THE magazine August 2016

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june 2016 august 2016

SHIPROCK SANTA FE LECTURE SERIES: Friday, August 12, 1 PM Ishi Glinsky RSVP 505.982.8478 ANNUAL OPENING EVENT: Saturday, August 13, 5-7 PM INDIAN MARKET CELEBRATION: Thursday, August 21, 2-4 PM

53 Old Santa Fe Trail | Upstairs on the Plaza | Santa Fe, NM 505.982.8478 | shiprocksantafe.com

THE M AG A ZINE OF A RTS A ND CR E ATI V E CULTU R E

C ON T E N T S FEATURES 16

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o n b e i n g an i n di g e n ous arti st i n sa n ta fe d uri n g t he month of august , or how i learned to stop worrying an d lov e i n di an m ark et

by Kathryn M Davis ne w m yt hs of santa fe

by Jordan Eddy

ARTS

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calendar Art openings, exhibitions, events, performances, calls for artists p rev ie w s ReForm: Subversive Fashion, Central Features, ABQ Rick Bartow: Things You Know But Cannot Explain, IAIA MoCNA spotlight much wider than a line, SITE Santa Fe m eet yo ur m ak ers Make Santa Fe re v i e w s Art Santa Fe, Santa Fe Community Convention Center In Color, 333 Montezuma Kiki Smith: Woven Tales and Other Work from Magnolia Editions, Peters Projects RomĂŠo et Juliette, Santa Fe Opera Zoe Crosher: The New LA-Like, Mayeur Projects, Las Vegas

DE PARTME NT S 05 13

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stud i o v is it Raven Chacon

25 32

contributors the library

Lipstick Flavor one bottle

by Joshua Baer dining guide out

&

about

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wr it i n gs

59

t he pr i nted pag e

61

photography

Reviews

by Jenn Shapland Con Agra

by M. Gold

Iris

by Michael Long

(INFRA) STRUCTURE complex, below and further on 16 July — 29 August 2016 Siah Armajani › Olivo Barbieri › John Cliett › Christine Corday › Michael Heizer › Joanne Lefrak › Laura Letinsky Pard Morrison › Trevor Paglen › Victoria Sambunaris › Fred Sandback › Josef Schulz › Christina Seely › Guy Tillim A selection of work from the Lannan Collection examining the notion of structure: real, perceived, or imagined

GALLERY HOURS

Saturdays and Sundays noon to 5pm or by appointment 309 Read Street, Santa Fe, NM 87501 Tel. 505 954 5149 IMAGE: Olivo Barbieri, The Waterfall Project, Niagara Falls, Canada/USA, 2007,

inkjet print on archival paper, 14 x 17 inches. Collection Lannan Foundation.

www.lannan.org

CONTRIBUTORS

maga zine VOLUME XXV

Issue 1I

PUBLISHER | EDITOR Lauren Tresp ART DIRECTOR Chris Myers ASSOCIATE EDITOR Clayton Porter COPY EDITOR Tim Scott PROOFREADER Kenji Barrett PHOTOGRAPHERS Audrey Derell Clayton Porter CONTRIBUTORS Diane Armitage Joshua Baer Nicole Brouillette Kathryn M Davis Jordan Eddy Alicia Inez Guzmán Marina La Palma Richard Tobin Chelsea Weathers Jonah Winn-Lenetsky

ON BEING AN INDIGENOUS ARTIST IN SANTA FE DURING THE MONTH OF AUGUST by Kathryn M Davis

page 44

Kathryn M Davis is an art historian who specializes in modern and contemporary visual arts and critical theory. She is a contributing writer for various Santa Fe–area and national magazines. Davis hosts ArtBeat, a weekly radio show about art on KVSF, The Voice of Santa Fe, at 101.5 fm, which airs live on Thursdays from 12 to 1 pm.

Davis received an MA in the Art of the Americas from the University of New Mexico in 1999, and has been active in the field of contemporary art for over 25 years.

Contact Kathryn at artbeat@santafe.com.

GRAPHIC DESIGN INTERN Mariah Romero EDITORIAL INTERN Charlotte Smart WEBMEISTER Jason Rodriguez PUBLISHERS EMERITI Guy and Judith Cross COVER Frank Buffalo Hyde (Onandaga/ Nez Perce), Buffalo Fields Forever: To Infinity and Beyond, 2016, acrylic on canvas. Courtesy Museum of Indian Arts and Culture.

CONTENTS PAGE 16. Raven Chacon. Photo Clayton porter. 53. Ailyn Pérez (Juliette) in Roméo et Juliette, 2016. Courtesy of Santa Fe Opera. Photo: copyright Ken Howard. 25.

Izanami. Photo Clayton Porter.

ADVERTISING Laura Shields, 505-977-0094 laura@themagsantafe.com sales@themagsantafe.com DISTRIBUTION Jimmy Montoya 505-470-0258 CALENDAR EDITOR pr@themagsantafe.com LETTERS TO THE EDITOR editor@themagsantafe.com

NEW MYTHS OF SANTA FE by Jordan Eddy

page 48

Jordan Eddy is an arts writer who lives in Santa Fe. His reviews and features appear in Art Ltd. and Visual Art Source, and he is a columnist for Santa Fe Reporter. Jordan is the co-director of Strangers Collective, a local group of emerging artists and writers that organizes pop-up exhibitions and other events in diverse venues around town. Strangers Collective's next major show opens at Center for Contemporary Arts in October 2016. strangersartcollective.com

THE PRINTED PAGE by Megan Goldberg

page 59

Megan Goldberg was born in Santa Cruz, California. After living in Montana, Wyoming, and Vancouver, B.C., she landed in Santa Fe, New Mexico. Megan is currently working as a sign language interpreter and creates art under the name m.gold for fun, festivals, gallery shows, and social media.

“I love old images, how they are printed, and the quality of papers found in vintage books and magazines. Most of all I enjoy the hunt for that perfect image that works with what I am designing. When images fit together seamlessly, as if their new arrangement was always the intention, I am happy.” m-gold.tumblr.com @meggold505

SUBSCRIPTIONS themagsantafe.com

THE magazine is published 10x a year by Tresp Magazine LLC, 320 Aztec St, Santa Fe, NM 87501. Phone: 505-424-7641. Email: editor@ themagsantafe.com. Web address: themagsantafe.com. All materials copyright 2016 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 or for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.

AUGUST

2016

WRITINGS by Jenn Shapland

page 58

Jenn Shapland is a nonfiction writer living in New Mexico. Her work has appeared in Tin House, The Lifted Brow, Electric Literature, and elsewhere.

She’s currently writing a book-length manuscript called The Autobiography of Carson McCullers. She has a PhD in English from the University of Texas at Austin.

THE magazine | 5

PLEASE JOIN US FOR THE FINAL EXHIBITION AT JAMES KELLY CONTEMPORARY CELEBRATING 19 YEARS OF THE GALLERY

STUART ARENDS JACK BALAS ALDO CHAPARRO SHARON CORE THOMAS JOSHUA COOPER STEVE DENNIE HELMUT DORNER JAMES DRAKE DEBORA HUNTER BILL JACOBSON TOM JOYCE ROBERT KELLY VAL KILMER SHERRIE LEVINE AGNES MARTIN TOM MILLER WES MILLS PARD MORRISON JILL MOSER BRUCE NAUMAN NIC NICOSIA JOHNNIE ROSS SUSAN ROTHENBERG VICTORIA SAMBUNARIS PETER SARKISIAN DAVID TAYLOR RICHARD TUTTLE EMI WINTER SUSAN YORK

THE LAST PICTURE SHOW JULY 29 - SEPTEMBER 3, 2016

OPENING RECEPTION FRIDAY, JULY 29, 5-7 PM THIS EXHIBITION WILL INCLUDE THE WORK OF ALL GALLERY ARTISTS WHO MADE JAMES KELLY CONTEMPORARY SUCH A SUCCESS. THE GALLERY WILL CLOSE AT THE END OF THIS EXHIBITION. WE THANK THE ARTISTS AND PATRONS OF THE GALLERY FOR 19 AMAZING YEARS.

JAMES KELLY CONTEMPORARY 1611 PASEO DE PERALTA | SANTA FE | JAMESKELLY.COM VICTORIA SAMBUNARIS UNTITLED, 2003, C-PRINT, EDITION OF 5, 39 × 55 INCHES

2016 SEASON JULY 1 to AUGUST 27

Romance, Drama, & FUN! THE SANTA FE OPERA 60TH ANNIVERSARY

The Girl of the Golden West Roméo et Juliette

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The 60 th anniversary season is filled with powerful love stories, including Puccini’s The Girl of the Golden West.

This Gold Rush-era story, set in Minnie’s saloon, inspired a multitude of western films.

Experience an unforgettable evening in an incredible open-air theater setting.

Arrive early with a tailgate supper to enjoy a colorful sunset and the stunning mountain views.

VICISSITUDES OF COLOR Heiner Thiel Michael Post

Artists’ Reception: Friday, August 26 5-7 P.M. Both artists will be present

AUG 3 - SEPT 3, 2016 |

CHARLOTTE JACKSON FINE ART

505.989.8688 | 554 South Guadalupe Street, Santa Fe, NM 87501 | www.charlottejackson.com From left: Thiel, Untitled-WVZ 16-16-638, 2016, anodized aluminum, 223⁄4 x 223⁄4 x 6 inches; Post, Untitled-WVZ 16/16/501, Acrylic on fiberglass over steel, 343⁄4 x 211/4 x 4 inches

JUDY TUWALETSTIWA

July 29 – August 23, 2016

Glass

Opening Reception July 29 5–7pm RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 875 01 505.820.3300 | WILLIAMSIEGAL.COM

THE LIBRARY

Lipstick Flavor eds. Marla Hamburg Kennedy, Jérôme Sans (Damiani)

They say eyes are the windows to the soul, but what does that make lips? We use them to smile and scowl; they can be pulled back to bare our teeth in a snarl like one of our primate ancestors. We kiss, pout, eat, suck, and speak with them. They shape our sounds and anchor our faces. A tactile sensory organ, they are synonymous with sex. We’ve been painting them for thousands of years, first shades of red to mimic flushing and now any color imaginable.

In Lipstick Flavor (Damiani), editors Jérôme Sans and Marla Hamburg Kennedy examine our obsession with lips and lipstick through the lens of contemporary art. Featuring over forty international artists, including Marina Abramovic, Juergen Teller, Nobuyoshi Araki, Maurizio Cattelan, Pierpaolo Ferrari, and Andy Warhol, among many others, Sans and Hamburg Kennedy take us on a journey of lipstick as a cultural icon. The past hundred years have seen the meaning of lipstick change with each new era; just as shades come in and out of style, its meaning is ever evolving. Lipstick's associations have ranged from prostitution, Hollywood glamour, rock and roll, to the normalcy of an everyday consumer good. However, lips will always maintain their connection with the erotic, no matter the shade applied to them. From Rankin’s portrait of a screaming Marilyn Manson (Marilyn Manson II) in dark purple lipstick to Juergen Teller ’s nude portrait of Kristen McMenamy (Kristen McMenamy No.3) with a red lipstick heart containing the word “Versace” drawn on her chest, lipstick is an icon that cannot be boxed in. Lipstick leaves its mark on collars, cigarettes, skin, napkins and glasses, and it’s left its mark on culture.

—Nicole Brouillette

AUGUST

2016

THE magazine | 13

CHRIS GUSTIN TONY MARSH SUNKOO YUH July 8 - August 27 2016

Chris Gustin

SANTA FE CLAY C O N T E M P O R A R Y

www.moleculedesign.net

C E R A M I C S

In the Railyard, 545 Camino de la Familia, Santa Fe 505.984.1122 www.santafeclay.com

ELODIE HOLMES

Liquid Light Glass Fine Glass Art Studio & Gallery 2016 Governor’s Award of Excellence in the Arts

Hours: Monday - Saturday 10 am - 5 pm 926 Baca Street #3 • Santa Fe, NM 87505 505-820-2222 • www.liquidlightglass.com

Joyce J. Scott, Rain, Glass beads & thread,13” x 16” x 1”, Photo credit: Michael Koryta Joyce J. Scott, Rain, Glass beads & thread,13” x 16” x 1”, Photo credit: Michael Koryta

August 517, - September 17, 2016 August 5 - September 2016 Opening reception: August 5, 5 - 7pm Opening reception: Friday August Friday 5, 5 - 7pm

AN EXUBERANCE COLOR In Studio Jewelry curated

by Gail M. Brown AN EXUBERANCE OF COLOR InOF Studio Jewelry curated

by Gail M. Brown

at Tansey Contemporary August August at Tansey Contemporary Joodsdsdsd Joodsdsdsd

AugustatatTansey TanseyContemporary Contemporary August Joodsdsdsd Joodsdsdsd

EXUBERANCE COLOR In Studio Jewelry curated

by Gail M. Brown ANAN EXUBERANCE OF OF COLOR In Studio Jewelry curated

by Gail M. Brown August 5 - September 17, 2016 August 5 - September 17, 2016 Opening reception: Friday August 5 - 7pm Opening reception: Friday August 5, 5 5, - 7pm

Joyce J. Scott, Rain, Glass beads & thread,13” 1”, Photo credit: Michael Koryta Joyce J. Scott, Rain, Glass beads & thread,13” x 16”x x16” 1”, xPhoto credit: Michael Koryta

“The Sky Is The Water”, A Solo Exhibition from Sheryl Zacharia “The Sky Is The Water”, A Solo Exhibition from Sheryl Zacharia August 12 - September 2, 2016 August 12 - September 2, 2016 Opening reception: Friday August 12, 5-7pm. Artist will be present Opening reception: Friday August 12, 5-7pm. Artist will be present

Sheryl Zacharia, Resting Cloud, Ceramic sculpture, 14.5” x 26” x 6” Sheryl Zacharia, Resting Cloud, Ceramic sculpture, 14.5” x 26” x 6”

652 Canyon Road, Santa Fe, NM 87501 | 505-995-8513 | www.tanseycontemporary.com 652 Canyon Road, Santa Fe, NM 87501 | 505-995-8513 | www.tanseycontemporary.com

raven chacon

UD DI IO O VVI ISSI ITT SSTTU

interview by Clayton Porter and Lauren Tresp

runs a record label, is a member of multiple bands and collaborative projects, teaches teenagers experimental composition, and is currently included in SITE Santa Fe’s recently opened biennial, much wider than a line (through January 8, 2017). Born in Fort Defiance, Arizona, and educated at UNM Albuquerque and California Institute of the Arts, Chacon calls Albuquerque home. However, the city is not always the location of his studio. Conveniently for us, Chacon brought his studio to THE for our recent interview. As a musician, sound artist, and ardent collaborator, Chacon’s flexible studio practice reflects the versatility of his work. Currently, he is writing a composition to be played by the renowned Kronos Quartet at Carnegie Hall in 2017 alongside compositions by Laurie Anderson, Philip Glass, and others.

Clayton Porter: You know, typically we want our studio

video art. Different artist friends from all over—

out here when I was about eight or nine. I’ve lived

visit to be where we actually visit the studio and talk

artists from Canada, California, an artist from New

in Albuquerque pretty much my whole life. I lived

predominantly about studio practice.

Zealand—would Dropbox us over a video, and once

in Los Angeles for a while, but I moved back. I think

Raven Chacon: Yeah… See, when I was putting

a month we’d show this video work. Once or twice

Albuquerque has a great music scene, and that’s

up the UNM show (Lightning Speak: Solo and

a month we’d have concerts, experimental music

what I do. Anything from experimental, noise, rock,

Collaborative Work of Raven Chacon, 2016, UNM Art

concerts. But we closed it down to save money for

DIY spaces, to all kinds of bars and venues all up and

Museum), I had a really nice studio; I only rented it

the Fence project (Repellent Fence, 2015), because

down Route 66. There’s no shortage of live music

until I was putting that show up. Then I moved

happening in Albuquerque. What Albuquerque

into a small cubicle. It’s just wires everywhere.

lacks is the kind of visual art presence that

It’s not very interesting.

