Santa Fe’s Monthly
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of and for the Arts • May 2015
JAQUE FRAGUA & PHILLIP VIGIL MAY 1 – JUNE 6, 2015
53 Old Santa Fe Trail | Upstairs on the Plaza | Santa Fe, NM | 505.982.8478 | shiprocksantafe.com
CO NT EN TS
03 letters 14 universe of: Artist Nina Elder 18 art forum: The Lives of Others, directed by Florian Henckel von Donnersmarck 21 studio visits: Chace Haynes and Matt Thomas 23 ancient city appetite: Arroyo Vino by Joshua Baer 25 one bottle: Aquafina Purified Drinking Water by Joshua Baer 27 dining guide: Joseph’s Culinary Pub and Il Piatto Italian Farmhouse Kitchen 31 art openings 32 out & about 38 previews: Come Join Me Up Here at GVG Contemporary and New Language, New Vistas: Women Artists of New Mexico at Matthews Gallery 41 flashback: John McCracken, Medanales, NM, 1996, photograph by Guy Cross
43 national spotlight: Envisioning Ecstasy: Works by Cira Crowell and Christopher Michel at Tibet House, New York City 45 feature: Man Ray’s Shakespearean Equations by Jackie M 49 critical reflections: Aisthesis: The Origin of Sensations at Piazza Litta, Varese, Italy, Bebe Krimmer at Chiaroscuro, Decomposition at Evoke Contemporary, Elliot Norquist at Charlotte Jackson Fine Art, Gallery Fake at Eileen Braziel Art Advisors, Human Drift at SCA Contemporary (Alb.), Inventory of Light at Peters Projects, and Keeping Things Whole at Zane Bennett Contemporary Art 59 green planet: Jeanette Hart-Mann and Chrissie Orr: Artists, Activists, and Creators of SeedBroadcast, photograph by Jennifer Esperanza 61 architectural details: Spring Trees, photograph by Guy Cross
One of the seminal forces in the art of the past century was, and still is, abstraction. Modernism was born from an art that was liberated from mimesis by color and shapes existing independently beyond rigid academic and political hierarchies. Postmodernism still embraces aspects of abstraction as a powerful means of thought and expression. Adventures of the Black Square—Abstract Art and Society 1915-2015 (Prestel, $60) focuses on the history of geometric abstraction from its origins in Russian Constructivism through its global evolution over the last century. This particular form of abstraction differs from the biomorphic genre whose images are derived from nature and
visualizations of psychic elements, as well as the gestural and existentialist influences of Abstract Expressionism. The pure forms in geometric abstraction are based on mathematically derived systems and are most commonly monochromatic and non-representational. The book traces developments in this formalist style, chronologically identifying four key themes beginning with the utopian vision of a new future for society based on technological progress. That era was followed by the architectonic movement, which employed the three dimensional capacity of the style to create clean, minimal social environments, dissolving boundaries between art
and society. With the rise of mass media, geometric abstraction would influence communication, promoting ideas through text and image. Lastly, the book tracks abstraction’s absorption into the everyday vocabulary of material culture and social relations. For each of the periods there were innovators furthering the black square’s influence on European, North and South American, Middle Eastern and East Asian aesthetics and politics. The catalogue accompanies an exhibition at the Whitechapel Gallery, London, with essays edited by the gallery’s director, Iwona Blazwick and its curator-at-large, Magnus af Petersens.
Dan Christensen atmospherics
may 15 - June 21. 2015
Reception: FRiday, May 15, 5:00 -7:00 pM
READINGS & CONVERSATIONS brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction, and poetry to read from and discuss their work.
CLAUDIA RANKINE with Saskia
Hamilton
WEDNESDAY 6 MAY AT 7PM LENSIC PERFORMING ARTS CENTER Claudia Rankine is the author of Don’t Let Me Be Lonely: An American Lyric, a multi-genre
Untitled, 1969, acrylic on canvas, 101½" x 75"
book blending poetry, images and essays in which she writes, “Forgiveness, I finally decide, is not the death of amnesia, nor is it a form of madness as Derrida claims. For the one who forgives, it is simply a death, a dying down in the heart, the position of the already dead.” In praise, Jorie Graham wrote, “Rankine breaks out of virtual emotion, reawakens honesty, and exhibits such raw political courage and aesthetic bravery it sends tremors through the entire field of American poetry as she finds it.” Her new book Citizen, continues Rankine’s unique genre and presents a powerful testament to the individual and collective effects of racism on society.
TICKETS ON SALE NOW
ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:
www.lannan.org
Untitled #69, 1971, acrylic on canvas, 75" x 88"
LewAllenGalleries Railyard Arts District 1613 Paseo de Peralta Santa Fe, NM 87501 (505) 988.3250 www.lewallengalleries.com info@lewallengalleries.com
LETTERS
magazine VOLUME XXII NUMBER IX WINNER 1994 Best Consumer Tabloid
SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 and 2006 Top-5 Best Consumer Tabloids P U B L I S H E R / C R E AT I V E D I R E C T O R Guy Cross PUBLISHER/FOOD EDITOR Judith Cross ART DIRECTOR Chris Myers COPY EDITOR Edgar Scully PROOFREADERS James Rodewald Kenji Barrett S TA F F P H O T O G R A P H E R S Dana Waldon Anne Staveley OUT & ABOUT PHOTOGRAPHER Audrey Derell CALENDAR EDITOR B Milder WEBMEISTER Jason Rodriguez SOCIAL MEDIA Laura Shields
CONTRIBUTORS Carol Anthony, Diane Armitage, Joshua Baer, Stella Maria Baer, Davis K. Brimberg, Jon Carver, Kathryn M Davis, Jennifer Esperanza, Hannah Hoel, Marina La Palma, Jackie M, Arthur Sze, Richard Tobin, Lauren Tresp, and Susan Wider COVER Assemblage by Man Ray
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THE magazine: 505-424-7641 Lindy Madley: 505-577-6310 DISTRIBUTION
Jimmy Montoya: 470-0258 (mobile) THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: themagazinesf@gmail.com. Web address: themagazineonline.com. All materials copyright 2015 by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable, for any misspellings, incorrect information in its captions, calendar, or other listings. Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel. All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised. THE magazine is not responsible for any claims made by its advertisers for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.
M AY
2015
Parables and Stories: A Re-interpretation: new paintings by Paul Steiner on view at Gallery 901, 708 Canyon Road, Santa Fe. Reception: Friday, May 1 from 5 to 8 pm. On view through May 27.
TO THE EDITOR: Thank you to both Hannah Hoel and Richard Tobin for their reviews of the Axle Indoors show at Peters Projects in the April issue of THE. I would like to clarify a misunderstanding that Mr. Tobin erroneously promotes in his review. The exhibition was not hosted by the “tony” Gerald Peters Gallery. Gerald Peters Gallery now resides in the historic Bandelier House located at 1005 Paseo de Peralta. What has replaced the “mothership” Gerald Peters Gallery is Peters Projects, a completely new gallery and program that I have developed from the ground up over the past two years. My intent is to provide a unique experience for Santa Fe gallery goers, and I invited Axle Contemporary to produce an exhibition as the first of three annual collaborative community-based shows that celebrate our diverse artistic community. Without the limitations paramount to a mobile gallery, they had the freedom to think big. The Axle Indoors show did not “lack the original context of the work,” because Peters Projects was the original context for this work—the artists were specifically invited to show multiple pieces of current works without being restricted by size or medium. The result was a ground-breaking survey of a large cross section of contemporary art in Santa Fe seen by thousands of visitors, many returning multiple times. My heartfelt thanks also goes out to the artists who participated and the community at large for making Axle Indoors an eminently successful event. —Ylise Kessler, Peters Projects, Santa Fe, via email TO THE EDITOR: I seldom pick up THE magazine anymore. But when I do, I am concerned by the absence of any Spanish Colonial (think Spanish Market-traditional and contemporary, think WPA, think CCC, think adobe, think acequia, think low-riders) representation of any kind! I don’t need to tell you the history of New Mexico. We’ve been here
over 400 years, and it is because of the Spanish Colonial presence that there is something called Santa Fe Style. What are you trying to say when you exclude my ancestors and the agricultural/water-based democracy that they built an enduring life upon? Maybe you should call it THE: the magazine for a preferred and narrow cultural view of New Mexico, realtor approved. —Camilla Trujillo, Santa Fe, via email TO THE EDITOR: I have a bone to pick with two of your reviewers— Ann Landi and Marina La Palma. Landi wrote about Strata, an exhibition of work by architect Antoine Predock at the Richard Levy Gallery and La Palma wrote about On the Map at 516 Arts. I attended the openings of both shows and it appears that neither writer paid close attention to the exhibitions. What I read in your April issue was so far removed from what I experienced that I must admit I was dumbfounded. I can only imagine that the review of From the Ground Up: Design Here + Now was assessed during the opening reception—where over 1,000 people attended. The Predock exhibition at Richard Levy Gallery was a wonderful show that revealed this architect’s multi-faceted design processes. How Landi missed the chronological story of Predock’s layered design process in the Tacoma Art Museum installation is hard to imagine. To her credit, Landi did some further research and connected Predock’s expressive approach to the influence of abstract expressionism. Perhaps both reviewers were overwhelmed by the crowds and could not really “see” the work. If that was the fact, they should have come back to look at another time, or simply reviewed the opening party itself. Bottom line is that neither reviewer’s writing reflects well on your wonderful publication and both reviewers could probably use a good talking-to. —Melissa Colburne, via email
THE magazine | 5
Think you ve seen the O Keeffe Museum? Look again!
Georgia O’Keeffe, Blue – A, 1959. Oil on canvas, 30 x 36 in. Georgia O’Keeffe Museum. Gift of The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum.
Georgia O’Keeffe:
MONROE GALLERY
Line, COLOr, COMpOsiTiOn
of photography
M ay 8 – s e p T e M b e r 1 3 , 2 O 1 5
MARGARET BOURKE-WHITE
The power of Georgia O’Keeffe’s artwork derives from her mastery of essential elements of art making: line, color, and composition. To understand the richness of O’Keeffe’s artistry, this exhibition reveals, through paintings and drawings spanning her career, her disciplined drawing practice, dramatic color palette, and innovative sense of composition.
Pioneering Photojournalist
Exhibitions and public programs are made possible in part by generous support from The Burnett Foundation, The Hearst Foundations, and the Nancy D. and Robert J. Carney Exhibitions Endowment. Additional support was provided by the Santa Fe Community Foundation; New Mexico Arts, a division of the Department of Cultural Affairs and the National Endowment for the Arts; and the Santa Fe Arts Commission and the 1% Lodgers’ Tax. O’Keeffe: Line, Color, Composition is part of Santa Fe’s Summer of Color.
pART OF THE SuMMER OF COLOR
SuMMEROFCOLORSANTAFE.ORG
Stature of Liberty, New York Harbor, 1952 ©Time Inc
Exhibition continues through June 28 Galleries
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open daily 112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e: info@monroegallery.com www.monroegallery.com
ANNE APPLEBY The Galisteo River Basin Paintings MAY 1 - MAY 31 | Reception for the Artist Friday, May 1, 5 - 7 p.m.
CHARLOTTE JACKSON FINE ART Tel 505.989.8688 | Railyard Arts District 554 South Guadalupe Street, Santa Fe, NM 87501
Photo: ŠWendy McEahern Photography
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On View at David Rothermel Contemporary
Shirley Klinghoffer: CRT Revisited
May 23 – October 11, 2015 Organized by Museum of Glass
The artwork in Shirley Klinghoffer’s CRT series was inspired by hospital forms used to support women’s bodies during radiation therapy. With sensitivity and discipline, she has transformed these forms into molds over which she has slumped skins of glass that freeze a moment of extreme vulnerability. Learn more about Klinghoffer’s Healing Objects Project and her Visiting Artist Residency at museumofglass.org/exhibition/ crt-revisited.
Shirley Klinghoffer, CRT 0981, 1999. Slumped glass installation; dimensions varied. Photo by Malcom Varon.
Tacoma, Washington museumofglass.org
UP IN NEON OPENING RECEPTION FRIDAY, APRIL 24, 5-7 PM THROUGH MAY 22, 2015
FEATURING NEW WORK IN NEON BY FREDERIC BOUFFANDEAU & FRANCOIS MORELLET
ZANE BENNETT CONTEMPORARY ART 435 S GUADALUPE ST, SANTA FE, NM 87501 T: 505-982-8111 ZANEBENNETTGALLERY.COM LEFT: FRANCOIS MORELLET, CONTRESENS N째1 , NEON TUBES, ACRYLIC, CANVAS, WOOD, 52 X 108 IN. RIGHT: FREDERIC BOUFFANDEAU, UNTITLED 1 , NEON TUBES, 59 X 59 IN.
