Santa Fe’s Monthly
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of and for the Arts • October 2015
Photo Credit: Wendy McEahern Photography
53 Old Santa Fe Trail | Upstairs on the Plaza | Santa Fe, NM | 505.982.8478 | shiprocksantafe.com
CONTENTS Bruce Nauman, produced by Fondation Cartier pour l’Art Contemporain, chronicles six installations of the artist’s work from 1970-2015 exhibited at their center in Paris. The book presents each installation in a separate folio, discreet in size as it is in content, employing an unusual approach to the documentation of the sound, video, sculpture, and works on paper. The catalogue begins with the sound piece For Children, referencing the title of a composition of Bartók’s. The stereo audio installation becomes a mantra with the title spoken in French and English cross fading as a soothing call and response. Also accompanying this work is For Beginners (Instructed Piano) from 2010, instructional exercises written for adults learning to play the piano interpreted by Nauman’s friend and musician Terry Allen, accompanied by works on paper, penciled lists, and notes relating to the sound pieces. A video projection of Nauman’s hands miming the finger patterns in the score references the sound, as well as the artist’s long-time fascination with his hands in his artworks. Pencil Lift/mr. rogers is a video diptych installation in which a pencil sharpened on both ends, suggesting a bullet, is held in place by pencil points, appearing to float while creating a horizon line, an example of a parallax optical illusion (the artist studied mathematics and physics prior to painting). Nauman’s cat, mr. rogers crosses the camera’s field of vision and meows, providing the video’s sound element. The essays in the catalogue discuss the works, the artist’s process and consistent captivation with themes such as word play, compulsive repetition, carousels, and the movement of a pendulum in response to the earth’s rotation. Robert Storr writes in a catalogue essay that Nauman makes work in order to think, and once he has thought through a problem he stops. The pieces in this volume illustrate his wide-ranging thought processes and offer multiple insights into the artist who Storr calls “one of the most innovative, influential, and widely respected conceptual and process artists in the world.”
03 12 18 21 23 25 27 31 32 38
letters
universe of: Meow Wolf’s Vince Kadlubek and Meow Wolf
at Work
art forum: Happy Hour by Martin Mull studio visits:
Ray Belcher and Michael Jantzen
ancient city appetite: The Compound by Joshua Baer one bottle: The
2012 Château La Roque Pic Saint Loup by Joshua Baer
dining guide: Loyal Hound and Kai Sushi and Dining art openings out & about
previews: Masterworks of American Modernism from The Vilcek Foundation Collection at the Georgia O’Keeffe Museum and From the Permanent Collection at The International Museum of Collage, Assemblage, and Construction 39 national spotlight: The Allure of Venice: Prints and Drawings from Canaletto to Tiepolo at the Los Angeles County Museum of Art 40 flashback: Dave Hickey, 2001 43 feature: The Santa Fe Photo Rodeo by Richard Baron 47 critical reflections: Eric Benson at TAI Modern; Drawing at Albertina Museum, Vienna; Dyeing the Grid at William Siegal Gallery; Go West at Gerald Peters Gallery; Habitat at 516 ARTS; Luminous Flux 2.0 at Thoma Foundation; Native American Group Show at Chiaroscuro; and Paul Pascarella at Nüart Gallery 57 found: Vermeer or Not Vermeer? 59 green planet: Navajo photographer Larry Price, photograph by Jennifer Esperanza 61 architectural details: On the Old Santa Fe Trail, photograph by Guy Cross 62 writings: “Fortune” by Tony Hoagland
Tradición, Devoción y Vida 80 Years of Black and White Photography in New Mexico and Mexico Featuring photographs from the collection of Anne and William Frej Calvary Hill, The Road from Chimayó, 2014, By William Frej, Archival Ink Jet Print, Collection of the artist, © William Frej, 2014
Through October 31, 2015 Museum of Spanish Colonial Art • Museum Hill
Museum of Spanish Colonial Art Museum Hill • 750 Camino Lejo • Santa Fe, New Mexico Open 7 Days a week through Labor Day (closed Mondays in the Fall) 10am to 5pm Be sure to follow us on Facebook and Twitter @spanishcolonial 505.982.2226 • www.spanishcolonial.org
LETTERS
magazine VOLUME XXIV NUMBER IV WINNER 1994 Best Consumer Tabloid
SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 and 2006 Top-5 Best Consumer Tabloids Publisher/Creative Director
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Contributors
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Jimmy Montoya: 470-0258 (mobile) THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: themagazinesf@gmail.com. Web address: themagazineonline.com. All materials copyright 2015 by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable, for any misspellings, incorrect information in its captions, calendar, or other listings. Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel. All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised. THE magazine is not responsible for any claims made by its advertisers for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.
OCTOBER
2015
Inside Out Art Exhibition and Fundraiser—works by New Mexico residents who are living with mental illness. On display at James Kelly Contemporary (1611 Paseo de Peralta) and TAI Modern (1601 Paseo de Peralta) on Friday and Saturday, October 9 and 10 from 5 to 7 pm. Ticketed opening night preview on Thursday, October 8 from 5 to 7 pm will be catered by Joseph’s Culinary Pub. Sales to benefit Compassionate Touch Network. Tickets: insideoutsantafe.org. Image: Sun Rising by Janelle Moore.
TO THE EDITOR: I was truly moved by Jon Carver’s completely sincere and unexpected review of Tanaka Kyokusho’s August bamboo show. I thank and applaud Carver for his recognition of this beautiful and relatively unknown art form—enjoyed by so few people in America, Europe, or Japan. I never tire of the silent and the not-so-silent thrills that fill the gallery when people come in and actually see the bamboo work. Plus, Carver’s writing inspired a beautiful poem. Bravo! Tanaka-san will be honored. Thank you THE magazine for all you do. —Jaquelin Loyd, TAI Modern, Santa Fe, via email TO THE EDITOR: I’ve been a fan of THE since my semi-fabled angry teenage misfit days as a “Häagen-Dazs Rat in Santa Fe.” Back then, I’d duct-tape a pair of issues of THE as shinguards against the feral goats on the Plaza. I have nothing but love for your very essential publication but I must draw your attention to an appalling oversight in your art coverage. Where the heck is the Kachina Vaporwave art? You know, that cool stuff where anti-capitalist kachinas are futuristic transformers on a Maxfield Parrish meets Microsoft dreamscape. We need to see more of that stuff because it’s about to go supernova. —Tany a Ortega, via email TO THE EDITOR: Thank you so much for putting the listing of my show and the image of my painting Victory in your wonderful THE magazine. I appreciate your support. I was whooping it up at the newsstand when I saw my art in your great art rag. Thanks a million. —Catherine Molland, Santa Fe, via email TO THE EDITOR: Nothing is more disruptive to the progress of the green movement than separating the so-called good guys (environmentalists, activists, green businesses, etc.) from
the bad guys (corporations, capitalists, conservatives, etc.). After over a decade of being entrenched in green marketing and environmental work, I have seen enough barbs thrown at “them”—and where did that get us? As polarized as our government is; I must confess I too took shots in the early days. But like a one-night stand, it feels good in the moment, but leaves you empty in the morning. The truth is we’re all in this together. We all breathe the same air. We all want our children to be happy and healthy. Why can’t we start there? Why can’t we come from the premise that we are one human family? Sounds too lofty? Not really. The last few years, I have had the unique experience of consulting with a corporation some love to hate. What I found out is there are deeply devoted people inside working hard for the environment in every way they can. Go figure? Nelson Mandela once said, “If you want to make peace with your enemy, you have to work with your enemy. Then he becomes your partner.” Poet David Whyte ostensibly agrees: “…high quality conversations, held skillfully at the right time with the right people, are the foundation from which leaders are able to navigate complexity, stakeholder agendas and accelerating change. When a leader’s bright ideas, forceful edicts, and clever strategic plans fail, conversational leadership can open the gate for the emergence of cohesive and relevant possibilities.” Here’s my advice: If the men and women in leadership positions (on both sides of the fence) can soften their hearts and drop their egos enough to sit at the table and listen, I mean really listen without holding hard and fast to their position, or trying to persuade the other to agree, then maybe, just maybe, together we can find a way—a middle way. By talking with one another to get clarification. And by exploring possibilities that we can all live with, not forever, but for now. —Carolyn Parrs, via email
THE magazine | 5
In Pursuit of Cultural Freedom is a lecture series on political, economic, environmental and human rights issues featuring social justice activists, writers, journalists and scholars discussing critical topics of our day.
THE PREMIER COMPANION FOR YOUR ART JOURNEY
HENRY A. GIROUX with
MAYA SCHENWAR
WEDNESDAY 14 OCTOBER AT 7 PM LENSIC PERFORMING ARTS CENTER …Terrorism, torture and state violence are no longer simply part of our history; they have become the nervous system of an increasingly authoritarian state. Eric Garner told the police as he was being choked to death that he could not breathe. His words also apply to (our) democracy itself, which is lacking the civic oxygen that gives it life. The United States is a place where democracy cannot breathe. — Henry A. Giroux, truth-out.org
Henry A. Giroux is an educator, author and public intellectual. He has written more than 60 books, most recently Neoliberalism’s War on Higher Education, The Violence of Organized Forgetting: Thinking Beyond America’s Disimagination Machine, Zombie Politics in the Age of Casino Capitalism (2nd edition), and Dangerous Thinking in the Age of the New Authoritarianism. He is a member of Truthout’s Board of Directors and a regular contributor to the nonprofit, independent online news organization. He teaches at McMaster University in Canada.
An
ANNUAL GUIDE for
ART LOVERS featuring galleries and artists across New Mexico
TICKETS ON SALE NOW
ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID
Available FREE at art venues throughout the state
Video and audio recordings of Lannan events are available at:
www.lannan.org
To order your copy visit www.NorthLightShop.com or call 800.258.0929
BLACK MAGIC
MAX COLE C O N S TA N C E D E J O N G
CHARLOTTE JACKSON FINE ART
October 16 – November 16, 2015 Reception for the Artists October 16, 5-7 P.M. Gallery Talk Saturday, October 17, 2:30 P.M. 554 South Guadalupe Street, Santa Fe, NM 87501 505.989.8688 www.charlottejackson.com
CACTUS FLOWER STUDIO presents
FINE ART PHOTOGRAPHY studio owner and artist
SEAN MARY HELEN JOHNSON PAINTINGS/SCULPTURE
local guest artists ALMA AND WINDY DANKOFF
OCTOBER 9 - NOVEMBER 15, 2015 RECEPTION AND OPENING
FRIDAY, OCTOBER 9, 2015, 6-9 P.M.
