROT” ~ Glass ~ 15 3/4" x 12 1/2" x 2 3/4" “WILLIAM’S FIG PARROT” 1/2" x 2 3/4" “WILLIAM’S FIG PARROT” ~ Glass ~~ Glass 15 3/4"~x15 123/4" 1/2"xx12 2 3/4"
TANSEY CONTEMPORARY TANSEY CONTEMPORARY NOEL HART ~ POWER OBJECTS
“The concept behind these works is to create powerful objects that carry “The concept behind theseisworks is to create powerful objects the concept essence of specific species that are largely withcarry “The behind thesesymbolic works to create powerful objectsthreatened that carrythat the essence specific symbolic species arethreatened largely threatened extinction. This isofaccomplished through could be described the essence of specific symbolic species that what are that largely withas a with extinction. isblowing accomplished what described as a extinction. This isThis accomplished through what could becould described as a choreographic glass processthrough which focuses onbeempowering choreographic glass blowing process which focuses on empowering choreographic glass ofblowing process which focuses on empowering nature through the notion increase.” naturenature through notion increase.” the of increase.” June 20 through - the July 15ofnotion Noel Opening Reception, Friday, June 20, 5 - Hart 7 pm June 20 - July 15Noel Noel Hart Hart
NOEL HART ~ POWER OBJECTS Opening Reception, Friday, June 20, 5 - 7 pm
OPENINGS
Iconik Coffee, 1600-A2 Lena St., Santa Fe. “How I Survived Timothy Leary and Everything Else”: talk by Joanna Harcourt Smith, author of Tripping the Bardo with Timothy Leary: My Psychedelic Love Story. $20 admission and copy of signed book. $5 for those under 25 or who already own the book. Fri., June 6. 6:30 pm.
Warehouse 1-10, 110 N. Main St., Magdalena. 575-854-3253. 7 Video Installations: Diane Armitage, Michael Bisbee, Hannah Hughes, Marisela La Grave, Nicole Lewin, Michael Mideke, and Laura Schwamb. Mon., June 9-Sat., June 21. By appt. Opening Sat., June 7, 11 am-7 pm. warehouse110.com
Marion Center for Photographic Arts, Santa Fe University of Art and Design, 1600 St. Michael’s Dr., Santa Fe. 984-8353. Road to Nowhere—Southwest Sojourns: photographic works by alumni. Opening Fri., May 30. 5-7 pm. Through Mon., June 30. visitcenter.org
Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. The Art of Technology—A New Era in Creativity: panel discussion featuring Jeffrey Inscho, Joshua Jeffrey, Andrew Swenson, Sandy Kessler Kaminski, and moderated by Kim Chestney Harvey. Sat., June 14, 11-12:30 pm. zanebennettgallery.com
Monroe Gallery of Photography, 112 Don Gaspar Ave., Santa Fe. 9920800. The Beatles—1964: photographs by Bill Eppridge. Through Sun., June 22. monroegallery.com New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Wilderness Untamed: sculptures and photographs by Bill Heckel. Through Sun., June 8. newconceptgallery.com Niman Fine Art, 125 Lincoln Ave., #116, Santa Fe. 988-5091. Contour and Form: works by Dan and Arlo Namingha. Through Mon., June 23. Rockabilly on the Route, Rt. 66, Tucumcari. 2nd Annual Music and Classic Car Festival. Thurs., June 5-Sun., June 8. rockabillyontheroute.com Santa Fe Studio Tour, Santa Fe University of Art and Design Gallery Space (and elsewhere), 1600 St. Michael’s Dr., Santa Fe. Fri., June 27-Sun., June 29, 10 am-5 pm. Preview party and group show, Fri., June 27, 5:30-7:30 pm. Other studio locations at santafestudiotour.com SITE Santa Fe, 1606 Paseo de Peralta, Santa Fe. 989-1199. Futurefarmers— Casting and Forging a Nail: the collective, Futurefarmers, create a video for SITE biennale. In residency at SITElab from Tues., May 20-Sat., June 7. sitesantafe.org Tai Modern, 1601 Paseo de Peralta, Santa Fe. 984-1387. Ramona Sakiestewa: Tangram Butterfly and Other Shapes. Ongoing through Sun., June 15. Tansey Contemporary, 652 Canyon Rd., Santa Fe. 995-8513. Biodiversity and Human Impact on the Environment: multi-media group exhibit that showcases the beauty and diversity of life endangered by human impact on the environment. Through Tues., June 17. The Encaustic Art Institute, 18 County Rd., 55A, Cerrillos. 505-424-6487. Wax with Dimension. Weekends: 12-5 pm. Through Sun., June 15th. eainm.com ViVO Contemporary, Rd., Santa Fe. 982-1320. collaboration between musicians. Through Wed., every Fri., June 27-Aug. vivocontemporary.com
725 Canyon In The Mood: artists and Sep. 2. Music 29, 5-7 pm.
PERFORMANCE
Axel Contemporary, Santa Fe. 670-5854. Third Annual Series of Performance Art: three consecutive weekends with three different performances. “Stop Crying” by Allyson Packer, at the Railyard shade structure, Fri., May 30, 5-7 pm. “Tarot de St. Croix” by Lisa de St. Croix, at the Railyard shade structure, Fri., June 6, 5-7 pm, in front of SITE Santa Fe, Sat., June 7, 9 am-1 pm, and at the Railyard shade structure Sun., June 8, 1-3 pm. “Evaluation—Banal to Transcendent” by Mara Leader, Jason Goodyear, and Jocelyne Danchick, at the Railyard shade structure, Fri., June 13, 8 pm-midnight. axelart.com Federal Plaza Park, bordered by S. Federal and Washington Sts. Federal Dances: site-specific, abstract modern dance about regional history, directed by Micaela Gardner. Fri., June 27 and Sat., June 28 at 6:30 pm. Sun., June 29 at 2 pm. Audience is requested to enter at the gate on S. Federal St. and follow dancers. The Santa Fe Playhouse, 142 E. De Vargas St., Santa Fe. 988-4262. Frankie and Johnny in the Claire de Lune: comic romance between two greasy-spoon employees by playwright Terrence McNally. Thurs., May 29-Sat., May 31 and Thurs., June 5-Sat., June 7 at 7:30 pm. Sun., June 1 and Sun., June 8 at 4 pm. Preview showing Thurs., May 29 at 7:30 pm. Gala opening: Fri., May 30 at 7:30 pm. santafeplayhouse.org
Top: Re-presenting the Nude III: group show with thirty international artists at Evoke Contemporary, 550 S. Guadalupe Street, Santa Fe. Reception: Friday, June 27 from 5 to 7 pm. Image: Kathleen Morris Middle: Federal Dances—three site-specific dance performances, directed by Micaela Gardner— at the Federal Plaza Park, Santa Fe. Friday and Saturday, June 27 and 28 at 6:30 pm, and Sunday, June 29 at 2 pm. Free. Photo: Andrew Primm Bottom: The Santa Fe Studio Tour takes place from Friday, June 27 through Sunday, June 29. Preview party and show for the fifty-eight artists at the Santa Fe University of Art and Design Gallery Space on Friday, June 27 from 5:30 to 7:30 pm. santafestudiotour.com. Image: Lucinda Lynch in her studio.
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Mark white : A pond reflection June 6-30, 2014
Artist reception: June 6, 2014, 5-8pm
PREVIEWS
Mark White: A Pond of Reflection Mark White Fine Art 414 Canyon Road, Santa Fe. 982-2073 June 6 to June 30, 2014 Reception: Friday, June 6, 5 to 8 pm. The ever moving, light-reflecting quality of water has fascinated artists throughout time and across cultures. Mark White departs from his better-known kinesthetic sculptures to depict watery movement on canvas in his new series of oil paintings of ponds. These abstractions from nature soothe the eye with their sense of depth and fluctuating light qualities. Although they read as pure abstract works of art with skillfully layered color components, the imagery is truthful to the shimmering look of water. The Impressionist sensibility and palette capture the propensity of water to reflect the world around it while reflecting back the amount of sunlight that hits the surface at any given time. The capacity to please the eye may come from our innate desire to surround ourselves with the beauty of the natural world, particularly when untethered to recognizable subject matter. Working in oil provides White with the ability to represent surface and depth simultaneously. These Richteresque, plein-air works also reflect the mood of the places White portrays, from Malibu to the Florida Everglades. Through these abstractions, White brings wet refreshment and the cooling qualities of water into the dry heat of the desert summer.
