Santa Fe’s Monthly
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of and for the Arts • April 2013
53 OLD SANTA F E TR AIL
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UPSTAIRS ON THE PL A Z A
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SANTA F E, NM
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505.982 .8478
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SHIPROCKSANTAF E .COM
CONT
a
5
letters
artist Phillis Ideal
14
universe of
19
studio visits:
20
art forum:
23
food for thought:
25
one bottle:
national spotlight:
Nam June Paik at the Smithsonian American Art Museum, Washington, D.C.
41
destinations:
49
critical reflections:
59
green planet:
61
architectural details:
Pie Town, NM
guide:
Vivre, Anasazi Restaurant, and Burger Lounge (Los Angeles and San Diego)
31
art openings
32
out
&
39
A Goldsmith in His Shop by Petrus Christus
27
dining
The Earth Chronicles Project at the Santa Fe Art Institute and Unfolding Time at Zane Bennett Contemporary Art
Steven A. Jackson and Mark Kane
The 2011 Domaine Comte Abbatucci Ajaccio Blanc “Cuvée Faustine” by Joshua Baer
about
previews:
36
Guiltless Pleasure
Alice Leora Briggs at the UNM Art Museum; Linda Montano at SITE Santa Fe; Annie Leibovitz at the Georgia O’Keeffe Museum; Black Space at Zane Bennett Contemporary Art; Natsumi Hayashi at Richard Levy Gallery (Alb.); Photography from A to Z at the New Mexico Museum of Art; Pinup-ology at Eggman & Walrus Art Emporium; and Shifting Baselines at the Santa Fe Art Institute
Darryl Cherney: Earth First! activist, musician, and filmmaker, photograph by Jennifer Esperanza Fallen Down, Near Stanley, NM, photograph
by Steven A. Jackson 62
writings:
“Like You” by Roque Dalton
Most of the world’s important museums, like the Metropolitan Museum of Art in New York City or London’s National Gallery, organize the artworks in terms of historical context—you’ll find the Egyptian hieroglyphs somewhere near the Grecian vases, van Gogh next to Gauguin, and if there’s any Warhol to be found, it’s likely a stone’s throw away from the Lichtenstein. It’s true that artistic movements wax and wane with the rise and fall of different cultures, but artists are not partitioned off from their past like the Art Institute of Chicago’s modern wing is partitioned off from the Asian pottery. In Art: The Groundbreaking Moments (Prestel, $19.95), Florian Heine focuses on movements and mediums that left indelible marks on art history, like the Baroque, Impressionism, photography, and Pop Art. But Heine also examines concepts that transcend the historical—there is a chapter devoted to still life that juxtaposes a Roman mosaic floor, created in the second century AD, with Cezanne’s Apples and Oranges, painted in 1899. There is also a section on “Speed,” focusing on the question, “How can one show movement or even speed in a single picture, and how do painters ‘move’ objects whose exteriors are not altered through movement, such as wheels?” Without the false divisions of museum walls, the reader can see how the spinning wheel in The Fable of Arachne, by Diego Velázquez, paved the way for the speeding locomotive in William Turner’s 1844 work Rain, Steam, and Speed. Art: The Groundbreaking Moments places seminal artistic moments in the wider historical context they deserve.
READINGS & CONVERSATIONS
brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction, and poetry to read from and discuss their work.
DAVID MITCHELL with Tom Barbash
WEDNESDAY 24 APRIL AT 7PM LENSIC PERFORMING ARTS CENTER
ISABEL WILKERSON
with John Stauffer
WEDNESDAY 10 APRIL AT 7 PM LENSIC PERFORMING ARTS CENTER I’m reading The Warmth of Other Suns right now, Isabel Wilkerson’s beautiful, epic narrative following the migration of African Americans from the South to the North. It’s easily the best book I’ve read in 2010. It’s the sort of book that every American should read. – Ezra Klein, The Washington Post . . . [a] massive and masterly account of the Great Migration. – David Oshinsky, The New York Times Isabel Wilkerson is the author of The Warmth of Other Suns, an epic story of the Great Migration, chronicling the journey of over six million black Americans from the South who migrated north and west between World War I and the 1970s. Inspired by her own parents’ migration, she devoted 15 years to the research and writing of the book, interviewing more than 1,200 people along the way. Wilkerson is a former national correspondent and bureau chief at The New York Times.
If any readers have doubted that David Mitchell is phenomenally talented and capable of vaulting wonders on the page, they have been heretofore silent. – Dave Eggers Mitchell’s immense natural gifts: a vast range of characters, each touched with difference; fabulously fluent and intelligent dialogue; scenes that are dramatically shaped but lack obtrusive manipulation . . . – James Wood, The New Yorker David Mitchell’s novels include The Thousand Autumns of Jacob de Zoet, a historical epic about a Dutch accountant’s adventures in feudal Japan, and Number9Dream, described as “an intoxicating ride through Tokyo’s dark underworlds and the even more mysterious landscapes of our collective dreams.” Mitchell’s celebrated Cloud Atlas, which erases the boundaries of genre and language with six interconnected stories that take the reader from the 19th century in the remote South Pacific to a post-apocalyptic distant future, was described as a “Nabokovian delight in word play” by The Washington Times. TICKETS ON SALE NOW
ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:
www.lannan.org
letters
magazine VOLUME XX, NUMBER VIII
WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 & 2006 Top-5 Best Consumer Tabloids P u b l i s h e r / C r e at i v e D i r e c t o r Guy Cross P u b l i s h e r / F o o d Ed i t o r Judith Cross Art Director Chris Myers C o p y Ed i t o r Edgar Scully P r o o fR e a d e r S James Rodewald Kenji Barrett s t a ff p h o t o g r a p h e r s Dana Waldon Anne Staveley Lydia Gonzales Preview / Calendar editor Elizabeth Harball WEB M EISTER
Jason Rodriguez social media Laura Shields Contributors
Diane Armitage, Joshua Baer, Davis Brimberg, Jon Carver, Roque Dalton, Kathryn M Davis, Jennifer Esperanza, Ellen J. Shabshai Fox, Natalie Guillén, Hannah Hoel, Lane R. Johnston, Marina La Palma, Iris McLister, Steven A. Jackson, Richard Tobin, Lauren Tresp, and Susan Wider C o VER
Charlotte Moorman performing Concerto for TV Cello & Videotapes at Galeria Bonino, New York City, 1971. Page 39
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THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: themagazinesf@gmail.com. Web address: themagazineonline.com. All materials copyright 2013 by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable, for any misspellings, incorrect information in its captions, calendar, or other listings. Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel. All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised. THE magazine is not responsible for any claims made by its advertisers for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement. april
2013
ART HEROES: Andrew Smith, John Boland, and Jon Richards. I had a beautiful studio in a 100 year-old plus historically plaqued building. I loved my space and was considering the renewal of my lease. On Friday, February 8, I was in Colorado and my cell phone rang. The call was from the landlord where I leased space for my photography studio. “There is a fire in the building and it is very bad, very bad. The fire department is doing everything they can but it is very bad. I will call you later and give you more information.” My heart sank as I turned off my cell phone. I thought of a lifetime of work going up in flames. While driving back to Santa Fe, my cell phone rang again. It was Andy Smith—long-time friend, renowned photography dealer, and owner of the Andrew Smith Gallery. He had heard that the building was on fire and told me that something needed to be done, now, to retrieve my negatives, hard drive, plus any vintage prints that were in the building. I was amazed at the swift action that Andy and his assistant, John Boland, along with my friend, Jonathan Richards took. Meanwhile a meeting was being held just across the street at La Posada—the word was that the building was about to be condemned, allowing no access. My friends, along with the help of the building’s maintenance man, went in and began to pull things out of my studio. I knew things were going to be all right when John called my cell and said, “Elliott, I have all your negatives, they are dry, and your computer is in the car.” They took two SUV loads to Andy’s gallery where they proceeded to lay out my irreplaceable silver prints to dry. The next day I went to look at the building. I walked through the front door and saw total devastation. My studio was the first door on the left. To the right and straight-ahead the building was in total ruin. I peered into my space (it was kind of like entering an Egyptian tomb) and everything was as I had left it. It was a miracle! I could not believe that this was the only part of the building with the ceiling intact—and it was still a room with windows and walls. It was soaked with water, covered in ashes, and smelled very smoky. The lesson for me is that nothing lasts forever, good friends are a gift from God, and believe in miracles, because they do happen and are very real. I want to acknowledge and thank these people and anyone else who helped in those confusing days following the tragic fire.
—Elliot McDowell, Santa Fe, via email
TO THE EDITOR: I was very touched by Jan Adlmann’s Letter to the Editor lauding my time as director of the University of New Mexico Art Musuem. Thank you for all that you have done to support my programs through great coverage of our exhibitions and guest artists, and our advertising campaigns, and just general good cheer and Santa Fe mojo coming our way. I appreciate receiving THE magazine each month and always feel a bit wistful about departing New Mexico and leaving my post. Alas, the UNM Art Museum has hired someone new to run “the house.” I hope all goes well. More importantly, best wishes and fond regards to you, Guy Cross, and to THE magazine.
—Luanne McKinnon, San Francisco, via email
TO THE EDITOR: I got a real kick out of THE magazine’s approach to the image and caption in the Donald Judd and Marfa review in your latest issue. To use a Google map image to show the Artillery Sheds was quite brilliant. No answer necessary, but I do wonder why on earth the Judd Foundation would not grant THE permission to use the real image!
—Irene Buxton, Albany, NY, via email
TO THE EDITOR: A friend sent me your August 2012 review by Marina La Palma on an Aboriginal exhibit at Chiaroscuro Gallery. I thought it was an exceptional overview of an art movement that I have followed religiously for twenty years. This note is just to say La Palma has enriched my life deeply. For that, I thank her.
—Deborah Barstow, via email
TO THE EDITOR: The nation’s tribal colleges offer American Indians in remote, impoverished communities access to a higher education. The sequester will have a devastating impact on these “underfunded miracles,” already operating on shoestring budgets. Dr. Cheryl Crazy Bull, President and CEO of the American Indian College Fund, said, “Sequestration for American Indians isn’t just a budget cut, it’s a violation of the trust, treaty, and statutory obligations to American Indian tribal governments by the U.S. government. Cuts of this magnitude will also have a catastrophic effect on tribal colleges, which have operated at below-full funding levels since their inception. Contact your Congressional representatives now to ask them to find a budgetary solution without cuts to tribal colleges.”
—Dina M. Horwedel, Am. Indian College Fund, via email
Letters: Email to themagazinesf@gmail.com Mail: 320 Aztec St., Suite A - Santa Fe NM 87501 This issue is dedicated to the life and art of Carol Sarkisian and to the life and music of George Koumantaros.
THE magazine | 5
IN THE WAKE OF JUÁREZ
THE DR AWINGS of ALICE LEORA BRIGGS O N V I E W T H R O U G H M AY 2 5, 2 013
| UNIVERSIT Y OF
NE W MEXICO ART MUSEUM
| AL BUQUERQUE
Bound Seeking Together Pleasure in Books
MARTIN STUPICH REMNANTS
of the
FIRST WORLD UNIVERSIT Y OF NE W MEXICO ART MUSEUM | AL BUQUERQUE www.unmartmuseum.org 505. 277.4001 Hours: Tuesday – Saturday 10 – 4 Closed Sunday & Monday Alice Leora Briggs, Death of a Virgin (detail), 2007, sgraffito on wood panel with acrylic and ink, collection of Mr. & Mrs Scott Baker. | Martin Stupich, Hoover Dam sie on the Colorado River, cable tower on the Nevada side,1989. Pigment inkjet print. Courtesy of the Artist. | Dame Elisabeth Frink, Aesop’s Fables (detail), Curwen Press, London, 1968. Gift of Mr. Saul Steinberg 81.304
M I N D S PA C E | W I L L I A M M E T C A L F
MARCH 29TH - APRIL 30TH O P E N I N G R E C E P T I O N F R I D A Y, M A R C H 2 9 T H , 5 - 7 P M
CHARLOTTE JACKSON FINE ART 5 0 5 . 9 8 9 . 8 6 8 8 . 5 5 4 S O U T H G U A D A L U P E S T R E E T, S A N TA F E , N M 8 7 5 0 1 W W W. C H A R L O T T E J A C K S O N . C O M
MINDSPACE #45, 2013, ACRYLIC ON ALUPANEL, 30 X 54 INCHES
Xuan Chen april 5 - may 31
•
Color Matter
artists reception: saturday, may 11, 4-6 pm
Project Room • Charles Fresquez
Richard Levy Gallery • Albuquerque • www.levygallery.com • 505.766.9888
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John Tolle tt
Pete r King
A
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821 Cany 9689 ir s ) - 6 9 9 (u p t h e s t a
on B ob Ri ch ar ds Anne Stav eley
nd re a B ro yl es
Guy Cro ss
Reception: Friday, April 19, 6 to 8pm
Jan e Ro se mo nt
Gr eta Yo un g
D
ILL BE REVEALE
EVERYTHING W
Matthew Chase-Daniel Nita Schw artz
SOMETIMES THE THINGS WE CAN’T CHANGE... END UP CHANGING US
annie leibovitz
pilgrimage FebrUary 15 – may 5, 2o13
Join US m O N D AY, A P R I L 1 , 8 : 3 0 – 9 : 4 5 A m
Breakfast With O’Keeffe photographer Walter nelson lives in the abiquiu area and has created a series of works titled two Seasons: the black place, a subject o’Keeffe explored time and again on camping trips to the area. Georgia O’Keeffe Museum, 217 Johnson Street Free with museum admission; members and business partners, Free. Doors open at 8:30 am. Seating is limited to 70. reservations taken until the Friday before program: 505.946.1039 or online at okeeffemuseum.org
f R I D AY, A P R I L 5 , 1 2 : 3 0 – 4 P m
Adult Learning Program
plein-air pastel Drawing with maggie muchmore For centuries, artists have enjoyed working outdoors when creating landscape imagery. learn pastel techniques from a master practitioner, as well as tips for working outdoors to create effective landscape compositions. led by maggie muchmore, visual artist. meet at the Center for museum resources Stewart Udall building, 725 Camino lejo, museum Hill $85. members and business partners, $75. reservations required by monday, april 1: 505.946.1039 or online at okeeffemuseum.org
m O N D AY, A P R I L 8 , 6 P m Annie Leibovitz, The Cerro Pedernal from Georgia O’Keeffe’s patio at Ghost Ranch, New Mexico, 2010. © Annie Leibovitz
this traveling exhibition, annie leibovitz: pilgrimage charts a new direction for one of this country’s most revered and best known living photographers. it is, in a sense, a collection of portraits of subjects that have shaped leibovitz’s view of her cultural inheritance.