G.WAHL painter printmaker 666
Information & prices please call 505 471-4418 www.gwahl.com gwahl@mac.com “Silver Mine�, mixed media on canvas 10 x 9 Hand carved framed 20 x 19 in white oak by Randolph Laub
Prices and detailed information about these and other hand turned bowls can be found at www.laubworkshop.com
Picture Frame Specialist since 1971
Randolph Laub studio 2906 San Isidro Court
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photograph by
Dana W aldon
UNIVERSE OF
NINA ELDER’S WORK IS QUIET,
controlled, conceptual, and often monochromatic. Her work explores the visual repercussions of land use in the West, spanning production, consumption, and waste, with special interest in features such as gravel pits, mines, and lumber mills. In a sense, Elder is a visual anthropologist. Through paintings, drawings, and installation, she examines the contemporary landscape as a reflection of the economies, politics, and culture of modern life. Her work has been exhibited at the Harwood Museum in Taos, the Center for Contemporary Arts in Santa Fe, the Rule Gallery in Marfa and Denver, and most recently at Central Features in Albuquerque. ninaelder.com SITE AND MATERIAL
dollars worth of metal, resulting in a hundred billion dollar
One of the most important steps in my research is
profit for the Guggenheims and JP Morgan. I was surprised
a physical interaction with place. I hike into mines, I
by many aspects of what I encountered, primarily the
petitioned for security clearance and was able to visit the
minimal environmental impact that the mine at Kennecott
Nevada Nuclear Test Site, and I will sleep among radar
actually had, the speed at which entropy happens in Alaska’s
dishes. Through physical inhabitation I seek to develop
extraordinarily dynamic landscape, and the current invisibility
empathy for a place and its history. The impacted
of the Kennecott Corporation, a company that grew from
landscapes that inspire me are often of a scale that is
that mountain side in Alaska and now has interests ranging
somewhat inconceivable and only through physical
from Zimbabwe to Peru to Utah, and an annual value of one
experience do I perceive the industrial sublime. I gather
hundred and twenty eight billion dollars. This summer
material from sites that then become part of my studio
I will travel to the Yakataga Bay Radar Site on the Lost
process. Using radioactive charcoal that I harvested from
Coast of Alaska, surrounded by eighteen-thousand-
the burned forests surrounding Los Alamos National Lab,
foot-tall mountains and giant ice fields. Although it was
I recreated classified photos from early atomic tests. I use
decommissioned in the 1980s it is one of the few remaining
discarded paint that is considered industrial waste. My
intact radar sites. This project is allowing me to investigate a
drawings of mines are burnished with soil and rocks and dirt
new set of questions: How does a once functional and now
that I gather from tailing piles and slag heaps. By embedding the
obsolete place become a place again? What does it mean to
actual site into my representation of it, I hope to further
bear witness to a place that will never be monumentalized,
reveal how integrated industry and extraction are to our
but was significant not only in my father’s life but also to
consumer-based existence.
the nation’s entire notion of safety and security? What can I communicate and transmit from a silent place about
BRICKHEAD
humanity, what we value, what we preserve, and what we
PAINTING INDUSTRY
State Land Commissioner Aubrey Dunn wants James
disregard? You can see me interviewed about this project in
I make paintings and drawings of industrially
Tyler’s sculpture Brickhead: Hope removed from its
an ice cave under the Kennecott Glacier at https://polarlab.
impacted landscapes in order to re-complicate
current position on Old Santa Fe Trail, and proposes to
anchoragemuseum.org/projects/nina-elder/
the mundane, see the unseen, and unveil the
replace it with an educational display of an oil pump jack. As
camouflaged places on which our daily lives depend.
an artist, an environmentalist, and a person who is deeply
THE NEW WORK
Although I will probably never paint a human
committed to Santa Fe’s vibrant and creative future, I could
I am currently making large-scale photo-realistic drawings
figure, my work is about people, their needs,
not agree more. James Tyler’s website states that he strives
of the mines where Kennecott Corporation and its
their policies, their economies, and their power.
to create a global vision of art. I have nothing against this, nor
subsidiaries perforate the globe. These mines span
Industrial sites are monuments to The American
do I have anything against the concept of hope, and I hope this
from Australia to Canada to Peru. Each day, Kennecott
Dream, icons of man’s dominion over land and our
sculpture finds a good home. I applaud this rare opportunity
Corporation extracts approximately four hundred and fifty
ability to provide the raw material for our wildly
to expose that it is land use and resource exploitation, not
thousand tons of rock from their copper mine near Salt
consumptive existence. Rather than ignore mines,
art, that keeps this state economically solvent.
Lake City, one of hundreds of sites that they are exhuming. I choose to draw these sites realistically because their
power plants, factories, and the military-industrial complex, I use aesthetics and art contexts to bring the
THE ALASKA PROJECT
vastness and structure is unfathomable, yet a photograph
industrialized landscape into a conscious space that
I am thrilled to have support from the Polar Lab at the
documents their actuality. They look otherworldly and
encourages reflection on what we use and what we
Anchorage Museum to engage in long-term research in
hyperbolic, yet without any one of these massive mines
are using up. I question the resiliency of a natural
Alaska. In 2014, I spent three weeks in the towns of McCarthy
our daily lives would be impossible. In holding myself to
environment barraged with industrial voracity, and
and Kennecott, deep in the thirteen-million-acre Wrangell-
reproducing the mines in near photographic detail, I am
I hope that my paintings and drawings create a
Saint Elias Wilderness. Early last century the copper mine
a witness to these places to which our contemporary
platform for further investigation.
at Kennecott produced a staggering three hundred billion
existence is bound.
M AY
2015
THE magazine | 15
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ART FORUM
THE
MAGAZINE
ASKED
A
CLINICAL
PSYCHOLOGIST
AND TWO PEOPLE WHO LOVE ART FOR THEIR TAKE ON THIS STILL FROM “THE LIVES OF OTHERS”—A 2006 FILM ABOUT LIFE IN EAST BERLIN IN 1984. THEY WERE SHOWN ONLY THE IMAGE AND WERE GIVEN NO OTHER
“…these large buildings are always burning with the slow and implacable fires of human desperation.” —Tennessee Williams, The Glass Menagerie
This photograph looks like it was shot in the diner from Edward Hopper’s painting Nighthawks—only many years have passed, and now the curtains are pulled shut against
INFORMATION. DIRECTED BY FLORIAN HENCKEL VON
the night. Here we are inside the space looking around instead of outside looking in.
DONNERSMARCK, THE FILM IS AN INDICTMENT OF
Even the walls are the same pale ochre as the walls in Hopper’s painting. There are
THE SINISTER BRUTALITIES OF THE STASI, THE GERMAN DEMOCRATIC REPUBLIC’S SECRET POLICE.
five people in the photograph but each one is in their own world—none of them are talking or looking at one another. They are individuals, islands in a stream of fluorescent light whose buzz you can just about hear. The woman closest to the camera looks like she is going to say something, but her dark glasses prevent us from guessing what. The
This is a café of loneliness. Five figures are present, but no one interacts with each other—all seem to be consumed by their own personal misery. Additionally, none of the figures look out to the viewer and engage us. For example, the woman in the foreground wears sunglasses, as if shielding herself. Combined, there is an overall feeling of emotional detachment. Psychologically, there are many things here that mimic symptoms of clinical depression. Indeed, the figures’ emotional
man behind her looks at the back of her head, as if her hair might hold the answer. We are left only with empty chairs and shadowed barstools, illuminated ashtrays, and faces turned the other away. And yet the woman with hidden eyes leaves us with a sense of expectation—she wants to say something. We can’t be sure what, but maybe, if we wait just a little longer, she will speak to us.
—Stella Maria Baer, Painter, New Haven, CT
withdrawal, anhedonia (a loss of pleasure in activities once enjoyable), and lethargy are striking. Such apathy is echoed in the fact that no one is speaking, eating,
We are backstage in a theater—a slice of that deafening bang of 1930s noir. Late
or drinking (Loss of appetite is also a common symptom of depression.). One
in the evening, he slips in and points a finger at her seated in the front booth. She’s
imagines these relatively young people were once vibrant prior to entering this
handling the situation with kid gloves, knowing that he is contemplating her thoughts
café. Curiously, we see an empty chair next to the front woman. Is she waiting for
from afar. She caresses her clasped hands knowing that what she has done has
someone to join her? Or is the chair’s empty presence a symbol of an important
consequences. Scents of old fragrances of perfumes, stale beer, and years of smoke
lost relationship? The closed doors and windows (with curtains drawn) provide a
and loneliness are everywhere. Ancient fluorescent lights have worked in the bar for
sense of privacy. We see the inner workings of a depressed mind.
years. Maybe someone, now forgotten, drew back these curtains too soon.
—Davis K. Brimberg, Ph.D., Clinical Psychologist, Santa Fe
—Carol Anthony, Artist, Santa Fe
magazine magazine 18 | THE 20 | THE
MM AA Y Y2015 2015
18th Annual Tour Mother ’s Day Weekend May 9 and 10 10 am to 5 pm
Maps available at all studios
28. JAMES GAY
43. REID BANDEEN
9. DIANNA SHOMAKER
35. STEPHEN FEHER
5. RIHA ROTHBERG
10. ANDI CALLAHAN
3. L. HEATH
35. GAYLE ELAINE SCOTT
40. LAVON MAESTAS
36. MEG LEONARD
7. MYRA GADSON
45. LAURA ROBBINS
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 19 20 21 22 22 23 24 25 26 27 28 29 30 31 31 32 32 33 34 35 35 36 36 36 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50
w w w. p l a c i t a s s t u d i o t o u r. c o m DIRECTIONS: Take I-25 to Placitas exit 242 and follow the signs. 505-867-2450
Sponsored by Placitas MountainCraft Soiree Society
Erica Wendel-Oglesby Jo Anne Fredrikson L. Heath Harriet Neal Riha Rothberg Dorothy Bunny Bowen Myra Gadson Barbara Burzillo Dianna Shomaker Andi Callahan E.T. LaFore Sandra Johnson Adriana Scassellati Sal Gullo Jim Carnevale Aquila Stanley Roxanne Bebee Blatz Betty Temple Mary Louise Skelton Susan McWilliam Diane Orchard Jade Leyva Althea Cajero Joe Cajero Jr. Nancy Barbeau Fehrunissa Willett Ken Erickson Michael Prokos Raymond Ortiz James Gay Lois Wagner Ralph Churchill Gayle Reinhart Pam Neas Karl & Mary Hofmann Peaches Malmaud Lynne Fusco Roger Evans Stephen Feher Gayle Elaine Scott Jim Fish Audrey Ross Catherine Alleva Meg Leonard Ann Pollard Denise Elvrum Joan Hellquist Lavon Maestas Karuna Karam Geri Verble Reid Bandeen Karen Melody Shatar Laura Robbins Katherine Irish Dana Patterson Roth Lisa Chernoff Nancy & Jon Couch Joan Fenicle
Introducing Renowned Artist Deborah Gold and the Grand Opening in our New Location at 708 Canyon Road Friday May 1st 5 - 8 PM
STUDIO VISITS
PAUL CÉZANNE SAID, “IT’S SO FINE AND YET SO TERRIBLE TO STAND IN FRONT OF A BLANK CANVAS.” TWO ARTISTS RESPOND TO HIS STATEMENT. I find myself loving and hating my work at every stage. There seems to be no rhyme or reason to what constitutes a finished work for me. Everything in the studio at every point is fair game. And nothing is finished until it leaves the studio and lives on another’s wall. One of my favorite things to do is to mess up paintings to the point that they disturb me, and it is usually at this point that I know they are almost complete for this moment. —Chace Haynes Haynes’s art can be viewed at his studio: Baca Art Projects, 922 Baca Street, Santa Fe.
I couldn’t agree more. I come to a blank canvas with sketches and patterns that I want to test out. I arrive considering that this is just a test. This gives me the freedom to explore. The canvas is then an exciting possibility. In preparing my panels, I layer a series of paper and paint, and when sanded and sealed it takes on a life of its own. This medium then informs me to the type of pattern to execute, as well as the scale that would work best. Sometimes I jump in and it’s just wrong. I’ve more than once covered up a pattern and started over again. I impose my own desires, but also need to stand back to see what the prepared surface wants. It’s all an experiment. —Matt Thomas In 2015, Thomas’s work was shown at David Anthony Fine Art and at the Harwood Museum of Art in Taos. In April 2015, he was the featured artist at the Taos Art Council’s Art in Public Places Project. In May, Thomas will be in an exhibition that takes place in Germany—Contemporary Artists of New Mexico—curated by Anthony Hassett and Andreas Lapos. photographs by
M AY
2015
A nne S taveley
THE magazine 21
Spring Forward!
* ORGANIC GARDENING WATER CONSERVING SIMPLE & SUSTAINABLE KNOW YOUR FOOD SOURCE GROW YOUR OWN YEAR-ROUND GIVE THE GIFT OF FOOD TO OTHERS
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ANCIENT CITY APPETITE
Ancient City Appetite by Joshua
Baer
Arroyo Vino 218 Camino La Tierra, Santa Fe Tuesdays through Saturdays, 5:30 to 9:00 PM arroyovino.com 505 983-2100 From the parking lot, the door to Arroyo Vino, the wine shop, is on your left,
Prosciutto Wrapped Norwegian Cod (with baby turnips, scallion potato cake,
at the east side of the portal. The door to Arroyo Vino, the restaurant and wine
capers, and beurre blanc); $32. Chef Shane likes a good Riesling. The 2011
bar, is on your right. If you go in through the door on your left, you’ll walk through
Bründlmayer Riesling “Heiligenstein Alte Reben” ($92) complements his superb
the wine shop, which doubles as Arroyo Vino’s cellar, on the way to your table.
Norwegian cod.
There’s something about walking by boxes and racks of good wine that liberates the appetite. In the dining room, check the blackboards for specials, then take a look at the menu. These are the items you don’t want to miss. Confit Duck Larb (with Bibb lettuce, cilantro, and red onions); $14. At first,
Shoyu Marinated Hanger Steak (with crispy charred spring onion, forbidden rice, edamame, and wasabi peanuts); $34. The best hanger steak I’ve tasted, ever. To make it last, order the Fingerling Potato Confit (with tarragon aioli and lardons), $8, as a side dish, and a glass of the 2013 Ca’ Rugate Valpolicella, $13 a glass or $36 a bottle.
the flavors and textures argue. Then they reach an agreement. I’ve never
For dessert, I recommend a glass of the 2011 Roûmieu-Lacoste Sauternes, $15;
tasted anything like this. The Vilmart Champagne Cuvée Rubis Brut Rosé ($108,
and no less than two orders of the Exploding Liquid Truffle, $3 a truffle. The
from the wine shop) works well with all the appetizers, especially the larb.
Roûmieu-Lacoste is one of the wine world’s best-kept secrets. It’s not just
Tempura Battered Shiitake Mushrooms (with Ponzu dipping sauce); $12. We
a dessert wine. You can drink it with anything. The Exploding Liquid Truffle
ordered this twice, first as an appetizer and later as an entrée. It might be the best
blurs the line between sustenance and decadence. If you have a sense of
thing on the menu.
adventure, an addictive personality, or both, keep ordering truffles and glasses
Cacio e Pepe (homemade tagliatelle with Pecorino Romano and black pepper); $18, as a first course, $24, as an entrée. “Cheese and pepper” in Italian. Delicious simplicity. Colin Shane, the chef at Arroyo Vino, knows how to innovate, but his strength is the way he balances innovation with tradition. M AY
2015
of the Roûmieu-Lacoste until somebody tells you to stop. Photograph by Douglas Merriam, courtesy of Arroyo Vino. Ancient City Appetite recommends places to eat, in and out of Santa Fe. Send favorites to places@ancientcityappetite.com.
THE magazine 23
happy hour special - 50% off our famous classic appetizers calamari, dumplings, egg rolls selected wines-by-the-glass, “well” cocktails and our house margaritas - $5.00 full bar with free wi-fi monday thru friday from 4:00 4:30- -6:00 6:30 pmpm
Celebrate Mom! Mother’s Day Brunch Sunday, May 10 11:30am –3pm
Patio Opens on Mother’s Day!
LUNCH • DINNER • BAR
lunch & sunday brunch • from $9.50 (11:30 - 2 pm) dinner nightly • from $19.00 (open 5:30 pm) open every day
Make your reservations today 505.982.4353 653 Canyon Road compoundrestaurant.com
restaurant bar 231 washington avenue - reservations 505 984 1788
gift certificates, menus & special events online www.santacafé.com
photo: Kitty Leaken
ONE BOTTLE
O ne B ottle :
AQUAFINA Purified Drinking Water by J oshua We lived in the house for nine years before I found out about the view
“No, it’s me,” I said. “Hang on,” he said. I heard the sound of running
from the roof. Each room in the house had a view. The kitchen, my
water, then silence. The door opened. My father had on the thick rubber
room, and my parents’ bedroom had views of the Bay Bridge and
apron he wore in the darkroom. “What did you do to your arms?” he said.