Holly Roberts: A Day in the Life Zane Bennett Contemporary Art 435 South Guadalupe Street, Santa Fe. 982-8111 May 30 through June 21, 2014 Reception: Friday, May 30, from 5 to 7 pm. Painting and photography have interacted since the invention of the latter. Holly Roberts uses both media in her uniquely expressive works. Roberts has a long and distinguished career and is known for photographs that are obscured by over-painting to create mysterious, ethereal images. She reversed her process in the last decade, by beginning with painting and then selecting elements of her photos to overlay onto the painted panels. These photo-collages tell personal or mythological stories, sometimes addressing global issues, and are more outwardly focused than her previous work. Roberts writes in her blog, “that moving paint around opens the door for her to hear the wise, smart voice that is fleeting, although clear and purposeful when it comes.” This connection of hand to insight may account for the engaging and lyrical quality that haunts her work. The imagery is an expression of an inner life, discovered, seen, and felt by the artist. Her collages use incongruent but meaningful photographic elements to construct figures, in which each part of the body is composed of textures, patterns, and contrasting forms. If Holly Roberts is telling us her personal stories or visions, she is at the same time doing it in such an openended and intriguing way as to leave the viewer room to create their own interpretation of the situations in order to tell their own story.
Top: Mark White, Blue Water IV, oil on panel, 36” x 36”, 2013 Bottom: Holly Roberts, Fox with Fallen Eggs, mixed media on panel, 20” x 24”, 2013
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Blue Rain Gallery’s 2nd Annual Invitational Show June 6 – 21, 2014 Artists’ Reception: Friday, June 6th, 5 – 7 pm in Santa Fe Featuring the works of Bob Richardson, Loren Haynes, Thomas Hucker, White Buffalo, Lorenzo Chavez, Leigh Gusterson, Andrea Peterson, and Armelle Bouchet O’Neill
Leigh Gusterson
Andrea Peterson
Loren Haynes
Bob Richardson
Armelle Bouchet O’Neill
White Buffalo
Blue Rain Gallery | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com
N AT I O N A L S P O T L I G H T
Portrait (Futago),1988 by
Yasumasa Morimura
While the San Francisco Museum of Modern Art is closed and under construction, exhibitions can be found at other venues under the title of SFMOMA on the Go. One such offering is Gorgeous—a provocative exhibition that combines key works from SFMOMA and the Asian Art Museum in an exploration of the subjective boundaries of beauty. Paintings, sculptures, photographs, and design objects from Dan Flavin, Meret Oppenheim, Jeff Koons, and others are represented alongside Hindu deities, Korean textile designs, a Persian decorated Quran, Japanese scrolls, and Chinese ink paintings. Art for many is synonymous with beauty, although that notion has been challenged throughout art history. There is no universal set of criteria to designate an object as beautiful. Culturally influenced and reflective of personal taste, one man’s gorgeous might well be another’s grotesque. The seventy-two works on view go beyond the conventional concepts of the beautiful to challenge and expand the viewer’s accepted ideas and sensibilities. On view at the Asian Art Museum, 200 Larkin Street, San Francisco, from June 30 to September 14, 2014. JUNE
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THE magazine | 41
A N D R E W S M I T H G A L L E RY I N C .
CLASSIC AND HISTORIC, MASTERPIECES OF PHOTOGRAPHY
Jo e l - Pe t e r Wi t k i n L ove a n d O t h e r R e a s o n s . . . To L ove Th r o u g h Ju n e 3 0 , 2 0 1 4 Joel-Peter Witkin is world renowned for his provocative, controversial works that deal with matters of life and death, myth and allegory. His fantastic imagery frequently alludes to classical works of art, often with religious themes. His works are often shocking, but not gratuitously so, because they invite viewers to consider weighty subjects like love, compassion, morality and spirituality. White on White, Paris, 2009
Featuring exhibitions of ANSEL ADAMS photographs from THE DAVID H. ARRINGTON COLLECTION N e x t t o t h e G e o r g i a O ’ Ke e f f e M u s e u m a t 1 2 2 G ra n t Ave . , S a n t a Fe , N M 8 7 5 0 1 5 0 5 . 9 8 4 . 1 2 3 4 • w w w. A n d r e w S m i t h G a l l e r y. c o m • H o u r s : 1 1 - 4 , M o n d ay - S a t u r d ay.
A CONVERSATION WITH SANJIT SETHI by G uy C ross
Sanjit Sethi joined the Santa Fe Art Institute (SFAI) from the California College of the Arts in Oakland, California, where he was the Director of the Center for Art and Public Life. In that role, his programs reflected the creativity and values integral to the college’s mission and history. Sethi has a background in sculpture, ceramics, and advanced visual studies. In August 2013, the SFAI Board of Trustees announced his appointment as Executive Director. THE magazine met with Sethi to discuss his thoughts about Santa Fe and his plans for SFAI.
INTERVIEW
THE magazine: Are you a person who is easily
TM: The direction you want to take the SFAI? SS: We have
these issues around food justice and food security. We have a
impressed? Sanjit Sethi: I’m a person who wants to
an opportunity to engage in creativity in a broader sense.
responsibility to bring programming to our local constituents
believe in things. I’m interested in seeing capacity and
Beyond solely one scope—say fine arts or design—by
that is relevant to their day-to-day issues.
vision, and I’m an optimist at heart. If someone comes
looking at issues around creativity. I want to see how this
to me with a vision, I don’t approach it with “why
institution can harness creativity and celebrate it locally,
TM: I know that the SFAI is not an exhibition space, per se,
wouldn’t this work?” but rather “how can this work?” I’m
nationally, and internationally, and see how it can be used to
even though the artists will sometimes show their work.
interested in vision, but vision has to manifest itself for
drive social change.
My sense is that you are interested in the “conversation.” SS: Yes, we still have an exhibition space and I think it’s about
me to be actually impressed. So, am I easily impressed? I don’t think I am.
TM: You are saying that you see art as a positive social force
using that gallery space less for isolated, individual, immersive
if used properly? SS: Absolutely.
shows, but rather using it as a catalyst for a broader series of
TM: Are there times when you’re under-impressed about things? SS: Absolutely.
conversations and experiences. TM: How will you connect SFAI to national and global communities? SS: It’s partly about bringing national and
TM: Like SFAI 140, which some people don’t know about.
TM: What has impressed you the most since you have
international artists to Santa Fe, but the other half of that
SS: Yes, SFAI 140 came about as a result of looking at our
been in Santa Fe? SS: I’d say that what has impressed me
equation is seeing how SFAI can begin to extend beyond the
open studios, which is what we used to do. At the end of
the most is the cultural weight and the cultural capacity
physical boundaries of its own building: into the local Santa Fe
every month the artists-in-residence would speak about
of this city, its incredible cultural resources, and the brain
community, into northern New Mexico, and into partnerships
their work; it was kind of an open house. The new idea is to
trust of individuals who have somehow found their way
that are national and global. I’m in the process of trying to set
create quarterly events, called SFAI 140, where we take all
to this city of 70,000 people. I like being in a room where
up a partnership with California College of the Arts where
the artists-in-residence, along with members of the Santa Fe
I’m having conversations with people who are dynamic,
we could bring undergraduate and graduate students here,
community—ranging from architects, sustainable designers,
engaged, thoughtful, and provocative—and I’ve certainly
and also create a way for SFAI to have a connection there. I’m
writers, local artists, as well as health and human services
had quite a bit of that since I’ve been here. That has
working with the Santa Fe Innovation Park on the Microgrid
workers. Everyone gets two minutes and twenty seconds to
definitely been impressive.