Public Lecture
o’Keeffe’s language of Forms
one of georgia o’Keeffe’s gifts, and a sign of her greatness, is that her bones, flowers, trees, skyscrapers, clouds, and other forms offer new ways to think and talk about art, beyond the narrower frames of realism or abstraction. another gift is that these forms resonate with universal meanings. lecture by Jan Castro, independent curator and art historian, author of The Art & Life of Georgia O’Keeffe (Crown and virago, 1985). museum education annex, 123 grant avenue $5. members and business partners, Free. reservations suggested: 505.946.1039 or online at okeeffemuseum.org
T u e S D AY, A P R I L 2 3 , 6 – 7 : 3 0 P m ANNie LeibOviTz: PiLGRiMAGe is organized by the Smithsonian american art
museum. the bernie Stadiem endowment Fund provided support for the exhibition. the C. F. Foundation of atlanta supports the museum’s traveling exhibition program, Treasures to Go. For the georgia o’Keeffe museum, exhibition and related programming were made possible in part by a generous grant from the burnett Foundation. the georgia o’Keeffe museum also wishes to thank the following sponsors: Century bank, inn of the anasazi, mary & Charles Kehoe, los alamos national bank, new mexico gas, Santa Fe University of art and Design, Santa Fe Weaving gallery. the museum recognizes preferred hotels: bishop’s lodge; inn and Spa at loretto, Santa Fe; inn on the alameda; la Fonda on the plaza; eldorado Hotel & Spa.
Readers’ Club
Julia Margaret Cameron’s Women Julia margaret Cameron was a victorian pioneer of photography and one of the great portrait photographers. She portrayed many major figures of the period, but the bulk of her work consists of portraits of women. essays from this book about the photographer and her era, edited by Sylvia Wolf (yale University press, 1998), will be discussed. museum education annex, 123 grant avenue For information about reading materials and reservations: 505.946.1039 or online at okeeffemuseum.org
Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax.
217 JOHNSON ST. • 5O5.946.1OOO • OKeeffemuSeum.ORG • OPeN DAILY 1O Am – 5 Pm • OPeN LATe, uNTIL 7 Pm, fRIDAY eVeNINGS
life mirrorS
march 22-aPril 28.2013 downtown gallery
cumulous skies
Jeanette Pasin Sloan
The Enduring Modernist Aesthetic in New Mexico Curated by Lawrence Fodor
City of Santa Fe Arts Commission Community Gallery 201 West Marcy Street 22 March | 7 June 2013
Crazy II, 2013, oil on linen, 32" x 38"
Kris cox
Exhibition Programming 25 April & 23 May 2013
failure
Tony Abeyta John Andolsek Susanna Carlisle & Bruce Hamilton Madelin Coit Susan Contreras Addison Doty Danae Falliers Tammy Garcia Darren Vigil Grey Jamie Hamilton Bob Haozous Munson Hunt Kellogg Johnson Jennifer Joseph Tom Joyce Mokha Laget Orlando Leyba Dara Mark Arlo Namingha Nora Naranjo-Morse Stacey Neff Ilona Pachler Chris Richter Johnnie Winona Ross Jennifer Schlesinger Paul Shapiro Lonnie Vigil Phillip Vigil Emmi Whitehorse Karen Yank Susan York
march 29-aPril 28.2013 r a i lya r d
gallery
MONROE GALLERY of photography
1963
Charles Moore: Birmingham, 1963
Post Concentric Episode Series, Bone and Bars, 2012, pigmented wood putty, acrylic, Dorland’s wax medium, on wood panel, 96"h x 88"w x 2"d
LewAllenGalleries Downtown: 125 West Palace Avenue (505) 988.8997 RailyaRD: 1613 Paseo de Peralta (505) 988.3250 www.lewallengalleries.com info@lewallengalleries.com now open in scottsDale
Opening Reception Friday, April 19 5 - 7 PM Exhibition continues through June 30 An afternoon at a lunch counter. A thousand arms linked at the elbows. A firing line of water hoses. A pack of German Shepherds. A letter from a Birmingham jail. A devastating explosion. The Dodgers win the World Series. Beatlemania begins. John F. Kennedy is assassinated. A world that would never be the same.
Open Daily 112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e: info@monroegallery.com www.monroegallery.com
European Perspectives FRANCOIS MORELLET GREGOIRE CHENEAU OLIVIER MOSSET DIANA BLOK AND PETER BIJWAARD RUTH GSCHWENDTNER-WÖLFE MIGUEL MONT TONY SOULIE
Michael Freitas Wood
April 26 through May 24 OPENING RECEPTION:
Friday, April 26 from 5 – 7 pm
UNFOLDING TIME
March 29 through April 19 OPENING RECEPTION:
Friday, March 29 from 5 – 7 pm
435 South Guadalupe Street, Santa Fe, NM 87501 505 982-8111 www.zanebennettgallery.com
ZANEBENNETT
Tuesday–Saturday 10–5 or by appointment Railyard Arts District Walk last Friday of every month
CONTEMPORARY
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Somers Randolph. Carving stone sculpture one of a kind, one at a time, for over forty years. Studio visits by appointment: sculptr@aol.com.
P 415
Thomas and Susan are fast, professional, and friendly, while creating beautiful works of art on paper or canvas.
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In 2000, critic Kathleen Whitney wrote, “Phillis Ideal is an abstractionist brat; she has deliberately taken the palette and profundities of Abstract Expressionism to Candyland.”
CREATING A VISUAL LANGUAGE I have been painting since I was five years old, so creating a visual language is very much
is much like constructing a crazy quilt, which references moments and episodes in an
like seeing your signature change but recognizing it as yours at any age that it was printed,
individual’s life, different time periods, moods, colors, and spaces. The collection process
scribbled, or carefully rendered. In the last ten years, I have used collage which allows
is similar to tossing items on a job-lot table to later seize upon the appropriateness of the
me to represent a wide range of abstraction: layers of transparent and thick brushed
fit, and collage it into an evolving painting.
and sprayed paint, collaged fragments imbedded in the medium; Xeroxed Rasta dots, computer graphics, and shards of other drawings, as well as large, gestural brush strokes.
COMPOSING AND BALANCING COLOR, FORM, AND LINE
Thus, the scope is broad and the paintings exist as both a tangible material and as a
Composition of a teetering nature is more interesting to me than balanced elements in a
catalogue of the visual languages of different styles of image making, as well as references
painting in the same way that dissonant jazz can put you in a corner and surprise you with
to current cultural signifiers. Many aspects can sit side by side in one painting. Some
how much room you have. I am interested in escaping traditional taste by a freshness of
paintings are more complex in combining references than others.
experience that makes taste by any common definition not the main issue.
FORMAL RELATIONSHIPS / CHANCE ELEMENTS
POWER OF THE MARK (OR GESTURE)
My paintings are moments in an open process that experiments with both formal
Lately, my paintings are simpler with less elements of collage. Large gestures blow
relationships and chance elements to create meaning. I pour episodes of paint and collect
across the space or stand their ground in the work that is now on exhibit at David
these unrelated pieces, not knowing when or where they might be used. The process
Richard Gallery.
UNIVERSE OF
Ideal was born in Roswell and grew up there, but she has long lived and worked in Manhattan and her work reflects her sophisticated and urbane sensibilities. As for Ideal’s current palette, it is an unexpected mix of colors: metallic silvers and fleshy peaches, laced with a variety of aqua hues. She has exhibited nationally and internationally, including exhibitions at major museums and galleries in New York City, San Francisco, Santa Fe, Berlin, and Paris, and the artist’s work is in many private, corporate, and public collections. Phillis Ideal: Recent Paintings 2008-2012 will open at David Richard Gallery, 544 South Guadalupe Street on Friday, March 29, with a reception from 5 to 7 pm. A second exhibition—Sassy—opens at Isaacs’s Gallery, 309 North Virginia Avenue, Roswell, New Mexico, on Friday, April 19, with a reception from 6 to 8 pm.
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2013
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THE magazine | 15
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STUDIO VISITS
Ansel Adams said, “Landscape photography is the supreme test of the photographer — and often the supreme disappointment.” We asked two landscape photographers to comment. I don’t relate to this idea in my own experience. For me, working in the landscape, or any other visual context, is about being fully present and mindful; being open to the possibilities that flow through a situation. And to be there when a conjunction of elements presents itself, if only for an instant. There’s a magic in that, when it happens, that has little to do with tests or expectations. I think the sensibility you bring to your art matters more than the “subject.”
—Mark Kane Kane’s last exhibition was Photographic Truths and Other Illusions at the Santa Fe Community College’s Visual Arts Gallery in 2011. markkane.net The problem with landscape photographs is that everyone has seen “pretty pictures.” and modern cameras and technology make it quite easy to take a very good photograph of a nice scene—landscapes are everywhere. That’s the point: note the use of “pretty,” “good,” and “nice.” The real test is to take what everyone sees and turn it into something that makes them see and think about the subject in a way they never would have without your photograph. Sometimes this makes the scene more impressive or grand, sometimes moodier, and sometimes just different. This is what makes a great image of a landscape. The failure to do this can result in two types of disappointment. When someone looks at one of my images and says, “Oh, what a pretty picture,” that probably means that I have failed. It’s like saying “What a cute baby!” The second kind of disappointment is in some ways worse. Sometimes when I take a picture and then process and print it, it does not look as I envisioned it (what I personally saw and felt when I took the picture). The result is wrong—and nothing can be done about that. There is no software to fix simply taking the wrong picture.
—Steven A. Jackson In 2012, Jackson’s photography was shown at New Concept Gallery, Santa Fe; at the Roswell Fine Arts League’s Annual Juried Art Show; and at the New Mexico Cancer Center, Albuquerque. In 2013, he will show work at New Concept Gallery in May and at the New Mexico Cancer Center in June. sajackson.com. See page 61 for Jackson’s Architectural Details photograph.
photographs by
APRIL
2013
Anne Staveley
THE magazine 19
ART FORUM
THE magazine asked a clinical psychologist and three people who love art to share their take on this 1449 oil painting, A Goldsmith in His Shop, Possibly Saint Eligius, by Petrus Christus. They were shown only the image—they were not told the title, medium, or name of the artist. We see an early Renaissance painting loaded with symbolism. Perhaps Jan van Eyck or another Northern European master painted this work. Coins on the table suggest that this couple is doing business with a jeweler. I imagine these finely dressed aristocrats have fallen on hard times and are selling some gems. The emotional tone is one of reserve, adding to the piece’s mystery. A painting in the lower right corner depicts the jeweler with his wife. She is holding a bird, a symbol of freedom and hope for their future. The wealthy couple’s gaze is fixed on the gems while that of the broker is directed outward. He is asking himself, “If these rich people must sell their gems, what kind of financial future could someone like me face?” The red sash laid across the table symbolizes the bind of marriage; however, its tangling shows the uncertainty
a particular event. Perhaps with more historical information
The economy of this painting is brilliant. It offers us a
of romantic relationships. These two people are tied together
and cultural context, we could further excavate the features
character study, a mystery to solve, is filled with tension and
literally and metaphorically, but maybe that could unravel one
of this scene. Perhaps we could inch closer to a nuanced
may allude to social class and race. It draws us immediately
day? The writing on the desk is unclear, but its words are
understanding of this encapsulated moment. However, we
into the transaction that is occurring. It recruits my
punctuated by a heart with a cross speared through its middle,
can only dig so deep before our trowel bends back on itself
Holmesian curiosity. What is going on here? A well-to-do
reminding us that love is beautiful but can also be cruel.
and asks us questions about ourselves.
woman, luxuriously dressed, reaches with a demanding
—Davis Brimberg, Ph.D., Clinical Psychologist, Santa Fe
—Lauren Tresp, Gallery Manager, Eight Modern, Santa Fe
gesture for the gold the red-robed man is weighing, or is it for the scales themselves? Her companion (brother?
A certain frustration or friction exists when encountering an
A wealthy and elegantly attired young couple are in a
husband?), dressed in velvet and fur, holds her in a firm
image that has lived for centuries. In addition to historical
craftsman’s workshop awaiting the wedding ring they
grip as he looks suspiciously down on the transaction. Is
distance and cultural remove, there is opacity in the decorum
commissioned. The contents of the workshop are beautifully
he wondering if they will be cheated? The two of them
and formality of this scene. The codified markers of identity
painted. We see both the raw materials and the objects
have a superior, upper-class air about them. The red-robed
the artist provided to his viewers now cause disorientation.
fashioned from them: crystal, gem stones, beads, as well
man looks slightly exotic. Details suggest that he may be
As a point of entry, we can surmise that the standing figures
as buckles, rings, brooches, pins, and liturgical vessels.
a Jew or an Arab. His cap and the objects on his shelf—a
are a young couple. They are aristocratic, evident in their
On the table are references to the impending nuptials: a
turreted, polished brass and glass vessel, a string of beads,
fair complexions and sumptuously textured attire. An array
woman’s sash, or girdle, which signifies chastity, marriage,
a piece of coral, a Moroccan purse, and something that
of items, including gemstones, ring bands, and a branch of
and maternity. And then there is the reflection in the convex
might be an incense holder—suggest the Middle East. The
coral signify that the man in red is likely a jeweler. From the
mirror: a person holds a falcon—a symbol of pride, greed,
tools of his trade are visible—the abacus, the scales. Is he a
staged posturing of the figures to the oblique angles of the
and sexual conquest. While it is interesting to parse all of
financier, a moneylender? Most puzzling is his blank stare. Is
space, it is clear that the composition favors full access to visual
the meanings and speculate about all of the symbolism, one
he calculating numbers, or is he masking a scheme? Is that
information over naturalism. The clarity of detail indicates that
does not need to know any of that to understand that this is a
him in a turban with his wife in the portrait on his desk?
each of the items presented signifies the interaction taking
wonderful painting, full of meaning.
Possible title: A Visit to the Moneylender.
place. This image served, and serves, as documentation of
—Lane R. Johnston, Chef, Boulder, Colorado
—Ellen J. Shabshai Fox, Psychotherapist, Santa Fe
20 | THE magazine
APRIL
2013
T R ADIT IO N AL JAPAN E S E RA M E N H O U S E
shibumi R AMEN
•
I Z A K AYA
•
YA K I T O R I
Dinner: 5:30 –10 pm Monday – Saturday 26 Chapelle Street, Santa Fe, NM 87501 505.428.0077 ■ shibumiramen.com Fragrance Free
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Parking Available
More Than Just a Pretty Table...
Wine B eer Pat io
910 West San Mateo - Santa Fe - 820-3121
food for thought
Pie Town, nm Gather ’round, children, it’s time to hear the story of Pie Town. Once upon a time, a great, choking cloud of dirt destroyed the land that was supposed to feed America—they called it the Dust Bowl. To escape the ever-present feeling of dirt under their fingernails and between their teeth, travelers struck out west to California in hopes that Pacific Ocean breezes would dust them off. Well, some didn’t quite make it all the way, including one man with a predilection for baking. That man, a Texan and a World War I veteran, found himself broken down on a rocky ridge about two hundred miles southwest of Santa Fe. His name was Clyde Norman, and somewhere between a rattlesnake and a juniper bush he started making the best dried-apple pies anyone had ever tasted at 8,000 feet above sea level. A little town sprang up around Norman’s pies, and when it petitioned for its own post office, in 1927, the locals wanted no other name for their village than Pie Town. Soon enough, one of the great Farm Security Administration photographers, Russell Lee, would pop by Pie Town and capture, in photographs, the town’s determination to survive the tail end of the Great Depression. Nowadays, people there are no longer living in dugout cabins, but you can still eat the best darn slice of pie you’ve ever had. If you take U.S. 60 west of Socorro, about eighty miles down the road you’ll find a quaint little storefront called the Pie-O-Neer Café, where you can have your pick of apple, strawberry-rhubarb, peanut butter, cherry streusel, or whatever else strikes your fancy. A meal there won’t set you back more than ten dollars, and the old-town charm is free. Note: A short documentary film—The Pie Lady of Pie Town—by Jane Rosemont, is currently in production and should be completed this summer. APRIL
2013
THE magazine | 23
happy hour special - 50% off our famous classic appetizers calamari, dumplings, spring rolls wines-by-the-glass, “well” cocktails and our house margaritas - $5.00 full bar with free wi-fi monday thru friday from 4:30 – 6:30 pm
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One Bottle:
The 2011 Domaine Comte Abbatucci Ajaccio Blanc “Cuvée Faustine” by Joshua
To get to the first tree, take Saint Francis Drive/Highway 285 north through
Baer
at the base of the Calle Mejia cottonwood. The noise from the highway
Santa Fe. After you cross the Paseo de Peralta intersection, get into the
would be too loud. All I’m saying is that the tree is worth the time it takes
left lane. At the next stoplight turn left onto Alamo Drive, then turn right
to go and see it.
immediately onto Calle Mejia. Stay on Calle Mejia. You’ll pass the Lodge at Santa Fe on your left. Highway 285 will be parallel to you on your right.