CACTUS FLOWER STUDIO 901-C CANYON ROAD, SANTA FE, NEW MEXICO
(206) 383-8881 or MARYHELENHJ@GMAIL.COM (call, text or email)
MONROE GALLERY of photography
Stephen Wilkes: Remnants
Hurricane Sandy, Seaside Heights, New Jersey, 2012 ŠStephen Wilkes
Exhibition of large-scale color photographs of the environment and the environmental remnants left behind either by nature or man. Opening reception with Stephen Wilkes Friday, October 2 5-7 PM
The exhibition continues through November 22
open daily 112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e: info@monroegallery.com
www.monroegallery.com
E X HIBITIO N S O N VIE W T H RO U G H D EC E M B E R 1 2 , 2015
■ UNM ART MUSEUM
SOWING SEEDS IN THE GARDEN: THE MULVANY FAMILY COLLECTION OF AFRICAN ART AT UNM
NECESSARY art in the Police State
FORCE MUSEUM HOURS: Tuesday–Friday: 10 am – 4 pm / Saturday: 10 am – 8 pm
Yoruba Culture, Nigeria Helmet mask (Ere Gelede), n.d. , (detail) Wood, red & black enamel paint, 14 1/4 8 10 1/4 inches, Gift of the Mulvany Family Collection of African Art, 2013.7.2, Photograph Courtesy of Geistlight Photography
ADMISSION: FREE and open to the public. A $5 donation is suggested to help support exhibitions.
Dread Scott, On the Impossibility of Freedom in a Country Founded on Slavery and Genocide, (detail), Performance still 2, 2014. Photograph: Mark Von Holden Photography. Courtesy of the artist. Project produced by More Art.
Closed on Sundays, Mondays, and major holidays
FOR MORE INFO Please visit: www.unmartmuseum.org or call 505.277.4001.
× ×
This is My Century. Gabriel, Musician
MyCenturyBank.com 844.600.5800
You don’t live nine to five, and neither do we. With Online and Mobile Banking1 you can make deposits, pay bills, and make person-to-person payments with TheWayiPay®2. Your time, your bank, your Century.
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16 OCTOBER 21 NOVEMBER 2015
JACK BALAS: GUY’D BOOK
RECEPTION FOR THE ARTIST FRIDAY OCTOBER 30 5-7 PM
JAMES KELLY | CONTEMPORARY 1611 PASEO DE PERALTA | SANTA FE | JAMESKELLY.COM ON THE GROUND (MUSE /MUSEUM SERIES #1188) 2015, WATERCOLOR & INK ON PAPER, 23 × 15 INCHES UNFRAMED
UNIVERSE OF
VINCE KADLUBEK IS A HOMETOWN BOY—BORN AND RAISED IN SANTA FE. In 2008 he co-founded Meow Wolf with twelve other “Wolfers” with the goal of creating the most stunning and audacious exhibitions imaginable. Meow’s installations are reminiscent of the visuals in Terry Gilliam’s visionary 1985 film Brazil. In 2011 the Center for Contemporary Arts invited Meow to create a seventy-foot-long interactive ship—The Due Return—that elicited spectacular responses. Several years later, enter George RR Martin, who is supporting Meow Wolf’s newest project, The House of Eternal Return, which opens in early 2016 in what was once the Silva bowling alley. Visitors will cross the threshold of what appears to be a typical Victorian house; once inside, they’ll discover passageways and portals that will lead them to multiple parallel universes. About Kadlubek, artist Cannupa Hanska Luger commented, “Vince has given a face and a voice to the movement of younger artists in Santa Fe.” LIFE BEFORE MEOW WOLF
IMPORTANCE OF COLLABORATION
We called ourselves The Quadraplex, a small group of homes and a bus on
We can solve problems that are bigger than us by learning the language of
Young Street in Santa Fe. We had a park, and a firepot, danced to JT, got
collaboration. By adopting a “yes and” mentality with others, we become
naked in the park, and dreamed of big projects. Corvas, Megan, Arthur,
happier, more forgiving, more nurtured, more capable, and we become
Amelia, Grant, Matt Smith, Chris Hilson, Quinn Tincher, Kirstiann, Chris B,
comforted by a sense of belonging.
Collin, The Armani of Duct Tape, Roman, and his cat Tripod. ABOUT IMMERSIVE ART INSTALLATIONS OUR MISSION
Immersive work is inherently more accessible to a wider audience than stand-
Meow Wolf wants to create the most spectacular experiences humans have ever
alone paintings or sculpture. The reason is that everyone—no matter his or her
seen. We do it through radically inclusive collaborations, wildly maximal artwork,
socioeconomic background—is familiar and comfortable with walking inside of
and immersive environments. We want to create wonder, awe, magic, and mystery
an environment; we do it multiple times a day. Grocery stores are immersive
for all demographics including those who normally do not feel welcomed into art
installations, as are gas stations, banks, schools, and our homes. This familiarity of
galleries. And most importantly, we want to create our spectacles together.
immersive space allows for engagement with abstraction, texture, and the strange.
CREATING NEW WORLDS
FROM DUE RETURN TO HOUSE OF ETERNAL RETURN
Taking someone out of his or her known world and revealing to them a new world
We needed to develop a new understanding of creativity, one that involved
is practically the definition of a psychedelic experience. Psychedelic experiences
finances, budgets, and project management. We spent the three years
are so important! They allow our brains to imagine realities beyond our current
between these two projects traveling to various cities to install work. We
paradigm, and for so many people that paradigm is usually difficult. Kids who have
traveled with big groups with very little funding. We had to coordinate
tough lives at homes, for instance, desperately need to be exposed to new worlds.
transport of materials. We had to feel the pain of short-term, temporary work. The journey towards H.E.R. was a journey of crunching numbers and envisioning revenue, but all the while maintaining our true Meow Wolf form.
p h o t o g r a p h
b y
D
a n a
W
a l d o n
EXPANDING CURRENT DEFINITIONS OF ART People need creativity. So many feel alienated by the art world, and let’s be honest, the majority of people are estranged. If you do not have the means to participate in the art economy, why would anyone welcome your presence? This is a sad reality in the world of gallery and museum art. Unfortunately, those who are alienated feel animosity toward creativity in general, which causes a disconnect with the creator inside themselves. Why make art if art doesn’t want you in the first place? This disconnection from the creator within leads to an inability to create one’s own life, and thus a vast state of depression throughout so many across the world. Expanding the definition of art means expansion of creativity into more people’s lives. It means activating the creator within.
continued on page 14 OCTOBER
2015
THE magazine | 13
MEOW WOLF AT WORK
UNIVERSE OF
PHOTOGRAPHS BY AUDREY DERELL AND DANA WALDON
OCTOBER
2015
THE magazine | 15
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ART FORUM
T H E M AG A Z I N E A S K E D A C L I N I C A L P S YC H O LO G I S T A N D T W O P E O P L E W H O LOV E A RT F O R T H E I R TA K E O N T H I S 2 0 1 5 O I L- O N - L I N E N PA I N T I N G E N T I T L E D H A P P Y H O U R BY M A RT I N M U L L A S S E E N AT DAV I D R I C H A R D G A L L E RY. T H E Y W E R E S H O W N O N LY T H E I M AG E A N D W E R E G I V E N N O O T H E R I N F O R M AT I O N . Fire is one of the most compelling psychological symbols.
is actually full of turmoil and disappointment. The man and
and Harriet, and Leave it to Beaver, the fathers always
Throughout time, it has represented anger, passion,
the woman represent your authentic couple. There’s the
have the answers, a world where there is never any
consumption, transformation, purification, sexual energy,
workingman shown still wearing his gloves being waited
contention or heartbreak. This is the time of black-and-
and power. Here, we see a woman fantasize about
on by the housewife with a tray of beer for his relaxation.
white twelve-inch televisions, when everyone is happy.
setting fire to her home and destroying her role as a
The distance between them and the look the woman has
Where everyone is well fed and well dressed. When
1950s housewife. Yet, it is also possible we are seeing her
gives me a sense of animosity between the couple. She
the populace lives in nice homes and all have the same
dream and not her waking fantasy. Regardless, she can
seems angered by the constraints of having to stay home
values. It is also the era of the Cold War, the fear of
no longer tolerate serving her husband and maintaining
and please her husband. Her positioning higher than
atomic weapons, and of nuclear fallout. And the time of
their home. Forensic psychologists would classify her as
him shows that she looks down on his power and also
the so-called “Red Menace,” and the “Yellow Peril”—
a “Revenge-Motivated Arsonist” (opposed to a “Profit-
that she is the unappreciated source of his success. The
a decade when the majority of the population lives with
Motivated Arsonist”). Also, an important detail is that
significance of the house on fire is the woman destroying
a daily fear of annihilation. The 1950s is also the birth of
the fire is spreading into the surrounding neighborhood.
the gap between men and women.The conceited
the cocktail hour, that time of day when father (affable,
Such a fact suggests that her destructive wishes may
demeanor of the perfect American man at home in
and probably a little bumbling) comes home, kicks back
be far greater in scale. For instance, she may want to
this image caused the push towards woman’s equality.
and relaxes with a drink, his perfect wife by his side
obliterate the entire 1950s home life structure. Freud
Even though, in the past, this lifestyle has been plagued
after a hard day at the office. This image of the perfect
theorized that people are driven by sex and aggression.
with destruction, people still strive to have the dream.
couple—father with his pipe, and wifey with her loving
We certainly see these urges here. Indeed, this woman is
This is also shown in the couple’s apparent ignorance of
smile show them ignoring, or just plain oblivious, to the
serving up revenge!
the
picture.
fact that their perfect little world is going up in flames.
—Davis K. Brimberg, Ph.D., Clinical Psychologist
The American Dream includes ignoring the bad others
This couple who cannot see the danger, conjures up
deal with since they should have worked harder
the image of Nero calmly playing the fiddle while Rome
This image depicts the truth behind the American Dream
themselves to also enjoy your life of “perfection.”
burned and his people cry out in suffering, and of the
and how it impacted changes in America. The typical
—Michaela Chapman, Intern at 203 Fine Art, Taos
popular metaphor that ostriches bury their heads in the
destruction
happening
in
the
sand to avoid predators. This image is a warning for all of
suburban family is all smiles and laughs when out with their friends, but hidden in their eyes is the fire of their
This image with its retro look portrays an idealized
us to not ignore obvious facts, hoping that simply denying
home life. When in private, the apparent perfect life of
vision of middle-class American life in 1950s suburbia
the existence of a problem will make it go away.
family and white picket fence house preached to children
where, as in TV series such as Father Knows Best, Ozzie
—Ruth Eskanas, Art Tourist, Rochester, NY
18 | THE magazine
OCTOBER
2015
LARRY BOB PHILLIPS Paintings of the Electric Night October 9th to 31st
Larry Bob Phillips, Smoking Bather, Ink on paper, 44” x 67”, 2015
Opening Reception: Friday, October 9th from 6 to 9 pm
Phil Space • 1410 Second Street • Santa Fe • 505-983-7945 • philspacesantafe.com
LÁSZLÓ MOHOLY-NAGY SAID, “THE ENEMY OF PHOTOGRAPHY AND OF ART IS THE CONVENTION, THE FIXED RULES OF ‘HOW TO DO.’ THE SALVATION COMES FROM THE EXPERIMENT.” TWO ARTISTS RESPOND TO HIS STATEMENT.