Project, specifically looking at communities in India and the
present thoughts. The idea is to engage. It’s an amuse-bouche
idea of how an arts and cultural organization can have a
that allows people to then follow up with those individuals
TM: What initially inspired you to leave California College
significant role to play in the development of different types
and say, “Wow, that was incredible. I want to do something
of the Arts to come here? SS: It was an opportunity to
of power systems there. I don’t think that these partnerships
with you” or “I want to have a follow-up conversation.”
run an art non-profit, outside of the shell and the larger
are antithetical to an arts organization, I think they are actually
It’s a large conversation that’s dynamic, and people also get
corpus of academia, and especially run one that had
part of an evolving nature of how the world is getting smaller.
to go visit the artists’ studios until we kick them out of the
such great stewardship over the past ten years. And
It is about understanding and recalibrating for a greater
building.
to see how my vision can contribute to and accelerate
degree of interconnectivity. TM: Do you go out to many art openings or visit galleries?
this specific institution. So, on one hand it was about the institution itself—about the opportunity to run a non-
TM: Do you think art can or should be used to deal with
SS: I certainly have been to some events, but that is
profit that has really good bones and has done some
social issues, like race? SS: Yes, I think that this is a key
something that I hope to do more and more so I can get a
great things, and to see what I could do working together
opportunity to see how we embrace the sticky questions.
greater understanding of the cultural milieu out here.
with the board and a dedicated team. The second thing
How do we look at issues around race, culture, and identity?
was that I’ve always enjoyed northern New Mexico and
We’re starting a thematic residency focus this fall. The idea is
TM: Any last thoughts? SS: Yes. One of the things we’re
I think there is something quite impressive about the
that we’re re-tooling our entire residency program so that
trying to do at SFAI is transform our ability to really embrace
cultural community that is assembled here.
this fall, artists and designers and architects, and whoever else
creativity in diverse forms, as well as to see how our
wants to come into residence, will be focused on a series of
programming can be really reflexive in nature to where
TM: When you were at California College of the Arts, you
meta-questions around one topic. From the fall of 2014 to
it’s understanding local concerns. We don’t see ourselves
had to answer to people. Who do you answer to here? SS:
spring of 2015 it’s “Food Justice.” From the fall of 2015 to
defined by terms like “contemporary” or “fine arts”
I answer to a very vigorous, dynamic, and opinionated board.
spring 2016 it’s going to be issues around immigration. These
necessarily, but rather by issues around creativity and critical
are issues that have local importance. The moment I got here
engagement. Our new summer youth program, SFAI Design
TM: So is that troublesome at times? SS: I don’t think
people were talking about issues around food: food security,
Workshop, is a good example of that in working with high-
it’s troublesome—it’s just like any position that requires
food deserts, seed banking, and anti-GMO conversations.
school aged youth to teach them skills about design thinking
tact, diplomacy, and empathy. It’s about relationship
So the idea is to create something that has resonance
and its relationship to community transformation.
building. I was pretty transparent with the board when
locally. We’re starting to plug in a huge constellation of local
I was entering into discussions with them about their
individuals and organizations that are keenly interested in
Guy Cross is the publisher and editor of THE magazine.
interest in me as a candidate for this position. I’m not interested in SFAI as a myopic, monastic institution that is solely a safe harbor for artists to keep their hats down and do their own isolated practice. JUNE
2014
We have a responsibility to bring programming to our local constituents that is relevant to their day-to-day issues THE magazine | 45
Graciela Iturbide ( Mexican, b. 1942 ) Mujer Ángel, Sonora Desert, Mexico, 1979 Gelatin silver print 16 1 3 / 16 x 10 1 / 8 inches Gift of William Peterson and Janice Schmitz University of New Mexico Art Museum, Albuquerque © Graciela Iturbide, courtesy of Etherton Gallery,Tucson
Luz Restirada: Latin American Photography from the UNM Art Museum
JUNE 7– JULY 26, 2014 OPENING RECEPTION FOR BOTH EXHIBITIONS FRIDAY, JUNE 6, 6–8 PM
OSCAR MUÑOZ:
biografÍas
Oscar Muñoz (Colombian, b. 1951) Biografias, 2, 3 and 6, 2002 (still from video installation) Three channel video instatllation with wood, metal and microphones with audio; video, 7 minutes, edition 2/3 Purchase with The Carnegie Funds and gift of funds from NBT Charitable Trust, CU Art Museum, University of Colorado Boulder; Image courtesy of the artist and Sicardi Gallery / © Oscar Munoz Photo: Jeff Wells / © CU Art Museum, University of Colorado Boulder.
Exhibitions organized by the UNM Art Museum in conjunction with Digital Latin America, organized by 516 Arts and partners. For more information about Digital Latin America please visit 516arts.org
MUSEUM HOURS
Tuesday–Saturday: 10 – 4 Closed on Sundays, Mondays, and major holidays ADMISSION FREE and open to the public.
A $5 donation is suggested to help support exhibitions. FOR MORE INFO
Please visit: www.unmartmuseum.org or call 505.277.4001.
CRITICAL REFLECTION
Poetics of Light: Pinhole Photography
New Mexico History Museum 113 Lincoln Avenue, Santa Fe
My pinhole work began in the 1970s when I envisioned the poetic justice of a Campbell soup can taking a shot of Andy Warhol and producing the multiple portrait he had coming to him. —Julie Schachter on her Campbell soup can camera
POETICS OF LIGHT: PINHOLE PHOTOGRAPHY ENCOMPASSES THREE overlapping but distinct endeavors. There is the Pinhole
candle flames—as many flames as there are apertures—and
merges with pinhole image B in an optical marriage of eyesight
Resource Collection, having been amassed over decades by
all the candlelight together reflects the original spiral shape
and insight.
photographers and pinhole specialists Eric Renner and Nancy
punctured in the plate. This is only one of many examples of
It needs to be said that in Santa Fe there was an extensive
Spencer, now donated to the New Mexico History Museum.
the inventiveness of the artists found in this exhibition. Another
pinhole project dating from the late 1980s, The International
This archive is representative of an impressive variety of work
example is Michael Mideke’s Fragment of Passage, a video piece
Pinhole Photography Exhibition. It was curated by Bobbe Besold—
by international pinhole artists and their individual photographic
of animated stills taken with a handheld digital-video pinhole
who was then the Visual Arts Coordinator at the Center
techniques. There is also the recently opened exhibition, along
camera. I’m not sure how Mideke’s digital images square with
for Contemporary Arts—and Eric Renner, who began the
with the sumptuous book that accompanies this magical array
pinhole’s essential analog nature, but his blurry landscape
Pinhole Resource Center in New Mexico and whose ongoing
of photographs, videos, an assortment of pinhole cameras, and
images—like soft pastel drawings—are animated so that
commitment to pinhole photography is at the heart of Poetics of
a wealth of didactic materials.
they dissolve slowly into one another. The Italian artist Paolo
Light. From cameras as small as a button from a piece of clothing
For those who want to experience the very roots of a
Gioli also has videos in the show based on individual images
to pinhole processes that were instrumental in “curing” the
pinhole camera, in the lobby outside the exhibition space is a
photographed as strips of split-second recordings similar to
Hubble telescope of its tendency to blur images, the camera
room-size camera obscura. There is a small hole in the south-
stop-action animation. A doubly poetic work is Paula, from
obscura has proven itself to be a versatile and evocative device
facing wall through which light enters from the outside and
Finnish artist Marja Pirilä’s Camera Obscura series. This is a color
for letting us see through the cracks of our mysterious world.
becomes an upside down image on the opposite wall. That the
photograph of a young girl sitting in a pale pink gauzy dress with
—Diane Armitage
image of trees on the Santa Fe Plaza, waving in the breeze, is
her eyes closed; she sits within a room that itself functions as
inverted, is part of the physics of light as it sashays through an
a camera obscura. The walls behind the girl are awash in an
aperture and is projected on an opposing surface. This camera
upside down forest of spindly trees. Pinhole image A meets and
Marja Pirilä, Paula, Camera Obscura series, pinhole image on interior wall of camera obscura, C print, 8 1/2” x 7”, 1996
obscura should prove a fascinating space to discuss optics in general, along with the incredible display of pinhole cameras in the exhibition—everything from the crude to the humorous to the conceptually sophisticated and elegant. Singling out individual works in the Poetics of Light is difficult, so captivating are the various pinhole processes and the images they have yielded. But here goes. Maybe it’s the weighty politics involved, but Marcus Kaiser’s two images, Mauerblicke Looking West and Mauerblicke Looking East, were particularly haunting. The text accompanying Kaiser’s work stated: “The [Berlin] wall was already full of numerous openings, holes, slits, gaps, scars and breaches… and Kaiser used some of the holes to encase a pinhole camera.” His two black-and-white photos were made with an irregularly shaped aperture as if someone had shot the images through a torn curtain, and they feature a view of bicycles on either side of the wall. The works themselves are pictorially simple but conceptually complex. Of course not all the work in this show is resonant in quite the same way as Kaiser’s—the artist captured a complicated historical moment and reduced it to some ground-zero implications. In contrast to Kaiser’s brooding meditation on political division, Julie Schachter did a witty turn in the wake of Warholian Pop-Art history. Using an industrial-size can of Campbell soup, Schachter riffed on one of Warhol’s signature works, his 100 Cans. Her piece, 100 Andies—The Soup Can’s Revenge, comprises a grid of small blackand-white photos of Warhol, who unfortunately doesn’t quite look like his usual iconic self. Not all of the cameras on view reflect a unity of form, function, and final image the way Dianne Bos’ aperture plate does for her piece M51 by Candlelight from her Galaxy series. The actual plate used to make her pinhole photograph is made of aluminum and punctured with multiple holes in the shape of a spiral galaxy. The resulting photograph depicts many individual
JUNE
2014
THE magazine | 47
What would John Singer Sargent think?