Golden Gate Bridge. In Berkeley, people called that a two-bridge
He was annoyed. I had interrupted him.
view. To qualify as a three-bridge view, your house had to have views of the Bay, Golden Gate, and Richmond-San Rafael Bridges.
“There’s a ship on the bay,” I said. “I think there’s something wrong with it.”
The stand of redwood trees to the northwest of our house kept
After he checked the bruises on my arms, my father took off his
us from having a three-bridge view.
apron and got his binoculars. I followed him through the house and
The day I discovered the view from the roof was one of those brilliant Bay Area days you get in late April or early
out onto the kitchen porch. You could see only half as much of the bay from the porch as you could see from the roof, but
May after a rain storm. The air was so clear, you could
the topaz blue freighter was still there, following the same
see the peaks of the Farallon Islands, thirty miles west
clockwise course from the waters east of Treasure Island
of the Golden Gate. As the crow flies, our house was
to Alcatraz, from Alcatraz to Angel Island, and from Angel
ten miles east of the Golden Gate, so that was at least
Island south towards the Bay Bridge.
forty miles of visibility. To get onto the roof, you had to climb the wooden
The freighter started another loop. I looked back and forth between the bay and the binoculars in my father’s
fence that ran along the side of our carport, tip-toe
hands. During the war, he had been a lieutenant in the
across the parapet above my father’s darkroom, stand
Navy, on the Ticonderoga. In his hands, the binoculars
on the milk crate outside the window to my parents’
were perfectly still.
bedroom, jump, grab the rain gutter, and do a pull-up until your hands and hips were parallel to the roof. I was nine, and had just learned how to do a pull-up. The
“Should we call the Coast Guard?” I said. “There’s nothing wrong with her,” he said. He continued to watch the freighter. “She’s just resetting her compass.”
roof was flat, so as soon as I felt the rain gutter against
Which brings us to Aquafina, the purified drinking water.
my stomach, I leaned forward, let go of the gutter, and
Unlike Evian, Fiji, Vittel, or Volvic, Aquafina does not
rolled onto my side. The roof smelled of tar. Gravel bit
come from an exotic locale like the French Alps or South
into my arms and elbows. I hadn’t expected the gravel
Seas. According to Pepsi, which owns and distributes it,
to hurt as much as it did, but the pain was worth it. The
Aquafina comes from “a public source”—corporate-speak
moment I got to my feet and saw Berkeley, Oakland,
for tap water. Pepsi says their purification process
Alameda Island, San Leandro, Redwood City, San Mateo,
includes reverse osmosis, ultraviolet sterilization, and
the Bay Bridge, the city, Alcatraz, the Farallons, Angel
ozone sterilization. When I decided to write a column about
Island, Sausalito, Belvedere, and the long, graceful line of
a bottled water, I assumed Vittel or Volvic would be the
Mount Tamalpais, I knew I was lucky. This was not the
featured bottle. They were, after all, French waters with
kind of luck I would relish later, either as a teenager or
stylish labels. But after tasting twenty brands, foreign and
college student. This was the best of luck, dumb luck, and
domestic, Aquafina—despite its garish label and Pepsi-esque
the luck of the Irish all rolled into one panoramic vision.
shoulder—emerged as the best-tasting water.
Halfway between the tip of the Berkeley pier and
When your computer crashes, you restart it. In therapy,
Treasure Island, a topaz blue freighter was heading north
a common goal is to relive parts of your childhood. In cuisine,
through San Francisco Bay. As I watched, the freighter
when the flavors get crowded, a good chef goes back to
turned west, toward Alcatraz, then it turned north, circled
fresh ingredients. When a painter’s eye gets lost, he or she
along the south shore of Angel Island, and headed east,
looks at classic art, or at so-called “primitive art.” All of this
towards the Berkeley pier. Before it got to the tip of the
used to be called “starting over.” These days, it’s “a reset.”
pier, it turned south, but as it approached the Bay Bridge
What if you could reset your taste just by drinking
the freighter came about, headed north, and arrived
water? Ice heals a burn. Can water restore a jaded palate?
back at the part of the bay where I had first noticed it.
Instead of challenging you with complexity, water is
I climbed down from the roof and went into my father’s office. The darkroom door was closed, which meant he was in there, printing. “France?” he said, from inside the darkroom. My mother’s name was Frances. He called her France. M AY
B aer .
2015
consistent, neutral, and simple. If you want your wine to taste better, a bottle of water might be the answer. One Bottle is dedicated to the appreciation of good waters, good wines and good times, one bottle at a time. All content is ©2015 by onebottle.com. Send e-mail to jb@onebottle.com.
THE magazine | 25
DINING GUIDE
White Fish Mousseline with House Pickles and Pumpernickel Toast Points
JOSEPH’S CULINARY PUB 428 Montezuma Avenue Reservations: 982-1272 $ K E Y
INEXPENSIVE
$
up to $14
MODERATE
$$
EXPENSIVE
$15—$23
$$$
$24—$33
VERY EXPENSIVE
$$$$
Prices are for one dinner entrée. If a restaurant serves only lunch, then a lunch entrée price is reflected. Alcoholic beverages, appetizers, and desserts are not included in these price keys. Call restaurants for hours. photographs by
$34 plus
EAT OUT OFTEN
G uy C ross
...a guide to the very best restaurants in santa fe, albuquerque, taos, and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: Generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. Andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Great pizza. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236 . Breakfast/Lunch/Dinner. Full bar. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American. Atmosphere: A classy room. House specialties: For dinner, start with the Heirloom Beet Salad. Follow with the Achiote Grilled Atlantic Salmon. Comments: Attentive service. Arroyo Viono 218 Camino La Tierra. 983-2100. Dinner (Tuesday-Saturday) Full bar. Major credit cards. $$$$ Cuisine: Progressive American. Atmosphere: Warm and welcoming. House specialties: The Charcuterie Plate, the Grapefruit and Almond Salad, the Prosciutto Wrapped Norwegian Cod, and the N.M. Rack of Lamb—all perfect. Comments: Menu changes depending on what is fresh in the market. Superb service. Top-notch wines in the restaurant and wine shop. Bang Bite 502 Old Santa Fe Trail & Paseo de Peralta. 469-2345 Breakfast/Lunch Parking lot, take-out, and catering. Major credit cards Cuisine: American.Fresh, local & tasty. Atmosphere: Orange food truck in parking lot. House specialties: Burger and fries and daily specials. Lotta bang for the buck. Bouche 451 W. Alameda St 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: Start with
the Charcuterie Plank. The Bistro Steak and the organic Roast Chicken are winners. Comments: Chef Charles Dale is a pro. Café Fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch/Dinner (Fri.to Sun.) Wine/Beer soon in 2015 Cash/major credit cards. $$ Cuisine: We call it contemporary comfort food. Atmosphere: Casual. House specialties: For breakfast, both the Huevos Motulenos and the Eldorado Omelette are winners. For lunch, we love the One for David Fried Fish Sandwich. Comments: Chris Galvin Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian posters. House specialties: Hotcakes got a nod from Gourmet The Huevos Motuleños is a Yucatán breakfast—one you’ll never forget. Chez Mamou 217 E. Palace Ave. 216-1845. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Artisanal French Bakery & Café. Atmosphere: Casual. House specialties: Start with the Prosciutto Melon Salad. For your main, try the Paillard de Poulet: lightly breaded chicken with lemon and garlic sauce, or the Roasted Salmon with white dill. Comments: Pastas are right on the mark. Chopstix 238 N. Guadalupe St. 982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, and Kung Pau Chicken. Comments: Friendly owners. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. Comments: Good selection of beers and wine. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: Good old American. fare. Atmosphere: Patio shaded by big cottonwoods. Great bar. House
specialties: The smoked brisket and ribs are the best. Super buffalo burgers. Comments: Huge selection of beers. Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: Main the grilled Maine Lobster Tails or the 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines. Dr. Field Goods Kitchen 2860 Cerrillos Rd. 471-0043. Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: New Mexican Fusion. Atmosphere: Casual and friendly. House specialties: Faves: the Charred Caesar Salad, Carne Adovada Egg Roll, Fish Tostada,, and Steak Frite. Comments: You leave feeling good. Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room where you can sit, read periodicals, and schmooze.. House specialties: Espresso, cappuccino, and lattes. El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish Atmosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-to-cheek dancing. House specialties: Tapas. Comments: Murals by Alfred Morang. El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego Cheese marinated olive oil. Fire & Hops 222 S. Guadalupe St. 954-1635 Dinner - 7 days. Lunch: Sat. and Sun. Beer/Wine. Patio. Visa & Mastercard. $$$ Cuisine: Susatainable local food. Atmosphere: Casual and friendly. House specialties: The Green Papaya Salad and the Braised Pork Belly. Fave large plates: the Cubano Sandwich and the Crispy Duck Confit. Comments: Nice selection of beers on tap or bottles. Georgia
225 Johnson St. 989-4367. Patio. Dinner - Full bar. Major credit cards. $$$$ Cuisine: Clean and contemporary. Atmosphere: Friendly and casual. House specialties: Start with the Charcuterie Plate or the Texas Quail. Entrée: Try the Pan-Roasted Salmom—it is absolutely delicious. Comments: Good wine list, a sharp and knowledgeable wait-staff, and a bar menu that you will love. G eronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: We call it French/Asian fusion. Atmosphere: Elegant and stylish. House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass and the classic peppery Elk tenderloin. Comments: Wonderful desserts. Harry’s R oadhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Down home House specialties: For breakfast go for the Scrambled Eggs with Smoked Salmon, Cream Cheese. Lunch: the Buffalo Burger. Dinner: the Hanger Steak. Comments: Friendly. Il Piatto Italian Farmhouse Kitchen 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad, the Lemon Rosemary Chicken, and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to table. Izanami 3451Hyde Park Rd. 428-6390. Lunch/Dinner Sake/Wine/Beer Major credit cards. $$$ Cuisine: Japanese-inspired small plates. Atmosphere: A sense of quietude. House specialties:. We loved the Nasu Dengaku, eggplant and miso sauce, and the Pork Belly with Ginger BBQ Glaze. Comments: Super selection of Sake. Jalapeno’s Barrio Cafe 2411 Cerillos Road 983-8431 Breakfast/Lunch/Dinner Major credit cards. $$$ Food truck parked in front Cuisine: Call it New Mexican/ Mexican. Atmosphere: Food truck with seating in the building. House
specialties: The Chicharon Burritom and the Stuffed carnitas quesadilla are faves. Comments: Pricey, but well worth it. Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers. Comments: Truely fabulous soups. Joseph’s Culinary Pub 428 Montezuma Ave. 982-1272 Dinner. Beer/Wine Major credit cards. $$$ Cuisine: Innovative. Atmosphere: Intimate. House specialties: Start with the Butter Lettuce Wrapped Pulled Pork Cheeks. For your main, try the Crispy Duck, Salt Cured Confit Style. Comments: The bar menu features Polenta Fries and the New Mexican Burger. Wonderful desserts abound and great service. Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: Love the Sake. La Plancha de Eldorado 7 Caliente Rd., La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: An Authentic Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian Tamales. Comments: Sunday brunch is a winrer! Lan’s Vietnamese Cuisine s 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: The Vegetarian Pumpkin Soup is amazing. Fave entree is the BoTai Dam: Beef tenderloin w/ garlic, shallots, and lemongrass. Comments: Friendly. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Casual House specialties: Start with the
continued on page 29 M AY
2015
THE magazine | 27
Celebrating 20 Years! anniversary weekly specials
Mother’s day Menu
tuesdays
Sunday, May 10, 5-9pm u 3 courses, includes dessert Prix Fixe: $45/ person u For reservations call (505) 986-9190
1/2 price wine by the bottle
appetizer
All bottles on the wine list
1/2 price preMiUM SpiritS
Roasted Beet Salad with Fromage Blanc champagne tarragon vinaigrette or Fresh Spring Pea Soup with Lemon Grass Crema
Grey Goose, Don Julio, Bombay Sapphire, Maker’s Mark Bourbon
entrÉe
e thursdays
e Fillet of Sole with Ginger & Lime
e
asparagus, shimiji mushrooms & baby turnips or
sundays
All “SAntA Fe SpiritS” drinkS $5
Petite Filet with Wilted Spinach
Wheeler’s Gin, Colkegan Single Malt Whiskey, Expedition Vodka
chickpea fritters & housemade worcestershire
e
dessert
e Lemon Custard Crêpes with Red Wine-Poached Currants or Chocolate Soufflé “Ala Babs” with Blackberry Whipped Cream
always
$8 bAr MenU or 5 plAteS For $35 Sunday-Thursday, 5:00 - 9:00pm
u
Fri day- Saturday, 5:00 - 9:30pm
u
315 Old Santa Fe Trail
u
www.315santafe.com
u
Reservations: (505) 986.9190
CLOUD CLIFF BAKERY
Baking for Santa Fe Since 1983
at the SANTA FE FARMERS MARKET TUESDAY and SATURDAY
DINING GUIDE
seasonal ingredients to the table. Excellent wine list.
IL PIATTO ITALIAN FARMHOUSE KITCHEN | 95 W. MARCY STREET | 984-1091 House specialties: Start with the Tomato Salad. Entrée: Braised Lamb Shank with couscous. Comments: Beautiful courtyard for dining. Masa Sushi 927 W. Alameda St. 982-3334. Lunch/Dinner Sake/Beer Major credit cards. $$ Cuisine: Japanese. Atmosphere: Low-key. House specialties: For lunch or dinner: Start with the Miso soup and/or the Seaweed Salad. The spicy Salmon Roll is marvelous, as are the Ojo Caliente and the Caterpiller rolls. The Tuna Sashimi is delicious. Comments: Highly recommended. Midtown Bistro 910 W. San Mateo, Suite A. 8203121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Beautiful open room. House specialties: For lunch: the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrée: Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop. Comments: Nice desserts. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic. New York Deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. Nexus 4730 Pan American Fwy East. Ste. D. Alb. 505 242-4100 Breakfast/Lunch/Dinner Major credit cards. Patio. Cuisine: Southern-New Mexican. Atmosphere: Brew-pub dive. House specialties: Lots of suds and growlers, not to mention the amazing Southern Fried Chicken Recomendations: Collard Greens, Mac n’ Cheese with green chile, Gumbo and Southern Fried Fish n’ Chips. Comments: Fair prices. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: Breakfast: go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. All of the burritos are great. Patty Melt is super. Comments: Green Chilie is perfect.