STUDIO VISITS
Experimentation may be the central activity in which artists and photographers are engaged, each new work an opportunity to see and respond in the now. Rules and conventions, some benign and some inhibiting, must be addressed throughout one’s life as an artist. One’s own conventions may be the most stultifying, but through mindful/mindless engagement with the work itself, limitation of vision may be expanded.
—Ray Belcher A selection of Belcher’s vintage silver gelatin prints of Santa Fe and Galisteo is on view through October at The Standard Art & Antiques Company, 136 Grant Avenue, Santa Fe. His photographs are in the collections of the San Francisco Museum of Modern Art, the Denver Art Museum, and the Albuquerque Museum, among others. Belcher’s work will be discussed as part of the 136 Grant Salon Series: Meet the Expert—John Boland discusses collecting photography on Friday, October 16 from 3 to 5 pm. Belcher is “old school,” and can be contacted by phone: 505-603-5931.
The only photography and other art that interests me is the unconventional, which celebrates experimentation. This is what I have tried to do with all of my work from the very beginning. As far as I am concerned, art has to be experimental on some level or it is just painting, sculpture, and photography. For me, the best art is also innovative. Art has to inspire me, and the best way to do that is to show me something that I have never seen before, and present it in an elegant way. Whether I am making a sculpture, creating a photomontage, or designing a chair, my intention is always to reinvent everything in order to inspire others through my work, to think more creatively about the world around them.
—Michael Jantzen Jantzen had two exhibitions in 2015, one at the Bruno David Gallery, St. Louis, and the other at PYO Gallery, Los Angeles. www.michaeljantzen.com, www.michaeljantzenstudio.com, and http://archinect.com/michael-jantzen/projects
photographs by
OCTOBER
2015
Anne Staveley
THE magazine | 21
2015
THE ART AND ARTISTS OF THE
GALISTEO STUDIO TOUR
AC RY L I C PA I N T I N G
by
AMY SEALOVE
28TH ANNIVERSARY
O C T O B E R 17 & 18 , 2 015 W E AV I N G CARV I N G J E W E L RY PHOTOGRAPHY SCULPTURE POTTERY FOLK ART PAINTING FOOD 10 A M - 5 P M BOT H DAYS GALISTEOSTUDIOTOUR.ORG M A P S
AVA I L A B L E
AT
f GALISTEO STUDIO TOUR A L L
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&
O N - L I N E
ANCIENT CITY APPETITE
Ancient City Appetite by Joshua
Baer
The Compound 653 Canyon Road, Santa Fe Lunch: 11:00 AM - 2:30 pm Dinner: 5:00 - 9:00 pm Open seven days – No lunch on Sundays Reservations recommended 505-982-4353 From the moment you open the door to The Compound and walk into the
If you’re feeling decadent, ignore the rest of the menu, order a glass of Moet
front room, you are treated with respect. Being treated with respect is not what
& Chandon Brut ($25), and tell your waiter to keep bringing you orders of the
you might call standard operating procedure at most high-end restaurants, either
Tuna Tartare until you raise your hand and say, “Enough.”
in or out of Santa Fe. In fact, you are more likely to be shown respect by the
Sweet Breads and Foie Gras (with cepes, cayenne, and Spanish sherry); $22.
staff at an inexpensive restaurant than by the staff at a restaurant where lunch
I order the foie gras every time I go. It’s a window into the professional goodness
or dinner cost as much as they do at The Compound. What’s exceptional about
of chef Kiffin’s cooking.
The Compound is the way the staff seems to know you, even when they don’t. My guess is that this show of respect comes from the top. Mark Kiffin, The Compound’s chef and owner, has been in Santa Fe since 1989. During his twenty-five years here, Mark has earned the respect of everyone in the restaurant business. Mark earned that respect through his cooking, to be sure, but he also earned it through the way he values his
Chicken Schnitzel (with capers, lemon, and sautéed spinach); $17. The Compound’s signature entrée. Make sure to have a glass of Sauternes with it. Organic Scottish Salmon (with chanterelle and squash blossom risotto, beurre blanc, and fried kale); $34. Hudson Valley Duck Breast (with choy sum, green beans, fennel, garlic, fermented black bean duck sauce, and grilled plum chutney); $35.
employees. Great restaurant food is a marvel. It’s hard to find, but it’s out there,
Yes, lunch or dinner at The Compound costs money. The thing is, when I’m
especially if you know where to look. Respect, on the other hand—the kind that
sitting in the back patio, enjoying my Chicken Schnitzel with a glass of Sauternes,
flows both ways—is more difficult to find, even if you think you know where
the combination of the food and the service makes the cost seem incidental.
to look.
That’s why Mark Kiffin and his staff have my respect.
These are the dishes you do not want to miss. Tuna Tartare (with walnut toast, preserved lemon, and black caviar); $17. OCTOBER
2015
Photograph by Joshua Baer. Ancient City Appetite recommends places to eat, in and out of Santa Fe. Send your favorites to places@ancientcityappetite.com.
THE magazine | 23
“Santacafé always feels chic, yet causal— like “Cheers” with class.” – John Vollersten, Santa Fean
lunch - monday thru saturday sunday brunch dinner nightly
restaurant bar 231 washington avenue - reservations 505 984 1788
gift certificates, menus & special events online www.santacafé.com
Nearly a half a century of providing the ultimate Santa Fe dining experience...
LUNCH • DINNER • BAR
Reservations: 505.982.4353 653 Canyon Road compoundrestaurant.com
photo: Kitty Leaken
ONE BOTTLE
O ne B ottle
The 2012 Château La Roque Pic Saint Loup by J oshua “The paper burns, but the words fly free.”
– Akiba ben Joseph
(40-135A.D.), the Jewish sage and principal founder of rabbinic Judaism.
B aer . “I want the world to be filled with white fluffy duckies.” – Derek Jarman (1942-1994).
Rabbi Akiba shouted the words while being burned at the stake, and
“Father, into thy hands I commend my spirit.” – Jesus (Luke 23:46).
while his temple’s copy of the Torah was also being burned.
“Oh wow. Oh wow. Oh wow.” – Steve Jobs (1955-2011).
“Gentlemen, you are about to see a baked Appel.” – George Appel, the convicted murderer of a New York City policeman. Appel said his last words to the group of journalists who had gathered to witness his execution by the electric chair on August 9, 1928. “Don’t disturb my circles!” – Archimedes (287-212 B.C.), the ancient Greek astronomer and mathematician. Archimedes said his last words in reply to the Roman soldier who had just ordered Archimedes to report to a Roman general. When Archimedes continued to draw geometric theorems on the ground, the soldier killed him for failing to obey a direct order. “Jackie, is it my birthday or am I dying?” – Lady Nancy Astor (1879-1964), after a long illness, upon noticing that all her children were assembled at her bedside. “Now I can cross the Shifting Sands.” – L. Frank Baum (1856-1919), author, The Wizard of Oz. “Friends, applaud. The comedy is over.” – Ludwig van Beethoven (1770-1827). “I should never have switched from Scotch to Martinis.” – Humphrey Bogart (1899-1957).
“Does nobody understand?” – James Joyce (1882-1941). “Yes, I am.” – John Lennon (1940-1980), in response to the New York City police officer who asked him if he was John Lennon. “Mozart! Mozart!” – Gustav Mahler (1860-1911). “This is no way to live!” – Groucho Marx (1890-1977). “Go on, get out. Last words are for fools who haven’t said enough.” – Karl Marx (1818-1883). “The taste of death is upon my lips… I feel something that is not of this earth.” – Wolfgang Amadeus Mozart (1756-1791). “Help.” – Richard Milhous Nixon (1913-1994). “Drink to me. Drink to my health. You know I can’t do it anymore.” – Pablo Picasso (1881-1973). Which brings us to the 2012 Château La Roque Pic Saint Loup. In the glass, the 2012 Château La Roque is a fearless garnet. Stare into it, catch a glimpse of it, hold up a glass of it to a mirror—the wine’s color extends beyond the eye’s ability to measure its depth. The bouquet gets your attention, but not all of it—just enough to suggest that the wine you’re about to taste will be one you won’t forget. On the palate, the wine
“Useless… Useless.” – John Wilkes Booth (1838-1865).
manages to be simultaneously aggressive and passive. The
“You’re too much of a fucking pussy to shoot me.”
finish takes you behind the veil and reveals Château La Roque’s
– Michael Brown (1994-2014). Brown allegedly spoke his
legendary panache. If this turns out to be my last wine, I might
last words to Darren Wilson, the Ferguson, Missouri, police
die happy.
officer who shot Brown six times, and killed him. The quote
“I’m going over the valley.” – Babe Ruth (1895-1948).
is from Wilson’s testimony.
“Dying is easy. Comedy is hard.” – George Bernard Shaw
“I just wish I had time for one more bowl of chili.” – Kit Carson (1809-1868). “Dammit… Don’t you dare ask God to help me.”
(1856-1960). “Capital Punishment means those without the capital gets the punishment.”
– John Arthur Spenkelink (1949-1979),
– Joan Crawford (1905-1977), to her housekeeper, who had
a convicted murderer, before his execution in Tallahassee,
started to pray out loud at Crawford’s bedside.
Florida.
“Where is my clock?” – Salvador Dalí (1904-1989). “It’s very beautiful over there.” – Thomas Edison (18471931).
“Roses plural, or Rose’s roses with an apostrophe?” – Dylan Thomas (1914-1953). “But the peasants… how do the peasants die?” – Leo Tolstoy
“How’s this for your headline? ‘French fries!’” – James French (1936-1966), a convicted murderer, to the group of journalists who had gathered to witness French’s execution by the electric chair. “Goodnight, my kitten.” – Ernest Hemingway (18991961).
(1828-1910). “The sun is God.”
– Joseph Mallord William Turner
(1775-1851). “Why should I? This is no time to make new enemies.” – Voltaire (1694-1778), when asked if he was ready to reject Satan.
“The story of life is quicker than the blink of an eye, the story of love is hello and goodbye, until we meet again.”
“Of course I know who you are. You’re my girl. I love you.” – John Wayne (1907-1979), to his girlfriend, Pat Stacy.
– Jimi Hendrix (1942-1970)—the last lyrics of a song written
“Oinka Oinka Oinka why you awake” – Amy Winehouse
on a piece of paper found at Hendrix’s bedside the morning
(1983-2011)—her final tweet, received by her followers after
after he died.
her death.
“Leave the shower curtain on the inside of the tub.” – Conrad Hilton (1887-1979), when asked if he had any final words of wisdom.
OCTOBER
2015
One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. You can write to Joshua Baer at jb@onebottle.com.
THE magazine | 25
DINING GUIDE
Lola’s Daily Sweet Treat
LOYAL HOUND 730 St. Michael’s Drive
471-0440
$ K E Y
INEXPENSIVE
$
MODERATE
up to $14
$$
EXPENSIVE
$15—$23
$$$
$24—$33
VERY EXPENSIVE
$$$$
Prices are for one dinner entrée. If a restaurant serves only lunch, then a lunch entrée price is reflected. Alcoholic beverages, appetizers, and desserts are not included in these price keys. Call restaurants for hours.