Picture Frame Specialist since 1971
Randolph Laub studio 2906 San Isidro Court
3
Santa Fe, NM 87507
www.laubworkshop.com
3
505 473-3585
CRITICAL REFLECTION
Joel-Peter Witkin: Love and Other Reasons… to Love
Andrew Smith Gallery 122 Grant Avenue, Santa Fe
IS JOEL-PETER WITKIN A PERVERT? THIS MAY BE THE QUESTION ON THE MINDS of those who paid a visit to his recent exhibition at Andrew
sporting deadly looking phalluses. Though the image seems
The questions remain, however, of fetishization and
Smith Gallery, Love and Other Reasons… to Love. “Pervert”
to question themes of vanity and self-indulgence through
exploitation. Though complicit, many of the images feel
is a strong word, but after spending time with his work it’s
religious allegory, it gains its real power in simply forcing
exploitative and prurient, as the subjects are objectified. Is
a label that seems appropriate. In his determined search
viewers to visually engage with the tableau. By looking, the
to marvel at Otherness an effective means of accepting and
for the sacred within the profane, it is, unfortunately, the
viewer is confronted with a moral dilemma: to look away,
embracing it? Some of the photographs feel too staged, and
profane that will most often turn viewers away and cause
as we would wish to? Or to extend compassion, even to
force allegories that wear too thin. They reach too far for
them to avert their eyes. It is easier to look away than
degenerate-Adam, to depraved-Eve?
the gravitas they pretend to embody. In Venus in Chains, Paris
confront the wretched and dysfunctional, and that truth is
Witkin’s photographic style forces viewers to engage
(2010), we see just that: a Victorian nude, facing away from us,
and struggle with his abject, sometimes-distasteful subject
her wrists chained together. Though the title alludes to myth,
Rejects, misfits, sexual deviants, gender nonconformists,
matter. These nineteenth-century-style tableaux are especially
and a verse below speaks of the varieties of beauty, the image
the physically deformed, the blasphemous, and the wretched
confrontational. The pictures are elaborately staged and
ultimately comes off as indulgent, with little substance to fulfill
are among the cast of characters in Witkin’s absinthe-laced
theatrical, composed of deliberately placed symbolic elements,
the title’s purported cause. Where the photographs succeed is in
cocktail of the morbid and alluring. Drawing on numerous art-
and the subjects, in their revealing postures, ask to be gazed
shirking the labels of exploitation in the medium itself. The non-
historical styles, his work is reminiscent of the grotesquerie
upon. Their status as Other is glamorized. In Our Daily Bread,
omniscient angle of the camera lens betrays the limitations of our
of Goya and the darkly Baroque drama of Caravaggio. In his
New Mexico (2013), a Janus figure lies nude, masked and
own gaze, limited to this vantage point, to these sides. Perhaps
work there are threads of Weegee’s 1930s and ’40s gritty
chained, consuming a phallus. Rather than normalize this
the quality that turns a nude into a Venus is just out of sight.
urban crime photography, of Diane Arbus’s images of the
peculiar oddity, he is simply asking to be looked at in all his
—Lauren Tresp
odd and marginalized, and of E. J. Bellocq’s haunting early-
deviant glory. Through consideration, rather than turning away,
twentieth-century portraits of New Orleans prostitutes.
the subject is elevated. Such images contemplate morality and
Witkin’s pictures also contain hints of Renaissance religious
test the limits of radical acceptance and empathy.
exactly Witkin’s point.
Joel-Peter Witkin, Above the Arcade, Paris, 2013
paintings and Cubist women, which he captures through a refined and involved process of elaborate staging, antiquing his negatives, mounting them on aluminum and hand-applying pigment, resulting in photographs that look like authentic nineteenth-century vaudevillian daguerreotypes. What may surprise viewers new to his work is that his recent photos represent a softening in choice of subject matter. Witkin’s past work has been strongly graphic to the point of controversial, often showing dead bodies or body parts. Though still firmly in the realm of the lewd and grotesque, these recent images are less confrontational and somewhat tender in their execution. Witkin, an Albuquerque-area resident, was born in 1939, in Brooklyn, New York, and has been taking photographs since the age of sixteen. Following his service in the Army as a photographer, from 1961 until 1964, he received his BFA at Cooper Union and his MFA at the University of New Mexico. His work received much acclaim in the 1980s, and his persistent dedication to the atrocious and disturbing earned him several grants from the National Endowment for the Arts. In his 1998 book The Bone House, Witkin recalls witnessing a horrific accident as a child in which a little girl was decapitated: her head landed close to Witkin, her eyes looking into his. What he saw in her eyes that day is between him and his Maker, but it is safe to say the artist carries a burden. In his own terms, that burden is the work of continually manifesting the confusion and injustice of our world through, oddly enough, love. “To love has always been the cornerstone of my work,” he says in the exhibition’s press release. His pieces often have religious themes or overtones, though these elements often feel forced or out of place. For instance, in Religion of Self Interest, New Mexico (2013), two nudes are staged as a bizarre Adam and Eve, masked and JUNE
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THE magazine | 49
from novice to fine artist
Jonathan Keeton Studio #7
Preview Gallery and Artists Reception at the Santa Fe University of Art and Design Artists Reception Friday, June 27, 5:30PM-7:30PM Open Studios Saturday, June 28, 10AM-5PM and Sunday, June 29, 10AM-5PM For maps and information about the artists go to the Preview Gallery or visit our website
www.santafestudiotour.com
CRITICAL REFLECTION
Panorama
333 Montezuma Arts 333 Montezuma Avenue, Santa Fe
PANORAMA PHOTOGRAPHY IS A VERY INCLUSIVE FORM OF DOCUMENTATION and photographic documentation is the status quo.
The panorama’s endurance is testament to at least its
while also in a moving car, making the literal and figurative
Panorama’s advent on smartphones solicits this journalistic
likeability, presumably because its lateral expansion offers a
perspective perplexing. Foster’s face stays consistently in the
impetus and signals the medium’s creeping popularity. The
more “natural” way of looking. We don’t look at the world
driver’s seat looking out at the road, albeit in a squashed,
relevance of 333 Montezuma’s latest exhibition, Panorama,
in five-by-seven rectangular frames, and the panorama
distorted vehicle. Motorists pass around him at three
rides on photography’s bourgeoning stepchild despite the
promises a never-ending scene where the eye can just keep
different intervals as the image claims a one-thousand-and-
fact that the three artists in Panorama—Gus Foster, Carlos
going. The pictures in Foster’s American Rockies series are
thirty-four degree rotation. Rolling Time on “Colossus” (2001)
Silva, and Roberto Vignoli—do not use smartphones to
three feet high and six to twelve feet wide. The size alone
documents the same idea except on a roller coaster in what
make their work. Each photographer works with a different
feels encompassing. Foster’s enduring love for the outdoors
is essentially a glorified selfie that reveals a placid smile and
panoramic viewpoint to deliver expansive views of everything
prompted photographic pursuits to accurately capture his
wind-blown hair. Foster’s face is an anchor for a ballerina’s
from Roman street scenes, Chilean malls, time-lapsed selfies,
mountaineering trips. Fremont Peak, Wind River Range (1994)
pirouette. The Time Photography series barely squeaks by as
and the Rocky Mountains.
is taken at nearly fourteen thousand feet high, and Foster’s
a critique of today’s rapid pulse.
