Santa Fe’s Monthly
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of and for the Arts • September 2010
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Post Classic
Post Modern
VODDE R HAOZ OU S O RT I Z EMERSON
53 Old Santa Fe Trail Upstairs on the Plaza Santa Fe, NM 505.982.8478 shiprocksantafe.com
5 Letters 17 Universe of artist Zachariah Rieke 21 Studio Visits: Steve Elmore and Shelly Shaffer 23 Food for Thought: Still Life with Soup Tureen, by Paul Cézanne 25 One Bottle: The 2006 Feudi di San Gregorio “Rubrato Aglianico,” by Joshua Baer 27 Dining Guide: Il Piatto, Ristra, and Tuneup Café 31 Art Openings 32 Out & About 43 Previews: Chris Kahler at David Richard Contemporary; Erin Currier at Blue Rain Gallery; and Pop Surrealism at Santa Fe Community College 41 National Spotlight: Fashioning Kimono at the Birmingham Museum of Art 43 Feature: Burning Man: It Is What It Is, by Zane Fischer, with photographs by Anne Staveley 47 Critical Reflections: Australian Contemporary Indigenous Art—Now at Chiaroscuro; Dry Ice, It Wasn’t the Dream of Golden Cities, Oblique Drift, Round Up, and Matterings at the Museum of Contemporary Native Arts; Frida Kahlo & Diego Rivera at the Webster Collection; Larry Bob Phillips at the Roswell Museum and Art Center; Luminous Forms at LewAllen Contemporary; 3rd Annual Taos Art Glass Invitational at Hulse/Warman Gallery and other venues (Taos); Michael Eastman at Gebert Contemporary; and Wayne Thiebaud at Gerald Peters Gallery
t s n e t c o n
59 Green Planet: Naomi Klein, writer and activist, photograph by Jennifer Esperanza 61
Architectural Details: Mesa de Las Viejas, NM, photograph by Mark Nohl
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Writings: Purgatory, by Raúl Zurita
In early 1932, Alexander Calder (1898-1976) exhibited his first moving sculptures in an exhibition organized by Marcel Duchamp (who coined the word “mobile”). Calder’s reputation was consolidated by the first United States show of his mobiles in the same year. Alexander Calder and Contemporary Art: Form, Balance, Joy, at the Museum of Contemporary Art—220 East Chicago Avenue, Chicago—explores Calder’s influence on the generation of artists that emerged in the 1990s and early twenty-first century. The exhibition and the accompanying book (Thames & Hudson, $57, distributed by D.A.P.) contains an assessment of Calder’s creative reuse of materials written by Brooke Kamin Rapaport, an essay by George Baker that reevaluates Calder’s modernist legacy, and an overview by curator Lynne Warren of existing sculptural practices in relation to Calder’s work. More than fifty of Calder’s works are presented in the museum’s north gallery, while in the south gallery are works by Martin Boyce, Nathan Carter, Abraham Cruzvillegas, Kristi Lippire, Jason Middlebrook, Aaron Curry, and Jason Meadows which explore the relationship between Calder and contemporary art. The exhibition will be on view through October 17, 2010 .
Wednesday 15 September
Jimmy Santiago Baca with Carolyn Forché Tickets on sale Saturday August 7
Wednesday 29 September
Kwame Dawes with Chris Abani Tickets on sale Saturday August 7
Wednesday 20 October
A. L. Kennedy with Gill Dennis Tickets on sale Saturday September 4
Wednesday 10 November
John McPhee with Peter Hessler Tickets on sale Saturday October 2
Wednesday 15 December
Charles Bowden with Avi Lewis Tickets on sale Saturday November 6
winter /sprin g 2 0 1 1 Wednesday 19 January
Loorie Moore with Kate Moses Tickets on sale Saturday December 4
Tom Engelhardt with Jeremy Scahill Tickets on sale Saturday January 8
Wednesday 16 February
John D’Agata with Ben Marcus Tickets on sale Saturday January 8
Wednesday 16 March
Everything and More: A Tribute to David Foster Wallace with Michael Silverblatt and Others Tickets on sale Saturday February 5
Wednesday 13 April
Kay Ryan with Atsuro Riley Tickets on sale Saturday March 5
Wednesday 4 May
Chimamanda Ngozi Adichie with Binyavanga Wainaina Tickets on sale Saturday April 2
Tuesday 17 May
Chris Hedges on the work of Sheldon Wolin Tickets on sale Saturday April 2
Joe Sacco with Chris Hedges Tickets on sale Saturday April 2
Wednesday 15 June
John Pilger with David Barsamian Tickets on sale Saturday May 2
www.lensic.com
Wednesday 18 May
211 W. San Francisco St, Santa Fe, NM. Tel 505.988.1234
Wednesday 2 February
R e a di ng s & Co n ve R sat i o n s
fa l l
TICKETS: $6 general / $3 student + senior with ID. Lensic Performing Arts Center
Conversations. The series of public events 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, as well as writers, thinkers, and activists whose work celebrates the human right to freedom of imagination, inquiry, and expression.
Lannan is podcasting Readings and Conversations! Please visit http://podcast.lannan.org, to learn more, listen, and subscribe to have the events automatically downloaded to your computer.
l a n nan foun dation announces the 2010 — 2011 public program series, Readings &
LETTERS
magazine
VOLUME XVIII, NUMBER III WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 & 2006 Top-5 Best Consumer Tabloids P ubl i s h e r / C r e at i v e D i r e ctor Guy Cross P ubl i s h e r / F ood Ed i tor Judith Cross A rt D i r e ctor Chris Myers C op y Ed i tor Edgar Scully P roof R e ad e r S James Rodewald Kenji Barrett staff p h otograp h e rs Dana Waldon Anne Staveley C al e ndar Ed i tor Liz Napieralski W E B M EI S T E R
Jason Rodriquez C ontr i butors
Diane Armitage, Joshua Baer, Susanna Carlisle, Jon Carver, Kathryn M Davis, Jennifer Esperanza, Zane Fischer, Anthony Hassett, Mark Nohl. Patricia Sauthoff, Richard Tobin, Robinson Walworth, and Raúl Zurita CoVER
Anne Staveley
A D V e rt i s i ng S al e s
THE magazine: 505-424-7641 Cynthia Canyon: 505-470-6442 Vince Foster: 505-690-1010 Lori Johnson: 505-670-8118 D i str i but i on
Jimmy Montoya: 470-0258 (mobile) THE magazine is published ten times a year by THE magazine Inc., 1208-A Mercantile Road, Santa Fe, NM 87507. Corporate address: 44 Bishop Lamy Road, Lamy, NM 87540. Phone: (505) 424-7641. Fax: (505) 424-7642, E-mail: themagazineSF@gmail.com. Website: www.TheMagazineOnLine.com. All materials are copyright 2010 by THE magazine. All rights are reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. All submissions must be accompanied by a SASE envelope. THE magazine is not respon sible for the loss of any unsolicited materials. THE magazine is not responsible or liable for any misspellings, incorrect dates, or incorrect information in its captions, calendar, or other listings. The opinions expressed within the fair confines of THE magazine do not necessarily represent the views or policies of THE magazine, its owners, or any of its, employees, members, interns, volunteers, agents, or distribution venues. Bylined articles and editorials represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel, and are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity or quality of objects and/or services advertised. As well, THE magazine is not responsible for any claims made by its advertisers; for copyright infringement by its advertisers .and is not responsible or liable for errors in any advertisement.
| september 2010
July 29, 2010: Maybe the last night ever at the Paolo Soleri Amphitheatre—Lyle Lovett and his band on stage.
TO THE EDITOR: “I will always remember this night,” Texas-born singersongwriter Lyle Lovett said from the Paolo Soleri Amphitheatre stage in Santa Fe on the evening of July 29. “God bless you folks, and God bless Paolo Soleri.” The Santa Fe Indian School, which owns and operates the forty-five-year-old Paolo Soleri Amphitheatre, announced earlier this summer that Lovett’s concert will be the last ever at the venue, though they have not ruled out preservation. Lovett, who has performed at the amphitheatre more times than any other artist, said that when he met with the venue’s renowned Italian architect Paolo Soleri—now ninety-one—at a recent concert in Phoenix, the socially and ecologically minded artist shrugged at the demolition rumors. “Change is on all of our minds,” Lovett told the capacity audience. “If we live long enough, we’ll experience it.” Lovett said it was his intention to perform last night “with Soleri’s spirit and vision in mind, and the vision for the world he’s shown us.” Lovett then launched into “That’s Right (You’re Not From Texas),” commenting that “New Mexico is a dangerous place to do this song, but Paolo Soleri would’ve done well where I come from.” The Indian School’s campus has only been totally Nativecontrolled since 2000. Two summers ago, officials chose to tear down—sans public notice—virtually all of the original school, which had a history dating back to 1890 that included rampant oppression and indoctrination of Natives who were frequently brought to the school from pueblos by whites via kidnapping. The Paolo Soleri Amphitheatre, which is notable not only for its intimate beauty but because it was one of Soleri’s few commissioned works, appears to be headed for destruction as well. Opinions abound in northern New Mexico about the need to save the incredible venue—not to mention what some see as the Indian School’s faulty administration—but opinions are not important in this situation. The rights and free will of Natives are all that should be recognized and respected. Santa Fe Indian School officials claim that the renovation necessary to keep the Paolo Soleri Amphitheatre open would cost over four million dollars, which does seem outlandish. However, just this week the United States government approved continued funding for the ongoing wars in Afghanistan and Iraq, which costs taxpayers tens of billions of dollars every month, with no end in sight. If local officials will not intervene to provide the necessary resources to fix and maintain the Paolo Soleri, its demise is understandable; what’s more, if the Native-controlled SFIS decides to close the Paolo Soleri no matter the circumstances—forcing the virtually all-white
fans, promoters and performers who frequent the venue to enjoy entertainment elsewhere—theirs is the choice we must accept.
—Adam Perry, Santa Fe
TO THE EDITOR: My wife and I live in Kansas City. We have a collection of old Indian pots, baskets, rugs, and masks inherited from my wife’s grandfather. We came to Santa Fe for Indian Market and read Joshua Baer’s “Is Your American Indian Art Illegal?” article in your August issue with a fair amount of trepidation. We also read the six different articles about grave-robbing and “repatriation” (whatever that is!) in the Pasatiempo. Baer’s article gave us the information we needed to protect ourselves and obey the law. The Pasatiempo articles left us more confused than ever. Congratulations on THE’s decision to publish an article that helps collectors.
—Douglas and Cecilia Norwood, Kansas City, MO
TO THE EDITOR: I enjoyed the article by Chris Benson in your July issue and agree that much of the art on Canyon Road, or for that matter much of Santa Fe, falls into the category of kitsch. Benson’s idea to create a distinct regional art of significance in Santa Fe is ambitious but quite possible—the Cinco Pintores of the Canyon Road area did it. Speaking of that historic side of town, there are some excellent artists showing work on Canyon Road, and I find it disturbing that we do not see many reviews of the creative and developmental works being shown there. What comes to mind is a recent July show by Jane Abrams. No mention of the show appeared in THE. An accomplished artist, Abrams had a one-person show at the Albuquerque Museum in 2008, is in numerous museums and collections, and has received two National Endowment of the Arts awards. Considering that THE magazine is the only true art magazine in Santa Fe, I have to wonder why so many of the important exhibitions on Canyon Road are overlooked. A current opportunity for review is a show by another wellknown artist in the area, Aaron Karp, who has an impressive background and is exhibiting unusually striking and colorful paintings at the New Concept Gallery. I hope you will continue the fine work and expand your coverage to include unique local art being shown on Santa Fe’s most unique venue, Canyon Road.
—Fredericka Heller, Santa Fe
Letters: themagazineSF@gmail.com or 1208-A Mercantile Road, SF 87507. Letters may be edited for clarity or for space consideration.
THE
MAGAZINE
| 5
laub onwazee g.wahl gallery paintings & prints
randolph laub picture frame specialist digital archival pigment prints furniture
September 11 - October 24 artist reception: Saturday, October 3, 6:00 - 8:00
are now located in Denver
Erika Blumenfeld
1408 Wazee Street suite 200 (upstairs on the street) Denver, CO 80202 323 206-6362
Early Findings: Artifacts from The Polar Project in participation with LAND/ART
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www.gwahl.com www.laubworkshop.com
Site Specific: Miguel Arzabe, Sierpinski Gasket at The Albuquerque Museum of Art & History Richard Levy Gallery
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Albuquerque
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www.levygallery.com
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505.766.9888
PAULA CASTILLO gray world/green heart new sculpture
September 10 – October 8 Opening Reception Friday September 10 5 –7 PM RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 87501 505.820.3300 | WILLIAMSIEGAL.COM
R O N A L D
D A V I S
SEPTEMBER 3 - SEPTEMBER 28
S q u a re s
a n d
D i a m o n d s
2 0 1 0
Opening Reception / Friday, September 3, 5 - 7 P.M.
Gallery Talk / September 4, 3 P.M., Thom Andriola, Owner/Curator New Gallery, Houston, TX
CHARLOTTE JACKSON FINE ART
Railyard Art District 554 South Guadalupe, T e l 5 0 5 . 9 8 9 . 8 6 8 8 /
Santa Fe, New Mexico 87501 w w w . c h a r l o t t e j a c k s o n . c o m
F A B U L O U S
A T
Symposium and Birthday Bash! Featuring Jim Dine • Ed Ruscha • June Wayne nothing-short-of-fabulous Birthday Party with Cafe Mocha
Win/Win Art Lottery and more!
September 10-12
Seating limited. Register today! University of New Mexico 2500 Central Avenue SE http://tamarind.unm.edu 505.277.3901
Thre e Flo ors w iTh Thre e M a jor e x hib iTion s Th aT s a luTe The leg acy oF a r T aT unM
nagatani jonson tamarind Patrick Nagatani: Desire for Magic, 1978–2008 | A 30-Year Retrospective
To Form From Air: Music and the Art of Raymond Jonson
Tamarind Touchstones: Fabulous at 50 | Celebrating Excellence in Fine Art Lithography
September 10 – December 19, 2010
www.unm.edu/~artmuse or 505-277-4001
SITE SANTA FE EIGHTH INTERNATIONAL BIENNIAL SARAH LEWIS and DANIEL BELASCO, Curators
Upcoming at SITE Santa Fe:
SATURDAY, SEPTEMBER 11, 1 – 4 pm SUNDAY, SEPTEMBER 12, 1 – 3 pm
From the Familiar to the Unexpected A Two-Day Writing Workshop Based on The Dissolve with noted author and writer Miriam Sagan Free, reservations suggested
ADJAYE ASSOCIATES, Exhibition Designer
Through JANUARY 2, 2011
www.thedissolve.net
FRIDAY, SEPTEMBER 24, 7 PM
Performance Martha Colburn and Jad Fair Expect the extraordinary: Colburn and Fair take the stage for an evening that will challenge the limits of live projection performance art.
Ticket Information $10 for adults; $5 for students, seniors, and SITE members at Friend and Family levels. Free with advance reservation for members at the Supporter level and above. The Art & Culture series is made possible in part by a generous endowment from the Marlene Nathan Meyerson Family Foundation.