Which brings us to the 2011 Domaine Comte Abbatucci Ajaccio Blanc “Cuvée Faustine.”
After you pass Viento Drive you’ll come to Viento Circle. Ten yards after
In the glass, the 2011 Ajaccio Blanc is a clear, pale gold. At first, the clarity
Viento Circle, you’ll see a dirt road turnout on your right. Turn right onto the
of the wine lowers your expectations. If you have a taste for white Burgundy,
turnout and find a safe place to park. When you get out of your car, look east
you may find yourself wondering if a wine this clear can have any depth. The
toward the cemetery and the mountains. The tree will be in front of you.
bouquet takes your expectations and reverses their direction. The wine’s
The tree is a large cottonwood, one of the largest in New Mexico. Nambe has hundreds of tall cottonwoods, and the Bosque north of Albuquerque has thousands, but the cottonwoods in Nambe and in the Bosque north of Albuquerque are tall and thin, because they compete for ground, sunlight, and water. The cottonwood on
aromas are simple, but their simplicity is layered, the way the stars in a clear night sky are layered. On the palate, the 2011 Ajaccio Blanc delivers its message. This is a wine of precise details, and each detail tells a true story. I have tasted more complex white wines but have yet to taste a white wine that is more authentic. The finish
Calle Mejia lives by itself, at the edge of an arroyo. Its status
is the 2011 Ajaccio Blanc’s best feature. After you take
as a lone tree has allowed it to flourish into a symmetrical
a sip, the finish pauses, then it disappears. The nature of the
globe approximately seventy feet tall, seventy feet wide, and
finish—the sudden presence of its absence—becomes your
seventy feet deep. The tree must be a hundred years old.
memory of the wine. It’s like falling off a cliff and discovering
My theory is that it survived because of its symmetry. No one
that you know how to fly.
could look at it and decide to cut it down.
To get to the second tree, take Old Pecos Trail southeast
My wife and I started visiting the Calle Mejia cottonwood
out of Santa Fe. After you pass Quail Run, get into the left
in September of 2007. We were driving back into town from
lane. When you come to the last stoplight before I-25, at the
Chupadero. The cottonwood’s leaves were a deep yellow.
Rodeo Road intersection, turn left and take Old Las Vegas
Maybe it was my imagination, but the tree appeared to have
Highway past Harry’s Road House and El Gancho. After the
twice as many leaves as any other cottonwood I’d seen.
El Gancho light, stay on Old Las Vegas Highway for exactly
As we came down the hill we saw the blur of yellow, said
two miles. You’ll see the sign for Calimo Circle on your left.
“Did you see that?” to each other, turned right onto Alamo
Make a U-turn and pull over onto the shoulder just west of
Drive, right onto Calle Mejia, and drove up Calle Mejia until
Calimo Circle. The tree will be a hundred yards in front of
the tree was in front of us. The first thing we did was go
you on your left, in the strip between I-25 and the highway.
to the base of the trunk and look up. It was like standing in
The tree is a Ponderosa pine, with mottled amber bark.
a cathedral. After we came out from under the branches,
Its branches form terraces of inverted canopies all the way to
I took pictures of my wife standing in front of the tree. In the
the top. In the early 1600s, when the Spanish came into this
pictures, the cottonwood is so large, my wife looks like a toy
area, the hills and high plains between Santa Fe and Clines
standing at the base of a canary yellow mountain.
Corners were covered with Ponderosa pines. Over the next
We visit the cottonwood three or four times a year.
four centuries, those Ponderosa pines became houses. They
While the fall is the most dramatic time to go, the tree is as
also became the horse-drawn carts that carried firewood to
beautiful without leaves as it is with them. In the middle of
those houses, and the fires that burned in the hearths and
winter, it looks like a sphere of grey veins. At this time of
stoves of those houses. The big vigas you see in New Mexico’s
year, as its dark purple-green leaves begin to unfold, the tree
old haciendas were made from the trunks of Ponderosa
is a world waiting to happen.
pines. Legend has it that, when you sleep in a New Mexican
Will paying a visit to the Calle Mejia cottonwood make your wine taste better? I say yes, absolutely. Grapes grow on vines, but wine tastes better in the company of trees. After grapes are crushed, their juice spends time in wooden barrels, which says something about the symbiosis between wine and wood. I’m not suggesting that you go have a picnic
APRIL
2013
house for the first time and count the vigas before you fall asleep, the house will grant you good luck. One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. The name “One Bottle” and the contents of this column are ©2013 by onebottle.com. For back issues, go to onebottle.com. Send comments or questions to jb@onebottle.com.
THE magazine | 25
dining guide
Inspired Cuisine
from Chef Nelli Maltezos
VIVRE 304 Johnson Street Reservations: 505-983-3800
$ KEY
INEXPENSIVE
$
up to $14
MODERATE
$$
$15—$23
EXPENSIVE
$$$
VERY EXPENSIVE
$24—$33
$$$$
Prices are for one dinner entrée. If a restaurant serves only lunch, then a lunch entrée price is reflected. Alcoholic beverages, appetizers, and desserts are not included in these price keys. Call restaurants for hours.
$34 plus
EAT OUT OFTEN
Photo: Natalie Guilén
...a guide to the very best restaurants in santa fe, albuquerque, taos, and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: A beautiful new bar with generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. 317 Aztec 317 Aztec St. 820-0150 Breakfast/ Lunch. Patio. Major credit cards. $$ Cuisine: Café and Juice Bar. Atmosphere: Casual. House specialties: Breakfast: Eggs Benedict and the Hummus Bagel, are winners. Lunch: we love all of the salads and the Chilean Beef Emanadas. Comments: Jjuice bar and perfect smoothies. Andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Good wines, great pizza. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236 . Breakfast/Lunch/Dinner. Full bar. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American w/ a Southwestern twist. Atmosphere: A classy room. House specialties: For lunch, we suggest the Ahi Tuna Tacos or the Fried Ruby Trout. For dinner, start with the Heirloom Beet Salad or the Roasted Quail. Follow with the flavorful Achiote Grilled Atlantic Salmon or the Free Range Northern New Mexico Lamb Roast—both winners! Dessert favorites are the Chocolate “Crocante de Cajeta” and the Chef’s Selection of Artisanal Cheeses. Comments: Menu changes with the seasons. The Empanadas served at the bar are a must, as well as the terrific cocktails served by mixologist James Reis. Attentive service, superb presentation, a sophisticated wine list, and a creative chef (Juan Bochenski) in the kitchen assure that you will have a superb dining experience. Bobcat Bite 418 Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Patio. Cash. $$ Cuisine: As American as good old apple pie. Atmosphere: A lowslung building with eight seats at
the counter and four tables. House specialties: The inch-and-a-half thick green chile cheeseburger is perect. The secret? A decades-old, well-seasoned cast-iron grill. Go. Body Café 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual. House specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Avocado and Cheese Wrap. Comments: Soups and salads are marvelous, as is the superhealthy Carrot Juice Alchemy. Bouche 451 W. Alameda Street 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: Standouts starters are the “Les Halles” onion soup and the Charcuterie Plank. The chef ’s favorite salad is the Tuna Carpaccio Nicoise with Sashimi-grade tuna. You will love the tender Bistro Steak in a pool of caramelized shallot sauce, and the organic Roast Chicken for two with garlic spinach, and the Escargots a la Bourguignonne. Comments: The menu changes seasonally. Chef Charles Dale and staff are consummate professionals. Cafe Cafe Italian Grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad, the tasty specialty pizzas, or the grilled Eggplant sandwich. For dinner, try the perfectly grilled Swordfish. Café Fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch. Patio Cash/major credit cards. $ Cuisine: Contemporary comfort food. Atmosphere: Casual and bright. House specialties: Ricotta pancakes with fresh berries, the chicken enchiladas; and the green-chile Cheese burger. Comments: Organic and housemade products are delicious. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian maiden posters. House specialties: Hotcakes got a nod from Gourmet magazine. Huevos motuleños—a Yucatán breakfast—is
one you’ll never forget. For lunch, try the Grilled Chicken Sandwich. Chopstix 238 N. Guadalupe St. 982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, Kung Pau Chicken, and Broccoli and Beef. Comments: Friendly owners. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. Comments: Good selection of beers and wine.
Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego Cheese marinated in extra virgin olive oil. Go, you will love it. Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: French/Asian fusion. Atmosphere: Elegant and stylish. House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass served with black truffle scallions, and the classic peppery Elk tenderloin.
Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: Good old American. fare. Atmosphere: Patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are fantastic. Super buffalo burgers. Comments: Huge selection of beers.
Il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad; the Lemon Rosemary Chicken; and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to Table, all the way.
Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: For your main course, go for the grilled Maine Lobster Tails or the grilled 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines.
Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers, Comments: Chef Obo wins awards for his fabulous soups.
Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room with small tables inside and a nice patio outside where you can sit, read periodicals, and schmooze. Tons of magazine to peruse. House specialties: Espresso, cappuccino, and lattes.
Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake. It is smooth and dry.
El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish. Atmosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-tocheek dancing. House specialties: Tapas, Tapas, Tapas. Comments: Murals by Alfred Morang.
La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian tamales. Comments: Sunday brunch.
El Mesón 213 Washington Ave. 983-6756.
Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636.
Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: The Pho Tai Hoi: vegetarian soup loaded with veggies. Comments: Friendly waitstaff and reasonable prices. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Enclosed courtyard. House specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad. For your entrée, try the Braised Lamb Shank with couscous, and vegetables. M aria ’ s N ew M exican K itchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner (Thursday-Sunday) Beer/wine. Patio. Major credit cards. $$ Cuisine: American/New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: Freshly made Tortillas and Green Chile Stew. Comments: Perfect margaritas. Midtown Bistro 910 W. San Mateo, Suite A. 820-3121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Large open room. House specialties: For lunch, start with the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrées we suggest are the Grilled Atlantic Salmon with Green Lentils, Sautéed Swiss Chard, and the French Cut Pork Chop with Sweet Potato Puree and Habanero-Pineapple Syrup. Comments: Nice desserts. Patio is now open. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic products. New York Deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. Comments: Deli platters to go. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican.
continued on page 29 APRIL
2013
THE magazine | 27
Diverse fare inspired by world foods + local seasonal harvest Offering New Mexico’s first wines on tap + craft draft brews $19 Prix Fixe small plates dinner (soup + salad + entree) + a la carte menu available Breakfast + Lunch Monday - Friday 8am - 3pm Dinner Thursday - Saturday 5pm - 9pm Brunch Saturday 9am - 3pm
Two Happy Hours: 3–6 pm and 9 pm on...
Mention or bring THE magazine’s ad and receive an appetizer “on the house.” 3462 zafarano drive • 505.471.6800 • www.sfcapitolgrill.com • info@sfcapitolgrill.com
Pacheco Park 1512 Pacheco Street, Santa Fe 505.795.7383
tomme a restaurant Join us nightly in our lounge for happy hour
229 galisteo street 820-2253
dinner: monday - saturday join us
1$ Oysters & Jonah Crab Claws from 5-7pm
Sun-Thur, 5:00 -9:00 pm u Fri- SaT, 5:00 - 9:30pm 315 Old SanTa Fe Trail, SanTa Fe, nm reServaTiOnS: (505) 986.9190 u www.315SanTaFe.cOm
joseph wrede behind the line
dining guide
The Empanadas at the bar at the Anasazi Restaurant 113 Washington Avenue, Santa Fe • Reservations: 988-3030 .Atmosphere: Bright and light. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile. Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American, all the way. Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs and Burgers. Haystack fries rule Recommendations: Nice wine list. Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Patio. Major credit cards. $$$ Cuisine: Southwestern with a French flair. Atmosphere: Contemporary. House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Nice wine list. Rose’s Cafe 57 University W. Blvd SE, #130, Alb. 505-433-5772 Breakfast/Lunch. Patio. Major credit cards. $ Cuisine: A taste of the Yucatán with a Southwest twist. House specialties: We love the Huevos Muteleños: corn tortillas w/ refried black beans, eggs topped with Muteleños sauce, cotya cheese, and fresh avocado. Lunch: the Yucatán Pork Tacos. Comments: Kid’s menu and super-friendly folks. San Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ Cuisine: Japanese Sushi and Tapas. Atmosphere: Large room with a Sushi bar. House specialties: Sushi, Vegetable Sashimi and Sushi Platters, and a variety of Japanese Tapas. Comments: Savvy sushi chef. San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: All-American. Atmosphere: Casual. House specialties: The San Francisco Street Burger or the Grilled Yellowfin Tuna Nicoise Salad. Comments: Sister restaurant in the DeVargas Center. Comments: Reasonable prices. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Southwest Contemporary. Atmosphere: Minimal, subdued, and elegant House specialties: The world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Panseared Salmon with olive oil crushed new potatoes and creamed sorrel.
APRIL
2013
Comments: Happy hour special from 4-6 pm. Half-price appetizers. “Well” cocktails and House Margaritas only $5. Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmealcrusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet. Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. Atmosphere: Contemporary and hip. House specialties: Start with the Seared Ahi Tuna. For your main, we suggest the Chicken Fried Chicken, with mashed potates and bacon bits, the flavorful Ceviche, or the Beer Battered Fish and Chips. All desserts are right on the mark. Comments: Wines from around the world. Quality beers. Two happy hours: 3-6 pm and 9 pm on. Generous portions/reasonable prices. Mention THE magazine and receive an appetizer on the house. Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily specials, gourmet sandwiches, wonderful soups, and an excellent salad bar. Comments: Organic coffees and super desserts. Do not pass on the Baby-Back Ribs. Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Real casual. House specialties: Beers are outstanding, when paired with the Beer-steamed Mussels, Calamari, Burgers, or Fish and Chips. Comments: Sister restaurant in the Railyard District. Shibumi 26 Chapelle St. 428-0077. Dinner Fragrance-free Cash only. $$. Parking available Beer/wine/sake Cuisine: Japanese noodle house. Atmosphere: Tranquil and elegant. Table and counter service. House specialties: Start with the Gyoza—a spicy pork pot sticker—or the Otsumami Zensai or select from four hearty soups. Shibumi offers sake by the glass or bottle, as well as Japanese beers, and champagne. Comments: Zen-like.
Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff, Station 430 S. Guadalupe. 988-2470 Breakfast/Lunch Patio Major credit cards. $ Cuisine: Light fare and fine coffees and teas. Atmosphere: Friendly and casual. House specialties: For your breakfast, the Ham and Cheese Croissant. Fo lunch, the Prosciutto, Mozzarella, and Tomato sandwich Comments: Special espresso drinks. El Gancho Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant House specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce. Comments: They know steak here. Steaksmith
at
Sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner. Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. Atmosphere: Large open room. House specialties: In the am, try the Mediterranean Breakfast— Quinoa with Dates, Apricots, and Honey or the Baked Eggs with Crème Fraiche and Herbs. Lunch favorites are the Indonesian Vegetable Curry on Rice; the Fabulous Figs Flatbread: with Black Mission Figs, Prosciutto, and a Harvest Salad. Comments: For your dinner , we suggest the Prix Fixe Small Plate: soup, salad, and an entrée for only $19. Wines and Craft beers on tap. Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to tableto mouth. Atmosphere: Casual. House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox. A variety of teas from around the world available, or to take home. Terra at Four Seasons Encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties: For breakfast, we love the Blue Corn Bueberry Pancakes and the Santa Fe Style
Chilaquiles. For dinner, start with the sublime Beet and Goat Cheese Salad. Follow with the Pan-Seared Scallops with Foie Gras or the delicious Double Cut Pork Chop. Comments: Chef Andrew Cooper partners with local farmers to bring fresh seasonal ingredients to the table. A fine wine list and top-notch service.
Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$ Cuisine: Traditional New Mexican. Atmosphere: Casual. House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese. Comments: The real deal.
The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive. 505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: Local flavors. Atmosphere: Casual, calm, and friendly. House specialties: At lunch we love the Ojo Fish Tacos and the organic Artesian Salad with Prickly Pear Vinaigrette. For dinner, start with the Grilled Artichokei. The Trout with a Toasted Piñon Glaze is a winner. Comments: Nice wine bar.
tomme: a restaurant
The Compound 653 Canyon Rd. 982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: Contemporary. Atmosphere: 150-year-old adobe. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef/owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award. The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: Modern Italian Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch: the Prime Rib French Dip. Dinner: go for the Scottish Salmon poached in white wine, or the Steak au Poivre. Comments: BBQ Oyters on Saturday. The Pink Adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club. For dinner, Steak Dunigan or the Fried Shrimp Louisianne. Comments: Cocktails hour in the Dragon Room is a must! The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: A local institution located just off the Plaza. House specialties: Order the red or green chile cheese enchiladas. Comments Always busy. The Ranch House 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: BBQ and Grill. Atmosphere: Family and very kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: The best ribs.
229 Galisteo St. 820-2253 Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Innovative Contemporary. Atmosphere: Casual and friendly. House specialties: Start with the Pork Belly. Entrée: Choose the Peppered Elk Tenderloin, or the Southern Fried Chicken. Comments: Nice staff. Tune-Up Café 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home. House specialties: For breakfast, order the Buttermilk Pancakes or the Tune-Up Breakfast. Comments: real friendly.w Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: Light and cheerful. House specialties: All organic salads. Love the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: When in Albuquerque, visit their their sister restaurant at 1828 Central Ave., SW. Vivre 304 Johnson St. 983-3800 Dinner. Beer/Wine. Fragrance-free. Major credit cards. $$ Cuisine: Inspired French food. Atmosphere: Intimate. House specialties: we suggest you start with the sublime Fennel Soup with Pernod and Mussels. For your main, try the Whole Roasted Trout with Sautéed Green Beans, or the Roasted Chicken with Thyme Jus and Potatoes. For dessert we love the Fresh Grapefruit served with Honey Vanilla Syrup. Comments: An extensive wine list. Zacatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Slow Cooked Pork Ribs Over sixty-five brands of Tequila. Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: All-American Atmosphere: Down home. House specialties: The Chile Rellenos and Eggs is our breakfast choice. At lunch, get the Southwestern Chicken Salad or the crispy Fish and Chips. Comments: The bar is place to be at cocktail hour.
On the Road in Southern California with THE Wonderful Grass-Fed Beef Burgers, Free-Range Turkey Burgers, Quinoa Burgers, Fries, Onion Rings, and Salads in Los Angeles and San Diego. www.burgerlounge.com
THE magazine | 29
EXPLORATIONS OF COLOR, FORM AND RHYTHM THREE SOLO EXHIBITIONS MARCH 29 - MAY 4, 2013 Opening Reception: Friday, March 29, 5:00-7:00 PM Artist Gallery Talks with Donald Kuspit: Saturday, March 30, 2:00-3:30 PM
TOM MARTINELLI OUT OF REGISTER, 1993-1998 Untitled-April.14.97, 1997, Acrylic on canvas, 18" x 18"
CAROL BROWN GOLDBERG COLOR IN SPACE
NT 22, 2011, Acrylic on canvas with pulverized glass, 60" x 36"
PHILLIS IDEAL OVERLAP
Off The Deep End, 2008-12, Acrylic and collage on panel, 61" x 71"
RAILYARD ARTS DISTRICT DavidrichardGallery.com 544 South Guadalupe Street, Santa Fe, NM 87501 p (505) 983-9555 | f (505) 983-1284 info@DavidRichardGallery.com
openings
A P R I L art openings FRIDAY, MARCH 29
SATURDAY, MARCH 30
333 Montezuma Arts, 333 Montezuma Ave., Santa Fe. 988-9564. Art of Systems Biology and Nanoscience: group show. 4-9 pm.
333 Montezuma Arts, 333 Montezuma Ave., Santa Fe. 988-9564. Art of Systems Biology and Nanoscience: group show. 10 am-8 pm.
Charlotte Jackson Fine Art, 554 S. Guadalupe St., Santa Fe. 989-8688. Mindspace: works by William Metcalf. 5-7 pm.
FRIDAY, APRIL 5
David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. 3 painting shows. Overlap: Phillis Ideal; Out of Register: Tom Martinelli; and Color in Space: Carol Brown Goldbderg. 5-7 pm. Gallery talks w/ Donald Kuspit: Sat., Mar 30, 2-3:30 pm. Eight Modern, 231 Delgado St., Santa Fe. 9950231. Year of the Snake: group show. 5-7 pm. James Kelly Contemporary, 550 S. Guadalupe, Santa Fe. 988-1601. Stormy Monday: painted objects by Stuart Arends. 5-7 pm. Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Unfolding Time: paintings by Michael Freitas Wood. 5-7 pm.
A Gallery Santa Fe, 154 W. Marcy St. No. 104, Santa Fe. 603-7744. N.O.F.A.—Non Objective Folk Art: work by William Weaver and Michael Austin Wright. 5-7 pm. Chiaroscuro Contemporary Art, 702½ Canyon Rd., Santa Fe. 992-0711. Spring Thaw: group show. 5-7 pm. Eggman & Walrus, 130 W. Palace Ave., 2nd Fl. Santa Fe. 660-0048. Veiled: works on papersculptures by Susan Begy. Paintings by Anne Kennedy. 5-9 pm. Harwood Art Center, 1114 7th St. NW, Alb. 505-242-6367. That Sound Under the Floor is the Sea: paintings by Cedra Wood. 6-8 pm. Hispanic Arts Building, Expo New Mexico,
300 San Pedro Dr. NE, Alb. 505-260-9977. MasterWorks of New Mexico 2013. 5-8 pm. Manitou Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Paintings by Harry Greene and Fran Larsen. 5-7:30 pm. Mariposa Gallery, 3500 Central Ave. SE, Alb. 505-268-6828. Dear Refuge: mixed-media works by Rosie Carter. Mighty Miniatures: paintings by Deborah Healey. 5-8 pm. Touching Stone Gallery, 539 Old Santa Fe Tr., Santa Fe. 988-8072. Tanba Modernism II: work by Keiichi Shimizu. 5-7 pm. SATURDAY, APRIL 6
EXPO New Mexico Fine Arts Building, 300 San Pedro Dr. NE, Alb. 505-977-6899. Second Annual InSight: juried art show of New Mexico women photographers. 3-5 pm. FRIDAY, APRIL 12
333 Montezuma Arts, 333 Montezuma Ave., Santa Fe. 988-9564. Rock, Paper, Scissors: group
show. 5-7 pm. Eight Modern, 231 Delgado St., Santa Fe. 9950231. Dogs Are Forever: mixed-media work by Nancy Youdelman. 5-7 pm. Nüart Gallery, 670 Canyon Rd., Santa Fe. 988-3888. Everything that Rises: work by Claire B. Cotts. 5-7 pm. Page Coleman Gallery, 6320-B Linn Ave. NE, Alb. 505-238-5071. Idiodyssey: painted steel sculptures by Scott Krichau. 5-7 pm. SCA Contemporary Art, 524 Haines Ave. NW, Alb. 505-228-3749. Last Monuments: works by Frol Boundin. 5-8 pm. SATURDAY, APRIL 13
Rio Bravo Fine Art, 110 N. Broadway, Truth or Consequences. 575-894-0572. Nicholas Peron: A Retrospective—50 Years: drawings, paintings, and mixed-media. 6-9 pm. FRIDAY, APRIL 19
Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-3432. Picnic for Earth: art from baskets provided by the Nature Conservancy. 4-6 pm. Studio Broyles, 821 Canyon Rd. (upstairs), Santa Fe. 699-9689 The Naked Truth: work dealing with the body. 6-8 pm. SUNDAY, APRIL 21
Hulse/Warman Gallery, 222 Paseo del Pueblo Norte, Taos. 575-751-7702. Habitat: work by Murtuza Boxwalla. 2-5 pm. FRIDAY, APRIL 26
A SEA Gallery, 407 S. Guadalupe St., Santa Fe. 988-9140. Drawings by Valdez Abeta Y Valdez and jewelry by Elaine Algham. 5-7 pm GVG Contemporary, 202 Canyon Rd., Santa Fe. 982-1494. Know Place. Like Home: paintings by Lori Schappe-Youens and Jennie Kiessling. 5-7 pm. Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. Two Painters Paint: paintings by Rick Stevens and Peter Burega. 5-7 pm. Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. European Perspectives—The Radiant Line: group show. 5-7 pm. SPECIAL INTEREST
516 Arts, 516 Central Ave. SW, Alb. 505-2421445. Flatlanders and Surface Dwellers: group show. Through Sat., June 1. 516arts.org Albuquerque ArtsCrawl, various locations in Alb. 505-244-0362. First Friday/Third Friday: citywide gallery openings. Fri., April 5, 5-8:30 pm; Fri., April 19, 5-8:30 pm. artscrawlabq.org continued on page 34
2013 Spring Thaw at Chiaroscuro Contemporary Art, 702½ Canyon Road Reception: Friday, April 5 from 5 to 7 pm. Image: Michele Mikesell
APRIL
THE magazine | 31
THE DEAL
For artists without gallery representation in New Mexico. Full-page B&W ads for $600. Color $900. Reserve space for the May issue by Monday, April 15. 505-424-7641 themagazinesf@gmail.com
Artist seeks helper with projects and general studio activities. Applicant must be adaptable and good with materials and tools. Knowledge of contemporary art is a plus. Flexible schedule: 8 -12 hours a week. Pay negotiable. Location: Rufina and Siler Roads. 505-473-3751.
OUT AND ABOUT photographs by Mr. Clix Dana Waldon and Jennifer Esperanza
Honey Harris interviews THE magazine on Thursday, April 4, 10:30 am Tune to: 98.1 FM KBAC
Jonas Povilas Skardis
Mac (and PC) Consulting 速
Training, Planning, Setup, Troubleshooting, Anything Final Cut Pro, Networks, Upgrades, & Hand Holding
phone: (505) 577-2151 email: Pov@Skardis.com Serving Northern NM since 1996
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openings
Albuquerque Photographers’ Gallery, 303 Romero St. NW, Alb. 505-238-4905. The Acoma Collection: photographs by Lee Marmon. Through Tues., April 30. abqphotographersgallery.com Center for Contemporary Arts, 1050 Old Pecos Tr., Santa Fe. 983-1338. Revival: works by Billy Joe Miller. Through Sun., April 14. El Otoño Mio Es Tu Primavera: work by Miguel Arzabe. Through Sun., April 21. ccasantafe.org City of Santa Fe Arts Commission Community Gallery, 201 W. Marcy St., Santa Fe. 9556705. Cumulous Skies—The Enduring Modernist Aesthetic in New Mexico: group show. Through Fri., June 7. santafenm.gov Corrales Art Studio Tour, various locations in Corrales. 505-554-1638. 15th Annual Corrales Art Studio Tour. Sat., May 4 and Sun., May 5, 10 am-5 pm. corralesartstudiotour.com Harwood Museum, 238 Ledoux St., Taos. 575758-9826. Red Willow—Portraits of a Town: group show. Social Realism and The Harwood Suite: prints by Eli Levin. Eva Mirabal and Jonathan Warm Day. Through Sun., May 5. harwoodmuseum.org Lannan Foundation at the Lensic, 211 W. San Francisco St., Santa Fe. 988-1234. Readings and Conversations Series: Isabel Wilkerson with John Stauffer, Wed., April 10, 7 pm. David Mitchell with Tom Barbash, Wed., April 24, 7 pm. lannan.org LewAllen Galleries, 125 W. Palace Ave., Santa Fe. 988-3250. Life Mirrors: paintings by Jeanette Pasin Sloan. Failure: work by Kris Cox. Through Sun., April 28. lewallengalleries.com Marigold Arts, 424 Canyon Rd., Santa Fe. 9824142. New Hand-Woven Rugs: work by Sandy Voss. Through Wed., May 1. marigoldarts.com Museum of Contemporary Native Arts, 108 Cathedral Pl., Santa Fe. 983-1777. Poetry reading by Suzan S. Harjo. Sun., April 14, 2-4 pm. IAIA Student Lecture: lecture by Heidi Brandow. Sun., April 21, 2-4 pm. iaia.edu Museum of Contemporary Native Arts, 108 Cathedral Pl., Santa Fe. 983-1777. Thicker than Water: group show. Summer Burial: work by Jason Lujan. Through Sun., May 12. iaia.edu/museum New Mexico Museum of Art, 107 W. Palace Ave., Santa Fe. 476-5072. Shiprock and Mont St. Michel: photographs by William Clift. Fri., April 19 through Sept. nmartmuseum.org Richard Levy Gallery, 514 Central Ave. SW, Alb. 505-766-9888. Color Matter: paintings by Xuan Chen. Project Room: paintings by Charles Fresquez. Fri., April 5 to Fri., May 31. levygallery. com Santa Fe Artists Market, 1607 Paseo de Peralta, Santa Fe. 310-1555. Santa Fe Artists Market. Saturdays, 8 am-1 pm. santafeartistsmarket.com
May 13. vivocontemporary.com Warehouse 21, 1614 Paseo de Peralta, Santa Fe. 699-7275. Bollywood Club Invasion: dance party and fundraiser for Amma Center Projects. Sat., March 30, 7:30 pm-1 am. facebook.com/ BollywoodClubInvasion William R. Talbot Fine Art, 129 W. San Francisco St., Santa Fe. 982-1559. Missions & Moradas of New Mexico, 1922-2012: annual Easter group show. Fri., March 29 to Sat., April 27. williamtalbot.com PERFORMING ARTS
Center for Contemporary Arts, 1050 Old Pecos Tr., Santa Fe. 474-8400. Eventua: series of cutting-edge performances by Theater Grottesco and others. Through Sun., May 5; Fri. and Sat., 7 pm; Sun., 4 pm. theatergrottesco.