The panorama has been around for over a hundred
twelve-foot-long photograph evokes Caspar David Fredrich’s
Silva’s Snails series stretches the other way. The pictures’
years and historically was used to document scenes that
Wanderer above the Sea of Fog, in which man conquers nature
vertiginous spaces document abysmal Chilean shopping malls,
defied normal formatting, often cities or landscapes, or large
to realize his insignificance amid its immensity. Tavelli cites
sometimes four floors high with glassed oculi that mirror the
congregations. Whether the photographer pieced together
Foster’s predecessors as the early American photographers
floor plans below. They reveal architectural repetition with
35-mm. rectangles to stretch a scene or the photographer
commissioned to document the Western expanse. Foster’s
candid lighting that feels eerie and nearly dystopic. People are
worked with a twenty-inch-long filmstrip, the panorama
panoramic prints date these early images, which in turn
scarce, the buildings are slightly warped, and at six and a half feet
posed technological challenges that ultimately made the
inform Foster’s documentation as an anachronistic utopia.
high, one confronts these photographs like a looming giant about
finished product a novelty. Despite leaps in innovation,
Nonetheless, the Rocky Mountain pictures are stunning feats
to fall into a rabbit hole. Vignoli’s street scenes are rectangular
today’s panoramas still present complications even
that no smartphone could replicate.
shots overlapped at angles so that the frame is a jagged edge of
with the democratized smartphone cameras. Working
Foster’s other 333 series, Time Photography, uses a
protruding corners upon a black strip. Piazza di Spagna begins as
with these lanky images on a tiny tablet screen is nearly
Globuscope camera, which can make a three-hundred-and-
an image on the wall and travels up onto the ceiling with an aerial
impossible, and even viewing them on a full-size monitor
sixty-degree revolution in point eight seconds. Invented in
view through the buildings. It’s experimental, which is fun, but
does no justice to the contrarily proportioned image. Tom
1981, this rotational camera is handheld, weighs three-and-
its execution and presentation, simulating the effects of “being
Tavelli, 333’s director, notes that updating their Website
a-half pounds, and is still one of the most portable panoramic
there,” definitely feel forced. Vignoli’s inversion of Google Earth
with the new show was even problematic graphically.
cameras. The peaceful image is replaced here with a dizzying
suggests street photography might have a place to go. As for
Thus, despite an incessant cultural nagging to document
elongated record of the same scene in point-eight-second
panorama photography, it’s still struggling for acceptance.
one’s entire surroundings, this ugly stepchild has growing
intervals. Mimicking Muybridge’s early action studies with
—Hannah Hoel
pains—perhaps consequently carving out one of the
the jarring distraction of a GoPro, Foster’s results are part
remaining niches for professional photographers to
surveillance, part extreme sport, and part selfie. In works like
work in.
Antique Roadshow (2000), the camera spins on its own axis
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2014
Gus Foster, installation view, 2014
THE magazine | 51
Walter W. Nelson: The Black Place
Pasqual’s Café Gallery San Francisco Street, Santa Fe
WALTER W. NELSON IS A GOOD PHOTOGRAPHER. I SAY THAT TO DISTINGUISH HIM from the legion of digital-age shutter jocks who have
them himself—brought an artful control to the color
and generate a stunning image with a PC and an inkjet
proliferated like mold in a forgotten tub of potato salad
medium. Nelson’s career, which began with a large-format
printer. True, a great deal of expertise can be applied to
ever since Adobe released its first version of Photoshop
camera and darkroom printing, has lately transitioned to
these new media, but it’s also possible to make impressive
and Nikon put a scanning element in the back of one
digital color. His work consequently echoes the original
looking pictures without ever acquiring those chops. It’s
of its venerable SLRs. A series of his studies of Georgia
segregation of those two approaches and illustrates the
not unusual for digital photographers to proudly boast of
O’Keeffe’s beloved Black Place in the Bisti Badlands of
differences that caused it. At their best, his pictures
having captured “thousands” of frames on a day’s outing;
Northern New Mexico were exhibited last month at
transcend and bridge the divide between these two ways of
but in the ages of plate and film, those same hours might
Chiaroscuro Contemporary Art in Santa Fe. Nelson also
seeing. Much as Porter’s did, Nelson’s color photographs
have been spent finding and setting up the two or three
paints and sculpts in a variety of styles. A selection of that
synthesize subtle relationships of hue with an underlying
pictures that would later be printed in the darkroom.
work is being shown at Café Pasqual’s upstairs gallery on
compositional structure inherited from photography’s
It isn’t that the old way was right or the new one
the Santa Fe Plaza. Several of those pieces come from
black-and-white masters. But where Porter loved lush
wrong—or even that one makes better pictures than
Nelson’s Black Place visits as well. They are interesting
chromatic primaries, Nelson’s most attuned sensibility
the other: They’re just different. But the earlier way did
to look at in the context of these photographs, but so
is at the opposite extreme. This is particularly evident
demand a thoughtfulness that digital photography doesn’t
different that it’s difficult to talk meaningfully about both in
in a series of four small prints of silver-grey expanses of
explicitly require. The challenge for those using this new
one short space. So for now I will stick to the photography,
eroded hillside, shot through with faint traces of rust-
technology is therefore to find an art that rises above its
about which there is much to say.
colored ore—as well as in the snowy landscapes that he
easiest solutions. Nelson’s photographs strike the delicate
As a group, these photographs betray a curious,
records in all-over compositions built from contrasting,
balance between the comparative ease of the new medium
intelligent eye, and are enhanced by the artist’s willingness
but still tonally nuanced values. These winter pictures feel
and an eye attuned to the subtleties of the older disciplines
to tackle several challenging ideas at once. Nelson divides
almost like drawings or lithographs and honor the dual
in which his work is grounded — and that is something that
his subject into two seasons, defined alternately by winter
realities of the places the photographer visited and the
only a good photographer could do.
and the warmer months of spring, summer, and fall. He
physical objects he’s made from those views.
—Christopher Benson
has photographed this material in both color and in black-
If the blessing of digital photography is how
and-white for many years. A number of winter scenes shot
comparatively easy it is to do, that convenience has also
in color also look mostly black-and-white. This opposed
cursed some of the art made with it. With a little practice,
pairing of seasons and chromatic approaches plays on the
anybody can take a decent picture with a digital camera
salient characteristic of the locale’s black and grey earth, while also nodding to the historical conflict between these two very different ways of making photographs. For much of the twentieth century, the preferred mediums of fine-art photography were black-and-white film and gelatin silver printing. Color was for commercial photographers and journalists. This was probably because those working in black-and-white could exert artistic control in their own darkrooms, while color photographers were at the mercy of labs that took that craft out of their hands. An early challenger to that order was Eliot Porter, whose large-format transparencies— and the dye-transfer prints he sometimes made from
Left: Walter W. Nelson, Winter ll, oil on canvas, 38” x 64”, 2013 Below: Walter W. Nelson, Untitled #60C, Epson digital print, 16” x 26”, 2013
CRITICAL REFLECTION
Melanie Yazzie: Geographies of Memory
University of New Mexico Art Museum UNM Center for the Arts, Albuquerque
NEW DIRECTOR, NEW DIRECTIONS. LISA TAMIRIS BECKER RECENTLY CELEBRATED her one-year anniversary as director of the University of
The layering effect continues in Yazzie’s printmaking,
In another portrait, Yazzie’s cat Chuck wears his very own
New Mexico Art Museum, where one of her innovations
where figures overlap and intertwine. In her monotypes
crown. Throughout these animal pictures, and indeed
is a biennial solo exhibition series to highlight the work
Crow (2013) and He is Better than Her (2013) images and
throughout the gallery, Yazzie’s use of color dazzles, and
of “significant established or emerging contemporary
symbols pile on top of one another. Spiral petroglyphs
yet the shades feel organic. The yellows, creams, and
indigenous artists.” The series begins with the work of
change color strength with the layering of stencils. The
browns are earthy. The greens are beautifully nuanced
Navajo/Diné printmaker and sculptor Melanie Yazzie and
crow and cornstalk are both color-saturated at their
in a completely natural way. Even the blues are bright
includes lithographs, etchings, monotypes, woodblock
core. The golden deer is so well blended into the gold
without ever feeling commercial; instead, they are the
prints, smaller bronze sculptures, and large steel sculptures.
and yellow background that his discovery in the picture
blues of the sky and of the sea.