Santa Fe has. So, between the two, there are great things happening. The cost of living is very

CP: As a sound artist, how important is a studio?

inexpensive. And the people. I like the types

How important is a space for you?

of minds that reside in New Mexico, the

It could be very important. It could be nice to

type of art that the people make.

have a large space to be able to run cables. And as you saw in my show, it is nice to set up some

CP: Are you performing on a regular basis?

more sculptural installation work, where you

I’d say ninety percent of what I do is all

might have to gauge what sounds might be like in

performing- and music-related. I’m involved in

a space. That would be one extreme. The other

five or six bands, separate from Postcommodity,

end is just needing headphones or two monitors

although Postcommodity makes music also. I’m

to listen to music, make music… Or just a desk.

involved in a few different collaborations, with

Right now I’ve been working on a commission

people in Albuquerque, with people in New

for Kronos Quartet, and I’ve been just sitting

York, and performing and recording is a big part

at a desk, writing on some paper. That’s really

of what I do. I also run a label, called Sicksicksick

what I’ve been doing for the past two months. I

Distro, and I release music from all kinds of

haven’t needed anything. Just a desk, a pot of

musicians, all over the region. I’m hand-making

coffee, stack of paper.

a lot of those projects, folding records together or cassettes, mixing or producing albums for the

CP: Are you looking for a space now?

musicians, and I do all that in my studio.

Postcommodity (interdisciplinary arts collective, Raven Chacon, Cristóbal Martínez, Kade L. Twist)

we needed to buy helium, so we needed every cent

Lauren Tresp: What are your day-to-day hours? Is it

had Spirit Abuse for about two years. It was

we could save. It’s still an ongoing project; it just

always different, because your studio is always different?

Postcommodity’s studio in Albuquerque, but for

doesn’t have a physical space right now.

When I’m traveling with Postcommodity, we generally keep somewhat nine-to-five hours, because

the past eight years or so I've been involved in DIY venues in Albuquerque, so it kind of functioned

CP: Why Albuquerque? Why New Mexico?

we’re a group and we have to set hours to work

as both. We’d use it to stage some of our more

Well, I’m pretty much from Albuquerque. I grew up

together. If I’m working alone, I do a lot of work

sculptural works that we were working on, and then,

on the Navajo Reservation, but my father is from

midnight to four, five a.m. Personal time is in the

at the same time, use the opportunity to exhibit

Mora, northern New Mexico, and the family moved

afternoon. A lot of work is rehearsing with other

AUGUST

2016

THE magazine | 17

musicians. Death Convention Singers—a group of twenty or so musicians from

amplifiers with the speaker sliced open. And the only people I could find couldn’t

Santa Fe, Albuquerque, all different kinds of characters—did a performance last

play. They sucked. So that was the band: it just sounded like noise. I got used to

summer at MoCNA, we had a cart and water from the Animas river, that orange

playing with people like that. (Laughs) It was not ideal music. Trying to make it

water. To rehearse something like that you’ve got to find whenever twenty people

sound like Slayer or something, but it sounded like noise.

can meet. So I have to be flexible.

It informed what I realized music could be. At the same time I also had studied the piano with a piano teacher, knew how to read music, and was

LT: How do you find your solo practice to be different from working collaboratively?

interested in composing real music. I had these two sides, and they somehow came

I could see some solo artists never knowing when the thing is finished, when it’s

together, especially when I went to UNM and started studying with music teachers

done. With collaboration, everybody’s going to decide it’s done. I think for me, I

there and learned about twentieth-century music, and John Cage, and all that. I

try not to get in the trap of being unsure of what the piece is. Because—maybe

realized that that’s the kind of music I want to make. Still, for me it ended up on

this is because I come from a background of improvised music—a piece could

stage, or in a recording. It wasn’t until I moved to Los Angeles that I became more

take on other versions. . . or maybe it is never done, in some ways. For instance,

aware of what other artists were doing, having installations. I was learning what

when I did the bird cage piece (While Contemplating Their Fate in The Stars, The

sound art was. And even still, I was always just interested in making music, probably

Twins Surround The Enemy, 2003), that was the second time I had done that piece.

up until I joined Postcommodity, and then I started thinking, well, what can I lend

I did it first in Los Angeles. When I did it here, my wife Candice contributed

to this group? What can I offer to these guys who collaborate in this group? What

a piece of text from a book that was put on the wall to go with it. So pieces

perspective on sound? These guys were making video; I might see time or linearity

can constantly shift, or morph, or take on new forms. I think I’m not so

in a different way than these guys might.

permanent about what these things are sometimes, and I think that helps when making work as a solo artist. I’m not set that it has to always be a certain

LT: Can you tell us about the project at SITE? (Native American Composers

way. It can be an improvisation. It can be the same piece in different forms—a

Apprenticeship Project, 2004-present)

different medium even.

Another large part of work that I do is teaching young people. I’m not a full-time teacher or anything, but I do this program on the reservations—the Navajo

LT: Humor me, because sound art is something I'm not very familiar with, but how did

Reservation, the Hopi Reservation, the Salt River Pima community—where I go

you come to sound art?

for a week into each of the schools and find five or six students, thirteen

It’s kind of a funny thing. I didn’t know what sound art was, either. I came about it

years old to eighteen years old, and give them the task of writing a three-

from being a musician and realizing that there are other ways to present music or

minute string quartet. Some of these students have band or orchestra class,

sound. And realizing as an artist that sound art can take on the form of video: what

so they know how to read music. Some of the schools don’t have any of that, so I

appears to be a video work actually had more prominent sound than visuals, for

have to show them—very quickly, in a day—how to read and write music. I teach

instance. Or you have a sculpture that produces sound. My entry point was just

them everything I can about how to play the violin or the techniques you use for a

being a musician… I formed a band when I was sixteen or seventeen. We

cello, viola, or violin. I don’t play those instruments, but I can demonstrate enough

didn’t have a place to play, so we’d go play out in the desert with a generator,

how to make sounds, how to make music. And the students have a week to write

or whatever. Everybody had the worst instruments. Guitars with, like, two strings;

these things out. On Labor Day weekend we put on a big concert at the Grand

STUDIO VISIT Canyon, and a professional string quartet comes from New York City (ETHEL,

making force that line to happen. I think that sound has that power more than

Catalyst Quartet) and plays these compositions. At SITE, there are listening

anything, because—well, film probably does, too—but I think there are a lot of

booths of some of these students’ work from the past twelve years that I’ve been

assumptions about what sound is going to be or what music is going to provide—

doing this program, six really avant-garde pieces from these kids. In addition to

especially if it’s accompanying something else. I can hear an opera singer, an aria

that, I’ll be working with some students from the Santa Fe Indian School, and

or something: I know that I’m going to expect something out of this before I

they’re going to write some new pieces. Two years ago NPR Performance Today

encounter it. From its first note, I know what it might be.

did a story on it. They actually made this website that documents the work we did (performancetoday.atavist.com/voices-that-need-to-be-heard).

There was another Death Convention Singers situation, where I sent an email to five core people of the group and said, “Forward this email on to other musicians in Albuquerque. Don’t mass-do it; do it individually, and don’t

CP: I remember seeing for the first time your bird piece at the AHA fest. It was

tell anybody else who you’re sending it to. Tell them to meet at this location at

simple and very present; there was no clutter. I even remember looking around,

midnight, on this date, and bring an acoustic instrument. It’ll be pitch black when

like, “Where’s the art at? Who is this?” There were no tags. It was so pleasing to

you arrive, bring a flashlight if you need, or just be careful. And don’t talk to

think that you weren’t just standing there in front of your piece, like most people do,

anybody.” I would go ahead of time and set up recording mics and whatnot and

seeking attention.

just sit in the dark and wait for people to show up. I’d sometimes have a guitar

Yeah, I would’ve left it up and just left, but people were getting angry at this

with me or just my voice. One location had a piano inside of it. People would

piece. There were two birds and this kind of piercing tone, but the amplifier was

show up and play together. I don’t know who’s on the recording. For some,

nowhere near the birds. It was in the corner. It was quiet; it wasn’t very loud,

thirty people showed up. For one, there were only three. But I don’t

but people were so angry. They were accusing me of harming the birds. People

know who they were. We made a whole album anonymously (Brujas,

were actually tampering with the piece. They were unplugging the amplifier;

2008). I know that the five people who I initially emailed are on it somewhere,

somebody hit it. I thought somebody was going to let the birds free. One guy,

but otherwise I don’t know who’s on the recording. It resulted in a CD; they’re

like a hippie guy, tie-dye everything—I think he wanted to fight me. I just said,

all sold out, but it’s on Bandcamp now (deathconventionsingers.bandcamp.com/

“Don’t touch the work.” It got confrontational. That was the only reason I

album/brujas).

actually stuck around.

So these are the kind of—I don’t want to use the word “community actions” because that sounds too lame—things I’m just doing in Albuquerque. Creepy

CP: Do you consider your works confrontational, or do you think they have

things, kind of.

confrontational elements?

I think they can. I think noise, the very nature of presenting noise, is going to be

page 16: Raven Chacon, photo: Clayton Porter.

confrontational with some people. It’s not my intention to be obnoxious, by any

page 17: Raven Chacon, Excerpt from score for Journey of The Horizontal People (for Kronos Quartet). Image courtesy of the artist.

means, but—as far as the sonority of the sounds I like to make—I think those can

this page, left to right: photo: Clayton Porter.

be confrontational. They at least set up a line, saying either you’re really going

Raven Chacon, While Contemplating Their Fate in The Stars, The Twins Surround The Enemy, 2003. Image courtesy of the artist.

to hate this, or you’re going to start to get over on this side and see what

Chacon (left) and Death Convention Singers performing In Our Time, As It Was In Your's (Transmisión), downtown Santa Fe, 2015. photo: Kade L. Twist. Image courtesy of the artist.

this is about. I think the tonalities and the sounds that I’m interested in

AUGUST

2016

photo: Clayton Porter.

THE magazine | 19

An artist-centered showcase featuring new ideas and artists at all stages of their careers.

Alcoves 16/17 #4

August 20 through October 9, 2016

Sally Anderson Sheri Crider Robert Drummond Michael Namingha John Vokoun

Opening Reception

August 26, 2016, 5:30–7:30 pm The Alcove exhibitions, at the New Mexico Museum of Art, focus on current work by contemporary New Mexico artists. A cycle of exhibitions that feature five new artists every seven weeks from March of 2016 through March of 2017.

1 0 7 We s t Pa l a c e Av e n u e • 5 0 5 - 4 76 - 5 0 7 2 • w w w. n m a r t m u s e u m . o r g

Thomas Frontini • Modern Ruin August 12 - September 23 Gallery Reception: Friday, August 26, 6 - 8 pm

Richard Levy Gallery • Albuquerque • www.levygallery.com • 505.766.9888

A S I AT I C A K A N S A S

C I T Y

TRUNK SHOW IN SANTA FE THURSDAY, AUGUST 4 – SATURDAY, AUGUST 6 CALL FOR LOCATION AND HOURS

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ONE BOTTLE

O ne B ottle

The 1988 Raymond-Lafon Sauternes W ines

of

A phrodisia

by J oshua

B aer .

August is International Sex Month. Don’t act like you didn’t

and Three, the 1975 Yquem was bottled and aged with you and

know. If you’ve lived here for more than a year, you know. Santa

your insatiable partner in mind. One overlooked aspect of this

Fe’s combination of thick light, mercurial weather, red chili, and

legendary Sauternes is its portability. Don’t be afraid to adjourn

sixty-eight hundred feet of elevation make this town a mating zone

from the dinner table and bring the 1975 Yquem with you to the

during August. The same way Catholics flock to Lourdes for Easter

bedroom, floor, patio, roof, or barn, as the case may be. Sex is

and geese fly south for the winter, sex fiends from all over the planet

always entertaining. Sex in the vicinity of an unfinished bottle of

come here during August. Having insane sex in an ancient city where

1975 Yquem is spellbinding. Yes, it’s an expensive Sauternes. Now

thousands of other couples are simultaneously rolling and tumbling

you know why the Italians say, “Bed is the poor man’s opera.”

with reckless abandon is the ultimate fiesta.

#2. The 2004 Zenato Amarone della Valpolicella “Classico.”

In polite society, sex is one of three taboo subjects at the dinner

The connection between red wine and the female libido is a matter

table, the other two being money and politics. I don’t know about

of public record. What the sexologists don’t tell you is how well

you but the friends and enemies who come to my house for dinner can’t stop talking about who’s running for president or how much it’s going to cost us to survive the next four years. Which is fine with me. I like a good argument about

the male libido responds to the female libido’s response to red wine. #3. The 2005 Robert Chevillon Nuits-Saint-Georges “Les Perrières.” Leave your body. Float up to the ceiling.

the ruling class as much as the next guy, not to mention

Enjoy the view. Men love women. Women love red

a spirited debate about the true cost of survival. And

Burgundy. The longer the finish, the deeper the

this will betray my status as a member of impolite society, but it’s a question I have to ask: Why leave out sex? You don’t exclude it from your life. Why

attraction.

Which brings us to #4, the 1988 Raymond-Lafon Sauternes.

exclude it from your conversations? After all, sex is

In the glass, the 1988 Raymond-Lafon Sauternes

communication. Even couples who don’t speak to

combines radiance with reflection. Plenty of people

each other still have sex. If you’re ashamed to discuss

like to taste wine and a few of us still like to drink it,

sex at the dinner table, what does that say about your

but this is a wine built as much for the eye as it is for

sex life? Who would you rather take to bed, the one

the palate. The bouquet is forty-five percent aroma

who pretends to know what you want or the one

and fifty-five percent laughing gas. On the palate, the

who’s willing to listen?

1988 Raymond-Lafon measures you before it lands

Before we get into the wines of aphrodisia, I want

a punch. After the first cut, it moves in for the kill.

to make sure there are no misunderstandings. Wines

The good news is, it cures you as it puts you away.

of aphrodisia are wines of arousal and stamina but

The finish, thank goodness, is a long goodbye.

they are not wines of seduction. If you and the person

These days, it’s impossible to read a wine review

you want to sleep with have yet to cross the Rubicon,

without reading about pairings. Prosecco with

a wine of aphrodisia will only complicate your efforts

prosciutto. Barolo with bacon. Aglianico with Arctic

to find intimacy. Wines of seduction exist. The 1992

Char. I think pairing specific wines with specific

Ramonet Batard-Montrachet is the classic choice for

foods is sophistry. Why not do it in style and pair the

the middle-aged man in the process (or throes, you

sublime with the sublime? If you open a great bottle

might say) of wooing the younger woman. For the

and drink it with a delicious meal, do you really think

older widowed woman across the table from the older

you’ll be disappointed? And, if you enjoy that delicious

divorced man, either the 2009 Montille Pommard “Le

meal in the company of the one you love, chances are,

Rugiens-Bas” or the 2007 Les Pallieres Gigondas “Les

nature will favor your enterprise. You might say love

Racines” will break the ice, melt it, and keep it melted.

is the essential ingredient in the recipe for insane sex.

But enough about seduction. Without further ado,

Love, naturally, is anything but easy. That’s why

let’s move on to four of the wines of aphrodisia. #1. The 1975 Chateau d’Yquem Sauternes, a.k.a., Roman Candle Time. If your idea of a roll in the hay includes checking out your eyelids for pinholes ten minutes after the fireworks, this is the wrong wine for you. By the same token, if you live for Rounds Two AUGUST

2016

rational people avoid it. Why does love hurt so much?

Because it feels so good. Why does it feel so good?

Because it hurts so much.

One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. All contents are ©2016 by onebottle.com. Write to Joshua Baer at jb@onebottle.com.

THE magazine | 23

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lunch / dinner $$$

cuisine: Japanese, Izakaya-style dining with small plates to be shared atmosphere: Casual, communal feel with a tinge of mountainside spa specialties: extensive and educational sake menu with rotating weekly specials. Lunch specials include bowls of Ramen (pictured) and Bento boxes. The seasonal dinner menu changes frequently, so try the chef's Omakase tasting menu. Beer, wine, tea, and housemade sodas.

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THE magazine | 25

IN TAOS,

PHOTOGRAPH: HOWIE ROEMER

the arts are everywhere.

Experience extraordinary art— indoors, outdoors, high-brow, low-brow, on the walls, on stage, in the streets– everywhere, here, this fall.