com Dirty Bourbon, 9800 Montgomery Blvd. NE, Alb. 505-886-1251. The Elders: roots rock band. Sun., April 7, 7:30 pm. ampconcerts.org KiMo Theatre, 423 Central Ave. NW, Alb. 505886-1251. The Klezmatics: Jewish roots band. Fri., April 19, 8 pm. ampconcerts.org The Launchpad, 618 Central Ave. SW, Alb. 505764-8887. The Expendables: reggae punk band. Wed., April 10, 7:30 pm. launchpadrocks.com The Lensic, 211 W. San Francisco St., Santa Fe. 9884640. Violinist Chad Hoopes with the Santa Fe Pro Musica Orchestra. Fri., April 12, 7:30 pm; Sat., April 13, 6 pm; Sun., April 14, 3 pm. santafepromusica.com National Hispanic Cultural Center, 1701 4th St. SW, Alb. 505-724-4771. David Lindley: world
music. Sat., April 13, 8 pm. ampconcerts.org New Mexico State University’s Pan American Center, 1810 E. University Ave., Las Cruces. 575-646-1420. American Idol’s Phillip Phillips. Fri., March 29, 7:30 pm. phillipphillips.com Santa Fe University of Art and Design, 1600 St. Michael’s Dr., Santa Fe. 473-6440. Ozomatli: latin fusion band. Sat., April 27. santafeuniversity.edu CALL FOR ARTISTS
Albuquerque Theatre Guild, P.O. Box 26395, Alb. 505-268-7579. Youth Theatre Scholarship Program: theatre scholarships available for students between 5 and 17 years old. Deadline: Fri., April 12. abqtheatre.org Center for Contemporary Arts, 1050 Old Pecos Tr., Santa Fe. 983-1338. Collect 10/Lucky 13: New Mexico artists can submit art that fits in a 10” x 10” x 10” space. Deadline: Wed., April 10 and Thurs., April 11, 10 am-5 pm. Reception: Fri., April 26, 6-8 pm. ccasantafe.org Georgia O’Keeffe Museum, 217 Johnson St., Santa Fe. 685-4539. Spring Art Session at Georgia O’Keeffe’s Abiquiu Home: half- or full-day independent sketch sessions at O’Keeffe’s home and studio in Abiquiu. Mon., May 20, 7 am-6 pm. okeeffemuseum.org Greg Moon Art, 109 Kit Carson Rd., Taos. 575-770-4463. After Dark II: show celebrating all things nocturnal. Deadline: Mon., April 15. blog. gregmoonart.com/group-exhibition
Unitarian Universalist Congregation, 107 W. Barcelona Rd., Santa Fe. 982-9674. The Scent of Uncertainty: poetry, performance, and creative nonfiction. Sun., April 21, 3-4 pm. uusantafe.org
Top: Paintings by Deborah Healy and mixedmedia work by Rosie Carter at Mariposa Gallery, 3500 Central Avenue SE, Albuquerque. Reception: Friday, April 5 from 5 to 8 pm. Painting by Deborah Healy.
ViVO Contemporary, 725 Canyon Rd., Santa Fe. 982-1329. Anthology: work by Ro Calhoun, Ann Laser, and Patricia Pearce. Through Mon.,
Left: Annual Easter exhibition—Missions and Moradas of New Mexico, 1922-2012 at William R. Talbot Fine Art, 129 West San Francisco Street (2nd floor). Image: Howard Cook. Through April 27.
34 | THE magazine
april
2013
VISION 2013
Kevin Burgess de Chávez • Drew Coduti Catalina Delgado-Trunk • Damian Velasquez Frederico M. Vigil
Exhibition continues through September 29, 2013
RMAC ROSWELL MUSEUM AND ART CENTER
100 West 11th Street • Roswell, NM 88201 575-624-6744 • www.roswellmuseum.org
Santa Fe Art Institute More about the 2013 Season CONTESTED SPACE at www.sfai.org
Earth Chronicles Project, The Artist's Process: New Mexico An Exhibition, Film Screening, and Poetry Workshop
Film Screening, Q&A, and Exhibition Opening With Fran Hardy and Bob Demboski Monday, April 15, 6pm SFAI Exhibition, M-F, April 16-May 17, 9am – 5pm SFAI Poetry Workshop, with Lauren Camp Thursday, May 9, 6:30 – 8:30pm SFAI Artists and Writers in Residence April Open Studio Thursday, April 25, 5:30pm SFAI WWW.SFAI.ORG, 505 -424 -5050, INFO@SFAI.ORG. SANTA FE ART INSTITUTE, 1600 ST.MICHAELS DRIVE, SANTA FE NM 87505 | SANTA FE ART INSTITUTE PROMOTES ART AS A POSITIVE SOCIAL FORCE THROUGH RESIDENCIES, LECTURES STUDIO WORKSHOPS, EXHIBITIONS, COMMUNITY ART ACTIONS, AND EDUCATIONAL OUTREACH FOR ADULTS AND YOUNG PEOPLE. SFAI IS AN ENVIRONMENT WHERE CREATIVITY, INNOVATION, AND CHALLENGING IDEAS THRIVE. PARTIALLY FUNDED BY CITY OF SANTA FE ARTS COMMISION AND 1% LODGER’S TAX AND BY NEW MEXICO ARTS, A DIVISION OF DEPARTMENT OF CULTURAL AFFAIRS
previews
Unfolding Time: paintings by Michael Freitas Wood March 29 to April 29 Zane Bennett Contemporary Art 435 South Guadalupe Street, Santa Fe. 982-8111. Reception: Friday, March 29, 5-7 pm. The hyper-stimulated nature of today’s world presents a challenge to artists. How can a static work in a hushed gallery hold the average person’s attention for very long—especially with cell phones blinking and bleeping away in every pocket, Facebook notifications piling up on every laptop, and pop music pumping out of every speaker? Painter Michael Freitas Wood has taken a bold step to actually compete with the stimulus barrage that has become an everyday reality. His paintings are a supercharged version of the “grid”— but unlike Agnes Martin’s reductive, wraith-like patterns, Wood’s work is dizzyingly colorful and complex. To, as he puts it, “breathe life into a static medium,” he uses palette knives to apply bright plaster paints in layered grid patterns onto large fiberglass surfaces. The works, which sometimes resemble Navajo rugs known as “Eye Dazzlers,” require both a step back and a step forward to fully enjoy. Michael Freitas Wood, Nothing New, mixed media on MDO. 46” x 36”, 2007
The Earth Chronicles Project April 15 to May 17 The Santa Fe Art Institute 1600 Saint Michael’s Drive, Santa Fe. 424-5050. Film Showing: Monday, April 15, 6 pm. Since the time our ancient ancestors first daubed paint on cave walls, human beings have been artistically inspired by the natural world. It’s not surprising, then, that artists are often among those advocating for environmental protection, illuminating the delicate ecological system of checks and balances that so beautifully holds the landscape together. New Mexico artist Fran Hardy is no exception to this rule. Known for her paintings of scrubby Joshua trees, stately ponderosa pines, and gnarly oaks, Hardy has collaborated with filmmaker Bob Demboski to create a documentary series entitled The Earth Chronicles Project. This series of films explores the intersection between art and the natural world—how weavers use native plant species to dye their wool, how landscape architects work to preserve ancient groves of trees, and how artists use natural micaceous clay to create New Mexico’s iconic pottery. The Earth Chronicles Project will be shown on April 15 at 6 pm, and will be followed by a question and answer period with the filmmakers and several of the artists featured in the film. The documentary is accompanied by an art exhibition, including photographs by Rourke McDermott, fiber and mixed-media works by Lauren Camp, and weavings by Irvin and Lisa Trujillo. Bill Gilbert, Hercules at Calperum Station with QR code, digital print mounted on duratrans, 40” x 40”, 2011
36 | THE magazine
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2013
This once-a-year printed Guidebook is your trusted companion while collecting art and handcrafts in New Mexico USA 500+ full-color images in 260+ pages 4000+ artists indexed to their galleries Gallery, Studio & Museum profiles Detailed street-by-street maps Informative articles Dining & lodging resources Glossaries of art terms
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n at i o n a l s p o t l i g h t
Electronic Superhighway: Continental U.S., Alaska, Hawaii, 1995 by
Nam June Paik
The future is upon us, and it has arrived in the form of screens. Television screens, computer screens, iPad screens, smartphones, screens in our cars, screens on our refrigerators. Now, more than ever, it is of utmost importance to step back and examine our relationship with the ever-present pixel. Fortunately for us, Nam June Paik, the father of video art, has already explored this territory. Born in Korea, in 1932, Paik was on the path to becoming a classical pianist when he met composer John Cage, in 1958. Paik was so inspired by Cage’s experimental artistic vision that he hurled himself into the Neo-Dada movement, aligning himself with artists George Maciunas, Joseph Beuys, and Yoko Ono, and created the first video exhibition, entitled Exposition of Music-Electronic Television, where a number of televisions were scattered about the room, the images on their screens made wobbly and indistinct with magnets. “This marked the beginning of the liberation of ‘video’ from ‘TV,’ and the importance of the moment can scarcely be overestimated,” wrote Jim Lewis in Slate shortly after Paik’s death in 2006. Paik’s later works—including Transmigration, TV Garden, and Zen for TV—would treat the television set as a sculptural object, subverting the viewer’s habitual, passive relationship with the electronic video screen. The exhibition offers an unprecedented view into Paik’s creative method, presenting artworks and documentary materials to examine his creative process and tell the story of his groundbreaking ideas. Nam June Paik: Global Visionary will be on view through August 11 at the Smithsonian American Art Museum at 8th and F Streets, NW in Washington, D.C. A special celebration of the artist’s work will be held on Sunday, April 14. APRIL
2013
THE magazine | 39
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THE magazine visited three spas in New Mexico: the Four Seasons Resort Rancho Encantado Santa Fe; Ojo Caliente Mineral Springs Resort & Spa, in Northern New Mexico; and Sierra Grande Lodge & Spa, in Truth or Consequences. Here’s what we experienced.
continued on page 42 april
2013
THE magazine | 41
Singing Scallop Ceviche
Beet and Goat Cheese Salad
Blue Corn Blueberry Pancakes
d e s t i n at i o n s
An Oasis of Tranquility Four Seasons Resort Rancho Encantado Santa Fe Overview: Rated by Travel & Leisure as one of the “Top U.S. Destination Resorts,” Rancho Encantado is nestled on fifty-seven acres in the spectacular Sangre de Cristo foothills just ten minutes from Terra
the Santa Fe Plaza and a “stone’s throw” from the Santa Fe Opera. Also close by are the Tesuque Flea Market, Shidoni Foundry, and Tesuque Glassworks. Soft colors throughout the resort and spa echo the tones of the surrounding landscape. Spa Menu: The ten-thousand-square-foot spa is a destination for wellness, as well as rejuvenation. It has fifteen treatment rooms offering massage, bodywork, and several Southwest-inspired treatments. Outdoors are pools, soaking tubs, and showers. Among the many treatments to be had are the Ayurvedic Holistic Facial, the Spa Head to Toes Massage, and the Thai Massage. Regionally inspired bodywork
From LewAllen Galleries
includes the Sacred Stone and the Blue Corn and Honey Renewal. Also on the menu are several private retreats for couples—including The Sun, The Moon, and The Stars. Bottom line: you will feel pampered at this stunning spa, rated by Tatler as one of the “101 Best in the World.” Lodging: All sixty-five casitas and guest suites are spacious, comfortable, and decorated in a contemporary Southwestern style. Each suite includes a kiva fireplace, a deep soaking tub, radiant floor heating, oversized
windows,
hypoallergenic
bedding,
free Wi-Fi, iPod docks, flat-screen televisions, a private balcony, and views of the mountains. Dining: Executive Chef Andrew Cooper has created menus for Terra using local farms and purveyors as his resource. For breakfast, we love the blue corn blueberry pancakes with warm maple syrup and the smoked salmon plate with bagel, capers, sliced tomato, cream cheese, and lemon. At lunch, order the slow-roasted chicken enchiladas or the southwestern steak salad. For dinner, select from a varied menu that includes pan-seared scallops with foie gras with caramelized pears, parsnip purée, frisée pear salad, blood orange reduction, and green chile, or the braised short ribs with smoked pumpkin, wilted chard, mushrooms, and coffee reduction. Terra offers an impressive wine list and marvelous desserts. The gorgeous bar offers cocktails, appetizers, a fireplace, and great views. Tasting menus and in-casita dining are available. Art: Positioned just opposite the main entrance are the LewAllen Galleries, exhibiting paintings that range from the abstract to photorealist, as well as glass and bronze sculptures. Extras: Yoga classes are offered seven days a week, and if you desire a topof-the-line pedicure, a waxing, or a facial, you are in the right place. Shopping: The spa offers a line of resort wear and high quality natural beauty products formulated to nurture mind, body, and spirit. Contact: 198 State Road 592, Santa Fe, april
2013
continued on page 44
THE magazine | 43
NM, 87506. 505-946-5700. Fourseasons.com Warming Room
Soak Them Bones Ojo Caliente Mineral Springs Resort & Spa Overview: Ojo Caliente Mineral Springs, a one-hour drive from Santa Fe, is one of the oldest natural health resorts in the United States. Its sulphur-free restorative geothermal mineral waters have been flowing from a volcanic aquifer for thousands of years; its eleven pools are filled with different types and combinations of mineral waters: iron, soda, arsenic, and lithia. Healing, rejuvenation, and relaxation are the guiding principles at Ojo—a place where time seems to just slip away. Spa Menu: The Ojo Ritual Herbal Bath, Ojo Skin Care, and Face Therapy are just a few of the treatments offered. Favorite massages are the Ancient Echoes, which combines techniques from Ayurvedic healing systems and Western massage and relieves stress, soothes, comforts, and balances your energy; the Deep Tissue Massage, which affects the deeper, underlying muscles and structure of your body; and the Hot Stone Massage, which uses warm, oiled basalt stones to soothe your muscles, and relieve tension. Lodging: All of the Cliffside Suites have a kiva fireplace, a private patio, and a private outdoor soaking tub. As well, there is exclusive access to the Kiva Pool where you can bathe during the day or under the stars. Dining: Chef Neil Stuart serves up his personal favorites at breakfast, lunch, and dinner at the Artesian Restaurant. Lunch standouts are the Artesian Salad with prickly pear vinaigrette and the Ojo fish tacos with mango salsa and jicama slaw. For dinner, begin with the grilled artichoke and follow with the trout, served with a toasted piñon glaze. Art: Throughout the resort and spa are paintings, drawings, and watercolors by Joyce Scott that are inspired by the sacred waters and surrounding land. Scott’s work has been described by a prominent Santa Fe artist: “the art seen on the walls throughout Ojo remind us that American Modernism is alive and well in O’Keeffe-land. Scott’s mark is bold and secure. Hartley, Dove, and Marin would be proud.” Extras: All of the springs and the spa are in the “Whisper Zone”—created to maintain the tranquil experience. Yoga classes are offered seven days a week. Numerous hiking trails are a big plus. Shopping: Ojo’s gift shop offers lotions, spa supplies, soaps, candles, bedding, and resort wear. Contact: 50 Los Baños Drive, Ojo Caliente, NM, 87549. 800-222-9162 or 505-583-2233. guestrelations@ojospa.com. Ojospa.com
d e s t i n at i o n s
Detail from Ojo Cottonwoods by Joyce Scott
Salad with Prickly Pear Vinaigrette
april
2013
continued on page 46
THE magazine | 45
Last Cowboy III by Delmas Howe
The Small Buttress of the Church of Las Trampas by Harold Joe Waldrum
The Miraculous Crow by Jia Apple
d e s t i n at i o n s
Passion Pie Cafe
Relax and Let Go Sierra Grande Lodge & Spa Overview: In 1950, Ralph Edwards, the host of the radio quiz show Truth or Consequences, announced that he would air the program from the first town that renamed itself after the show. Originally named Hot Springs, the city changed its name to Truth or Consequences, now widely known as T or C. With its untreated geothermal hot springs, T or C has a long history as a destination for healing. Located three hours south of Santa Fe in a 1937 building in downtown T or C, the Sierra Grande Lodge & Spa is an intimate and serene retreat with large walls surrounding its missionstyle architecture. It has been featured in National Geographic Traveler as one of “150 Hotels You’ll Love.” Spa Menu: An extensive menu has been created to maximize the healing and relaxation benefits of the waters, which are rich in beneficial minerals. Soaking in outdoor or indoor hot tubs in these healing waters is a restorative experience. Spa treatments—massages, facials, and other holistic body therapies—are designed to melt away stress and tension. Suggested massages are the Customized Full Body Massage, Reflexology, and the Facial Massage. Other treatments are the Exfoliating Scrub, Body Polish, the Aromatherapy Wrap, and Sierra Grande’s Signature Facial. Lodging: Attractive and affordable accommodations are offered in a relaxed atmosphere. The rooms are simple and comfortable—not pretentious or overpriced, and the baths are heavenly. Dining: The restaurant is temporarily closed. Local restaurants within easy walking distance are the Passion Pie Cafe, BellaLuca Café Italiano, Happy Belly Deli, and Arizona Café. Art: Works by local artists Delmas Howe, Harold Joe Waldrum, John Goodro, and Olin B. West grace the lobby and guest rooms. Galleries of particular interest in T or C showing local and regional artists are the Grapes Gallery, the Hundredth Monkey Gallery, and Rio Bravo Fine Art. Extras: Three two-night spa specials are something to consider. As well, the Romantic Getaway, the Relaxation Package, and the Transformation Package are all first-rate. The Lodge is close to art galleries, local art studios, and is just a half-hour drive to Richard Branson’s Spaceport America, the world’s first commercial spaceport. Shopping: Jewelry, soaps, candles, and local goat milk beauty products are available in the lobby and gift shop, along with locally crafted Madlyn Rose organic skin care products. Earth Magic Skin Care products are made locally and used by Sierra Grande’s facialist. Contact: 501 McAdoo Street, Truth or Consequences, NM, 87901. 575-894-6976. Sierragrandelodge.com april
2013
THE magazine | 47
Willis F. Lee Tierra #11, 2012, pigment on baryta paper from negative, 19 x 23�, Ed. 15
WILLIS LEE Studio: 505-982-1115 willisflee.com i
critical reflection
Annie Leibovitz: Pilgrimage
Georgia O’Keeffe Museum 217 Johnson Street, Santa Fe
Fifty-seven digital photographs
made me nervous. On the other hand, I felt so privileged.” Of course, not just anyone
printed on watercolor paper grace the
entirely appropriate. So Leibovitz compiled a
Thomas Jefferson’s birthplace and home in
would be left alone in Monks House and
galleries at the Georgia O’Keeffe Museum.