1606 Paseo de Peralta, Santa Fe, NM 87501 | 505.989.1199 | www.sitesantafe.org
SITE is greatful to the following for their generous support of this Biennial: HONORARY CHAIRMAN Agnes Gund HONOREES Jeanne & Michael L. Klein LEAD UNDERWRITERS Anonymous, The Andy Warhol Foundation for the Visual Arts, The Burnett Foundation, National Endowment for the Arts EXHIBITION PATRONS Anonymous, Agnes Gund, Jeanne & Michael L. Klein, Anne & John Marion CURATORS’ PATRONS Toby Devan Lewis, Marlene Nathan Meyerson CATALOGUE SPONSOR Rosina Lee Yue & Dr. Bert A. Lies EXHIBITION SUPPORTERS Karen & Steve Berkowitz, Cornelia Bryer & Herman Siegelaar, Katherine & James Gentry, Jeanne & Jim Manning / The Azalea Fund, Millstream Fund EXHIBITION FRIENDS Terry K. & Richard C. Albright, Dottie & Dick Barrett, Gay Block & Rabbi Malka Drucker, Suzanne Deal Booth, Carmel & Tom Borders, Century Bank, Étant Donnés: The French American Fund for Contemporary Art; Susan Foote & Stephen Feinberg, Christopher Hill & Rodolfo Chopoena, Mondriaan Foundation, Rita & Kent Norton, Linda Pace Foundation, JoAnn & Steve Ruppert, Courtney Finch Taylor & Scott Taylor, Ann Tenenbaum & Thomas H. Lee, Kathy & Charles Webster, Zane Bennett Gallery CORPORATE SPONSOR UBS Financial Services, Houston BIENNIAL WEBSITE SPONSOR Avalon Trust PANEL DISCUSSION SPONSORS TAI Gallery, Alicia & Bill Miller, Nancy Ziegler Nodelman & Dwight Strong SITE GUIDE SPONSOR Marcellin Simard, MD/Santa Fe Cardiology; and the SITE Board of Directors. This announcement is made possible in part by the City of Santa Fe and the 1% Lodgers Tax. Image: (top) Photo by Teresa Neptune, (bottom) Martha Colburn, Still from Myth Labs, 2008, courtesy of the artist and James Cohan Gallery, New York
Daniel Bethune
Glass + KIlN = aRt Bullseye Resource Center, Santa Fe CLASSES
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DEMONSTRATIONS
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SUPPLIES
Next Classes:
Next Dem Os & tal Ks:
Painting with Glass september 23–26
Catharine Newell October 2
Particulate language martha Pfanschmidt september 28–October 2 October 15 Fusing & slumping Intro October 4–5 & 7
Pathway Home, Oil on Canvas, 48” x 60”
“Expanding on the Primary Palette” - Recent Oils by Daniel Bethune Exhibition Dates: Sep 3 - Oct 3 | Reception: Friday Sep 3, 5-7pm Discussion & Painting Demonstration with the Artist: Saturday Sep 4, 2-4pm
Gallery J
Chartreuse
216 Washington Ave | Santa Fe, NM 87501 505.992.3391 | gallerychartreuse.com
layered assemblage October 14–17 survey of Kiln-glass October 25–30
Printmaking for Kiln-glass October 20
LE ON HUGE SA S U P P L IE S : GLASS & 16–19 S e p te m b e r –4) –5, Sun 10 (T h u r– S a t 9 805 early street, Building e 505- 467-8951 santafe@bullseyeglass.com www.bullseyeglass.com/santafe
Dennis Larkins • Max Lehman • Tim Prythero
School of Arts and Design | Visual Arts Gallery Mondays through Fridays, 10 a.m. to 5 p.m. 6401 Richards Ave., Santa Fe (505) 428-1501 • www.sfcc.edu
Max Lehman, Space Cake Break at Titicaca Lake (detail), low fired earthenware with glaze, underglaze, acrylic paint
Tim Prythero, Diner, resin, glass, metal, plaster
Dennis Larkins, Nucular Family Values, acrylic painted relief on panel
September 2 through 24, 2010 | Opening Reception: September 2, 4:30 to 6 p.m.
F R I DA K A H LO & D I E G O R I V E R A 39 Photographs by Eminent Photographers
Held Over by Popular Demand through September 30th
Nickolas Muray Frida Kahlo on White Bench
Drawings by Diego Rivera W E B S T E R
C O L L E C T I O N
54½ Lincoln Avenue, On Top of The Plaza, Santa Fe, NM 87501 505 954 9500 WebsterCollection.com
JOhN COffer
Now through October 2, 2010
TiNT ypes
1011 Paseo de Peralta, Santa Fe, NM 87501 | tel (505) 954-5700
To view more works please visit www.gpgallery.com Selections from Daily Tintype: A Collection of 365 Plates in 52 Frames, Each frame includes 7 tintypes, 2007, Tintype, 9 x 37 inches each (framed). © 2010 G. John Coffer, courtesy Gerald Peters Gallery.
TAOS GRAND ART WEEKEND Friday
Launching the 36th Annual Taos Fall Arts Festival
09.24
TAOS FALL ARTS FESTIVAL Taos Convention Center Opening of three major exhibitions: Taos Living Masters, Taos Invites Taos, and Taos Open Exhibits continue to October 11. | Poster by Inger Jirby. | 5 to 8pm/free | taosfallarts.com Saturday
09.25
QUICK DRAW AT TCA
On the grounds around Taos Center for the Arts Watch 40 local artists paint, draw, sculpt, and carve; enjoy live music by Taos musicians. Live and silent auctions of finished artworks | Noon to 3pm; auction 4pm/free | tcataos.org
Find complete weekend calendar at tcataos.org More info 575.758.2052 Weekend lodging packages available at these artssupporting properties: Inn on the Rio 800.530.3040 Indian Hills Inn 800.444.2346 Kokopelli Rentals 800.480.7150 Mention “Grand Art Weekend” when you book!
TAOS GRAND ART WEEKEND Sunday
09.26
SOMOS PRESENTS AN EVENING WITH SAM SHEPARD
Taos Community Auditorium The actor/playwright reads from his most recent book, Day Out Of Days: Stories (Alfred Knopf, 2010). Q&A and book signing. | 6pm/$20 advance; $30 at the door | somostaos.org
Kentwilliams eKleKtiKos |
September 2 – 30, 2010 | Opening receptiOn thurSday, September 2, 6 – 8 pm | preview thiS exhibitiOn at evOKecOntempOrary.cOm
EVOKE CONTEMPORARY
130 LincOLn avenue, Suite F Santa Fe, new mexicO 87501 phOne: 877.995.9902 web: www.evOKecOntempOrary.cOm emaiL: inFO@evOKecOntempOrary.cOm Ukiyo, 2010, oil on linen, 54 x 50 in., 137 x 127 cm.
Zachariah Rieke was born and raised in north-central He studied painting at three universities over the course of seven years and then taught at the University of Alberta while living in Canada during the Vietnam war. Rieke has been represented by a succession of top contemporary galleries in Santa Fe since the mid-seventies, including Janus, Linda Durham, and EVO galleries. He and his wife, Gail, were honored with a retrospective at the New Mexico Museum of Art, which ran for six months in 1999-2000. In 2006 his work was selected for the Acclaimed Artist Series of the New Mexico Arts. In the same year his paintings were included in Painting: Alive & Well! Eight Modern Masters at the U.N.M. Art Museum. He is currently representing himself at his home studio/gallery. His most recent work can now be seen there by appointment. He is also represented by Van Straaten Gallery in Denver. Being Fully Immersed There is no substitute for long-term commitment to studio life. Continuing in the studio through years of ups and downs, and through endless repetitions of losing one’s way only to find it again brings a depth of involvement otherwise unobtainable. Sometimes I feel as if I’m working in what I can only describe as a state of grace. During these times I feel at one with both the process and with the completed painting. At other times, despite every attempt, I can do nothing right and I am forced to seek a different path. I have little explanation as to why I am pursuing a particular direction at any given time, or why one series of works is so different from the last. From my forty-five-plus years of painting I have come to trust a process that I cannot explain. I can only hope that when something is right I know it. At times when I’m involved with a new direction it feels like I’ve always been there. In the previous four years I was working on a series of very fluid, high-key color paintings. Since the first of this year I have been immersed in a new series of paintings—poured black gesso on raw canvas. It feels like I have “come home,” yet I know full well how fleeting this perception can be.
My Paintings As Self-Portraits My concerns have always been metaphysical. I suppose my lifelong work reflects a never-ending inquiry into the nature of the universe around me, and of my role within this universe. The fact that I believe it all has purpose and meaning in no way makes the task easier—as these truths lie beyond comprehension. My painting involves the pursuit of an unreachable sublime. I am reminded of Bob Dylan’s line, “I believe in the impossible, you know that I do.” This is a profound paradox—that understanding the impossibility of something does not prevent one’s belief. This is in fact the basis of Kierkegaard’s “leap of faith.”
Authenticity In Art Authenticity requires truthfulness. Authenticity can often be found in the most mundane, day-to-day activities. One might speak of the “tao” of properly stacking a woodpile or plowing a furrow. It has to do with the unselfconscious “rightness” of action—a truthfulness to the work at hand. In art I believe authenticity is found in work that is born out of inner necessity—work that must be done. It is not found in art that is calculated to affect a “look” or to succeed in the marketplace. Authenticity is often found where there is a belief that what one is doing truly matters—not in a political way, or in the sense that it will somehow change the world—but in a very personal way. Work of this nature is capable at times of touching another human being in the most profound manner.
Dialoguing With The Work Martin Buber speaks eloquently in I And Thou of the necessity of entering into a reciprocal dialogue in each of our encounters. The first step toward this act of reciprocity is the realization that we are in the presence of an entity with which we can dialogue. In the case of painting, this means that it must be understood as something other than a lifeless object. In fact, a painting can have a very significant presence. The realization of this dynamic is paramount for artist and viewer alike. Someone recently asked me concerning a painting, “What does it mean?” Though I have heard this question many times over the years, it always catches me by surprise. “Meaning” is not something that occupies me while I am working. My paintings are not about something—they are something. From the very first mark that I make on a canvas I attempt to enter into dialogue. With each new mark that dialogue potentially deepens. Only by seeing and responding to the potentialities in a developing work can I allow it to come to its own fruition.
My Eureka Moment A defining moment came for me in the early sixties when I had the epiphany that my calling was to be an artist. I had always been involved in the creative process, but until that pivotal point, at the age of nineteen, it had not been given a name. From that point onward there have been many “eureka” moments. These moments come in and through the work itself, not as a result of my limited and limiting understanding.
Postscript Poetry surpasses philosophy. Ultimately words cannot speak to the heart of painting. Any attempts I’ve made here merely trace around the outline. D
UNIVERSE OF
Kansas, the son of sharecroppers.
photograph by
| september 2010
Dana Waldon THE magazine | 17
Books of Interest
Photo: Elizabeth Cook–Romero
Leo and Elizabeth, Booksellers
ART BOOKS ■ Photography New Mexico ■ Music (CDs & Records) Literature ■ History ■ Movies ■ More
USED/DISCOUNT 311 Aztec ■ One block North of Montezuma (between Sandoval and Guadalupe) Mon-Sat. 10-5 984-9828 Parking in back
clusiau designs Your source for interior and exterior custom sewing Specializing in slipcovers, cushions, pillows, bancos, curtains, and bedding We carry stock fabrics, custom fabrics. and a large collection of fabric sample books 901 West San Mateo Suite W 505-466-2712 www.clusiaudesigns.com
THE LOFTS AT 1012 MARQUEZ PLACE BUILDING 1, SUITE 107A
505.995.9800
Intelligent Additions to The Salon
C
203 W Water St Santa Fe, NM 87501 800-871-1883 www.lucchese.com
TimothySchmitz when things surFAce september 3-26.2010 Artist reception: Friday, september 3, 5:30-7:30 pM
LewAllenGalleries d o w n t o w n
129 West Palace Avenue Santa Fe, NM 87501 505.988.8997 www.lewallengalleries.com info@lewallengalleries.com Images posted on website
Zane Be n n e t t C o n t e m p o r a r y A r t Present s
PASCAL SEPTEMBER 17 – October 9, 2010 OPENING RECEPTION:
Friday, September 17th, 5–7 pm
ZANEBENNETT CONTEMPORARY ART
email: zanebennett@aol.com www.zanebennettgallery.com Gallery Hours: 10am - 5pm Monday-Saturday, 12 pm - 4pm Sunday Railyard Arts District - Last Friday Art Walk - September 30th, 2010 435 S Guadalupe St. Santa Fe, NM 87501
T: 505-982-8111 F: 505-982-8160
STUDIO VISITS
John Updike wrote,
“What art offers is space—a certain breathing room for the spirit.” We
asked two artists to respond.
If one knows my creative style, this “breathing room for the spirit” is actually my true blessing once one of my illustrative paintings is finished. The breathing heals and alters my mind, body, and spirit—the internal massage. No matter how small or grandiose one’s studio space may be, while in the creative process there is always a view of an endless ocean, the high winds, and infinity. That’s why I continue in this profession. Why else do it? —S.J. Shaffer Shaffer created the 2010 Santa Fe Wine Festival Poster. She has gallery representation in Scottsdale, Austin, and Santa Fe. www.shafferthegallery.com
Photographs by Anne Staveley While many artists would agree with this bland statement, its opposite can also be true. Some great art is obsessively claustrophobic. There is little room for breathing in a Francis Bacon portrait, and many of the early Modernists' works were received with horror, not sighs of content. Personally, I’m not looking to create an atmosphere in which Mr. Updike would be comfortable. I want a more complex and challenging view that takes your breath away and forces you to face the other—the unknown—and therefore consider something new and fresh, even if dark. I’m trying to create a new sensibility about Southwest art that is modern, abstract, yet real. One that shows the Southwest as it is from my interior vision. I prefer art that not only surprises the viewer but, more importantly, surprises me. —Steve Elmore Two of Elmore’s oil paintings are currently on exhibit at Carlsbad Caverns National Park Visitor Center. www.steveelmorestudio.com
| september 2010
THE magazine | 21
The
Max’s
New
Fine dining even finer “Best new restaurant...” Santa Fean Dec/Jan 2010
“fun to experience...” Washington Post June 2010
Introducing Chef Mark Connell and his inspired American Cuisine A Sample of Our Menu Items
Risotto
Carnaroli rice, asparagus, crispy sweetbreads, preserved lemon
Day Boat Scallops
Foie Gras Ravioli, Port Wine, English pea puree
Sous Vide Sturgeon
Olive, caper crusted potato confit, artichoke piquillo pepper puree
Grass Fed Beef Sous Vide
Six ounce filet, Sottocenere stuffed polenta, local mushrooms and asparagus ragout
403½ Guadalupe • Santa Fe • 505-984-9104 Open Monday-Saturday 5:30-9:30 • maxssantafe.com
FOOD FOR THOUGHT
Still Life with Soup Tureen (1877) by
Paul Cézanne
Food and drink played a significant role in the subject matter of the Impressionists, and the joys of the table formed an were part of their daily lives. Cézanne’s approach to the still life allowed him to choose and compare objects with reference to the natural world without having to worry about the inconsistencies of nature. He adopted a frontal focus before an arrangement of objects, as in Still Life with Soup Tureen, in which he established a sense of the mass of the fruit within its contours by a system of parallel brush strokes. In setting up still lifes that involved food, Cézanne would carefully lay a cloth on a table before arranging the fruits so that one tone contrasted with another and complementary colors vibrated against each other: red/green, yellow/purple, and blue/orange. In many of Cézanne’s still lifes sensory perspective is substitued for a traditional one, leaving the viewer with varying viewpoints within one picture. D
| september 2010
THE magazine | 23
memorable food...historic setting
“santacafe, a time-honored choice” lunch from $8.50 / dinner from $19 open every day
231 washington avenue - reservations 505 984 1788 menus and special events online www.santacafe.com locally owned & operated for over 25 years
What’s a Growler? Growlers are half gallon jugs you can purchase at the Second Street Brewery. The jugs are reusable and can be filled with any of our hand-crafted beers on tap. Once you purchase a Growler, there is no need to continue to buy bottles to throw away or recycle. After use, simply wash with water and leave it open to air dry. And bring it back to the Brewery for your refill. A half gallon Growler is 64 ounces, which equals four pints of our delicious beer. A Growler bottle is $4. A Growler fill is only $10.25.
Celebrating 10 years of excellence
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Two Locations:
1607 Paseo de Peralta In the Farmerʼs Market Building 1814 Second Street at the Railroad Tracks
ONE BOTTLE
One Bottle:
The 2006 Feudi di San Gregorio “Rubrato Aglianico” by Joshua Baer
The word “rare” comes from the Old French rere, “sparse,” from the Latin rarus,
health care companies the legal right to bankrupt the middle class. And imagine my
“thinly sown, having a loose texture,” and from the Greek eremos, “lonely, solitary,
horror when President Obama continued to sanction the slaughter of civilians in
desolate.” In the New Testament, when John the Baptist says, “I am the voice of
Afghanistan, the torture of “enemy combatants,” and the assassination of American
one crying in the wilderness,” he uses the Greek noun eremo for “wilderness.” Rare
citizens, in this country and overseas—all in the name of national security.
things are rare because they are hard to find. When something is rare, it cannot be bought or sold at will. It is not a commodity. It is a treasure.