SOMOS SUMMER WRITERS SERIES July 20 – Aug. 24, 7pm Wednesdays somostaos.org

19TH ANNUAL HIGH ROAD ART TOUR Sept.17 – 18 & 24 – 25 10am-5pm highroadnewmexico.com

TAOS FALL ARTS FESTIVAL EXHIBITS/EVENTS Sept. 23 – Oct. 2 taosfallarts.com

MUSIC FROM ANGEL FIRE CONCERTS

Angel Fire, Taos, Raton, Las Vegas

TAOS ARTIST ORGANIZATION STUDIO TOUR Sept. 3 – 5, 10am-5pm taosartistorg.org

THE PASEO OUTDOOR ART FESTIVAL Sept. 23 – 24, 5-10pm paseotaos.org

TAOS CHAMBER MUSIC GROUP FALL SEASON Sept.17 – 18, Oct. 29 – 30 5:30pm Harwood Museum taoschambermusicgroup.org

E. L. BLUMENSCHEIN HOME & MUSEUM – FOUNDING VISIONARIES EXHIBITION Aug.5 – Sept. 24 taoshistoricmuseums.org

EL RITO STUDIO TOUR October 1 – 2, 10am-5pm elritostudiotour.org

TAOSARTCALENDAR.COM All Taos art events, exhibitions, workshops

taosartscouncil.org

Aug. 19 – Sept. 3 musicfromangelfire.org

Supported in part by New Mexico Arts, a division of the Department of Cultural Affairs and by the National Endowment for the Arts. Additional support from Taos County Lodger’s Tax Grant Award.

Come celebrate!

PASCAL PIERME 20 years in Santa Fe August 12 - September 4, 2016 Reception with the Artist August 12 - 5-7pm

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Past Is Present: Alternative Processes In Contemporary Photography Featuring: Kathleen Bishop, Luther Gerlach, Jackie Mathey, Jennifer Schlesinger and Sam Tischler Echoes Of The Civil War: The Civil War Pinhole Project - by Michael Falco Tintype Portraits - by Bryan Whitney Through - September 3, 2016

Jennifer Schlesinger, Here Nor There 20, 2013, handcoated albumen print, 4” x 8”

Luther Gerlach, Nude in Sycamore Roots, 2012, Tintype, 12” x 20”

Sam Tischler, Vessel #6, 2016, Van Dyke, 22” x 30”

Kathleen Bishop, Coffee, 2015, Cyanotype print, 24” x 24”

photosummer.org

Jackie Mathey, Palace Print Shop, 2014, Archival pigment print, 15” x 20”

Color: Stained, Brushed and Poured Featuring: Leon Berkowitz, Thomas Downing, Willem de Looper, Ruth Pastine, Paul Reed and Leo Valledor August 5 - September 3, 2016 Opening Reception: Friday, August 5 from 5:00 - 7:00 PM

Ruth Pastine, Primary Series (Fetish Threshold Flash), 2012, Oil on canvas, 24” x 84” x 2.5” Willem De Looper, Tanagra, 1972, Acrylic on canvas, 72” x 95”

DavidrichardGALLEry.com DAVID RICHARD GALLERY

1570 Pacheco Street, A1, Santa Fe, NM 87505 505-983-9555 | info@DavidRichardGallery.com DavidRichardSFe DavidRichardGallery

CALENDAR

AUG U ST ART S C A L ENDAR FRIDAY, AUGUST 5

David Richard Gallery, 1570 Pacheco St, A1.

505-983-9555. davidrichardgallery.com. Color: Stained, Brushed and Poured: enquiries into color theory and paint application, group show.

Through Sept 3. 5-7 pm.

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

575-770-4463. gregmoonart.com.

Slideshow: custom guitars by Esteban Bojorquez in celebration of the Alabama Shakes concert.

Through Aug 20. 5-7 pm.

Manitou Galleries, 123 W Palace Ave. 505986-0440. manitougalleries.com. BC Nowlin & Jerry Jordan: new paintings. 5-7:30 pm.

Traditionalist Crow Artist, Kevin Red Star: new works presented as part of Indian Market series exploring culture and history. 5-7:30 pm.

Through Aug 31.

North 4th Gallery, 4904 4th St NW, ABQ. 505-345-2140. vsartsnm.org. Line/Shape/Color/ Form: four New Mexico–based artists. Through Sept 18. 5-6:30 pm.

Phil Space, 1410 Second St. 505-983-7945. philspacesantafe.com. Past Present: Susanna Carlisle & Bruce Hamilton: retrospective of sculpture and installation. Through Aug 26.

5-8 pm.

Sorrel Sky Gallery, 125 W Palace Ave. 505510-6555. sorrelsky.com. Meet Contemporary

Hunter Kirkland, 200B Canyon Rd. 505984-2111. hunterkirklandcontemporary.com.

Charlotte Foust & Eric Boyer: new paintings and sculptures. Through Aug 28. 5-7 pm.

WEDNESDAY, AUGUST 10

Tansey Contemporary, 652 Canyon Rd. tanseycontemporary.com. An Exuberance of Color: In Studio Jewelry: group exhibition of jewelry, curated by Gail M. Brown. Through Sept 17. 5-7 pm.

Tortuga Gallery, 901 Edith Blvd ABQ. 505-506-0820.

Legends Monsters: paintings by Eliza M. Schmid Denise Weaver-Ross. Through Aug 5-8 pm.

NE, and and 16.

SATURDAY, AUGUST 6

New Concept Gallery, 610 Canyon Rd, 505-795-7570. newconceptgallery.com. Jane Abrams: new work featuring paintings of the Everglades. Through Aug 29. 5-7 pm.

of the Santa Fe Indian School: special exhibit featuring notable alumni. Through Sept 17.

5-7 pm.

Santa Fe Collective, 1114G Hickox St. santafecollective.com. Gallery closing exhibition: group show with artists previously shown at the gallery. Through Aug 12. 4-6 pm.

SUNDAY, AUGUST 7

National Hispanic Cultural Center, 1701 4th St. SW, ABQ. 505-246-2261. nhccnm.org. The Art of Acquisition: New New Mexican Works at the NHCC: features works added to the museum’s collection over the last five years. 2-4 pm.

John Ruddy Textile Art, 129 W San Francisco St, Fl 2. 505-490-1187. Fine Textiles from Japan and Southeast Asia. Through Aug 31. 6-8 pm.

Taylor Dale Fine Tribal Art, 129 W San Francisco St, Fl 2. 505-670-3488. 30th Annual August Show: Antique Arts of Native America, Africa, and Oceania. Through Aug 31. 6-8 pm.

Patina Gallery, 131 W Palace Ave. 505-9863432. patina-gallery.com. 60 Shades of Black: jewelry from Atelier Zobel honoring Mozart’s Don Giovanni. 5-7:30 pm.

FRIDAY, AUGUST 12

Center for Contemporary Arts, 1050 Old Pecos Tr. ccasantafe.org. Jared Weiss: The Worst: new paintings. Through Oct 9. 5-7 pm.

Edition One Gallery, 1036 Canyon Rd. 505570-5385. editionone.gallery. Faith in New Mexico: photographic exploration of faith in New Mexico, part of PhotoSummer 2016.

Extended through Sept 2. 6-8 pm.

Encaustic Art Institute, 632 Agua Fria St. 505989-3283. eainm.com. Beyond the Plaza: Second Annual Indian Market at the Institute: group show, including Tony Abeyta, Estella Loretto, and Michael Billie. 4-7 pm.

MONDAY, AUGUST 8

Adobe Gallery, 221 Canyon Rd. 505-6294051. adobegallery.com. Paintings by Students

Indian Pueblo Cultural Center, 2401 12th St NW, ABQ. 505-843-7270. indianpueblo.org.

At the Shumakolowa Native Arts Gallery, Pat Pruitt: The Art of Light at 1,064 Nanometers: Pruitt presents a new line of jewelry. 6-8 pm.

GF Contemporary, 707 Canyon Rd. 505-9833707. gfcontemporary.com. Pascal Pierme: 20 Years in Santa Fe. Through Sept 4. 5-7 pm.

Peters Projects, 1011 Paseo de Peralta.

505-954-5800. petersprojects.com. Earth: Untitled: paintings by Patrick Dean Hubbell.

Aug 5-27. The Micaceous Ceramics of Christine Nofchissey McHorse: ceramics, bronzes, steel, and drawings. Through Nov 5. 5-7 pm.

Tansey Contemporary, 652 Canyon Rd. tanseycontemporary.com. The Sky is the Water: ceramic sculptures by Sheryl Zacharia. Through Sept 2. 5-7 pm.

THURSDAY, AUGUST 18

IAIA Museum of Contemporary Native Arts, 108 Cathedral Pl. 888-922-4242. iaia. edu. Rick Bartow: Things You Know But Cannot Explain: a retrospective exhibition. Through Dec 31. 5-7 pm.

Manitou Galleries, 225 Canyon Rd. 505986-9833. manitougalleries.com. Joshua Tobey: new sculptures. 5-7:30 pm.

Sorrel Sky Gallery, 125 W Palace Ave. 505510-6555. sorrelsky.com. Native Art Now: group exhibition of contemporary Native American artists. 5-7:30 pm.

FRIDAY, AUGUST 19

Blue Rain Gallery, 544 S Guadalupe St. 505954-9902. blueraingallery.com. Les Namingha: new paintings. Aug 17-21. 5-8 pm.

Ellsworth Gallery, 215 E Palace Ave. 505989-7900. ellsworthgallery.com. Creative Nation: new works by contemporary Native American artists in partnership with SWAIA. Through Oct 15. 5-8 pm. form & concept, 435 Guadalupe St. 505982-8111. formandconcept.center. ReFashion: group show of works reinterpreting wearables.

Through Oct 30. 5-7 pm.

Giacobbe-Fritz Fine Art, 702 Canyon Rd. 505-986-1156. giacobbefritz.com. Nocona Burgess: American Indian Cowboy. Through Sept 4. 5-7 pm.

Past Present: Susanna Carlisle and Bruce Hamilton is a retrospective of the artists’ 30+ years of collaboration on view at Phil Space, Aug 5-16, opening with a reception Fri, Aug 5, 5-8 pm. Susanna Carlisle and Bruce Hamilton, Mother and Child, n.d., ink on paper, 16.5 x 20 in.

continues on page 31 AUGUST

2016

THE magazine | 29

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CALENDAR

Manitou Galleries, 123 W Palace Ave. 505986-0440. manitougalleries.com. Kim Wiggins: new paintings. 5-7:30 pm.

Morning Star Gallery, 513 Canyon Rd. 505982-8187. morningstargallery.com. Morning and Morning Star with Dolores Purdy: watercolor works of Dolores Purdy. 10 am-1 pm.

Sorrel Sky Gallery, 125 W Palace Ave. 505510-6555. sorrelsky.com. All Inclusive Show: group show including all gallery artists during Indian Market. 5-7:30 pm.

Taos Watercolor Society, Stables Gallery, 133 Paseo del Pueblo Norte, Ste D, Taos. 575751-3080. Watercolor Exploration: work by 8 members of the society. Through Aug 21.

4-7 pm.

FRIDAY, AUGUST 26

Cafe Pasqual’s Gallery, 103 E Water St. 505983-9340. pasquals.com. For the Love of Mud: ceramics by Michelle Goodman, Suzanne Vilmain, and Lisa Wederquist. Through Sept 26. 5-7 pm.

Central Features, 514 Central Ave SW, #2, ABQ. 505-252-9983. centralfeatures. com. ReForm: Subversive Fashion: exhibition of fashion, garments, accessories. Through Sept 30. Reception on Aug 26. 6-8 pm.

Charlotte Jackson Fine Art, 554 S Guadalupe St. 505-989-8688. charlottejackson.com.

Michael Post and Heiner Thiel: Vicissitudes of Color: sculptural work using vibrant colors. Aug 5-Sept 3. 5-7 pm. form & concept, 435 Guadalupe St. 505982-8111. formandconcept.center. Residency: exploring the home in North America through art, craft, and design. Through Oct 21. 5-7 pm.

Hyde Park Gallery, 2601 Hyde Park Rd. hydeparkgallery.com. Grand Opening: work

by Shannon Connor Castle. Reception with violinist Geoffrey Castle. 5:30-7:30.

New Mexico Museum of Art, 107 W Palace Ave. 505-476-5072. nmartmuseum.org.

Alcoves 16/17 #4: Sally Anderson, Sheri Crider, Robert Drummond, Michael Namingha, John Vokoun. Aug 20-Oct 9. 5-7 pm.

New Mexico State Capitol Rotunda Gallery, 411 State Capitol. 505-986-4614. alchemyofdecay.com. The Alchemy of Decay: featuring five Santa Fe artists. Through Dec 9.

4-6 pm.

Richard Levy Gallery, 514 Central Ave SW, ABQ. 505-766-9888. levygallery.com. Modern Ruin: paintings by Thomas Frontini. Aug 12Sept 23. 6-8 pm.

Turner Carroll Gallery, 725 Canyon Rd. 505986-9800. turnercarroll.com. Morphy’s Law: painter Georges Mazilu and sculptor Mavis McClure. Through Sept 13. 5-7 pm.

Press. Through Aug 7.

516 Arts, 516 Central Ave SW, ABQ. 505-2421445. 516arts.org. Three concurrent exhibitions for PhotoSummer 2016: As We See It: Contemporary Native American Photographers: group exhibition exploring perspectives on identity and place. Future Tense: highlights select CENTER alumni photographers. Starn Brothers: Absorption of Light: large elemental photographs. All through Sept 16.

Aaron Payne Fine Art, 213 East Marcy St. 505-995-9779. apfineart.com. Summer Select: Selections of Modern and Contemporary Art: modern and contemporary works of art by various significant artists. Through Sept 10.

Adobe Gallery, 221 Canyon Rd. 505-6294051. adobegallery.com. Navajo Rug Exhibit: rugs from Crystal Trading Post in northern New Mexico that date from the 1920s-1940s.

Through Aug 6.

April Price Projects Gallery, 201 Third St NW, ABQ. 505-573-0895. aprilpriceprojectsgallery. blogspot.com. Embedded Landscape: Cindy Dominguez, Elaine Roy, Mary Ann Strandell, Susan Zimmerman. Through Aug 26.

Art House, 231 Delgado St. 505-995-0231. thomafoundation.org. Mouse in the Machine: Nature in the Age of Digital Art: contemporary digital artworks from the Thoma collection that examine how software can simulate, generate, and recreate natural processes. Ongoing.

ART.i.factory, 930 Baca St, Ste C. 505-9825000. artifactsantafe.com. DISPATCH: group show featuring a collaboration between the Strangers and Scuba art collectives. Through Sept 10.

Canyon Road Art Brokerage, online. canyonroadartbrokerage.com. 505-995-1111.

Native American: Nieto, Velarde, Fonseca, Biss, Red Star, Swazo Hinds, Gorman. Aug 1-31.

Canyon Road Fine Art, 205 Canyon Rd. 505955-1500. canyonroadfineart.com. Seasonal Light: landscapes by Joseph Breza. Through Aug 5.

Catenary Art Gallery, 616 ½ Canyon Rd. 505-982-2700. catenaryartgallery.com.

Rumi Vesselinova: Overwrite: portfolio about storytelling, technology, and humanity. Through Sept 8.

Center for Contemporary Arts, 1050 Old Pecos Tr. 505-982-1338. ccasantafe. org. Everything Anywhere: Cannupa Hanska Luger explores the mixture of sculpture and sound. C to See: exhibition by Ellen Babcock, new sculpture with accompanying text. Both through Sept 11. In Conversation: Works on Paper: drawings by Victor Teng.

Through Aug 7.

Charlotte Jackson Fine Art, 554 S Guadalupe St. 505-989-8688. charlottejackson.com.

Grown Cold: Jeremy Thomas’s steel and copper sculptures. Through Aug 1.

Chiaroscuro Contemporary Art and Gebert Contemporary, 558 Canyon Rd, 505-9920711. chiaroscurosantafe.com. Salon, 7-15-16: works by 8 different artists. Through Aug 6.

Ancient Colors: mixed-media paintings by Gayle Crites. Through Aug 7.

Edition One Gallery, 1036 Canyon Rd. 505-570-5385. editionone.gallery. Faith in New Mexico: group show of contemporary photography. Through Aug 12. 5-8 pm.