$34 plus
EAT OUT OFTEN
Photos: Guy Cross
...a guide to the very best restaurants in santa fe, albuquerque, taos, and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: Generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence.
Café Fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch/Dinner (Fri.to Sun.) Wine/Beer soon in 2015 Cash/major credit cards. $$ C uisine : We call it contemporary comfort food. A tmosphere : Casual. H ouse specialties : For breakfast, both the Huevos Motulenos and the Eldorado Omelette are winners. For lunch, we love the One for David Fried Fish Sandwich.
Andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ 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 are our choices. C omments : Great pizza.
Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian posters. House specialties: Hotcakes got a nod from Gourmet The Huevos Motuleños is a breakfast that you will really love. Comments: they’ve been doing it right here for over thirty-five years.
Arroyo Viono 218 Camino La Tierra. 983-2100. Dinner (Tuesday-Saturday) Full bar. Major credit cards. $$$$ Cuisine: Progressive American. Atmosphere: Warm and welcoming. House specialties: The Charcuterie Plate, the Grapefruit and Almond Salad, the Prosciutto Wrapped Norwegian Cod, and the N.M. Rack of Lamb. Comments:. Superior wines in the restaurant and wine shop.
Chez Mamou 217 E. Palace Ave. 216-1845. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Artisanal French Bakery & Café. Atmosphere: Casual. House specialties: Start with the Prosciutto Melon Salad. For your main, try the Paillard de Poulet: lightly breaded chicken with lemon and garlic sauce, or the Roasted Salmon with white dill. Comments: Pasta dishes rule.
Bang Bite 502 Old Santa Fe Trail & Paseo de Peralta. 469-2345 Breakfast/Lunch Parking lot, take-out, and catering. Major credit cards Cuisine: American.Fresh, local & tasty. Atmosphere: Orange food truck in parking lot. House specialties: Burger and fries and daily specials. Lotta bang for the buck here.
Chopstix 238 N. Guadalupe St. 982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, and Kung Pau Chicken. Comments: Friendly owners.
Beestro 101 W. Marcy St. 629-8786 Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: Casual. H ouse specialties: Chef-made Panini, salads, sanwiches, Soups, coffee drinks. Comments: Take-out or dine-in. Bouche 451 W. Alameda St 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: Start with the Charcuterie Plank. The Bistro Steak and the organic Roast Chicken are winners. Comments: Chef Charles Dale is a pro.
Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and the perfect Grilled Salmon are our favorites. Dinners are terrific. Comments: Nice selection of beer and wine. Very casual, friendly, and very reasonable prices. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: Good old American. fare. Atmosphere: Patio shaded by big cottonwoods. Great bar. H ouse specialties : The smoked brisket and ribs are the best. Super buffalo burgers. Comments: Huge selection of beers.
Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: Main the grilled Maine Lobster Tails or the 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines. Dr. Field Goods Kitchen 2860 Cerrillos Rd. 471-0043. Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: New Mexican Fusion. Atmosphere: Casual and friendly. House specialties: Faves: the Charred Caesar Salad, Carne Adovada Egg Roll, Fish Tostada,, and Steak Frite. Comments: You leave feeling good. Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room where you can sit, read periodicals, and schmooze.. House specialties: Espresso, cappuccino, and lattes. El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish Atmosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-to-cheek dancing. House specialties: Tapas. Comments: Murals by Alfred Morang. El Mesón 213 Washington Ave. 983-6756. Dinner Full bar. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme here as well as vegetarian dishes. Comments: Music nightly. Fire & Hops 222 S. Guadalupe St. 954-1635 Dinner - 7 days. Lunch: Sat. and Sun. Beer/Wine. Patio. Visa & Mastercard. $$$ Cuisine: Sustainable local food. A tmosphere : Casual and friendly. House specialties: The Green Papaya Salad and the Braised Pork Belly. Fave large plates: the Cubano Sandwich and the Crispy Duck Confit. C omments : Nice selection of beers on tap or bottles. G eorgia 225 Johnson St. 989-4367. Patio. Dinner - Full bar. Major credit cards. $$$$ C uisine: Clean and contemporary.
Atmosphere: Friendly and casual. House specialties: Start with the Charcuterie Plate or the Texas Quail. Entrée: Try the Pan-Roasted Salmom—it is absolutely delicious. Comments: Good wine list, a sharp and knowledgeable wait-staff, and a bar menu that you will love. Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: We call it French/Asian fusion. Atmosphere: Elegant and stylish. H ouse specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass and the classic peppery Elk tenderloin. C omments : Wonderful desserts and top-notch service. Harry’s Roadhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Down home House specialties: For breakfast go for the Scrambled Eggs with Smoked Salmon, Cream Cheese. For lunch: the out-of-this-world Buffalo Burger. Dinner: the Hanger Steak. C omments : Friendly folks and reasonable prices. Il Piatto Italian Farmhouse Kitchen 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. A tmosphere: Bustling. H ouse specialties: Our faves: the Arugula and Tomato Salad, the Lemon Rosemary Chicken, and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to table. Izanami 3451Hyde Park Rd. 428-6390. Lunch/Dinner Sake/Wine/Beer Major credit cards. $$$ C uisine : Japanese-inspired small plates. A tmosphere : A sense of quietude. House specialties:. The Nasu Dengaku, eggplant and the Pork Belly with Ginger BBQ Glaze. C omments : Great selection of Sake. Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ C uisine : African and Caribbean inspired. A tmosphere : Real casual. H ouse specialties : Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers. C omments : Truly fabulous soups reign supreme here.
Joseph’s Culinary Pub 428 Montezuma Ave. 982-1272 Dinner. Beer/Wine Major credit cards. $$$ Cuisine: Innovative. Atmosphere: Intimate. H ouse specialties : Start with the Butter Lettuce Wrapped Pulled Pork Cheeks. For your main, try the Crispy Duck, Salt Cured Confit Style. Comments: The bar menu features Polenta Fries and the New Mexican Burger. Many really wonderful desserts to choose from. Great service is the standard here. Kai Sushi and Dining 2720 St. Michael’s Drive. 438-7221 Lunch/Dinner Major credit cards. $$$ Cuisine: Japanese. Atmosphere: Casual. House specialties: The Sashimi is amazing as are the Sushi Rolls and the Salmon Teriyaki Combo. Comments: Great Bento boxes and excellent sake. Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Easygoing. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: Love the Sake. La Plancha de Eldorado 7 Caliente Rd., La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner. Beer/Wine. Major credit cards. $$ Cuisine: An Authentic Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Tamales. Comments: Sunday brunch rules. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Casual House specialties: Start with the Tomato Salad. Entrées we love are the Braised Lamb Shank with couscous. Comments: Wonderful breakfasts and a really beautiful courtyard for dining. Located in the La Fonda Hotel, just off the Plaza. Loyal Hound 730 St. Michael’s Drive. 471-0440 Lunch/Dinner. Beer/Wine. Patio. Major credit cards. $$ Cuisine: Real comfort food. Atmosphere: Unpretentious. H ouse specialties : Fried Rosemary Olives, Shrimp and Grits, Beer Battered Fish and Chips, Braised Bison Short Rib Nachos, and Southern Fried Chicken. Comments: The homemade salsas are delicious. Nice selection of beer, wine, and aperitifs. Teriffic desserts.
continued on page 29 OCTOBER
2015
THE magazine | 27
JOIN US EVERY TUESDAY DURING OCTOBER & NOVEMBER!
2 OYSTERS FOR THE
PRICE OF 1 ◆
ASK ABOUT
FRESH KING CRAB AVAILABILITY
Sunday-Thursday, 5:00 - 9:00pm
◆
Fri day- Saturday, 5:00 - 9:30pm
r o f g n Baki Fe Santa 83 19 e c n i s
◆
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◆
www.315santafe.com
◆
Reservations: (505) 986.9190
DINING GUIDE
THE
DELICIOUS
BENTO
Masa Sushi 927 W. Alameda St. 982-3334. Lunch/Dinner Sake/Beer Major credit cards. $$ C uisine : Japanese. A tmosphere : Low-key. H ouse specialties : For lunch or dinner: Start with the Miso soup and/or the Seaweed Salad. The spicy Salmon Roll is marvelous, as are the Ojo Caliente and the Caterpiller rolls. The Tuna Sashimi is delicious. C omments : Highly recommended. Midtown Bistro 910 W. San Mateo, Suite A. 820-3121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ C uisine : American fare with a Southwestern twist. A tmosphere : Beautiful open room. H ouse specialties : For lunch: the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrée: Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop. C omments : Nice desserts. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic. Nexus 4730 Pan American Fwy East. Ste. D. Alb. 505 242-4100 Breakfast/Lunch/Dinner Major credit cards. Patio. Cuisine: Southern-New Mexican. Atmosphere: Brew-pub dive. House specialties: Lots of suds and growlers, and the real deal Southern Fried Chicken Recomendations: Collard Greens, Mac n’ Cheese with green chile, and Southern Fried Fish n’ Chips. Comments: Fair prices. Oasis Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: Mediterranean. Atmosphere: Friendly. House specialties: Soups, Salads, grilled Sandwiches Gyros, and the best Cubano in New Mexico. Comments: House-made bread. Fair prices. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: Breakfast: go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. All of the burritos are great. Patty Melt is super. Comments: Green Chilie is perfect. Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American. Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs, and Burgers. Haystack fries OCTOBER
2015
BOX
AT
KAI
SUSHI
rule. Recommendations: An excellent wine list. S an F rancisco S t . B ar & G rill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ C uisine: Good bar food. Atmosphere: Casual, with art on the walls. House specialties: Lunch: the San Francisco St. hamburger or the grilled Salmon filet with black olive tapeade and arugula on a ciabatta roll. Dinner: the flavorful twelve-ounce New York Strip steak, with chipotle herb butter, or the Idaho Ruby Red Trout with pineapple salsa. Comments: Visit their sister restaurant at Devargas Center. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Southwest Contemporary. Atmosphere: Minimal, subdued, and elegant House specialties: Their world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Pan-seared Salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Happy hour special from 4-6 pm. Great deals: Half-price appetizers. “Well” cocktails only $5. Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmeal-crusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. c Easy on the wallet. Santa Fe Bite 311 Old Santa Fe Trail. 982-0544 Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Lunch: the juicy 10 oz. chuck and sirloin Hamburger or the Patty Melt. Dinner: the Ribeye Steak is a winner. The Fish and Chips rivals all others in Santa Fe. C omments : Try any of the burgers on rye toast instead of a bun. Their motto” “Love Life. Eat good.” We agree. Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. Atmosphere: Contemporary. House specialties: Tuna Steak, ChickenFried Chicken with mashed potates and bacon bits, and the New York Strip with a yummy Mushroom-Peppercorn Sauce. Desserts are on the mark. Comments: Nice wine selection. Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$
AND
DINING
|
Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. H ouse specialties : Hot daily specials, gourmet sandwiches, Get the Baby-Back Ribs when available. Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Pub grub. Atmosphere: Real casual. House specialties: We enjoy the Beer-steamed Mussels, the Calamari, and the Fish and Chips. Comments: Good selection of beers. Shake Foundation 631 Cerrillos Rd. 988-8992. Lunch/Early Dinner - 11am-6pm Major credit cards. $$ Cuisine: All American Burger Joint. Atmosphere: Casual with outdoor table dining. House specialties: Green Chile Cheeseburger, the Classic Burger, and Shoestring Fries. Amazing shakes made with Taos Cow ice cream. Comments: Sirloin and brisket blend for the burgers. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff. Sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner. Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. Atmosphere: Large open room. House specialties: The Mediterranean Breakfast—Quinoa with Dates, Apricots, and Honey. Lunch: the Indonesian Vegetable Curry on Rice; C omments : Wine and Craft beers on tap. Terra at Four Seasons Encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties:. Dinner: Start with the sublime Beet and Goat Cheese Salad. Follow with the PanSeared Scallops with Foie Gras or the Double-Cut Pork Chop. Comments: Chef Andrew Cooper brings seasonal ingredients to the table. Excellent wine list. The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive. 505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ C uisine : Southwest and American. A tmosphere : Casual, calm, and friendly. H ouse specialties : At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner,
720
ST.