Why did I think Barack Obama’s robust I.Q. would protect our country from four more years of military-industrial secrecy? Why did I fail to see that
In the art world, the wine world, and the world of real estate, sales people
Barack Obama was an apologist for global corporate greed? I failed because
use the word “rare” to describe etchings made by Salvador Dalí, wines made by
I was wrong. I failed because I let a well-spoken corporate lawyer suspend my
Lafite-Rothschild, and mansions built by contractors who spend their lives talking
disbelief. Instead of taking a cold, hard look at Barack Obama, I chose to believe
on their cell phones and driving around in their duallies. These etchings, wines, and
in a fairy tale.
mansions are not rare. They are expensive, but if you have money you can buy them in quantities. The fact that they can be purchased at a price proves that they are not rare. They may be desirable and they may confer prestige upon the consumer who buys them, but to call them “rare” is like calling Barack Obama “professorial.” It dances around the truth but does not tell it. One of the ironies of the wine world is the way that, over
Which brings us to the 2006 Feudi di San Gregorio “Rubrato Aglianico.” Feudi di San Gregorio is an estate located in Sorbo Serpico, a village in the Irpinia region of Campania, one hour’s drive east of Naples. In Campania, everything revolves around Mount Vesuvius. This is understandable, because each time Mount Vesuvius erupts, it covers the region with volcanic ash. Living in the vicinity of an active volcano is like living with
time, cheap wines become rare while expensive wines become
the threat of nuclear war, terrorism, or a government that thinks
common. People buy cheap wines to drink them, so it is almost
it is above the law. You can live a happy, productive life but in the
impossible to find vintage wines from the Languedoc, Provence,
back of your mind you know your happy, productive life could be
the Valpolicella, or southern Italy. Vintage Bordeaux, Burgundies,
erased at any moment.
and Sauternes, on the other hand, can be bought at any wine
In Campania, the soil contains quantities of volcanic ash.
auction, because wine collectors cellared these “rarities” when
Certain grapes thrive on volcanic ash. Others do not. One
they first came onto the market.
of the grapes that thrives is the Aglianico grape. The name
So what does it mean to be rare? One of the rarest people
“Aglianico” (pronounced “Ah-LYAH-nee-ko”) is a corruption
on earth is a man who can admit that he was wrong. Women
of the Latin Hellenica, which means “Greek.” Aglianico was
love to admit that they were wrong. They do it all the time—
originally planted in Greece, so the Romans called it vitus
sometimes recreationally. But most men would rather be eaten
Hellenicus, “the Greek grape.”
alive than admit to making a mistake. On occasion, a man will
Feudi di San Gregorio was started in 1986, by Enzo
pretend to admit that he was wrong, but then he will turn around
Ercolino and his wife Mirella Capaldo. There are vines on
and explain why he had no choice, which waters down his
their property that are a thousand years old. Some of those
admission of guilt to such an extent that it sounds like an excuse.
vines are as tall as trees. Every wine produced at Feudi di San
Why do men refuse to admit that we were wrong? Because
Gregorio is infused with authenticity. If you are trying to fool
admitting that we were wrong makes us look weak, and we
yourself and you drink these wines, the urge to be honest with
hate weakness. We live in fear, and our greatest fear is of being
yourself will overwhelm you.
identified as easy prey. In 2008, I supported Barack Obama. I watched him on
In the glass, the 2006 Feudi di San Gregorio “Rubrato Aglianico” is a dark, intricate garnet. The bouquet is as simple as the color is
television and listened to his speeches, then I told everyone
complex. On the palate, the wine tastes like a vintage Amarone by
I knew that Barack Obama was a man of profound intelligence,
Allegrini or Zenato. The finish is a great comfort, especially to those
a politician with a soul, and that the United States would be
of us who tend to confuse ambition with character.
a better place if he was elected president.
At $25 a bottle (at Whole Foods), or
Imagine my disappointment when Barack Obama got
at $156 a case (at finewinehouse.com),
elected and refused to hold George W. Bush, Dick Cheney, David
the 2006 Feudi di San Gregorio “Rubrato
Addington, and Donald Rumsfeld accountable for breaking national
Aglianico” is a deal, a truth serum, and
and international laws, and for committing war crimes. Imagine my
a singular pleasure, all rolled into one. Buy
dismay when President Obama borrowed a trillion dollars from
some and drink it before it becomes rare. D
the treasury and used the money to bail out the banks, brokerage houses, and insurance companies who had demonstrated, beyond any reasonable doubt, that losing money was the only activity at which they excelled. Imagine my shame when President Obama decided to subsidize General Motors, excuse Goldman Sachs from criminal prosecution, limit British Petroleum’s liability, and give the
| september 2010
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 ©2010 by onebottle.com.For back issues of One Bottle, go to onebottle.com. Joshua Baer can be reached at jb@onebottle.com
THE magazine | 25
italian n farmhouse kitche
Three course Lunch prix fixe, 14.95 Three course Dinner prix fixe, 29.50
Dinner 7 Nights at 5 pm Lunch Monday – Saturday Patio Dining
95 West Marcy Street One block north of the Historic Plaza Santa Fe, New Mexico 505-984-1091
photograph by anne staveley
ilpiattosantafe.com facebook | twitter
DINING GUIDE
Superb Italian Food
Il Piatto 95 West Marcy Street Reservations: 984-1091
$ KEY
INEXPENSIVE
$
up to $14
MODERATE
$$
$15—$23
EXPENSIVE
$$$
VERY EXPENSIVE
$24—$33
$$$$
Prices are for one dinner entrée. If a restaurant serves only lunch, then a lunch entrée price is reflected. Alcoholic beverages, appetizers, and desserts are not included in these price keys. Call restaurants for hours.
$34 plus
EAT OUT MORE OFTEN!
Photos: Guy Cross
...a guide to the very best restaurants in santa fe and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: Reminiscent of an inn in the French countryside. House specialties: Earthy French onion soup made with duck stock; squash blossom beignets; crispy duck; and one of the most flavorful steaks in town. Comments: Recently expanded and renovated with a beautiful new bar. Superb wine list. New spring menu. A La Mesa! 428 Agua Fria St. 988-2836. Dinner Beer/Wine. Smoke-free. Major credit cards. $$$ Cuisine: Eclectic. Atmosphere: Bustling and friendly. House specialties: Start with the Calamari Jardiniere or the Tataki of beef. For your main course, try the Steak Frites or the perfectly cooked Salmon Osso Bucco. Comments: Good wine list. Amavi Restaurant 221 Shelby St. 988-2355. Dinner Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Mediterranean Atmosphere: Elegant. House specialties: The tapas appetizer thrills and the pollo al mattone, marinated for two days and served with pancetta, capers, and house preserved lemon, may be the best chicken dish you’ve ever had. Also try the tiger shrimp. Comments: Farm to table. Chef Megan Tucker is doing it right, Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236 . Breakfast/Lunch/Dinner Smoke-free. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American cuisine. Atmosphere: A casual and elegant room evoking the feeling of an Anasazi cliff dwelling. House specialties: To start, try the smoked chile and butternut squash soup with pulled spoon bread croutons and cumin crema. For your entrée, we suggest any of the chef’s signature dishes, which include blue corn crusted salmon with citrus jalapeno sauce, and the nine spice beef tenderloin with chipotle modelo glaze. Comments: Attentive service. Andiamo! 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Good wines, great pizzas, and a sharp waitstaff. Bobcat Bite Restaurant Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Smoking.
Cash. $$ Cuisine: American. Atmosphere: This is the real deal—a neon bobcat sign sits above a small, low-slung building. Inside are five tables and nine seats at a counter made out of real logs. House specialties: The enormous inch-and-a-half thick green chile cheeseburger is sensational. The 13-ounce rib-eye steak is juicy and flavorful. Body Café 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual. House specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Asian Curry for lunch or the Avocado and Cheese Wrap. Comments: Soups and salads are marvelous, as is the Carrot Juice Alchemy. Cafe Cafe Italian Grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad; the tasty specialty pizzas or the grilled eggplant sandwich. For dinner, we loved the perfectly grilled swordfish salmorglio and the herb-breaded veal cutlet. Comments: Very friendly waitstaff. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Smoke-free. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: The café is adorned with lots of Mexican streamers, Indian maiden posters, and rustic wooden furniture. House specialties: Hotcakes get a nod from Gourmet magazine. Huevos motuleños, a Yucatán breakfast, is one you’ll never forget. For lunch, try the grilled chicken breast sandwich with Manchego cheese. The Compound 653 Canyon Rd. 982-4353. Lunch/Dinner Full bar. Smoke-free. Patio. Major credit cards. $$$$ Cuisine: Contemporary American. Atmosphere: 150-year-old adobe with pale, polished plaster walls and white linens on the tables. House specialties: Jumbo crab and lobster salad. The chicken schnitzel is flawless. Desserts are absolutely perfect. Comments: Seasonal menu. Chef/owner Mark Kiffin didn’t win the James Beard Foundation’s “Best Chef of the Southwest” award for goofing off in the kitchen. Copa de Oro Agora Center at Eldorado. 466-8668. Lunch/Dinner 7 days a week. Take-out. Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: International. Atmosphere: Casual. House specialties: Start with the mussels in a Mexican beer and salsa reduction. Entrees include the succulent roasted duck leg quarters, and the slow-
cooked twelve-hour pot roast. For dessert, go for the lemon mousse or the kahlua macadamia nut brownie. Comments: Worth the short ten-minute drive from downtown Santa Fe. Corazón 401 S. Guadalupe St. 424-7390. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Pub grub. Atmosphere: Casual. House specialties: You cannot go wrong with the not-to-be-believed thin-cut grilled ribeye steak topped with blue cheese, or the flash fried calamari with sweet chili dipping sauce; or the amazing Corazón hamburger trio. Comments: Love music? Corazón is definitely your place. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Smoke-free. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Breakfast: burritos and frittata. Lunch: sandwiches and salads. Dinner: flash-fried calamari; grilled salmon with leek and Pernod cream sauce; and a delicious hanger steak. Comments: Boutique wine list. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: All-American. Atmosphere: Popular patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are fantastic. Dynamite buffalo burgers and a knockout strawberry shortcake. Comments: Lots of beers— from Bud to the fancy stuff. Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: For your main course, go for the grilled Maine lobster tails or the Southwestern Rotisserie, or the grilled 24-ounce “Cowboy Cut” steak. Comments: Good wine list and unique signature cocktails. Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Smoke-free. Patio. Cash. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room with small tables inside and a nice patio outside where you can sit, read periodicals, and schmooze. Over 1,600 magazine titles to buy or peruse. House specialties: Espresso, cappuccino, and lattes. El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$$
Cuisine: Spanish. Atmosphere: Wood plank floors, thick adobe walls, and a postage-stamp-size dance floor for cheekto-cheek dancing. Murals by Alfred Morang. El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego cheese marinated in extra virgin olive oil; sautéed spinach with garlic and golden raisins. Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Smoke-free dining room. Patio. Major credit cards. $$$$ Cuisine: French–Asian fusion fare. Atmosphere: Kiva fireplaces, a portal, and a lovely garden room. House specialties: Start with the superb foie gras. Entrées we love include the green miso sea bass, served with black truffle scallions; and the classic peppery Elk tenderloin. Comments: Tasting menus are available. Il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Smoke-free. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Arugula and tomato salad; grilled hanger steak with three cheeses, pancetta and onions; lemon and rosemary grilled chicken; and the delicious pork chop stuffed with mozzarella, pine nuts, prosciutto, potato gratin, and rosemary wine jus. Comments: Prix fixe seven nights a week.
Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Smoke-free. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; soft shell crab; dragon roll; chicken katsu; noodle dishes; and Bento box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake. It is clear, smooth, and very dry—like drinking from a magic spring in a bamboo forest. Comments: New noodle menu. Friendly waitstaff. Lamy Station Café Lamy Train Station, Lamy. 466-1904. Lunch/Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: 1950s dining car. House specialties: Fantastic green chile stew, crab cakes, omlettes, salads, bacon and eggs; and do not forget the fabulous Reuben sandwich. Sunday brunch is marvelous. Comments: For your dessert, order the apple crisp. Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual and friendly. House specialties: Start with the Pho Tai Hoi, a vegetarian soup loaded with veggies, fresh herbs, and spices. For your entree, we suggest the Noung—BBQ beef, chicken, or shrimp with lemongrass, lime leaf, shallots, garlic, cucumber, pickled onion, lettuce, and fresh herbs on vermicelli noodles—it will rock your taste buds.
Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Smoke-free. Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Basic cafe-style. House specialties: We love the tasty Jerk chicken sandwich. Try the curried chicken salad wrap; or the marvelous phillo stuffed with spinach, black olives, feta cheese, roasted red peppers and chickpeas served over organic greens. You will love the East African coconut lentil stew. Comments: Obo was the executive chef at the Zia Diner.
La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Smoke-free. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: A gorgeous enclosed courtyard with skylights and hand-painted windows exudes Old World charm. House specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad with baked New Mexico goat cheese— both are absolutely delicious. For your entrée try the Braised Lamb Shank, served with a spring gremolata, roasted piñon couscous, and fresh vegetables. Comments: Seasonal menus created by Chef Lane Warner. A good wine list and attentive service.
Josh’s Barbecue 3486 Zafarano Dr., Suite A. 474-6466. Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: Barbecue. Atmosphere: Casual, House specialties: Delicious woodsmoked meats, cooked low and very slow are king here. Recommendations: We love the tender red-chile, honey-glazed ribs, the tender brisket, the barbecue chicken wings, the smoked chicken tacquitos, and the spicy queso. Comments: Seasonal BBQ sauces. Josh’s was written up in America’s Best BBQs.
Luminaria Restaurant and Patio Inn and Spa at Loretto 211 Old Santa Fe Trail. 984-7915. Breakfast/Lunch/Dinner/Sunday Brunch Smoke-free. Valet parking. Major credit cards. $$$ Cuisine: American meets the Great Southwest. Atmosphere: Elegant and romantic. Recommendations: Start with the award-winning tortilla soup or the Maine lobster cakes. If you love fish, order the perfectly prepared coriander crusted kampache or the Santa Fean paella—it is loaded with delicious shrimp, salmon,
continued on page 29
| september 2010
THE magazine | 27
Let us Cater Your Special Events!
presents POEMAS con TAPAS
…succulent, tender babyback ribs…
3486 ZAFARANO DRIVE · 505 474 6466 NEXT TO LOWE’S AND TO REGAL CINEMAS VISIT US AT WWW.JOSHSBBQ.COM
BEST LOCAL CATERER SUMMER HOURS:
TUES - SAT 11:30
AM
The “Night Beat” Poetry Slam Monday at 8 pm
-9
PM
· SUN 11:30
AM
-8
PM
· CLOSED MON
WINTER HOURS (BEGINNING SEP 14):
TUES - THURS, SUN 11:30 AM - 8 PM · FRI, SAT 11:30 AM - 9 PM · CLOSED MON
“Never let me lose the marvel of your statue-like eyes, or the accent the solitary rose of your breath placed on my cheek at night.”
Summer’s here and the time is right
–Frederico Garcia Lorca
for Fine Courtyard Dining and Ongoing Fabulosity! Exciting new Tapas menu and new wine options. Live music Friday, Saturday & Sunday 6-8pm See website for schedule. Artists Market every Friday, June ~ September 4–7pm With Nathan’s Hot Dogs by Gene
466-8668 ~ CopaDeOro.net OPEN EVERY DAY: Summer hours 11:30–3 & 5–8:30 IN ThE COuRTYARD AT ThE AgORA IN ElDORADO
Soups Salads Chile Pasta Stuffed Potatoes Garnish Bar and much more!
La Tienda Community Village Marketplace Eldorado
466-4206
OPEN EVERY DAY • 11-7 • Take-Out Available
Come and experience visual and spoken word poetry. We invite you to our stage for open-mike poetry readings and performance evening with musical accompaniment. Awaken the bohemian spirit of Canyon Road with us. Enjoy Tapas and Refreshments with Poetry.
