THE magazine November 2013

Santa Fe’s Monthly

m

a

g

a

z

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e

of and for the Arts • November 2013

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5

letters

12

universe of:

16

art forum:

fabric artist Ellie Beth Scott

36

blu-ray review: The Master by Davis Brimberg

39

critical reflections:

Before Falling Asleep, painting

Delmas Howe at Rio Bravo Fine Art (Truth

by Leonor Fini 19 21

23

studio

or Consequences); From Raymond Jonson

visits:

to Kiki Smith at the UNM Art Museum;

Jane Rosemont, Jerry

Wellman, and Sandra Filippucci

Group Show at A Gallery Santa Fe; Lee

one bottle:

Friedlander at Andrew Smith Gallery;

The 2009 François Gaunoux

Pommard “Les Grands Epenots” by Joshua

Modern Nature: Georgia O’Keeffe and Lake

Baer

George at the Georgia O’Keeffe Museum;

dining guide:

Cafe Fina, El Parasol, and

Harry’s Roadhouse

Nick Brandt at photo-eye Gallery; and

The story of Wilhelm Reich is one

Tanmaya Bingham at Jay Etkin Gallery

of the most frightening and shocking

27

art openings

48

flashback:

28

out & about

51

green planet:

33

previews:

Steve Northup at Rio Bravo Fine Art (T or C) national spotlight:

Steven Sprinkle: Farmer,

Esperanza 53

architectural details:

Barn Near Corona,

NM, photograph by Guy Cross

Graciela Iturbide at

Throckmorton Fine Art, New York City.

R.C. Gorman, circa 1972

Writer, Activist, photograph by Jennifer

African American Art in the 20th

Century at the Albuquerque Museum and 35

Beast! at PHIL Space;

62

writings:

“Watching War” by Rosé

CONTENTS

episodes in American history. An innovative scientist and psychoanalyst, Reich

upset

many

with

his

unorthodox views on sex, and with his investigation of energy functions in human emotions that led to his discovery of what he called “orgone energy”— derived from “orgasm” and “organism.”

In 1954, the Federal Food and Drug Administration obtained an injunction, ordering

Reich’s

literature

to

be

banned and destroyed. In an attempt to defend himself, Reich was convicted of contempt of court and imprisoned in the Lewisburg Penitentiary where he died on November 3, 1957. Listen, Little Man! (Farrar, Straus, and Giroux, $11.29 at Amazon.com) is Reich’s defense of his own life and work and represents his diagnosis of the disorder that he believed pervades most human beings.

It is a critique that speaks to that “little man” that lives inside most of us; that little man who censors our thoughts and keeps us unconscious and down; that little man who works for a paycheck, comes home and watches the news, helps the kids with their homework, and goes to bed day after day as if on automatic pilot. Reich suggests, demands, and at times implores the everyday person to assume responsibility for his or her own life and freedom, and to wake up and ask “why?”

READINGS & CONVERSATIONS

brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction, and poetry to read from and discuss their work.

LUIS ALBERTO URREA with Michael

Silverblatt

WEDNESDAY 20 NOVEMBER AT 7PM LENSIC PERFORMING ARTS CENTER Luis Urrea writes about U.S.–Mexico border culture with a tragic and beautiful intimacy that has no equal.

— Boston Sunday Globe

Luis Alberto Urrea’s native Mexico has always served as the author’s muse, inspiring all 13 books that span five genres. His nonfiction The Devil’s Highway tells the harrowing story of a group of Mexican immigrants lost in the Arizona desert. Urrea’s novels The Hummingbird’s Daughter and its sequel, Queen of America, chronicle the life of beloved healer Teresita Urrea, deemed “the Mexican Joan of Arc.” Luis Urrea grew up along both sides of the border, forever affected by its dichotomy, brutality and richness, saying, “Borders everywhere are a symbol of what divides us. That’s what interests me.”

TICKETS ON SALE NOW

ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:

www.lannan.org

LETTERS

magazine VOLUME XXI, NUMBER V

WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 & 2006 Top-5 Best Consumer Tabloids P U B L I S H E R / C R E AT I V E D I R E C T O R Guy Cross PUBLISHER/FOOD EDITOR Judith Cross ART DIRECTOR Chris Myers COPY EDITOR Edgar Scully PROOFREADERS James Rodewald Kenji Barrett S TA F F P H O T O G R A P H E R S Dana Waldon Anne Staveley Lydia Gonzales PREVIEW / CALENDAR EDITOR Elizabeth Harball WEBMEISTER

Jason Rodriguez SOCIAL MEDIA Laura Shields

Cultural provocateur Dread Scott makes work in a range of media that includes installation, photography, screen printing, video, performance, and painting. Scott has exhibited at numerous locations around the world including the Whitney Museum of American Art in New York, MoMA PS1, and the Pori Art Museum in Finland. About his work Ericka Blount-Danois wrote, “Following in the footsteps of his namesake, photographer and sculptor Dread Scott is battling for human rights—all the way to the Supreme Court.

Armed with only art materials, Brooklyn photographer and artist Dread Scott has received death threats by those threatened by the politics of his art.” Work by Scott is on view at the Santa Fe Art Institute, 1600 St. Michael’s Drive, through Friday, November 22.

CONTRIBUTORS

Diane Armitage, Kendra L. Arnold, Joshua Baer, Davis K. Brimberg, Jon Carver, Kathryn M Davis, Jennifer Esperanza, Hannah Hoel, Drew Lenihan, Iris McLister, Rosé, Richard Tobin, Lauren Tresp, and Susan Wider COVER

Still from The Master

See Blu-Ray Review: page 36

TO THE EDITOR:

Thanks for the PDF of my “Universe of” article in your October issue. I was told that copies were left at the Jay Etkin Gallery—a nice and much appreciated gesture. I also appreciate the layout by your designer of the piece, not overlaying the text on the images.

That showed a lot of respect for both.

—Sheldon Krevit, Santa Fe, via email TO THE EDITOR:

I just finished the October issue—especially enjoyed the piece on David Bradley and the photograph in “Green Planet.” Having seen the Cannupa Hanska Luger show at the Museum of Contemporary Native Arts, the review typically felt more like it was about the reviewer than the artist. I’ve always believed good art criticism has a simple purpose: it should make you want to rush out and see the work in person. Finally, I also responded to the way the rooftop pipe configurations echoed the church “cross” (no pun intended) in Guy Cross’s photograph.

—Richard Polsky, via email ADVERTISING SALES

THE magazine: 505-424-7641 Lindy Madley: 505-577-4471 DISTRIBUTION

Jimmy Montoya: 470-0258 (mobile) THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501.

Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: themagazinesf@gmail.com. Web address: themagazineonline.com. All materials copyright 2013

by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable, for any misspellings, incorrect information in its captions, calendar, or other listings.

Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel.

All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised.

THE magazine is not responsible for any claims made by its advertisers for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.

NOVEMBER

2013

TO THE EDITOR:

Thank you so much for the gift of the article in your October issue. It made me so happy that I cried when I read it. Thank you, THE magazine, Guy Cross, and Kathryn M Davis for your kind, skillful interview with this old hermit, and for letting me get on the soap box once again. I need to give credit where credit is due. Many thanks to Mr. Leroy Garcia who owns and skillfully runs two of the best galleries in the Southwest. Blue Rain Gallery is currently celebrating its 20th anniversary. Leroy and his BRG staff are generously putting together a book on my art. Thank you, Peter Stoessel, Denise Phetteplace, Vanessa Elmore, et al. Thanks to Patsy

Phillips, Suzan Harjo, and Julie Sasse for contributing essays for my book. Thanks to all my friends and relatives for all the kindness and support. Most of all, a special thanks to my wife, Arlene, and my son, Diego, for all their love and support. I am proud to say Diego is following in my footsteps at IAIA. Many thanks to Charmay Allred, Patsy Phillips, Leroy Garcia, and Tony Abeyta for producing my family’s fundraiser. Thanks to my friends who have donated artwork for our fundraiser (at the time of this writing): Marcus Amerman, Tony Abeyta, Shonto Begay, David Dawangyumptewa, Jan Musial, Dan and Arlo Namingha, Stan Natchez, Mateo Romero, Denise Wallace, and others. And thank you, IAIA. —David Bradley, San Marcos, NM, via email TO THE EDITOR:

Regarding the October Art Forum page and Davis K. Brimberg’s comment on the James Davis painting, The Last Supper. Missing was a reflection of what was cooking in the oven.

A fish? A fish that has the same color and hue as the man standing? There’s a story in this (cooking), for sure.

—Paul White, via email TO THE EDITOR:

Just a short thank you note for being such a wonderful supporter of Design Santa Fe. Without THE magazine’s support these events would not be possible.

—Thomas Lehn, Chair, Design Santa Fe, via email MARK YOUR CALANDAR December/January and February/March are double issues. Calendar listings deadlines are November 15 for the December/January issue and January 15 for the February/March issue.

THE magazine | 5

C H A R L O T T E

J A C K S O N

F I N E

A R T

I n t h e R a i l y a rd A r t s D i s t r i c t / 5 5 4 S o u t h G u a d a l u p e S t re e t , S a n t a F e , N M 8 7 5 0 1 T e l 5 0 5 . 9 8 9 . 8 6 8 8 / w w w . c h a r l o t t e j a c k s o n . c o m

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SANTA FE CLAY

The Likenesses of Light

October 16 - December 20 gallery closed November 28 - December 11

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Please visit kickstarter.com BEFORE Wednesday, November 6, 9:30 a.m. (MST) and help us reach our goal... or our project will not be funded!

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NAMPEYO :: NAMINGHA TradiTion and TransiTion

Dan Namingha, South of Hopi, 2008. Acrylic on canvas.

November 16, 2013 – May 4, 2014 Descended from the famous Tewa/Hopi potter Nampeyo, Dan Namingha and his sons, Arlo and Michael continue the family practice of art making. The exhibit includes ceramic masterworks from the Nampeyo family line as well as the contemporary works of the Naminghas.

The exhibition features works from the collection of Philip M. Smith of Santa Fe.

3101 N. Fort Valley Road • Flagstaff, Arizona 86001 Now celebrating its 85th year, MNA evokes the very spirit of the Colorado Plateau and serves as a gateway to understanding this region. Nine exhibit galleries reveal Native cultures, artistic traditions, and natural sciences.

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photograph by Joseph

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UNIVERSE OF

FABRIC ARTIST ELLIE BETH SCOTT COMBINES TECHNIQUES FROM THE DISCIPLINES OF TAPESTRY, QUILTING, AND COLLAGE IN CREATING HER MASTERFUL WALL HANGINGS. THE TAPESTRY MEDIUM ALLOWS HER INITIAL IDEAS TO DEVELOP AND EXPAND DURING HER SLOW AND DELIBERATE PROCESS. INTRODUCING QUILTING AND COLLAGE: APPLIQUÉ, A NEEDLEWORK TECHNIQUE IN WHICH MANY PIECES OF CLOTH ARE SEWN ONTO A LARGER PIECE, IS THE FOUNDATION OF HER WORK. SCOTT COLLAGES/STITCHES MANY ELEMENTS INTO ONE LARGE WALL HANGING—EACH ELEMENT WITH ITS OWN STORY TO TELL. HER WORK BRINGS NOT JUST BEAUTY TO THE VIEWER, BUT ALSO A SENSE OF HISTORY AND PLACE. SCOTT IS A COMBINATION OF STORYTELLER AND ARTIST. LOOK AND YOU WILL SEE. WWW.ELLIEBETH.COM

NOVEMBER

2013

INSPIRATIONS Grandma Moses, Lady Godiva, Sarah Bernhardt, Buddha, Golda Meir, Morticia and Gomez, Bonnie and Clyde, George Washington and Betsy Ross, tea and honey, foreign lands, and languages.

MATERIALS I envision myself as a modern-day carpetbagger who has acquired novelties and trinkets on my travels and objects that make daily life interesting and special.

I troll for sentiments that have been abandoned or have not reached their artistic potential: poems, photographs, vintage fabric, beads, buttons, and a variety of bric-a-brac.

NARRATIVE The narrative in my artwork is sourced by family stories, mythic and earnest, the universal familyof-man relationship we all have for the simple and profane, superstitions, folklore, habits, and beliefs that are rich with innuendos and possibilities.

THE magazine |13

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On the 50th anniversary of the death of JFK, a screening of Zapruder + Stolley: Witness to an Assassination, with a panel discussion on how journalism has changed since 1963.

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ART FORUM

THE MAGAZINE ASKED A CLINICAL PSYCHOLOGIST AND TWO PEOPLE WHO LOVE ART TO SHARE THEIR TAKE ON THIS PAINTING BY SURREALIST LEONOR FINI ENTITLED BEFORE FALLING ASLEEP .

THEY WERE SHOWN ONLY THE IMAGE. THEY WERE GIVEN NO OTHER INFORMATION. The woman above rests in an infantile state. She sucks

other, and in surrealist fashion, exist in ambiguous space.