MICHAEL’S
DRIVE
|
438-7221
start with the Grilled Artichoke, and foillow with the Trout with a Toa ste Piñon Glaze. C omments : Nice wine bar.
and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese or the daily specials. Comments: The real deal.
The Compound 653 Canyon Rd. 982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ C uisine : American Contemporary. A tmosphere : 150-year-old adobe. H ouse specialties : Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. C omments : Chef and owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award.
Tune-Up Café 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, New Mexican. Atmosphere: Down home. House specialties: Breakfast:We like the Buttermilk Pancakes. Lunch: Great specials Comments: Easy on your wallet.
The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: American Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch, the Prime Rib French Dip or the Lemon Salmon Beurre Blanc. Dinner: go for the Lavender HoneyGlazed Baby Back Rib, or the Prime Rib Enchilada Comments: Super bar. The Ranch House 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: Barbecue and Grill. Atmosphere: Family and very kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: The best BBQ ribs. The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican.Atmosphere: A local institution located just off the Plaza. House specialties: If you order the red or green chile cheese enchiladas. Comments Always busy., you will never be disappointed. The Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner Beer/Wine. Fireplace. Major credit cards. $$ C uisine : Farm-to-fork-to table-to mouth. A tmosphere : Casual. H ouse specialties : For breakfast, get the Steamed Eggs or the Bagel and Lox or the Teahouse Oatmeal. All of the salads are marvelous.. Many, many sandwiches and Panini to choose from. A variety of teas from around the world available, or to take home make The Teahouse the best source for teas in the great Southwest. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$ Cuisine: Traditional New Mexican. Atmosphere: Easygoing and casual. House specialties: Green Chile Stew,
Vanessie
of
Santa Fe
434 W. San Francisco St. 982-9966 Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American. Atmosphere: Piano bar and oversize everything, thanks to architect Ron Robles. House specialties: New York steak and the Australian rock lobster tail. Comments: Great appetizers. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ C uisine : American. A tmosphere: Light, bright and cheerful. H ouse specialties : Organic salads. We love all of the salads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. C omments : Seating on the patio. When in Albuquerque, visit their sister restaurant: 1828 Central Ave., SW. Verde 851 W. San Mateo Rd.. 820-9205. Gourmet Cold-Pressed Juice blends Major credit cards. $$ Cuisine: Just Jjuices. Atmosphere: Light, bright, and cheerful. House specialties: Eastern Roots: a blend of fresh carrot and apple juice with ginger and turmeric juice, spinach, kale, and parsley. Zacatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. H ouse specialties : Try the Chicken Tinga Taco with Chicken and Chorizo or the Pork Ribs. 65 brands of Tequila for your drinking pleasure. Zia Diner 326 S. Guadalupe St. 988-7008. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine American A tmosphere : Real casual. House specialties: The perfect Chile Rellenos and Eggs is our breakfast choice. Lunch: the Southwestern Chicken Salad, the Fish and Chips, and any of the Burgers C o m m e n t s : A variety of delightful pasteries and sweets are available for take-out.
THE magazine | 29
STEPHEN HAYES New Paintings
Stephen Hayes, Refuge, 2015, Oil on canvas over panel, 60” x 60” This exhibition has been partially funded by grants from the Oregon Arts Commission and the Ford Family Foundation
Through - November 7, 2015
Re-Op: ‘The Responsive Eye’ Fifty Years After Visual Perception Today October 2 - November 21, 2015
Jack Slentz, Blue Tube, Aluminum sign material (outdoor reflective aluminum sign material), 24” x 24” x 24”
Opening Reception | Friday, October 2nd 5:00 - 7:00 PM Gallery Discussion with curators and artists | Saturday, October 3rd 2:00 - 3:00 PM
Curated by David Eichholtz and Peter Frank. Featuring: Richard Anuszkiewicz, Karl Benjamin, Francis Celentano, Peter Demos, Fred Eversley, Gabriele Evertz, Beverly Fishman, John Goodyear, Christian Haub, Matthew Kluber, Tom Martinelli, Ed Mieczkowski, Ruth Pastine, Paul Reed, Richard Roth, Oli Sihvonen, Jack Slentz, Julian Stanczak, Robert Swain, Tadasky, Leo Valledor, Stephen Westfall, Sanford Wurmfeld, Mario Yrisarry and Eric Zammitt.
DavidrichardGALLEry.com DAVID RICHARD GALLERY
The Railyard Arts District 544 South Guadalupe Street, Santa Fe, NM 87501 (505) 983-9555 | info@DavidRichardGallery.com
OPENINGS
OCTOBERARTOPENINGS FRIDAY, OCTOBER 2
defined contemporary American life and
Santa Fe Collective, 1114-G Hickox St.,
tions to Cataclysm and Evolution: works by
art. 5:30-7:30 pm.
Santa Fe. My Spirit Animal: group show
Kelly Eckel. 5-8 pm.
about an animal spirit. 6-8 pm.
Art Box, 54-1/2 E. San Francisco St., Santa Fe. 928-460-2611. In the Studio with Tmothy
Patina Gallery, 131 W. Palace Ave., San-
Gallery 901, 708 Canyon Rd., Santa Fe.
Nero: a video dialogue between artists. 5-6
ta Fe. 986-3432. Turing Colors: works by
Taos Artist Collective, 106-A Paseo del
780-8390. Different Strokes: paintings by
pm. Show of sculptures & drawings. 6-8 pm.
Merete Larsen and Liam Flynn, two Euro-
Pueblo Norte, Taos. 575-751-7122. Moods
Deborah Gold. Digital works by Bobbie Go-
pean masters of the wood medium. 5-7 pm.
of Nature: jewelry by Angela Marinari.
odrich. 5-7 pm.
Watercolors by Carol Doughty. Sculptures
David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Re-Op: third in a
Stranger Factory, 3411 Central Ave.
series of exhibitions celebrating the 50th
NE, Alb. 505-508-3049. Bewitching 5: Hal-
anniversary of The Responsive Eye. 5-7 pm.
loween group exhibition. 6-9 pm.
by Marsha Fawns. 4-7 pm.
Peters Projects, 1011 Paseo de Peralta, Santa Fe. 954-5800. Gravity’s Delta: works
FRIDAY, OCTOBER 9
on paper and sculptures by Eric Garduño. Día de Los Muertos: photographs of the Day
Art
Weyrich Gallery, 2935-D Louisiana Blvd.
Axle Contemporary Mobile Gallery,
Space, Inn at Loretto, 211 Old Santa Fe Tr.,
NE, Alb. 505-883-7410. Shino on Porcelain:
CCA, 1050 Old Pecos Tr., Santa Fe. The
Santa Fe. 983-6503. Going with the Flow:
new works inspired by sensei Manji Inoue
Luted Crucible: sculptures made by five pro-
Tansey
paintings by Deanna Kovacs. 5-7 pm.
of Japan by Kathryne Cyman. 5-8:30 pm.
fessional artists and sculpture students from
Rd., Santa Fe. 995-8513. Solo Show: new
the New Mexico School for the Arts. 5-7 pm.
porcelain works by Irina Zaytceva. 5-7 pm.
Cactus Flower Studio, 901-C Canyon
FRIDAY, OCTOBER 16
Liquid Outpost Coffeehouse
and
Marigold Arts, 424 Canyon Rd., Santa
Contemporary, 652 Canyon
SATURDAY, OCTOBER 3
Fe. 982-4142. Hand-Woven Rugs for Autumn: works by Connie Enzmann Forneris. 5-7 pm.
of the Dead by William Frej. 5-7 pm.
Encaustic Art Institute, 632 Agua Fria
Rd., Santa Fe. 989-8688. Photography by Sean
St., Santa Fe. 989-3283. National Juried
Mary Helen Johnson. Paintings and sculpture
Art Exchange Gallery, 60 E. San Fran-
New Concept Gallery, 610 Canyon Rd.,
Encaustic/Wax Exhibition: 5th annual show.
by Alma and Wendy Dankoff. 6-9 pm.
cisco St., Ste. 210, Santa Fe. 603-4485.
Santa Fe. 795-7570. Cecilia Kirby Binkley:
11 am-5 pm (meet the artists: 12-3 pm). Exhibit/208, 208 Broadway SE, Alb.
bold impressionist landscapes in oil. 5-7 pm. New Mexico Museum
of
Art, 107 W.
Jeff Tabor: paintings and drawings from his
Greg Moon Art, 109-A Kit Carson Rd.,
505-450-6884. side x side: new works by
Taos. 575-770-4463. Legends de Lowbrow:
Angela Berkson and Ted Laredo. 5-8 pm.
show
featuring
33
pop-
dream series. 4-6 pm. Charlotte Jackson Fine Art, 554 S.
Palace Ave., Santa Fe. 476-5702. An
invitational
American Modernism: modernist works
surrealists from New Mexico, Colorado,
Freeform Art Space, 1619 Calle de Baca
Magic: works by Constance DeJong and
that struggle to identify which subjects best
and California. 5-7 pm.
Ln., Santa Fe. 692-9249. Aftermath—Reac-
Max Cole. 5-7 pm.
Guadalupe St., Santa Fe. 989-8688. Black
City
of
Mud, 1114-A Hickox St., Santa
Fe. 954-1705. Re-Invention: grand opening celebration of a new collaborative art space. Sculptures, paintings, décor, and artifacts with an emphasis on curation and curiosity. 5-8 pm. Matthews Gallery, 669 Canyon Rd., Santa Fe. 992-2882. New Mexico Wild: nomadic author Robert Wolf returns to Santa Fe with his trusty typewriter and original notes that inspired his new memoir In Search of America for an art show and book signing. 5-7 pm. Museo Cultural
de
Santa Fe, 555
Camino de la Familia, Santa Fe. 992-0591. Dis/continuity: new multi-media works by Ruben Olguin. 5-8 pm.