list. She did not travel by foot; more often she
Charlottesville, Virginia. An inheritance from
Leibovitz did what any legendary artist would
All but one of them are horizontal. None
took day trips from her Hudson Valley home
his father, these three thousand acres were
do—remove every item from the desk to
are photographs of people. This is Annie
with her kids and digital camera. She went
originally a tobacco plantation worked by more
get her shot. The photograph of Woolf’s
Leibovitz’s new body of work. Pilgrimage,
to nearly thirty places, including the homes
than fifty slaves. By Jefferson’s death, on July
desk is a bird’s-eye perspective, close-up
which coincides with her new book of the
of Emily Dickinson, Virginia Woolf, Sigmund
4, 1826, Monticello’s main crops were grains
and cropped at the sides. Bare, the table is
same name is a traveling exhibition that began
Freud, Charles Darwin, Eleanor Roosevelt,
necessitating over two hundred workers.
reduced to raw wood that’s splattered in
in January at the Smithsonian American Art
Elvis Presley, Thomas Jefferson, Henry David
The entire estate became a lifetime project
ink stains and various bruises. It looks more
Museum in Washington, D.C. Now hanging
Thoreau, Ralph Waldo Emerson, and Ansel
with twenty-one rooms and multiple gardens.
like an artist’s palette than a writer’s desk,
alongside Georgia O’Keeffe’s work, this
Adams. She followed tracks to Gettysburg,
Leibovitz’s photos are modest and perplexing
inciting romantic notions of quill and inkwell.
exhibition is the result of a self-proclaimed
Yellowstone, Spiral Jetty, the Smithsonian,
considering the man behind the curtain. They
According to her husband Leonard, Woolf’s
pilgrimage across the U.S. and the U.K. so
the Lincoln Memorial, Niagara Falls, Abiquiu,
reveal a closeup of lima bean pods, a pulled root
table was “littered with used matches, paper
Leibovitz could take pictures “when there
and more. The photographer, who was hired
vegetable still covered in earth, an autumnal
clips, broken cigarette holders, manuscripts,
wasn’t an agenda.”
by Rolling Stone in 1973 when she was still in
expanse of land, and a pile of scarlet runner
and bottles of ink.” It is here that the writer
Susan Sontag and Leibovitz were lovers
college, and today remains responsible for
beans. Today, Jefferson’s vegetable garden
penned Mrs. Dalloway and To the Lighthouse,
for fifteen years, until Sontag’s death in 2004.
countless iconic American images, has taken
is recreated to reveal his horticultural and
among others works.
The Beauty Book was the original title for
a detour. Instead of photographing rock
landscaping experiments. Leibovitz picked four
Another photograph shows only deep
Leibovitz’s current book, a project dreamed
stars, she’s photographing relics. This is a bit
images to tell Jefferson’s story, and in Pilgrimage,
blue waters rippling in the wind. It’s the River
up by the couple as, in Leibovitz’s words, “an
alarming for the soaring six-foot tall woman
the book, she informs us that Jefferson
Ouse, where Woolf drowned herself. Leibovitz
excuse for us to travel around to places we
notorious for documenting and in part creating
cultivated over fifty varieties of beans.
notes that a few weeks after finishing Between
cared about and wanted to see.” It sounds like
contemporary culture.
While receiving the Centenary Medal
the Acts, Woolf “took a walk before lunch and
the musings of escapist lovers, but Sontag died
They say a picture is worth a thousand
in London, England, Leibovitz found herself
didn’t return.” We know the tragedy aroused
before the project was realized. Indeed, while
words and it’s true that none of the Pilgrimage
driving to Virginia Woolf’s country house
by this image, but it is trite that Virginia Woolf
Sontag battled cancer, there would seem to be
images could exist without the story, or at
in East Sussex, called Monks House. She
be simplified to these four photographs: sun-
a dire need to imagine a world beautiful enough
least the wall tags. Knowing their location is
describes being left alone in Woolf’s writing
blotted trees, the desk, the desk through a
to make a book about it, and after Leibovitz
necessary and knowing the history helps even
studio with some bread, jam, and coffee:
window, and the River Ouse. It just proves
lost a life partnership a pilgrimage seems
more. Four photographs hang of Monticello,
“Don’t leave me alone in here. Please. It
that even on a personal pilgrimage, Leibovitz will still photograph the most iconic object in the room. Other cameos in Pilgrimage include Freud’s bookshelf with an edition of Studies in the Psychology of Sex, Lincoln’s hat, O’Keeffe’s palette, Darwin’s skeletons, Annie Oakley’s bulleted red heart, and Ansel Adams’ darkroom. Annie Leibovitz is tall, has thin, wispy blonde hair, wears all black suiting that doesn’t really fit properly, and clunky hiking boots. Despite her height, she still blends in with a crowd. When prompted, she said that she nearly cried over the image quality in Pilgrimage, the book. More than anything, the book forces the images into postcard size where they read as such. Even in the gallery they are postcards, beautiful images from her “pilgrimage” where she stood with her kids at Niagara Falls, tried to copy an Ansel Adams landscape, and went to see Spiral Jetty. These are just Annie Leibovitz postcards. Let’s hope that means she’ll be home soon.
—Hannah Hoel Annie Leibovitz, Annie Oakley’s heart target. Private collection, Los Angeles, California, 2010. ©Annie Leibovitz. From Pilgrimage (Random House, 2011)
april
2013
THE magazine | 49
Black Space
Zane Bennett Contemporary Art 435 South Guadalupe Street, Santa Fe rectangle engages the wilfully flat pattern of
Black spACE IS A SHOW OF LARGE-FORMat
loosely
prints
parallel
black
strips
in
their
serpentine course down the length of the
Helen
girth and looming weight of some colossal Cor-
effect depend upon its specific shape and axial
stele, to produce the effects that all the
Ellsworth
ten sheet from one of his monumental steel
placement in each print.
prints in Black Space convey, effects that
Kelly, Richard Serra, Ed Ruscha, and Pierre
projects, whereas the contrasting regular grill
Arguably the most beguiling print is
Judd ascribed to work whose interest lay in
Soulanges—though
prints
effect of Judd’s aquatint confines that image to
at first glance the least accessible. A tall,
its quality-as-a-whole: “specific, aggressive
comprise the lion’s share of the show’s total
the print surface and the literal flatness of the
slim rectangle comprises Sol LeWitt’s 2000
and powerful.”
(17). The theme of the use of the color black in
paper. Yet while Serra’s image invites maritime
gouache-on-paper Blue Vertical. Its plumb-
—Richard Tobin
Black Space is an effective conceit by the gallery
allusion and 3-D illusion, both images subscribe
line placement aspires at best to the stasis
to give some cohesion to this small group of
to a fundamental tenet of the “Minimalist”
of a theorem of Euclid. Yet somehow the
superb prints by artists whose careers and
aesthetic articulated by Donald Judd in 1965
deeply saturated Prussian blue of the
work fall within Late Modern abstraction from
(Specific Objects): “A work needs only to be
the 1960s—though most of the work in the
interesting. It isn’t necessary for a work to
show was done later, some in the 1970s and
have a lot of things to look at, to compare, to
most in the1980s, a testament to its quality and
analyze one by one, to contemplate. The thing
staying power. But with abstraction, especially,
as a whole, its quality as a whole, is what is
it can help to single out a formal device like color
interesting.” For Judd, this quality of wholeness
as a way into the work. The same holds true
is complemented by the quality of immediacy,
for issues of style or iconography. It can help
which relies upon a literal, or “specific,” sense
to have some sense of what the work intends
of the object. A three-dimensional work
(aesthetic) and how the artist tries to do it
is not an allusive sculpture but a “specific
(form). Robert Motherwell’s 1983-84 lithograph
object.” A Frank Stella painting “isn’t an image.
Black Sounds has a different aim and effect than
The shapes, the unity, projection, order, and
Ellsworth Kelly’s 1984 lithograph Orient Beach.
color are specific, aggressive, and powerful.”
One print is emotive, the other is cerebral; both
These
engage the viewer.
immediacy—mark the Minimalist boundary with
by
Frankenthaler,
Robert
Motherwell,
Donald
Judd,
Kelly’s
seven
two
attributes—wholeness
and
The one drawback, and a significant one,
earlier, expressive Modernist abstraction—seen
to viewing the prints in this well-designed exhibit
here, for example, in Frankenthaler’s lithograph
was the pervasive reflection or glare from the
Yellow Jack, a nocturnal, poetic seascape distilled
plexiglass or acrylic sheet covering each print.
into pictograph, and in Motherwell’s black-
If there was any anti-reflective material in
over-red Art 1981 Chicago Print, at once heroic
the glass it seemed well below any museum’s
and heraldic.
display standard and substantially diminished the viewing experience for this show.
For artists like Judd and Stella, “minimal” is a misnomer in describing their theory/aesthetic
In Motherwell’s 1983-84 Black Sounds
of the “specific object” which thus defines it as
lithograph, the cut-out effect of the white
reductive. But in fact, “you’re getting rid of the
jagged wishbone motif against the torn-paper
things that people used to think were essential
black background creates a more pensive,
to art. But that reduction is only incidental….
reflective reprise of the monumental and heroic
it’s only reduction of those things someone
effect achieved in his original Basque Suite
doesn’t want” (Judd).
silkscreen series from the 1970s, where the
As Judd’s and Stella’s aesthetic plays out
motif’s broad, flat strokes are brushed against
in the print medium it can draw upon the
lush, regular strips and screens of saturated
print’s ‘built-in’ status as flat, printed image,
color. The initial visual affinity of Black Sounds’
allowing the print more inflection than painting
with the gentle blue-black curve of the pressed-
without risk to the work’s integrity, immediacy,
paper strip in Ellsworth Kelly’s 1976 Colored
and impact. Hence the ambivalent road strips
Paper Image III (Blue Black Curves) gives way to
and street references of Ed Ruscha’s 1999
the tacit yet assertive self-reference of Kelly’s
etching Pico, Flower, Figueroa can evoke the
stroke. Conversely, a curious kinship softens
mythic L.A. lore a la Sunset Boulevard without
the apparent dichotomy of Donald Judd’s
blurring its explicit identity as a print. And for
Untitled (Shellman #89) and Richard Serra’s
Ellsworth Kelly’s three prints, whose titles
Muddy Waters. Serra’s screenprint features
cite beaches on St. Martin in the French West
a thickly acqueous black rectangle whose
Indies, the references are incidental to the self-
density and rightward tilt evoke the massive
reliant cuneiform wedge whose presence and
Robert Motherwell, Black Sounds, lithograph, 39” x 25”, 1983-84
critical reflection
Natsumi Hayashi: Today’s Levitation
Richard Levy Gallery 514 Central Avenue SW, Albuquerque
Artist Natsumi Hayashi calls HERSELF
of photography as a rigid documentary device—a tool to record events as they
“Yowayowa camera woman,” but she’s
to share her secrets: She sets up a tripod;
myself pleasantly reminded of Chihiro
happened. This perhaps explains her
much more than that. See, yowayowa
then, with her camera’s shutter speed
by Hayashi, whose worn sneakers and
interest in freezing herself into strict,
means meek and feeble in Japanese,
adjusted to a lightning-fast setting, she
backpack appear in many of her self-
carefully orchestrated postures. Hayashi
and it really doesn’t describe the sheer
gives herself a ten second timer to get the
portraits. She’s an adventurer—exploring
says she doesn’t use Photoshop or any
ballsiness of this young photographer.
shot. This entails jumping into the air—
a nation whose culture is evolving and
other digital manipulation in developing
Several years ago, when she was
hundreds of times, if necessary. Given
unpredictable. Elsewhere, in shots like
her photos. In their purity, her photos
a photographer’s assistant, the Tokyo-
this technique, it’s astonishing how totally
Today’s Levitation 5/21/2011, Hayashi
tease us and challenge us, and it’s only
based artist started taking experimental
effortless the photos look. Hayashi’s body
assumes a more classically feminine or
when we untether ourselves mentally and
pictures, using herself as a model. Soon
is never unnatural and her face is never
romantic persona. She’s exiting a train,
physically that their otherworldly beauty
she had a blog, a sort of visual journal,
strained. In Today’s Levitation 2/16/2011,
the silver length of which descends into
truly takes hold.
which she updated with daily shots. In it,
the artist bends down to operate a vending
golden light. She’s dressed in black, with
we see Hayashi floating all over the city,
machine. Her arm is outstretched and
her knees girlishly tucked beneath her.