This piece is calm, quiet, intimate. It is like peeking

her thumb, covers her eyes, and thinks, I cannot handle

They are locked in an embrace and an existential inquiry

in on a relationship. The girl on top is covering her

reality. I don’t want to see what is happening. Her stark

into the feminine self. They are quietly infatuated by their

eyes because she does not want to see what is going

white clothing is like a hospital gown. One imagines

shared essential beauty and through an examination of

on. Yet it is hard to look away from the profound

she is suffering from an emotional breakdown (the

each other they mutually affirm the feminist identity of

relationship that is happening between the two

two cots further suggest a hospital or prison scene).

the artist. Subsequently the top figure represents the

girls on the lower bunk. There is such comfort,

Psychologically, while we rest, our thoughts drift and

other side of this dialectic, the woman who seems to

peace, and love between them. Should I look away

our unconscious unfolds. In the lower section of this

deny her femininity by veiling herself and covering her

like the other girl? Or marvel at the innocent love?

painting, we see this woman’s unconscious wish to

gaze. She refuses to examine her peers and therefore

I wonder where they are that they all wear such

be mothered. Curiously, the maternal figure appears

refuses to self-examine. Through this dialectic, the artist

similar clothes and where there is so little décor.

to be the same age. It is possible the second figure

poetically illustrates the advent of O’Keeffe’s feminism

Perhaps they are prisoners or unwanted children

also represents a more evolved version of the same

and the power of the female form, while also denouncing

with nowhere else to go and no comfort to be found

woman. Freud pioneered the concept of dream

an ignorant archetype of the blind, voiceless woman.

except together.

condensation that applies here: multiple unconscious

—Drew Lenihan, Writer, Santa Fe

—Kendra Arnold, Designer and Developer, Santa Fe

wishes get compressed into one image simultaneously. According to Freud, this intrapsychic process occurs during dreams and resting states. Lastly, the sheet is removed from the bottom cot, leaving the woman’s genitals exposed.

Thus, while her upper body is cradled like a child, her lower torso symbolizes physical and sexual maturity. She cannot escape her adult reality.

—David K. Brimberg, Ph.D., Clinical Psychologist From such surreal imagery, I muse that this artist is a contemporary of Dalí. She is a woman who in her spare time writes letters to O’Keeffe, who informs the painter’s serene poetics of the female form. She reads some Camus, too; the painting beckons the viewer to question if we are dreaming and what are the parameters of our own existence?

Their opaque bodies float out of the painting from the dark background while the delicate color palette creates a certain transcendence of materiality, as hair becomes skin, becomes cloth.

But what is the tension here? The three

women

are

ghostly,

nearly

androgynous figures who explore their gender identity as a spectrum, rather than a binary. The bottom two figures morph into each other, mirror each

16 | THE magazine

OCTOBER

2013

Rebecca Shore Part and Parcel November 22-January 11 Artist’s Reception: Friday, November 22, 5-7 pm 505 995 0231  eightmodern.net  231 Delgado Street  Santa Fe, NM

STUDIO VISITS

THREE ARTISTS IN SANTA FE RESPONDED TO THIS STATEMENT BY THOMAS MERTON: “ART ENABLES US TO FIND OURSELVES AND LOSE OURSELVES AT THE SAME TIME.” Am I finding myself in things that peel, crumble, crack, rot? That’s a scary thought. And if I’m losing myself to them, is that what brings life to the objects I photograph? Imperfection entices me, perhaps because I can live up to it.

—Jane Rosemont Rosemont has been a partner at ViVO Contemporary through October 2013. She is the winner of the Judge’s Choice Award at Image New Mexico, 2013; the director and producer of the documentary Pie Lady of Pie Town, due out by the end of 2013. As well, two of her photographs will be included in the ANMPAS exhibition in December, 2013; and she has exhibited her photographs in various cities, including New York City and Los Angeles. janerosemontphoto.com

Art is a quest where I get myself lost and found. Dropping ordinary ways of seeing or understanding promotes discovery. I think of all that I gain by just wandering.

—Jerry Wellman Axle Contemporary is exhibiting Wellman’s drawings from his book of imagery and reveries about deathlessness—Emblems of Hidden Duration—through November 9. A Molly Sturges operetta—Hidden Durations—inspired by the book, will be performed at the Center for Contemporary Arts on November 2.

I can remember reacting poorly to something my mother enjoyed: getting lost... She would deliberately drive an alternate and vaguely considered route to our destination while I fantasized about how a twelveyear-old could subdue her mother and grab the steering wheel. My mother’s defense was, “You find things when you get lost.” What nonsense, I thought, sulking it out. I was a Point A to Point B personality forced to roam neighborhoods and bear witness to my mother’s exclamatory remarks over oval windows, round driveways or the polished lettering on a mailbox. “Would you look at that!” She would be positively beatific, different than she normally was at home. I thought she was nuts. Decades would pass before I realized just how transformative getting lost could be, and how close my mother was to being her real self on those journeys. For years, I had relied too much upon the GPS of the “familiar” in my own work, and until I lost me in those culs-de-sac my creative vocabulary lacked strength. Ultimately, I learned that the language of mystery and uncertainty can produce much more interesting results because our identity starts to emerge through the infinitesimal choices of finding our way. “You find things when you get lost.” Yep, you do.

—Sandra Filippucci Filippucci’s current work is an ongoing contemporary series referencing cacti, which, in addition to large encaustic paintings, also employs 3D computer modeling. Represented by the Morrison Gallery (MorrisonGallery.com) back East, she is represented in Santa Fe by The Wonder Institute (thewonderinstitute.org). Filippucci’s show at the Institute is extended through November and can be viewed by appointment: 505-466-4001 She is also exhibiting at the Encaustic Art Institute’s 2013 National Juried Encaustic Wax Exhibition (EAINM.com).

photographs by NOVEMBER

2013

Anne Staveley THE magazine |19

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ONE BOTTLE

One Bottle :

The 2009 François Gaunoux Pommard “Les Grands Epenots”

by Joshua

Baer

Tan Doaji said: “Watch the fires burn from across the river.” During the

become the world’s largest economy sometime between 2015 and 2020. Over

Liu Song Dynasty, Tan Doaji became a general, and earned respect as a man

the last ten years, China’s economic growth has created millions of Chinese

of wisdom, but Emperor Wen feared him. When Tan Daoji said, “Deceive

millionaires, and at least six hundred Chinese billionaires. Like tycoons all over

the heavens to cross the ocean,” he spoke of the virtue of distracting one’s

the world, China’s tycoons collect art, fast cars, and French wine.

enemy. When he said, “Loot a burning house,” he spoke of the virtue

In their new movie, Red Obsession, co-directors David Roach and

of attacking a preoccupied army. And when he said, “Borrow a corpse to

Warwick Ross document the impact of Chinese money on the price of French

resurrect the soul,” he spoke of the virtues that lie hidden in abandoned

wine. During the 1980s, first-growth Bordeaux like Château Lafite Rothschild,

traditions. Tan Daoji’s most famous quote is, “When all else fails, retreat.”

Château Haut-Brion, and Château Margaux could be bought for $1000 a case.

After the fall of Huatai, Emperor Wen summoned Tan Daoji to Jiankang,

The same wines now sell for $1200 to $1500 a bottle.

accused the general of treason, and had him killed.

Zhou Enlai said: “China is an attractive piece of meat, coveted by all, but it is very tough, and for years no one has been able to bite into it.”

Kung Fut-zu said: “If your plan is for one year, plant rice. If your plan is for ten years, plant trees. If your plan is for one hundred years, educate the people.”

Xunzi said: “Human nature is evil. Goodness is caused by intent.”

Of himself, Mao Zedong said: “I am a lone monk walking the world with a leaky umbrella.” Of life, Mao said, “It’s always darkest before it becomes totally black.” And, of the United States, Mao said, “If the U.S. monopoly capitalist groups persist in pushing their policies of aggression and war, the day is bound to come when they will be hanged by the people of the whole world.”

Lao Tzu said: “Running a large country is like cooking

If you love French wine you may have asked yourself how long you will be able to afford to drink it. The answer is, for the rest of your life.

If Chinese taste in wine can be distilled into one word, that word is “brand.” Like wealthy people everywhere, Chinese tycoons have more money than taste. People with a surplus of money and a shortage of taste always buy expensive, famous brands. In China, Lafite Rothschild, HautBrion, and Margaux are trophies first and wines second. God forbid that a man of wealth should be seen drinking a wine that is anything less than world famous.

Which brings us to the 2009 François Gaunoux Pommard “Les Grands Epenots.”

Pommard is a commune in the Côte-d’Or region of Burgundy. The name Pommard harkens back to Pomona, the Roman goddess of fruit trees, and one of the numina, or guardians, of the kitchen.

a small fish.”

Ai Wei Wei said: “I don’t think it’s worth discussing

In the glass, the 2009 François Gaunoux Pommard “Les

new directions in the context of Chinese art—there were

Grands Epenots” walks the line between garnet and scarlet.

no old directions, either. Chinese art has never had any

The bouquet blends the ancient with the modern. This is

clear orientation.” After being imprisoned by the Chinese

a time traveler’s bouquet, a moment without a narrative,

government for eighty-one days, Ai Wei Wei built six

a nose where everything happens at once. On the palate,

fiberglass dioramas of his prison cell, of the bed in his

Gaunoux’s Pommard is as smooth as a black stone at the

cell, of his guards, and of himself, eating, sleeping, and

bottom of a river. The finish makes you wait, then it rewards

using the toilet in his cell. The dioramas were smuggled

your patience with a rush of emotions. While it is possible to

out of China and exhibited at the Venice Biennale. When

drink this wine and hold back a tear, it is not recommended.

the iPhone was released in China, Ai Wei Wei said,

The wines of Pommard are the opposite of trophy

“Everyone wants an iPhone, but it would be impossible

wines. There are no grand cru vineyards in Pommard,

to design an iPhone in China because it’s not a product.

only premier crus, and there are no one hundred-point

It’s an understanding of human nature.”

wines. Because they are not “big” wines, Pommards do not

Deng Xiaoping said: “It doesn’t matter if a cat is

perform well in blind tastings. Where they do perform well

black or white, so long as it catches mice.” Deng survived

is during moments of truth: at dinner, with family, with a roast

the Great Leap Forward and the Cultural Revolution.

chicken, and among the best of friends.

In January of 1976, Zhou Enlai died. In September of

Will China change the world, or will the world change

1976, Mao Zedong died. In 1978, China agreed to allow

China? Anyone in a hurry to answer that question would do

foreign investment in the coastal province of Guangdong.

well to remember the old Chinese curse: “May you live in

When Guangdong prospered, Deng said, “Poverty is not

interesting times.”

socialism. To be rich is glorious.”

For the last thirty-five years, China’s economy has grown at an average of ten percent a year. According to various estimates, China will pass the United States and

NOVEMBER

2013

One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. The name “One Bottle” and the contents of this column are ©2013 by onebottle.com. For back issues, go to onebottle.com. Send comments or questions to jb@onebottle.com.

THE magazine | 21

DINING GUIDE

“One for David” Panko Crusted Fried Fish Sandwich

Café Fina 624 Old Las Vegas Highway (near Eldorado) Breakfast and Lunch 466-3886 $ 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.

317 Aztec 317 Aztec St. 820-0150 Breakfast/ Lunch. Patio.

Major credit cards. $$ Cuisine: Café and Juice Bar. Atmosphere: Casual.

House specialties: Breakfast: Eggs Benedict and the Hummus Bagel, are winners.

Lunch: we love all of the salads and the Chilean Beef Emanadas. Comments: Juice bar and perfect smoothies.

Andiamo 322 Garfield St. 995-9595.

Lunch/Dinner Beer/Wine. Patio.

Major credit cards. $$ Cuisine: Italian.

Atmosphere: Casual. House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: 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.

Body Café 333 Cordova Rd. 986-0362.

Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual. House specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Avocado and Cheese Wrap.

B ouche

451 W. Alameda Street 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare.

Atmosphere: Intimate with an open kitchen. House specialties: Standouts starters are the “Les Halles” onion soup and the Charcuterie Plank. You will love the tender Bistro Steak in a

pool of caramelized shallot sauce, the organic Roast Chicken for two with garlic spinach, and the Escargots a la Bourguignonne. Comments: Menu changes seasonally. Chef Charles Dale and staff are consummate pros.

Cafe Cafe Italian Grill 500 Sandoval St. 466-1391.

Lunch/Dinner Beer/Wine.

Major credit cards. $$ Cuisine: Italian.

Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad, the tasty specialty pizzas, or the grilled Eggplant sandwich. For dinner, try the perfectly grilled Swordfish.

Café Fina 624 Old Las Vegas Hiway. 466-3886.

Breakfast/Lunch. Patio Cash/major credit cards. $$ Cuisine: 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 One for David Fried Fish Sandwich, the perfect Green Chile Cheeseburger, and all of the salads. Comments: Annamaria O’Brien’s baked goods are really special. Try them. You’ll love 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 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.

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: Friendly—down home.

House specialties: For lunch try Doc’s Chile Relleno Platter or the Northern New Mexico Lamb Chops.

Dinner faves are the Pan Seared Whole Boneless Trout and the Green Chile Smothered Chicken Burrito.

Comments: Great bar.

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, with classics like Manchego Cheese marinated in extra virgin olive oil.

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 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.

Jambo Cafe 2010 Cerrillios Rd. 473-1269.

Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers, Comments: Chef Obo wins awards for his fabulous soups.

Kohnami Restaurant 313 S. Guadalupe St. 984-2002.

Lunch/Dinner Beer/Wine/Sake. Patio.

Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake.