New porcelain works by Irina Zaytceva on view at Tansey Contemporary, 652 Canyon Road. Opening reception: Friday, October 9 from 5 to 7 pm.
continued on page 34 OCTOBER
2015
THE magazine | 31
WHO WROTE THIS? “Sex is kicking death in the ass while singing.” Alec Baldwin or Charles Bukowski or Woody Allen or Brad Pitt
THE REAL DEAL
For artists without gallery representation in New Mexico. Full-page B&W ads for $750. Color $1,000.
Reserve space for the November 2015 issue by Wednesday, October 14
505-424-7641 or email: themagazinesf@gmail.com
The Big Show with Honey Harris and THE magazine Thursday, October 8 10:30 am 98.1 FM KBAC
OUT && OUT ABOUT ABOUT photographs by photographs by Mr. Clix Mr. Clix Audrey Derell Audrey Derell
OPENINGS
Through Sun., Oct. 4. albuquerquemuseum.org
corralesbosquegallery.com
the historic adobe village. Sat. and Sun.,
Placitas Community Library, 453 Hwy.
Americans
United, James A. Little
Corrales Society of Artists, La Entrada
Oct. 17 and 18, 10 am-5 pm. Details and
165, Placitas. 505-867-8080. Landscapes of
Theater, 1060 Cerrillos Rd., Santa Fe.
Park, Corrales. Art in the Park: children’s
map: galisteostudiotour.com
the Southwest: large-scale photographs by
800-875-3707.
activities, music, art, and fine crafts. Sun.,
Don Strel. 5-7 pm.
and State: panel discussion with Rev.
Separation
of
Church
Oct. 4, 9:30 am-3:30 pm.
Barry Lynn, Rev. Welton Gaddy, Mikey
Gebert Contemporary, 558 Canyon Rd., Santa Fe. 992-1100. Keiko Sadakane and
Turner Carroll Gallery, 725 Canyon
Weinstein, and Pedro L. Irigonegaray.
David Richard Gallery, 544 S. Guadalupe
Hans Sieverding: two views of contemporary
Rd., Santa Fe. 986-9800. Pretty, Peculiar:
Sat., Oct. 3, 7:30 pm. Free.
St., Santa Fe. 983-9555. New Paintings: abstract
painting from Germany. Through Sat., Oct.
landscapes by Stephen Hayes. Through Sat.,
31. gebertcontemporary.com
psychologically complex works by Jenny Honnert Abell. Works by the gallery’s
Art House, Thoma Foundation, 231
newest artist, Holly Roberts. 5-7 pm.
Delgado
St.,
Santa
Fe.
Nov. 7. davidrichardgallery.com Georgia O’Keeffe Museum, 217 Johnson
995-0231.
technological
El Rito Studio Tour, El Rito. 575-581-
St., Santa Fe. 946-1000. Breakfast with
Wheelhouse Art, 418 Montezuma Ave.,
artworks including computer, light-based
4679. Eighteen stops display the works
O’Keeffe:
Santa Fe. 919-9553. No Land: The Strangers
and electronic artworks from pioneering
of over 40 local artisans. Sat., Oct. 3 and
gallery talk, Mon., Oct. 5, 8:30-9:45
Collective challenges young, experimental
experimenters
Sun., Oct. 4, 10 am-5 pm. Details and map:
am.
artists to claim new territory in Santa Fe’s
innovators. Featuring works such as a
elritostudiotour.org
okeeffemuseum.org
competitive art community. 5-9 pm.
film quilt by Sabrina Gschwandtner, an
Luminous
SUNDAY, OCTOBER 25
Flux
2.0:
and
contemporary
continental
Reservations
breakfast
and
more
and
events:
Internet-based painting automation by
Galisteo Studio Tour, Galisteo. Over 30
G host R anch , 1708 Hwy. 84, Abiquiu.
Siebren Versteeg, and Leo Villareal’s
artists open their studios to the public in
505-685-1000. Being Human Together:
animated LED sequence. Through spring Santa Fe Community Gallery, 201 W.
2016. thomafoundation.org
Marcy St., Santa Fe. 955-6705. Common Ground Exhibition: group show with works
ARTScrawl, Alb. Citywide, self-guided
by Linda Vi Vopna and others. 5-7 pm.
arts tour, Fri., Oct. 2, 5-8 pm. Old Town Artful Saturday, Sat., Oct. 17,
SPECIAL INTEREST
afternoon hours. Create your own tour: artscrawlabq.org
136 Grant, 136 Grant Ave., Santa Fe. 983-0075. Ray Belcher’s vintage silver
Canyon
Road
Art
Brokerage,
gelatin prints of Santa Fe and Galisteo
Santa Fe. 995-1111. Photographs by
on view through Oct. 136 Grant Salon
Ray Belcher. Through Sat., Oct. 31.
Series: Meet the Expert—John Boland
canyonroadartbrokerage.com
discusses collecting photography on Fri., Oct. 16, 3-5 pm.
Canyon Road Paint Out
and
Sculpt
Out, Canyon Rd., Santa Fe. Up to 203 Fine Art, 203 Ledoux St., Taos. 575-
200 artists demonstrate their creative
751-1262. Taos Moderns: ending reception
processes. Sat., Oct. 17. visitcanyonroad.
for the show, Sat. and Sun., Oct. 10 and 11,
com
1-5 pm. Pressing through Time: final reception for the multi-venue event in Taos. Works by
Charlotte Jackson Fine Art, 554 S.
Larry Bell, Ken Price, Fritz Scholder, and
Guadalupe St., Santa Fe. 989-8688.
others. Sat., Oct. 17. 203fineart.com
Looking Back, Moving Forward: works by Charles Arnoldi. Through Sun., Oct. 11.
516 ARTS, 516 Central Ave. SW, Alb.
charlottejackson.com
505-242-1445. HABITAT—Exploring Climate Change Through the Arts: collaborative,
Chiaroscuro
season-long series of public programming.
558 Canyon Rd., Santa Fe. 992-0711.
Contemporary
Art,
Through Dec. Schedule: 516arts.org
Incompleteness Theorem: mixed-media works by Jamie Hamilton. Through Sat.,
Albuquerque Museum, 2000 Mountain
Oct. 10. chiaroscurosantafe.com
Rd. NW, Alb. 505-242-4600. Under the Influence—Psychedelic Art: late-sixties music
Corrales
posters and other works on paper. Through
Corrales
Bosque
Sun., Oct. 11. Public Selects—A Celebration of
Anniversary Show: works by current
Albuquerque Artists: works by 12 local artists
members and three new artists, Melba
selected by the public via crowdsourcing during
Bushmire, Steve Feher, and Edward
On the Map: Unfolding Albuquerque Art + Design.
Gonzales. Through Wed., Nov. 18.
Rd.,
Gallery,
Corrales.
4685
898-7203.
Necessary Force: Art in the Police State is on display at the UNM Art Museum in Albuquerque through Saturday, December 12. The exhibition addresses the systemic forces in our history and our society that continue the violation of civil rights through a range of issues, including police brutality, surveillance, and racial profiling.
continued on page 36
34 | THE magazine
OCTOBER
2015
IRINA ZAYTCEVA
A Solo Exhibition of New Works
Irina Zaytceva, Flapper After the Party, Porcelain, 15” x 5.5” x 5”
October 9 - 23, 2015 Opening Reception: October 9, 5-7pm 652 Canyon Road, Santa Fe, NM 87501 | www.tanseycontemporary.com
wisdom-sharing retreat with Dr. Chung
Stories. Through Sun., Oct. 18. Details:
Hyun Kyung, Dr. Robert Thurman,
nmmonuments.org/jemez
and Sister Lucy Kurien. Sun., Oct 11 through Thurs., Oct. 15. Details:
New Mexico History Museum, 113
ghostranch.org/retreat/wisdom-
Lincoln
sharing-being-human-together
Harvey Houses of New Mexico—Historic
Harwood Museum of Art, 238 Ledoux St.,
Hospitality
Taos. 575-758-9826. Pressing Through Time:
Brainpower and Brownbags Lecture lunch
an exploration of 150 years of printmaking
series with Rosa Latimer. Thurs., Oct. 8,
in the Taos Valley. Symposium: Sat. and Sun.,
12-1 pm. nmhistorymuseum.org
Ave.,
Santa
from
Fe.
Raton
476-5200. to
Deming:
Oct. 17 and 18. Exhibition: through Sun., Nüart Gallery, 670 Canyon Rd., Santa
Jan. 24, 2016. harwoodmuseum.com
Fe. 988-3888. The Power of Form: new Hunter
Kirkland
Contemporary,
paintings by Michael Bergt. Through Sun., Oct. 4. nuartgallery.com
200-B Canyon Rd., Santa Fe. 984-2111. T Barny: stone, bronze, and steel sculptures by
Barny.
Through
Mon.,
Oct.
photo-eye
12.
hunterkirklandcontemporary.com
Bookstore + Project Space,
376-A Garcia St., Santa Fe. 988-5159. Baobab—Tree of Generations: exhibition
Inn
at
Loretto, 211 Old Santa Fe Tr.,
Santa Fe. 988-5531. Artist in Residence: D. Matlin meets visitors, exhibits her paintings, and gives introductory art
Top: On view through Sunday, November 1 at LewAllen Galleries, 1613 Paseo de Peralta in Santa Fe, is a group show of paintings by Christopher Benson, John Beerman, David Hines, and Kurt Solmssen. Image: Christopher Benson. Bottom: Peters Projects, 1011 Paseo de Peralta in Santa Fe, presents Día de Los Muertos—a solo exhibition of photographs by William Frej of the Mexican holiday, the Day of the Dead. Opening reception: Friday, October 9 from 5 to 7 pm. Through Monday, December 21.
accompanying a photo-book of the same title by Elaine Ling. Through Sat., Nov. 7. photoeye.com
lessons. Sat., Oct. 17, 4-8 pm and Fri.,
Placitas Community Library, 453 Hwy.
Oct. 23, 4-8 pm. dmatlin.com
165, Placitas. 505-867-8080. Billy the
Institute
MoCNA, 108 Cathedral Pk., Santa Fe. 424-
Museum
Northern Arizona, 3101 N.
Kid: presentation by historian Michael
of
American Indian Arts, 83-A
2300. An Evening Redness in the West: group
Fort Valley Rd., Flagstaff. 928-774-5211.
O’Keefe. Sat., Oct. 3, 2 pm. The History
Van Nu Po Rd., Santa Fe. 424-2300. Digital
exhibition reimagining the Apocalypse.
Annual Trappings of the American West
of the San Antonio de las Huertas Land
Full Dome Workshop: Fri. through Sun., Oct.
Meryl McMaster—Wanderings: photographs
Exhibition and Sale: fine and functional art
Grant: presentation by Wayne Sandoval
9-11, 5-8 pm. Registration: continuinged@
of McMaster’s personal journey through
of the American cowboy. Fri., Oct. 9-Sun.,
and Rebecca Skartwood of the Las
iaia.edu. Library Readings: with Barbara
familial
Oct. 11. Info: musnaz.org
Huertas Grant. Sat., Oct. 17, 2 pm.