El Farol: the Heartbeat of Santa Fe! 808 Canyon Road • www.elfarolsf.com • 983-9912
DINING GUIDE
Ristra
Lunch and Dinner • Seasonal Menu 548 Agua Fria Street • Reservations: 982-8608 clams, mussels, roasted peppers, and onions. The flavorful New Mexico chile pork tenderloin is top notch. Comments: Organic produce when available. Maria’s New Mexican Kitchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: Freshly made tortillas, green chile stew, and pork spareribs. Comments: Perfect margaritas. Max’s 401½ Guadalupe St. 984-9104. Dinner Beer/Wine. Non-smoking. Patio. Major credit cards. $$ Cuisine: Contemporary. Atmosphere: Intimate. House specialties: Choose the delicious grass-fed Beef Sous Vide or the perfectly prepared organic Chicken Breast Panzanella. Comments: Mark Connell works wonders in the kitchen. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: Noodle house Atmosphere: Casual and friendly. House specialties: Salmon dumplings with oyster sauce, and Malaysian Laksa. Museum Hill Cafe Museum Hill, off Camino Lejo. 984-8900. Breakfast/Dinner Beer/Wine to come. Smoke-free. Major credit cards. $$ Cuisine: American, Mediterranean and Mexican. Atmosphere: Casual and friendly. House specialties: The Thai Beef Salad is right on the mark. Try the Smoked Duck Flautas—they’re amazing. Comments: Menu changes depending on what is fresh in the market. All organic ingredients used when available. Nostrani Ristorante 304 Johnson St. 983-3800. Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$$$ Cuisine: Regional dishes from Northern Italy. Atmosphere: A renovated adobe with a great bar. House specialties: For your main, try the Stuffed Gnocchetti with Prosciutto and Chicken, or the Diver Scallops. Comments: A garden where they grow produce. European wine list. Frommer’s rates Nostrani in the “Top 500 Restaurants in the World.” O’Keeffe Café 217 Johnson St. 946-1065. Lunch/Dinner Beer/Wine. Smoke-free. Patio.
| september 2010
Major credit cards. $$$ Cuisine: Contemporary Southwest with a French flair. Atmosphere: The walls are dressed with photos of O’Keeffe. House specialties: Try the Northern New Mexico organic poquitero rack of lamb with black olive tapenade. Comments: Nice wine selection. Pizza Centro Santa Fe Design Center. 988-8825. Agora Center at Eldorado. 466-3161. Lunch/Dinner Wednesday-Sunday Cash or check. No credit cards. $$ Cuisine: Real New York–style pizza. Atmosphere: Casual. Counter service and a few tables. House specialties: A variety of pizzas with names that reflect The Big Apple, a.k.a. New York City. Recommendations: The Central Park thin-crust pizza is a knockout. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light, colorful, and friendly. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. The Brisket Taquito appetizer rules. Try the green chili stew. Railyard Restaurant & Saloon 530 S. Guadalupe St. 989-3300. Lunch Monday-Saturday/Dinner Bar menu daily Smoke-free. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: The appetizer we love is the Frito Misto del Mare (fried calamari, prawns, sardines, and oysters, presented with a spicy pomadoro sauce and caper salsa verde). For your entrée, order the Whole Cornish Game Hen, marinated in garlic and chili. Comments: Generous pour at the bar. Real Food Nation Old Las Vegas Hwy/Hwy 285. 466-3886. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: Farm to table with an on-site organic garden. Atmosphere: Cheery, light, and downright healthy. House specialties: A salad sampler might include the red quinoa, roasted beets (both vegan), and potato with dill. The roast veggie panini is perfect. Muffins and croissants are baked in house. Wonderful soups and desserts are divine. Recommendations: Inspired breakfast menu. Restaurant Martín 526 Galisteo St. 820-0919. Lunch/Dinner/Brunch Beer/Wine Major credit cards. $$$
Cuisine: Contemporary American fare. Atmosphere: Casual. House specialties: For your main course try the grilled Berkshire pork chop with shoestring tobacco onions and peach barbecue jus, or the mustard-crusted Ahi tuna. Comments: Chef-owned. Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Sunday Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American classic steakhouse. Atmosphere: Gorgeous Pueblo-style adobe with vigas and plank floors. House specialities: USDA prime steaks and prime rib. Haystack fries and cornbread with honey butter. Recommendations: For dessert, we suggest that you choose the chocolate pot. Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Southwestern with French flair. Atmosphere: Elegant bar with a nice bar menu, sophisticated and comfortable dining rooms, and a lovely outdoor patio. House specialties: Mediterranean mussels in chipotle and mint broth is superb, as is the ahi tuna tartare. Comments: Ristra won the Wine Spectator Award of Excellence in 2006. San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: As American as apple pie. Atmosphere: Casual with art on the walls. House specialties: At lunch, do try the San Francisco Street hamburger on a sourdough bun or the grilled yellowfin tuna nicoise salad with baby red potatoes. At dinner, we like the tender and flavorful twelve-ounce New York Strip steak, or the Idaho Ruby Red Trout served with grilled pineapple salsa. Comments: Visit their sister restaurant at DeVargas Center. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwestern. Atmosphere: Minimal, subdued, and elegant. House specialties: For starters, the calamari with lime dipping sauce never disappoints. Our favorite entrées include the perfectly cooked grilled rack of lamb and the pan-seared salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Pastry chef Cindy Sheptow’s Key Lime Semifreddo and Chocolate Mousse with Blood Orange Grand Marnier Sauce are perfect. Appetizers at the bar at cocktail hour rule. Santa Fe Bar & Grill 187 Paseo de Peralta. 982.3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Start with the delicious cornmeal-crusted calamari. For your main course, we love the Santa Fe Rotisserie chicken, the Rosemary and
Garlic Baby Back Ribs, and the Prawns à la Puebla. Comments: Chef Carlos Rivas is doing a yeoman’s job in the kitchen.
House specialties: Aged steaks; lobster. We suggest you try the pepper steak with Dijon cream sauce. Comments: One thing for sure, they know steak here.
Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Smoke-free. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily chef specials (try the maple-glazed pork tenderloin), gourmet and build-your-own sandwiches, the best soups, and an excellent salad bar (try Dee’s salad dressing). Comments: Simply wonderful breakfasts, organic coffees, and super desserts. A familyrun restaurant.
The Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork. Atmosphere: Casual. House specialties: We love the Salmon Benedict with poached eggs; quiche; gourmet cheese sandwich; and the amazing Teahouse Mix salad, a wonderful selection of soups, and the Teahouse Oatmeal—“the best oatmeal in the world.”
Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers are outstanding, especially when paired with beer-steamed mussels, the beer-battered calamari, burgers, fish and chips, or the truly delicious grilled bratwurst. Second Street Brewery at the Railyard 1607 Paseo de Peralta. 989-3278. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Pub grub and brewery. Atmosphere: Contemporary. House specialties: Start with the beer-steamed mussels or the Farmer’s Plate—assorted saugages and cheeses, with grilled bread. Entrees we really like a re the Plank Baked Salmon; the Honey Roasted Chicken; and the BBQ Pork Ribs with mashed potatoes. Comments: A dynamite selection of beer and ales and a menu for the kids. The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: This local institution—some say a local habit—is housed in an adobe hacienda. House specialties: We suggest the stacked red or green chile cheese enchiladas with blue corn tortillas. Comments: Great chile here. Try their sister restaurant, La Choza. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Smoke-free. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell crab tempura; sushi, and Bento boxes. at El Gancho Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Smoke-free dining room. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant with full bar and lounge.
S teaksmith
Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch No alcohol. Smoking/non-smoking. Major credit cards. $ Cuisine: New Mexican. Atmosphere: This restaurant is absolutely a Santa Fe tradition. House specialties: Green chile stew and the huge breakfast burrito stuffed with great goodies: bacon, potatoes, chile, and cheese. Tia Sophia’s is the real deal. Tree House Pastry Shop and Cafe 1600 Lena St. 474-5543. Breakfast/Lunch Tuesday-Sunday Smoke-free. Major credit cards. $$$ Cuisine: Only organic ingredients used. Atmosphere: Light, bright, and cozy. House specialties: You cannot go wrong ordering the fresh Farmer’s Market salad, the soup and sandwich, or the quiche. Tune-Up Café 1115 Hickox St.. 983-7060. Breakfast/Lunch/Dinner Major credit cards. $$ Cuisine: American, Salvadorean, Mexican, Cuban, and New Mexican. Atmosphere: Down home baby, down home. House specialties: Our breakfast favorites are the scrumptious Buttermilk Pancakes with bananna and blueberry and the knock- yoursocks-off Tune-Up Breakfast—chile relleno with tomato salsa, two eggs al gusto, refried beans, and a corn tortilla. Lunch is easy— The Yucatan Fish Tacos are always perfect and the El Salvadoran Pupusas are a favorite of many locals. An array of killer burgers and sandwiches are available. Comments: Guy Fieri of the TV show “Diners, Drive-ins and Dives” visited the Tune-Up recently. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: Farm-to-table. Atmosphere: Light, bright and cheerful. House specialties: Salads are knockouts— fresh as can be. Try the Nutty Pear-fessor salad. Comments: Only organic greens are used, thus delivering the freshness that slow food promises. Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. PatIo. Major credit cards. $$ Cuisine: All-American. Atmosphere: Down home. House specialties: meat loaf, chicken-fried chicken, Possibly the best fish and chips in town. Comments: Friendly waitstaff. The hot fudge sundaes are always perfect and there are plenty of
Try the Yucatán Fish Tacos @ The Tune-Up Café 1115 Hickox Street, Santa Fe THE
MAGAZINE
| 29
FRameWoRK auGust 31 – October 9, 2010 | OpeninG reception friday, september 3, 5:00-8:00 pm a GRoup shoW featurinG: Trygve Faste, Jacob Feige and George Rush
GeoRGe Rush
Jacob FeiGe
TRyGve FasTe
DeTail: Washington Depot (Blue), 2009 72" x 60", oil on canvas
DeTail: thermal springs, 2009 38" x 50", oil and alkyd on canvas
DeTail: nightscape reflecteD 2, 2010 18" x 30", acrylic on canvas
130 lincoln avenue, suite D, santa Fe, NM 87501 | p (505) 983-9555 | f (505) 983-1284 www.DavidRichardcontemporary.com | info@DavidRichardcontemporary.com
ART OPENINGS
SEPTEMBEr
ART OPENINGS
Thursday, September 2 Evoke Contemporary, 130-F Lincoln Ave., Santa Fe. 995-9902. Eklektikos: paintings by Kent Williams. 6-8 pm. Santa Fe Community College, Room 701, 6401 Richards Ave., Santa Fe. 428-1501. Pop Surrealism: work by local artists. 4:30-6 pm.
Friday, September 3 105 Art Gallery, 105 4th St. SW, Alb. 505-2815990. Look at Me: The Face in Contemporary Art: work focused on the human face. 5-8 pm. Bright Rain Gallery, 206 1/2 San Felipe NW, Alb. 505-843-9176. Echo and Narcissus: oil paintings by Beau Carey. 6-9 pm. Charlotte Jackson Fine Art, 200 W. Marcy St., Suite 101, Santa Fe. 989-8688. Squares and Diamonds 2010: work by Ronald Davis. 5-7 pm. Gallery talk with Thom Andriola, curator at New Gallery, Houston, Texas on Sat., Sept. 4, 3 pm. Eggman & W alrus A rt E mporium , 130 W. Palace Ave., Santa Fe. 660-0048. Western Abandon: photography by Cody Brothers. 6-10 pm.
works by Dana Newmann. Tiirtha: paintings and sculpture by Catherine Eaton Skinner. 5-7 pm. Louie’s Corner Café, 229 Galisteo St., Santa Fe. 5776725. Water Works: paintings by Mark Frossard. 5-8 pm. Manitou Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Ethelinda: oil paintings. 5-7:30 pm. Marigold Arts, 424 Canyon Rd., Santa Fe, 982-4142. Jim McLain: turned-wood vessels and sculpture. Skeeter Leard: new paintings. 5-8 pm. Mariposa Gallery, Nob Hill, 3500 Central Ave. SE, Alb. 505-268-6828. Filet of Soul: paintings by Sam Esmoer. 5-8 pm.
Sagebrush Inn, 1508 Paseo del Pueblo Sur, Taos. 575-751-0071. 2010 Taos Artist Organization Fall Studio Tour and Art Week: studio tour reception. 6-8 pm.
Rio Bravo Fine Art, 110 N. Broadway, Truth or Consequences. 575-894-0572. New Work: Nolan Winkler and the Family Winkler. 7-9 pm.
Weyrich Gallery/The Rare Vision Art Galerie, 2935-D Louisiana Blvd. NE, Alb. 505883-7410. 3rd Annual Local Treasures Celebration of the Visual Arts: featuring work by Mary Sweet. 5-8:30 pm.
University of New Mexico Art Museum, UNM Center for the Arts, Alb. 505-277-7312. Desire for Magic: Patrick Nagatani 1978-2008: retrospective of Nagatani’s work. 5-7 pm.
Wooden Cow Gallery, 7400 Montgomery Blvd., Alb. 505-892-9217. Walk on the Wild Side: group show featuring work by Valerie Fladager and Wendell W. Unzicker. 5-8 pm.
Saturday, September 4 Matrix Fine Art, 3812 Central Ave. SE, Suite 100-B, Alb. 505-268-8952. Potomac: pastel paintings by Iva Morris. 5-8 pm. New Grounds Print Workshop & Gallery, 3812 Central Ave. SE, Suite 100-B, Alb. 505268-8952. Landscape Voices: monotypes and etchings by Jacob Tarazon Matteson. 5-8 pm. Nüart Gallery, 670 Canyon Rd., Santa Fe. 9883888. Equilibrio: paintings by Rob Douglas. 5-7 pm.
Gallery Zipp, Glorieta. I-25 north to Valencia (exit 297). Left under freeway pass. Right to green gate, #01AB. 757-6428. He Said, She Said: new mixed-media work by Charles Greeley and Bunny Tobias. 11 am-4 pm. LAND gallery, 419 Granite NW, Alb. 505-2421501. Roots: land-based art by Mary Ellen Long. 6-8 pm.
Gallery Chartreuse, 216 Washington Ave., Santa Fe. 992-3391. Expanding the Palette: recent oil paintings by Daniel Bethune. 5-7 pm. Discussion and Painting Demonstration with the Artist: Saturday, Sept. 4, 2-4 pm.
Ledger Gallery, 413 B'way., Truth or Consequences. 575-231-5295. This Better Be Good: Pop paintings by Dean Stanton. 6-9 pm.
Thursday, September 16
670-9857. Obituaries and (mini) Masterpieces: drawings by Patrick McFarlin. 6-7 pm.
Arroyo, 241 Delgado St., Santa Fe. 988-1002. Fiesta for the Eyes: Fiesta–themed work. 5-7 pm.
Friday, September 17
Peyton Wright, 237 E. Palace Ave., Santa Fe. 989-9888. Paring Down to Essence: The Last Quarter Century, 1953-1978: work by Raymond Jonson. 5-8 pm.
Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. T Barny and Gregory Frank Harris: stone and bronze sculpture by Barny. Oils on linen by Harris. 5-7 pm.
Chiaroscuro Gallery, 702 ½ Canyon Rd., Santa Fe. 992-0711. The Light Within: work by Gunnar Plake. Women at the Well: work by Peter Millett. 5-7 pm. Fisher Press, 307 Camino Alire, Santa Fe. 9849919. New Paintings: oil paintings by Annabeth Marks. 5-8 pm. Flux Contemporary, 4801 Alameda Blvd. D-2, Alb. 505-504-9074. Impure Abstraction: prints and paintings by Suzanne Marshall. Sculpture by John Davis. 5-7 pm.
Joe Wade Fine Art, 102 E. Water St., Santa Fe. 988-2727. Modern Impressionism: an anthology by Roger Williams. 5-7 pm.
Palette Contemporary Art and Craft, 7400 Montgomery NE, Suite 22, Alb. 505-855-7777. Concentric: oil paintings by Ryan Goodwin. 5-8 pm.
Lakind Fine Art, 662 Canyon Rd., Santa Fe. 982-3221. The World as it Was: mixed-media paintings by Tracey Lane. 5-7:30 pm. Legends Santa Fe, 143 Lincoln Ave., Santa Fe. 983-5639. Ahead of the Curve: SWAIA Fellowship and Best of Show. 5-7 pm.
Patricia Carlisle Fine Art, 54 Canyon Rd., Santa Fe. 820-0596. David Pearson: new bronze sculpture. 5-7 pm.
LewAllen Galleries, 129 W. Palace Ave., Santa Fe. 988-3250. Timothy Schmitz: When Things Surface: abstract paintings. 5:30-7:30 pm.
| september 2010
La Tienda Exhibit Space, La Tienda Center, 7 Caliente Rd., Eldorado. 466-4688. Four Directions: landscape and abstract paintings, mixed media, and sculpture. 5-7 pm.
Peterson-Cody Gallery, 130 W. Palace Ave., Santa Fe. 820-0010. Travel & Leisure: new works by Joshua Flint and Craig Nelson. 5-7 pm.
Gebert Contemporary, 558 Canyon Rd., Santa Fe. 992-1100. Eric Cruikshank: paintings. 5-7 pm.
Linda Durham Contemporary Art, 1101 Paseo de Peralta, Santa Fe. 466-6600. Lead/Glass: new
Saturday, September 11
Launchprojects, 355 E. Palace Ave., Santa Fe.
Friday, September 10 David Richard Contemporary, 130 Lincoln Ave., Suite D, Santa Fe. 983-9555. Framework: group show featuring work by Trygve Faste, Jacob Feige, and George Rush. 5-8 pm.
William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. Grey World, Green Heart: new sculpture by Paula Castillo. 5-7 pm.
Ballroom Marfa presents Marfa Dialogues: Politics and Culture of the Border—three days of art, film, music, literature, and conversations with leading journalists. Friday to Sunday, September 17 to 19. Details: marfadialogues.wordpress.com
Tinnie Mercantile & Deli, 412 W. Second St., Roswell. 575-622-2031. 2-Person Show: small works on paper by Cate Erbaugh and Martie Zelt. 5:30-7:30 pm.