Ellsworth Gallery, 215 E Palace Ave. 505-9897900. ellsworthgallery.com. Form and Fruition: three American abstract artists, Jeff Juhlin, Karolina Maszkiewicz, and Kim Piotrowski.

Through Aug 12.

Encaustic Art Institute, 632 Agua Fria St. 505989-3283. eainm.com. Over 200 pieces of encaustic and wax art from artists nationwide, for sale and permanent collection. Ongoing.

Exhibition for Encaustic Art in the 21st Century, a newly released book featuring nationwide artists. Through Aug 7.

Evoke Contemporary, 550 S Guadalupe St. 505-995-9902. Vivido: featuring Nicholas Herrera and Patrick McGrath Muniz. Through Aug 20.

City of Mud, 1114A Hickox St. 505-954-1705. cityofmud.com. Black & White: summer group show of fine art, artifacts, décor, jewelry and more in black and white.

form & concept, 435 Guadalupe St. 505982-8111. formandconcept.center. Virtual Object: a show of 3D printed works. La Cocina: multimedia installation by Priscilla Dobler. Both through Aug 11. Made in the Desert: the gallery’s inaugural exhibition of contemporary craft from New Mexico and Arizona. Through Aug 22.

Corrales Bosque Gallery, 4685 Corrales Rd, Corrales. 505-898-7203. corralesbosquegallery. com. Bosque Bouquet: show of gallery artists.

Through Aug 16.

Free Form Art Space, 1619 C de Baca Ln. 847-219-5323. freeform.com. Cavern of Curiosities: digital prints on formed acetate by Lea Anderson. Through Aug 14.

David Richard Gallery, 1570 Pacheco St, A1. 505-983-9555. davidrichardgallery. com. Past is Present: Alternative Processes in Contemporary Photography: group exhibition. Echoes of the Civil War: The Civil War Pinhole Project: by Michael Falco.

Tintype Portraits: by Bryan Whitney. All through Sept 3.

Georgia O’Keeffe Museum, 217 Johnson St. 505-946-1000. okeeffemuseum.org. Georgia O’Keeffe’s Far Wide Texas: a selection of rarely seen watercolors, painted by Georgia O’Keeffe during the years she lived in Canyon, Texas (1916-1918). Through Oct 30.

David Rothermel Contemporary, 142 Lincoln Ave, #102. 575-642-4981. drcontemporary. com. Black and White: The Works of Loren Yagoda: sculptural abstractions by the Arizona artist. Through Aug 4.

Gerald Peters Gallery, 1005 Paseo de Peralta. 505-954-5700. gpgallery.com. Don Stinson and Randall Wilson: new paintings and sculptures. Through Aug 20. The Wild Bunch: G. Russell Case, Logan Maxwell Hagege and Mark Maggiori: contemporary Western art. Through Sept 24.

Gray Matter, 926 Baca Street #6. 505-3101079. graymattersantafe.com. Skullpture Series: Beauchene & Exploded Skulls: solo show of dis/reassembled skull sculptures by Jay Tincher. Through Aug 13.

Harwood Museum of Art, 238 Ledoux St, Taos. 575-758-9826. harwoodmuseum.org.

Mabel Dodge Luhan & Company: featuring the life of one of the early 20th century’s most significant cultural figures, Mabel Dodge Luhan. Through Sept 11.

Hunter Kirkland Contemporary, 200 Canyon Rd. 505-984-2111. h u n t e r k i r k l a n d c o n t e m p o r a r y. c o m .

Michael Madzo and Ted Gall: paintings and sculptures. Through Aug 7.

ONGOING

333 Montezuma Arts, 333 Montezuma Ave. 333montezumaarts.com. In Color: group exhibition of prints curated by master printer Marina Ancona from the archive of 10 Grand

At TAI Modern, solo exhibition Kawano Shoko features the artist’s Japanese bamboo vessels, on view through August 21. Kawano Shoko, Rain Lily, 2010, madake bamboo, hobichiku, rattan, 8.5 x 13 x 13 in.

continues on page 35 AUGUST

2016

THE magazine | 31

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100 PAWS OF SUMMER Make this your summer of love—adopt!

Through Labor Day, the Santa Fe Animal Shelter is celebrating 100 Paws of Summer, with reduced adoption fees on many adult animals, discounts at the Shelter Pet Store, behavior help, and matchmaking opportunities. All adopted animals are spayed or neutered, fully vaccinated, and come with 30 days of free pet insurance.

The Adoption Center is open daily from 9 am to 6 pm, and is located at 100 Caja del Rio Road, next to Challenge New Mexico and the city's Municipal Recreation Center—just up the road from the Marty Sanchez Links de Santa Fe Golf Course. Reach the adoptions desk at 505-983-4309, ext. 610, or view adoptable animals online at sfhumanesociety.org.

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34. Alvy 35. Sunny 36. Birdie 37. Charlie 38. Peaches 39. Yancy 40. Esmeralda 41. Halo 42. Negra 43. Reddit 44. Squid

photos: Cate Goedert Photography www.categoedert.com

“An artist, art historian, and dealer chronicles his discovery of the first drawing by Leonardo da Vinci to be uncovered in over a century-as well as other adventures from this ‘art explorer’...That coup is enough to make a great story for any mystery or art history lover...Kline can proudly point to a long list of fantastic finds... ...further triumphs included ‘La Virgencita del Nuevo Mundo’, a 16th c. stone statue from Mexico that proved to be ‘a first Virgin Mary of the Americas’...The author narrates these and other adventures in art with aplomb...Kline has a sharp eye, excellent memory, and top-notch research skills, creating a book that any art lover will love.” —Kirkus Reviews “In this intriguing book...equal parts autobiography and art history... Kline’s personal narrative provides a look into the world of lost art and those who search for it.”

—Publishers Weekly “Kline describes his work as ‘a true labor of love’, and it shows in his careful research and lively prose. Even the most casual museumgoer will find something to appreciate in this fascinating account.” —Booklist

Copies of Fred R. Kline’s Santa Fe-based memoir are available at Collected Works and all major online booksellers.

CALENDAR

IAIA Museum of Contemporary Native Arts, 108 Cathedral Pl. 888-922-4242. iaia.edu.

Lloyd Kiva New: Art, Design, and Influence: work of Lloyd Henri “Kiva” New (1916-2002).

Akunnittinni: A Kinngait Family Portrait: visual dialogue between an Inuk grandmother, mother, and daughter. Forward: Eliza Naranjo Morse: drawing, clay, organic and recycled materials create a connection between the artist’s Pueblo roots and her contemporary art practice. All Aug 19-Dec 31.

Institute of American Indian Arts, Lloyd Kiva New Welcome Center, 83 Avan Nu Po Rd. iaia.edu. Lloyd “Kiva” New: Touching Native Inspiration: reproductions of early works.

Through 2016.

James Kelly Contemporary, 1611 Paseo de Peralta. 505-989-1601. jameskelly.com. The Last Picture Show: after 20 years in operation, the gallery will close with this final exhibition of gallery artists. Through Aug 5. 5-7 pm.

National Hispanic Cultural Center, 1701 4th St SW, ABQ. 505-724-4771. nhccnm.org.

Moving Forward, Looking Back: Journeys Across the Old Spanish Trail: artistic and genealogical project by artist and curator Janire Nájera.

Through Sept 30. House on Mango Street: Artists Interpret Community: works highlight issues facing adolescents in urban areas. Through Sept 25.

New Concept Gallery, 610 Canyon Rd, 505795-7570. newconceptgallery.com. Variations in Abstraction: abstract art by Kathleen Doyle Cook, Ann Hosfeld, and Reg Loving. Through Aug 1.

New Mexico History Museum, 113 Lincoln Ave, Santa Fe. 505-476-5200. nmhistorymuseum.org.

Fractured Faiths: Spanish Judaism, The Inquisition, and New World Identities: this show tells the story of Spanish Jewry’s 1492 diaspora. Through Dec 31. Lowriders, Hoppers and Hot Rods:

by Lowriders: exploring these sculptures on wheels. Both through Oct 10.

New Mexico State Capitol Rotunda Gallery, 411 State Capitol. 505-986-4614. The Ecozoic Era: Plant|Seed|Soil: group exhibition of contemporary art that illuminates our connection to the Earth as living beings. Through Aug 5.

Nüart Gallery, 670 Canyon Rd. 505-9883888. nuartgallery.com. Blackbird Singing: work

by Hyunmee Lee. Through Aug 7.

Page Coleman Gallery, 6320 Linn Ave NE, ABQ. 505-238-5071. pagecoleman.com.

Nonsense Abstractions: two-person show with painters J.L. Johnson and Dave Ortiz. Through Sept 3.

Patina Gallery, 131 W Palace Ave. 505-9863432. patina-gallery.com. Touches of Grace: Gretchen Ewert’s multimedia work in clay and ink on paper. Through Aug 14.

Janine Contemporary Industri, 328 S Guadalupe St, Ste 1. 505-989-9330. janinecontemporary.com. New Identity Group Exhibition: group show in gallery’s new Railyard location. Through Aug 20.

Radical Abacus, 1226d Calle de Comercio. radicalabacus.com. Fathoms: group exhibition.

Through Aug 14.

Santa Fe Clay, 545 Camino de la Familia.

505-984-1122. santafeclay.com. Chris Gustin, Tony Marsh, Sunkoo Yuh: new work in ceramic.

Through Aug 27.

Santa Fe Public Library, Southside Branch, 6599 Jaguar Dr. Heroes of Social Justice: art projects by Turquoise Trail Charter School fifthgrade students. Aug 2-31.

Scheinbaum & Russek, 812 Camino Acoma.

505-988-5116. photographydealers.com.

Black Mountain College: An Experiment in Liberal ARTS: group exhibition featuring photography of the school and its renowned teachers and students. By appointment through Sept 3.

Selby Fleetwood Gallery, 600 Canyon Rd. 505-992-8877. selbyfleetwood.com. Kevin Box: In the Garden: new sculptures celebrating the intricacies of origami. Through Sept 1.

TAI Modern, 1601 Paseo de Peralta. 505-9841387. taimodern.com. Kawano Shoko: solo exhibition of Japanese bamboo art. Through Aug 21.

King Galleries and Virgil Ortiz, 150 W. Marcy St, Ste 103. 424-259-1685. kinggalleries.com. virgilortiz.com. Art by Nathan Youngblood, Virgil Ortiz, Les Namingha, and Tammy Garcia.

Through Oct 1.

Tamarind Institute, 2500 Central Ave SE, ABQ. tamarind.unm.edu. Color Coded: prints

by Matt Magee, David X Levine, Susan York and Jonathan Seliger. Through Sept 2.

Lannan Foundation Gallery, 319 Read St. 505-954-5149. lannan.org. (Infra)Structure: complex, below and further on: selections from the Lannan Collection examining the notion of structures. Through Aug 29.

Tansey Contemporary, 652 Canyon Rd. tanseycontemporary.com. Lino Tagliapietra: new works by Italian glass artist. Through Aug 5.

Taos Arts Council, Taos Town Hall, 400 Camino de la Placita, Taos. taosartscouncil. org. The Presence of Light: work of 13 Taos photographers. Through Aug 5.

LewAllen Galleries, 1613 Paseo de Peralta.

505-988-3250. lewallengalleries.com. Personal Reflections: glass sculptors Lucy Lyon and Latchezar Boyadjiev. Through Aug 15. My Menagerie: paintings of animals by Tom Palmore.

Through Aug 21. American Vista: new work by Woody Gwyn. Through Sept 5.

Taos Center for the Arts, Encore Gallery. tcataos.org. Reimagining Landscape: paintings

by Barbara Zaring. Through Sept 11.

Mark White Fine Art, 414 Canyon Rd. 505982-2073. markwhitefineart.com. My World and Welcome To It: new paintings by Mark White. Through Aug 31.

Turner Carroll Gallery, 725 Canyon Rd. 505986-9800. turnercarroll.com. Circumspect: sculpture by Karen Yank and photography by Drew Tal. Through Aug 9.

Mayeur Projects, 200-202 Plaza Park, Las Vegas. mayeurprojects.com. Zoe Crosher: The New LA-LIKE: solo exhibition of the Los Angeles–based artist’s conceptual mapping of LA. Through Aug 27.

Car Culture of Northern New Mexico: meet the artists who craft these vehicles. Through March 2017. Santa Fe Faces: Portraits by Alan Pearlman: ninety portraits created between 2009 and 2013. Through Sept 18.

Patricia Carlisle Fine Art, 554 Canyon Rd. 505-820-0596. carlislefa.com. Early Works Retrospective: bronze sculpture by David Pearson. Exhibition held in conjunction with the gallery’s 20th anniversary. Aug 16-27.

Museum of Indian Arts & Culture, 708 Camino Lejo. 505-476-1269. miaclab.org.

Landscape of an Artist: Living Treasure Dan Namingha: Dan Namingha is honored as the MIAC Living Treasure. Through Sept 11. Into the Future: Culture Power in Native American Art: pop culture with a Native American perspective. Through Oct 22 2017.

New Mexico Museum of Art, 107 W Palace Ave. 505-476-5072. nmartmuseum.org.

Alcoves 16/17 #3: art by Christine Dallas, Tom Joyce, Eliza Naranjo Morse, Heidi Pollard and Cecilia Portal. Through Aug 14. Assumed Identities: Photographs by Anne Noggle: New Mexico artist Anne Noggle (1922-2005) was a woman of multiple talents: pilot, curator, professor, and photographer. Self-Regard: Artist Self-Portraits from the Collection: selection of self-portraits. Both through Sept 11. Finding a Contemporary Voice: The Legacy of Lloyd Kiva New and IAIA: work from the New Mexico Museum of Art’s collection

by IAIA faculty and alumni from the 1960s to the present. Con Cariño: Artists Inspired

Peters Projects, 1011 Paseo de Peralta. 505954-5800. petersprojects.com. Ligia Bouton: The Cage Went In Search of a Bird: an art exhibit that explores the cultural, physical, and mental impact the spread of tuberculosis had on 19th century America. Eric Garduño: What’s Here: sculptures that explore the effects of gravity. Both through Aug 6.

Magnolia Editions: Innovation & Collaboration: group exhibition of work made by Magnolia Editions. Through Aug 27.

Museum of International Folk Art, 706 Camino Lejo.

505-476-1200. internationalfolkart.org. Morris Miniature Circus: Return of the Little Big Top: built by W.J. “Windy” Morris of Amarillo, TX, the Morris Miniature Circus is modeled after a 1930s “railroad circus.” Through 2016.

Peyton Wright Gallery, 247 East Palace Ave. 505-989-9888. peytonwright.com. The Maya: photographs by William Frej alongside ancient Mayan artifacts. Through Aug 31.

Untitled Studio Annex, 125 Kit Carson Rd, Taos. 970-708-1331. Mountain Reflections: Kathryn Tatum’s geometric mountain oil paintings. Through Oct 15.

Verve Gallery of Photography, 219 E Marcy St. 505-982-5009. vervegallery.com. Kurt Markus: the Fashion Years, 1987-2014: fashion photography by Kurt Markus. Through Aug 27.

William R. Talbot Fine Art, 129 W San Francisco St, Fl 2. 505-982-1559. williamtalbot.com. Indian Summer, 18351985: selection of historical artworks, maps, and books reflecting the history of Indian cultures. Aug 12-Oct 1.

Sculpture by Paul O’Connor opens at Bareiss Gallery in Taos on Sat, Aug 27, with a reception 4-7 pm.

Paul O’Connor, HX-06, wood, stainless steel, 13 x 15 x 1.5 in.

continues on page 37 AUGUST

2016

THE magazine | 35

CALENDAR

William Siegal Gallery, 540 S Guadalupe St. 505-820-3300. williamsiegal.com. Judy Tuwaletstiwa: Glass: glass and acrylic paintings.

Through Aug 23.

SPECIAL INTEREST

516 Arts, 516 Central Ave SW, ABQ. 505-242-1445.

516arts.org.

Summer photography workshops for teens and adults.

Through Aug 6.

Antique American Indian Art Show, El Museo Cultural.

505-660-4701. antiqueindianartshow.com. Historic pieces from over 65 exhibitors. Aug 17-19, 11 am-5 pm.