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: The Pho Tai Hoi: vegetarian soup loaded with veggies. Comments: Friendly waitstaff and reasonable prices.

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.

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.

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.

continued on page 25 NOVEMBER

2013

THE magazine | 23

CLOUD CLIFF BAKERY at the SANTA FE FARMERS MARKET TUESDAY and SATURDAY

call to reserve your

THANKSGIVING DINNER

All-Natural Woodfire-Roasted Turkey carved with all the fixin’s to go...

Winter squash soup with Madras curry & coconut Milk all-Natural Woodfire-roasted turkey with Black truffle Madeira Gravy exotic Mushroom & chestnut stuffing roasted Brussel sprouts with chorizo Fingerling Potatoes & leeks choice of dessert, $5 additional

orange-scented chocolate Pots Du crème or White chocolate crème Brulée $30/pERSoN u pIcK up by NooN THANKSGIVING DAy

THURSDAY, NOVEMBER 28.2013 u SpEcifY if YOU’ll BE pickiNg Up HOT OR cOlD. Sunday-ThurSday, 5:00 -9:00 pm u Friday- SaTurday, 5:00 - 9:30pm 315 Old SanTa Fe Trail, SanTa Fe, nm reServaTiOnS: (505) 986.9190 u www.315SanTaFe.cOm

DINING GUIDE

Terra at Four Seasons Encantado 198 State Rd. 592, Tesuque. 988-9955.

Breakfast/Lunch/Dinner Full bar. Patio.

Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties: For breakfast, we love the Blue Corn Bueberry Pancakes and the Santa Fe Style Chilaquiles. For dinner, start with the sublime Beet and Goat Cheese Salad. Follow with the Pan-Seared Scallops with Foie Gras or the delicious Double Cut Pork Chop.

Comments: Chef Andrew Cooper partners with local farmers to bring fresh seasonal ingredients to the table.

A fine wine list and top-notch service.

EL PARASOL IN POJOAQUE FOR THE BEST BURRITOS 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: corn tortillas w/ refried black beans, eggs topped with Muteleños sauce, cotya cheese, and fresh avocado. Lunch: the Yucatán Pork Tacos. Comments: Kid’s menu and super-friendly folks.

San Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ Cuisine: Japanese Sushi and Tapas.

Atmosphere: Large room with a Sushi bar. House specialties: Sushi, Vegetable Sashimi and Sushi Platters, and a variety of Japanese Tapas.

Comments: Savvy sushi chef.

San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044.

Lunch/Dinner Full bar.

Major credit cards. $$ Cuisine: All-American. Atmosphere: Casual. House specialties: The San Francisco Street Burger or the Grilled Yellowfin Tuna Nicoise Salad.

Comments: Sister restaurant in the DeVargas Center. Comments: Reasonable prices.

Santacafé 231 Washington Ave. 984-1788.

Lunch/Dinner Full bar. Patio.

Major credit cards. $$$ Cuisine: Southwest Contemporary.

NOVEMBER

2013

Atmosphere: Minimal, subdued, and elegant House specialties: The worldfamous calamari never disappoints.

Favorite entrées include the grilled Rack of Lamb and the Pan-seared Salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Happy hour special from 4-6 pm. Half-price appetizers.

“Well” cocktails and House Margaritas only $5.

Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033.

Lunch/Dinner Full bar. Patio.

Major credit cards. $$ Cuisine: American and New Mexican.

Atmosphere: Casual and friendly.

House specialties: Cornmeal-crusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet.

Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800.

Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare.

Atmosphere: Contemporary and hip.

House specialties: we suggest that you start with the Seared Ahi Tuna.

For your main, we love the Chicken Fried Chicken with mashed potates and bacon bits, the flavorful Ceviche, or the Beer Battered Fish and Chips.

All of the desserts are right on the mark. Comments: A great selection of wines from around the world.

Quality beers. And marvelous mixed drinks. Two happy hours: 3-6 pm and 9 pm on. Generous portions and reasonable prices. Menu changes with the seasons. Go. Saveur 204 Montezuma St. 989-4200.

Breakfast/Lunch Beer/Wine. Patio.

Visa/Mastercard. $$ Cuisine: French meets American.

Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily specials, gourmet sandwiches, wonderful soups, and an excellent salad bar. Comments: Organic coffees and super desserts. Do not pass on the Baby-Back Ribs.

Second Street Brewery 1814 Second St. 982-3030.

Lunch/Dinner Beer/Wine. Patio.

Major credit cards. $$ Cuisine: Simple pub grub and brewery.

Atmosphere: Real casual. House specialties: Beers are outstanding, when paired with the Beer-steamed Mussels, Calamari, Burgers, or Fish and Chips.

Comments: Sister restaurant in the Railyard District.

Shohko Café 321 Johnson St. 982-9708.

Lunch/Dinner Sake/Beer.

Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine.

Atmosphere: Sushi bar, table dining.

House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes.

Comments: Friendly waitstaff.

Station 430 S. Guadalupe. 988-2470 Breakfast/Lunch Patio Major credit cards. $ Cuisine: Light fare and fine coffees and teas. Atmosphere: Friendly and casual.

House specialties: For breakfast, get the Ham and Cheese Croissant. Lunch fave is the Prosciutto, Mozzarella, and Tomato sandwich. Comments: Special espresso drinks.

Steaksmith at El Gancho

Old Las Vegas Hwy. 988-3333.

Lunch/Dinner Full bar.

Major credit cards $$$ Cuisine: American.

Atmosphere: Family restaurant House specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce.

Comments: They know steak here.

Sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner.

Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods.

Atmosphere: Large open room.

House specialties: In the am, try the Mediterranean Breakfast— Quinoa with Dates, Apricots, and Honey. Lunch favorites is the Indonesian Vegetable Curry on Rice; Comments: For your dinner , we suggest the Prix Fixe Small Plate: soup, salad, and an entrée for $19. Wines and Craft beers on tap.

Tecolote Café 1203 Cerrillos Rd. 988-1362.

Breakfast/Lunch Major credit cards. $$ Cuisine: New Mexican and American.

Atmosphere: Down home and casual.

House. specialties: For breakfast, go for either the Sheepherder’s Breakfast: new potatoes with jalapeno and onion, topped with red and green chile, melted chees, and with two eggs any style or the perfect Eggs Florentine: two poached eggs with hollandaise and an English muffin or the made-from-scratch pancakes.

Lunch favorites are the Carne Adovada Burrito; the Green Chile Stew; the Tostada Compuesta; and the Frito Pie. Comments: No toast is served at Tecolote. Why? It’s a Tecolote tradition, that’s why.

The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive. 505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: Local flavors. Atmosphere: Casual, calm, and friendly. House specialties: At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, foillow with the Trout with a Toasted Piñon Glaze. Comments: Nice wine bar.

The Compound 653 Canyon Rd. 982-4353.

Lunch/Dinner Full bar. Patio.

Major credit cards. $$$$ Cuisine: Contemporary. Atmosphere: 150-year-old adobe.

House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime.

Comments: Chef/owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award.

The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: Modern Italian Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch: the Prime Rib French Dip. Dinner: go for the Scottish Salmon poached in white wine, or the Steak au Poivre.

The Pink Adobe 406 Old Santa Fe Trail. 983-7712.

Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club. For dinner, Steak Dunigan or the Fried Shrimp Louisianne. Comments: Cocktails 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 ribs.

Tia Sophia’s 210 W. San Francisco St. 983-9880.

Breakfast/Lunch Major credit cards. $$ Cuisine: Traditional New Mexican.

Atmosphere: Easygoing and casual.

House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese. Comments: The real deal Tune-Up Café 1115 Hickox St. 983-7060.

Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home.

House specialties: For breakfast, order the Buttermilk Pancakes or the Tune-Up Breakfast. Comments: Real friendly.

Vinaigrette 709 Don Cubero Alley. 820-9205.

Lunch/Dinner Beer/Wine.

Major credit cards. $$ Cuisine: American. Atmosphere: Light, bright and very cheerful. House specialties: All organic salads. We love all the saleads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: NIce seating on the patio. In Albuquerque, visit their their sister restaurant at 1828 Central Ave., SW. Zacatecas 3423 Central Ave., Alb. 255-8226.

Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican.

Atmosphere: Casual and friendly.

House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Slow Cooked Pork Ribs. Also offered are over sixty-five brands of Tequila.

Zia Diner 326 S. Guadalupe St. 988-7008.

Breakfast/Lunch/Dinner Full bar. Patio.

Major credit cards. $$$ Cuisine: All-American Atmosphere: Down home. House specialties: The Chile Rellenos and Eggs is our breakfast choice. At lunch, we love the burgers, the Southwestern Chicken Salad and the crispy Fish and Chips. Comments: wonderful selection of sweets to takeout. The bar is the placeto be at the cocktail hour.

HARRRY’S - 95 OLD LAS VEGAS HIGHWAY

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.

THE magazine | 25

DAVID RICHARD GALLERY

Nancy Dwyer, Window Seat (The Window Always Wins), Upholstered cushions on painted steel, 19” x 67” x 30”

Life Support: Art <-> Design, Sustenance B + U, Coral Lamp, ABS Plastic, 18” x 16”

Through – November 30, 2013

Opening Reception: Friday, November 1, 5:00 - 7:00 P.M.

Featuring work by:

Jack Craig, Folded Chair, Industrial PVC, 32” x 18” x 24”

B+U Jack Craig Nancy Dwyer Allan Graham Scott Klinker Stephen Knapp Ted Larsen Thomas Lehn

MachineHistories Michael McCoy Derek Porter Rael San Fratello Piper Shepard Peter Stathis Peter Tolkin Nancy VanDevender

DavidrichardGALLEry.com Nancy VanDevender, Tattoo Parlour - Detail, Mixed media, 120” x 23.5”

544 South Guadalupe Street, Santa Fe, NM 87501 (505) 983-9555 | info@DavidRichardGallery.com

OPENINGS

NOVEMBERARTOPENINGS FRIDAY, NOVEMBER 1

516 Arts, 516 Central Ave. SW, Alb. 505242-1445. Photography Book Release Party and Special Benefit Sale: author signing of Hip Hop: Portraits of an Urban Hymn by David Scheinbaum and The Tenuous Stem by Janet Russek. 6-8 pm.

5G Gallery, 1715 5th 977-9643. An Emerging The Wednesday Abstract of paintings, drawings, 5-8 pm.

St. NW, Alb. 505Conversation—WAG, Group: group show and mixed media.

David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Life Support: Art <—> Design Sustenance: featuring functional and unique art. 5-7 pm.

Eggman and Walrus, 131 W. San Francisco St. and 130 W. Palace Ave., Santa Fe. 660-0048. Fusion: national juried show of contemporary encaustic art. 7-9 pm.

Marigold Arts, 424 Canyon Rd., Santa Fe. 982-4142. International Folk Art from the Estate Collection of Liselotte Kahn: exhibit and sale of international folk art. 5-7 pm.

Santa Fe Clay , 545 Camino de la Familia, Santa Fe. 984-1122. Repsher+Repsher: ceramics by David and Matt Repsher. Small Treasures: group show curated by Avra Leodas. 5-7 pm.

The Gallery ABQ, 8210 Menaul Blvd.NE, Alb. 505-292-9333. Celebration of Clay—Intimate Visions: juried ceramic show by members of NM Potters and Clay Artists. 5-8 pm.

SATURDAY, NOVEMBER 2

Stranger Factory, 109 Carlisle Blvd. NE, Alb. 505-508-3049. Engine: paintings by Brandon “Ragnar” Johnson. Sentimentrees: objects by Gary Ham. 6-9 pm.

5G Gallery, 1715 5th St. NW, Alb. 505-977-9643.

An Emerging Conversation—WAG, The Wednesday Abstract Group: group show of paintings, drawings, collage, and mixed media. 5-8 pm.

Greg Moon Art, 109-A Kit Carson Rd., Taos.

575-770-4463. Recent Works: paintings by Peter Parks. 5-7 pm.

SITE Santa Fe, 1606 Paseo de Peralta, Santa Fe. 989-1199. DesignLAB—Next Nest: juried exhibition of new design concepts. 5-7 pm.

Weyrich Gallery, 2935-D Louisiana Blvd.

NE, Alb. 505-883-7410. Blue and White Porcelain: works by Kathryne Cyman and University of New Mexico students. Noon.

SUNDAY, NOVEMBER 3

Leich Lathrop Gallery, 323 Romero St. NW, Alb. 505-243-3059. An Epic of Self-Indulgent Certainties: mixed media, photography, paintings, and drawings by Alex Peña. 3-5 pm.

THURSDAY, NOVEMBER 7

Rotunda Gallery, 491 Old Santa Fe Trail, Santa Fe. 792-2985. Poetry and Artist Books: talk, reading, and trunk show of books by Marilyn Stablein. 2 pm.

FRIDAY, NOVEMBER 8

Ellsworth Gallery, 215 E. Palace Ave., Santa Fe. 989-­7900. Alluvium: gestural abstract paintings by Kathryn Stedham. 5-7 pm.

Exhibit 208, 208 Broadway SE, Alb. 505977-0085. Loaded: new paintings by Shawn Turung. 5-8 pm.

GF Contemporary, 707 Canyon Rd., Santa Fe, 988-3707. Obscured Information: deconstructed and then reconstructed still lifes by Eric Reinemann. 5-7 pm.