Photo: David Taylor.
continued on page 34
THE magazine | 31
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ART OPENINGS
Weyrich Gallery/The Rare Vision Art Galerie, 2935-D Louisiana Blvd. NE, Alb. 505883-7410. 30 Views of Mount Taylor: Japanese woodblock prints. 5-8:30 pm.
Dwight Hackett Projects, 2879 All Trades Rd., Santa Fe. 474-4043. Vetro: work by Tristano di Robilant. Through Sat., Sept. 18. E xpo N ew M exico , 300 San Pedro NE, Alb. 505-265-3976. New Mexico State Fair: rodeo, entertainment, food, carnival rides, and art. Thurs., Sept 9-Sun., Sept. 26. Info: exponm.com
Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. New Work: wall and floor sculpture by Pascal. Benefit for the Alzheimer’s Association. 5-7 pm.
Saturday, September 18
Gallery 408 and M alkerson M odern, Twelfth Street Galleries, Carrizozo. 575648-3201. Daisy Yokley: photographs and paintings. Sweet Pottery: work by Linda Vozar. Through Mon., Oct. 18. Burro Serenade: burro sculptures. Year-round exhibition.
203 Fine Art, 203 Ledoux St., Taos. 575-7511262. Early Works from the Mandelman-Ribak Foundation: paintings and drawings. 5-7 pm. Encaustic Art Institute, 18 County Rd. 55, Cerrillos. 505-424-6487. Second Annual Gala and Auction: art sale and exhibition. 5-8 pm. Museum Store and Lloyd Kiva New Gallery, 108 Cathedral Pl., Santa Fe. 983-1666. Doggie Dog: the dog in Native American culture. 12-3 pm.
Wednesday, September 22 Georgia O’Keeffe Museum, 217 Johnson St., Santa Fe. 946-1037. O’Keeffiana: Art and Art Materials: Georgia O’Keeffe’s processes as an artist. 5:30 pm.
Friday, September 24 Deloney Newkirk Fine Art, 669 Canyon Rd., Santa Fe. 992-2882. New Works: sculpture by Frank Morbillo. 5-7 pm. Goldleaf G allery, 627 W. Alameda St., Santa Fe. 988-5005. Portraits by Jay Ritter. 5:30-7:30 pm.
Gendron Jensen’s stone lithography at the Tamarind Institute, 2500 Central Ave. SE, Albuquerque. Through January 23, 2011.
Java Joe’s, 604 N. Guadalupe St., Santa Fe. 474-5846 or 795-7775. Small is Beautiful: egg tempera paintings by Eliza M. Schmid. 5-7 pm. Karan Ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-0807. Sally Hepler: new bronze and steel sculpture by Hepler. 5-7 pm.
Saturday, September 25 Carrizozo Clay, 413 Twelfth St., Carrizozo. 575-973-3616. Roy Brown Design Origins: ceramic work by Roy Brown. 5-7 pm. Patricia Carlisle Fine Art, 54 Canyon Rd., Santa Fe. 820-0596. David Pearson: new bronze sculpture. 5-7 pm.
Special Interest 2010 Taos Artist Organization Fall
Studio T our and A rt W eek, Taos. Open studios and workshops. Sat., Sept. 4-Mon., Sept. 6 and Sat., Sept. 11-Sun., Sept. 12. Info: taosartist.org Abiquiu W orkshops, Abiquiu. 505-6850921. Abiquiu Lecture Series: weekly lectures with artists. Through Thurs., Oct. 20, 7 pm. Intuitive Painting in Nature: workshop with Ciel Bergman. Sun., Sept 19-Fri., Sept. 24. Info: abiquiuworkshops.com Artisans, 2601 Cerrillos Rd., Santa Fe. 9544179. Group Book Signing: signing of Acrylic Innovation by Nancy Reyner and artists in the book. Sat., Sept. 11, 1:30-3:30 pm. B allroom Marfa. Marfa Dialogues: Politics and Culture of the Border: three days of art, film, music, literature, and conversations. Fri., Sept. 17-Sun., Sept. 19. Details: marfadialogues.wordpress.com
Georgia O’Keeffe M useum , 217 Johnson St., Santa Fe. 946-1000. Monochromatic Art: working with a single color. Sat., Sept. 25, 9:30-11:30 am. Info and more events: okeeffemuseum.org Georgia O’K eeffe Museum Education A nnex, 123 Grant Ave., Santa Fe. 946-1017. Walks in the American West: Myth & Magic in Ojo Caliente: outdoor journal writing. Thurs., Sept. 30, 9 am-4:30 pm. H ulse-W arman, 222 Paseo del Pueblo Norte, Taos. 575-751-7702. Solo Show: work by Cara Barer on view through Sun., Sept. 19. Lannan Foundation, Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe. 988-1234. Readings and Conversations Series: Jimmy Santiago Baca with Carolyn Forché. Wed., Sept. 15, 7 pm. Kwame Dawes with Chris Abani. Wed., Sept. 29, 7 pm. Info: lannan.org
C enter for C ontemporary A rts, 1050 Old Pecos Trail, Santa Fe. 982-1338. More Than Mary Cassatt: lecture series on women artists. Thurs., Sept. 23, 10-11:30 am. Details: ccasantafe.org C ollected Works Bookstore, 202 Galisteo St., Santa Fe. 988-4226. SWAIA Native Literary Series: readers and times TBA. Wed., Sept. 15. Color Las Cruces Plein Air Competition and C ommunity A rts F estival , downtown Las Cruces. 575-523-6403. Plein air competitions, workshops, and gallery hop. Sat., Sept. 11 and Sun., Sept. 12. Info: las-cruces-arts.org Corrales Society of Artists, Corrales. Art in the Park: arts and crafts show. Sun., Sept. 19. Info: corralesartists.org
New paintings by Kent Williams at Evoke Contemporary, 130 Lincoln Avenue, Suite F, Santa Fe. Reception: Thursday, September 2, 6-8 pm.
Design Santa Fe 2010, various locations, Santa Fe. Home tours, dialogues, luncheon, and special events. Fri., Sept. 24-Sun., Oct.
Desire for Magic: Patrick Nagatani 1978-2008 at the University of New Mexico Art Museum, Albuquerque. Reception: Friday, September 10, 5-7 pm.
continued on page 36
34 | THE magazine
|september 2010
You are cordially invited to the Encaustic Art Institute’s
Second Annual Gala and Art Auction Saturday, September 18, 2010
5:00 - 8:00 PM
Please RSVP before September 15th to: Douglas Mehrens: mehrens@eainm.com Live jazz, by Body & Soul Trio, Robert & Nancy Gott, Hugh O'Neall
18 County Road 55 A (General Goodwin Road) Cerrillos, New Mexico 87010
505-424-6487 Suggested donation: $25/person
(can be used towards the purchase of your art)
Encaustic Art Institute’s Pyramid Gallery and Sculpture Garden EAI is a registered 501c non profit
www.eainm.com • www.eainm.blogspot.com
H I R S C H F I N E A RT Museum Quality Works on Paper For the New to Experienced Collector MILTON AVERY
WIFREDO LAM
EMIL BISTTRAM
BEATRICE MANDELMAN
DONNA GUNTHER BROWN
REGINALD MARSH
LEONORA CARRINGTON
ROBERTO MATTA
HOWARD COOK
CARLOS MERIDA
CAROL CORELL
JUAN MIRABAL ROBERT MOTHERWELL
RANDALL DAVEY RICHARD DIEBENKORN WERNER DREWES
JANE PETERSON LOUIS RIBAK
ALBERT LOOKING ELK
ROLPH SCARLETT
NORMA BASSETT HALL
LOUIS SCHANKER
E. MARTIN HENNINGS
JOHN SLOAN
HANS HOFMANN
NILES SPENCER
CARL HOLTY
RUFINO TAMAYO
WOLF KAHN
ABRAHAM WALKOWITZ
GENE KLOSS
WILLIAM ZORACH
GINA KNEE
FRANCISCO ZUNIGA
BY APPOINTMENT 505.988.1166
LITERALLY STEPS OFF CANYON ROAD
www.hirschfineart.com
ART OPENINGS
Loretto Park, Camino del Pueblo, Bernalillo. 505-771-7114. New Mexico Wine Festival: wine tastings, food, and entertainment. Sat., Sept 4-Mon., Sept. 6. Info: newmexicowinefestival.com Malkerson M odern A rt G allery, 415 Twelfth St., Carrizozo. 575-648-3201. The Kimonos and Hand-Crafted Accessories of Piaki. On view Sept. 25-Nov. 8.
North F ourth A rt C enter, 4904 Fourth St. NW, Alb. 505-345-2872. Generations: work by artists participating in the VSA Day Arts Program. Through Wed., Dec. 1. P ecos Studio Tour, I-25 N. to exit 299, Pecos. 505-670-7045. Tour of art studios. Sat., Sept. 25 and Sun., Sept. 26, 10 am-6 pm. Info: pecosstudiotour.com photo - eye
Mari P hillippe A telier, 60 E. San Francisco St., Santa Fe. 660-5933. Sukyo Jang: silver ring collection. Through Sept. Museum of C ontemporary N ative A rts, 108 Cathedral Pl., Santa Fe. 4285909. Artist Talk: Nicholas Galanin. Sat., Sept. 25, 1-2 pm. Call for info. Museum Store and Lloyd Kiva New G allery, 108 Cathedral Pl., Santa Fe. 4285909. Reading and Book Signing with Kiki Belmonte-Schaller: reading from her novel Gray Rainbow Journey. Sat., Sept. 25, 2-4 pm. National M useum of N uclear S cience & History, 601 Eubank Blvd. SE, Alb. 505-3449382. Book Signing: Senator Pete Domenici will sign copies of his biographies. Sat., Sept. 4, 1:30 pm. New M exico H istory M useum , 113 Lincoln Ave., Santa Fe. 476-5200. “From Vargas to Zozobra and Beyond: Santa Fe Fiesta Reveals City Different’s Changing Culture” lecture with Andrew Leo Lovato. Wed., Sept. 8, 6:30 pm. Info: nmhistorymuseum.org
Gallery, 370 Garcia St., Santa Fe. 988-5159. First Wednesday Salon: Gay Block, Krista Elrick, and Will Wilson. Wed., Sept. 1, 6:30-9 pm. R obinson P ark, 8th St. and Central Ave., Alb. 505-247-1172. We Art the People!: folk art festival. Sun., Sept. 12, 10 am-5 pm. Info: offcenterarts.org Santa F e A rt I nstitute, 1600 St. Michael’s Dr., Tipton Hall, Santa Fe. 424-5050. Artists and Writers in Residence: open studio. Thurs., Sept. 16, 5:30 pm. Gregory Sholette: lecture. Thurs., Sept. 23, 6 pm. Christy Hengst: artist talk. Thurs., Sept. 30, 6 pm. Info: sfai.org Santa F e N ew M exican, 202 E. Marcy St., Santa Fe. 466-2770. Multimedia Workshop: video, audio, and online media. Sat., Sept. 18, 9 am-5 pm. Info: bmodel@betsymodel.com Santa Fe Railyard Park, Guadalupe St. and Cerrillos Rd. Birds in the Park: Landings on Friday, Sept. 24 and Saturday, Sept. 25, 8 am-6 pm. Info: 920-5765 or christyhengst.com Scottish R ite C enter, 463 Paseo de Peralta, Santa Fe. 946-1000. “Visualizing Georgia
O’Keeffe’s Creative Process”: lecture with Carolyn Kastner. Thurs., Sept. 23, 6-7:30 pm. South Valley Economic Development C enter, 318 Isleta Blvd. SW, Alb. 242-9800. AIA Albuquerque Architecture Month: studio and building tours, lectures, and receptions. Info: aiaabq.org Tamarind Institute, University of New Mexico, 2500 Central Ave. SE, Alb. 505277-3901. Fabulous at 50: symposium and birthday celebration. Fri., Sept. 10-Sun., Sept. 12. Info: tamarind.unm.edu Village Shops of Los Ranchos, 6855 4th St. NW, Los Ranchos. 505-342-9649. T.I.M.E. 2010 Los Ranchos/Greater Albuquerque Area (Temporary Installations Made for the Environment).Through Thurs., Sept. 30.
Music
An Evening with Sam Shepard on Sunday, September 26, 6-9 pm at the Taos Center for the Arts—133 Paseo del Pueblo Norte, Taos. Fundraiser for the Society of the Muse of the Southwest. Photo: Bruce Weber
Church of Beethoven, 1715 Fifth St. NW, Alb. 505-234-4611. Sunday Musical Performances: morning musical performances. 10:30 am. Info: churchofbeethoven.org National Hispanic Cultural C enter, 1701 Fourth St. NW, Alb. 505-246-2261. ¡Globalquerque! World Music Festival: international music and culture. Info: globalquerque.com Santa F e C omplex, 632 Agua Fria St., Santa Fe. 713-885-3421. Monome Community Tour 2010: musical usages for the monome controller. Demo at 5:30 pm, music at 7 pm. Santa F e C oncert A ssociation, Santa Fe Opera, 301 Opera Dr., Santa Fe. 986-5955. Lang Lang: pianist. Mon., Sept. 20, 6 pm.
Performing Arts Albuquerque Theatre Guild, 712 Central SE, Alb. 505-341-9590. September 2010 Performances: weekly performances through Sept. Schedule and info: abqtheatre.org
H arwood M useum of A rt, Santa Fe, is accepting submissions for New Mexorado: Artists Living & Working in the AlbuquerqueDenver Corridor. Exhibition: Mar. 5-June 19, 2011. Deadline: Mon., Nov. 1, 2010. H istoric Santa Fe Foundation, Santa Fe. 983-2567. Starting Wed., Sept. 15, accepting applications for an artist in residency at El Zaguán. Info: historicsantafe.org/ ArtistResidency.html
ALL LISTINGS FOR THE OCT. ISSUE ARE DUE NO LATER THAN WEDNESDAY, SEPT. 15. INCLUDE LOW-RESOLUTION JPEG FILES. LISTINGS TO: THEMAGAZINESF@GMAIL.COM
Armory for the A rts, 1050 Old Pecos Trail, Santa Fe. 216-7562. BURST: performance. Fri., Sept. 17 and 24, and Sat., Sept. 18 and 25, 8 pm. Info: greyperforms.com T heatre Grottesco, Fashion Outlets of Santa Fe, 8380 Cerrillos Rd., Santa Fe. 4748400. OM: Ten Tiny Epics in an Outlet Mall: theatrical performance. Thurs.-Sun. through Sept. 26, 7 pm. Info: theatregrottesco.org
Call for Artists
Oil paintings by Annabeth Marks at Fisher Press, 307 Camino Alire. Reception: Friday, September 17, 5-8 pm.
36 | THE magazine
Gallery Z ipp seeking artists for Clothesline Installation. Info: www.galleryzipp.com. Click on Clothesline Installation.
Abstraction—works by six gallery artists on view through Sunday, September 26 at New Concept Gallery, 610 Canyon Road. Above: Reg Loving.
|september 2010
THE
AT E
R
in
OM: Ten Tiny Epics in an Outlet Mall
August 27 – September 26 Thursdays –Sundays: 7 pm at the Fashion Outlets of Santa Fe Cerrillos Road at I-25 $18 general admission; $8 students.
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Healthy Skin. Healthy Body. We can help you with either, or both.
Pay What You Wish Performances: September 2, 9, 16, 23.
474.8400 / theatergrottesco.org Drawings by Patrick McFarlin
Funded by New Mexico Arts: a division of the Office of Cultural Affairs and funded by the National Endowment for the Arts; the City of Santa Fe Arts Commission and the 1% Lodger’s Tax; the New Mexico Tourism Department; and the Santa Fe New Mexican. Theater Grottesco is a participant in the New Generations Program, funded by the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation, administered by Theatre Communications Group, the national organization for American theatre.
DAVID SOLOMON
www.dsoloarts.com
LLC
Shannon Plummer Doctor of Oriental Medicine Certified Elina Skin Care Specialist Board Member Association of Holistic Skin Care Practitioners
For a Free consultation: (505) 699-7258
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PREVIEWS
Chris Kahler, Rhomb C-6, acrylic on panel, 30” x 30”, 2010
Erin Currier, Airport Nurse-In, mixed media on panel, 60” x 48”, 2010
Chris Kahler Bio-Dynamic August 31 to October 9 David Richard Contemporary, 130 Lincoln Avenue, Suite D, Santa Fe. 983-9555 Opening reception: Friday, September 3, 5 to 8 pm.