Center for Contemporary Arts, 1050 Old Pecos Tr. 505-982-1338. ccasantafe.org.

Remix Culture (Revisited): A Summer Series on Appropriation, Art and the Law: Part III: A Moving Line: A Roundtable Discussion on Ownership and Control Over Creative Works in the Sharing Economy. Wed, Aug 10, 6-8 pm. Farms, Films, Food: food, cinema, and community. Wed, Aug 31, 5-8 pm.

Central Features, 514 Central Ave SW, #2, ABQ. 505-252-9983. centralfeatures. com. JUMPSUIT Making Workshop: with The Rational Dress Society. Aug 27-28, 10-6 pm.

Fresh Santa Fe, 2885 Cooks Rd. 505-2702654. Amitabhan: acoustic concert inspired by meditation and spiritual exploration. Aug 2, 7 pm.

Girls Inc. Arts & Crafts Show, Santa Fe Plaza.

505-982-2042. girlsincofsantafe.org. Aug 6-7, 9-5 pm.

National Hispanic Cultural Center, 1701 4th St. SW, ABQ. 505-246-2261. nhccnm.org.

Book reading and signing for Daughters of the West Mesa with Dr. Irene I. Blea. Sat, Aug 6, 2 pm. Salud y Sabor: Puerto Rico: free evening of food, art, and entertainment. Thurs, Aug 18, 5:30-7:30 pm.

New Mexico Museum of Art, 107 W Palace Ave. 505-476-5072. nmartmuseum.org.

Gallery Talk: Meridel Rubenstein on lowriders.

Fri, Aug 5, 5:30-6:30 pm.

Objects of Art Show, El Museo Cultural.

505-660-4701. objectsofartsantafe.com.

Contemporary to historic objects of art from around the world. Aug 12-14, 11 am-5 pm.

Placitas Artists Series, Las Placitas Presbyterian Church, 7 Paseo de San Antonio, Placitas. 505-867-8080. placitasartistsseries. org. Stepping Out with Slatkin & McTee: Placitas Artists Series fundraiser event, interview with conductor Leonard Slatkin and composer Cindy McTee. Sun, Aug 14, 3-5 pm. SlatkinMcTee Reception: held at a private home, silent auction. Sun, Aug 14, 5-7 pm.

IAIA Museum of Contemporary Native Arts, 108 Cathedral Pl. 888-922-4242. iaia. edu. Sundance Institute Panel and Reception: The Future of Native Storytelling: panel with New Mexico alumni of the Sundance Institute Native Filmmakers Lab and Full Circle Fellowship. Fri, Aug 19, 5-7 pm. Events on

AUGUST

2016

Sat, Aug 20: Gallery Sessions: discussion of current exhibitions, 9:15-10:15 am. Panel + Tour: Rick Bartow: Things You Know But Cannot Explain, 10:30 am-12 pm. Panel: Current Issues in Native Arts and Culture, 1-2 pm. Panel: Contemporary Indigenous Discourse Series—Land Art, 3:30-5 pm. Events on Sun, Aug 21: Panel: Exhibiting Culture, 11 am-12 pm. Panel: Telling a Story: The Art of Cape Dorset, 1-2 pm.

Indian Pueblo Cultural Center, 2401 12th St NW, ABQ. 505-843-7270. indianpueblo.org.

Book to Arts for Kids: interactive story time and art hour. Wed, Aug 3, 10-11 am. 4th Annual Resilience Run: a 10k, 5k, kids’ 1k and walk let participants pay homage to the Pueblo Revolt of 1680. resiliencerun.org. Sat, Aug 6, 6:30 am. Pueblo Book Club: Short Nights of the Shadow Catcher: Timothy Egan’s biography of photographer Edward Curtis. Tues, Aug 9, 2-4 pm & 6-8 pm. The Counter-Narrative: Pueblo Catholicism: free leecture with Deacon Joe Herrera (Cochiti) and Father Edmund Savilla (Isleta). Wed, Aug 17, 5:30-7 pm.

Institute of American Indian Arts, 83 Avan Nu Po Rd, 505-424-2300. iaia.edu. Scholarship Dinner and Auction held at La Fonda on the Plaza. Ticketed. Wed, Aug 17, 5 pm.

Kindred Spirits Animal Sanctuary, 3749 A Hwy 14. 505-471-5366. kindredspiritsnm.org.

Annual Art Show Fundraiser: all funds go toward caring for senior animals. Sat, Aug 6, 10 am-4 pm.

Santa Fe Clay, 545 Camino de la Familia. 505984-1122. santafeclay.com. Summer Workshop Lecture Series: free lectures on Wednesday evenings. José Sierra, Aug 3. Lorna Meaden, Aug 10. Christine Golden, Aug 17.

Shiprock Santa Fe, 53 Old Santa Fe Tr. 505982-8478. shiprocksantafe.com. Lecture with Ishi Glinsky, Fri, Aug 12, 1 pm.

Sorrel Sky Gallery, 125 W Palace Ave. 505-510-6555. sorrelsky.com. Brunch and Reception with Navajo sculptor, Pablita Abeyta: part of series for Indian Market. 9-10:30 am.

Taos Watercolor Society, Stables Gallery, 133 Paseo del Pueblo Norte, Ste D, Taos.

575-751-3080.

Exploring Watercolors: workshop for all levels of experience presented by the Taos Watercolor Society featuring demonstrations and lessons from artists. Aug 20-21, 9 am-3 pm.

Wyland Galleries, 202 Canyon Rd. wylandkeywest.com. Alfa Valova album release party with live performance. Fri, Aug 26, 5-7 pm.

New Mexico State Capitol Rotunda Gallery, 411 State Capitol. 505-986-4614. alchemyofdecay.com. The Alchemy of Decay: preview recital by Dr. Kateri Chambers. Fri, Aug 26, 4-6 pm.

Osage Ballet, Lensic Performing Arts Center, 211 W San Francisco St. lensic.org.

Wahzhazhe, an Osage Ballet: the story of the Osage people. Aug 6, 2 pm and 7:30 pm.

San Miguel Chapel, 401 Old Santa Fe Tr. 505-983-3974. Virtuosic Santa Fe flutists in recital: Bart Feller, Principal Flute of the Santa Fe Opera, and Jesse Tatum, Principal Flute of the Santa Fe Symphony performing works from the 18th century through today. Sat, Aug 6, 3 pm.

PERFORMING ARTS

Center for Contemporary Arts, 1050 Old Pecos Tr. 505-982-1338. ccasantafe. org. New Mexico Contemporary Ensemble performances in collaboration with sculptor Ellen Babcock. Aug 18-19, 6:30 pm. Dancing is Everywhere; Earth is Everything: Dancing Earth: Native American choreographer Rulan Tangen along with dancers from her troupe.

Sun, Aug 21, 7-8 pm, followed by dance party 8-9 pm.

IAIA Museum of Contemporary Native Arts, 108 Cathedral Pl. 888-922-4242. iaia.edu.

Excerpt from Moving Mountains: Land Art in the New West: selected scenes from Moving Mountains: Land Art in the New West, an upcoming feature documentary about The Repellent Fence, a two-mile long ephemeral monument created by Indigenous art collective Postcommodity. Aug 20-21.

National Hispanic Cultural Center, 1701 4th St. SW, ABQ. 505-246-2261. nhccnm. org. Domingos en Arte: featuring Jesus Diaz y Su QBA: this season’s last concert with drinks and food. Sun, Aug 21, 6 pm.

Santa Fe Bandstand, Santa Fe Plaza. santafebandstand.org. Free live music on the plaza. Dates and times vary. Through Aug 26.

Santa Fe Chamber Music Festival, various locations in Santa Fe and ABQ. 42 concerts performed by nearly 70 musicians, including pianist Peter Serkin. Various performances through Aug 22.

Santa Fe Community Gallery, 201 West Marcy St. 505-955-6707. "Mystery & History: Re-Discovering La Fonda": lecture by architect Barbara Felix. Aug 17. 6-8 pm.

Santa Fe Playhouse, 142 E De Vargas St. 505-988-4262. santafeplayhouse.org. The Pillowman: Jeff Nell directs Martin McDonagh’s dark comedy. Aug 4-6, 7:30 pm. Aug 7, 2 pm.

CALLS FOR ARTISTS

Corrales Bosque Gallery, 4685 Corrales Rd, Corrales. 505-898-7203. corralesbosquegallery.com. Applications are now available for artists to become members of the artist-owned Corrales Bosque Gallery.

The gallery is especially looking for artists working in watercolor, pastel and fiber. The next jurying will take place Aug 9. Application and further information is available online.

THE Magazine Photography Page. 505424-7641. themagsantafe.com. Call for submissions: THE Photography Page. The September theme is “landscape.” Submit up to 3 high res photos (300dpi and 8 in. on one side) to editor@themagsantafe.com for possible inclusion in the September issue.

Selected photographer will receive a $50 gift card to a Santa Fe–area business. Deadline Aug 15.

THE Magazine Calendar Listings. themagsantafe.com. For free listing, email short descriptions to pr@themagsantafe.com.

The word “calendar” must be included in the subject line. For images to be considered for the calendar, they must be attached as high resolution jpegs or tiffs, and accompanied by full captions. Deadline for listing in the September issue: Aug 15.

Michael Kenna: A Retrospective is on view at photo-eye Gallery through September 10, with a reception and book signing on Fri, Aug 5, 5-7 pm. Michael Kenna, Kussharo Lake Tree, Study 9, Kotan, Hokkaido, Japan, 2009, silver gelatin print, ed. of 40.

THE magazine | 37

PREVIEWS

ReForm: Subversive Fashion Central Features

514 Central Ave SW, #2, Albuquerque August 26 – September 30 Opening: August 26, 2016, 6 pm When the revolution calls, what better way than to deploy clothing as the first line of defense? Indeed, clothing, a walking signpost for self and collective expression, has also historically been used as a marker of both inclusion and exclusion. In ReForm: Subversive Fashion, fashion and all its accoutrements become targets for the trained faculties of artists pursuing the more radical possibilities of apparel. Opening at Central Features, the artists in ReForm take aim at the conventional uses and significances of garments, accessories, and other adornments, refashioning them in both form and meaning. In this vein, the exhibition features JUMPSUIT by the Rational Dress Society, a Chicago/LA-based collective that takes the jumpsuit—a mode of attire peppered with connotations (from incarceration to high fashion)—and puts it to new ends. Here, the non-gendered garb is envisioned as having progressive and utopian potential. At the same time, other artists in the exhibition, including Suzanna Scott, Kirsten Stolle, Nina Silfverberg, and Sarah Wagner, address themes such as surveillance, histories of labor, and gender, pulling at the seams of normativity all the while. Cross-programming is presented in conjunction with ReFashion, opening at form & concept in Santa Fe. —Alicia Inez Guzmán

Rick Bartow: Things You Know But Cannot Explain IAIA Museum of Contemporary Native Arts 108 Cathedral Pl Counterclockwise from top left: Rational Dress Society, JUMPSUIT, ongoing, custom dimensions.

August 19 – December 31 Public Opening: August 19, 2016

Suzanna Scott, Coin Cunts, 2015­-16, kisslock coin purses, thread dimensions variable.

Mixed bodies—part human, part animal—were always the language of Rick Bartow (Wiyot). Known for creating

Rick Bartow, Creation of Crow, 2014, acrylic, 38 x 48 in.

upon his death earlier this year. The IAIA Museum of Contemporary Native Arts, in conjunction with the Jordan

otherworldly creatures across media, Bartow left an echoing lacuna in the Native and international art world Schnitzer Museum of Art at the University of Oregon, is now reminding us of, indeed reinforcing, the artist's impact and artistic legacy with the opening of the appropriately titled Rick Bartow: Things You Know But Cannot Explain. The retrospective, curated by Jill Hartz, Executive Director of JSMA, and Danielle Knapp, McCosh Associate Curator, culls 120 paintings, sculpture, prints, and drawings from private and public collections that reflect on the broad themes of self, dialogue, tradition, and transformation. Bartow, like artists before him, was also renowned for his many self-portraits, showing an artist at work, reconstructing over and again the boundaries of Native tradition and contemporary art.

—Alicia Inez Guzmán

AUGUST

2016

THE magazine | 39

Beyond the Plaza The must see event of the season Indian Market has grown to be much more than the outdoor booths on the Plaza in the hot summer sun. The Encaustic Art Institute is proud to present the only place to see this exhibit of Native American Artist luminaries under one roof. Plus the three emerging Native artists personally mentored by Tony Abeyta.

This is your chance to add these great works to your collection — not available anywhere else.

Paintings • Sculpture • Mixed Media • Prints • Jewelery • Pottery/Ceramics Second Annual Indian Market at The Institute August 12 – September 6, 2016 Opening Friday August 12 • 4 – 7 pm VIP Event Wednesday August 17th Meet the Artists Plus Presentations by Tony Abeyta, Estella Loretto & Michael Billie 5:00 pm – 9:00 pm FREE PARKING Come on over we have ample free parking in our lot at the back of the building.

632 Agua Fria Street • Santa Fe, NM 87501 505-989-3283 • www.eainm.com

waxresin pigmentART

ianet d n I ark M AT THE INSTI TUTE!

Doug Coffin Tony Abeyta Fritz Scholder Earl Biss Jimmy Abeyta Kevin Red Star Estella Loretto Courtney Leonard Jacob Meders Glenda Loretto Lonewolf Estate (with Rosemary Lonewolf) Randy L. Barton Baje Whitethorne Sr Kevin Horace Quannie George Alezander Michael Billie Brian Coffin Aaron Kiyaani Antoinette Thompson Phillip Vigil Del Curtman Gilmore Scott Greg Ballenger

LO C A L S P O T L I G H T

much wider than a line July 16, 2016 – January 8, 2017 SITE Santa Fe 1606 Paseo de Peralta sitesantafe.org

Sonya Kelliher-Combs, Remnant, detail, 2016, mixed media installation: acrylic polymer (synthetic paint skin), moose bone, caribou and reindeer fur, caribou antler, muskox fur, wolf fur, polar bear fur, beaver fur, seal skin, walrus stomach, seal intestine, walrus ivory, moose hide, porcupine quill, feathers, human hair, nylon thread, dimensions variable. SITE Santa Fe commission. photo: Clayton Porter.

AUGUST

2016

Much wider than a line is the second biennial installation of SITE Santa Fe’s biennial series SITElines: New Perspectives on Art from the Americas. It features over thirty-five artists from across the Americas whose work examines or explores issues unique to our hemisphere.

Curated by an international team comprised of Rocío Aranda-Alvarado, Kathleen Ash-Milby, Pip Day, Pablo León de la Barra, and Kiki Mazzucchelli, common themes include “recognition of colonial legacies, expressions of the vernacular, the influence of indigenous understandings, and our relationship to the land,” as stated in the exhibition press release. The complexities of shared territories and the related moments of encounter and connection are questioned around concepts of identity, race, and borders. Look out for local performances by artists Francisca Benitez, Raven Chacon, and Tanya Tagaq taking place this fall.

—THE Magazine Staff THE magazine | 41

Ginger Richardson, Founding Team Member Zane Fischer, Coordinator-at-large

MAKERS OF

make santa fe is

make santa fe makers.

Ginger Richardson: “Its vision is driven by community-building and bringing various makers from the community together to learn from each other. The way we’re doing that is in building a sustainable organization that relies on membership, like a health club, so users can enroll on a monthly or daily basis, or in workshops and courses that focus on techniques and equipment.”

the facilities

Laser cutters, 3D printers, CNC router, welding gear, woodworking tools, soldering stations, sewing machines, computers with modeling and design software, and more to come.

the investment

GR: “You can come for a day for $20 or monthly for $65. You can save more by enrolling for a whole year. You can also be a maker with a studio or private desk here on site. We have a variety of maker possibilities. All of the rates, membership perks, and benefits are on our website.”

what if i can’t afford it?

Zane Fischer: “The goal, being a nonprofit, is that we can be self-sustaining through memberships and workshops, and then the money we raise from foundations and sponsors can support our ‘pay what you can’ workspace.”