M AY
2015
Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American. Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs, and Burgers. Haystack fries rule. Recommendations: Excellent wine list. S an F rancisco S t . B ar & G rill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Good bar food. Atmosphere: Casual, with art on the walls. House specialties: Lunch: the San Francisco St. hamburger or the grilled Salmon filet with black olive tapeade and arugula on a ciabatta roll. Dinner: the flavorful twelve-ounce New York Strip steak, with chipotle herb butter, or the Idaho Ruby Red Trout with pineapple salsa. Comments: Visit their sister restaurant at Devargas Center. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Southwest Contemporary. Atmosphere: Minimal, subdued, and elegant House specialties: Their world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Pan-seared Salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Happy hour special from 4-6 pm. Great deals: Half-price appetizers. “Well” cocktails only $5. Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmealcrusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet. Santa Fe Bite 311 Old Santa Fe Trail. 982-0544 Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Lunch: the juicy 10 oz. chuck and sirloin Hamburger or the Patty Melt. Dinner: the Ribeye Steak is a winner. The Fish and Chips rivals all others in Santa Fe. Comments: Try any of the burgers on rye toast instead of a bun. Their motto” “Love Life. Eat good.” We agree. Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. Atmosphere: Contemporary. House specialties: Tuna Steak, ChickenFried
Chicken with mashed potates and bacon bits, and the New York Strip with a yummy Mushroom-Peppercorn Sauce. Desserts are on the mark. Comments: Nice wine selection. Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Hot daily specials, gourmet sandwiches, Get the Baby-Back Ribs when available. Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Pub grub. Atmosphere: Real casual. House specialties: We enjoy the Beer-steamed Mussels, the Calamari, and the Fish and Chips. Comments: Good selection of beers. Shake Foundation 631 Cerrillos Rd. 988-8992. Lunch/Early Dinner - 11am-6pm Major credit cards. $$ Cuisine: All American Burger Joint. Atmosphere: Casual with outdoor table dining. House specialties: Green Chile Cheeseburger, the Classic Burger, and Shoestring Fries. Amazing shakes made with Taos Cow ice cream. Comments: Sirloin and brisket blend for the burgers. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff. Sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner. Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. Atmosphere: Large open room. House specialties: The Mediterranean Breakfast—Quinoa with Dates, Apricots, and Honey. Lunch: the Indonesian Vegetable Curry on Rice; Comments: Wine and Craft beers on tap. Terra at Four Seasons Encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties:. Dinner: Start with the sublime Beet and Goat Cheese Salad. Follow with the PanSeared Scallops with Foie Gras or the Double Cut Pork Chop. Comments: Chef Andrew Cooper brings
The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive. 505-5832233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: Southwest and American. Atmosphere: Casual, calm, and friendly. House specialties: At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, and foillow with the Trout with a Toa ste Piñon Glaze. Comments: Nice wine bar. The Compound 653 Canyon Rd. 982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American Contemporary. Atmosphere: 150-year-old adobe. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef and owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award. The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: American Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch, the Prime Rib French Dip or the Lemon Salmon Beurre Blanc. Dinner: go for the Lavender HoneyGlazed Baby Back Rib, or the Prime Rib Enchilada Comments: Super bar. The Ranch House 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: Barbecue and Grill. Atmosphere: Family and very kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: The best BBQ ribs. The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican.Atmosphere: A local institution located just off the Plaza. House specialties: If you order the red or green chile cheese enchiladas. Comments Always busy., you will never be disappointed. The Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to table-to mouth. Atmosphere: Casual. House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox or the Teahouse Oatmeal. All of the salads are marvelous.. Many, many sandwiches and Panini to choose from. A variety of teas from around the world available, or to take home make The Teahouse the best source for teas in the great Southwest.
Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$ Cuisine: Traditional New Mexican. Atmosphere: Easygoing and casual. House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese or the daily specials. Comments: The real deal. Tune-Up Café 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, New Mexican. Atmosphere: Down home. House specialties: Breakfast:We like the Buttermilk Pancakes. Lunch: Great specials Comments: Easy on your wallet. Vanessie
of
Santa Fe
434 W. San Francisco St. 982-9966 Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American. Atmosphere: Piano bar and oversize everything, thanks to architect Ron Robles. House specialties: New York steak and the Australian rock lobster tail. Comments: Great appetizers. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: Light, bright and cheerful. House specialties: Organic salads. We love all of the salads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: Seating on the patio. When in Albuquerque, visit their sister restaurant: 1828 Central Ave., SW. Verde 851 W. San Mateo Rd.. 820-9205. Gourmet Cold-Pressed Juice blends Major credit cards. $$ Cuisine: Just Jjuices. Atmosphere: Light, bright, and cheerful. House specialties: Eastern Roots: a blend of fresh carrot and apple juice with ginger and turmeric juice, spinach, kale, and parsley. Zacatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Pork Ribs. 65 brands of Tequila for your drinking pleasure. Zia Diner 326 S. Guadalupe St. 988-7008. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine American Atmosphere: Real casual. House specialties: The perfect Chile Rellenos and Eggs is our breakfast choice. Lunch: the Southwestern Chicken Salad, the Fish and Chips, and any of the Burgers Comments: A variety of delightful pasteries and sweets are available for take-out.
THE magazine | 29
BENT PERIMETERS: THE ‘SHAPED CANVAS’ AND ABSTRACTION, 1960S TO TODAY THROUGH - MAY 17, 2015 FEATURING:
CHARLES HINMAN
FRANCIS CELENTANO
WARD JACKSON PAUL REED
FRANCIS HEWITT
LEO VALLEDOR
(FAMILY, NATURE, WAR, AUTHORITY, MEMORY, COMPASSION)
THROUGH - MAY 24, 2015
Tom Green, Six Conditions, 1998, Acrylic on board, 18.25” x 23”
Francis Celentano, Six Radial Globes Opened, 2008, Acrylic on canvas, 46”
LILLY FENICHEL
TOM GREEN
MAPPING THE HUMAN CONDITION
MERIDEL RUBENSTEIN
EDEN TURNED ON ITS SIDE: PHOTOSYNTHESIS, PART II MAY 22 - JUNE 21, 2015
OP INFINITUM: ‘THE RESPONSIVE EYE’ FIFTY YEARS AFTER (PART II) AMERICAN OP ART IN THE 60S
CURATED BY DAVID EICHHOLTZ AND PETER FRANK
OPENING RECEPTION: FRIDAY, MAY 29, 5:00 - 7:00 PM
MAY 29 - JULY 6, 2015 OPENING RECEPTION: FRIDAY, MAY 29, 5:00 - 7:00 PM FEATURING: RICHARD ANUSZKIEWICZ KARL BENJAMIN ERNST BENKERT LEON BERKOWITZ FRANCIS CELENTANO TONY DELAP THOMAS DOWNING LORSER FEITELSON JOHN GOODYEAR FRANCIS HEWITT CHARLES HINMAN
Meridel Rubenstein, Summer Seasonal, 2009 - 2011, 54” x 40”
LEROY LAMIS MON LEVINSON ALEXANDER LIBERMAN ED MIECZKOWSKI RAKUKO NAITO PAUL REED OLI SIHVONEN JULIAN STANCZAK PETER STROUD TADAAKI TADASKY LEO VALLEDOR
Leo Valledor, Zenithing, 1983, Acrylic on canvas, 48” x 108”
WILL INSLEY WARD JACKSON
MARIO YRISARRY LARRY ZOX
DavidrichardGALLEry.com The Railyard Arts District
DAVID RICHARD
544 South Guadalupe Street, Santa Fe, NM 87501
GALLERY
(505) 983-9555 | info@DavidRichardGallery.com
OPENINGS
MAYARTOPENINGS THURSDAY, APRIL 30
Peters Projects, 1011 Paseo de Peralta, Santa Fe. 954-5800. Patrick McFarlin’s Goldfinch Variations: tangents on the famous Goldfinch painting from 1654 by over fifty artists. 5-7 pm. FRIDAY, MAY 1
203 Fine Art, 203 Ledoux St., Taos. 575751-1262. Ron Cooper—Irony and Enigma: flattened bottles and phrases using language as a type of poetic game. 4-7 pm. Branigan Cultural Center, 501 N. Main St., Las Cruces. 575-541-2154. Good Penmanship: work by Elizabeth Morisette. 5-7 pm. Artist Talk: 5:30 pm. Charlotte Jackson Fine Art, 554 S. Guadalupe St., Santa Fe. 989-8688. Anne Appleby—The Galisteo River Basin Paintings: canvases inspired by Appleby’s daily walks through the Galisteo Watershed. 5-7 pm. David Rothermel Contemporary, Corner of Lincoln and Marcy, Santa Fe. 575642-4981. New Faces: geometric paintings by Matt Neuman. 5-8 pm.
Gallery 901, 708 Canyon Road, Santa Fe. 780-8390. Parables and Stories—A ReInterpretation: oil paintings by Paul Steiner. 5-8 pm. New Mexico Museum of Art, 107 W. Palace Ave., Santa Fe. 476-5041. Fire Season: photographs by Jane Fulton Alt, Patricia Galagan, Philip Metcalf, Larry Schwarm, and Greg Mac Gregor that explore the dynamic element of fire. 5:30 pm.
Warehouse 1-10 Contemporary Art Space, 110 N. Main St., Magdalena. 575854-3253. Extra Virgin Petrus Oil: crude oil and other media on multi-layered vinyl by Mery Godigna Collet. 5-7 pm. Weyrich Gallery, 2935-D Louisiana Blvd. NE, Alb. 505-883-7410. Rhythm and Gestures: acrylic and mixed-media paintings by Marta Light. 5-8:30 pm. SATURDAY, MAY 2
Patina Gallery, 14341 W. Palace Ave., Santa Fe. 986-3432. Water, Sky, Earth, and Mountains: meditative landscapes by Tomie dePaola. 5-7:30 pm. Pop-Up Collective, 339 Central Ave. NE, Alb. REFORM: works by seven visual artists for exhibition and auction. One night only: 6-11 pm. Sorrel Sky, 125 W. Palace Ave., Santa Fe. 501-6555. May Flowers: paintings of flora and fauna by Phyllis Stapler and Cynthia DeBolt. 5-7:30 pm. Turner Carroll Gallery, 725 Canyon Rd., Santa Fe. 986-9800. John Barker: abstract and figurative works by Barker. 5-7 pm.
516 ARTS, 516 Central Ave. SW, Alb. 505-242-1445. Studio Sale in the Gallery: gallery artists sell selected works at fantastic discounts to benefit 516 ARTS. Members preview: 5-6 pm. Public opening: 6-8 pm. El Monte Sagrado, 317 Kit Carson Rd., Taos. 575-758-3502. Iconic Images of Nature: mixed-media oil paintings by Mel Scully. 5-7 pm.
GVG Contemporary, 202 Canyon Rd., Santa Fe. 982-1494. Come Join Me Up Here: contemplative oil paintings by Mary Tomás. Whimsical narrative paintings and abstracted landscapes by Lori SchappeYouens. 5-7 pm. Matthews Gallery, 669 Canyon Rd., Santa Fe. 992-2882. New Language, New Vistas— Women Artists of New Mexico: works by artistic pioneers Dorothy Eugenie Brett, Doris Cross, Janet Lippincott, and Beatrice Mandelman. 5-7 pm. New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Julia Roberts— Etchings and Collagraphs: works on paper by the Santa Fe artist. 5-7 pm.
FRIDAY, MAY 8
Nisa Touchon Fine Art - Santa Fe, 1925 Rosina St., Suite C, Santa Fe. 817944-4000. Inaugural exhibition. At the Threshold of Becoming: new mixed-media paintings and collages by Gary A. Bibbs. 5-7 pm.
Exhibit/208, 208 Broadway Blvd. SE, Alb. 505-217-5992. s(and)—an introduction: works defying categorization by gender or place by fourteen artists. 5-8 pm.
Shidoni Galleries, 1508 Bishops Lodge Rd., Santa Fe. 988-8001. Presentation of Stones: new sculptures by Tommy Hicks. 5-7 pm. Celebrating Twenty-Five Years on Lincoln Avenue—New Directions: works by Dan Namingha and his sons Arlo and Michael. On view at Niman Fine Art, 125 Lincoln Avenue, Santa Fe. Reception: Friday, May 22 from 5:30 to 7:30 pm. Sculpture: Dan Namingha.
continued on page 34 M AY
2015
THE magazine | 31
WHO WROTE THIS? WHO WROTE THIS? “Look where you want to go, “Look where you want to go, not where you don’t” not where you don’t” André Gide or Ann Guyer André Gide or Ann Guyer or Ram Dass or Yogi Berra or Ram Dass or Yogi Berra
THE REAL DEAL ForTHE artistsREAL withoutDEAL gallery representation in New Mexico.
For artists without gallery representation in New Mexico. Full-page B&W ads for $750. Color $1,000. Full-page B&W ads for $750. Color $1,000.
Reserve space for the June 2015 issue by Wednesday, May 13 Reserve space for the June 2015 issue by Wednesday, May 13
505-424-7641 or email: themagazinesf@gmail.com 505-424-7641 or email: themagazinesf@gmail.com
The Big Show The Big Show with Honey Harris
with Honey Harris and THE magazine and THE Thursday, Maymagazine 7 10:30 am Thursday, 98.1 FM KBAC May 7 10:30 am 98.1 FM KBAC
OUT & ABOUT photographs by Mr. Clix Audrey Derell Dana Waldon Jennifer Esperanza
Jonas Povilas Skardis
Mac (and PC) Consulting 速
Training, Planning, Setup, Troubleshooting, Anything Final Cut Pro, Networks, Upgrades, & Hand Holding
phone: (505) 577-2151 email: Pov@Skardis.com Serving Northern NM since 1996
OPENINGS
Verve Gallery of Photography, 219 E. Marcy St., Santa Fe. 982-5009. Beyond the Shadows: photographs by Susan Burnstine and Xiaoliang Huang. Honky Tonk: photographs and a film by Henry Horenstein. Reception: 5-7 pm. Film screening: Sat., May 9, 1 pm.
Through Sat., May 30. andrewsmithgallery.com Art House, Thoma Foundation, 231 Delgado St., Santa Fe. 995-0231. Luminous Flux: innovative computer, digital, interactive, video, and electroluminescent art. Ongoing: Thurs.Sat., 10 am-5 pm. thomafoundation.org
SUNDAY, MAY 10
ARTScrawl, Alb. Citywide, self-guided arts tour: Fri., May 1, 5-8 pm. Artful Saturday in the Heights:s Sat., May 16. Create your tour: artscrawlabq.org
Ghost Pony Gallery, 1634 State Hwy. 76, Truchas. 505-689-1704. Domesticated Animals: new works by Trish Booth. 4-7 pm.
Corrales Art Studio Tour, Corrales. More than seventy-five artists, showing work at fortythree locations. Sat. and Sun., May 2 and 3. corralesartstudiotour.com
THURSDAY, MAY 14
Jean Cocteau Cinema, 418 Montezuma Ave., Santa Fe. Group Gallery Show: works by Stephanie Alia Corriz, Michael Ellis, and Jordain Cheng-Kinnander. 5-7 pm.
CrawDaddy Blues Fest, Madrid Railyard, Madrid. 505-473-0743. Great live blues and Cajun food. Sat. and Sun., May 16 and 17, noon8 pm. tickets.ticketssantafe.org
FRIDAY, MAY 15
Nüart Gallery, 670 Canyon Rd., Santa Fe. 988-3888. Layers: chromatic paintings by Antonio Puri over rational grids that are textured by the inclusion of soil from Chandigarh. 5-7 pm.