The exhibition fills the museum’s main gallery with Yazzie’s
is almost a shock. “The works stem from the thought
Social commentary is also not absent from Yazzie’s
gorgeous color palette, whimsical animals, and social
and belief that what we create must have beauty and
work. In a lithograph called Some of Us Say (2001), the
commentary. More than eighty works from 1994 to 2013
harmony from within ourselves,” writes Yazzie in her
two heavily outlined black figures on a cream background
are on view.
artist statement, “from above, below, in front, behind,
feature Yazzie’s black thumb- and fingerprints as their
and from our core.”
overall surface texture. Behind them are words in English
Becker, the exhibition’s curator, begins by positioning
(all upper case) and Navajo (all lower case). We can
two fabricated steel sculptures, Strength from Within and
Animals are in evidence all over the gallery. “Animals
Pollen Keeper II, as greeters at the gallery’s entrance. Both
really touch my soul,” says Yazzie in the short film that
combine the words in any order we wish: WHY CULTURE
pieces are human-size and radiant with color. Strength from
accompanies the exhibition. And that’s clear. One
BLENDING NOW XOXO. I feel cheated by not being able to
Within (2004) is the deep-red form of a woman, and the
grouping of eight pictures from the Metamorphosis Series
read the Navajo words.
fabricated steel is shaped to look like delicate paper cutouts.
(2002-03) features turtles, a moth, a dog, a cat, a ladybug,
In the center of the gallery are two smaller dog
We could be seeing the design of her dress in the negative
and more, as either the main winged figure or a figure
sculptures that measure roughly sixteen inches by nine inches
space, but the shapes could also be her rib cage and her
within a figure. In another grouping, fourteen gouache
by ten inches. Simon Joe Benally is looking for a Rich Girlfriend
internal organs. Next to her is Pollen Keeper II (2004), a
critters appear fanciful at first glance, but something about
(1996) is electric blue with golden highlights on his ears, eyes,
dark turquoise-to-teal figure with similar cutouts. Both
their stances or their stares makes them also look wise
nose, tongue, and fur. Levi Blacksheep Dreams of Flying (1996)
figures stand on a raised ash-gray base that rises to form a
and all-knowing. A brown bear, clad in pants and a shirt,
is a golden bronze color with a zig-zag lightning bolt for a
wall behind them. As the gallery lighting shines through
seems to be sliding off a chair, and yet his outstretched
mouth and ton-sur-ton petroglyph-like designs on his fur, some
the steel it casts layers of intricate shadows onto the
arms and open mouth suggest that he is making an appeal
of which are airplanes flying around his torso. Both animals
gray surfaces.
to us. Nearby, a horse-cat manages a seductive look.
are on the verge of jumping right off their display pedestals. A third small bronze from 2010 called Growing Stronger (eight inches by eight inches by sixteen inches) is the figure of a woman with golden sea turtle designs on her flowing Wedgewood blue dress. Her hat features a fish facing forward and a bird facing behind her. Her thoracic cavity gapes open and is cut in a jagged pattern. Her spine is articulated and looks like it could be lifted free. Her belly is a hinged door and we wonder what mystery might be locked inside. “So many ideas come to me,” says Yazzie. How fortunate we are that she acts on so many of them.
—Susan Wider
Melanie Yazzie, Crow, monotype, 30 1/8” x 42 1/2”, 2013. Photo: Margot Geist
JUNE
2014
THE magazine | 53
Life Out of Balance
American Indian Arts American Indian Arts 83 Avan Nu Po Road, Santa Fe
F ROM TH E C ENT ER OF T H E S CR E E N O N W H I CH T HE F IL M IS PROJ E C TE D reels an expanding, spiraling, stream of material detritus
importantly, envision and bring into being the future.
unwashed and primitive in its grasp of the significance
from these, the world’s trashiest times. Pieces of baby
Over and over again in the course of Western history
of what centuries later it will “discover” (Columbus-
car seats, construction cones, plastic crap of every hue
the artists get there first. Concepts originally “spoken”
like) as the twin continents of geometric abstraction
and variety, twisted scrap metal, Styrofoam fast-food
in visual languages become core to the verbalized
and minimalism, so vital to any true understanding of
containers, junked circuit boards, and anything and
intellectual culture many years, or even centuries, later.
universality and design. Who was the avant-garde for the
everything else you’d find in the average growing landfill
Example: The core ideals of Classical Greek
avant-garde? Who put the blues in Elvis’s suede shoes?
or floating around in the world’s oceans. Bringing things
humanism—measure, reason, objectivity, observation,
Why’d Gauguin hafta a-go-go all the way to Tahiti?
full circle, Charles Rencountre, Melissa Shaginoff, John-
individuality, and genius—arise in the West in the sculptural
Why is the racist architect Adolf Loos so terribly
Michael Herrera Jr., Kat Deiter, Shontsya Joe, Carmelita
language of naturalism. Precise figurative images allowed
threatened by Papua New Guinean rituals of scarification
M. Topaha, Kali Spitzer, Erin Elliot, August Walker, Sarah
humanity to see itself in 500 BC in a way that inspires
when, after all, he’s such a sooperior Euro-peon?
Stock, and Journeyway Price—all students in sculptor
concepts that become the basic intellectual cornerstones
Loos’s racist Euro-elitist premises of classism and
Dana Chodzko’s class at the Institute of American Indian
of Western philosophy, art, architecture, and science for
oligarchy justify Ronald Reagan’s trickling down all over
Arts—recently produced a remarkable installation that
the next two thousand years. The language of classical
the United States’ citizenry. In 1982, two years after
was inspired by, paid homage to, and incorporated
naturalism is the mold from which these formative
the neo-con puppet is first elected, Godfrey Reggio
Koyaanisqatsi, the lasting masterpiece of film director
Western ideations are cast. Minus this visual language
directs Koyaanisqatsi, with an incredible score by Philip
and longtime, sometime Santa Fe denizen Godfrey
and its graven expressions, humanistic individualism,
Glass, in which time-lapse cinematography is used to
Reggio.
as a philosophical ideology springing full-fledged from
get a glimpse of the real and massive machinations of
the forehead of Zeus, is broadly inconceivable, as is the
post-industrial, consumer-capitalist society. The word
traditional trajectory of Western history.
Koyaanisqatsi is Hopi in origin and usually translates as
The best thing about teaching Euro Art History courses at the IAIA is the opportunity it affords to critique Western intellectual history from a variety of
Brueghel’s, Franz Hals’, and Judith Leyster’s
“world out of balance.” The film ends with translations
indigenous perspectives. In every culture art is prescient,
genre paintings predate the egalitarian philosophical
of three Hopi prophecies that essentially warn against
connected to magic, ritual, religion, and prophecy.
concepts of the 1700s Enlightenment. Vermeer invents
living in disharmony with the natural world.
Visual artists possess great seeing skills, and even more
photography before film. Goya creates conscientious
For at least one hundred and fifty years, Western
objection to war and sparks
artists like Reggio and Chodzko and her students,
a world peace movement.
demonstrably ahead of their times, have been looking
Constable
first
to the world’s indigenous peoples and cultures for
environmentalist. Freud is
aesthetic and extra-aesthetic solutions to problems that
is
the
only possible because of
the core values of Western culture have, it is now clear,
Fuseli and Blake. Picasso
tragically created. Postmodern multiculturalism springs
and Braque intuit Einstein
from Gauguin’s inner and outer voyages, even as he
before
squared.
aesthetically apes (and thereby transforms?) the die-hard
Delacroix makes possible
forms of European colonialism. One hundred and fifty
Keith
E=MC
Rodin’s
years of Western artists speaking the languages of the so-
Gates of Hell is the first
called “other” reads like a map. And a decent map can
punk sculpture, and there’s
give you a pretty good idea of what’s coming next. The
no MTV without Dalí and
artists and indigenous folks got there first again, and the
Ernst.
meanings are becoming clear. Colonial-globalist, resource-
Richards.