GR: “We really want the community to be diverse. We want it to be open to all of Santa Fe.”

certification

GR: “The initial certification is 2.5 hours, and makers are required to be certified on certain machinery. The idea is to have confidence and competency. A two-hour course isn’t going to bring you fully up to speed, but that’s why we have floor managers here all of the time.” ZF: “As we build up our cohort of people who’ve taken classes in the 3D printer, for instance, we can fill out sophisticated design courses for them and respond to specific needs and interests.”

materials

ZF: “We have materials here; people pay a small amount to cover the material cost. But they are more than welcome to bring their own: that’s the thriftiest way to do it.”

the possibilities

GR: “We may eventually do commissions—do work for people who are interested in generating an idea but don’t want to do the manufacturing.” ZF: “We also want makers to be able to use the space and leverage it for their income. We can mediate between skilled makers and custom jobs and give our staff additional work fabricating outside jobs.” GR: “Another idea is to establish a market. Makers could register with Make Santa Fe, and individuals and businesses could register to access those resources. The idea is to see groups that are embedded in the community begin to use this space as a resource to engender their own interests. We’re the catalyst.”

last thing

GR: “We got some of the initial funding off the ground from the city’s economic funding department. They’ve seen the evidence that if you get a bunch of people working together in a creative space, more often than not, a few of them will wind up starting a business together. And if you have a nice, creative maker space and have artists working there and the most diverse possible group, that’s when the most interesting stuff comes along.”

learn more

makesantafe.org | 505-395-5858

M E E T YO U R M A K E R S

photos by Clayton Porter

AUGUST

2016

THE magazine | 43

F E AT U R E

ON BEING AN INDIGENOUS ARTIST IN SANTA FE DURING THE MONTH OF AUGUST,

OR HOW I LEARNED TO STOP WORRYING AND LOVE INDIAN MARKET

by Kathryn M Davis

“IT’S

a hazy line between appropriation and inspiration,” says Tony Chavarría, curator of Ethnology at the Museum of Indian Arts and Culture. We were speaking with curator Valerie Verzuh about the exhibition, Into the Future: Culture Power in Native American Art (now through October 2017), which seeks to examine, visually, how “a culture's stories, traditions, and emotions . . . have determined how we interpret and understand” Native Americans. Not insignificantly, the exhibition focuses on examining how Natives themselves use their own cultural symbols in their art. As an outstanding example, Verzuh brought up Virgil Ortíz, a well-known fashion designer from Cóchiti Pueblo, who continues to work as a potter. The strongly graphic iconography of hundreds of years of indigenous designs lends itself perfectly to the artist’s output of stylish bags, clothing, carpets, and ceramic sculptures. At the same time, Ortíz continues to make his pottery utilizing traditional materials and methods, in accordance with his heritage, which he sells at the family’s booth every year at the Southwest Association for Indian Arts’ Santa Fe Indian Market. Ortíz's commercial line, VO, presents top-tier fashion that attracts celebrities and other well-heeled buyers. The seeming dichotomy between his innovative designs and his more “traditional” pottery is something that all Native artists face in one way or another as they seek to balance their art within the context of their lives. In her wall text at the MIAC exhibition Verzuh describes a common misconception when she asks, “Is authentic Native American art located only in the distant past?”

As a critical subtext, indigenous design is continually evolving. Young artist Jason García (Okuu Pin), descended through both his mother’s and father’s families from generations of Santa Clara Pueblo potters, just received his MFA in printmaking from the University of Wisconsin. (He chose print as a medium that would allow him to examine the pictorial imagery of his history.) He also gathers and works clay in the family manner to produce tablets that he draws on, in a style reminiscent of graphic novels and comic books, to tell the narratives of his people. García resists stereotypes of what Indian art should look like and produces work that “documents the ever-changing lifestyle” of his Tewa culture. Those changing dynamics are a sore point for many contemporary Native artists; while they know themselves as members of a vibrant culture that survived brutal colonization while maintaining its own narrative, Indian people are too often perceived by mainstream culture as static—worse, no longer extant. García posits, “just like the Mimbres did one thousand years ago, I [use my art to] tell our migration and other stories, with daily scenes from life today.”

One of the most wounding stereotypes that many outsiders hold about indigenous people is that they somehow exist only in a tragic past or spend all their time communing with Mother Nature, beating drums, and dancing.

But in New Mexico, at least, Indians are more likely to be seen shopping in Target than hosting a Feast Day at the ancestral home.

Now in its 95th year, Indian Market draws thousands of visitors and millions of dollars to Santa Fe every August. There aren’t many museums and galleries in town who won’t be hosting an exhibition of work by Native artists, living or dead, this month. Commercially, Indian Market drives Santa Fe to great economic success. For booth holders, it means gathering with friends and family that far-flung indigenous people from Canada and the United States may only get to see once a year. As the website for SWAIA states, “It's important to remember that the Indian Market is above all a family event. To the casual observer, it may not be evident that there can be generations of artists sitting together under the same booth. Some artists [and their families] have been participating in Indian Market [for over sixty] years.” Professionally, Indian Market represents a terrific opportunity to come out of the solitude of the studio—for many, deep within a rural and/or reservation setting—and network. As artist and First American Art Magazine publisher America Meredith (Cherokee Nation) put it, “to be juried into Indian Market as a young artist is exceptional. You will be seen by major curators and collectors. It is the one event that you want to be part of; I can’t think of anything else that compares.” Plus, as she points out, there’s the intimacy factor: “You can go up and shake hands with your heroes, the most famous artists.”

Beadworker Teri Greeves (Kiowa-Comanche) articulated her thoughts on the impact of Indian Market on indigenous people and Santa Feans in general: Indian Market is incredibly important to the artists who participate, to the community and economy of greater Santa Fe, and really, to all of contemporary Native arts in the US. Jets fly into Santa Fe beginning early that week with collectors from all points; curators fly in from every major Native museum in the US, many major finearts museums in the US, and certainly some of the royal museums of Europe and Canada. Native artists from nations all across the US are here too, visiting, connecting, and networking in this crosscurrent of contemporary fine art, fine craft, and Native arts.

Greeves added: Many of the galleries, (and, ahem, media such as THE) of course, hop on the Indian Market bandwagon when August rolls around—I’d say that’s good old capitalism at work as opposed to actual appropriation [of a culture and its arts].

Of course, allocating a specific market at a specific time of year in a town as small as Santa Fe does not go unnoticed by those who find it a bit too, uh, commercial for comfort. Here, it is important to note the ongoing stereotype that any artist who actually earns a decent living from continues on page 47

AUGUST

2016

THE magazine | 45

Meow Wolf’s House of Eternal Return is an interactive art experience featuring a wild new form of non-linear storytelling that invites each visitor to choose their own path through an imaginative world of over 100 unique spaces created by more artists. than 500 a The experience is appropriate for all ages, providing children with a fantastic space to play within and giving adults a sophisticated artistic experience with narrative depth.

1352 RuďŹ na Circle, Santa Fe NM www.meowwolf.com

F E AT U R E page 44: Jason García (Okuu Pin), Santa Clara Tewa Tales of Suspense No. 44, 2015, clay tablet, natural pigments. Museum purchase 59470. Courtesy of Museum of Indian Arts and Culture. left: Teri Greeves, Sunboyz High Tops, 2009, All Star tennis shoes, beads, rhinestones, dimensions vary. Courtesy New Mexico Arts Permanent Collection. below: America Meredith, St. Brendan: They Came, They Saw, They Went Home Painting, 2002, acrylic on canvas, 24 × 36 in. Courtesy of J.W. Wiggins Contemporary Native American Art Collection, University of Arkansas at Little Rock, Little Rock, AR.

her work has somehow sold out—an outdated, Romantic notion that would keep every artist a misunderstood genius, à la van Gogh. To them, America Meredith suggests we gain perspective by looking at Art Basel Miami Beach, a glittering bastion of consumption. She asks, “Are Indians not supposed to make a living and feed their children?” This very question hits on the stereotype, again, of Natives as outsiders who should be above crass commercialism. Of course, artists in general are held as outsiders, except maybe by their landlords, who expect the rent to be paid in full and on time every single month.

Indian Market relies on stereotypes about indigenous artists, but it also serves to expand the public’s view of what art is, states Nanibah Chacón, a Diné and Chicana artist who is involved with Working Classroom in creating a mural titled Resilience at Washington Middle School in Albuquerque. It’s the largest mural in all of the Duke City.

Chacón won’t be manning a booth at Indian Market this year because she’s been so busy with public artwork, but she recalls her time there.

“You can reach a wide, wide audience, which doesn’t happen normally in New Mexico. It’s an open market, free to the public. That upholds what Santa Fe has always been—a hub for trading.” She continues by comparing Market to “a bridge that supports developing careers. But it’s up to each artist to decide: Will I use this to make money while I can? Will I exploit the Market before it exploits me?” Says Chacón, “Indian Market relies on stereotypes. . . by pigeonholing and romanticizing Native art” and not encouraging artists to show their non-traditional work. She encourages collectors to follow artists all year round, “in real life,” to find out more about the wide range of art they make.

García agrees that SWAIA’s categories may be too restricted. Still, they are changing constantly, and Indian Market has evolved in its nearly one hundred years of unbroken existence. Initiated by the Museum of New Mexico in 1922 to “foster and preserve the crafts of the Indian,” the first Southwest Indian Fair and Industrial Arts and Crafts Exhibition was based in part on the popularity of “anthropological” presentations at World’s Fairs in Europe and the United States during the late nineteenth and early twentieth centuries, whose practice it was to display, like anthropological objects, exoticized members of “Other” cultures— other than mainstream, white, Western culture, that is. A chief purpose, AUGUST

2016

too, of early Indian Market was the exhibition of pottery by the likes of María Martínez, whose gorgeous and groundbreaking black ware was championed by the Museum’s first director, Edgar Lee Hewitt. Today, SWAIA’s mission is “to develop, sponsor, and promote the Santa Fe Indian Market and other educational programs and events that encourage cultural preservation, inter-cultural understanding, and economic opportunities for American Indians through excellence in the arts, with an emphasis on Indians in the Southwest.” Native and non-Native administrators and staff run the Market with that mission in mind, and although politics have all too often tinged the scene with dissatisfaction and scandal, Indian Market goes on.

Onondaga/Nez Perce Frank Buffalo Hyde put it into perspective with his observation, “First and foremost, I am pro-Native American. I don’t begrudge anyone trying to take care of their family. Indian Market is a complex issue. . . . If you are Native American and want to have a gallery show, that usually means they will bring you[r work] out in August and then relegate you[r work] back to the storage bins [for the rest of the year].” Hyde has recently broken through the August barrier, showing his art at the Los Angeles Art Fair in January; he had a solo exhibition with Tansey Contemporary on Canyon Road in Santa Fe last March. This points to a hopeful future when Indian artists are not relegated to Market, but are shown year-round by art institutions that see beyond race and gender. It’s a gigantic ask, but someday we might learn to hold each other up as human beings first. As the curmudgeonly and brilliant artist, Bob Haozous (Chiricahua Apache) averred, “Anybody who makes art deserves respect. . . . There [should] be no marketing to outsiders, because we are all people.”

Despite the damage Native cultures have endured, which Haozous maintains is far from healed, the trope of the Vanishing Indian remains just that—a trope, not a reality. 

THE magazine | 47

F E AT U R E

new myths of santa fe the anonymous author It’s March and Thais Mather sits in her Eldorado

role in a new chapter of Santa Fe’s story.

“In Santa Fe, it’s been hard for me to find

by Jordan Eddy

She suspects that part of her difficulty with finding an audience in Santa Fe has to do with

living room with a great firmament of inky

an audience. I don’t feel like my artwork is quite

her politics. “When people are faced with ‘the

constellations hanging above her head. She

right for the market that’s here,” says Thais. It’s

feminist in their town,’ as I like to call it, it’s

recently completed the artwork for a solo

a surprising remark for an artist with deep roots

not popular,” she says. Feminist themes feature

exhibition titled The Anonymous Author, and

in the local creative community. Throughout her

prominently in The Anonymous Author. The show

its centerpiece is a series of densely detailed

childhood, Thais remembers idolizing the artists

presents a hidden narrative of human history

pointillist drawings of objects from far-flung

in her father’s gallery. She made frequent visits to

in which women perform vital tasks that go

eras. Together, they present an alternate narrative

see the colorful folk art in the Alexander Girard

unnoticed and create objects that do not bear

of human history. The dots that make up these

Collection at the Museum of International Folk

their signatures. As “anonymous authors,” Thais

photorealistic images took over a year to apply,

Art, which her mother helped curate in the 1980s.

asserts, women literally give birth to humanity—

and Thais has been weaving together the show’s

In her adulthood, Thais has mostly sought

and hence, human culture.

histories and mythologies for much longer. The

artistic nourishment outside of Santa Fe. She

project’s staggering scale isn’t a surprise if you

got her BFA in printmaking from the University

hometown. “There’s a really aesthetically driven

know the artist’s biography, which is inextricably

of Montana in 2006. In 2013, she received her

market here that has to do with Southwestern

linked to the larger saga of Santa Fe. In Thais’s

MFA in installation, social practice and critical

art,” she says. “To me there’s just more than

life, as in her art, fact and fiction have mingled in

theory from the Vermont College of Fine

beauty.” Her observation reveals a peculiar

intriguing ways.

Arts, where feminist artists Faith Wilding and

predicament: the very market Thais’s parents

Michelle Dizon were her mentors. Since then,

helped create, and the lifestyle she has grown

this place,” says Thais. “It was created as a myth

she’s participated in a smattering of group shows

to love, may preclude her own work from taking

to bring people here, and it wasn’t real.” Thais’s

in Santa Fe and was briefly represented by a

root. It’s a discouraging thought, as she’s on

mother, Christine Mather, is the coauthor of

Canyon Road gallery. Meanwhile, her national

the cusp of making a serious commitment to

Santa Fe Style, the 1986 coffee table book that

career has taken off, with showings at Frieze

her hometown. Later in the spring, she and her

sparked a national design trend. Her father, Davis

Week and Art Houston and solo exhibitions

fiancé, Todd Ryan White, will take the reins of her

Mather, has worked to vault local artists to global

at two Houston galleries. Later this month,

notoriety from his folk art gallery in downtown

she’ll pack up drawings, prints, and sculptures

Santa Fe since 1979. Together, they’ve helped

from The Anonymous Author and drive them to

shape the legend of the City Different for nearly

Houston’s RedBud Gallery for their debut.

“Santa Fe is a myth. That’s the epiphany of

forty years. These days, Thais is searching for her AUGUST

2016

“Santa Fe just isn’t feeling me,” Thais says.

Thais often feels anonymized in her own

left: Thais Mather at Davis Mather Folk Art Gallery, downtown Santa Fe, 2016. photo: Clayton Porter. above: Thais Mather, Be Yourself, detail, 2016, gold paint, pen, and ink on paper, 14 x 17 in.

THE magazine | 49

father’s beloved gallery. The generational handoff

would say, ‘What? This is it?’ It was like the end

has Thais thinking about ways her parents have

of the earth,” she says. “That’s what Santa Fe was

After these struggles came great success.

shaped the history of Santa Fe and wondering

most successful at in the past, presenting itself as

Christine landed a curatorial job at the Museum of

about her own part in its next phase. “What is our

a destination.” The Santa Fe Railway and the Santa

International Folk Art and then at the New Mexico

myth?” she asks.

Fe Art Colony continued the tradition, becoming

Museum of Art. Davis started a folk art business

larger-than-life proxies for a tiny village in a distant

and went from selling objects out of their house

santa fe style

corner of the country. Christine has watched this

to opening the Davis Mather Folk Art Gallery. He

It’s a May morning and Christine Mather bustles

pattern repeat itself in her own biography.

promoted New Mexico artists like Felipe Archuleta to

penitentiary,” Christine recalls with a laugh.

around the bright yellow kitchen of her Acequia

international buyers and together they made frequent

Madre home, preparing a batch of coffee from

buying trips to Oaxaca, Mexico. Their daughter

Veracruz. A postcard for The Anonymous Author is

Amanda was born in 1981, and Thais came along two

taped up next to a red rotary phone on the wall. “I

years later.