Robidoux and Collestipher Dodge Chatto—
indigenous identities. Both through Dec.
MFA candidates at IAIA in creative writing.
2015. More exhibitions: iaia.edu/museum
of
heritage
and
contemporary
Tues., Oct. 13, 4 pm. iaia.edu
of
Spanish Colonial Art, 750
Camino Lejo, Santa Fe. 982-2226. Tradición Museum of Indian Arts and Culture, 710
James Kelly Contemporary
placitaslibrary.com Museum
Time: 150 Years
through
Printmaking
Taos, Taos. Multi-
Devoción y Vida—80 Years of Black and White
of
Camino Lejo, Santa Fe. 476-1269. Oblique
Photography in New Mexico and Mexico.
venue set of exhibitions, workshops, and
Views—Archaeology, Photography, and Time:
Through Sat., Oct. 31. spanishcolonial.org
educational programs devoted to prints
TAI
Modern, 1611 Paseo de Peralta, Santa Fe. 989-1601. Inside Out: gallery exhibition
aerial photographs by Charles and Anne
and fundraiser for New Mexicans living
Lindbergh and Adriel Heisey. Opening Sun.,
New
with mental illness. Ticketed preview,
Oct. 25. miaclab.org
Springs. Elders in Residence Share Their
and
Pressing
in
and printmaking. Through Jan. 2016. Mexico
Historic
Sites, Jemez
Calendar of events: pressingthroughtime. com/calendar1
Thurs., Oct. 8, 5-7 pm. Exhibition and sale, Fri. and Sat., Oct. 9 and 10, 10 am-6 pm.
Santa Fe Independent Film Festival,
Closing reception: Sat., Oct. 10, 4-6 pm.
Santa Fe. Five days of independent
insideoutsantafe.org
film
screenings,
community
and
educational
workshops.
events, Wed.,
Kitchen Angels, Santa Fe Community
Oct.
Convention Center, 201 W. Marcy St.,
santafeindependentfilmfestival.com
14
through
Sun.,
Oct.
18.
Santa Fe. 955-6200. Collectible Box Auction: silent auction for artistic boxes. Music and
Santa Fe Jewish Film Festival, CCA
hors d’oeuvres. Fri., Oct. 2, 5:30-8:30 pm.
Cinematheque, 1050 Old Pecos Tr., Santa
Tickets: kitchenangels.org
Fe. 982-1338. Opening Sat. and Sun., Oct. 3 and 4 with documentaries Rosenwald
LewAllen Galleries, 1613 Paseo de Peralta,
and The Life and Times of Hank Greenberg.
Santa Fe. 988-3250. Group Show: works by
Tickets: santafejff.org/tickets
Christopher Benson, John Beerman, David Hines, and Kurt Solmssen. Through Sun.,
School for Advanced Research, 660 Garcia
Nov. 1. lewallengalleries.com
St., Santa Fe. 954-7200. “Has the City of the
OPENINGS
Monkey God Been Revealed?—Highlights
Ultimate Balloon Bucket List, Alb.
William Siegal Gallery, 540 S. Guadalupe
Europe’s Jewish tradition with Mexican and
From a Honduran Rainforest Expedition”:
Author Barbe Awalt signs copies of her
St., Santa Fe. 820-3300. Dyeing the Grid:
gypsy influences. Sat., Oct. 24, 7 pm. Info
lecture by journalist Douglas Preston. Tues.,
new book throughout the Balloon Fiesta.
works by Lynne Gelfman, alongside a
and tickets: music.nmsu.edu
Oct. 20, 6:30-7:30 pm. sarweb.org
Signing at Treasure House Books on
selection
Sun., Oct. 4, 2-4 pm, and at Bookworks
Through Tues., Oct. 13. williamsiegal.com
Tansey Contemporary, 652 Canyon Rd.,
on Tues., Oct. 6, 7 pm. More signings:
Santa Fe. 995-8513. Giles Bettison: new
riograndebooks.com
works in Murrine glass and a retrospective
of
Pre-Columbian
textiles. Taos Chamber Music Group, Harwood Museum of Art, 238 Ledoux St., Taos.
Zane Bennett Contemporary Art, 435
575-758-9826. Mozart and Mendelssohn:
S. Guadalupe St., Santa Fe. 982-8111. The
opening weekend for the season. Sat.
exhibition. On view through Sat., Oct. 3.
UNM Art Museum, 1 University of New
Collection: an array of contemporary art
and Sun., Oct. 3 and 4, 5 pm. Tickets:
tanseycontemporary.com
Mexico, Alb. 505-277-4001. Necessary
through 10 years of collecting. Through
taoschambermusicgroup.org
Force—Art in the Police State: works
Sat., Oct. 31. zanebennettgallery.com
Taos Fall Arts Festival, Historical
addressing the systemic forces in our
District,
festival,
history and our society that continue
showcasing over 250 artists’ works and
the violation of civil rights. Sowing Seeds
performances, and the Environmental
in the Garden: from the Mulvany Family
Museo Cultural
Film Festival. Through Sun., Oct. 4.
Collection of African Art. Through Sat.,
Camino de la Familia, Santa Fe. 992-0591.
taosfallarts.com and paseotaos.org
Dec. 12. unmartmuseum.org
Something Light to Carry: new musical by
Taos.
41st
annual
PERFORMANCE
de
Santa Fe, 555
Betty Ellington-Smith. Fri., Oct. 2-Sun., Oct. Tarnoff Art Center, 107 Wild Flower
Wheelhouse Art, 418 Montezuma Ave.,
Ln., Pecos. 505-919-8888. Vox Populi
Santa Fe. 919-9553. Representing: works
Vox Dei/In the Voice of the People:
by gallery artists. Through Wed., Oct. 14.
NMSU
Petro’s works honoring freedom of
An Artful Conversation with Frank Ettenberg
Horseshoe Cir., Las Cruces. 575-646-1420.
expression. Through Sat., Oct. 24.
and Bill Sortino: Sun., Oct. 4, 1-2:30 pm.
Klezmerson in Concert: Benjamin Shwartz’s
tarnoffartcenter.org
OCTOBER
2015
11. Tickets: somethinglighttocarry.com Atkinson
Hall,
1075
N.
band plays melodies and rhythms from
Calendar listings for november due by thursday, october 15. Send by email: themagazinesf@gmail.com or send by snail-mail: 320 aztec street, santa fe, nm 87501. In the Studio with Timothy Nero: a video dialogue between artists. Also on display, an exhibition of drawings and sculptures by Nero. On view at Art Box, 54-1/2 East San Francisco Street (one flight up). Video viewing party from 5 to 6 pm. Artist’s reception from 6 to 8 pm.
THE magazine | 37
PREVIEWS From the Permanent Collection The International Museum of Collage, Assemblage, and Construction 1925-C Rosina Street, Santa Fe. 505-303-3034 Through October The Postal Art movement is not new. Ornamenting envelopes and sending them through the mail to a designated recipient has reached fine-art status as practiced by numerous artists around the world. Embellished with drawing, painting, and printed materials, the creativity in these works brings pleasure to the recipient, and the objects can also stand alone when displayed. The IMCAC is a wing of the Ontological Museum, established in 1996, the brainchild of Cecil Touchon. Its mission is to create a record of contemporary art that is unique, in that the collection of thousands of items were donated by the artists themselves in response to a particular project or exhibition. In 1998, Touchon initiated a collage/assemblage focus by collecting works and the materials that implement their creation, from sketchbooks to scrapbooks, photographs, papers, and boxes. The Museum’s concentration is on constructed art from its twentieth century origins to the present. The Archives of the Eternal Network invites mail artists to send samples of their work and some of them also donate the enhanced correspondence they have amassed. This exhibition presents examples of mail art from around the world, and a visit to the galleries is an opportunity to immerse oneself in the wonders of a cabinet of curiosities, the type of specimen gathering that predated museums as we know them today. Touchon writes that his intention has been to create a focal point for collage art and that by “Communicating together as colleagues, we discuss issues related to collage such as its history, techniques, materials, copyright, and archival issues.” The Internet offers an electronic platform for connecting as well as building the collection and coordinating exhibitions. Anyone can contribute, and the exhibitions present the range and quality of work being done outside of the gallery and museum mainstream. Marty Gordon, Primeval Postcard 2, collage on postcard from Northwest United States, 4” x 6”, nd
From New York to New Mexico: Masterworks of American Modernism from The Vilcek
Foundation Collection Georgia O’Keeffe Museum 217 Johnson Street, Santa Fe. 946-1000 Friday, September 25, 2015 through January 10, 2016 No public reception American art moved into the realms of the avant-garde in the early twentieth century with the introduction of abstraction. The period has been called Modernism and the artists who came to be known as modernists, working from 1910 through the 1960s, helped to bring American art to global prominence. The O’Keeffe Museum has consistently positioned their namesake and the circle of artists she was a part of as the vanguard of that movement. The Vilcek Foundation Collection offers an opportunity to view the Stieglitz Circle in the company of other early modernists’ works that present the range of possibilities explored by those innovative abstractionists. The singular styles and themes of the individual artists are organized thematically in this exhibition. The four areas of emphasis are: “Nature” and its spiritual power; “Town and Country, demonstrating the evolution of the modern world from skyscrapers to the suburbs; “Cubism” as inspired by the Europeans and practiced in America; and “The Southwest,” with examples of New Mexico’s prominence in the modernist movement as a place of inspiration and uniquely American expression. Expect to see important works by Stuart Davis, Marsden Hartley, Arthur Dove, Max Weber, Stanton Macdonald-Wright, Joseph Stella, Jan Matulka, Georgia O’Keeffe (with additional works added from the Museum’s holdings), as well as other notable artists. The exhibition is drawn from the collection of Jan and Marica Vilcek and is organized by the Philbrook Museum of Art, in Tulsa, in cooperation with The Vilcek Foundation, which was established to raise awareness of foreign-born innovators in the arts and sciences that have made significant contributions to American society. Arthur Dove, Penetration, oil on wood, 1924. Collection of Jan T. and Marica F. Vilcek. Promised gift to The Vilcek Foundation.
38 | THE magazine
OCTO b e r
2015
N AT I O N A L S P O T L I G H T
Giovanni Antonio Canal (called Canaletto), Alle Porte del Dolo, Italy, Etching, circa 1742 Purchased by the Los Angeles County Fund.