David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Mapping the Human Condition (Family, Nature, War, Authority, Memory, Compassion): survey of paintings and drawings by Washington, D.C. artist Tom Green. Bent Perimeters—The Shaped ‘Canvas’ and Abstraction, 1960s to Today: works that challenge the conventional picture plane. Both through Sun., May 17. davidrichardgallery.
SATURDAY, MAY 16
the ART.i.factory, 930 Baca St., Suite C, Santa Fe. Selected Stories: Narrative Works by Jeffrey Schweitzer: limited prints from Schweitzer’s latest book. 4-6 pm. FRIDAY, MAY 22
small-scale sculptures by Brian Russell. 5-7 pm.
SPECIAL INTEREST
David Rothermel Contemporary, Corner of Lincoln and Marcy, Santa Fe. 575-6424981. Revealing the Sublime: acrylic abstract works by David Rothermel. 5-8 pm.
FRIDAY, MAY 29
Andrew Smith Gallery, 122 Grant Ave., Santa Fe. 984-1234. Fire and Ice: photographs by Joan Myers of the changes wrought by volcanic activity and the movement of polar ice sheets.
Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. Jennifer J. L. Jones: mixed-media works by Jones. 5-7 pm. Karan Ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-0807. Rhythm and Hues: paintings and sculptures by gallery artists, presented in conjunction with Santa Fe’s “Summer of Color.” 5-7 pm. Niman Fine Art, 125 Lincoln Ave., Santa Fe. 988-5091. Celebrating Twenty-Five Years on Lincoln Avenue—New Directions: works by Dan Namingha and his sons Arlo and Michael. 5:30-7:30 pm. Silver Sun Gallery, 656 Canyon Rd., Santa Fe. 983-8743. Conversations with Color: Phoenix Simms integrates expanses of black canvas with high-key acrylics. 5-7 pm. Tansey Contemporary, 652 Canyon Rd., Santa Fe. 995-8513. Continuum: large and
David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. American Op Art In The 60s and Eden Turned on its Side: Photosynthesis, Part II: work by Meridel Rubenstein. 5-7 pm.
Top: Peters Projects—1011 Paseo de Peralta, Santa Fe—presents the Goldfinch Variations— an exhibition of more than fifty artists’ unique interpretations of the seventeenth-century Dutch masterpiece, The Goldfinch, by Carel Fabritius. Curated by Patrick McFarlin. Reception: Thursday, April 30 from 5 to 7 pm. Show runs through Saturday, June 6. Image: Carel Fabritius. Bottom: Line, Color, Composition opens on Friday, May 8 at the Georgia O’Keeffe Museum, 217 Johnson Street, Santa Fe. No reception.
Historic Santa Fe Foundation, 545 Canyon Rd., Santa Fe. 983-2567. Historic Structures of Santa Fe: paintings by twenty artists in watercolor and gouache based on significant historic sites in Santa Fe. 5-7 pm. William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. A Stone’s Throw: sculptures by Tim Rowan and paintings by Leopoldo Cuspinera Madrigal. 5-7 pm. Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Creating Shape: new works by Karen Yank. 5-7 pm. SATURDAY, MAY 30
MoCNA, 108 Cathedral Park, Santa Fe. 424-2300. Julie Buffalohead—The Truth About Stories: recent works on paper by the Minneapolis-based artist. 4-5 pm. continued on page 36
34 | THE magazine
M AY
2015
OPENINGS
El Rancho de las Golondrinas Living History Museum, 334 Los Pinos Rd., Santa Fe. 471-2261. Battlefields & Homefronts New Mexico—The Civil War and More: reenactments of cavalry, camp life, brass band music, ladies’ life, and more. Sat. and Sun., May 2 and 3, 10 am-4 pm. golondrinas.org
PERFORMANCE
First Presbyterian Church, 208 Grant Ave., Santa Fe. 225-571-6352. Come Rain or Come Shine: choral music by The Zia Singers. Sat., May 9, 4 pm. $20 at the door. Students free. Performance Santa Fe and the Santa Fe Jewish Film Festival, Maria Benitez Cabaret at The Lodge, 1050 Old Pecos Tr., Santa Fe. 216-0672. Between Fire and Ice: Berlin kabarett with Adrienne Haan. Sun., May 24, 6:30 and 8:30 pm. Tickets: santafejff.org or performancesantafe.org
Encaustic Art Institute, 632 Agua Fria St., Santa Fe. 989-3283. Over one hundred pieces of encaustic/wax artwork for sale by EAI members nationwide. Open: Wed.-Sun., 10 am-5 pm. eainm.com Eye on the Mountain Art Gallery, 614 Agua Fria St., Santa Fe. 928-308-0319. Colorful Spring: new canvases by Rachel Houseman and Paula Swain. Through Fri., May 22. eyeonthemountaingallery.com
Theater Grottesco, Santa Fe Playhouse, 142 E. De Vargas St., Santa Fe. 474-8400. The Moment of YES!: theatrical event about communication and creating common culture. Performances: Thurs., May 21 through Sat., June 7. Gala and performance: Sat., May 23, 6 pm. Schedule and tickets: theatergrottesco.org
Georgia O’Keeffe Museum, 217 Johnson St., Santa Fe. 946-1000. Line, Color, Composition: works showcasing O’Keeffe’s process—from conceptualization to finished canvases. Through Sun., Sep. 13. okeeffemuseum.org
Upstart Crows of Santa Fe, Scottish Rite Temple, 463 Paseo de Peralta, Santa Fe. A Midsummer Night’s Dream: company of young actors presents Shakespeare’s popular comedy. Fri., May 15, at 7 pm and Sat., May 16, at 2 pm. $5 at the door. upstartcrowsofsantafe.org
Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Albert Paley: solo exhibition of decorative art by the Rochester-based artist. Through Sat., June 13. gpgallery.com
CALL FOR ARTISTS
Historic Santa Fe Foundation, Santa Fe. 983-2567. Mother’s Day Tour: tour the Drury Plaza Hotel, the Church of the Holy Faith, the Scottish Rite Center, and the Felipe B. Delgado House. Tickets for sale at each site. $5 members, $10 individuals, and $20 families. Sun., May 10, 1-4 pm. Las Cruces Museum of Nature & Science, 411 N. Main St., Las Cruces. 575-522-3120. Student Workshop: Bones: special presentation about bones by Joseph Moreno. 1 pm. Las Placitas Presbyterian Church, 7 Paseo de San Antonio, Placitas. 505-867-8080. Placitas Artists Series: stereograms, silk fiber arts, jewelry, oil paintings. 2-3 pm. Las Placitas Presbyterian Church, 7 Paseo de San Antonio, Placitas. 505-867-8080. Placitas Artists Series May Concert: Chamber Music Potpourri. 3-5 pm. Magdalena Open Studio and Gallery Tour, Magdalena. 866-854-3217. Contemporary photography, fiber art, prints, artist books, blacksmithing, readings, and music. Sat., May 2, and Sun., May 3, 10 am-4 pm. Live music, Sat., 6 pm-midnight, and Sun., 11am-1 pm. Map of locations: magdalena-nm.com MoCNA, 108 Cathedral Park, Santa Fe. 4242300. Future Tellers: IAIA BFA thesis exhibition. Through Sat., May 16. iaia.edu/museum
36 | THE magazine
Museum of International Folk Art, 706 Camino Lejo, Santa Fe. 476-1200. The Red That Colored the World: more than one hundred thirty objects that explore the history of cochineal and the nature of the color red. Sun., May 17, through Sun., Sep. 13. internationalfolkart.org NMSU University Art Gallery, D.W. Williams Hall, 1780 E. University Ave., Las Cruces. 575-646-0111. In Between: MFA thesis exhibition. Through Sat., May 9. uag.nmsu.edu Paa-Ko Fine Artists, 232 Paa-Ko Dr., Sandia Park. Paa-Ko Fine Artists Art Show & Sale: works in a variety of media by ten Paa-Ko community artists. Sat. and Sun., May 2 and 3, 11 am-5 pm. paakoartists.com Passport to the Arts, Canyon Rd., Santa Fe. Weekend-long event featuring a silent auction, music, children’s art projects, and a variety of special shows and exhibitions celebrating the art of Canyon Road. Fri., May 8, and Sat., May 9. visitcanyonroad.com Petroglyph Tours, Wells Petroglyph Preserve, Mesa Prieta. Sat., May 16 and Sun., May 24. $25 per person. Reservations: call 505-852-1351 or email mesaprietatours@windstream.net. Placitas Studio Tour, Eighteenth Annual Tour
on Sat., May 9 and Sun., May 10, 10 am-5 pm. Maps available at all studios. I-25 to Placitas exit 242 and follow the signs. placitasstudiotour.com
Encaustic Art Institute, 632 Agua Fria St., Santa Fe. 989-3282. 5th Annual National Juried Encaustic/Wax Exhibition: apply by Mon., Aug. 3. eainm.com
Richard Levy Gallery, 514 Central Ave. SW, Alb. 505-766-9888. Coordinates: group show with Thomas Barrow, Tom Waldron, and others. Closing reception: Sat., June 6, 6-8 pm.
Las Cruces Museum of Art, 491 N. Main St., Las Cruces. 575-541-2137. From the Ground Up: Twenty-sixth annual regional juried ceramics exhibition. Deadline to apply: Fri., May 8. pottersguildlc.com
Santa Fe Botanical Garden, 715 Camino Lejo, Santa Fe. 471-9103. The Power of Place: sculptures by Phillip Haozous, Allan Houser, Estella Loretto, Dan Namingha, and others. Fri., May 15 through May, 2016. santafebotanicalgarden.org
Santa Fe Independent Film Festival, 418 Montezuma Ave., Suite 15, Santa Fe. Cuttingedge programming, independent films, Native cinema, New Mexico films, student films, and masters discussions. Submissions due Fri., May 15. santafeindependent.com
Shiprock Santa Fe, 53 Old Santa Fe Trail, Santa Fe. 982-8478. Group Show: new works by Jaque Fragua and Phillip Vigil. Through Sat., June 6.
Taos Art Museum at Fechin House, 227 Paseo del Pueblo Norte, Taos. 575758-2690. Russian Night in Taos: 11th annual juried exhibition and auction. Open to artists inspired by the Southwest. Apply by Sat., May 30.taosartmuseum.org/call-for-artists-2015.html
Tansey Contemporary, 652 Rd., Santa Fe. 995-8513. Art Tansey Contemporary Sculpture inaugural exhibition. Through Wed., tanseycontemporary.com
Canyon Speaks: Center May 13.
Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Up in Neon: neon works by François Morellet and Frédéric Bouffandeau. Through Fri., May 22. zanebennettgallery.com
Top: Fire and Ice: photographs by Joan Myers of the changes wrought by volcanic activity and the movement of polar ice sheets at Andrew Smith Gallery, 122 Grant Avenue, Santa Fe. Show runs through Saturday, May 30. Bottom: Multi-media work by Stephanie Alia Corriz, Michael Ellis, and Jordain Cheng-Kinnander at the Jean Cocteau Cinema, 418 Montezuma Avenue, Santa Fe. Reception: Thursday, May 14 from 5 to 7 pm. Image: Stephanie Alia Corriz.
M AY
2015
TANSEY CONTEMPORARY SCULPTURE CENTER Brian Russell “Continuum,” Solo Exhibition
“HEMISPHERE VENTILATION” ~ Brian Russell ~ Cast glass and forged metal sculpture ~ 18" x 17" x 15"
May 22 – June 19, 2015
Please Join us for the opening on Friday, May 22, 5-7 pm 619 Canyon Road
PREVIEWS
New Landscapes, New Vistas: Women Artists of New Mexico Matthews Gallery 669 Canyon Road, Santa Fe. 992-2882 Friday, May 8 through Sunday, May 31 Reception: Friday, May 8, 5 to 7 pm. Among the many artists who came to Taos and Santa Fe in the early twentieth century were a number of women modernists seeking opportunities that were unavailable to them in East Coast markets. Their presence in New Mexico not only provided them with a voice in the art colonies, but also influenced their styles and subject matter. New Landscapes, New Vistas documents the range and quality of these talented artists who landed, and thrived, in New Mexico. Agnes Sims arrived in 1938 and found herself attracted to and inspired by the Native American petroglyphs, which she studied in situ, developing her own symbolic language of forms in her paintings and sculptures. Bea Mandelman and her husband, Louis Ribak, were encouraged to visit Taos by their friend John Sloan. Shortly after their decision to stay, Mandelman made the shift from landscape painting to pure abstraction, becoming one of a new wave of Taos Modernists who found the light, landscape, and encounters with the cultures of the Southwest influencing her paintings, collages, and works on paper. The post–World War II era saw the arrival of Janet Lippincott, who attended the Emil Bisttram School for Transcendentalism in Taos and the Alfred Morang Academy of Fine Art on the G.I. Bill. Lippincott’s seminal development had occurred in the Paris of Matisse and Picasso. Her 1954 move to Santa Fe fused these early influences with new inspirations, creating a unique abstract style she expanded over five decades. Doris Cross arrived in 1972, from New York City, where she had studied in the 1930s at the Art Students League with the Abstract Expressionist painter Hans Hofmann. Her work and her vital participation in Santa Fe’s avant-garde community led to the evolution of a style that moved from modernist figuration to abstraction and conceptualism. The story of the development of twentieth-century women in New Mexico would not be complete without the inclusion of the aristocratic bohemian Dorothy Eugenie Brett. Arriving in Taos from England in 1924, she traveled with D.H. Lawrence and his wife, Frieda, initially as guests of Mabel Dodge Luhan, and stayed for the rest of her life. Brett’s distinctive pastel mystic visions depicted Native life in rhythmic, stylized, almost naïve paintings, and her unmistakable presence (cowboy hat and ear trumpet in hand) graced the Taos arts community until her death in 1977.
Come Join Me Up Here: Mary Tomás and Lori Schappe-Youens GVG Contemporary 214 Delgado Street, Santa Fe. 982-1494 Friday, May 8 through Friday, May 29, 2015 Reception: Friday, May 8, 5 to 7 pm The two painters showing in Come Join Me Up Here address spaciousness in their work, but in very different ways. Mary Tomás layers thin oil washes to create a mesh of floating colors that melt and merge, forming abstract canvases whose overall effect is of quietude and serenity. The translucent colors evoke an ethereal world of emotional and spiritual realms that speak to each viewer’s personal states of calm and tranquility. Lori Schappe-Youens, on the other hand, creates detailed semifigurative elements that cling or clump as molecules and atoms do in fields of open space. This work is reminiscent of Paul Klee’s painting style in iconic works like the Twittering Machine. A number of Schappe-Youens’s pieces have fanciful titles such as Drop that Anchor For Me, Letting the Universe Do Its Work, or Even Dung Beetles Love Their Home, which create an interpretive context for the colors, shapes, and drawn elements. These whimsical works and titular references elicit smiles and transport viewers to imaginative and magical harbors. We Meet at the Top is a metaphorical reference to a place where birds, and even people, can connect, and rise above the petty details of life. Others have biographical references, as in I Remember When Flying Was Fun. And don’t we all remember those days—whether flying is a reference to airplanes and airports or flights of fancy. The exhibition presents an invitation to join both of these artists to see beyond, soar, or penetrate deeply via the act of painting.