Then there was Santa Fe Style, a phenomenon

can’t keep up with Thais, because she has the mind of an artist, and I’m an art historian,” Christine says.

that would shape the nation’s perception of the

“She always knew art was powerful, ever since she

city for decades after its publication. Christine

was a small child.”

coauthored the book with local designer Sharon

They may have different professions, but

Woods. “I approached it in much the same way

Christine and Thais approach their work in strikingly

you approach exhibits, where you’re trying to give

similar ways. Just as Thais has fastidiously examined

visual life and explanation at the same time,” she

narratives of human history for her exhibition,

says. Rizzoli published Santa Fe Style in 1986 with

Christine has been conducting her own inquiry

an initial run of ten thousand copies, and it sold

into the tradition of Santa Fe mythologizing. Chris

out immediately with no advertising. “I had been

Wilson’s The Myth of Santa Fe sits on the kitchen

convinced that there was some sort of fashion

table, dogeared and full of sticky notes. The 1997

Like Thais, Christine felt discouraged by her

book chronicles the deliberate creation of a Santa

initial attempts at finding a place for herself in Santa

Fe “brand” by Anglo-American residents of the city

Fe. Christine and her husband Davis are both from

in the early 20th century. Through tightly controlled

Ohio and first dated when they were teenagers.

book in Denver, Christine recalls walking in to find

architectural styles and counterfeit traditions, these

They moved to Santa Fe in 1975 with brand new

a standing-room-only crowd of five hundred people.

newcomers kickstarted the tourist economy.

graduate degrees—she in art history, he in English

By 1988, Santa Fe Style had sold seventy thousand

literature—and $100 in their bank account. Early

copies. The book is full of glossy photo collages that

image-making stretches back even further, to the

on, they made ends meet with a series of odd jobs.

introduced a national audience to Santa Fe design

days of the Santa Fe Trail in the early 1800s. “In

“I worked at Bishop’s Lodge and the Ski Basin, and

elements. Small blocks of text with headings such

the 19th century, the first Americans to come here

we delivered phone books. Dave got this job at the

as “Canyon Road Adobe” and “Sunlight Along the

Christine contends that Santa Fe’s history of

thing going on,” Christine says. “The publisher was astounded.”

At her first promotional appearance for the

F E AT U R E

Camino” offer tidbits of Santa Fe history, much like

I’m from here. It can be a trade-off.” The gallery

survive,” she says. “We cannot forever be looking

the placards on a museum wall.

sits at the crossroads of this compromise. It’s a

back, or progress will be stymied.”

Santa Fe Style helped spark a public relations

treasure chest of early memories for Thais, but

In her Santa Fe art career, Thais is seeing a

blitz that would solidify Santa Fe in the popular

now it’s also a vehicle into a new phase of her

more immediate shift. She has proposed a winter

imagination as a fantasyland of adobe manors,

life—and of Santa Fe’s story.

2017 solo show to form & concept, a new nonprofit

howling coyotes, and turquoise bangles. The

“My whole childhood was a chapter in Santa

art space in the Railyard District, and they’ve just

fashion trend may be long past, but this version

Fe Style,” Thais says. Folk art from this gallery,

confirmed. She will fill the entire ground floor of

of Santa Fe’s legend persists. Christine cheerfully

including the snarling coyote sculptures by

the art space. “When you’ve really been fighting

refuses to predict Thais’s part in Santa Fe’s next

Archuleta that terrified Thais when she was little,

tooth and nail to get people to recognize you, it’s

phase, but she’s quite sure that a new shift is

appeared in Christine’s book and several sequels.

like a dream come true,” Thais says. “I have this

coming. “It’s fascinating to see how the city

She remembers sleeping under her father’s desk

opportunity in this huge space, and it’s an amazing

self-identifies, how that plays out,” she says.

as a small child and selling lemonade outside the

culmination of all my artistic experiences. It feels

“We wouldn’t be here today had this process not

shop on summer days. Seeing Thais at the helm

really overwhelming.”

happened. It’s self-creation. Santa Fe has been

of the gallery, it’s easy to trace the origins of her

involved in that for quite some time.”

fascination with overlooked objects and their

ready to tackle some of the difficult questions

creators. “The gallery is an important legacy to

ahead. “What do we want people to believe about

past is prologue

me,” says Thais. “I think what my parents have

our culture here?” she asks. “The market will have

It’s June and Thais sits at her desk in the Davis

done here very much relates to The Anonymous

to change, and we’ll have to reevaluate what people

Mather Folk Art Gallery just before closing time.

Author. They’ve really elevated people who

want, what’s useful, and what artwork is really

Colorful art fills the narrow Lincoln Avenue shop:

weren’t appreciated.”

important.” Thais is brimming with optimism.

there are zigzagging snakes crawling up the walls,

As fond as Thais is of those memories, she

As for the city’s larger art scene, Thais seems

After all, she’s seen Santa Fe recreate itself before.

polka dotted hippos crowding a table, and a full-

has a new awareness as a business owner that

“What is next is a big question,” she says. “I think

fledged circus crowding the gallery’s famous picture

big changes must be made. “I think Santa Fe

we’ll all be part of it.” 

window. The Anonymous Author was well-received

struggles to find a new identity not so embedded

in Houston, and Thais excitedly recounts inspiring

in Santa Fe Style,” she says. “We are seeing an

conversations she had at the opening. Now she’s

identity crisis of epic proportions here, because

back in Santa Fe, but things are looking up. She and

Santa Fe Style cannot go on forever.” She wants

White recently married and have officially taken

to see galleries and museums take chances on

ownership of her father’s store.

new artists and is ready to fight for affordable

“There’s a great Joan Logghe poem where

rent initiatives that would allow artists to start

she identifies New Mexico as a lover that’s always

businesses in Santa Fe’s downtown area. “I

entangling her and bringing her back,” says Thais.

think we are seeing risk-taking happening in the

“I think of New Mexico that way. I love it, but

city, finally, but we need it in our institutions to

AUGUST

2016

above, left to right: Thais Mather and Amanda Mather selling lemonade in front of Davis Mather Folk Art Gallery, downtown Santa Fe, 1988.

Felipe Archuleta and Davis Mather with Turtle and Pig, Tesuque, New Mexico, 1977.

Church by folk artist Maximino Santiago Garcia, La Unión Tejalapam, Oaxaca, Mexico.

Thais Mather, Plutocracy, 2016, found Zapotec head, gold leaf, found Gucci shoes, plexiglass box, 16 x 10 x 24 in. below: Santa Fe Style. Christine Mather and Sharon Woods. Rizzoli, New York, 1986.

THE magazine | 51

DA N N A M I N G H A

PASSAGE #43 Archival Print on Paper

ARLO NAMINGHA

SIPAPU Indiana Limestone and Jelutong 17.5” x 17.25” x 5” Arlo Namingha © 2016

Edition of 30

20.5” x 38”

Dan Namingha © 2016

MICHAEL NAMINGHA

GC2 Digital C-Print Face Mounted to Plexiglas Edition of 2 41” x 29” approx. Michael Namingha © 2016

Ar tist Reception: 5-7:30pm • Friday, August 19, 2016 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

REVIEWS

Roméo et Juliette

Santa Fe Opera 301 Opera Drive

IN HIS BOOK, LOVE IS THE HIGHER LAW, DAVID LEVITHAN WRITES: “IF YOU START THE DAY reading the obituaries, you live your day a little differently.”

opaque, except perhaps to suggest that “Juliet is the sun”

tuned and on-point. The spectacular requiem that comes

In the case of Santa Fe Opera’s production of Roméo et

as Romeo famously proclaims, and his downfall is in flying

after the deaths of Tybalt and Mercutio was sung by the

Juliette, which runs through August 16, this could read “if

too close. This is not an opera about love, but an opera

full company and gave me chills.

you start Romeo and Juliet with a funeral, you see the story

about death, as we come to understand it by Lawless’s

a little differently. ”

choice to foreground the lovers’ tragic demise.

This is Santa Fe Opera’s first staging of Roméo et Juliette, which has been gaining popularity in recent

Roméo et Juliette is closely based on the ubiquitous

However, just as the hopelessness settles in

years. Gounod took a universally popular story of

play by William Shakespeare. Written by Charles

completely, the women appear to tear off their dresses

love and death and renovated it for French audiences

Gounod, with a libretto by Jules Barbier and Michel

and reveal white party gowns beneath. We have now

accustomed to sweeping romanticism. Lawless pushes

Carré, the opera had its premier at Théâtre-Lyrique

moved seamlessly to the Capulets' Ball, where Roméo

the story further by adding yet more layers. His are

Impérial in 1867. Despite its French origins, Director

and Juliette first exchange glances and the iconic,

particularly American as he boldly produces a staging

Stephen Lawless sets the Santa Fe Opera version in

erotically charged handshake. At this masked ball only

draped in red, white and blue, punctuated by the flash

an unspecified American Civil War town, somewhere

the women wear masks and dance around the men,

of steel. The interweaving of the French, American and

just north of the Mason-Dixon line. This choice serves

who are seated, suggesting a power differential in a

English influences may seem muddled to some audience

as an effective, if slightly gimmicky, way to render the

highly significant game of musical chairs. Since this

members. To others it will seem an exciting break with

feud between the Montagues and Capulets. The former

is the Capulets' house, the men are dressed in their

tradition. Despite differing views, Lawless has done

representing the South and the latter the North.

blue uniforms. The first major song of the piece, often

a splendid job. The opera moves quickly and there

The production opens with a massive Union funeral,

called the “Waltz Song,” highlights the company and

is even some comic relief, such as the ballerinas who

where a crowd of women in black crinoline hoop-skirts

particularly Juliette’s voice. Ailyn Pérez, a coloratura

perform a graceful “lap-dance” for the union soldiers.

circles the stage like a flock of ravens and sings about the

soprano, plays Juliette with an outstanding voice and,

Lawless makes some arresting staging choices as well,

tragic deaths of Roméo and Juliette, who are in two white

though it occasionally felt like she was reaching for a

such as a masterfully choreographed fight scene that

caskets in the center of the stage. Unlike Shakespeare,

few notes initially, her vocal range soared as the night

includes a huge group of performers. The opera never

this version cuts to the tragic end we all know is coming.

went on. Leggiero tenor Stephen Costello delivered an

lags. It must be seen and heard to truly appreciate the

The costume design by Ashley Martin-Davis is fun and

outstanding performance as well. His voice is well suited

sweep and grandeur of the production. And, if you

inspired.

She continuously plays with secrecy and

to Roméo’s mid-range vocals and romantically sweeping

simply cannot get enough of those star-crossed lovers,

revelation. Martin-Davis also designed the set as a giant

long-held notes. Both Costello and Pérez are well

you can catch a more traditional staging of Romeo and

crypt where the names on the cabinets are the names

accustomed to these roles, having played opposite one

Juliet across town, as the Santa Fe Shakespeare Society

of actual deceased relatives and friends of Opera staff.

another as Roméo and Juliette in multiple versions of this

is currently performing it on weekends at Monte Del Sol

This set design, though lacking in flourishes, emphasizes

opera. They are both outstanding singers in their own

Charter School.

the theme as it surrounds the cast with the gray, looming

right and each has an impressive schedule planned after

— Jonah Winn-Lenetsky

form of death. In addition, the set periodically features a

this opera that includes a stop at the Metropolitan Opera

large statue of Icarus. The meaning of this remains a bit

in New York. The company and orchestra are also well

AUGUST

2016

Ensemble Cast in Roméo et Juliette, 2016. Courtesy of Santa Fe Opera.

Photo: copyright Ken Howard.

THE magazine | 53

Kiki Smith: Woven Tales and Other Work from Magnolia Editions

Peters Projects 1011 Paseo de Peralta

WALKING THROUGH KIKI SMITH’S WOVEN TALES, A SERIES OF ELEVEN TAPESTRIES, IT’S AS IF the viewer came to study another version of a

her drawings and collages as the basis for the images.

background. But without being told the story behind

creation myth with its various references: animals,

So this entire exhibition, from Smith’s series to the

this work, there was no way to determine what it was

plants, insects, water, rocks, earth and sky goddesses,

work of artists such as Chuck Close, Lewis deSoto,

about—with its two white, rectangular shapes at the

stars, moons, and spider webs like radiating suns. And

and Deborah Oropallo, was in part a tribute to Donald

top, like windows, and its ragged bottom edge.

those webs are like circular grids that subtly link to

and Era Fransworth, the proprietors of Magnolia

This piece was, in essence, a symbolic artifact

the grid system of the tapestries themselves—warp

Editions. In addition to the tapestry work, there were

that refers to the day the Twin Towers in New York

and weft, carefully delineating our human, animal,

prints by Close of himself and Philip Glass, along with

were struck. The abstract form seen in the tapestry

vegetal, and celestial interweavings. The series also

some stunning mixed-media prints by Oropallo, and

is an image of a damaged envelope that deSoto saw

had the aura of a fairy tale. Smith is known for her

work by the Farnsworths and others. One of the most

on a friend's desk and it resembled the ones that had

reworking of fairy-tale characters like Little Red

arresting of the tapestries was Close’s nearly eight-

floated to the ground as the Towers disintegrated. A

Riding Hood and the Wolf, where the wolf exudes

feet-tall photorealist portrait of the late Lou Reed.

torn business envelope, whose security pattern on the

the strength, not of a wild adversary, but a hero of

Surprisingly, the original photograph of Reed

inside, along with some stains and its intact cellophane

the wilderness, a nature spirit, as much a part of our

on which the tapestry image was based was a

windows, had become in deSoto's mind an emblem of

psyche as the theme of the innocent young child. And

daguerreotype. From that photo a “digital instruction

a world at risk. One could ask, though, is deSoto’s

so experiencing Woven Tales, filled with archetypal

set” was created, called a weave file, which contained

elegant tapestry an example of the aestheticizing of

symbols and signs, became a chance to walk in the

the data to be read by the electronic jacquard loom

horror? Or did the artist elevate something mundane

woods or project ourselves into the sky where stars

situated in Belgium. This was the same process that

from the conceptual ruins of a damaged world and

abide, or a cloud of moths, bats, birds, or eagles

was applied to all the tapestries in the show—from

translate it into something beautiful and meaningful?

also reign; there was also a giant serpent circling the

analog image to digital file to electronic processing by

In various ways, this powerful and nuanced

heavens. In other words, we became this immense

a loom with its warps and wefts no longer controlled

exhibition had perhaps an unintended subtext:

warp and weft of connections, and the cosmic grid

by human hands, only human minds.

the notion of making art in spite of, or because of,

that Smith alludes to is Nature personified and deified as origin at right angles to final destination.

Lewis deSoto’s Security 2 was one of the most

handicaps, trauma, and an increasingly degraded

enigmatic pieces in the exhibition. The grid of the

world, where magical thinking may be in short supply

Woven Tales has a majestic quality, but it’s not

weaving was accentuated in both the background

but still exists. Just ask the Wolf.

only Smith’s vision that was on display; it was also the

of the object depicted and also as a pattern in the

—Diane Armitage

process of the making of these pieces—a collaboration

object itself. Although wholly abstract at first glance,

between the artist and Magnolia Editions, the

there was something inherently mysterious in the

company that produced the jacquard tapestries, using

textures that echoed each other in foreground and

Installation view, Kiki Smith, Woven Tales, 2011-2015, cotton jacquard tapestry, 113 x 75 in each.

REVIEWS

Art Santa Fe

Santa Fe Community Convention Center 554 S Guadalupe Street

BONFIRE OF THE VANITIES. LAST MONTH THE SANTA FE COMMUNITY CONVENTION CENTER hosted the 16th Art Santa Fe, an annual art fair featuring

crafted, or just god awful, leading gallery goers to wonder

disputandum: taste, or personal preference, being

some fifty exhibitors that included local, national, and

where is a bonfire of the vanities when you need one.

subjective, is not subject to reasoned argument or

international galleries, art publishers, and studio artists.

That’s a reference to a literary conceit made famous

governed by informed consensus. Critical judgment is,

Art Santa Fe (ASF) is a production of Spectrum Art Show,

by the 1987 eponymous novel by Tom Wolfe. Bonfire of

however. And critical judgment is what most people

which is owned by Redwood Media Group (RMG),

the vanities—in Italian, falò delle vanità—in turn refers to

educated and well informed about art assume to be the

a producer of international fine art shows, including

an actual practice, dating to fifteenth century Florence,

key factor in decisions by museums, galleries, and art

Artexpo New York, ART SAN DIEGO, SPECTRUM

in which luxurious objects judged to be occasions

publications about what constitutes good art.