SATURDAY, NOVEMBER 9

Rio Bravo Fine Art, 110 N. Broadway, Truth or Consequences. 575-894-0572. I’m Just the Photographer: work by Steve Northup. 6-9 pm.

FRIDAY, NOVEMBER 15

A Gallery Santa Fe, 154 W. Marcy St. #104, Santa Fe. 603-7744. New Musings: works by Alice van Buren, Norbert Voelkel, and gallery artists. 5-7 pm.

Left: Anasazi: Stone & Bone is on view from November 15 through December 31 at Native Stock Pictures, 1036 Canyon Road, Santa Fe. Reception: Friday, November 15 from 5 to 7 pm.

continued on page 30 NOVEMBER

2013

THE magazine |27

Honey Harris in Conversation with THE magazine on Thursday, November 7 at 10:30 am 98.1 FM KBAC

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Museum of Northern Arizona, 3101 N. Fort Valley Rd., Flagstaff. 928-774-5213. Nampeyo: Namingha—Tradition and Transition: ceramics, paintings, drawings, and sculptures honoring the Hopi tradition. 7 pm.

Native Stock Gallery, 1036 Canyon Rd., Santa Fe. 888-765-3332. Anasazi—Stone and Bone: photography and encaustic art by Angel Wynn. 5-7 pm.

Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Ruminative Figures: sculpture by Dunham Aurelius. 5-7 pm.

FRIDAY, NOVEMBER 15

Verve Gallery of Photography, 219 E. Marcy St., Santa Fe. 982-5009. Group Show: works

by Kae Grant, Kamil Vojnar, and Krzysztof Wladyka. 5-7 pm.

SATURDAY, NOVEMBER 16

Nedra Matteucci Galleries, 1075 Paseo de Peralta, Santa Fe. 982-4631. Impressions from Russia and the Faraway: paintings by Leon Gaspard. 2-4 pm.

Above: Obscured Information—deconstructed and then reconstructed stil lifes by Eric Reinemann at GF Contemporary, 707 Canyon Road. Reception: Friday, November 8 from 5 to 7 pm.

Below: Repsher + Repsher—works by a father and son pottery team at Santa Fe Clay, 545 Camino de la Familia. Reception: Friday, November 1 from 5 to 7 pm. Artist talk at 5:30 pm.

FRIDAY, NOVEMBER 22

Eight Modern, 231 Delgado St., Santa Fe. 9950231. Part and Parcel: works in gouache and acrylic by Rebecca Shore. 5-7 pm.

FRIDAY, NOVEMBER 29

Marigold Arts, 424 Canyon Rd., Santa Fe. 982-4142. Holiday Splash: weavings by New Mexican artists. 5-7 pm.

AVA / A Virtual Artspace, 316 Read St., Santa Fe. 505-795-8139. K’un, the Receptive: the second hexagram of the I Ching is explored photographically as video, stills, and a 3D print

by Buchen/Goodwin. 5-8 pm.

Turner Carroll Gallery, 725 Canyon Rd., Santa Fe. 986-9800. Idle Hands: group show.

5-7 pm.

Gebert Contemporary, 558 Canyon Rd., Santa Fe. 992-1100. Matter and Spirit: paintings by Colin Cochran. 2-4 pm.

Jane Sauer Gallery/Tansey Contemporary, 652 Canyon Rd., Santa Fe. 995-8513. Mark Bowles’ Southwest: paintings by Mark Bowles.

5-7 pm.

Ward Russell Photography, 102 W. San Francisco St., Santa Fe. 231-1035. Down Mexico Way: photographs by Ward Russell. 5-7 pm.

of the Smithsonian American Art Museum.

Through Jan. 19, 2014. cabq.gov/culturalservices/ albuquerque-museum Altermann Galleries and Auctioneers, 345 Camino del Monte Sol, Santa Fe. 983-1590.

Auction in Santa Fe: 375 works by past and present Masters of the American Southwest.

Sun., Nov. 17. altermann.com

SATURDAY, NOVEMBER 30

Aldea Community Center, 3 Nuevo Milenio, Santa Fe. 314-570-9516. Aldea Holiday Arts and Crafts Show: ceramics and jewelry by local artists.

10 am-4 pm.

Jane Sauer Gallery/Tansey Contemporary, 652 Canyon Rd., Santa Fe. 995-8513. Small Scale, Big Ideas: small works by Dina Brodsky, Christina Goodman, and Rachel Bess. Charla Khanna: dolls by Charla Khanna. 1-4 pm.

SPECIAL INTEREST

516 Arts, 516 Central Ave. SW, Alb. 505-2421445. 516 Words—As/Us Indigenous and Latina Poets: reading of poetry inspired by Art at the Border: 21st Century Responses. Thurs., Nov. 14, 7 pm. 516arts.org 1629 Club, Casa Rondeña Winery, 733 Chavez Rd. NW, Los Ranchos de Alb. 505-452-7208.

Labor of Love: fresco panels and acrylic paintings

by Frederico Vigil. Through Sun., Dec. 15. casarondena.com Albuquerque ARTScrawl, various locations in Alb. 505-244-0362. First Friday ARTScrawl: citywide gallery openings. Fri., Nov. 1, 5-8:30 pm. ARTScrawl in Albuquerque: Old Town gallery openings. Fri., Nov. 15, 5-8:30 pm. artscrawlabq.org Albuquerque Museum, 19th and Mountain Rd. NW, Alb. 505-243-7255. African American Art in the 20th Century: works from the collection

[C]File, 223 N. Guadalupe, Santa Fe. 917-3180768. [C]File Goes Online: website for non-profit community of clay and ceramic artists in art, architecture, and design. Fri., Nov. 1. cfonline.org Chiaroscuro Contemporary Art, 702 1/2 Canyon Rd., Santa Fe. 992-0711. Gallery Artists Group Show: work by a selection of gallery artists.

Through Sat., Nov. 23. chiaroscurosantafe.com Eldorado Hotel and Spa, 309 W. San Francisco St., Santa Fe. 988-4455. IEA EncaustiCon 2013: conference hosted by International Encaustic Artists. Through Sun., Nov. 3. encausticon.com Encaustic Art Institute, 18 County Rd. 55-A, Cerrillos. 505-424-6487. 3rd Annual Juried Encaustic/ Wax Exhibition: group show with exhibition winners.

Through Mon., Nov. 4. eainm.com Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700 Santa Fe Art Auction: the Southwest’s largest auction of classic Western Art. Live Auction: Sat., Nov. 16.

Ghost Ranch Education and Retreat Center, 1708 U.S. 84, Abiquiu. 505-685-4333. Heartbeat of Gratitude—An Alternate Thanksgiving: teachings

by Native Elders, plus dancing and music by Southern Red Singers/Drum Group. Fri., Nov. 15 through Sun., Nov. 17. ghostranch.org Harwood Museum, 238 Ledoux St., Taos. 575758-9826. 90th Anniversary: ongoing exhibitions and special events. Through Sun., Jan. 26. harwoodmuseum.org

OPENINGS

Harwood Museum, 238 Ledoux St., Taos. 575758-9826. Billy Goat Ballad: performance by the Loren Kahn Puppet and Object Theatre. Sat., Nov. 23, 11 am. harwoodmuseum.org Heinley Fine Arts, 119-C Bent St., Taos. 617947-9016. Paint this Land: paintings by Jivan Lee. Through November. heinleyfinearts.com Hispanic Arts Center, 300 San Pedro Dr. NE, Alb. 505-222-9700. 22nd Annual National Juried Pastel Painting Exhibition: award ceremony, exhibition, and demonstrations. Reception: Fri., Nov. 1, 5-8 pm. Through Sun., Nov. 24. pastelsnm.org Leich Lathrop Gallery, 323 Romero St. NW, Alb. 505-243-3059. Roundtable Discussion—Art and Spirituality. Thurs., Nov. 14, 7-8:30 pm. leichlathropgallery.com LewAllen Galleries at the Railyard, 1613 Paseo de Peralta, Santa Fe. 988-3250. Beyond Earth’s Rhythms: paintings by Michael Roque Collins.

Through Sun., Nov. 24. lewallengalleries.com Museum of Indian Arts And Culture, 710 Camino Lejo, Santa Fe. 476-1250. Heart Beat— Music of the Native Southwest: exhibits and events related to the dance and music of Southwestern Native Americans. Through Tues., April 1, 2014. indianartsandculture.org Museum of International Folk Art, 706 Camino Lejo, Santa Fe. 476-1200. FUZE.SW— Food and Folklore Festival: discussion, lectures,

and demonstrations in honor of New Mexican cuisine. Fri., Nov. 8 through Sun., Nov. 10. fuzesw.museumofnewmexico.org Museum of International Folk Art, 706 Camino Lejo, Santa Fe. 476-1200. Audio Revolution on Museum Hill—Connecting Artists, Empowering Youth: a collaboration of Youth Media Project of Santa Fe and N’M Power of Albuquerque. Thurs., Nov. 14, 5:30-8 pm. Stitching Memories, Saving Lives—Santa Fe Stories of the AIDS Memorial Quilt: slide show and discussion. Sun., Nov. 3, 1-4 pm. internationalfolkart.org New Mexico Museum of Art, 107 W. Palace Ave., Santa Fe. 476-5072. Collecting is a Curiosity/ Inquiry and A Life in Pictures—Four Photography Collections: two group shows. Through Sun., Jan. 19. 50 Works for 50 States—New Mexico: gift of the Dorothy and Herbert Vogel Collection.

Through Sun., April 13. nmartmuseum.org Nueva Vista at La vida Llena, 11100 Lagrima de Oro NE, Alb. 505-293-4001. Vivian Vance: presentation on the actress by Lou Ann Graham.

Thurs., Nov. 7, 6:30-8 pm. abqtheater.org Salon X, 226 Paseo del Pueblo Norte, Taos.

575-758-1584. Elements: paintings by T.D. Olson and Greg Moon. Through Sat., Nov. 30. salonxtaos.com Santa Fe Art Institute, 1600 St. Michael’s Dr., Santa Fe. 424-5050. Dread Scott: works in a range of media including installation, photography,

screen printing, video, performance, and painting.

Through November 22.

Santa Fe Arts Commission Community Gallery, 201 W. Marcy St., Santa Fe. 9556705. 2013 Common Ground: Art Exhibit and Prize: winners were announced on Friday, Oct. 25.

Santa Fe Community College, 6401 Richards Ave., Santa Fe. 428-1776. From the Inside: faculty exhibition. Through Wed., Jan. 15, 2014. sfcc.edu Santa Fe Convention Center, 201 W. Marcy St., Santa Fe. 983-5220. 15th Annual Recycle Santa Fe Art Festival: juried exhibitions, costume contests, and art market. Fri., Nov. 15 through Sun., Nov. 17. recyclesantafe.org Tamarind Institute, 2500 Central Ave., Alb. 505-277-3901. A Few of Our Favorite Things: lithographs and monotypes from the collection.

Through Fri., Jan. 17. tamarind.unm.edu Taos Art Museum, 227 Paseo del Pueblo Norte, Taos. 575-758-2690. Ron Barsano—The Naked Truth: paintings by Ron Barsano. Through Sun., Jan. 5. taosartmuseum.org ViVO Contemporary, 725 Canyon Rd., Santa Fe. 982-1329. The Universe Next Door: group show.

Through Wed., Nov. 20. vivocontemporary.com Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. User Driven

Design: workshop on parametric design and 3D printing. Sat., Nov. 2, 2:30-4:30 pm. zanebennettgallery.com PERFORMING ARTS

The Lodge at Santa Fe, 750 N. St. Francis Dr., Santa Fe. 992-5800. Boom Box Burlesque: Zircus Erotique Burlesque performs to live music by Chango. Fri., Nov. 1, 9 pm. zeburlesque.com National Hispanic Cultural Center, 1701 4th St. SW, Alb. 505-246-2261. Todo Es de Color: Yjastros: The American Flamenco Repertory Company presents new work by Alejandro Granados. Thurs., Nov. 7 through Sat., Nov. 9.

Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. John Graham in Concert: music for solo viola. Sun., Nov. 3, 2 pm. zanebennettgallery.com CALL FOR ARTISTS

Bullseye Glass Co., 3722 SE 21st Ave., Portland. 503-232-8887. Emerge 2014: 8th biennial international kiln-glass juried exhibition for emerging artists. Deadline: Fri., Dec. 6. bullseyeglass.com Parallel Studios, P.O. Box 31674, Santa Fe. 216-9638. Currents 2014—5th Annual Santa Fe International New Media Festival: annual contest for new media artists. Deadline: Mon., Jan. 6. currentsnewmedia.org

Above: An exhibition of photographs—Une Lumière Obscure—by Savannah Spirit is on view through November 23 at Galerie Edition Photo, 21, rue Notre Dame de Nazareth, Paris, France.

Right: A three-person show with works by Kae Grant, Kamil Vojnar, and Krzysztof Wladyka will be on view at Verve Gallery of Photography, 219 East Marcy Street, through January 11. Reception: Friday, November 15 from 5 to 7 pm. Photograph: Kae Grant.