Even more profoundly,
extraction based capitalist-materialism is bankrupt. Its
much earlier in the history
ontological base is the Judeo-Christian nonsense about
of world art, the visual
“man’s imperfections” and humankind’s eviction from
languages of the Hopi, Dine,
nature found in the Garden of Eden mythos. Maybe this
Tewa, and countless other
story, too, needs to be read as (self-fulfilling) prophecy.
Native American cultures
Its current manifestation is that a relatively tiny cabal
better, and more richly
of world greedsters, banksters, politicos, weapons
meet
self-described
contractors, arms dealers, and war-mongers (who see
goals of early-twentieth-
themselves as the only ones who matter) is doing its
the
century Bauhaus,
Suprematism, Constructivism,
damnedest to get all of us kicked off the planet.
—Jon Carver
and1960s Minimalism than the works of many of these movement’s practitioners. Europe
is
professed Pre-contact incredibly
Installation view
CRITICAL REFLECTION
Toast + Cowboys
Offroad Productions 2891-B Trades West Road, Santa Fe
THE WORD “PRISTINE” COMES TO MIND AS I RECALL THE EXHIBITION I saw at Michael Freed’s pop-up gallery, Offroad
Canyon Road, downtown, and in the Railyard. Having
getting it down on paper, and satisfaction in the rigor of
Productions, a quarterly event that he hosts at his studio
maintained for some time now that bad art is prevalent
her practice.
off Siler Road, in Santa Fe’s industrial area—such as
everywhere, in every city, it’s refreshing to find the
I have been a fan of Porter’s draftsmanship for some
it is. Freed’s neighbors include a lot of auto mechanics
good stuff in our own backyard, right here in an artists’
years now, but found myself astonished with the quality of
and auto-body shops, a taxi company, and a couple of
community that practices in Santa Fe—whether they
his Cowboys. The six framed drawings had great presence,
caterers. Kitchen Angels has its address there, and you
show here or not.
each a two-inch square of pink on large rectangles of
can pick up your recycling bins from the City’s nearby
McBride’s toasty samples presented a tremendous
untouched paper. The tension between small and large;
Environmental Services. Hardly the stuff of immaculate
range in technique and style, despite the limited subject
macho rodeo riders on bucking broncs rendered in the
elegance.
matter. The artist had set a task for herself to draw her
girliest of pink pencil; and the intricate, fully modeled
Freed’s philosophy for Offroad Productions—
Daily Bread every day in one sitting. Ninety pieces were
drawings against plain white paper—the material has as
his mission statement as it were—is all about serving
exhibited. From charcoal to pencil, black-and-white to
punchy an impact as rodeo itself. The dramatic, detailed
the population of artists in Santa Fe who don’t have
faint hues, every slice of bread was luscious in its own
action of the subject matter contradicted the size and
representation in town, whose work is neither terribly
way. Some of her illusionist works looked ready to eat,
color in which it was presented; execution and concept
commercial nor likely to find suitable collectors without
while the more graphical drawings varied from droll to
were flawless. These works are jewels, plain and simple.
a little nudge from those behind-the-scenes, low-level
delightful. I could have happily gone home with #332,
Kudos to Conn and Freed for offering such a gift
movers and shakers who make things like Offroad
a heel of wheat bread with hints of pink and yellow that
to our community. Readers are advised to pay attention
function. And function it does, quite well indeed. With
managed to look exactly right. McBride says that her
to Offroad Productions. Long may it live to host more
previous shows organized by Freed himself and guest-
influences include the brilliant Robert Crumb and such
exhibitions.
curated by Jennifer Joseph and Zane Fischer, this is an
pillars of art as Cracked and Mad magazines. Suitably,
—Kathryn M Davis
effort by locals for locals, the kind of art scene that
her graphical works are executed with quite a fine hand.
operates, of necessity and by choice, under tourism’s
Overall, the series reveals McBride’s unabashed love
radar.
for the act of drawing. There was a sense of the joy of
Clayton Porter, Untitled (Bronco 34), Prismacolor pencil (Rose PC929) on Arches Palatine paper, 30” x 22”, 2014
The exhibition that took place on Saturday, April 19 and remained on view by appointment only through the end of the month—Toast + Cowboys—was curated by Cyndi Conn, who laid the outlines for a faultless show. Conn is the executive director of the non-profit Creative Santa Fe. Having arrived there through her background as a gallery owner, curator, and scholar, she knows her creative types. Conn co-owned Launch Projects, where she maintained an unimpeachable roster of hip and youngish artists; before that she was the curator at the Center for Contemporary Arts. A stint at EVO Gallery preceded CCA, and I recall her as a shy young thing in the early 2000s, when I met her in SITE Santa Fe’s docent program. Now that the future for creatives in town is, at least in part, in her capable hands, we shouldn’t be surprised to rediscover Conn’s first love: impeccable yet somehow quirky art objects, works on paper in particular. She and I have been known to pounce on a paper piece at an art fair, say, with equal passion and avidity; I freely confess that we share a certain aesthetic for minutely detailed drawings of odd subject matter, and I was not disappointed in this instance. Curator Conn scored a direct hit with Toast + Cowboys, featuring two series of hand-drawn, meticulous works on lovely, toothy, receptive paper. Sam McBride sketched her breakfast bread every day for three hundred and sixty-five days in a row, while Clayton Porter mined his roots as a kid who grew up around horses for the Cowboy portion of the show. It was enchanting, as good as or better than anything I’ve seen in most galleries on
JUNE
2014
THE magazine | 55
THE PREMIER COMPANION FOR YOUR ART JOURNEY
An
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ART LOVERS featuring galleries and artists across New Mexico Available FREE at art venues throughout the state
To order your copy visit www.NorthLightShop.com or call 800.258.0929
CRITICAL REFLECTION
K’un: Tony Buchen and Jazzmean Goodwin
Virtual Artspace 316 Read Street, Santa Fe
CH’IEN’S STRENGTH UNITES WITH THE MILDNESS OF K’UN. THE CALLIGRAPHY of an ancient Chinese text like I Ching is not a normal point
physicality is thus an extension of the K’un calligraphy’s linear
Much of Buchen’s digital modeling is indebted to the
of departure for the high-end graphics of digital sculpture
configuration—much as a square is extruded or projected to
art of Chinese calligraphy—in particular to the wild-grass
involving what artist Tony Buchen calls “a new way of
a cube through the extension in depth of its planar, or two-
calligraphers studied by author David Hinton, who describes
conceptualizing and relating to three-dimensional form.”
dimensional, shape.
their calligraphic art form as “unfurling into sprawling and
The specific starting point for the K’un sculpture series
For all its focus on form over content, the semiotic
indecipherable abstract forms.” And it is precisely that
by Buchen and collaborator Jazzmean Goodwin is the
function of the K’un calligraphic sign asserts itself in the
abstract approach that allows the viewer full freedom
calligraphic sign for K’un, the second hexagram of I Ching,
artist’s manipulation of its form. In I Ching, the iconography
to interpret the sculpture without recourse to Chinese
the ancient Chinese book of wisdom whose oracular and
of K’un—earth, the Receptive—is discussed at length, with
cosmology. Several stills of the K’un sculpture evoke a kind
moral maxims emerged from prehistoric times to become
interpretations of its aspects as image, lines, and numbers.
of Kon Tiki image whose epic encounter with the vast sea
a core text for both Confucianism and Taoism. Buchen’s
Its attributes underscore its fundamental relationship with
evokes the K’un’s mythic relationship of earth with heaven.
graphic medium, however, couldn’t be more cutting edge,
Ch’ien, heaven, the Creative: “The Receptive accommodates
Buchen and Goodwin’s virtual sculptures achieve
even for the constant advances in digital technology. The
itself to the qualities of the Creative and makes them its own.