Top: Doris Cross, Head Man, oil pastels with acrylic paint, 16” x 24”, 1970 Bottom: Lori Schappe-Youens, Let Us Take the Canoes There, mixed media on canvas, 48” x 36”, 2015
38 | THE magazine
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A R LO N A M I N G H A
CONTOUR AND FORM Indiana Limestone 18” x 15” x 5” Arlo Namingha © 2014
MICHAEL NAMINGHA
RIDE Archival Pigment Print on Paper Edition of 2 30” x 44” Michael Namingha © 2015
Celebrating 25 Years on Lincoln Avenue
Dan, Arlo and Michael Namingha Artist Reception • Friday, May 22, 2015 • 5:30-7:30pm
125 Lincoln Avenue • Suite 116 • Santa Fe, NM 87501 • Monday–Saturday, 10am–5pm 505-988-5091 • fax 505-988-1650 • nimanfineart@namingha.com • namingha.com
N AT I O N A L S P O T L I G H T
Envisioning Ecstasy: Works by Cira Crowell and Christopher Michel Ferris Wheel of Time To see deeply is to see in one’s own way, one’s own truth. The documentary
eye that sees both enduring and ephemeral moments. Their black-and-white images
photography and conceptual imagery in the exhibition Envisioning Ecstasy captures
offer gracious and complementary responses that are reflective of a harmony present
the artists’ relationships with place, ceremony, and light. Ladakh, India, a timeless and
in the place, and of their serendipitous meeting on the pilgrimage. Crowell also offers
remote site on the globe, provides the visual setting of profound mountainscapes and
distinctive, finely detailed evocations of inner light that she refers to as minimalist
Tibetan Buddhist stupas that hosted the Thirty-Third Kalachakra Initiation, teachings
“lumenography,” the photography of pure light and inner mind. These undulating
on the “Wheel of Time” conveyed through ritual to over one hundred and fifty
designs are composed of marks she describes as a universal non-language in accord
thousand pilgrims by the Dalai Lama in July 2014. The works in the show move the
with the fractal scalability of the universe—a scientific notation that offers unique
viewer from the outer experience of the event to the inner workings that transport
“glyphs representing filaments of the quantum particles of string theory, photons of
both the artists and participants to a space that is transcendent. Portraying the mystical
light, molecules of water in clouds, refractions in shallow water, glimmers on ocean
and communicating it has a long history in the culture of artmaking. Here, too,
waves, white birds in flight, stars in the heavens.” The exhibition takes place at
documentary photographer Christopher Michel and visual artist Cira Crowell connect
Tibet House, 22 West 15th Street, New York City, and runs from May 20 through
with the people, place, and collective spirituality of the occasion, each employing an
June 26, 2015.
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THE magazine | 43
Steve Elmore, Spirit Bird, oil on canvas, 25“ x 29”, 2015
Charles C. Gurd, Shimmering Hope,oil on canvas, 64” x 66”, 2015
839 Paseo de Peralta, Suite N • Santa Fe, NM 87501 • 505-995-9677 • ElmoreGurdContempoary.com
F E AT U R E
“All the world’s a stage, And all the men and women merely players. They have their exits and entrances, And one man in his time plays many parts.” —William Shakespeare
MAN RAY’S SHAKESPEAREAN EQUATIONS by Jackie
Max Ernst, a Surrealist friend of Man
In
some
photographs,
M
Man
Ray, called his attention to the strange
Ray juxtaposed forms that had no
mathematical objects languishing in the
mathematical relationship by turning the
dusty cases of the Institut Henri Poincaré
structural supports on their sides and
in Paris. The museum contained three
photographing them beside unrelated
collections of mathematical models
models. For this reason, and because
that had been an important means for
the
visualizing the abstract concepts of
theories, mathematicians today would
Euclidean and non-Euclidean geometry
be hard-pressed to decipher many
in the nineteenth and early twentieth
of these hybrid forms. In Man Ray’s
centuries. According to Man Ray, “Dust
arrangements, the models might evoke
was capable of transforming these dead
a human face, a mask, or genitalia. The
objects, of giving them life.” Thus he
illogical relationship between dust and
undertook a photographic project in
mathematical forms, the humanizing
1934-35, capturing many of these objects
of the object and objectification of the
in a series of black-and-white prints.
human figure were venerable tenets of
The Poincarémodels, originally created
the Dada dialogue. Man Ray had come to
as physical enactments of abstract
view all of life through his own creative
formulas, took on anthropomorphic
lens, stating that he had but to look at
associations when seen through Man
something and it instantly gave him an
Ray’s eyes. He didn’t understand the
idea, transforming and redefining the
mathematics, but found their shapes
object, and so these photographs took
unusual and as revolutionary as anything
on new meanings. As Hans Richter
being done in the painting and sculpture
commented in his 1966 Private Notes For
of the day.
and On Man Ray, “It is as if he discovers
M AY
2015
As You Like It
models
represented
historical
continued on page 46
THE magazine | 45
the soul of each conventional object by liberating it from its practical function.”
The German occupation of France forced Man Ray’s
at the time was the famed chemist Linus Pauling, which may
move to America in 1940. He left behind many of his works,
have also drawn him back to working with the models, further
Julien Levy, who brought the Surrealists to the attention
including a few canvases that were created by combining
liberating them in figurative and metaphorical ways, freely
of Americans, wrote in 1936 that Man Ray transformed
several of his mathematical forms in compositions he called
adding color and transforming them into surreal representations
photography, stating it was difficult to imagine that the
Human Equations. He moved to Hollywood in 1941 and lived
of the characters or scenes in Shakespeare’s plays.
perfect machine for the reproduction of reality should ever
there for a decade. By 1947, he was able to return briefly
Reconciling mathematics and art was a difficult
become an instrument for surreality. Man Ray’s approach
to Paris and rescue his early mathematical paintings. Back in
concept, even for some of the Surrealists. André Breton
to image-making challenged the popular understanding of
California, he began a new series of twenty-three paintings
had cautioned Man Ray that mathematics could not be
photography’s role to bear witness to the truth. Although
called the Shakespearean Equations. In 1948, Man Ray made
art, but suggested that if he re-titled the forms he might
he had begun photographing because he was disappointed
an album for Max Ernst of nineteen contact prints from the
transform them into poetic representations. Breton
by commercial reproductions of his paintings, he soon
mathematical model series. He also developed a relationship
offered a list of possible titles: “Pursued by Her Hoop,”
discovered the creative potential of the medium, moving
with Walter Arensberg, a Shakespearean scholar who hosted
“The Rose Penitents,” and “The Abandoned Novel.”
far away from “straight” photography and using the camera
a double wedding for Max Ernst and Dorothea Tanning and
A Man Ray notebook from 1947-48 includes an entry with
to create avant-garde works of art. Duchamp said that Man
Man Ray and Juliet Browner. It is possible that Man Ray’s
“Titles by Breton” at the top of the page, followed by the list
Ray “took up photography and it was his achievement to
desire to ridicule Arensberg’s obsessive attempts to prove that
provided by the writer and a sketch of the related model.
treat the camera as he treated the paint brush, a mere
Francis Bacon had written the plays attributed to Shakespeare
On the verso, he wrote, “Equations for Shakespeare”
instrument at the service of the mind.”
prompted his Shakespearean Equations. Man Ray’s neighbor
with his own renaming of the corresponding objects. For
Hamlet
F E AT U R E
Man Ray, the mathematical models had become specific
Man Ray photographed his Shakespearean Equation
personalities from the plays, which he hoped would be
paintings, producing an album titled, Mathematics=Equations
well received and commercially appealing. The premiere
Shakespeariennes. He would playfully quiz people when
of the film Hamlet, starring Laurence Olivier, was a great
they were looking at the paintings, asking them to guess
success in Hollywood in the late fall of 1948. Six weeks
the title to see if they could recognize the association. Many
later, The Copley Galleries in Beverly Hills opened an
did answer correctly, but in typical Man Ray style, he was
exhibition of the complete Shakespearean Equations. The
equally interested in what they saw when they didn’t.
invitation’s cover contained the words, “To Be or Not to
There are those who question how a stage play can
Be,” opening to “Continued Unnoticed” on the inside flap,
become a two-dimensional image, and others who say the
expressing the artist’s frustration at the lack of adequate
inner geometry of the works mirrors the mechanics, plot
recognition for his work. The reference to the popular line
turns, and emotional depth of the plays and makes the series
from Hamlet and the interior anagram was consistent with
intellectually comprehensible. Were the titles randomly
the word play that had fascinated Man Ray throughout
assigned or thoughtfully attributed? Each work invites myriad
his career. The opening night party was modeled on a
interpretations. A white, convex polygon is tipped on its side
Parisian soirée and attended by artists, composers, and
and painted against a dark background. A blush of pink is painted
filmmakers, from Stravinsky to Jean Renoir, and Harpo
on one of the tips of the titled form. The piece is called Hamlet.
Marx to Aldous Huxley.
The shape has been transformed into the disembodied breast
The creative act rests in the coupling of two different factors in order to produce something new, which might be called a plastic poem of Ophelia, symbolizing the objectified but silenced female characters in the play, which Hamlet insists are weak and led by passion rather than reason. Man Ray also saw the painted object as Ophelia’s skull, turning her into a blank canvas onto which others project their anxieties and desires. Romeo and Juliet depicts the bodies of the lovers as two intertwined forms that reveal themselves as mirror images, and one contemporary interpretation saw the painting as the passionate embrace at the moment when Juliet kisses Romeo’s poisoned lips, before proceeding to kill herself, falling dead on his body. In the painting King Lear, the famous tear speech is alluded to through paint dripping down the canvas. In The Taming of the Shrew, Petruchio and Katherine are represented by forms that become masks—a dramatic element often used in Shakespeare’s time. Through lighting and the strategic positioning of the complex geometric and algebraic shapes, Man Ray achieves the illusion of a human face in each. And so he continues through the twenty-three canvases, offering us Julius Caesar with the equation 2+2=22 written on a blackboard behind the figure. What appears to be Man Ray’s wit is actually the literal translation of the mathematical theory of concatenation, the linking of things together in a chain. Man Ray wrote, “When I finished the last series I called my last painting All’s Well that Ends Well, of course.” That final piece is a figure composed of twenty hexagons and twelve pentagons (called a truncated icosahedron). Italian Renaissance artists from Piero della Francesca to Leonardo da Vinci found geometry fascinating and made it the basis of many of their compositions, as did Man Ray in Hollywood. Viewing this longforgotten series today is no less compelling than it was the evening that Harpo Marx and Aldous Huxley first saw them in 1948. Shakespearean Equations is on view through May 10 at the Phillips Collection, 1600 21st Street, Washington, D.C.
Julius Caesar M AY
2015
Jackie M is an arts consultant in education and museum programming. She was the founding Director of Education for the Georgia O’Keeffe Museum and SITE Santa Fe.
THE magazine | 47
JERRY WEST
“The Alchemy of Memory ” A Selective Retrospective
PHIL SPACE
Friday, May 22, 5-8 pm. 1410 Second Street, Santa Fe - philspacesantafe.com
“The Alchemy of Memory” Book-Launch & Booksigning. Sunday, May 17, 2 to 4 pm, St. Francis Auditorium. Sponsored by Museum of New Mexico Press. Gallery Talk at Phil Space onThursday, June 4, 5 to 7 pm.
John Barker paintings
TURNERCARROLL
725 Canyon Road, Santa Fe, NM 87501 505.986.9800 turnercarroll.com
CRITICAL REFLECTION
Inventory of Light: The Art of Systems Biology and Nanoscience 1011 Paseo
de
Peters Projects Peralta, Santa Fe
To see the world in a grain of sand… –William Blake, from the set of poems Auguries of Innocence
T H I S E X H I B I T I O N I S PA RT O F T H E 6 T H A N N UA L A RT O F S Y S T E M S Biology and Nanoscience. And what is a little different
landscapes of cell life on an atomic scale. This is an over
microscopic images, slowly zooming out, would finally
about this year’s gathering of “stunning scientific images
simplification to be sure, but besides the obvious appeal
cohere and become a finished sand mandala based on
that reveal the hidden beauty of living cells” is that artists
of color-enhanced allergens, for instance, what is a viewer
the Chakrasamvara. This project is inspiring both for its
whose work involves a focus on light were invited to
supposed to take away from an image that aestheticizes
organizing principle that showcases the magic and mystery
expand the scope of things seen or barely seen—unless you
cancerous growth and wants that photograph to stand on
of scaling and for taking the viewer deep inside what we
happen to have an electron microscope, a laser, or a good
its own as a “work of art”? Perhaps that isn’t even the point
could metaphorically speak of as the molecular structure
imagination. Sponsored by the University of New Mexico
with these photographs from the world of nanobiology, but
of a Buddhist cosmology. Vesna’s highly refractive work
Health Science and Cancer Centers and the Los Alamos
given the context of a gallery space, it would seem that these
of art is open-ended and resonant and it is this resonance
National Laboratory, this ambitious blend of art, science,
images want to be given another lease on life and be judged
that meaningful art is capable of generating—the artistic
and technology featured the work of many professional
for their variants on line, form, color, and composition.
process being more than just good technique with fancy equipment.
researchers and a group of artists that viewers in Santa
That said, Inventory of Light is, by and large, a
Fe might be familiar with. There are, for example, the
showcase for some truly adventurous artwork exemplified
William Blake’s line, quoted at the beginning of this
masterful holograms of August Muth, the luminous mixed-
by Ashcraft, Auger, Buelteman, and Muth. And perhaps
review, is a conceptual thread that winds through Inventory
media paintings of Stephen Auger, the unique investigations
the piece that visually, and also spiritually, bridged the
of Light. Perhaps this idea is what lingers the longest after
of Thomas Ashcraft, and the radiant plant forms in the
gap between nanotechnology and visionary thinking was
seeing this show of disparate work conceptually yoked
chromogenic prints of Robert Buelteman.