NOVEMBER

2013

THE magazine |31

3

PREVIEWS

I’m Just the Photographer: photographs by Steve Northup November 9 to December 29 Rio Bravo Fine Art, 110 North Broadway, Truth or Consequences. 575-894-0572 Reception: Saturday, November 9, 6-9 pm Steve Northup’s photographic journey begins in New Mexico, but his path in between has taken him through history in the making, both in the United States and on foreign shores. Northup started working at a newspaper while in high school in New Mexico, and in 1962 he was hired by the wire service United Press International and began a career chronicling some of the most definitive moments of the 1960s and 1970s—the death and terror of the Vietnam war, the American Indian Movement’s 1972 takeover of the Bureau of Indian Affairs in Washington, D.C., and the building of the trans-Alaska pipeline. Over the course of forty years, Northup’s work appeared in such publications as The Washington Post and TIME magazine, and he received First Prize from the White House News Photographers Association in 1972 and was awarded a prestigious Nieman fellowship at Harvard in 1974. Northup appears to have avoided the trap many photojournalists fall into: only having the ability to see the world in fleeting, dramatic moments through a rectangular frame. In a brief article for the Nieman Foundation in 1998, Northup wrote: “You must put the camera down once in a while and really see what is going on around us. We must feed our soul as much as we would feed the Kodachrome in the camera. And there are things, like mountain ranges turning deep purple, that simply do not fit on film.” Northup’s deeply felt humility and humanity is reflected in his photographs, on view at Rio Bravo Fine Art through the end of the holiday season.

African American Art in the 20th Century: works from the collection of the Smithsonian American Art Museum Through January 19, 2014 The Albuquerque Museum, 19th and Mountain Road Northwest, Albuquerque.

505-243-7255 On August 9, 1936, 23-year-old track and field athlete Jesse Owens, an African-American man, won his fourth gold medal for the United States in the Berlin Summer Olympics with Adolf Hitler watching from the stands.

About a year later, artist Joseph Rugolo painted the vibrant, geometric Mural of Sports for the gymnasium of a New York City school, featuring a large figure of a black sprinter charging proudly towards the viewer.

On August 28, 1955, fourteen-year-old Emmett Louis Till was murdered in Mississippi at the height of the Jim Crow era after speaking to a white woman.

After Till’s mother insisted on an open casket funeral, newspaper photographs of the boy’s mutilated body inspired artist David C. Driskell to paint Behold Thy Son where a battered figure resembling the crucified Jesus is embraced by two white-robed arms. And in 1971, artist Barbara Jones-Hogu of the African Commune of Bad Relevant Artists, or AfriCOBRA, created a print of raised, clenched fists and faces framed in Afro hairstyles under the word “UNITE,” a symbol of the larger Black Power movement that was then at its peak. Through artistic styles as wideranging as postmodernism, documentary realism, and abstraction, the struggles and victories of AfricanAmerican culture in the twentieth century inspired an outpouring of artistic creation. This month at the Albuquerque Museum, one hundred and three works from the Smithsonian American Art Museum’s unmatched collection of African-American art will be on view, many for the first time. Public programs, including jazz, hip-hop and gospel performances, will take place at the museum through January in celebration of this important exhibition.

Top: Steve Northup, Antigua Procession, silver print, nd.

32| THE magazine

NOVEMBER

2013

John Currin oil on canvas

Composition frame with antique silver leaf made for Mr. Steven Spielberg

Picture Frame Specialist since 1971

Randolph Laub studio 2906 San Isidro Court

3

Santa Fe, NM 87507

www.laubworkshop.com

3

505 473-3585

In the December/January Double Issue

“BEST BOOKS 2013” PREVIEWS, REVIEWS, WRITINGS, ONE BOTTLE, ART FORUM, THE UNIVERSE OF, GREEN PLANET, NATIONAL SPOTLIGHT, ARCHITECTURAL DETAILS, STUDIO VISITS, CALENDAR, AND OUT & ABOUT

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TO ADVERTISE IN THIS ISSUE: THE magazine • 505-424-7641 • themagazinesf@gmail.com Lindy Madley • 505-577-4471 • lindy.themagazine@gmail.com

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

Graciela Iturbide Etla, Oaxaca, 2005 Graciela Iturbide is one of the most influential Latin American photographers of our time, representing the complexities and beauty of Mexican cultures in her striking, black-and-white images. Iturbide is known for Angel Woman, a photograph of a Seri woman in the Sonoran desert, carrying a tape player around the crest of a hill with her long white skirt billowing behind her—a picture she would have overlooked had her editor not noticed it, she said in a recent interview with the London Guardian, calling it “a present from the desert that surprised me.” But Iturbide’s oeuvre isn’t limited to her home country. Her photographs of stray dogs in India, the bleak landscape of the American South, and myriad other subjects represent a rich range of movement and stillness. Iturbide has won multiple awards, including a Guggenheim Fellowship, and her work is exhibited in museum collections around the world. An exhibition of Iturbide’s work runs from Thursday, November 14 through Saturday, January 11, 2014 at Throckmorton Fine Art, 145 East 57th Street, New York City.

NOVEMBER

2013

THE magazine |35

B L U - R AY R E V I E W

The Master by

Davis K. Brimberg

these poisons. These bizarre acts clearly display Quell’s

boat to China. All by myself. Alone.” One can’t decide if Dodd

anger toward himself and others. Upon close inspection,

wants to have sex with Quell or to kill him—perhaps both?

Hoffman’s Dodd is equally disturbed. As a cult leader of

An element beyond the relationship between Quell

“The Cause,” Dodd is a narcissist and sociopath to the

and Dodd is worth noting: A third, pivotal role in the film is

point of megalomania. His lack of conscience is boundless

Peggy Dodd, Lancaster Dodd’s wife, played by Amy Adams,

The Master, written and directed by Paul Thomas Anderson

as he parasitically bleeds others financially and emotionally.

whose superb performance earned her a Best Supporting

(Boogie Nights, Magnolia, There Will be Blood), was modeled

Throughout the film Anderson subtly asks his audience,

Actress nomination. Peggy is the biggest supporter of “The

after the late L. Ron Hubbard, founder of Scientology, but

which of these maniacs is worse? While Quell barely functions

Cause” and the only person with any influence over Dodd.

it is not a film about Scientology or about Hubbard. This is

in society and inflicts harm on an individual level, Dodd uses

In a critical scene, she informs her husband of what she will

a psychologically complex film—a compelling, mesmerizing,

his social acumen to exploit people at large. The relationship

and will not allow him to do. This moment humanizes Dodd

and profoundly disturbing work of art that brilliantly creeps

of Quell and Dodd is multilayered and purposefully unclear

to the audience as much as it illustrates Peggy’s strength.

Dodd softly sings: “I’d like to get you on a slow boat to China. All by myself.

Alone.” along like a slow-moving storm. However, this reaction is

to the audience. In one sense, we observe a father–son

The ocean, a spiritual metaphor, is a notable element.

not one shared by all viewers; many were so bored by the

dynamic between the two characters: Quell comes to Dodd

Anderson shows it intermittently, giving the sea its own

film that they walked out of the theater before it was over.

in need and Dodd eagerly assigns himself the paternal role.

voice and character. Psychologically, the ocean is thought

Released in 2012 (now available on DVD) and set against an

Some examples of this dynamic are when Dodd tells Quell,

to symbolize the unconscious, sexuality, the soul, and

ominous soundtrack, The Master explores the relationship

“You’ve wandered from the proper path,” “You are the

emotions. Perhaps Anderson uses the ocean to remind us

between two deeply troubled men: Freddie Quell (Joaquin

bravest boy I ever met,” and refers to Quell as “a naughty

of Quell and Dodd’s unconscious desires. Psychopathology

Phoenix) and Lancaster Dodd (Phillip Seymour Hoffman).

boy.” There is even an intermittent yet persistent anger and

and sociopathology are at the core of The Master, and I

Both performances are extraordinary, earning each an

competitiveness to the Quell-Dodd dyad—a dynamic all too

delighted in its expert depictions of mental illness. Even when

Academy Award nomination.

common between fathers and sons.

Quell responds to Rorschach inkblots during a psychological

On the surface, Phoenix’s Quell is the more flagrantly

Another layer to their relationship is delivered as

evaluation, he provides answers that would be spot-on in

psychologically disordered of the two. He is an alcoholic

homoerotic overtones. They wrestle, intensely stare at each

hypersexual and aggressive patients. This is a difficult film as it

drifter without any family who is prone to criminal acts. We

other, and speak while being remarkably close physically.

asks its audience to work to fully understand its complexities.

observe his breakdowns, cognitive distortions, emotional

In one vague yet powerful scene, Dodd serenades Quell

Watching Quell and Dodd collide is fascinating. The movie is

immaturity, social deficits, and hypersexual and aggressive

with the 1940s ballad “I’d Like to Get You on a Slow Boat

like a jigsaw puzzle. If you like puzzles, rent The Master today.

behavior. Quell also consumes odd concoctions of toxins

to China.” And exactly how would Dodd like to get Quell

(such as paint thinner) and passive-aggressively doles out

on this boat? Dodd softly sings: “I’d like to get you on a slow

NOVEMBER

2013

Davis K. Brimberg is a clinical psychologist and writes for the monthly Art Forum page in THE magazine.

THE magazine |37

CRITICAL REFLECTION

Modern Nature: Georgia O’Keeffe and Lake George

Georgia O’Keeffe Museum 217 Johnson Street, Santa Fe

What is this miracle by which a woman, even in your arms, may withdraw herself,

I remember seeing my first O’Keeffe

utterly disappear till what you hold is as inaccessible as the face of a cliff?

pastel, Over Blue (1918), in one of the early exhibitions at the Museum. It’s very similar

—Charlotte Perkins Gilman, from the novel Herland.

to her more famous painting Music: Pink

IT JUST SO HAPPENS THAT AS I NEARED THE END OF

and Blue (1919), but the pastel has a more luscious surface and a subtler blending

the novel Herland, written one hundred

variety of topics. In a paragraph in Roxana

work… ‘She is a smart old girl,’ Georgia

of color that her paintings never quite

years ago by Charlotte Perkins Gilman

Robinson’s book Georgia O’Keeffe: A Life,

pronounced.” If O’Keeffe’s breakthrough

achieved. In Modern Nature, the pastel Pond

(1860-1935), I came to the passage above

Robinson states, “Georgia was reading

artwork began to take shape during her

in the Woods (1922) is both startling and not

and it reminded me of Georgia O’Keeffe.

seriously this year [1916]: Ibsen, Dante,

time in the Greenwich Village circles that

a little hallucinatory—as if O’Keeffe were

I felt strongly that O’Keeffe must have

and Nietzsche… There was also The

included Gilman, the latter’s far-reaching

depicting a state of mind as a convoluting

read this remarkable work of visionary

Forerunner, written and edited by Charlotte

views of women and their relationships to

vortex rather than a real body of water.

fiction, published in 1915, and perhaps

Perkins Gilman. The feminist publication

nature, society, and themselves can be seen

One of the most unusual images in

other texts by Gilman as well. After some

was serializing the last part of ‘The Dress

as visual threads in O’Keeffe’s own radical

this exhibition is Starlight Night (1922), and

digging around, I found what I was looking

of Women,’ which Georgia recommended

artistic output and in her personal style.

it too has a hallucinatory quality that brings

for: O’Keeffe’s admiration for Gilman’s

(‘It’s

feminist

That O’Keeffe was an original goes without

to mind van Gogh’s Starry Night. Part of

radical feminism and published views on a

utopian novel Herland, a cheerfully radical

saying, but she did not pop out fully formed

the gravitational pull of Starlight Night is its

from the center of a void. Her views fit into

division into three separate-but-related

the context of a fierce quest for liberation

zones: an indigo sky in the background with

pursued in the first waves of American

dots for stars, black hills and black water in

female independent thinking that evolved at

the middle, and in the foreground, undulating

the end of the nineteenth and the beginning

waves of dark-blue terrain. For one thing,

of the twentieth century. It was the perfect

stars don’t reflect against the land, but in this

time for an artist like O’Keeffe to emerge.

painting they do—there are all these floating

great.’)

and

Gilman’s

It was in this heady atmosphere of

dots of light on very sexy-looking folds of—

change and self-affirmation that O’Keeffe met

of what? The area in the foreground is part

Alfred Stieglitz and spent summers with him

mindscape, part terra incognita, and the

at Lake George; and between 1918 and 1930

work simply slides away from the plane of

O’Keeffe refined her pioneering approach to

the actual and into a virtual domain where

abstraction and representation begun during

imagination and spiritual longing merge.

her years in Texas. And in her single-minded

Barn with Snow (1934) is an exception

views of nature, we can also infer some of

to O’Keeffe’s unabashed sensuality in

her unique attitudes about womanhood,

rendering landscape and natural forms; its

individuality, and independence. O’Keeffe’s

stark architecture and existential coolness

distillation of forms from that time—leaves,

offer another type of gravity. There is an

trees, flowers, fruit, hills, ponds, lakes, and

austereness in this work, an almost icy

archetypal geometric shapes—created a

distancing, and although O’Keeffe painted

visual language both extremely sensual and

the barns more or less as they appeared,

intensely private, even though her work was

her intellect is stamped all over it. Every

meant for public display. It never ceases to

judicious

amaze me how she achieved the balance that

cropping of forms to color to atmospheric

she did: revealing so much of herself—literally

white against white—is like a hand held up

and figuratively—while forever remaining

at a traffic crossing making you stop, then

opaque and essentially unfathomable, and

allowing you to move with caution toward

to this day it’s as if we continue to observe

an intersection of eye and mind that, in the

O’Keeffe like a distant star through the wrong

end, will prove “as inaccessible as the face

end of our telescopes.