Natsumi
more often than not in her red lace-up
her legs are tucked beneath her. Even
Her hair is up in an elegant chignon, her
between genres with enviable grace and
sneakers, and her absence of guile—she
her feet are parallel to the cement floor
shoulders are straight, and her wrists are
strength. Hayao Miyazaki, speaking of his
drifts alongside commuters and subway-
in a distinctly earthbound posture. The
delicately flexed behind her. Her face is a
team of animators, once said, “I’ve told the
goers with a charming combination of
fact that her photos are taken in one of
mask of placid composure, even though
people on my staff not to be accurate, not
insouciance and grace—is wonderfully
the most boisterously busy cities in the
she must be four feet off the ground.
to be true. We’re making a mystery here,
odd. Today’s Levitation, the thoughtful
world adds a wonderfully dense layer to
Especially striking is Hayashi’s willingness
so make it mysterious.” It’s interesting to
exhibition
Gallery,
Hayashi’s pictures, and her suspended
to photograph herself—i.e. jump up and
consider the relationship, nowhere more
exclusively
placement amid hurrying pedestrians and
down and up and down—in front of
relevant than in the hyper high-tech culture
features scenes from urban life, offering
sleek machines make them wonderful
strangers. In Today’s Levitation 4/14/2011,
of urban Japan, between digital and material
a surprisingly meditative interpretation of
breaks from expected depictions of city
she’s hovering above a turnstile in a
realities. Perhaps it’s best to think about
Tokyo in the twenty-first century.
living.
subway station, flocked by besuited male
nostalgia for the past and excitement for the
maker
passersby. Her chin is up confidently and
future as inextricable, lovely comrades that
is frozen in midair, prompting a head-
of genre-bending animated films, has
her eyes look directly ahead; she might as
enrich our lives with a dizzying and delightful
scratching “how did she do that?” response
bemoaned the absence of independently
well be all alone.
weightlessness.
from the viewer. She retains the posture
minded, outgoing girls in Japanese pop
Several
of a dancer, with fingers delicately arched,
culture. He created Chihiro, the ten-
a
lips calmly pursed, eyes bright; not like
year-old protagonist of Spirited Away,
developed a fondness for the staged and
she’s falling, but rather floating. The scenes
to remedy this. She’s feisty and strong-
very solemn portrait photography of the
are absent of cables or other supportive
willed, and she doesn’t have a high-
nineteenth century. She began her diary
structures. Thankfully, Hayashi is happy
pitched giggle or a ponytail. I found
series by questioning the original concept
in
at
Richard
Albuquerque,
Levy
almost
In each of these shots, Hayashi
april
2013
Hayao
Miyazaki,
beloved
years
photographer’s
ago,
working
assistant,
as
In her meticulously timed self-portraits, Hayashi
eliminates
barriers
—Iris McLister
Hayashi
Left: Natsumi Hayashi, Today’s Levitation 5/21/2011, lambda print, 14¾” x 22”, 2011.© Natsumi Hayash Right: Natsumi Hayashi, Today’s Levitation 4/14/2011, lambda print, 14¾” x 22”, 2011. © Natsumi Hayash
THE magazine | 51
Journeys: Intimate & Infinite Paintings & Photography Lewis Riddell, Susan Ann Thornton, Valentine McKay-Riddell, Bruce Wilson
La Tienda Exhibit Space in Eldorado Opening Saturday, March 30, 2013 4-6 PM 7 Caliente Road Santa Fe, NM 87508
www.TheExhibitSpace.com
critical reflection
In the Wake of Juárez: The Drawings of Alice Leora Briggs
University of New Mexico Art Museum UNM Center for the Arts, Albuquerque
My artwork has not stopped the rapes, kidnappings, and murders, or brought reason to this border city. But I am without other tools.
from Briggs in the accompanying wall text. The most chilling is Briggs’ description of her
–Alice Leora Briggs
I admit it. I was apprehensive about
own brush with death in Chicago in the early 1980s when “a total stranger slammed a loaded gun into my mouth.” She also describes
attending this exhibition. I had seen images
This could be interpreted as a contradiction, but
as though suspended from above. The entire
how no one stopped to help and how the
of some of Alice Leora Briggs’ drawings in
in fact it mirrors an inherent belief of the cartels,
background shows Renaissance-style figures
experience “contributed to my interest in
advance: there were pistols, machine guns,
that they are killing people who deserve to die
that are inverted in the top half of the drawing
places like Juárez.” (Also setting the stage
tortured bodies, and dead animals. All of the
and that this is divine justice. Further underlining
and upright in the bottom half. When they are
for her self-described preoccupation with
works interpret drug cartel violence in Juárez,
the contradiction is Briggs’ admission that she
upside down they are in the business of dying
mortality was the death of her brother in a
Mexico. I expected the visit to be tough. Access
is interested in portraying “extreme situations
and when upright they are simply going about
climbing accident at age fifteen.)
to the museum’s second-floor Clinton Adams
that bring out the best and the worst in people.”
their lives, eating, reading, lusting.
Gallery is by elevator; it swallows you on the
She does so by using sgraffito—a technique
Briggs often presents events from normal
visitors can view an eighty-minute film by
ground floor and spits you out its rear door
with roots in thirteenth-century Germany—to
life in the foreground while horrific violence
Gianfranco Rosi and Charles Bowden entitled
into a sea of red. Blood red. Nearly every wall
cut, scratch, and gouge the pictures. How oddly
occurs in the background. In Damage, we see
El Sicario, Room 164 (Icarus Films, 2011). This
in the gallery is painted this way, underscoring
fitting to choose a violent method to create
a man eating quietly, fork in right hand, napkin
is a gripping interview with a Juárez hit man
the death and despair in the art. The elevator
the drawings’ violence. First, Briggs prepares
in left. His female companion holds one hand
who worked as a police officer while on the
door opens on to Gun + Smoke, a diptych that
a wood panel with a substrate of white kaolin
to her face in a gesture of worry. Behind them,
cartel payroll. The interview takes place in a
tells the story of an attorney who unwittingly
clay covered with a thin layer of black India ink.
destruction is total. There are burnt-out cars
hotel room where he tortured his victims.
scheduled a meeting with his own murderers.
Then she uses objects like needles, knives, steel
and a trashed and partly collapsed building.
He wears a black hood and punctuates his
In one panel we see the killer’s left hand
wool, and wire brushes to create her detailed
To inform her work, Briggs often travels to
remarks by drawing on a white sketchpad.
holding a gun—finger on the trigger—to the
images. “Every time I make a mark,” she says,
a Juárez morgue, or the site of a particular
Watching even a few minutes of the film
attorney’s head. Briggs then places the other
“I’m making a light in the dark.”
execution, or the “death houses” used for
adds another layer of grim reality to Briggs’
torture, or an asylum for the disinherited.
paintings.
side of his head in the second panel, slightly out
Briggs frequently includes references
of alignment with himself. There is a cigarette
from allegories, history, and Shakespearean
in his left hand and a ring on his little finger,
tragedies,
In a media room next to the gallery,
With Abecedario de Juárez, Briggs borrows
The elevator sends me back out into
depicting
from Hans Holbein’s 1538 alphabet. Each letter
the museum’s bright lobby. I’m ready to
suggesting an attachment. His face appears
martyrdom, war, and torture. In Death of
is drawn on a separate board and not only
shed the tension, and as I do I realize that I’ve
younger in this panel; next to him is a caring,
a Virgin, the left half of the picture shows a
represents elements of cartel vocabulary but is
reacted just as Briggs said; I find her pictures,
bespectacled onlooker who registers no visible
detailed shooter, complete with ear protection
also often draped with a body or floats above a
in spite of the subject matter, to be strangely
fear. The two sides of the attorney’s face show
and a shiny belt buckle. He inserts the muzzle
murder scene. Briggs’ intent is to show the daily
beautiful. Yes, it’s deadly red upstairs, but
different emotions, but neither of these feels
of his semi-automatic weapon into the praying
killings as both industry and entertainment, and
that’s also the color of life.
like fear, either. Instead, he seems resigned to
hands of the Virgin swooning into the arms
to capture the current vocabulary where each
—Susan Wider
his fate.
of St. John the Evangelist from Rogier van
letter has its own glossary of narco terms.
particularly
those
“I don’t think these things are beautiful,” says
der Weyden’s Crucifixion Diptych, c.1455-59.
The exhibition showcases forty-one works,
Briggs, “but I try to make the images beautiful
The figures of the Virgin and St. John hang
mostly sgraffito, from 1996 to 2012. Curator
because I think they deserve our attention.”
upside down in the right side of the drawing
Robert Ware incorporates many quotes
april
2013
Alice Leora Briggs, Gun + Smoke, sgraffito on wood panel, 2007. Courtesy: Avants/Oullette Collection
THE magazine | 53
Shifting Baselines: Hugh Pocock
and
Cynthia Hooper
Santa Fe Art Institute 1600 Saint Michael’s Drive, Santa Fe
Waterworks are among the oldest
extremely long cloth ribbon woven with
A bucket on the floor contains an
remains we have of major artifacts made by
The Santa Fe Art Institute opens its
Baselines’ residency project and exhibition
words about water. It can only be examined
humanity. Who now remembers Nineveh?
2013 season with Shifting Baselines, curated
bring together Cynthia Hooper and Hugh
by passing it through one’s fingers in a sort
Once the largest city in the world, its
by Patricia Watts, founder of ecoartspace.
Pocock, both of whom make work that
of archetypal motion that feels meditative.
looted ruins lie in the suburbs of Mosul,
This show is part of a larger SFAI series
eloquently explores the dynamics of natural
On a shelf, a large glass bowl holds Arctic
which we hear about because it is in a
called Contested Space, exploring our planet’s
and cultural phenomena in relation to
water, slowly evaporating in the heated
major global resource conflict zone, Iraq.
landscape of change and struggle, where
water. Pocock’s installation, One Thing,
gallery environment. Bottles of this water
In One with Nineveh: Politics, Consumption
the once wide-open concept of frontier
Constantly Changing, challenges us to “see all
were offered for sale to benefit a project that
and the Human Future Anne and Paul
has become today’s contested space, not
the water in the world as one big thing”—
samples water to understand how the Arctic
Ehrlich recount how Nineveh’s extensive
only physical but of identities, definitions,
falling as rain, dripping into underground
is affected by planetary climate changes—
irrigation systems both enabled its rise and
legal contracts, international boundaries,
aquifers,
clouds,
something which, until a few years ago was
ultimately created the soil salinization that
and vociferous, conflicting claims of rights,
collecting momentarily in lakes and ponds,
an academic topic, and is now totally obvious
led to its decline. Occasionally a dramatic
whether to extract minerals for profit or
sloshing around in oceans fed by rivers and
and visible, as a rapidly shrinking polar ice
hydraulic event, like the 1905 Colorado
to continue to live and hunt where one’s
streams—an endless cycle in which we
cap, to anyone with access to the Internet.
River overflow that created the Salton
ancestors did.
participate. Pocock has initiated a program
evaporating,
forming
Hooper
gave
a
passionate
and
Sea, makes a significant impression on the
A baseline, a scientific reading taken
at the Maryland Institute of Contemporary
knowledgeable illustrated talk that added
public. Generally, most of us are blissfully
at a point in time, is used to measure
Art in Sustainability and Social Practice.
much to my understanding and perceptions.
unaware of where our water comes
change, whether in the human body or in
In the gallery, jugs of Baltimore water, and
Her
from and how much we use. But in New
an environment. The shifting of a baseline,
local snow melt, filtered on the spot, sit on a
Humedades Artificiales: Three Transnational
Mexico’s arid high desert, we know in our
whether it is parts per million of allowable
table with glasses for tasting. Some of us drank
Wetlands, encompass poetic and meditative
guts that—with floods and surges in one
toxins or species count to determine what
some, others didn’t. It’s interesting when a
videos laboriously produced in sometimes
place, droughts and fires in another—
is endangered, with its power to redefine
piece of art makes us aware of our innards
rugged conditions and sites. They shed
water will increasingly be a key issue of
normal to suit the needs of some particular
and triggers us to ask, “Is it safe?” which by
thoughtful attention on the complex urban and
local and global politics.
agenda, has a political dimension. Shifting
extension, we ought to ask of all water.
wild environments and extensive agricultural
interdisciplinary
projects,
including
infrastructure along the U.S.-Mexico border. Hooper shows us the channeling, processing, and
often
waste
of
water,
elegantly
illustrating some of its beautiful (wetlands) and uglier (sewage treatment) aspects. Her engagement and her skill in visually framing her observations allow for revelations about how intertwined and ubiquitous are the real problems (resource scarcity, toxic pesticide spillage into waterways, the need for both fish spawning access and hydroelectric power) and how wrong-headed is the greed and mindlessness with which these issues are sometimes treated. Hooper and Pocock have shown widely and also teach; they share goals and methods with education and documentation, but their work is art, not only by its informed artfulness but also in its intention, reception, and context. By observing, modeling and imaging some big systems and processes that shape our world but may be out of reach of our personal cognition due to their physical scale or meta-individual timeframe, Pocock and Hooper expand the minds of an attentive audience.