Victoria Vesna’s video projection, Nanomandala. Watching
together by references to light. In the final analysis,
Although there is a large gallery with gorgeous
her video on a large, round screen a couple of feet off
each piece is left to radiate on its own terms where the
photographs of cells and molecular structures photographed
the floor, it wasn’t immediately clear how the rocky gray
nanosphere can sometimes open up to conceptual ideas
at extreme microscopic levels—representing data from
landscape that first appeared would relate to the image
revealing the vastness and complexity of both inner and
many rigorous levels of scientific research—this work,
of a Buddhist sand mandala. Vesna’s camera moved with
outer space. Part of Ashcraft’s work in this exhibition
although fascinating, seems overly familiar, as if this world
aching slowness over what appeared to be huge boulders
comprised photographs of “sprites”—atmospheric light
of the nano had become its own kind of cliché. Haven’t
on a coastline and only gradually did hints of color emerge.
phenomena that shoot into space as a byproduct of
we seen these images before at previous systems biology
Large blue rocks, followed by magenta ones, came into
storms—recorded by the artist with high-speed cameras
and nanoscience gatherings and in a plethora of books and
focus and then eventually became a distinct form. It was a
and radio telescopes. The shapes of these bursts of light
magazines? It’s as if one segment of big science was trying
blue Tibetan dorje, one of a pair on a bed of magenta sand,
were described as being like “red glowing jellyfish, carrots,
to impress a naïve public that all it was interested in was
an image that constituted the center of the mandala.
angels, broccoli, or mandrake roots with blue dangly
the production of alluring and beautiful images from the
I will cut to the chase here and reveal that the
tendrils….” And in his grid of thirty sprites I saw one that
micro-biosphere—ravishing pathogens and otherworldly
gray rocks were individual grains of sand and Vesna’s
looked like Shiva, the Hindu patron god of the arts, dancing the world into existence—a world in the process of yet another cosmic transformation as it balances itself on the head of a nano-pin.
—Diane Armitage
Victoria Vesna, Nanomandala, (composite image of details), video projection, 2004 Victoria Vesna, Nanomandala, video projection, 2004
M AY
2015
THE magazine | 49
Since July 1992
THE magazine has published 2,800 art reviews Over 225 Universe of articles Over 225 One Bottle columns Over 240 Writing/Poetry pages Over 450 Studio Visits Over 850 Previews Over 70 Interviews and more.
To request a 2015 media kit, email: themagazinesf@gmail.com:
Advertising in THE magazine makes good business sense
Advertising Sales Lindy Madley: 505.577.6310 THE magazine: 505.424.7641 www.themagazineonline.com
CRITICAL REFLECTION
Elliot Norquist: Gratitude
Charlotte Jackson Fine Art 554 South Guadalupe Street, Santa Fe
ENTERING THE GALLERY WHERE ELLIOT NORQUIST RECENTLY EXHIBITED his brightly colored, wall-mounted steel sculptures at
but he said that although he “did take painting classes, the
Norquist transitioned from a minimalist sculptor inspired
Charlotte Jackson Fine Art was like riding a multi-dimensional
painters thought I was terrible.” Speaking to his use of steel,
by form alone by making “a series of shapes that were not
Ken Kesey bus on a time-traveling adventure back to some
he remembers that “at first you’re just enamored with raw
similar to each other, and letting them work in a kind of
psychedelic version of Ancient Egypt, or far ahead into some
steel, the pure surface with all that relational, muscular power.
dialogue.” He states that he has “always been interested in
unfathomable future. Fat cuneiform symbols popped from
Color gets you into a whole other world.” It’s that color
making my shapes simpler; I got down to squares years ago.
the walls, nearly vibrating in their joy at the potential for
and those surfaces that take Norquist’s work into another
You start to put them next to each other… and they start
communication with the viewer. “Wow!” is the closest direct
dimension, as it were. His shapes look like painted canvases,
to talk.” Triangles, he finds, are the toughest of shapes: “To
translation I can imagine when it comes to what Norquist’s
but their exaggerated edges shift the two-dimensionality of
hang it on the wall and have it work is the thing. It has to
generous forms were dialoguing about—a “wow” about the
painting into something exciting and otherworldly.
somehow align or work with the horizon.” Hanging things
I tend to think of Minimalism as not being, at least
in reference to each other is what this exhibition is about;
universally, about anything in particular, particularly not
Norquist “loves this language idea, creating a hieroglyphic
“Gratitude,” says the artist, “is a collection of steel
language itself. Dialogue, sure. But the shape of language—
where the forms speak to one another. Charlotte’s space is
shapes using color, spacing, and composition to describe
the written word and the marble-feel of words in the
perfect for this.”
recent aspects of a personal journey filled with reasons
mouth—that’s usually not a concern for an art derived out
As a viewer, I found myself feeling grateful for
to celebrate.” Norquist is now cancer-free after “finishing
of pure formalism and as a reaction against expression.
an art exhibition that hovered in that tension-filled
heavy-duty cancer treatment,” and he feels “not just lucky,
In fact, as the artist put it, “Being a minimalist is the closest
space between beauty and form, interiority and edge,
but [aware that] a lot of people and forces came together to
thing to disaster that you can possibly approach, because
language and meaning—in short, in that sublime interval
take care of me. This is a show about giving thanks.”
you’ve only created one option [the object itself], and if that
between love and fear. That is the space we call art.
doesn’t work, it’s a terrible failure.”
—Kathryn M Davis
state of life itself, that momentary, mind-blowing moment when we humans realize how lucky we are to inhabit the cosmos.
His steel shapes are hung on the high side of the gallery walls, and lit beautifully (kudos to Elizabeth Dunham). The
For Norquist, “Nobody’s really a Minimalist any more.
viewer gazes slightly upward, as if seeking signage to her next
I’m an advocate of saying less. It’s a language; it’s poetry.”
flight at a spaceport in another galaxy. Because Norquist is such
Language is inherently flawed, ever pointing to what it is not
a masterful colorist, I suspected he had majored in painting,
and cannot ever be; therein lies the delicate heft of its soul.
M AY
2015
Elliot Norquist, drawing for a Save-the-Date exhibition postcard, colored pencil on sketch vellum, 11” x 17”, 2015
THE magazine | 51
CRITICAL REFLECTION
Bebe Krimmer: The Santa Fe Years
Chiaroscuro 558 Canyon Road, Santa Fe
I N A M I D N I G H T F L I G H T, T H E M O T H B E G I N S T O W I N G I T S T R AC E RY of arcs and arabesques, a life spun in circles only slightly
The quantum collapse of empiricism on the atomic
Spatial Pattern 108-1 beautifully exemplifies the best
more obviously than the rest of ours. You never asked to
level, the lack of a unifying theory of the universe, the fact
qualities of Krimmer’s mature work. Her approach to the
come here, you just arrived, and if asked, you’ll say you have
that science can’t convincingly explain the force of gravity, or
merger of figurative elements and abstraction is sophisticated
no idea when you’ll be leaving. The days are the same, but
say what exactly time is (if time even exists), set us on course
and original. Impossible to photograph, this dark, textured
one day all that will end very differently. The only equally
for a mystic revival in the face of multiple scientific sources
object is both map and territory, both experiment and
rare day is the one of your birth, and chances are, when it is
for awe. A neo-nature cult is highly proscribed, a creed of
evidence. There are at least three representational fields
all said and done, you don’t remember either one.
clean earth, clean water, and clean air. Let the planet, the
layered here—the inky darkness of the night sky, full of
Or maybe you do. Maybe your non-empirical
only steward humankind’s ever had, heal us. How did you
celestial life, the serial mounting of the butterfly-calendar-
apparatus simply exits the temporal-spatial to exist as an
get here, and where are you going? The answer, all swooping
grid, and finally, Deleuzian “lines of flight” etching the
energetic in a stasis of perfect peace, until you decide to
and spirals aside, is Earth. Abandon your atavistic religions of
surface, echoing the play of light across lepidopterous
come back for another go-round. Maybe you come back as
intolerance and honor the one real and living source of your
wings. This complex space, hard-gained through careful
a butterfly, maybe you come back as a million butterflies, all
existence.
collage application, has the depth and vivacity of the infinite
transformed in order to transform. Maybe no one knows
Bebe Krimmer’s work comes from a place of
spaces Pollock achieved quasi-aleatorically. The complex
at all where the last midnight dive into the light ends up,
empirically based faith, of a joy found in foregrounding
relationship between order and chaos, between complexity
really, or if the flame itself ever sputters. And those of
the unfathomable. Absent infinity, there is nothing finite.
and oneness, are themes both artists engage equally well,
faith, who tell you that they know, have forgotten this: by
Or to reconfigure it, the finite is infinite to the core. Over
but from opposite directions. Krimmer’s shimmering
definition faith’s only foundation is knowledge’s absence.
her twenty years in Santa Fe, Krimmer produced a unique
techniques resemble those of Fred Tomaselli, or Sol Lewitt in
This is what excites the existentialists and artists, the poets
body of work exploring ideas of order and chaos, or the
his early wall drawings. Or befitting the trans-avant-gardism
and priestesses. They realize that the meta-physical and
differences between randomness and the best laid plans.
of her time, she could also be compared to the Byzantine
the imaginary share the same boundaries, or lack thereof;
Along the way she created universes all her own. Her most
mosaic worker, or the masters of Islamic tile, stone, and
that every day is just a new chance to wake up and propose
profound investigations arose after the passing of a son and
stucco patterning. See the muqarnas dome in the Hall of
another (essentially improvable) version of the real. Once
husband within a two-year span. Her cosmic and quantum
the Abencerrajes in the Alhambra. Krimmer’s work holds
you accept the stoppages, they aren’t stoppages at all. Like
imagery of star clusters and butterflies are actively aflutter
an Apollonian element of daily faith in awe that projects in a
everything else, this information can be used for good and ill.
with questions the human heart can never answer.
Pollock piece as Dionysian rapture. While my taste runs to black, the white collages laminated following similar principles have a nice breathing space, a sense of relief and openness, and the abstract
quality
associative
of
the
thought,
of
electricity neurons
of
firing,
of concepts and constructs taking to the air. Patterns here, Krimmer’s obsession, assume a diagrammatic stance, or rather diagrammatic elements take off to create crafted surfaces of incredible, seemingly momentary
activity,
depending
upon
whether you tune your perception to the spaces or the surfaces of these elegiac image-objects. In the summer of 2014 that rare day finally came for her, too. The incredible duality-erasing balancing act that Bebe Krimmer achieved in her work will allow it to last beyond her empirical apparatus; that too is rare. Her soul lives in her work. She strove and succeeded in eliciting the tensions and bonds between motion and stasis, lightness and dark, order and chaos, life and death—no less.
—Jon Carver
Bebe Krimmer, Spatial Pattern 108-1, acrylic, collage, nails, 18” x 24”, nd M AY
2015
THE magazine | 53
Aisthesis: The Origin of Sensations
Villa Panza Piazza Litta 2, Varese, Italy
I N T H E F O O T H I L L S O F T H E A L P S , T H I RT Y M I N U T E S F R O M M I L A N , the sprawling provincial town called Varese is somewhat
Aisthesis: The Origin of Sensations. Taking its title from the
more than a county seat. For example, from the tiny town
ancient Greek word that means, well, the opposite of
where I was born, about five miles away, you must venture
anesthesia, the exhibition celebrated the renewed sense of
to Varese to renew your national identity card or apply for
the world around us that the Light and Space artists seek
Italian residence. In a hilly section of Varese called Biumo,
to engender. Organized by Michael Govan, director of the
a capacious three-story mansion, in the typically Baroque
Los Angeles County Museum of Art, and Anna Bernardini,
U-shape, overlooks formal gardens that contain outdoor
director of Villa e Collezione Panza, the exhibition includes
artworks made using only materials found on the site.
nineteen works created from 1963 to 2013. Among them
Villa Panza and its former stables and outbuildings hold a
are two pieces the artists returned to the villa to create:
tremendous repository of an important aspect of the culture
Robert Irwin’s Varese Scrim 2013, and James Turrell’s 2013
of the second half of the twentieth century, artworks that in
Sight Unseen, one of what he calls his “ganzfeld” or “total
many ways still feel fresh, dynamic and challenging.
field” environments. The works occupy nineteenth-century
Giuseppe Panza di Biumo, the son of a wealthy
outbuildings and former stables; an upstairs hallway is
Milanese businessman whose father acquired this country
lined with galleries containing works such as Turrell’s 1967
house in a run-down state in the 1930s, when Giuseppe
piece, Shanta (Blue), which seems to be a glowing, three-
was still a child, amassed the collection. Panza’s life passion
dimensional blue box suspended in a corner of a darkened
became collecting modern art. Over four decades he filled
room, but is actually an immaterial projection of blue light.
the villa with artworks he acquired throughout Europe and
Skyspace I, one of the three works Turrell created for the
in particular in the USA, which he first visited in 1954. In the
villa in 1974, is unsettlingly intimate and aggressive at the
1960s, Panza encountered the work of Robert Irwin and
same time, consisting of a small blindingly white room
James Turrell, pioneers of Southern California’s Light and
saturated with natural and fluorescent light. Turrell has
Space movement, some of whose ideas grew out of work
created more than seventy of what he calls “skyspaces.”
in sensory deprivation. Panza was utterly taken with their
At the villa Turrell’s immersive Sight Unseen can only be
vision and their interest in the limits of perception. Unlike
viewed by small groups for a limited period, after signing a
many patrons and collectors at the time, Panza immediately
release. Like the flavors of a complex culinary delicacy that
grasped the importance of their refusal of the historical
can only be described in metaphors, it unfolds in intimate
concept of art as a discrete object. He was exhilarated by
stages for each individual. This is in stark contrast to the
their practices, articulating space using light, crafting an
well-known Aten Reign that occupied the rotunda of the
experience rather than a thing. He began commissioning
Guggenheim Museum in New York City in 2013, which was
site-specific works by Irwin, Turrell, Dan Flavin, and others.
an awe inspiring and spacious skyspace.
Panza was a quiet but determined collector who knew
Robert Irwin’s original Varese Scrim, created in 1973,
what he liked and bought it, no matter what was being
transforms a windowless room by dividing it lengthwise
touted or ignored by critics and the public. I remember
with a white nylon panel that is all but indistinguishable
him haunting the 1980s art scene in Los Angeles trailed
from the walls. What appears to be a solid surface is in
by the implicit question of why a museum might acquire
fact a screen that masks a void, creating a sort of phantom
these problematic works, which are immaterial enough to
room; experienced slowly, it allows for a certain awareness
be called conceptual, yet material enough to require large
to subtly blossom in the viewer. Varese Scrim 2013 is a
dedicated exhibition spaces.
maze of white nylon panels that, in a kind of inversion
How wonderful that in 1996 he donated both the villa
of the process of its forty-year-old predecessor upstairs,
and the bulk of his collection, especially the site-specific
captures and channels sunlight streaming in through tall
works, to Italy’s National Trust, the Fondo Ambiente
windows, destabilizing one’s sense of space, place, density,
Italiano—known as FAI—which in Italian has a certain
and form.
verve, given that fai is the second person imperative
How ironic that it is in northern Italy that one can best
of the verb to do, giving something of the feel of Just Do
experience the full impact of the lasting legacy of uniquely
It, a slogan much needed in Italian public life. Portions
American art of the late twentieth century. Anyone visiting
of Panza’s collection ended up, after 1999, with the
the area should make a pilgrimage to Varese to experience
Guggenheim and the Museum of Contemporary Art in
Villa Panza’s quirky intersection of the genteel past and the
Los Angeles. The villa opened to the public in 2000 and
insistently modern.