The work in Modern Nature contains

pictorial

decision—from

the

of a cliff.”

—Diane Armitage

worlds-within-worlds, and for me, there is a kind of revelation in viewing the few pastels included. This is a medium that suited O’Keeffe well, and in some instances, it outshines her painted canvases.

NOVEMBER

2013

Georgia O’Keeffe, Pond in the Woods, pastel on paper, 24” x 18” (61 x 45.7 cm), 1922. Georgia O’Keeffe Museum. Gift of The Burnett Foundation. © Georgia O’Keeffe Museum

THE magazine | 39

MONROE GALLERY of photography

THE LIFE PHOTOGRAPHERS

President John F. Kennedy in the Oval Office, Washington, DC, 1961 Alfred Eisenstaedt ©Time Inc.

November 29, 5-7 • Opening reception and book signing with renowned LIFE editor Richard Stolley The Day Kennedy Died: Fifty Years Later LIFE Remembers the Man and the Moment Exhibition continues through January 26, 2014

Tony Renya, Taos Pueblo, 2013

open daily 112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e: info@monroegallery.com www.monroegallery.com

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

LEE FRIEDLANDER - MANNEQUIN through JANUARY 5, 2014 In his most complex and multi-dimensional series in recent years, Lee Friedlander pays homage to the monolithic deities of fashion. Between 2003 and 2011 Friedlander photographed female mannequins in storefront windows throughout the United States. Shot through glass, the pictures describe an array of fashion mannequins, clothing, displays, advertising signs and light fixtures. These physical objects interact with reflections of buildings, flags, cars, retail displays, skyscrapers, passersby, and, occasionally, the photographer himself. Friedlander’s camera reveals immensely intricate conjunctions of light and form that the mind and eye fluidly capture and record.

Lee Friedlander, New York City, 2011

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.

CRITICAL REFLECTION

Nick Brandt: Across the Ravaged Land

photo - eye G allery 376 Garcia Street, Santa Fe

THERE IS A CRISIS OCCURRING IN EAST AFRICA.

thousand weapons. However, outside of these protected

Fine-art photographer Nick Brandt has been documenting

same name in September, the third and final installment of

areas, poaching still continues without consequence.

this crisis for over a decade. His intimate experience with the

the artist’s trilogy. Together, the titles read, On this Earth

Big Life describes itself as “a kind of short term triage,”

severity of the loss informs the funereal nobility and tender

(2005), A Shadow Falls (2009), and Across the Ravaged Land

providing immediate protection until a long-term systemic

familiarity of the subjects of his images. The animal kingdom

(2013). The falling shadow in question is that of rampant

solution is devised.

of Kenya and northern Tanzania, specifically the elephants,

poaching plaguing Africa’s untamed inhabitants. It is no

It is with the passion and urgency felt personally by

are Brandt’s most frequently captured subjects.

longer a question of if an elephant will be killed for its ivory

Brandt, and highlighted by his work with Big Life, that he

tusks, but when.

captures images of his subjects in portraits and landscapes.

Brandt was born in England and moved to the United States in 1992 and directed music videos—work that took

In 2010, Brandt and Richard Bonham established

His views of animals resonate most deeply with reverence.

him to Tanzania when he directed the video for Michael

the Big Life Foundation to attempt to preserve the

In images such as Elephant Mother & Baby Sleeping,

Jackson’s “Earth Song” in 1995. In 2000, he began exclusively

ecosystem of the Amboseli area spanning from Kenya

Amboseli (2012), the photographer’s close position and

photographing in East Africa and began work on his trilogy of

to northern Tanzania. According to the organization’s

the baby elephant’s relaxed position create a sentiment

books. The artist shoots with black-and-white film, and uses

website, poaching has increased dramatically since 2008

of approachability. The textural wrinkles and folds of the

neither telephoto nor zoom lenses. The feat of approaching

due to an increased demand for ivory in the Far East.

elephants’ skin are sharply highlighted against the hazy

the animals within close proximity requires both courage

An estimated thirty-five thousand elephants are being

desert background.

and mutual trust. As a result, contrasting with conventional,

killed by poachers every year. Big Life Foundation’s

The portraits of “calcified” birds are similarly

documentary-style wildlife photography, these images do not

initiative has been to curb this devastation by working

reverent, but they are scenes of death rather than life.

zoom in on the creature with an intent to observe. The close

with local communities and wildlife departments to

The birds, such as the one seen in Calcified Fish Eagle,

range of the artist catches each animal in a moment of repose

assemble and mobilize resources.

Lake Natron (2012), were found by the artist along the

within its environment and documents its reserved interaction

Since its inception, Big Life Foundation has put more

shore of Lake Natron in northern Tanzania. Named for

with the photographer. These portraits convey moments of

than three-hundred local rangers to work at thirty-one newly

the alkali-rich natrocarbonites from a nearby volcano that

intimacy and underscore the sentience of these animals.

built outposts across all two million acres of the Amboseli,

contaminate the water, the lake can reach temperatures

Brandt’s exhibition at photo-eye Gallery, Across the

coordinating across borders. They have made more than

above one hundred degrees Fahrenheit. The animals

Ravaged Land, celebrates the publication of the book by the

one thousand arrests and confiscated more than three

are not technically “calcified,” but are salt- and sodaencrusted, and perfectly preserved. Brandt repositioned the carcasses, posed them as if reanimated, and then photographed them against the backdrop of the lake’s steaming surface. Looking as though they simply froze in time, swept with dust and hollowed out from within, these birds are visual elegies for a dying land.

Lion Trophy, Chyulu Hills, Kenya (2012), is an image of a lion trophy head, affixed to a wooden post on an outcrop, overlooking an expansive flatland. The lion appears disturbingly and sublimely animated, gazing out at what once might have been a paradise. The nobility of the creature exposes the absurdity of the idea of killing it for a trifling trophy.

Appearing for the first time in the artist’s work are images containing humans. In Line of Rangers with Tusks of Killed Elephants, Amboseli (2011), Big Life Foundation rangers stand in an arc holding onto the tusks of twenty-two dead elephants. This powerful, dramatic posturing simultaneously reinforces the detriment caused by the human element while introducing the viewer to hope. Firmly planted on the earth, arms outstretched and confronting their viewers head-on, the rangers represent the powerful potential to fight back against the poaching, and preserve these ecosystems before they vanish altogether.

—Lauren Tresp

Nick Brandt, Lion Trophy, Chyulu Hills, Kenya, archival pigment print, 40” x 50”, 2012

NOVEMBER

2013

THE magazine | 41

Delmas Howe: Guys and Canyons DELMAS HOWE, UH HUH, THE GUY IN THE HISTORY BOOKS, is living large in his hometown of T or C, living and painting

his important role in this country’s sexual revolution.

his truth, and thus not suffering the consequinkles of fuzzy

And for all those pictures of hot, hung dudes in chaps.

falsehoods. That was how it appeared recently when

Howe’s live-work space is a large old storefront full of

Mayumi Nishida-Carver and I scrambled down past Belen

eclectic art objects, antiques, and images arranged artfully

to take some of the finest mineral waters this patient planet

across the walls, the largest of which holds an unfinished but

provides, courtesy of our favorite publisher and the lovely

beautifully drawn mural depicting the life of Delmas Howe.

Blackstone Spa, and to pay a visit to the studio of the early

It serves as the perfect visual aid for our conversation, which

postmodernist, championed in the nineteen-seventies

begins with an exploration of the artist’s chronology. Born and

by Brit critic Edward Lucie-Smith. That’s right, we’re

raised in Truth or Consequences, “I was a perfect little gay baby,”

talking the original pomo-homoeroticist extraordinaire,

he coos. He also excelled in music as a child. He attended the

the painter of The Three Graces, shirtless in aviator glasses

Air Force Academy where he played the bassoon. One section

and hats as contemporary cowpokes, and large rodeo

of the mural is dedicated to his being torn between muses. In

friezes reminiscent of the Villa dei Misteri murals, a

1960 he made the big leap to the Big Apple and was soon taking

courageous advancer of gay rights, of the naked and nude

classes at the Art Students League from renowned anatomist,

in art, of postmodern figuration, and of doing what makes

draftsman, and curator Robert Beverly Hale. Hale taught

you happy. Children, you should thank elder Delmas for

him how to draw the human figure, and he met Ayn Rand’s

Rio Bravo Fine Art 110 North Broadway, Truth or Consequences husband, Frank O’Connor. One afternoon he hung out with the Benzedrine bully herself, who authoritatively turned him on to Rogier van der Weyden. He speculates that the O’Connor-Rand union might well have been a marriage of convenience.

One night, Howe stepped out of his East Village apartment onto Christopher Street and into the pivotal Stonewall Riots of 1969. When he saw drag queens tipping over cop cars he concluded it was all part of the party. Meeting Edward LucieSmith in NYC was a turning point in Howe’s early career, and when the famous art writer included Howe’s work in his important book Art of the Seventies, an art star was born.

Twenty years later the two visited nearly all of Europe’s major museums together.

Despite his considerable success, Howe remains true to his egalitarian roots. “I’ve never been an elitist,” he states matter of factly, and his involvement in the local art scene, anchored at Rio Bravo Fine Art, makes that clear. He painted a tabletop for a local restaurant, though when we had breakfast there the next day it was hanging on the wall. Howe’s new work came out of his early explorations of canyon walls, what he calls his rock series. These works pack the picture plane with mineral strata. Howe’s renderings of the forms are both expressively alive and well observed. The reaction from viewers was often that they could see figures in these rough-hewn images. Those remarks in part led to Howe’s newest body of work, in which the massive nude bodies of intertwined male figures explicitly fill the foreground, in place of, and in complement to, the straining, sensuous stone.

With these figures, Howe, like Michelangelo, has lived long enough to add another chapter to his story (which may require another studio wall). Abandoning, like the maestro, his previous dependence upon classical forms, he embarks upon a quasi-mannerist or proto-baroque experiment, that also, like the rock paintings, recalls the “all-over” compositional approach favored by the Abstract Expressionists. This is not Michelangelo’s serene ceiling, but rather the massed and meaty figures in an orgy of impossible positions that make up his Last Judgment. Giulio Romano’s Fall of the Giants frescoes in Mantua’s Palazzo del Te crash one’s consciousness, with their monumental figures and convincing illusion of collapsing megaliths. As is often the case, Howe’s historical allusions hearken back through the Renaissance to the pagan genius of Hellenism. Echoes of a masculinist sensuality, unspoiled by the oppressive, sex-negative discourse of Judeo-Christianity, can be heard winging their way across the centuries. Howe’s Arcadia is found in the intimate bonding of male psyches and bodies. The advancement of gay marriage rights and visualizing an end to homophobia succeed today due partly to the radical eroticism of his art. “I don’t approach it as art or politics,” Howe says with a twinkle in his eye. “I approach it as what I love to do.”

—Jon Carver

Delmas Howe, Guys & Canyons–19, oil on canvas, 41” x 41”, 2013

CRITICAL REFLECTION

Lee Friedlander: Mannequin

Andrew Smith Gallery 122 Grant Avenue, Santa Fe

“A FIVE-STAR PHOTOGRAPHER IN THE FIRMAMENT OF AMERICAN PICTURES.” So wrote Elizabeth Biondi in The New Yorker in a brief

multitude of things that can pop up in every picture—street

Bresson, Frank had no interest in beauty, but rather in

piece on the 2010 America by Car exhibition at the Whitney

signs, sunbeams, bits of roofline, a jagged shadow—all

stark realism, however unpleasant or common.” A new

Museum of American Art. That laurel rests easily on the

colliding and contradicting one another.”

generation of photographers represented by Friedlander,

head of master photographer Lee Friedlander. Of his large

Friedlander, at seventy-nine, has maintained a modus

Winogrand, and Arbus were strongly influenced by the

retrospective at MoMA in 2005, Richard Lacayo of Time

operandi dating to the 1960s. The America by Car series was

personal investment, immediacy and pathos of Frank’s

magazine wrote: “If a sophisticated notion of what a picture

the outcome of a decade of cross-country excursions, images

pictures.

can look like, the continuous construction of new avenues of

taken from a rental car whose windows and mirrors became

Mannequin is far more circumscribed in scope and

feeling, and sheer, sustained inventiveness are the measures

the portals on the quirky and diverse terrain of the nation’s

subject matter than the national narrative of Friedlander’s

we go by, then Friedlander is one of the most important

social landscape—a pop potpourri of Americana catering to

America by Car. Its leitmotif is the fashion mannequin in the

American artists of any kind since World War II. Friedlander

our abiding obsession for the open road. Mannequin, the

store window, a reprise of his use of it in the 1960s. The

loves the muchness of the world. He loves the haphazard

current exhibition at Andrew Smith Gallery, fifteen prints

subject itself dates back to Atget, and if its now ubiquitous

selected from Friedlander’s

appearance in both commercial and “serious” photography

new Mannequin photo book,

has rendered it a stock conceit or visual trope, that is most

consists of sidewalk views of

likely an ironic legacy of Friedlander’s innovative approach

female mannequins behind

to the “window-reflection” image. That conceit, along with

storefront windows taken

the single focus of its repetitive mannequin motif, tends to

from 2003 to 2011 in various

reinforce the predominantly formal appeal of the series.

cities throughout the States.