Erin Currier Friendly Skies: What Makes Airports Today So Different, So Appealing? September 1 to 18 Blue Rain Gallery, 130 Lincoln Avenue, Santa Fe. 954-9902 Opening reception: Friday, September 3, 5 to 7 pm.
Floating across the gallery walls in the palette of an animated, fantastical garden—
with her multi-media paintings made of deconstructed trash—the detritus of yet another airline gate?
like something out of Fantasia, with a lot of Monet’s water lilies thrown in—Chris
Leave it to Currier to use humor, sex, and art history to make her point that enough is just about enough
Kahler’s paintings range from highly geometrical to softly vaporous. With extreme
in those not so Friendly Skies. Her Airport Nurse-In reflects a crucial moment in recent airline missteps:
chromophilia in common, his paintings blend elements of Asbstract Expressionism
after a woman was forced to cover herself and her baby while nursing in the crowded coach section of a
and its subset of color-field painting, psychedelia, Op and Pop Art to create
commercial flight, women showed up at airports to support a decision to allow breast-feeding above the
provocative canvases that generate an array of interpretations, like watching clouds
clouds. The central piece of Currier’s exhibition, however, mixes the scandalous backdrop of historical
on a perfect summer’s day. Both cellular and galactic in scale, the more overtly
truth with the gloriously executed Raft of the Medusa, by Théodore Géricault: Currier’s Raft reflects
geometric works are organic, with an infusion of science fiction, as if a robotic alien
Géricault’s composition nearly perfectly, replacing cannibalism with the sardonic humor of no-smoking
is struggling to come to life within their surfaces. Living things, Kahler’s abstractions
signs, blow-up life vests, and a first-aid kit. Géricault’s famous painting represents an appalling shipwreck
bubble, boil, and buzz across the picture plane, dissolving its unity into untold layers
off the coast of Africa in 1816: “The wealthy and well connected were given space on the lifeboats while
of activity. The artist paints, it seems, for the sheer joy of it—without a narrative
the rest—149 people—were forced onto a makeshift raft… What followed was a two-week nightmare
or an agenda—as if he simply has no choice. The work is urgent, yes, but it is also
of stormy seas, brutal murders, insanity, and cannibalism. Just fifteen men survived the ordeal…” (Posted
good-natured; some of the pictures are as fiery as the gates to hell, while others are
by stephendurbin.com on October 17th, 2007.) Currier’s Raft has us asking ourselves to what depths
soothing as a cooling breeze.
we’d sink should our flight be involved in a “water landing.” Peanuts, anyone?
Flying these days is beginning to make Greyhound seem luxurious. Erin Currier takes the airlines to task
Pop Surrealism September 2 to 27 Santa Fe Community College, 6401 Richards Avenue, Santa Fe. 428-1501 Opening reception: Thursday, September 2, 4:30 to 6 pm. Santa Fe Community College’s School of Arts and Design Visual Arts Gallery presents Pop Surrealism, a selection of artworks by local artists Dennis Larkins, Max Lehman, and Tim Prythero. The exhibition presents contemporary artwork that “quotes a diversity of popular and pre-Columbian visual influences,” according to the press release. Quite a range, and yet it makes good visual sense. Prythero creates miniature replicas of such Americana as you might find on old Route 66. He states, “Whether it’s a diner, gas station, motel, or tourist trap, I am intrigued and inspired. Movie theaters, trailer courts and dilapidated yards are my favorite subject matter.” According to Lehman, his ceramic sculptural works come from a “conglomeration of ideas.” Seeking to juxtapose disjointed or unrelated things in new relationships with each other, his visual references tap into 1950s television, and Mayan, Aztecan, Teotihuacano, and South American pre-Columbian iconography. Lehman’s unique ceramic sculptures are full of humor and more than a little horror. Larkins’s three-dimensional paintings examine the contradictory cultural influences that defined the United States during the Cold War and how those perceptions continue to define us today. In his American West, Ozzie and Harriet–like nuclear families on a road trip through atomic landscapes might find themselves Dennis Larkins, Close Your Eyes, acrylic, three-dimensional relief on panel, 18” x 24”, 2009
38 | THE magazine
experiencing close encounters with aliens and flying saucers.
| september 2010
E R I N C U R R I E R F R I E N D LY S K I E S Just What Is It That Makes Today ’s Airports So Different, So Appealing? September 3–18, 2010
Artist reception: Friday, September 3, 5–7 pm
The Raft, mixed media on panel, 60"h x 72"w
B LU E R A I N GALLE RY 130 Lincoln Avenue, Suite C
Santa Fe, New Mexico 87501
505.954.9902
www.blueraingallery.com
RO U N DSTON E STUDIO
GALLERY
2nd St Studios SANTA FE NM 505.919.9354 Photography of Norman F.Carver Jr. normancarver.com Architecture of Mitch Witkowski roundstonedesign.com Artifacts of the Ancient World
N AT I O N A L S P O T L I G H T
Fashioning K imono The kimono’s long history has changed to reflect Japanese society and culture. Well into the 1950s, the kimono was the daily dress of choice in Japan. As Western clothing became more popular, the kimono assumed a more formal role. The kimono is a symbol of culture, fashion, and social change, and it represents the evolution of the Japanese woman’s self-image. Fashioning Kimono: Art Deco and Modernism in Japan at the Birmingham Museum of Art, in Birmingham, Alabama, demonstrates beautifully the kimono as art object. The exhibition features nearly a hundred kimono—some hand-woven and simple, others elaborate—which illustrate the changing role of traditional kimono designs. Also included are current-day kimono worn by modern-minded Japanese women. Some fascinating period photographs of women dressed in kimono are shown alongside fashion advertisements, documenting the ways in which the kimono has reflected the progress of national thinking in Japan. Many of the kimono are made livelier by the use of Art Deco patterns that proclaimed the coming out of the “New Women” of Japan—women who for the first time entered the workforce and challenged the established view of the female in Japanese society. The exhibition will be on view through October 10, 2010, at 2000 Reverend Abraham Woods, Jr. Boulevard, Birmingham. D
| september 2010
THE magazine | 41
Masterpieces
of
Photography
A N D R E W S M I T H G A L L E RY, I N C .
The Andrew Smith Gallery celebrates
Lee Friedlander America By Car E x h i b i t i o n this fall at the W h i t n e y M useum of American A r t a n d new publication. L e e F r i e n d l a nder is exclusively re p re s e n t ed in Santa Fe by t h e A n d re w Smith Gallery. Lee Friedlander, New Mexico, 2005
The Andrew Smith Gallery is the leading gallery for classic 19th and 20th Century photographs. Artists include Ansel Adams, Edward S. Curtis, William H. Jackson, Laura Gilpin, A. C. Vroman, F. J. Haynes, Alfred Stieglitz, Timothy O’Sullivan, Edward Weston, Annie Leibovitz, Carleton Watkins, John K. Hillers, Paul Caponigro, Lee Friedlander, and Henri Cartier-Bresson. The Andrew Smith Gallery is also home to many regional photographers including Joan Myers, Barbara Van Cleve, Alan Ross, Jody Forster, Baron Wolman, Victor Masayesva, Lisa Law, David Michael Kennedy, Duane Monczewski and Elliott McDowell. Henri Cartier-Bresson, Rue Mouffetard, 1954
122 Grant Ave., Santa Fe, NM 87501 Next to the Georgia O’Keeffe Museum
• 505.984.1234 • www.AndrewSmithGallery.com
By Zane Fischer, with photographs by Anne Staveley
Burning Man: It Is What It Is
F E AT U R E
To get to Burning Man, drive the two-lane blacktop through the remote country north of Reno, Nevada, through the storefront towns of Empire and Gerlac, and then onto the silt alkaline playa of the Black Rock Desert. Burning Man takes place in Black Rock City—a temporary metropolis erected each Memorial Day week on the remains of the Pleistocene-era Lake Lahontan, with a population roughly equivalent to Santa Fe’s.
continued on page 44
| september 2010
THE magazine | 43
Money is useless, advertising is verboten, and artists make and break all the rules
F E AT U R E
People and their vehicles are in total transformation at Burning Man. Shirts come off, goggles defend against billowing salt clouds, and inhibitions fall like leaves to the ground. Wallets and mobile phones are put out of sight and out of mind. This is the lycanthropic cusp between this tired world and another place altogether. The line is a funky kundalini within which the collective consciousness tacitly agrees to eat its own tail. And then you enter one of the strangest cities on earth. There is still infrastructure—lighting and sanitation and law enforcement and postal services and an airport. The city is logically comprised of blocks and streets with neighborhoods, but beyond that all boundaries are blurred. Money is useless, advertising is verboten, and artists make and break all the rules. Bicycles and art cars—sometimes dainty, sputtering contraptions, sometimes lumbering, clockwork beasts—are the mode of transportation. The city by day is a fantastical desert outpost, a ramshackle bazaar swollen with every type and age of person imaginable. At night it is a spectacle of flames, sideshows, thundering parties, kinetic art, and wild, unrestrained energy. The city lives, never ever stops, and it doesn't take long to figure out that, like any city, it is different things to different people. Sex, sobriety, community, religion, ritual, education, journalism, government, and science—all these and more— are practiced within the most open, dynamic, ongoing urban conversation that has ever happened. The only mistake it’s possible to make in Black Rock City is to assume you know what Burning Man is, or whom it’s for. The only mistake no one makes is to miss why it succeeds: it is what it is because of the individuals who come willing to be whoever they are. D
| september 2010
THE magazine | 46
MONROE GALLERY of photography
A THOUSAND WORDS Masters of Photojournalism
Gandhi, India, 1946 Margaret Bourke-White ©Time Inc
Exhibition continues through September 27 Open Daily 112 DON GASPAR SANTA FE NM 87501 992.0800 F: 992.0810 e: info@monroegallery.com www.monroegallery.com
THE FISHER PRESS 307 Camino Alire Santa Fe Presents New Paintings by
ANNABETH MARKS
9/17–10/31, 2010 Opening Reception Friday, 9/17, 5-8 pm Hours: 11am to 3pm Weds.– Sat. (505) 984-9919
www.thefisherpress.com
CRITICAL REFLECTIONS
T
Dry Ice: Alaska Native Artists It Wasn’t
the
The show
Dream
of
and the
Landscape
Golden Cities
Dry Ice: Alaska Native Artists and the
Landscape has embedded within it a broad range of meanings that points both to the changing Alaskan landscape due to global warming and the nature of dry ice itself, a term that is defined by the frozen carbon dioxide within it: carbon dioxide—the bane of our existence—its rising levels, its insidious vice grip on our future. No one needs to be told that the ice sheets are melting and breaking apart, least of all the people who live and work near them. Susie BevinsEricsen (Inupiaq), one of the artists in Dry Ice, wrote in her artist statement that everyone is “experiencing fear and grief about the meltdown of Arctic ice.” When we think of the potential for catastrophe that lies ahead of us, we need to think not just about one chain of events, but many chains of events involving humans, animals, plants, geography, weather patterns, natural resources, and the intricate web of culture that is dependent on all of these. When the viewers enter Dry Ice, they encounter a most extraordinary thing. You could call it a sculpture or an installation, but you could also say it is a message from the spirit world. On a low pedestal rests the partial, taxidermied body of a huge and magnificent wolf that both merges with and appears to be crawling up from a wolf skin splayed out on the pedestal. Inert, by Nicholas Galanin (Tlingit/ Unangan Aleut), literally stops you in your tracks with the blunt force of its content—the work is beautiful and horrible at the same time. Right behind Inert is an installation by Sonya Kelliher-Combs (Athabascan-Inupiaq). This piece, by contrast, is abstract and lyrical, but without the explanatory
text there is no way to interpret a wall punctured by a
to do with self-organizing processes that eventually lead to
huge mass of sewing needles from which hang dark blue
higher states. And, as this group uses the term, these higher
threads that accumulate in delicate swirls and spirals at its
states have to do with the development of new technologies
base. Unraveled Blue Walrus Family Portrait is explained by
and a new technological lineage that ultimately expresses
Kelliher-Combs this way: “In Unraveled… the use of thread
“the cultural lineage from which a particular technology
and line are symbolic for lineage-family lines. The installation
emerged.” From the mixed media of Dry Ice, we enter the
is metaphorical for this line weaving in and out as the thread
realm of mixed-concepts, which requires one to think not
passes through over four thousand steel needles pounded
only cross-culturally, but also cross-theoretically.
into the wall…” The arrangement of the needles looks like
I have to admit that at first I almost bolted from the
lines of calligraphy, intentionally or unintentionally so—lines
sound installation by Cristóbal Martínez and Andrew
of language undulating up and down in layers in a strict
McCord, who are part of the Postcommodity group. Their
pattern symbolizing the continuity of a particular family’s
piece is called If History Moves at the Speed of Its Weapons,
lineage within the larger connecting lines of culture.
Then the Shape of the Arrow Is Changing, and I became
While Dry Ice is a more traditional exhibition in the
fascinated by the artists’ description of the installation within
sense that it relies on materials to carry the message—
the golden room. In it are eight speakers whose sounds,
mixed media, video, photography, sculpture—there is no
although abrasive, eventually captivated me, and I give a
way this work could be thought of as traditional Native
nod to the overall brilliance of the work and the conceptual
American art. The individuals who made all this work are
thinking behind it.
part of mainstream contemporary art production, while
In essence, the sounds are what the artists say come
the work in It Wasn’t the Dream of Golden Cities is about
from a ballistic analysis of four weapons from the era of the
as Postmodern as you can get. Without the wall text and
Pueblo Revolt: bow and arrow; atlatl and dart; sling and
the accompanying statements in the brochure, the viewer
rock; war club. Turned into abstract audio patterns, “The
would be out in left field. This show, which won’t be
installation sonifies the potential impact points of an infinite
entirely finished until later in August, is the brainchild of a
number of ambush scenarios within the gallery.” You might
collective calling itself Postcommodity—and anyone who
not want to stay in that golden room forever, but it’s worth
quotes Gilles Deleuze and Felix Guattari demands your
putting yourself on the multi-generational, inter-familial,
patience. Postcommodity’s borrowing the phrase “machinic
cross-cultural, post-historical line for just a few minutes
phylum” from Deleuze and Guattari and applying it to their
while you try to grasp what this complex piece is all about.
own projects is an example of what I mean. The term has
—Diane Armitage
Cristóbal Martínez and Andrew McCord, If History Moves at the Speed of Its Weapons, Then the Shape of the Arrow is Changing, mixed media, eight-stereo-channel sound, loudspeakers, acrylic paint, dimensions variable, 2010
| september 2010
Museum of Contemporary Native Arts 108 Cathedral Place, Santa Fe
Nicholas Galanin (Tlingit/Unangan Aleut), Inert, wolf, felt, 6’ x 4’ x 2.5’, 2009
THE magazine | 47
W
Michael Eastman: New Plexagraphs Gebert Contemporary 558 Canyon Road, Santa Fe
Whether he’s photographing horses or the weathered Baroque elegance of Castro’s Cuba, Michael Eastman’s pictures are haunting, struck through so sharply with absence that presence cannot help but be implicated. Eastman’s American West, for example, is all emptiness: Empty cabins on empty plains speak volumes about what was, during the era of Manifest Destiny, the place where hope stretched on into infinity. Eastman’s shots of Cuba and Italy are, viewed without sentimentality, merely pictures of architecture. Beyond their mottled texture, theatrical composition, and impressionistic coloring, the fact that no human figures inhabit these structures makes them
T
Wayne Thiebaud: Mountains Gerald Peters Gallery 1011 Paseo de Peralta, Santa Fe
To think of Wayne Thiebaud is to think of bombastically fattened cakes and donuts that turn the knees of art collectors to jelly. Often loosely associated with Pop Art, Thiebaud cut his teeth as an illustrator for Disney during the Cold War, belching out cartoons for America’s burgeoning consumer society. In the sixties he emerged on the scene as a proto-Pop visionary whose paintings of colorful American snacks, girls, and toilets crackled with painterly energy. His dexterous and glitzy commodities seemed to celebrate the realm of material production and fantastic industrial surplus, with glass gumball machines substituting for brainless human heads, packed to the brim with candy. It would, however, constitute an act of wishful thinking to suggest that Thiebaud’s work
is a critique of its content. It has, in fact, been one of the artist’s charms that he has remained so
studies of their own histories rather than cool blueprints of a building. Eastman
decorative and materialistic throughout some of the most miserable moments in American history.
says that someone once told him, “I like your interiors because they feel like
Until recently, nary a shadow of anxiety was seen to cross even one of Thiebaud’s nostalgic effigies of
someone just entered, or just left.” Eastman presents us with portraits of
gratification. His portraiture recreates the same surface expectations as his hot dogs and cakes, so odd
absence, as ripe with poetic longing as with the frankly fleeting beauty of a full-
in its optic poetry that it compels assent. This effect is redoubled in his landscapes. With his light and
blown peony—all faded pinks and greens and velvety, wilting petals.