New York, SPECTRUM Miami, [SOLO], and DECOR

of sin—in particular, vanity—were burned in giant

Yet for anyone who follows arts periodicals and

Expo New York. According to the president and CEO

bonfires, customarily during the Mardi Gras festival on

their coverage of events like Art Basel, the emperor’s-

of Redwood Media Group, an RMG art show “meets

the edge of Lent, the penitential period of the Catholic

clothes acceptance of art celebrity and its symbiotic tie

the need for entertainment by providing attendees with

liturgical year. Such objects included art, fine clothing,

to the world of fashion and entertainment lead to the

innovating new art in a sleek, gallery-style exhibition

musical instruments, jewelry and other fashion items,

counterintuitive realization about an art fair like ASF.

space.” Did Art Santa Fe 2016 succeed?

and books. The most famous practitioner of this falò

In its open hype and transparent embrace of the art

Not so much. The wide array of art mediums—

delle vanità was the austere reformer and Dominican

market, the “middle-brow” art fair has an integrity that

painting, sculpture, ceramics, works on paper—was

monk, Girolamo Savonarola, whose despotic campaign

is oftentimes hard to find amidst the high-end marketing

matched by an equally varied level of quality. Regular

against clerical immorality and corruption led to the

of art sanctioned by blue-chip galleries, biennials, and

Santa Fe gallery goers doing a cursory tour of the fair

cruel irony of his own demise by bonfire in the Piazza

blockbuster shows of major museums.

would likely characterize that range as lurching from

della Signoria.

So in the end I’ll only say that Art Santa Fe was not

bad to worse. But a closer look would reveal that the

Someone reading this recourse to a literary

to my taste. My preference is art that garners—at least

majority of the work was visually attractive, well done,

conceit in what must seem a smug attempt to dismiss

over time—a critical consensus of those active in or

and conforming to conventional notions of modern or

the artwork in Art Santa Fe can be forgiven for recalling

informed by the arts. That involves an art scene, alas,

contemporary art and design and what it looks like. I

stand-up comedian Jim Gaffigan’s comment about

whose stewards—the museums, galleries, collectors,

suspect it is that typical look of most of the work in the

friends who brag they wouldn’t be caught dead in

and chroniclers—too often consign the art objects in

fair that tended to accentuate the much fewer examples

McDonald’s—“well, McDonald’s wouldn’t want you

their care to the bonfire of their vanities.

of bad and worse work at either end of the spectrum.

‘cause you’re a dick.”

—Richard Tobin

This latter group would include tchotchkes and other art

The point being that art and what passes for it is

objects that would be considered ill-conceived, oddly

for many a matter of taste. And de gustibus non est

AUGUST

2016

Art Santa Fe, African Pavilion booth, installation view, 2016. Image courtesy Redwood Media Group.

THE magazine | 55

In Color

333 Montezuma 333 Montezuma Ave

ENTERTAINING THE WIDEST POSSIBLE DEFINITION OF PRINTMAKING, IN COLOR SHOWS the results of such varied practices as solar prints,

space with a female bust whose eyes are effaced by a

ochre, and burnt sienna surfaces. Some pieces seem

monotypes, woodblocks, and drypoint, along with

gray painterly blur.

more focused on interior space, such as the mandala

collage. Curated by master printer Marina Ancona,

Marina Ancona’s monotype cityscape of peaked

this is a group exhibition of collaborations with

roofs, pairing a hot orange with gray wood grain

Ancona at 10 Grand Press. An independent publishing

texture, is among works that reference some kind of

Perhaps the preponderance of untitled works is

press based in Brooklyn and Santa Fe, 10 Grand is

landscape or spatial dimension. Lou Hicks presents a

partly why I find it difficult to talk about them. There

dedicated to collaborating with artists through hands-

dark mysterious Sky. Carrie Moyer’s Untitled, with

is something about making an image that is to be

on experimentation. The exhibition includes more than

textured washes of green, yellow, and pale brown,

transferred to another surface—and likely not be a

twenty-five artists; sometimes several pieces by one

configures a pleasing landscape of textured hills. Sigrid

single object but multiples with micro-variations—

artist are dispersed throughout the galleries. I would

Sandström’s Untitled evinces a powerful geometric

that positions printmaking differently from painting,

have preferred to see each artist’s works displayed

depth, again by use of contrasting color, its blunt central

giving it permission to be less “about” something

together, as I found myself going back to a previous

form bordered by white space.

and more of a pure visual statement. Prints are also

work upon encountering another piece by the same artist. Still, it made me look more deeply.

mosaic composed of tiny overlapping popsicle sticks by Doug Morris. This, like most of the works, is untitled.

Some works revel in their own materiality. Kay

a wonderful and affordable way for the aspiring

Harvey’s series of construction prints gives evidence

collector or anyone who loves beautiful images to be

The work is consistently original and stimulating.

of a confident sense of color; her three-dimensional

surrounded by art. This show is sheer joy for the eyes,

Fundamental tropes of visual art make their appearance.

surfaces include bubble wrap, netting, and other

illustrating how varied the approaches to and results

For example, the human figure is suggested in indirect

applied materials in low relief, matching, in a contained

of printmaking can be—from bold graphic statements

ways or via incompleteness—what in structuralism

way, the dynamic energy of a Judy Pfaff or Frank Stella

to subtle, multi-layered compositions.

would be called synechdoche, the part standing for

composition. In Emilio Lobato’s mysteriously titled

—Marina La Palma

the whole. Carol Mothner’s Armoured Women III

1959, a monotype with Chine Colle or applied paper,

features vestments without a human inhabitant; a

a stark black globe and line stand out against crimson,

Erica Svec, Dean Street (silver), 2010, monotype, 22 x 30 in. Printed and published by 10 Grand Press.

dress and wing-like shawl are rendered in a chain mail texture that complicates their apparent delicacy. Can something be both ephemeral and armored?

Kathleen McCloud’s lifesize Honey Suit, a free hanging monotype on mulberry paper, also gives us the clothes without the person. In Noel Harvey’s elegant solar plate monotype, Sage Lungs with Crimson Vertebrae, two crucial elements of the human body are evoked, with color and its absence lending drama to the composition.

One of Elizabeth Newman’s Untitled pieces places two ovals vertically, its

diagrammatic

look

suggesting

something mystic or interplanetary, a feeling enhanced by a muted blue and yellow color scheme.

Faces peer from several pieces, including Reed Anderson’s Untitled, a cartoon universe monotype in which a face spits out another face-like shape.

Nicole Eisenman’s untitled woodblock edition gives us the pink-on-black outline of a face sporting a giant tear from one eye, while Angela Dufresne portrays an expressionistic female face under an umbrella in Hanna Schygulla Inhale. The surface of Kathleen Morris’s Aura is a swirly, scratchy ambiguous

56 | THE magazine

AUGUST

2016

REVIEWS

Zoe Crosher: The New LA-LIKE

Mayeur Projects 200 Plaza Park, Las Vegas

“YOU KNOW THAT FIRE ESCAPE AT THE END OF PRETTY WOMAN WHERE RICHARD GERE climbs up to Julia Roberts? We smoked pot on that!”

film crew. Once a major railroad hub, the town now

the Pacific comprises relics of her efforts to document

This from my friend who recently attended a wedding

has fewer than fourteen thousand residents, but it has

disappearances along the coast of Malibu. She

and found herself wandering around downtown Los

about nine hundred historic 19 -century buildings,

photographed the strip of sand where the evangelist

Angeles. Her story stuck with me because, first of all, is

many of which surround a picturesque plaza. When

Amy Semple McPherson disappeared, allegedly into the

there really like a plaque or something commemorating

I visited in late June, an acquaintance informed me

ocean; the rocky shore where James Mason walked, at

a scene from Pretty Woman next to an otherwise

that the main stairway of the Plaza Hotel featured

the end of A Star is Born, to his drowning death; the slip

random fire escape in L.A.? Who even approved and

prominently in No Country for Old Men. Yeah, I

that housed the boat that sent Natalie Wood to hers;

executed that? It’s absurd. But also, how weird must

remember that place—Prince-Valiant-coiffed Javier

the marina where Beach Boy Dennis Wilson fell to his.

it be to live in a place where entirely mundane sites

Bardem creeping around with a silenced rifle and

Many of Crosher’s photos represent iconic Hollywood

take on a special significance simply because of their

a bolt pistol—it was terrifying. But when I passed

scandals worthy of a third volume of Kenneth Anger’s

appearance on screen? Of course, it does make sense:

through the lobby on the way out, it just looked like

Hollywood Babylon. But instead of lurid tabloid photos,

Hollywood is a myth factory. It trucks in the fantasy that

any old stairway, garishly lit, covered in faded carpet

Crosher is channeling cool Ed Ruscha. Her photographs

we, the audience, can possess, even create, celebrity

next to a wooden rack holding tourism brochures.

catalogue places simply and straightforwardly; you

th

simply by watching someone

wouldn’t even know what you

on film and projecting our own

were looking at if it weren’t for

desires onto their image. When

Crosher’s titles, which function

it comes to specific places, the

like commemorative plaques.

process is almost supernatural;

The works in LA-Like are about

once the camera has framed and

remembering but also about

recorded a setting, we can visit it

disappointment. The images,

repeatedly in our minds without

when paired with the actual

ever having been there—but if

events they represent, produce

we ever visit the actual place, it

the same feeling you might have

will never match our memory

when you meet a movie star

of

though,

and realize that without the

disjunction

lighting and the script, they’re

it.

Sometimes,

experiencing

the

between actual site and its

just regular humans.

image, laying bare the mechanics

By now, after over a

of the myth we call celebrity, can

century of people traveling

be its own pleasure.

out

West

to

convalesce,

It isn’t just the movies

to reinvent themselves, to

that can create a myth around

become rich and famous, the

a place; often social media is

city of Los Angeles is itself

enough if celebrities know

mythical. In the main gallery

how to capitalize on it. When

of Mayeur Projects, bronze

Beyoncé visited Marfa, Texas,

casts of fallen palm fronds

in 2012 and posted photos of

that Crosher harvested from

herself there on Instagram,

the streets of L.A. line the

the town once only known

floor. Palm trees, like the

to art intelligentsia became

dreamers that first populated

momentarily world famous. I

the area, aren’t indigenous to

still get a thrill whenever I see

California, and city officials

Eileen Myles post photos of her walks around Marfa;

Zoe Crosher completed a residency at Mayeur

are slowly replacing them with more practical oaks

she named the local Family Dollar in a recent poem,

Projects this past spring, and her current show there

to save money. Crosher’s mementos (I think of them

and as a result even it holds a certain mystique for me.

speaks to her own affinity for contrasting spectacular

as more akin to bronzed baby shoes than monuments

Now, in Las Vegas, New Mexico, with contemporary

events against their otherwise unassuming environs.

to a great civilization) will eventually be just a

galleries like Mayeur Projects, permanent installations

As a resident of Los Angeles, Crosher is primed to

remembrance of one of the most defining features of

like the Dwan Light Sanctuary by Virginia Dwan and

understand how movie locations or sites of celebrity

the city’s landscape. Soon you might need a plaque to

Charles Ross, and the restoration of a historic building

intrigue can bleed into our understanding of a place,

remember where you are and what happened there.

for artist Paul Ruscha (brother of Ed), the town’s

can cast an aura around our everyday. Crosher is

—Chelsea Weathers

Marfa-ization seems imminent. It especially makes

obsessed with disappearance, both actual and fictional.

sense that Las Vegas would be an attractive city for a

Her series of photographs titled LA-LIKE: Transgressing

AUGUST

2016

Zoe Crosher, Where Natalie Wood Disappeared off Catalina Island, 2008, c-print, 40 x 40 in. Image courtesy of Mayeur Projects.

THE magazine | 57

WRITINGS

Ilya Kabakov, School No. 6 (1993) Russian Schoolhouse, Chinati Foundation Marfa, TX

IN THE RUSSIAN SCHOOLHOUSE

at the Chinati Foundation I was instructed not to step on the hay. It is part of the art and has been meticulously placed. My new girlfriend's foot was hovering over the hay and I reached out and stopped her, I repeated what the guard—a young intern, more like—had said. How quickly I became the art guard's minion, an enforcer of rules in which I did not believe! Instantly I hated myself. Instantly I plotted my revenge.

In the Russian Schoolhouse, next time you visit the Chinati Foundation, look closely at the hay: some of it was meticulously placed by the artist. Some of it may have been casually pulled from my pocket and allowed to float to the floor, unbeknownst to anyone. Anyone but us, that is.

—Jenn Shapland

Prairie Dogs (c. 2012) Intersection of Cerrillos Rd and St. Francis Dr Santa Fe, NM

AT THE INTERSECTION OF CERRILLOS

and St. Francis, two of Santa Fe's main arteries, an interactive, three-dimensional installation brings together several local populations around the notion of play. Located both above- and underground, Prairie Dogs offers those stuck in traffic a chance to reflect on the hectic qualities of contemporary life through engagement with a lively society of prairie dogs and pigeons. The somehow charming rodents pop in and out of tunnels, standing tall and chasing their winged companions, occasionally pausing to snack on grasses, seeds, and insects. A functional ecosystem in its own right, Prairie Dogs demonstrates a thriving and viable way of life in the midst of northern New Mexico's high desert terrain. The installation, which might otherwise go unnoticed, is marked by a sign that reads "We are building an inclusive community." The artist remains anonymous, leaving interpretation of the work's gesture toward inclusivity and sustainable urbanization up to the viewer.

—Jenn Shapland

Jenn Shapland is a nonfiction writer living in New Mexico. Her work has appeared in Tin House, The Lifted Brow, Electric Literature, and elsewhere. She’s currently writing a book-length manuscript called The Autobiography of Carson McCullers. She has a PhD in English from the University of Texas at Austin.

58 | THE magazine

AUGUST

2016

T H E P R I N T E D PA G E

Con Agra, original illustration by M. Gold

CALL FOR SUBMISSIONS submit up to 3 images per issue to be featured on THE photography page!

send submissions & questions to editor@themagsantafe.com or call 505.424.7641 the selected photographer will recieve a $50 gift certificate to a Santa Fe business

September theme : Landscapes Deadline : August 15

PHOTOGRAPHY

Michael Long Iris, 2013 submission theme: "macro"

Michael Long works as a painter and photographer. He has an MFA from the University of Colorado and an ND degree from Clayton College of Natural Health. He has taught painting and photography for more than twenty-five years, including at the University of Colorado, Santa Fe Photographic Workshops, Eastern New Mexico University, University of Hawaii, Dar al-Kalima College (Bethlehem, Palestine), and The Contemporary Austin (Austin, TX). Currently Michael teaches photography and painting classes privately and through SFCC Continuing Education. He has exhibited extensively nationally and internationally. He is also a life coach, guiding individuals and groups to a more heart-centered, joyful, and creative life. michaellongartist.com heartmentoring.com

AUGUST

2016

THE magazine | 61

RANDALL WILSON, THE CROSS SERIES NO. 4

DON STINSON, OPEN GROUND: WEST OF THE ROAD TO BOULDER

DON STINSON + RANDALL WILSON

J U LY 2 9 – AU G U S T 2 0 , 2 016 O P E N I N G R E C E P T I O N W I T H T H E A R T I S T S : F R I DAY, J U LY 2 9 T H , 5 - 7 P M Q & A W I T H T H E A R T I S T, M O D E R AT E D BY L I B BY L U M P K I N : S AT U R DAY, AU G U S T 13 T H , 2 P M C ATA LO G U E AVA I L A B L E

1005 PASEO DE PERALTA, SANTA FE, NEW MEXICO | (505) 954-5700 | WWW.GPGALLERY.COM Images © 2016 courtesy Gerald Peters Gallery.

Blue Rain Gallery’s Annual Celebration of Contemporary Native American Art August 17 – 21, 2016 LES NAMINGHA New Paintings. Artist Reception: Friday, August 19th from 5 – 8 pm in our new Railyard location

Mortality Encircling Mother Earth, acrylic on canvas, 36" h x 36" w

R A I LYA R D | 544 South Guadalupe Street, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com D OW N TOW N | 130 Lincoln Avenue, Suite C Santa Fe, NM 87501