As such, Mannequin does not aspire to the level of social

“Social landscape” has

landscape as much as it reflects Friedlander’s celebration

been used at least from the

of the city and its infinite capacity for jarring, elegant

1970s to characterize the

juxtapositions of high and low culture—and perhaps its

new documentary tradition

function for the photographer as a kind of victory lap after

in photography dating from

some six decades of wry, insightful social commentary. Thus

the late 1950s. Friedlander

the Mannequin publication of photos from which the fifteen

was a key figure in this

photographs in the exhibition are drawn is, in the best

new direction, along with

sense of the term, a coffee table book, where each print

Garry Winogrand and Diane

is a variant on a common theme that viewers are able to

Arbus (and, by extension,

experience anew through their discovery of each image.

Vivian

Maier).

These

Case in point: one print (New York City, 1962)

effectively

features three mannequins on pedestals on a New York

reinvented a tradition of

City department store ground floor, viewed from the

street photography going

pavement. The angle from which Friedlander is shooting

back to the late nineteenth

captures the reflections on the store window of the

and early twentieth century,

Renaissance Revival buildings across the street in such

exemplified in the work

a way as to align them with the receding perspective of

of

More

the square pedestals of the mannequins—visually placing

predecessors

the buildings on the department store floor. Meanwhile,

were Walker Evans and

the mannequin in the middle appears to be attached to

Swiss-born

photographer

the corner of the reflected larger building along its entire

Robert Frank, whose 1955

height, transforming the architecture into a massive ship

tour of the United States

whose advancing prow is decorated with the colossal

with

figurehead of the mannequin.

photographers

Eugène

Atget.

immediate

a

produced

35mm The

camera Americans,

Each photograph’s myriad reflections hint at scenarios

take

redolent of narrative import—fragmentary and fleeting. But

on American life whose

here the look is more Madison Avenue than Main Street,

images were, according to

and the feel is more Gershwin than Godot. Yet for all its

photo historian Beaumont

urban chic and inventive formal appeal, Mannequin reflects

Newhall, “restless moments

Lee Friedlander’s love of “the muchness of the world.”

snatched in a seemingly

—Richard Tobin

an

uncompromising

casual fashion... in contrast to the balanced and elegant photographs NOVEMBER

2013

of

Cartier-

Lee Friedlander, New York City, silver gelatin print, 2011

THE magazine | 43

Exceptions to the Rule

A Gallery Santa Fe 154 West Marcy Street #104, Santa Fe

A GALLERY SANTA FE, AN ARTIST-RUN SHOWROOM, GETS AN “A” FOR EFFORT. artists, they ought to know better than to play it safe.

Owner Nathaniel Hesse informed me that the local artists who

While I can understand how working with one’s chosen

run the business tend to show a group of friends who share a

medium(s) affords a great satisfaction, I’m troubled by technically

Nonetheless, I applaud the people who make A Gallery

past at the Rhode Island School of Design and/or Shidoni foundry

proficient artists whose work doesn’t offer much in the way of

a reality. Opening a gallery—in any city, not just Santa Fe—is a

and galleries here in the Santa Fe area. With this in mind, a visitor

content; unfortunately, this applies to most of what I saw in the

ridiculous proposition if your intention is to stay in business and

can rightfully expect to see smart-looking art, at least in terms of

exhibition. Hesse, perhaps the most accomplished of the three,

actually show a profit. In short, it’s a tough way to make a living,

such formal concerns as line, color, and form, along with well-

makes handsome artworks that reflect his experience at RISD

nearly as crazy an enterprise as opening a restaurant, but without

executed metal sculpture. Exceptions to the Rule featured paintings

and Shidoni. His tee-shirt dye patinas are frankly attractive, and

the benefits of a liquor license with which to sedate your fears.

by David Forlano (he also works as a jeweler); bronze and steel

his sculptural forms are marvelous though overly smallish; I found

That said, it’s incredible how many galleries continue, year after

sculptures by Nathaniel Hesse, who is the founder of the Sculpture

myself wishing the works towered over my head. Despite their

year, not only to keep their doors open, but to offer a quality

Ranch, an outdoor venue for monumental works; and a range of

pleasing forms and eye-catching surfaces, I was left with a blank

environment in which to show their art. Whether the art is to my

works by Carol Ware, a sculptor, jeweler, and painter-draftsman.

space where meaning might have resided; neither Forlano nor

taste is irrelevant; I have my favorites and you have yours, et vive

What these artists share is a well-developed sense of craftsmanship.

Ware’s work fared much better in my eyes. In fact, all three artists

la difference. A Gallery Santa Fe made me realize how I take for

seem to sacrifice content for craftsmanship. As long-time practicing

granted the physical spaces that make up the hundreds of galleries in town, and how many of them are spacious and inviting, superbly designed for the express purpose of showing art.

Gallery owner Nathaniel Hesse opened his downtown space about a year ago in a location that didn’t offer much more than a street address. He filled in the hole in the floor, cleaned the place up, and installed lighting. So far, so good, and kudos to the man for his diligence and determination. However, the overall impression that I received from a recent visit wasn’t tremendously favorable. I want to offer two pieces of constructive criticism: Keep the door to the bathroom closed. I don’t care if there is art in there. Close the door, please; if nothing else, it’s bad feng shui—you’re letting money gush out or something along those lines. Next—and this bit of advice applies to most galleries in every city in the world— you’re in a reasonably small space; don’t overhang your shows.

Remove a good half of the artworks currently on exhibit and give our eyes something to rest upon. Make us want more.

I would add that this exhibition would have fared better as a two-person show. The dialogue between Hesse’s and Forlano’s formal qualities might have come across as quite masculine, clean (if a bit sterile), even intriguing. Forlano is an excellent colorist, and I’d encourage him to keep painting. He has something in his looserthan-Diebenkorn compositions, but the scumbled brushwork didn’t quite stand up to its purpose. I’d say that Forlano paints rather like Georgia O’Keeffe, who was a remarkable designer; neither is (was) outstanding when it comes to applying paint to canvas.

Ware makes sculptures of creatures that struck me as a mutation between a bird and Kokopelli. I found them frankly creepy. Her jewelry is more sucessful; chunky abstract forms have a presence that she might do well to turn to in her sculpture.

Still, I’d like to suggest wthat she drop the metalwork altogether, for she demonstrated tremendous skills in two pairs of works of encaustic, ink, and pencil on plaster. I discovered these in the back of the gallery and was quite entranced with a hauntingly calligraphic study of birds; its matching piece was equally good. Somehow, her sculptural vision manifested nicely onto the plaster; in fact, these are the two pieces that stayed with me after I left the gallery. Perhaps in the future, A Gallery Santa Fe might present an exhibition of Ware’s multi-media drawings? And close that bathroom door.

—Kathryn M Davis Nathaniel Hesse, Oval, bronze, 28” x 20” x 12”, 2013

CRITICAL REFLECTION

Tanmaya Bingham: I Got My Mom’s Boobs 703 Camino

de la

Jay Etkin Gallery Familia, Santa Fe

WHEN I WENT TO SEE I GOT MY MOM’S BOOBS, TANMAYA BINGHAM’S RECENT SHOW at Jay Etkin Gallery, the artist was sitting cross-legged on

For My Cat and My Cat Eats for Me, a turquoise-shawled

a tiny white dog, his scruffy head illuminated by a bright

the floor, eyes focused on the screen of her MacBook.

woman with handsome, magnificently detailed features is

yellow halo. Odd as it sounds, the little animal is a per-

Commanding, life-sized paintings of mothers and daugh-

posed with a large cat, whose eyes she covers with large,

fectly natural accessory for this regal woman. In the cen-

ters surrounded her. Like twenty-first century Mona Li-

outspread hands. Of course this appears absurd and silly,

ter of her throat is a crop of nipples, a surprise against so

sas, they smile quietly and dreamily; they are protective

but these traits exist just above a rushing—if inexplicable—

much pretty flesh. Lower down, her stomach appears cut

and open; they are triumphantly, archetypally feminine.

undercurrent of gravitas.

away or partially dissolved; these sort of rude visual awak-

Bingham looked up at me with a puzzled smile and asked,

Bingham doesn’t spend a lot of energy trying to bol-

enings appear in other works, too. The subject of Don’t

“What do I name these?” She was preparing an e-mail and

ster her work with theory or exposition. This uninterest

Mess With My Light Saber and Me has piercing eyes and a

realized she’d not yet decided on titles. Lithe, energetic,

in explanation occurs as a sort of absentminded noncha-

wizened, smirking visage, countered with irregular patch-

bubbly, and assertive, Bingham’s multifaceted personali-

lance that’s unaffected and endearing. I am the Queen of

es of hair and mottled skin—the weather of life, made

ty complements her work, which has varied thematically

Cyber depicts a woman with pert, brown-nippled breasts,

bluntly, marvelously relatable and visceral. She meets the

over the years, but retained its essential Bingham-esque

full lips, and slender arms. Perched on her left shoulder is

viewer’s eyes like a confidante, amiable and engaged.

verve; it’s virtuosic in its preci-

Her flesh transitions abruptly from

sion, and it’s also unselfconscious-

wrinkles and whiskers into pools

ly strange. One’s immediate and

of matte tan that bear none of the

abiding impression is that Bing-

phenomenal detail and precision of

ham’s riveting creative practice is

the figure’s upper portion. Multiple

very much her own.

breasts emerge from her neck; low

Bingham says her relationship

and lined, they form an unseemly

to her late mother “was touchy,” a

rest for her folded arms. Skinny rays

dynamic that perhaps informs this

of black and electric blue appear as

emotionally charged series. Moth-

sparks of color and light around her

ers and daughters, rendered in

head, forming a dynamic crown. A

colored pencil and watercolor, are

dog poses at its owner’s feet, and

separated across individual compo-

though its face and torso are hyper-

sitions—and all of them are topless,

realistic, its grey paws blur into uni-

gazing at the viewer frankly and

form, gauzy pewter.

assuredly, as if daring us to flinch

What’s next for Tanmaya Bing-

at their nakedness. The women in

ham? When last we spoke, she was

these portraits have breasts that

headed to Berlin, where she’ll con-

are elongated and aged and often

tinue to work; she’s unsure where

multitudinous, and radically, exul-

she’ll go from there. Her future

tantly unsexy. Draped over arms

is wide open, and for now she is

or tangled together, they are unex-

happily peripatetic. What we can

pected and shocking. The elderly

be sure of is that Bingham will con-

subject of My Breast Tartar Makes

tinue to uproot and transform our

My Body Scrumptious is positioned

expectations. Her series of mothers

in odalisque repose, her mouth

and daughters, so mesmerizing and

curved into a knowing smile, her

so finely wrought, suggests an artist

eyes twinkling in good humor.

whose mind is ablaze with possibil-

Three shafts of neon orange light

ities and adventure, who creates

blaze from her forehead. It’s im-

works of exquisite, gorgeous real-

possible not to gawk at her breasts,

ism that anticipate and eschew in-

which are wrinkled and lumpy and

terpretation. Her work is rife with

separated by a gaping area over her

quirk and wit, rife with the qualities

heart that oozes tissue or organs.

that make us so mysteriously and

While she subscribes to a particu-

exquisitely human.

larly meticulous strain of realism,

—Iris McLister

Bingham also explores slippery, less recognizable realms, places of partially remembered dreams and

Tanmaya Bingham, I am the Queen of Cyber, colored pencil and mixed media on panel, 72” x 48”, 2013

whispered bedtime stories. In I See NOVEMBER

2013

THE magazine | 45

Beast !

PHIL Space, 1410 Second Street, Santa Fe

TIM JAG’S LATEST CURATORIAL PROJECT, BEAST!, BEGAN

Even Nice People Die From Cancer, is the artist’s cast fist

with a call to artists inciting them to “dive right in to what

fang, a yellowed boulder, and an ivory three-pronged

in flesh tones, veins slightly popping, with thumb peaking

scares the shit out of you…or what strikes you as the most

tooth. The surfaces are rough and uneven, beaten and

from between the forefinger and middle finger. Bubbles left

mysterious weirdness you can think of...” A month before

weathered by time and ferocious eating. El Dentista

from the mold linger on the surface like tiny craters and

Halloween, the show opened at Jamie Hart’s PHIL Space to

lovingly crafted these remnants from papier-mâché and

suggest something rupturing from within. Its companion

a packed and celebratory crowd for a spirited, two-week

paint, playfully reimagining the top of the food chain as

on the left is a donut preserved by a coating of resin, a

group show that included works by twenty-nine local artists.

humorous remnants of mysterious beasts.

very shiny glaze that left a single long drip hanging from the

Predominantly drawings and sculpture in various media, the

Two other artists explored “beast” via sexuality, their

bottom like bodily fluid. Even Nice People Die From Cancer

latter most successfully enlivened the theme with bold,

work teetering on the grotesque. David Solomon’s piece,

provokes tantalizing, albeit perplexing, imagery of third base. The title suggests something rotting away

sometimes outrageous displays.