—Marina La Palma
Hugh Pocock, One Thing Constantly Changing, installation view.
critical reflection
Pinup-ology
Eggman & Walrus Art Emporium 130 West Palace Avenue, Santa Fe
When I look at this photo of you nearly naked, the pleasures of longing are
police, and military forces seek dominion
(who can’t stop, and whose abs went slack
multiple, perverse, and sublime. I fall again
over sexual imagery for control of what
way back) pops another pop-top, and alcohol
into the abyss of the image. Beguiled by the
Foucault called the “discourse on sexuality.”
and infancy collide catastrophically. Or maybe
elegant illusion, I run the tongue of my eyes
These are powerful tools for the sake of
not. Maybe the budding, Budweiser-ing little
across your chest, the curving contour of
psychic cultural enslavement, as a means to
family simply folds up their beach chairs
your thighs. I am seized by the dips, curves,
literally impact and control the bodies of the
and heads down life’s highway unawares,
curls, and concavities suggested by the
populace. Real sex is not part of a picture,
ultimately ascending into an asphalt and
image. I long to touch your fantastic form,
painting, pin-up, or porn shoot, which is not
AstroTurf heaven where the Virgin Mary is
to feel my skin up high against your full and
to say that picturemaking can’t be a sexual
a hot Latina lingerie model, little Jesus never
firm volumes, to envelop you and to be
experience. Real sex is the indescribable
has to get crucified, and baby-daddy Joseph
enveloped. I take every pendulous plunge
interaction between individuals and their
drinks himself ever deeper into oblivion,
as my visual sense devours and is devoured
real-time sensations. It can’t be captured
forever and ever picture-whipped. Amen.
by this picture of you unclothed, your strong
in a picture or text. Primarily haptic, actual
—Jon Carver
and vulnerable body, the expression on your
sex constitutes a language without authentic
face, your parted lips, your imaginary gaze
meta-languages. It establishes no discourse.
perpetually meeting mine, mirroring my
Its silences and incomprehensible utterances
anticipated ecstasy.
are its loudest sounds. Its fundamental non-
This sublimation of the urge to merge
transferability, its secret nature (no matter
to erotic imagery is ancient, ever available,
how exhibitionistic) remains fundamentally
and, generally, a blessing. Yet there is no
bound to the subjectivity and bodies of
culmination of the act of erotic looking that
the participants. This is a large part of the
the pin-up provides that isn’t fully dependent
fascination, the promise the pin-up provokes.
upon the viewer. While this is true of
Pinup-ology establishes a new pseudo-
all images, it is most true and apparent
scientific social semiotic. Using photographs,
in relation to erotica and arousal. Erotic
installation, and statuesque glamour models
art establishes the basic pleasure of looking
at the opening, the artists, Carolina Tafoya
as the fundamental formula upon which
and Ungelbah Davila, create the characters
every other viewer to image relationship
and personalities of a variety of pin-up
is based.To gaze and be gazed are bodily
archetypes. The installations, consisting of
pleasures. The purpose of the pin-up is
found objects and pointed or poignant pin-
perpetual arousal, with release a forever
up pics imply various settings or intimate
unreachable destination. These pictures map
interiors, though ultimately they act as iconic
erogenous utopias.
stand-ins for specific sensibilities. Here are
At the moment when these images
the spaces and places that form each pin-up
become instrumental in the realization of
princess’s particular psyche. The best of these
release, shall we say, they also cease to
photographs stand alone as artworks without
function, as the façade of the constructed
the installed props or live performance of the
presence collapses. There is no you. I’m
opening (a jam-packed blast). In Six Pack, the
left alone in the aftermath of your image,
strongest image in the show, we come face to
having sexed myself with a piece of paper,
face with a sexy, pregnant beauty queen, heels
or a picture on a screen. I have the same
and tight red dress intact, her glorious locks
experience of longing, desire, and ecstatic
in curlers of course, seated before her travel
realization in front of a Monet landscape
trailer home, her expression insouciant if not
(with somewhat less mess). Ultimately the
exactly sanguine. Pink flamingo Xmas lights
paroxysms of pleasure subside: unlocking
and a black bra haplessly adorn the mobile
eyes from the image, you resign its purpose
abode. Her bald-headed partner glowers
and meaning to memory. Whether you define
helplessly from the doorway of the tarnished
your experience as pornographic, erotic,
RV—from his hand on the door handle a
aesthetic, or intellectual, your particular
beer can clad only in a plastic beverage bikini
pleasure temple, like all pleasure, rests solidly
dangles.
upon the stylobate of the sensual body.
Six Pack represents the calm just before
This is why systems of social control,
the storm, when the pin-up mommy, her
organized religions, capitalism, governments,
tight tummy now shot, pops the tot. And Pop
april
2013
Ungelbah Davila, Six Pack, photograph, 20” x16”, 2012
THE magazine | 55
Linda Montano: Always Creative 1606 Paseo
de
SITE Santa Fe Peralta, Santa Fe
down her spine, but the most interesting part
My technique for feeling life’s ecstasy has been negation, taking something away, discipline…. I am in a perpetual state of letting go of control. –Linda Montano
is the live snakes that wind around her neck
In 1986, the New Museum in New YoRK opened the exhibition Choices: Making an Art of
in the convent, this experience set the tone
the chakra under investigation. But Montano’s
Everyday Life, curated by the museum’s founder
for the artist’s inclination toward a highly
art-life piece had a public component as well
and director, the late Marcia Tucker. This show
disciplined control of her mind-body systems
and that’s where the New Museum comes in
included such artists as Marina Abramovic and
in order to reach a heightened state of being,
again. Once a month, for seven years, Montano
Ulay, James Lee Byars, Spalding Gray, Tehching
plus Montano’s spiritual edge is part of her
sat in a room in the museum painted to match
Hsieh, and Linda Montano. It was at this show
driving wheel.
the color of her clothes for that year, and she
that I first saw Montano’s compelling and
By the time Choices opened, Montano
met one-on-one with individuals who desired
haunting video Mitchell’s Death. For all its focus
had already begun, in 1984, a work with a
to engage with her in art/life discussions and
on mortality, it proved to be my own point of
multi-year duration, Seven Years of Living Art.
counseling.
entry into a show that rigorously investigated
This piece was based on the seven energy
aesthetic counterpoints to a wider art world
centers, or chakras, of the body, and each
Montano’s
of commercialism, media overload, art’s co-
year the artist would color-code aspects of
documentation from Seven Years of Living Art.
option by entertainment and fashion, and the
her life—such as her wardrobe—to match
Each year’s uniform hangs on the wall, and
art world’s seeming lack of a moral compass.
the seven colors associated with the chakras:
on the floor, directly in front of the colorful
It’s worth referencing the Choices show
red for the base of the spine, then yellow,
garment, is a bundle of clothes matched to
because most of Montano’s creative life as a
orange, green, blue, purple, and white at the
that year’s hue. Besides the clothes, which
performance artist has been an attempt to blur
top of the head. In addition, the artist would
poignantly carry a strong sense of the artist’s
the boundaries between art and life, and her
stay a minimum of three hours a day in a space
presence as well as her absence, there is a
retrospective at SITE Santa Fe—curated by
matching the color of the chakra in question,
video that deconstructs the spiritual rationale
Janet Dees—loops back to her first sustained
listen to one certain pitch for a minimum of
for this long and intricate performance. In it
performance, if you will, as a would-be
seven hours a day, and, for one year, wear only
we see the artist’s tattooed back marked with
Catholic nun. Besides becoming anorexic
clothes that matched the color aligned with
circles denoting the chakras positioned up and
At SITE, the largest component of retrospective
is
devoted
to
and back and symbolically refer to the coiled Tantric energy that is supposedly located at the base of the spine. Death is an eternal mystery and, on a fundamentally deep level, the loss of someone we love is never easily integrated into our landscapes of memory. The power of loss is palpable in Montano’s video Mitchell’s Death, which is about the shotgun accident that took the life of the artist’s ex-husband Mitchell Payne, in 1977. This is the strongest and most incantatory of Montano’s works. In a voice-over monologue, the artist relates the moment of learning about Payne’s accident; traveling to Kansas where he lived; dealing with her ex-husband’s family; examining Payne’s body in the morgue; and unveiling her confusion and grief. The attempt to mirror the death and its impact on Montano results in a decidedly profound artwork. In the video, her face morphs from something ambiguous and skull-like to a face dotted with acupuncture needles and slowly back to a soft-focus skull. The artist recites her litany of painful loss in a one-note drone that emphasizes the strangeness and horror surrounding Payne’s death. If Montano were to be remembered for only one work, this would be it. The late art critic and writer Thomas McEvilley has written extensively on the potency of artists determined to create situations and gestures that have “dissolved the traditional boundaries of art activity and set new ones within the limits of the life-field.” Establishing fluid boundaries within the “lifefield” is at the heart of all performance work, and what results in this mind-expanding genre are images of a variable self splitting open like a seed. In 1983, Montano collaborated with well-known performance artist Tehching Hsieh in a yearlong piece where the artists were tied together by a ten-foot rope but were forbidden to touch. Hsieh commented about this piece after it was over and said, “It’s more than art—you have to be a human being and an artist. It’s like [the movie] Rashomon in that everyone’s point of view and understanding of the same thing will be different.” In thinking about performance art, the work eventually comes to rest in the mind of the viewer, which alters the distances between what is art, what is life, and what it means to be a witness to phenomena that arise between the two forces.
—Diane Armitage
Linda Montano, Mitchell’s Death, video still, 1977
critical reflection
Photography
from
A
to
Z
New Mexico Museum of Art 107 West Palace Avenue, Santa Fe
When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence. –Ansel Adams
Back in the empirical world, the eightthousand-strong collection of photographs at
Photography asserts the thingness of the images it reproduces. At one point in time,
thingness of the thing in the photograph. And
Atget did not consider himself an artist. Rather,
the medium insists, the object you see before
therein lies the tension inherent to representation
he saw himself as an archivist of the City of Light.
you on flat paper occupied three-dimensional
in art, and specifically, photography—the image
A drama-school dropout, Atget kept albums of
space and looked like this. In the dialogue of
re-presents to its viewer, approximately, what
architectural elements for potential clients to
photography, we readily concede that the image
one person saw once and will never see again.
choose from as if designing a stage setting. Now
once existed as a real object. Yet post-Structuralist
Photography functions as a record of sorts—or so
considered one of the pioneers of the vernacular
theories of art today suggest that presence can
our minds tell us—at the same time that it shifts
aesthetic, Atget owes his posthumous renown in
only be proved by absence: What I say is defined,
away from visual reliability into the uneasy realm
large part to Man Ray’s discovery of him. In their
in a slippery fashion, by what I choose not to say.
of ever-changing meaning.
turn, the Surrealists practiced photography as a
Or, as @mountennui tweeted, “A BOWL FULL OF
Recently, curator of photography Katherine
kind of dazzling visual trickery that hinted at the
SPIDERS SOON BECOMES A BOWL NOT FULL OF
Ware took a group of visitors to the New Mexico
depths of the unconscious. These days, as our
SPIDERS.” There’s your destabilized meaning right
Museum of Art on a virtual tour of the collection.
understanding of the meaning inherent to any
there—a Schrödinger’s cat of is/is not.
The occasion marked a re-visioning of Friends of
image continues to slide into a deconstructed
By the mid-twentieth century, photographs
Contemporary Art from FOCA into FOCA+P.
morass, it has become impossible to pinpoint
(especially black-and-white ones, which we have
Adding the “P” is a no-brainer in as photogenic
what photographs re-present: a feeling, a
come to associate with the presumed veracity of
a state as New Mexico. The fact that FOCA only
mood, a place, a personality, a moment in
journalism) had taught us to accept that what we
recently included the medium as a component
time, or merely a reference to one or all of the
see is the truth; some decades later Photoshop
of contemporary art can be attributed, at least in
above? The answers remain as elusive as does
revealed that there is no such thing as visual
part, to the old and tired notion that photography
a decisive definition of art, or even obscenity.
verity, despite what Duchamp might have termed
is not really high art. For example, according to
The questions are tantalizing, however, for their
“retinal evidence.” This leads us back to the non-
Ware, the c photographer and Parisian Eugène
very ambiguity.
NMMA comprises what Ware terms a “rich eco-system” of imagery and meaning within a socio-historical context. One of the museum’s strengths, surprisingly, lies in the works of women photographers, largely thanks to donations by such inspired collectors as Jane Reese Williams and Roberta DeGolyer. Beaumont Newhall is responsible for a robust portion of the NMMA photograph collection. Newhall became the first director of the new photography department at New York’s Museum of Modern Art beginning in 1940, having literally written the book on The History of Photography. He joined the faculty at the University of New Mexico in 1971. Such luminaries as Henri Cartier-Bresson, Edward Weston, and Ansel Adams counted Newhall as a friend; his presence here assured the state’s place in the history of the medium. Naturally,
landscape
photography
is
abundantly represented in the museum’s collection, from thirties-era classics by Weston and Paul Strand to Laura Gilpin’s rich interpretations of the landbased cultures of the American Southwest. Elliot Porter and Paul Caponigro figure prominently, as do members of Alfred Stieglitz’s circle. While Stieglitz rarely left New York in his later years, he had many friends and associates who traveled to New Mexico, where the land itself seemed to invite portraits of place, and continues to do so today, through perhaps a less romantic lens. Ware’s 2012 exhibition, book, and website Earth Now: American Photographers and the Environment, is a triumph of twenty-first-century complexities surrounding our relationship to the planet. Old-school developing techniques have been gaining prominence with contemporary New Mexican photographers, nourished no doubt by the presence of Bostick & Sullivan in Santa Fe since 1980, preeminent suppliers of antique, handcrafted chemical developing processes. Alternate techniques abound, from Zoe Zimmerman’s albumen prints to May Stevens’ Xerox-based collage We Are the Slaves of Slaves. Anything goes, in Ware’s opinion, when it comes to photography as a medium, so long as it falls under the etymology of the word, from the Greek for “writing with light.” That term was originally used in the first half of the nineteenth century; today the concept is as limitless as light itself.
—Kathryn M Davis Tiffiney Yazzie, Rosita II, pigment print, 41½” x 51½”, 2011
april
2013
THE magazine | 57
jennifer esperanza photography
505 204 5729
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GREEN PLANET
Darryl Cherney:
Musician, Earth First! Activist & Filmmaker
Darryl Cherney co-founded the Headwaters Forest Reserve near Eureka, California. He organized for rallies in support of Julia Butterfly Hill’s two-year tree sit and co-organized the Redwood Summer campaign. On May 24, 1990, Cherney and fellow activist Judi Bari were injured when a pipe bomb exploded in the car they were traveling in. The FBI accused the two of bombing themselves. Bari and Cherney sued the FBI and the Oakland Police Department for violations of the United States Constitution. Cherney and the late Bari’s estate were awarded $4.4 million for violations of the First and Fourth Amendments. In 2012, Cherney’s documentary film Who Bombed Judi Bari? was released. This powerful and moving film tells the story of the struggles to save the old growth redwoods that are still standing in Northern California and the bombing of these two devoted activists.
“We have the honor and privilege of being the last generation to be able to fight for the life on this planet as we know it.” Photograph
april
2013
by
Jennifer Esperanza
THE magazine | 59
MARK Z. MIGDALSKI, D.D.S. GENERAL AND COSMETIC DENTISTRY “DEDICATED TO PREVENTION, SERVICE & EXCELLENCE”
a r c h i t e c t u r a l d e ta i l s
Fallen Down, Near Stanley, NM photograph by april
2013
Steven A. Jackson THE magazine | 61
WRITINGs
LIKE YOU (Como Tú) by
Roque Dalton
•
Translated by Jack Hirschman
Like you I love love, life, the sweet smell of things, the sky-blue landscape of January days. And my blood boils up and I laugh through eyes that have known the buds of tears. I believe the world is beautiful and that poetry, like bread, is for everyone. And that my veins don’t end in me but in the unanimous blood of those who struggle for life, love, little things, landscape and bread, the poetry of everyone.
Roque Dalton García (1935–1975) was a Salvadoran poet and revolutionary activist who became one of the most influential voices in Central America during the great upheavals of the 1960s and 70s. Dalton wrote eighteen volumes of poetry and prose and many political essays. His book Taberna y Otros Lugares (Tavern and Other Places) won the Casa de Las Americas poetry prize in 1969 and garnered Dalton acclaim and respect throughout Latin America and the world. He is considered one of Latin America’s most compelling poets. Dalton wrote emotionally strong, sometimes sarcastic, and image-loaded works dealing with life, death, love, and politics.
62 | THE magazine
april
2013
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