Giuseppe Panza died in 2010, though his family continues
—Marina La Palma
to be integrally involved with the project. Photographs and videos add to the understanding of the place of this
Top: Robert Irwin, Untitled (Column), 2011. Photo: Phillip Scholz Ritteermann
work and the foresight of Panza in buying it.
Bottom: James Turrell, Shanta (Blue), 1967. Photo: Florian Holzherr
In the fall of 2014, the villa hosted a show called
CRITICAL REFLECTION
Decomposition
Evoke Contemporary 550 South Guadalupe Street, Santa Fe
NEW TECHNOLOGY IN ART HAS SO OFTEN BEEN MET WITH RESISTANCE, medium in unexpected ways. Ultimately, that is the exhibition
especially when it comes to photography. Photography itself
Finally, both Adria Ellis and Kimberly Post present still life
had to struggle to obtain its place as a fine-art medium,
images. Ellis’s flourishing lilies and decomposing fruit uphold
I would like to see.
then digital photography, then Photoshopped photography,
the romantic, highly stylized feel that pervades the exhibition.
—Lauren Tresp
and now iPhoneography, which uses the Apple iPhone,
Post’s still lifes feature simple subjects and stark compositions,
iPad, or other mobile device to both capture and process
highlighting the natural intrigue of organic objects. Perhaps using
photographs. Indeed, these struggles are still contentious,
post-production apps with greater reserve, her editing provides
but ultimately art is the product of imagination, skill, and
a subtle effect that serves the subjects of her still lifes rather than
tools, whether oil paints or a cell phone.
subverting them to a hyper-processed effect.
As one of these tools, the mobile device has a number
Though all of the works are lovely to look at, the hyper-
of impressive qualities: it is discreet, immediate, always
processed, romantic feel is overwhelming. Additionally, the
present, images can be shared across social networks
works mostly imitate painting, if not intentionally, certainly
instantly, and the phones and photo-processing apps
aesthetically. They look and feel like paintings, regardless of
are widely available. The nature of this particular tool is
how they were created. For this reviewer, the choice to feature
wonderfully democratizing, yet it also means that “fine-art
distinctly painterly photographs in a show organized around
iPhoneography” must find a way to establish itself above the
the new media of the mobile device draws attention to that
constant stream of images we experience daily—and begs
medium’s specific qualities: what can and should this tool be
the question whether that is even a relevant goal. After all,
used to create that other tools cannot?
what one person may see on their Instagram feed may be
The ubiquity and instantaneity of the iPhone lends
the finest art of all, yet never end up on a gallery wall or
itself so perfectly to capturing the most candid of moments,
fetch a price.
to delineating whole timelines, or to acting as an archiving
Setting these questions aside for the moment, a recent
device. In these ways, it has incredible documentary or
exhibition at Evoke Contemporary featured a group of artists
narrative potential. Another unique aspect of the device
working within the framework of mobile photography.
is the limitless reach of sharing images across social media
Curated by photographer Adria Ellis, Decomposition included
and Internet platforms. There is an inherently social and
work by Ellis, Caroline MacMoran, Christian Margarita, José
interactive feature of iPhoneography that sets the medium
Luis López Moral, and Kimberly Post. With each of these
apart from every other. While Decomposition is strong in
photographers, the viewer glimpses examples of landscape,
many ways, there is so much room to explore these new
still life, portraiture, and photographic collage, each
possibilities, to delve into the unexpected, to utilize this new
Top: Kimberly Post, Perfect Specimen, printed on Canson Rag Photographique 310, 16” x 12”, nd Bottom: José Luis López Moral, Ofelia, printed on Ilford Smooth Gloss, 24” x 36”, nd
characterized by an overriding early-photography aesthetic: scratched, stained, and processed in acidic or sepia tones. Interestingly, each of these bodies of work evokes or mimics pre-digital media. José Luis López Moral’s landscape photography brings to mind the romantic oil paintings of John Constable and J.M.W. Turner. Moral’s pastoral scenes are painterly, inviting compositions, filtered and affected beyond the point of looking like photographs. Like most of the artists’ work in the exhibition, the work is so processed that we begin to see into other worlds, or other times, the products of new media interventions. MacMoran, a practicing psychotherapist, captures dreamlike portraits, often of women and girls in fluid dresses and fabrics. These ghostly figures, sometimes subtly turning within whirls of diffused light and color, are unidentifiable, yet exude a romantic-bordering-on-eerie whimsy. Margarita’s photographic composites combine distinct visual elements into works that look like collages comprised of found memorabilia. A restorer of antiques and contemporary art, the artist’s interest in vintage and antique images is reflected in his aesthetic choices: one piece contains handwritten text and feels like a handwritten letter, the other has a border to look like a printed card. Alone within the show in not imitating painting, Margarita’s work imitates other paper-based media.
M AY
2015
THE magazine | 55
The Human Drift
SCA Contemporary Art 524 Haines Avenue NW, Albuquerque
ALBUQUERQUE IS WELL INTO ITS SIX-MONTH-LONG CITYWIDE ART collaboration called On the Map: Unfolding Albuquerque
terracing of the Fitzallan sculpture Drift #1, which
Petroglyph National Monument 2004 (with Justin Lane and
Art + Design. The project brings together over one
takes up an entire corner of the gallery, is a lovely
Tom Richardson) captures a sculpture of twelve shield-
hundred exhibition spaces; visual art, performing art,
surprise. The beautifully balanced use of space ties
bearing individuals snaking over and between large
and cinematic venues; public art works; and roaming
these works together. Fitzallan is a moniker for the
petroglyph-covered rocks. In P.O.D. White Sands National
arts presenters to celebrate Albuquerque’s artistic
collaborative work of Nina Dubois and Sheri Crider.
Monument 2005 (also with Justin Lane), similar shield-
history and cultural legacy. SCA Contemporary Art
Their motivation is all about resourcefulness and
carrying people create a mushroom cloud rising from the
contributes The Human Drift, which combines the
respect for landscape. To construct Drift #1, the artists
too-white sand and the too-blue sky.
work of Bart Prince, Steve Barry, and T. Fitzallan. “The
retrieved one hundred twenty-five landfill-destined
CSA’s gallery and ArtLab studios occupy a former
exhibition’s title,” explains gallery director and curator
hollow-core doors. They then fused them together
National Auto Parts building, which still boasts its antique
Sheri Crider, “is a riff on King Camp Gillette’s 1894 book
in clusters, cut them, and shaped them into the
metal, sideways-rolling garage doors, orange hollow
by the same name.” Gillette’s work was an early foray
sculpture’s component parts. These were assembled
prison-brick walls, and exposed ceilings. These elements
into social planning that offered late-nineteenth-century
into a mountain—evoking the Sandias—to fit the
create the perfect setting for an exhibition about human
alternatives for community design, power generation,
available space. The exposed interiors of the doors
interaction with space and environment.
and social advancement in an effort to alleviate the chaos
resemble landscape features like boulders, caves, and
—Susan Wider
of the times. This CSA exhibition takes Gillette’s lead and
ledges. There’s even a capstone section in the upper
presents artists who explore physical space as a means
corner that exceeds the gallery wall by seven or eight
of understanding how humans interact with materials,
inches and turns out to be the prototype piece for the
space, and light.
entire work. It sits on the highest peak like a crown.
Architect Bart Prince has contributed nearly twenty
Steve Barry’s work takes us in another direction.
architectural models for residences he has designed in
His contribution to the show is called P.O.D. (Practicing
New Mexico, Utah, Colorado, and California. Each piece
Our Democracy), from 2004. At first glance it looks like
includes a representation of the surrounding terrain so
a large lotus flower sculpture measuring approximately
that we can see exactly how the structure folds into the
twenty feet in diameter and forty-eight inches in height.
landscape. This is the largest show of Prince’s work to
Then you realize that each flower petal is a riot shield
date in New Mexico, and also includes working drawings,
made of polycarbonate plastic. Barry hopes to imbue
blueprints, and photos. An aerial photo of the Price Residence
public demonstration and dissent with art and creativity.
in California—whose model stands nearby—demonstrates
In his mission statement for P.O.D. he writes, “To reclaim
how part of the house morphs into a sculpted hill. And the
the public space and ensure that dissent is not relegated
photo for the Gradow/Benton Residence shows the tiered
to the margins, we feel that the public protest needs
design, with its fanlike, copper-colored roofs climbing up
to be reimagined. We need to reinvent protest in a
the snowy hillside. What fantastic dollhouses these models
way that enables everyone to see how important it is,
would have made for my tiniest families.
and how creative it can be.” To that end, the shields in
The view from across the roofline of Prince’s
the lotus flower detach and become dragon scales or
terraced Digregory Residence model to the large-scale
cloud shapes for kinetic sculptures. Barry’s photo P.O.D.
Top: Bart Prince, Gradow/Benton Residence, 36” x 79”, 1989-1993. Architectural model for residence in Aspen, Colorado Bottom: Steve Barry, P.O.D. (Practicing Our Democracy) Petroglyph National Monument, 20” x 32”, 2004. Photo: Justin Lane, Tom Richardson, and Steve Barry
CRITICAL REFLECTION
Keeping Things Whole
Zane Bennett Contemporary Art 435 South Guadalupe Street, Santa Fe
ALMOST ONE-THIRD OF THE ARTISTS ARE DRAWN FROM ONLY FIVE GALLERIES for solo exhibitions by museums nationally—higher for MOCA Los Angeles (40%), MoMA (45%), and especially the Guggenheim (55%). According to the recent study by The Art Newpaper of sixty-eight museums for the period 2007-2013, these solo artists are represented by Gagosian Gallery (New York), Marian Goodman (New York), Pace (New York), David Zwirner (New York, London), and Hauser & Wirth (Zurich, New York, London, Somerset, Los Angeles). I thought of the high rate of elitism at the Guggenheim as I went to see a recent group show at Zane Bennett Contemporary Art featuring strong sculpture by three artists represented by Zane Bennett. Sic transit: the Guggenheim was a major force in advancing postwar modern sculpture in the 1950s and 1960s, by which time Clement Greenberg had secured for painting its place as the pre-eminent medium and dominant art form of modernist art. In an irony of art history, Greenberg’s positivist attempts to revive “that long eclipsed art,” as he described the medium in “The New Sculpture” (1948, 1958), and restore its parity with painting, relied on a modernist “reduction” that he had advanced to justify the dominance of painting—in particular, Abstract Expressionism and its aftermath. For Greenberg, the “new sculpture” would move in tandem with modernist painting toward a reductive purity of medium, a literal and immediate expression, freed of illusionistic and narrative devices and, thus, richer in allusive potential. All three sculptors in Zane Bennett’s Keeping Things Whole are heirs of that modernist legacy, and their work reflects, to good effect, those heady days for modern sculpture captured in 1962 by the Guggenheim’s exhibition of four hundred and forty-four works of modern sculpture from the Hirshhorn Collection. Yet each artist here—Guy Dill, Dunham Aurelius, and Rachel Stevens— embraces that tradition on his or her own terms; each makes a strong case for its currency in contemporary art. Guy Dill’s arcing bands of bronze twist and cavort in space like truant Möbius strips. The clipped arabesque of the bronze Boon (2008) invites a playful dialogue with the mute stance of his lacquered aluminum Signal (2008) whose paired vertical legs rise upward in opposing arcs to knot in a taut and twisted defensive posture, stolid and wary. The caught-in-mid flight form of File Angel (2006) could serve as damning reprise of Ernst Barlach’s floating war monument. The attractive lithographs featuring Dill’s calligraphic forms, rendered in black or red against a yellow ochre ground, work as studies for new pieces or reflections on past projects. With a nod to Juan Gris, a slanted flat hat atop the plate silhouette profile and cylinder torso of the bronze Trunk (2009) recalls the Cubist sculpture of Jacques Lipchitz and Julio González, while the sweeping strokes of Alphabet City (2007), Kharfi, and Boon preserve the expressive gesture and personal myth of Action Painting. The polymorphic approach of Dunham Aurelius has its source in his attraction to the tribal arts of Africa, Oceania, and the Pacific Northwest. It builds upon the early modern harnessing of Cubist syntax to capture the expressive force of indigenous cultures. The roughly modeled, carved, and cast pieces, such as Poncho (2009), Hephaestus Small (2010), and Café Racer (2013), have the feel and figuration of early modern sculptors like César and Giacometti. His series of polychrome carved wood pieces—perhaps his strongest work—manage to combine Picasso’s late Cubist carving style with hatched surfaces of primary red, blue, and yellow striations redolent of the neo-expressionist 1980s. The installations of Rachel Stevens would seem to belie any manifest ties to modernist sculpture and can be directly linked to the emergence of conceptual art and installation as art forms after 1970. Certainly Stevens’s almost willful lack of concession to modernist notions of structure, craft, and formal appeal would place the large steel and clay armature of Testimony (2015) or the scattering of ceramic letters and electric wire of Love’s Story (2015) in a persuasively postmodern mode. But even here the modernist legacy endures, if we go back to Greenberg’s initial premise for the “new sculpture” involving a positivist reduction to its most literal, immediate expression as physical object—artifact, even—in aid of a far richer allusive potential. Hence Stevens’s Logos (2015) and Love’s Story can speak to the unspeakable experience of the Holocaust with deep insight and profound effect, in which ceramic letters, oddments of unformed words, are strewn on the ground in Love’s Story, or cling like lichen to the charred log curtain of forest in Logos—mute witness to a waning past, a cairn to its victims, a memorial to memory itself. —Richard Tobin Rachel Stevens, Logos, wood, clay, steel, 111” x 36” x 15”, 2015
M AY
2015
THE magazine | 57
jennifer esperanza photography introducing
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MMAAYY2015 2015
THE magazine | 59
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M AY
2015
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THE magazine |61
WRITINGS
AFTER A NEW MOON by
Arthur Sze
Each evening you gaze in the southwest sky as a crescent extends in argentine light. When the moon was new, your mind was desireless, but now both wax to the world. While your neighbor’s field is cleared, your corner plot is strewn with desiccated sunflower stalks. You scrutinize the bare apricot limbs that have never set fruit, the wisteria that has never blossomed; and wince, hearing how, at New Year’s, teens bashed in a door and clubbed strangers. Near a pond, someone kicks a dog out of a pickup. Each second, a river edged with ice shifts course. Last summer’s exposed tractor tire is nearly buried under silt. An owl lifts from a poplar, while the moon, no, the human mind moves from brightest bright to darkest dark. Arthur Sze’s ninth book of poetry, Compass Rose, was published by Copper Canyon Press in 2014. A recipient of the 2013 Jackson Poetry Prize, and a former Poet Laureate of Santa Fe, he is currently a chancellor of the Academy of American Poets.
62 | THE magazine
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2015
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