The theme began, Jag said, by thinking about “primal fear and how we are not exactly at

beneath a really nice surface, nothing if not a metaphorical beast.

the top of the food chain.” Beast! is a metaphor

Zelda Salazar’s Hexen is ostentatious,

for what eats us alive, the “other,” something

with three mannequins standing in a sea of

scary, mysterious, and even legendary. Jag

red fabric before a backdrop of crushed black

notes that forty thousand years ago we drew

velvet. There’s something demonic in that

cave paintings that showed animals as enigmatic

alone, but each woman—a blonde, a redhead,

totems. Today there are monsters, vampires,

and a brunette—wears a red-and-black leather

ghosts, aliens, and loads more over which to

bodice from which hangs a black strap-on.

get flustered and to venerate. Of course, beasts

They cluster together like the three fates with

that live up to their mythic reputation as dark,

their black ski masks, fishnet thigh highs, and

animalistic, sinister, or even grotesque beings

police riot shields that say “Hexen Lieben

are rarely seen in the light of day.

Langer” (“witches love more”). Annoyingly Citricos

squeaky clean, the plastic bodies appear fresh

anthropomorphizes a piece of fruit. The brown

with outfits shiny and unused. Nothing looks

(possibly decomposing) lump sits at the top of

debased, which is actually disappointing despite

a stick—spherical and dried with rough skin

Salazar’s bringing the bestial underbelly of

and a brittle stem poking up from its crown.

commercial fantasy into plain view.

Michael

Lujan’s

Colmillo

Midway down is a set of five human-like teeth,

The scariest piece in the show is Lauren

which are rumored to be real. They’re pearled,

Oliver’s Minizuku Space Samurai, a nearly

a little yellow, and charmingly crooked.

seven-foot-high ink-on-paper drawing of an

Sheltered by a glass dome, Lujan’s little rotting

armless Cyclops with pointy ears and fishtail.

lemon becomes a specimen. It’s the mouth of

Oliver’s scratchy, thin black lines feel unstable

a monster but its goofy overbite suggests one

and radiate off the entity in waves, making

out of Shrek. Right next to Lujan’s sculpture

this larger than life effigy vibrate with energy.

are two sheets of paper hung low to the floor,

Its uncanny resemblance to a stuffed animal

each with two large black paw prints: Gen

feels familiar and comforting, while its owl-like

Hayashida’s ink-on-paper A Beast. The prints,

features evoke darkness.

which iterate the tracks of an incredibly large

Beast! Presents the perfect theme with

missing animal, might’ve been more effective

which to transgress boundaries and cast a net

if inked directly on the wall. Hayashida spoils

outside of the hermeneutic circle. More than

the illusion by also displaying the source of her

anything, Jag’s project was an excuse for artists

prints: two hand-carved wooden block stamps.

to make and show work outside of the rhetoric

El Dentista’s Beast Teeth, presumably

of a mainstream gallery and to have fun doing

found objects, are each the size of a human

so. Shows like this are imperative to maintaining

head and hang on the wall by simple black

artistic morale and may haphazardly breed

supports that cite each conjectured beast and

something unexpected. After all, the periphery

its location. Unknown Beast #513a, Canine is

is where the monsters hide.

from Koldass Cave, Russia. The Godzilla Molar

—Hannah Hoel

is from Tokyo, Japan, and the most ridiculous, This Ain’t Your Mamma’s Yeti is from our own Jemez, NM. Other than the species names, Beast Teeth gives little away. There’s a brown

Lauren Oliver, Minizuku Space Samurai, ink on paper, 78” x 42”, 2013

CRITICAL REFLECTION

50th Anniversary Exhibitions

University of New Mexico Art Museum UNM Center for the Arts, Albuquerque

CURATORIAL DECISIONS AT THE UNM ART MUSEUM ARE JUST SO SMART. It’s their fiftieth anniversary and we are invited to explore

mannequin heads are mounted at the top of the canvas and below

Penhall has assembled more than seventy representative items

selections from their permanent collection of over thirty thousand

them is a gelatin silver print of the same heads. From a distance

from the Museum’s works-on-paper holdings, one of their

works of art, the largest public art collection in New Mexico.

the work appears flat—like a single photograph—but as you

outstanding strengths. Beginning in the early 1960s with the

For this occasion the curators offer a trio of exhibitions that

approach, the wooden heads emerge from the surface, casting

Museum’s first accessioned work—an engraving by William Sharp

showcases not only the depth and richness of UNM’s treasure

eerie shadows that mimic those in the photograph, presenting a

of musicologist Charles Burney, on view in this exhibition—the

trove, but also the excellent taste of the curators.

contrast between the solid objects and their photographic images.

works-on-paper holdings have grown to over twenty thousand

The exhibition in the main gallery is called From Raymond

Throughout this exhibition, the placement of the art and the

items including prints, drawings, photographs, and books from

Jonson to Kiki Smith: The UNM Art Museum’s Permanent Collection

comfort of the dark blue of the walls of the gallery make it easy to

1493 to the present. Penhall gives us wonderful examples. We

at Fifty Years and presents more than sixty works from every

move through the centuries and around the nine sculptures, three

have Dürer, Rembrandt, Ingres, and Coke himself—the Museum’s

corner of their holdings. The Museum’s new director, Lisa Tamiris

Mata Ortiz pots, and three African sculptures in the middle of the

first director—whose own photography is displayed right there in

Becker, was the curator, and selections from the Raymond Jonson

space. Becker tells us in her accompanying wall text that there

the gallery named for him. There are works by Edward Weston,

Collection were curated with Robert Ware, Raymond Jonson

are “many aesthetic and intellectual relationships and experiences

Elaine de Kooning, Jackson Pollock, Henri Cartier-Bresson, and

Curator. On view are modern and contemporary paintings,

to be discovered through engagement with the riches of the

Pablo Picasso. And thank you to the curator for offering us Julia

sculpture, works on paper, historic European and Spanish Colonial

collection presented across the exhibition.” Exactly.

Margaret Cameron’s image Rosalba. Because the Coke Gallery is

paintings, retablos, African sculpture, and Mata Ortiz pottery.

A wall of ten mid-nineteenth century Mexican retablos,

long, narrow, and intimate, it is perfect for viewing these gems.

The choice of paintings alone is overwhelming. Raymond Jonson’s

oddly suggestive of the portrait photography coming up in the

Books represented include Van Deren Coke’s 1963 catalogue of

magnificent oil paintings Grand Canyon Trilogy reign over one wall

next gallery, provides the transition from the first exhibition of the

the Museum’s inaugural exhibition and Frederick Hammersley’s

that also includes an untitled 1951 canvas by Richard Diebenkorn,

trio to the second, Andy Warhol’s Snapshots and Takes: Selections

book of computer drawings—ink printed on paper—and there

Frederick Hammersley’s Right On #2, and works by Kiki Smith

from the UNM Art Museum’s Andy Warhol Foundation Photographic

is a display case of nineteenth-century American photographic

and Alison Saar. There is a wall devoted to seven landscape

Legacy Program Gift. Also curated by Becker, this exhibition brings

objects that houses ambrotypes, daguerreotypes, and a collodion

painters from the Taos School including Ernest Blumenschein,

together more than eighty of Warhol’s gelatin silver prints and

on porcelain. A bonus at the end of the gallery is a video viewing

Dorothy Brett, and Walter Ufer. Georgia O’Keeffe has a wall of

Polaroids, and the subject matter ranges from celebrities (Diana

area where four films about selected artists will air over the course

her own with four oil paintings. And Becker brings us other artists

Ross, Paloma Picasso, and Georgia O’Keeffe with Juan Hamilton)

of the exhibition.

to perhaps discover for the first time—if you’re me—or revisit,

to objects (wine glasses, shoes, and chocolates). The images hang

—Susan Wider

like Bay Area Figurative Movement painter Joan Brown, whose

in ordered rows—color photos together, black-and-white photos

large 1962 diptych The Moon Cast a Shadow on a Midsummer Night

together. Step in for the details of each and step back for an

boasts a thick application of oil paint in huge colors with large brush

impressive Warhol assault on the senses.

strokes, echoing Jonson’s bold Grand Canyon colors and geometry

Up a short flight of stairs from Warhol is the Van Deren

across the gallery. Near the Brown canvas is Dennis Hopper’s

Coke Gallery and the final exhibition of the trio, From Rembrandt

Chiaroscuro, a blend of sculpture and photography. Three wooden

to Pollock to Atget: Celebrating a Collection. Curator Michele M.

NOVEMBER

2013

Left: Julia Margaret Cameron, Rosalba, albumen silver print, 23” x 18”, 1867. © UNM Art Museum Below: Raymond Jonson, Grand Canyon—Trilogy First Movement, oil on canvas, 45” x 56”, nd. © The Raymond Jonson Collection, UNM Art Museum

THE magazine | 47

R.C. Gorman, circa 1972

FLASHBACK

NOVEMBER

2013

THE magazine |49

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GREEN PLANET

STEVEN SPRINKLE: FARMER, WRITER, ACTIVIST, ENTREPRENEUR, AND SURFER

“We eat the river.

There is no food without water.”

French Breakfast Radishes, Green Garlic, Rancho Del Pueblo is a CSA farm in Ojai, California.

Arugula, Cilantro, Rainbow Swiss Chard,

Read about life on the farm at organictransitions.

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RANCHO DEL PUEBLO’S FOOD BOX

Steven and his wife, Olivia, own a grocery

Winter/Spring: Lettuce Mix, Spinach,

store/cafe in Ojai: The Farmer and the Cook.

Radicchio, Broccoli, Cabbage, Nantes Carrots, Bok Choi, Fennel, Golden or Crimson Beets,

www.farmerandthecook.com

Steve Sprinkle, Arturo, and Chaz photographed by Jennifer Esperanza, September 2013, in Ojai, CA.

NOVEMBER

2013

THE magazine | 51

MARK Z. MIGDALSKI, D.D.S. GENERAL AND COSMETIC DENTISTRY “DEDICATED TO PREVENTION, SERVICE & EXCELLENCE”

What’s in the Box?

30 archival photographs mounted on foam core board of famous and not-so-famous artists, photographers, musicians, actors and celebrities by THE magazine publisher, Guy Cross.

Who’s in the Box? John Baldessari, Ivan Karp, Larry Bell, John Waters, Thomas Ashcraft, R.C. Gorman, Larry Mahan, Yoko Ono, R.C. Gorman, James Havard, Bill Lumpkins, James Coburn, Dave Hickey, John McCracken, Herb Ritts, Richard Tuttle, Buzz and Lois Aldrin with Patty Hearst, Joe Cocker, Faustino, Larry Mahan, Charles Ross, Phillip Glass, Rick Dillingham, Laura Carpenter with Leo Castelli, Bob Dylan and Nico, Don Fabricant, Helmut Loehr, Deborah Kara Unger, and Agnes Martin

2 Boxes Available - $1500 each - 505-570-1460

A R C H I T E C T U R A L D E TA I L S

Barn Near Corona, NM photograph by

NOVEMBER

2013

Guy Cross THE magazine | 53

WRITINGS

WATCHING WAR by

Rosé

I stayed away a hundred days Escaping from the ooze Current events and exposés The endless spin and overplays Which networks call The News

Of the TV’s tourniquet They watch the war slowly unfold Over and over again story told, foretold, retold Inhuman, monstrous, icy-cold Clouding the minds of men

It was a therapy supreme That saved my mind and soul From clogging in that muddy stream Which makes your life, the whole world seem As dark as a black hole

Until it permeates each cell The eyes, the thoughts, the will It storms the body’s citadel And traps the senses in its spell While poising for the kill

My friends, acquaintances are all Depressed beyond belief The rays of war has them in thrall Their knotted stomachs in free-fall

It pours through every viewer’s brain Consuming in its flow The strength required to abstain It eats away like acid rain A gulping undertow

With no hope of relief Like addicts of some subtle drug They sit glued to the set The only place one’s really snug Wrapped up within the dreadful hug

This coverage without reprieve All other thoughts expel And though we cheer and hope and grieve The gruesome image we receive Like war itself, is Hell.

Rosé has performed at dozens of diverse venues from the Museum of Rock Art in Los Angeles to the United Nations in New York City. He is the author of two books of poetry: Poetraits and The Pearl Upon the Crown. Of his poetry, Michael Silverblatt of Bookworm writes, ”Rosé accomplishes the nearly impossible feat of bringing rhymed, metrical poetry to the contemporary sensibility.” His books are available at amazon.com

54 | THE magazine

NOVEMBER

2013

The Southwest’s Largest Auction of Classic Western Art

Santa Fe art auction 2013 Auction HigHligHts

Lot 51, Fremont eLLis $40,000 – $60,000

Lot 149, martin greLLe $20,000 – $30,000

Lot 139, charLie dye $45,000 – $55,000

Lot 55, oscar e. Berninghaus $50,000 – $60,000

Lot 121, Bert g. PhiLLiPs $275,000 – $400,000

Lot 148, wiLLiam acheFF $40,000 – $60,000

Lot 151, howard Post $20,000 – $30,000

Lot 119, de cost smith $200,000 – $300,000

Lot 130, Jim norton $35,000 – $50,000

Live Auction! SAturdAy, noveMBer 16, 2013 1 : 3 0 p m m ST | G e r a l d p e T e r S G a l l e ry, S a n Ta F e , n m r e G i ST e r a n d v i e w T h e o n l i n e c aTa l o G aT w w w. S a n Ta F e a rTa u c T i o n . c o m

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Dark Landscape with Turquoise, 2013, Oil on canvas, 66 x 58

505-992-0711