wide-ranging fancy, and his educated touch in combining the lyrical with the utilitarian, Thiebaud has
Eastman is a self-taught photographer who uses traditional film in a four-
nonetheless managed to sum up a vision of America as an Eden compromised by its own happy crap.
by-five camera, yet he remains ever willing to subvert his medium with digital
As an archivist of America’s dying fetishes, he’s come out on top as an artist of abilities beyond dispute.
processing. Here, in the exhibition at Gebert Contemporary, Eastman pushes
It seems, from the retrospective at the Gerald Peters Gallery, that this may have been part of the
the focus on process even further by printing two nearly identical shots of his
painter’s grand strategy all along—even more so if we examine the number of mutilated art corpses
subject on layers of Plexiglas. He chose to stay at home in St. Louis for this series,
who have exploded on the scene in the past fifty years. In this new survey of landscapes Thiebaud
photographing windows at the old Globe drugstore warehouse and moody trees
rises to an eloquence that matches his main motif of imposing mountaintops and disturbing Sisyphean
in Forest Park. The results are painterly in their depth and mystery. Rather than
ridges. It seems at the age of ninety that a few devils have perturbed the artist’s impeccable sense
using photography to capture a moment in time, Eastman’s method of distorting
of pictorial structure, infusing many of the newer paintings with intensity and drama, and a sense of
dimensionality negates the medium’s celebrated flatness, a factor that has served
loss. Massive mountains, whose shapes seem manipulated by the effects of gravity on liquid, suggest
to locate “reality” within photography. Without that flatness, photographic
a transformational dynamic. As do his suavely impastoed ridge paintings, militating between feeling
images tend to float in time and space; Eastman manages to capture a definite
and repression, with great inclines of deep blue lacerated by sheets of ice and stone. The real power
sense of the past—while the moment itself remains forever indefinite—through
of Thiebaud’s work has always been his use of color—color bound up in the speed of his line. As
his camera’s lens. The tree pictures are a bit too lacy and pretty for my taste;
for the content, well, a strange and unsettling analysis could probably be written about Thiebaud’s
it’s the windows in the abandoned warehouse that shimmer with actuality and
hallucinatory confections. A phantasmic narrative about capitalist ideology, exploitation, and positive
imagination. Despite their gridded bars, these windows point to freedom: the
thinking so stained with superego enjoyment it would turn any art collector’s knees to jelly.
freedom of a space that no longer functions according to its original purpose.
—Anthony Hassett
Eastman’s photos allow us to fall through these begrimed casements into summery days and fragrant, starry nights. The old warehouse has closed, but it lives on within itself, dreaming.
—Kathryn M Davis
Michael Eastman, Untitled (GW 6), Plexagraph, 24” x 24”, 2010
Wayne Thiebaud, Sierra Peak & Clouds, oil on canvas, 19 7/ 8 ” x 21 7/ 8 ”, 1972
G
CRITICAL REFLECTIONS
Frida Kahlo & Diego Rivera Webster Collection 54 1/2 Lincoln Avenue, Santa Fe
Go to any Halloween party in Santa Fe
Where Muray often seized on Kahlo’s femininity, other
the woman as those close to her saw her. Those in the artist’s
and you’re likely to find at least one woman, and perhaps a man
photographers found her tougher, more masculine side inspiring.
inner circle photographed nearly all the images, and even
or two, dressed as Frida Kahlo. Her style, strength, and elegance
The most striking example of this is Emmy Lou Packard’s 1941
when the stories behind those relationships, or the images
speak to people. Though not the Western ideal of beauty, her
Frida standing against wall, in which Kahlo poses, smoking her
themselves, are not revealed in whole they are always hinted
physical presence makes Hollywood starlets look drab.
often-present cigarette, wearing work pants, a crisp white shirt,
at. Kahlo is, of course, as revered for her lifestyle as her art, so
and a large, light-colored flower in her hair. She is the quintessential
the opportunity to take a glimpse into her private world is a
1950s greaser, a decade before the look became fashionable.
privilege. It also allows the mystery of the woman behind the
Kahlo made herself iconic through surreal self-portraits,
and the familiar intense stare and stone face she painted are nearly universal in the photographs on display in Frida Kahlo &
Though often posed, the images in the collection offer a
Diego Rivera. Although the show—which winds through three
look into the life of Frida Kahlo and give the viewer a glimpse of
icon to grow. The exhibition is on view to September 31.
—Patricia Sauthoff
rooms of the upstairs gallery of the Webster Collection—is named for both artists, it is Kahlo who commands the most attention. Even in competition with nine original drawings by Rivera, she is the star of the show. The most striking works on display are the color photographs of Nickolas Muray, Kahlo’s lover from 1931 to 1941. Both Frida with Blue Satin Blouse, New York and Frida Kahlo on White Bench, New York go beyond glossy fashion photography to reveal the intimacy between photographer and subject. Blue Satin shows Kahlo looking straight ahead, at either the camera or the photographer, nearly emotionless, her bright red lipstick highlighting a mouth that contains no trace of a smile. They are the same pursed lips she gave herself in her work, and the photograph seems almost like an extension of her own self-portraiture. White Bench shows Kahlo in a similar pose, but her face is gentler. The intimacy between the two artists is not revealed in the photographs but surely had an effect, as Muray captures a Kahlo unseen by the lenses of the other photographers on display. Frida with Diego and Gas Mask #11, taken the year prior to the start of the Kahlo/Muray affair, shows one of only two photographs in which Kahlo and Rivera share a physical affinity. In most works, the two painters are distanced from one another, a tension emerging in most of the other portraits in the show. Kahlo and Rivera are rigid in front of the camera, but in Gas Mask they cling to one another. Here they appear to be drunk and have allowed Muray into their private lives, a year into their first, decade-long marriage. Frida Kahlo (sitting on roof holding cigarette) from 1946 holds none of the closeness of Gas Mask or any of the other photos Muray took of Kahlo. Here, five years after they ceased to be lovers—owing to Kahlo’s marriage to Rivera when Muray himself wanted to marry her—Muray’s work exudes the anger of an abandoned lover. Kahlo looks away from the camera, stiffly sitting in a chair with the city’s skyline behind her. Her face is contorted uncomfortably and the cigarette seems out of place against her colorful, traditional Mexican attire and bright red fingernails. On her head are large bows that give Kahlo—nearly forty years old at the time of the photograph—the look of an aged doll. The image looks like an attempt by both photographer and subject to recreate the connection and joy of the past. Because of its utter failure to capture their original relationship, the striking portrait shows the humanity in the often-romanticized Kahlo. Nickolas Muray, Frida Kahlo on White Bench, New York, 1939
| september 2010
THE magazine | 49
L
Larry Bob Phillips: Butterfly Trigger Larry Bob Phillips’ installation Butterfly Trigger is a reminder of the power of the mark. A one-time student of calligraphy, this Texas-born artist’s massive, uninhibited drawings remind one of the works of R. Crumb, but on a monumental scale. Phillips’ works aim to envelop us in a relentless swirl of images—a compendium of dots, dashes, and glyphs gleaned from a graphic vocabulary spanning the last hundred years or more. Typically Texan in his ambitious and unrestrained outpouring of
optical surprises, Phillips wants to be liked. His work is occasionally reminiscent of graffiti, but there is now only a trace of what once might have been the angry slashings of a skateboard enthusiast. Instead, Phillips puts his training to work by making black ink and white paper vibrate with optical energy. A first impression of his work will call to mind the word “cartoon.” Traditionally “cartoon” has referred to preparatory drawings designed to aid in the execution of large-scale tapestries or frescos. More commonly, the term is used to describe monochromatic caricatures and is often erroneously interchanged with the word “comic.” Phillips wants it both ways. His cartoons are at once heroic and ambitious drawings, complete with a kind of grand programmatic narrative, while at other times they are comic. This blurring of the boundaries of our expectations is disconcerting, much in the way the idea of a “graphic novel” must affect an English professor—it undermines the long tradition of the novel, while simultaneously advancing the literary tradition in a different stratum of society.
Larry Bob Phillips, Installation view of Butterfly Trigger, 2010
Roswell Museum and Art Center 100 West 11th Street, Roswell
If Victor Vasarely had dropped LSD and started to work
he wants to bring his swirling imagery into three-dimensional
on a huge psychedelic poster after a stormy romance, some
space. In Grand Vitara he creates a full-size sculptural
months later he might have arrived at the place Phillips now
representation of an SUV as white as the paper he draws on
occupies in Pancake Dinner. Squashed into a riot of gestures
and then embellishes the vehicle with illusionistic marks meant
appear narratives suggestive of old Country and Western lyrics.
to convey the reflected landscape and the sheen of lacquer and
But we’re not quite sure if it’s Jimmy Dean corn or Townes Van
chrome. Questioning the relationship between actual forms
Zandt gold. In one instance, Merle Haggard floats amidst the
and the graphic languages used to evoke them, this protrusion
syrup on a short stack.
into the third dimension pushes us to the boundaries between
For quite some time artists have looked towards the
drawing and sculpture. In Swimming Hole, Phillips takes a stab
popular, down-market idioms of low culture for relief from the
at color. In this context, color operates very much as it might
pressure of art history. Phillips is no exception. He reminds us
in an old issue of Archie’s Pals ‘n’ Gals or a nineteenth-century
of the huge repertoire of ingenious marking strategies that have
woodcut. In a strange way it works against the illusion of form
emerged over the decades by employing a myriad of squiggles,
that is so conscientiously developed in Phillips’ other works. The
loops, and blobs to evoke everything from the shine on a shoe
intensity of the optical vibration in the fifty-five-foot-long Tree
to the soft flesh of a maiden. Novelty of invention abounds in
of Life—a result of the black/white simultaneous contrast—is
Phillips’ work as this high-contrast lingo conveys everything
lost. Here the narrative program is much more illustrative as
from melted mozzarella to the nuance of a raised eyebrow.
the artist looks for a way of bringing together the diversity of
We’re reminded of Asian brush masters and the earnest energy
his social circle in the form of portraiture. The subtext seems
of Thomas Hart Benton.
to suggest that Phillips must be a fun guy to be with at a party.
As the one-time MC of Albuquerque’s Donkey Gallery,
This energetic artist can be forgiven such self-indulgences
Phillips isn’t shy about orchestrating his work into an event.
since he obviously enjoys the intoxicating atmosphere of
There is a shade of Brechtian proscenium-breaking in the form
uninhibited social situations with all of their amusingly awkward
of a carnival-like installation that sucks the viewer deeper and
juxtapositions.
deeper into its riot of calligraphy. Phillips isn’t satisfied with the
—Robinson Walworth
limitations imposed by two dimensions, or the surface of a wall;
CRITICAL REFLECTIONS
O
Oblique Drift: Nicholas Galanin
and
Round Up: Video Works
by
Torry Mendoza Museum of Contemporary Native Arts 108 Cathedral Place, Santa Fe
On August 2, the Museum of Contemporary
about stereotypical notions of indigeneity, the artworks
attractive nude, presumably Native—the forbidden and
Native Arts—the former Institute of American Indian Art
entertain rather than scold. Torry Mendoza’s mash-up of the
exoticized Other—wearing a tourist-market replica of a
Museum—re-opened its doors after a months-long hiatus
Lone Ranger and Tonto (Jay Silverheels, né Harry Smith),
Tlingit mask, the curio having been made in Indonesia.
devoted to major repairs to the roof and floors. It’s good
Kemosabe 1.0, is mordantly funny—and makes no bones
Galanin takes on colonialism and its consequences in a
to know the place won’t be flooded (from above, anyway),
about Tonto’s status in the hierarchy between the masked
series of French toile wallpaper and slip-cast ceramic
because there’s some really fine work on the premises. Six
superhero and his sidekick. Mendoza’s Technical Difficulties
masks with horsehair that bookends the four Curtis
inaugural exhibitions serve to re-introduce to the public
series presents clips of Iron Eyes Cody, the “crying Indian”
photographs. These bluntly lascivious portraits allow
what was once a struggling arts school museum. Now the
from the Keep America Beautiful TV campaigns. Only a few
voyeurism, repression, and lots of other perverted
school is in better shape than the only other BFA factory
decades ago, it was considered perfectly natural—in both
pleasures to nestle into our collective unconscious, where
in town, the new Santa Fe University of Art and Design
senses of the words—to let an elderly Indian statesman
Native women play Indian Princess to the White Man’s
(formerly the College of Santa Fe): MoCNA is off and
stand in for our Earth as we became aware that we had
wild-at-heart gentleman cavalry officer. Bringing beauty
running toward its promising future. Its bold new name
just about done her in, too. Let the Indian and the Earth
out of its dulled state into the genteel, wallpapered
speaks volumes (and might prevent tourists from wandering
he is so much a part of die, while we beat our breasts with
drawing room reveals the ugly paradox of the imagined
in off the streets and asking in all innocence, “Where’s the
guilt and shame. Until, we fervently hope, we can safely
purity of the “Noble Savage,” facing his own demise
Indian art?”). New director Patsy Phillips and curator Ryan
slip under plastic domes in a post-Apocalyptic world. Who
with the dumbly poignant dignity of a wild animal on the
Rice have the intelligence and drive to deliver on a twenty-
really needed all that nature stuff anyway? Stupid F*****g
verge of extinction. As Tania Williard of grunt gallery put
first-century vision for the presentation of contemporary
White Man is downright hilarious, depicting Kevin Costner
it, “Galanin explores the authentic and inauthentic, and
Native art—surely one of the most under-represented and
going Native around the campfire. In Dances with Wolves, his
how interpretation, appropriation, and ‘cultural drift’
least-understood arts today. If you’re not really too sure
Lieutenant Dunbar allowed us to embrace our fantasies and
inform Northwest Coast art.” Obliquely, subtly, shiftily,
what that label encompasses, head over to MoCNA. Three
get a bit of that pan-Indian action without actually having to
the mask under the mask is pulled aside to reveal the
traveling exhibitions and three locally organized shows
sleep (and pee) outside.
many individuals who share a culture, some for the better
are perfect fodder for constructing a thoughtful definition
Galanin takes on mythic indigeneity in his smallish
and some sure to face their own downfall. Outside that
of contemporary Native art. In the not-too-distant future,
exhibition, Oblique Drift. It packs a wallop, thanks to its
pretty, wallpapered domain there lies a different kind of
look for second-floor exhibitions from the semi-permanent
quiet beauty polarized with in-your-face sexuality. His
beauty. And it comes at a cost.
collections—shared with the Institute—of such artists as
four large photographs from The Curtis Legacy depict an
—Kathryn M Davis
Earl Biss, T.C. Cannon, and Fritz Scholder—something
that
has
been sadly lacking in the very town that fostered a renaissance in Native art during the fecund sixties and seventies. What a service to its global community MoCNA would render with a visual history enlightening second and third generations
of
contemporary
indigenous artists from North America to Australia! Organized by two separate galleries
in
Canada—Round
Up by Urban Shaman Gallery in
Winnepeg,
Manitoba,
and
Oblique Drift by grunt gallery in Vancouver,
British
Columbia—
these two exhibitions have one thing in common: They are smart, well-crafted
bodies
of
works
that deal with the histories of indigenous identity since Natives first encountered Europeans. The shows do this via entirely different aesthetics and mediums. And although they are certainly didactic exhibitions, educating their viewers Nicholas Galanin, Imaginary Indian series, wood, acrylic paint, wallpaper, dimensions vary, 2008
| september 2010
THE magazine |51
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CRITICAL REFLECTIONS
All that glass. With the open-ended pluralism of the
in the room: some cast-glass pachyderm that, sooner or later,
contemporary art scene we’d be hard put to find a medium
however briefly, will end up propping open a door or serving
that would not be at least eligible to pass as serious art. The
as a paperweight. When viewing the Luminous Forms group
road from Ed Kienholz to Jeff Koons is paved with detours,
show at LewAllen Galleries I overheard this remark from a
wrong turns, and cul-de-sacs (and mixed metaphors like this
couple near me as they looked at a piece: “This would look
one), but we’ve always managed to come away (or escape)
pretty on our cocktail table.” The point is not that they thought
with something for our pains. Hard to believe that serious
that way, but that the glass piece probably would look pretty
art—extant documents refer to “fine art”—was at one time
on their cocktail table. Yet it was, in my view, also art. That’s
restricted to painting and sculpture, and that there was an
the challenge for those who work in glass: how to harness the
explicitly ranked hierarchy of art forms, with history painting at
inherent decorative properties in the service of compelling
the top and still life at the bottom. And the “crafts” were just
design, poetry, and human drama.