their intention to explore a “range of visual experiences
result is a series of virtual objects, three-dimensional digital
Thus a square develops out of a straight line and a cube out
within the dimensional calligraphy of K’un.” And for all the
models whose nature and function are experienced as video
of a square.” Buchen notes that “as the video work evolved
innovation they bring to their art through digital technology,
(HD format of two to four minutes in length), prints (archival
we were increasingly aware of how much the concepts
there is a strong sense of continuity as well. The virtual grid
ink on canvas, paper, and aluminum), and as 3D prints—the
underlying this art form enhance the experience of the work
within which they create their sculptures finds resonance
actual metal sculptures digitally cast from molds made from
for the viewer, as well as influencing the directions we take.”
in Renaissance perspective as well as in its dispersion in the
the virtual three-dimensional models. What grounds the
Buchen and Goodwin’s exploration of the K’un
hermetic abstraction of Cubist space. In the K’un series,
success of the actual sculptures is Buchen’s background in
calligraphy as abstract composition enables them to exploit
Buchen’s digital artistry refracts the virtual physicality of
math and quantum physics, his years of experience in metal
its inherent semantics beyond the confines of its specific,
objects in the interface between the mediums of calligraphy,
fabrication, and his pursuit of photography.
cultural context. At the same time, the process remains
sculpture, and photography. The outcome is an art form
Buchen bridges this vast divide between ancient text
faithful to its origins, as is evident in the artist statement
that seeks “to reveal the secrets of their complexity in the
and modern image with an approach in which “formal
describing that process. In the first photographic series
language of abstraction.”
interests take precedence over the conceptual nature of
(White K’uns) the virtual camera moves through the object
—Richard Tobin
the work”—developing a new abstract composition for the
to reveal the ephemeral quality of its parts. The second
three-dimensional object, “one in which physicality is not an
series of photographs (Grey K’uns) discovers more complex
issue; one in which photography is the key ingredient.” The
and substantial interactions of the K’un components, while in
artist starts with the two-dimensional Chinese calligraphic
the third series (Black K’uns) the camera’s view from above
character and extrudes its flat defining lines into the
renders the K’un image as two-dimensional, resembling a
contours of a three-dimensional object whose depth or
line drawing in ink.
JUNE
2014
Left: K’un character, I Ching Right: Tony Buchen/Jazzmean Goodwin, still image from K’un series, 2014
THE magazine | 57
New Sculpture: “A Self Portrait” And A Retrospective of 65 Years of Art
Reception: Saturday, June 14, Noon to 5 pm Exhibition runs through August, 2014 Hand Artes Gallery • 137 County Road 75, Truchas, NM 1-505-689-1000 • handartesgallery.com • billmaxonsculptor.com
jennifer esperanza photography
BILL MAXON
505 204 5729
new mexico
california
FINISHED WITH FIRE
BONNIE LYNCH & MARY ROEHM
The Visitor • Oils and Encaustic Linda Leslie • NM
The Encaustic Art Institute The Encaustic Art Institute represents more than 130 encaustic/ wax artists from across the nation, including Canada and Mexico. Many are mixed media artists who have worked in mediums other than encaustic and have since combined the element of wax to their work. Visit our gallery for the largest collection of inspired encaustic/wax art in the country. Gallery open to the public weekends from Noon - 5 pm or by appointment. Contact Douglas Mehrens at 505-424-6487. March through October EAI is a 501C3 non profit arts organization. For map and information go to.
www.eainm.com
Thanks to Los Alamos National Bank for their continued support.
JUNE 13 - AUGUST 2, 2014
Reception for the Artists Friday, June 13, 5 - 7 pm
SANTA FE CLAY
CONTEMPORARY CERAMICS
505.984.1122, 545 Camino de la Familia, www.santafeclay.com
18 County Road 55A (General Goodwin Road) Cerrillos NM 87010 18 miles south of Santa Fe on scenic Turquoise Trail, 2 miles north of Cerrillos
GREEN PLANET
“
I trust that many of you will recognize their own story in mine, for consciousness is our only defense now in a world dominated by the national security state. Memory is the diary that we carry around with us.” Photograph by Jennifer esperanza
JOANNA HARCOURT SMITH VISIONARY PODCAST PIONEER AUTHOR ACTIVIST Born in the Swiss mountains and raised in Paris, Harcourt Smith was moved by the music and the spirit of revolution that swept through her generation. In 1968, she emigrated to the United States where she met and fell in love with Dr. Timothy Leary. Later, Harcourt Smith became Leary’s voice to the world while he was incarcerated in a California prison. Her book— Tripping the Bardo with Timothy Leary: My Psychedelic Love Story— tells her story of that time. futureprimitive.org
JUNE
2014
THE magazine | 59
ASTILLI FINE ART SERVICES www.astillifineartservices.com
50 5-988-3505 Serving Santa Fe and the worldwide art community since 1997.
Professional fine art services for the protection, preservation and enjoyment of fine art and valued objects.
Big Eyes –Oil on canvas, 35.5”x 30”, Collection of Maria Elena Alvarez
RALPH GREENE
An Odyssey Under the Ancient Sea
Custom Archival BOXING Packing, Crating, SHIPPING Digital PHOTO Documentation
Opening Reception: Fri.,June 6, 6-9 p.m. Exhibit: June 6-30, 2014 Gallery Hours: Tues.-Sat.11-5p.m.
COLLECTION Care Specialists
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1114 Central Ave. SW, Albuquerque, NM • 505.243.9267 www.freestylegallery.com
Fine Art STORAGE
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A R C H I T E C T U R A L D E TA I L S
Peace Like a River Photograph by Lenny Foster JUNE
2014
THE magazine |61
WRITINGS
I AM A BOAT by
Cathy Aten
I am a boat. Not a Chinese junk (my blood is too foreign). Perhaps a gleaming and slippery “Have a martini”, 40′’ ode to speed? (I’d lose the key..). Maybe that great outboard motorboat we used up at the lake to go bass fishing as the dawn steam rose and we wee ones still with sleep in our eyes? (Oh, I did love the control!). What about a catamaran? Sliding and cutting so deftly through; Intent on getting there fast, lapping up the constant thrill of capsizing the thing? (Nope). I could be a giant cargo ship with all the ballast I’d ever need in rough seas (No beauty in all that safety and way too much metal. I’m not that fond of metal, anyway). A folded paper boat adrift on an even pond? (Not enough substance or staying power). I will be a canoe. My own ship carved of a tree so I will remember dry land should I turn toward forgetting. It will hold one; Two or three if I so choose. My tribe have helped me carve the thing. We will have sung songs and toasted its doneness. They hand me two paddles and I pause to bow (to them and to it). I step in alone. I push off the beach and settle my frame into the curve of the ready wood. I will not look back. I am not sad. I cut the glassy sheen of the lake and lean into my direction. I pull the water to me And let it empty behind. Pull. Empty. Pull. Empty. The rhythm lifts me And the work is not. I am free. Destination uninteresting. In raw weather I huddle in the rain and wind Sometimes just yielding to the whim of the lake. In the morning with wet and straggly hair I peek outside my parka. The way seems clear Though I do not know where I am. A loon sets me straight And my paddle meets the water. I sing Cathy Aten has had a twenty-five year career as a painter and sculptor until a diagnosis of Primary Progressive Multiple Sclerosis in 2000. She now writes about how to make a life a work of art. Her last sculpture, a ten-foot obelisk wrapped in red New Mexican soil and rests in the outdoor garden at the Santa Fe Community Convention Center. cathyaten.com
62 | THE magazine
il of Deta
m by Ji g n i int a pa
n Sloa JUNE
2014
Will Clift f o r m s
i n
B a l a n c e
c u r v i n G o v e r , 2 012 , m a h o G a n y w o o d , 2 5 x 4 9 x 2 i n c h e s Š 2 014 w i l l c l i f t, c o u r t e s y G e r a l d P e t e r s G a l l e r y
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Irene Kung
Magnolia, 2013, Pigment print on rag paper, 23 x 39 unframed
June 6-14 Irene Kung: Gli Alberi (trees) Desert Montessori Benefit featuring local ar tis t-donat ed kiln-fired glass made at Bullse y e Santa Fe
June 27 - August 3 Austr alian Contempor ary Indigenous Art III t hird bi-ennial aboriginal e xhibition featuring jus t ov er 40 works catalog available, images pos t ed online af t er June 15
c h i a r o s c u r o 702 1/2 & 708 CANYON RD AT GYPSY ALLEY, SANTA FE, NM
www. chiaroscurosantafe .com
505-992-0711