that: craft—they simply didn’t count. Now, of course, no art-
Artists in two recent glass exhibitions—one in Taos, the
making medium is “privileged” over another, a fact that can be
other in Santa Fe—provided ample evidence that this challenge
confirmed by reading any English translation of Artforum.
is being met. Hulse/Warman Gallery in Taos was a key venue for
But there was a time when photography wasn’t even on
the 3rd Annual Taos Art Glass Invitational. The delicacy of Karen
the playing field, never mind in the inner circle. It took Modernists
Bexfield’s slumped and cold-worked filigree pieces like Eternity
like Man Ray to make it art and, arguably, Postmodernists in
belie the medium’s traditional reliance upon mass, volume,
the 1970s to make it serious art (ironically as an alternative to
and density. In the grid of projecting glass slides comprising
painting). Likewise, printmaking required the imprimatur of
Michelle Cooke’s 21 Square, light and transparency create
Modernist painters and sculptors working in that medium to
shadow images that oscillate between the abstraction of flat
elevate it to art. Same for ceramics. Basically, any medium that
pattern and the illusion of cubic forms, reversing the “homeless
called for 1) a lot of preparation, 2) some mechanical device
representation” of Jasper Johns’ ambivalent flat images/objects
or other (camera, press, kiln), and 3) a lot of cleanup involving
(flag, alphabet, numbers) with the homeless abstraction of
solvents, was a hard sell as serious art until recent times. Which
the glass’s cast shadows. The more conventional cast-and-
brings us to the case for glass.
plate glass of Delinda Vannebrightyn’s Deepening adopts an Art
Perhaps of all the crafts, glass art—blown, fused, and
Deco style to achieve a strong design whose fetish-in-collage
cast—is the last to make the transition from “just craft”
format conveys an engaging dream sequence. The absence of
to “also art” (sometimes). At a time when the status of the
surface texture and painterly impasto of William Davis’s neo-
“art object” is perilous at best, here you have an art form in
expressionist fused-glass compositions, Rim Fork and Fork Roads,
which the elephant in the room, often as not, is the elephant
focus viewer attention on the bright tube colors and figuration,
222 Paseo
Hulse/Warman Gallery Pueblo Norte, Taos
del
LewAllen Galleries 129 West Palace Avenue, Santa Fe
Hiroshi Yamano, Fishcatcher, blown and sculpted glass, silver leaf engraving, copper plating, 45” x 10” x 8”, 2010
A
3rd Annual Taos Art Glass Invitational Luminous Forms: Group Glass Exhibition
which convey an odd but highly successful integration of late Matisse cutouts and Keith Haring choreography into rich lyrical narratives. The group show Luminous Forms at LewAllen Galleries in Santa Fe featured the work of eight artists.The inventive whimsy of Steve Klein’s kiln-formed, blown-glass designs enhances the effect of beautiful glassware. Hiroshi Yamano’s sculptural vases are comprised of blown glass fused with silver leaf engraving and copper plating whose delicately inscribed motifs of swimming fish evoke Japanese screen paintings. Each piece features lifelike fish in the round that cavort on top or inside the vessel. The small, flitting forms are caught in momentary stasis, while the larger, flopping shapes seem to lounge half in and half out of the vessel. For all the complexity of technique, visual conceit, and formal beauty of his works, exemplified by the masterly Fishcatcher, Yamano’s glass vessels function fully as surrealist sculpture rich in cultural and personal import. And what Yamano’s sculptures assert in common with the most successful pieces in both exhibitions is the ability to infuse the intrinsic formal and decorative properties of glass with the stuff of poetry.
—Richard Tobin Michelle Cooke, 21 Square, optical slide glass construction, 16” x 16” x 4”, 2010
| september 2010
THE magazine | 53
Beatrice Mandelman (1912-1998) Louis Ribak (1902-1979)
203 FINE ART Presents
Early Works from The Mandelman - Ribak Foundation
Opening Reception: Saturday, September 18, 5 - 7 pm September 18 - October 18, 2010 203 Ledoux Street, Taos, NM 575.751.1262 www.203FINEART.com
A
CRITICAL REFLECTIONS
Rose B. Simpson: Matterings
Museum
of
Contemporary Native Arts, Vision Project Gallery 108 Cathedral Place, Santa Fe
As children, we played in the dirt and we curled up in
required for potential—ringed in the circle of life, safe still in the
other across the room and encompass the entirety of their
our mother’s skirts. We wrapped ourselves inside and hid. We had
fecundity of innocent roundness. The dream figures face each
respective walls. From the center of each tablet a silhouette
safety. We had protection. Mother was tall, stood proudly, and we
other, united in their formlessness, lines of connection drawn
representing a figure has been cut, allowing the viewer to look
were a part of her—but not apart. Inside looking out, and innocent
in the dirt between them. There are images that emerge from
through the piece to the blank wall behind it. This figure/ground
of fear, we were alive. That was a long time ago. Today you lie
the endless expanse of reddened earth that might be born out
reversal recalls Ana Mendieta’s oeuvre and gives these images a
down in the dirt exhausted, your back against the wall. And your
of it, and come apart from the earth, but still a part of it. Images
simultaneous presence and absence that contrasts nicely with
body turns to clay and mud and swells to the size of the mountain.
that will return, will vanish, will go back to the pure being of
the solid volume of the large clay figure.
Your interior grows as the world of fear and turmoil around you
imagination. Most of all, the images matter.
Cut from the center of the square tablet is a figure who
recedes; at least for a moment you rest. Pregnant with questions
Rose B. Simpson’s installation Matterings begins with small
might be dancing or lying down in a pose similar to the sleeping
and pieces of old songs long unsung, you became again one with
photographs on the exterior wall of the Vision Project Gallery.
clay giantess. In the circular tablet there is a smaller silhouette
your mother—a part of the earth, but not apart. What had been
The images depict the artist interacting with a long, oversize
that reads as a child standing upright. The three figures form a
the rich tapestry of her skirt, your skirt, was now gone. Only a
skirt that stretches above her head and hangs to the floor on a
family group and achieve a spiritual and poetic universality that
fragment remains, sacred and on display as if to ask, “Remember
giant armature. Simpson hides inside it, wraps herself in it, and
seems derived from no specific culture—or from the collectivity
when?” After a long silence your thoughts and questions rise,
peers out of it like a child playing at her mother’s feet. The use
of all cultures. Additionally, the room holds a fragment of fabric
blooming inside you, inside her, inside all of us. What is the matter?
of scale is highly effective in that it allows Simpson to appear
that recalls the giant skirt outside. While it is easy enough to
What has gone wrong? When did this discomfort begin? How
simultaneously as a child and as an adult.
analyze the elements of this formally and poetically successful
can I change the world? In your dream—in your mind’s eye—
Inside the one-room gallery a giant female clay-and-mud
installation—this is the “fabric of life”—the real aesthetic
two figures appeared, formed by the clay, or by separating what
figure lies on the floor, curled in on itself—suggesting sleep,
pleasure here is found in the deeper and essentially non-verbal
essentially isn’t from the unformed matter. Dream hieroglyphs
exhaustion, collapse, and some discomfort. Periodically, after
intuitive response that the carefully constructed room elicits. As
formed of absences, silhouettes cut from the clay ground. Nothing
long stretches of silence, from somewhere inside her body
the pieces of the work are allowed to act fluidly and associatively
matters most of all. Only nothing lasts forever.
the muffled sounds of questions, thoughts, and short pieces of
upon one another with less fixed meanings, it becomes clear that as an artist Simpson is quite capable of constructing deeply
One figure dances against the square of an earthen sky,
singing, or chanting, emerge. Thick lines of dirt drawn on the
or lies against the mud floor of the mind. The other figure is
floor connect this sculptural figure to the adjacent walls where
satisfying and profound visual and sculptural poetry.
a child—simple and small and full of the sacred emptiness
two large clay tablets, one square and one circular, face each
—Jon Carver
Rose B. Simpson, Installation view, 2010
| september 2010
THE magazine | 55
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CRITICAL REFLECTIONS
Australian Contemporary Indigenous Art—Now Chiaroscuro,
Chiaroscuro 702½ Canyon Road, Santa Fe
Vivien
Each of these beings is linked invisibly with one specific
about their spiritual heritage going out into the world,
Anderson Gallery of Melbourne, Australia, is presenting a
animal or plant—a totem. Every Aborigine is eternally
dots were used as a means of masking secret elements
strong exhibition of work from Aboriginal artists of South
connected with one of the totems and its Dreamings.
in the stories.
Australia, the Central Western Desert, and Arnhem
These narratives—Songlines—are gender specific and
Land. Symbols, patterns, and colors dance through the
not discussed between men and women.
in
collaboration
with
The exuberant choreography of red, white, and apple-green displays a childlike sense of wonder in
extremely
Wingu Tingima’s Kungkarrakalpa Tjukurpa, representing
world that brings forth an intense visceral response. The
ancient—the oldest examples of Aboriginal Art are
the Pleiades Dreaming. This painting makes me think
mystifying visual vocabulary of Aboriginal Dreamings and
estimated to be between 30,000 and 40,000 years old.
of those of Austrian painter and architect Friedensreich
Songlines enters the body, reconnecting us to a sensibility
Traditionally artists have painted on rocks, bark, their
Hundertwasser, whose bright colors and organic forms
that lies dormant in Western consciousness, opening us
bodies, and ceremonial objects. Now they also work with
also sought to reconcile human beings with nature and
to a reality that is both primal and intuitive.
galleries, creating an uplifting and hypnotic sensory
Manifestations
of
Dreamtime
are
contemporary materials. In 1971, a young art teacher
the cosmos. The iconography of Wana, Wani (The Place
Dreamtime, integral to Aboriginal art, is the sacred
named Geoffrey Bardon was sent to a remote government
Where the Digging Stick was Thrown) by Nellie Stewart
era in which ancestral Totemic Spirit Beings formed
settlement—an assimilation center—northwest of Alice
tells of the creation of an important rockhole by a woman
The Creation. Aboriginal creation myths tell of totemic
Springs. Bardon’s interest in Aboriginal culture and
with her magical digging stick. The visual excitement of
beings wandering the continent, singing into existence
creation stories inspired him to initiate an art project to
this luscious composition—its musicality of form, color,
all the creatures and physical features of the landscape.
paint a mural of a Dreaming on the side of the schoolhouse.
and gesture—is reminiscent of Philip Guston’s dialogue
The elders responded with
with shapes in the 1950s.
enthusiasm and requested
The spatial complexity and painterly fluency of Maringka
more materials for their
Baker’s Minyma Kutjara is a gestalt of dots in myriad shades
own use. Bardon gave them
of rich red and black, overlayed with concentric circles of
acrylic paints and canvas, and
yellow joined by orange lines. It designates ancient sites
formed the first collective
and events along horizontal and vertical planes of light and
for Aboriginal artists. This
darkness. These force fields resonate into the space of the
collective was the origin
gallery like magnets where Rothko joins the spirit of Miró.
of bringing contemporary
The zigzagging snake-like and starfish-like forms of Roy
Australian
art
Underwood’s Mulaya and Miramiratjara, Kurualla bring to
to the attention of a wider
mind the graphic and geometric patterning of Keith Haring.
audience.
Underwood’s bold and active line and vivid colors bring
Indigenous
The paintings on view
ancient spiritual journeys in the desert into the present,
are mythscapes—portrayals
while those of Haring wander through contemporary urban
of totemic geographies. In
street culture.
these maps, the features of
The majority of paintings in the front galleries burst
the land are not described
with kinetic motion and kaleidoscopic colors, while the
topologically per se, but
back gallery includes more traditional works painted
rather in relation to their
with earth pigments on bark. Dhuwarrwarr Marika
mythological
represents Milngurr, the sacred spring of her people,
There
is
orientation and
significance. no to
different
perspectives
specific
with flat concentric patterns that seem to lift off the
work,
ground, capturing the three-dimensional movement of
and
water bubbling up from the well of the earth. Djirrirra
a scales
exist
Wunungmurra’s Yukuwa is a vertical song of poetically
within the same canvas. The
often
branching leaf forms, representing life force. Standing
absence of a visible horizon
in the middle of one space are many of Gali Yalkarriwuy
expresses
artist’s
Gurruwiri’s beautiful Morningstar Poles, celebrating the life
connection to the land. There
the
cycle and its dance with the Morning Star in the night sky.
is no separation of earth
These ceremonial poles have similarities to sacred objects
and sky. An iconography
of Native Americans who also observe the rhythms of life
of arcs, concentric circles,
and death in relation to this bright star.
semicircles, and lines may
Don’t miss these dynamic compositions of vibrant
refer to an artist’s totem,
and muted colors that tell sacred stories, revealing a
specific ancestor, or sacred
sense of place that will seduce your eyes, possess your
site. Dots also have their
body, and pull you into the vast repository of human
place in the paintings. When
experience. The exhibition closes on September 11.
elders became concerned
—Susanna Carlisle
Women’s Collaborative, Spinifex Mob, Tjintirtjintir, synthetic polymer paint on canvas, 75” x 53½”, 2010
| september 2010
THE magazine | 57
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Southwestern College offers M.A. Degrees in Art Therapy/Counseling
This is an exciting time to be entering the field of Art Therapy as it is expanding both
nationally and internationally. Art Therapists are employed in a variety of settings including schools, hospitals, clinics, treatment centers and private practice. There is a genuine sense of community within the school, and art therapy faculty offer and participate in open studio time, encouraging students, alumni, and staff to come out to the Art Therapy Complex and make art together. This informal time to talk and make art provides a space for relationships to grow and honors our belief in the importance of art therapists maintaining their identities as artists.
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GREEN PLANET
N a o m i K lein writer
/
activist
author of The Shock Doctrine: The Rise of Disaster Capitalism _______________
“You actually cannot sell the idea of freedom, democracy, diversity, as if it were a brand attribute and not reality— not at the same time as you’re bombing people, you can’t.” —Naomi Klein _______________
Drilling without thinking has, of course,
been
Republican
Party
policy since May 2008. With gas prices soaring to unprecedented heights conservative leader Newt Gingrich unveiled the slogan “Drill Here, Drill Now, Pay Less”—with an emphasis on the now. The wildly popular campaign was a cry against caution, against study, and against measured
action.
In
Gingrich’s
telling, drilling at home wherever the oil and gas might be—locked in Rocky Mountain shale, in the Arctic National Wildlife Refuge, or deep offshore—was a surefire way to lower the price at the pump, create jobs, and kick Arab ass all at once. “In the face of this triple win, caring about the environment is for sissies,” as Senator Mitch McConnell put it. “In Alabama and Mississippi and Louisiana and Texas, they think oil rigs are pretty.” By the time the infamous “Drill Baby Drill” Republican National Convention rolled around, the party’s base was in such a frenzy for U.S.-made fossil fuels, they would have bored under the convention floor if someone had brought a big enough drill. D
Photographed by Jennifer Esperanza at the Bioneers Conference • Marin CA, 2008 www.jenniferesperanza.com | September 2010
THE magazine | 59
so y y he e t e Th pe th e. I ho y is r. v e a lo r. e, the tod om v o lo at gro e, ach r th v he Lo o e be to t t em go in m e yI r da e ar
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Mesa de Las Viejas, NM photograph by | september 2010
Mark Nohl
THE magazine | 61
“Purgatory ” by
Photograph by Raúl Zurita
WRITINGS
Raúl Zurita
XXII
ce I smashed my sickening fa in the mirror id—I love you I love you—I sa hing in the world I love you more than anyt XXXIII
believe me I’m not sick I’m telling youn’ even happen to me these things dotht me in a bathroom ti e on is t bu n te of very ke an angel I saw something li ard him say “How are you, dog,” I he Well—that’s all mmed memories But now the godaght keep me up at ni
Verses XXII and XXX111 are from the bilingual edition of “Purgatory” (University of California Press, $19.95). The volume records the physical, cultural, and spiritual violence perpetrated against the Chilean people under Pinochet’s military dictatorship (1973–1990) in the fiercely inventive voice of the postmodern master, Zurita . He is also the author of Anteparaiso and La Vida Nueva, among other books of poetry.
62 | THE magazine
| september 2010
Gunnar Plake
The Light Within Plake’s second grand canyon series exhibition includes eight large-scale color photographs “of the world within the world below the rim”
Peter Millett
Woman at the Well
Millett’s first solo show with Chiaroscuro consists of fifteen welded steel and wood sculptures in large and small scales
August 13 - September 10, 2010 Opening Reception, Friday, August 20, 5-7pm
c h i a r o s c u r o 702 1/2 & 708 canyon rd, santa fe
chiaroscurosantafe.com
505-992-0711