In the eighteenth century, a wealthy young man’s education was not complete without the tradition of the Grand Tour, a year spent in Italy that included study of the arts from antiquities to the present and the possible acquaintance with the accomplished artists themselves. Venice was the first stop. The city by the sea afforded the beauty and enchantment found in prosperous economies, including palatial accommodations, books, operas, and intellectuals who provided stimulating conversation, along with gambling and the masked balls of Carnevale. The distinguished artists of Venice in its second golden age prospered through commissions from these elite tourists, and those works spread their fame throughout Europe. Tiepolo, Canaletto, and Guardi, among others, portrayed the city’s sunlight-saturated palette, OCTOBER
2015
detailed views of the embellished palazzi that lined the Grand Canal, and the popular mythological and religious subjects. Besides renowned paintings, the Venetian masters produced prints, energetic sketches, and finished drawings that displayed their draftsmanship and celebrated the distinctive architecture, landscape, and drama of the place. The Allure of Venice: Prints and Drawings from Canaletto to Tiepolo, on view in the Ahmanson Building at the Los Angeles County Museum of Art, 5905 Wilshire Boulevard, through Sunday, November 1, 2015, offers a range of works that demonstrate the skill, detailed techniques, and dramatic compositions of these important Venetian artists who were active during the city’s artistic revival. THE magazine | 39
FLASHBACK: 2001
Dave Hickey
DAVE HICKEY
Curator of SITE Santa Fe’s Fourth International Biennial
Beau Monde: Toward a Redeemed Cosmopolitanism Photographed in 2001 in front of SITE Santa Fe with his requsite take-out cofffee and cigarette.
OCTOBER OCTOBER
2015 2015
magazine || 41 41 THE THE magazine
New Paintings!
Mark White, Beyond the Point, Acrylic on panel, 36 x 48 inches
Mark White Fine Art
414 Canyon Road, Santa Fe, New Mexico
505-982-2073 | Visit us online at www.markwhitefineart.com
F E AT U R E
T H E S A N TA F E P H O T O R O D E O by
If
Richard Baron
a confrontation between Block and her sitter than a collaboration that also involves the viewer. Her portraits express a respect for her subjects and a joy for the photographic process and image itself.
one hears the names Rubenstein, Myers, and
world), but the specifics are not the point. These are
David Richard Gallery, rarely the home of lens-
Block, one might assume he’s getting sued, but
not documentary photographs. Her images feel not just
based art, has been exhibiting an ongoing, three
not this last summer, not in Santa Fe. Amidst an array
as if they are of fire and ice, but that they are located in
installment project by Meridel Rubenstein titled
of summer photography exhibits and events, the three
a state of mind where fire meets ice.
Eden Turned On Its Side, which purports to explore
most striking one-person shows displayed the works of
A selection of portraits by Gay Block at the New
the earth, climate change, human co-evolution, and
three seasoned Yiddishe Santa Fe female photographers
Mexico Museum of Art provided an overview of her
how the destructive forces of nature are regenerative.
with three different approaches to their art.
four-decade-long quest to embrace her personal
Rubenstein is one ballsy broad, going to Iraq to shoot
Joan Myers’s suite of dependably powerful
identity by focusing on members of the tribe of
the Garden of Eden in this day and age. And Rubenstein
landscapes—Fire and Ice—at the Andrew Smith Gallery
Jewish Americans of which she is a part. She examines
is equally daring in the execution and presentation of
startles in terms of subject and the straightforwardness
young girls at camp, holocaust survivors, the alter
her photographs, mingling single images, color, black-
with which they are seen. Her images are carefully
kakers of South Miami, and not least of all, her mom.
and-white, negatives, diptychs, triptychs, collages, and
captioned as to where they were shot (all over the
Block’s portraits are warm but unflinching, each less
mandala-like constructions—all to heroic effect. continued on page 44
OCTOBER
2015
THE magazine | 43
At the opposite end of the spectrum, but just
the same as his work now. The only difference is that
art; she is now sculpting, whereas Prince, after all these
across the street at photo-eye Gallery, were some of
his models are increasingly younger than he, but always
years, is still milking the old appropriation cow without
Jock Sturges’s tiresome images of young, wet, and naked
equally nubile. Women don’t age in front of Sturges’s
adding anything new to the discussion. Prince is now
damsels pouting to the camera. According to Sturges’s
lens, and neither, apparently, does Sturges behind it.
reproducing other photographers’ Instagram pages to
website, the case for mounting a soft-core nude-fest in
Similarly, the Internet furor surrounding the
show how with it he is with new social media—but he
an art gallery is that the significance of his work lies in the
appropriated images of Richard Prince (and the prices they
is only a boomer desperately trying to stay relevant. On
purity of its celebration of beauty, and his expertise in
command!) overshadows the fact that Prince hasn’t had a
the other hand, that lucky son-of-a-bitch Richard Prince
portraying it. The defense goes on to claim that anyone
fresh idea in decades. The act of shooting a photograph of
gets ninety thousand bucks a pop for his prints, so what
who finds these lusciously printed photos of undressed,
a pre-existing image was a hot idea back in the seventies
does he care what I think?
underage nymphs wallowing in the surf to be titillating
and eighties, and a lot of photographers pursued it.
I think the artworld has screwed over the world
and pornographic is obviously suffering a provincial and
Prince’s early photos of Marlboro advertisements
of photography, and as it happens, Lucy Lippard agrees
prudish American sensibility, whereas Monsieur Sturges
distinguished themselves in a delightfully ironic manner
with me. In a keynote speech to the annual Center Photo
has a more sophisticated, European perspective on
insofar as he let advertising deconstruct the very myths
Review here in beautiful Downtown Santa Fe, Lippard
the naturalness of nudity. Despite my critical distance,
it was promoting about manhood and The West, but it
declared that the artworld’s co-optation of photography
I personally couldn’t help but feel a wee bit American
was Sherrie Levine who nailed the appropriation shtick
wasn’t such a good thing for photographers. The odd
looking at this work.
with her deadpan “rephotographs” of the sacred and
thing about Lippard saying that is that she herself is an
The controversy over whether his photographs are
beloved images that Walker Evans shot during the Great
embodiment of that co-optation. Back in the seventies,
art or porn unfortunately overshadows the question:
Depression. It was Levine who turned the photography
I used to read Lippard’s column in The Village Voice,
why, if it is art, has Sturges’s work not grown an iota in
world on its head with a punch right to its nose. She has
and she never wrote about photography or reviewed
the last thirty years? His work from the eighties looks
since moved on from rephotographing existing works of
shows at the listed photography galleries. She was into
F E AT U R E
the dematerialization of art, ignoring things even as
assert itself as a means of communication or art form
seen a convention hall filled with the work of a hundred
materially negligible as a shadow cast on a thin piece
of its own, it anesthetizes us to the injustices of the
photographers displaying the products of their concerns.
of paper. She wrote about hipper stuff—performances
world and normalizes them. If it’s skillfully crafted or
They ranged in quality from damn good to not so much,
and installations—and she exposed the male hierarchy
aesthetically pleasing, then it’s part of the problem—it’s
but all were competent and all—like Rubenstein, Myers,
of the artworld. She didn’t cover photography unless
complicit in the oppression of women and minorities,
and Block—are certifiable photofanatics, pursuing their
it was work by a feminist shown in a private loft up a
the exploitation of workers, and the raping of the planet.
own particular visions, driven by their own particular
steep flight of stairs down in SoHo that only a handful
After about thirty minutes of dismissing photography as
passions. None of them needed a critic of social activism
of people would ever see. During the eighties, when
either handmaiden to the written word or an enemy of
to know which way their wind blows. Photography is
photography’s place in the artworld became inevitable,
the people, Lippard concluded her talk by saying that
about photographs; theory is for theorists.
Lippard, along with the rest of the critical establishment,
photography should eschew the claustrophobic status
As Eli Wallach’s character Tuco advised in The Good,
jumped aboard and helped redefine photography to fit
of art and re-embrace its more populist roots. Since
The Bad, And The Ugly, “If you’re going to shoot, shoot.
her own agenda and convenience. According to Lippard,
photography’s “roots” are primarily upper-middleclass,
Don’t talk.”
in order to achieve real significance, photographs must
if not downright aristocratic, and its ongoing history has
work in the service of social or environmental causes,
been dominated by images not in need of text, one has to
preferably those to which she herself subscribes. Since
wonder why Lippard, with such a narrow and antagonistic
photography lacks context and specificity, she says, it
view of photography, was the invited and honored orator
Left: Meridel Rubenstein, Mount Bromo Pink Trail, dye-sublimation on prepared aluminum, 18 ½” x 27 ¾”, 2012-15. Courtesy David Richard Gallery
cannot constitute meaningful content on its own, so
to a roomful of aspiring photographers and other photo
Right: Richard Prince, (Appropriated), Suicide Girls, (Original)
its best use is to illustrate a literal idea that’s better
professionals. Had Lippard looked around, had she gone
expressed through text. When photography attempts to
to the portfolio review the following night, she would have
OCTOBER
2015
First Page: Joan Myers, Arenal–Costa Rica, archival pigment print, 20” x 30”, 2011. Courtesy Andrew Smith Gallery
Richard Baron is a photographer living and working in Santa Fe.
THE magazine | 45
CRITICAL REFLECTION
Paul Pascarella: Lyrical Gestures
Nüart Gallery 670 Canyon Road, Santa Fe
LYRICAL ABSTRACTIONIST PAUL PASCARELLA MIGHT BE THE BRONZINO OF Abstract Expressionism. Just as the Italian Mannerist master took all the tricks of the
response to a novel aesthetic, elements of experiment are replaced by ones of authority
trade from his High Renaissance predecessors and created a crystalline (extra-crispy)
as avant-gardism exhausts itself.
version of the “perfected naturalism” that was the driving force behind European oil
Perhaps this is the quality that emanates most from Pascarella’s work. There is an
painting in the mid-1500s, Pascarella has harnessed the lessons of all the experiments
incredible competence to his mark making that only comes from years of being present with
conducted by the big Ab-Exers—Pollock and Frankenthaler particularly—to create a
paint, and fully absorbing the examples of his heroes. If Pascarella got into a time machine and
one-man mannerist movement that amps the visual dynamic of splashed and splattered
went back to sling color in 1946, the CIA would sign him onto the payroll before any of them,
paint. His Jesters is practically a red version of Jack the Dripper’s Blue Poles. Certainly the
just for the pure, rhythmic and non-objective power of his compositions and surfaces. From
compositional strategy of obscured diagonals is essentially the same.
one perspective, he’s a better Abstract Expressionist than any of the originators ever could
At best guesstimate, “mannered” versions of all the Modernist isms occupy at least
have been. From another perspective, his work lacks the freshness of vision that this last
seventy-five percent of the wall space in contemporary art spaces, galleries, and art
truly avant-garde movement of Modernism exhausted. The critique of power-pop, and visual
fairs today. An analogy would be something like how sixties sounds of pyschedelia get
mannerists like Bronzino is that their products are overripe, overproduced, and not quite as
recast as eighties power-pop. In fact, some of the best moments in Pascarella’s work
challenging as, though perhaps more broadly accessible than, avant-gardist inventions; less je
are the monster chords of slashing color and how tightly they are edited (synthesized)
ne sais quoi, more ce que je sais, though each has its virtues. There is no seventeenth century
afterwards for maximum visual impact. Where Pollock’s, Giorgione’s, or Jimi Hendrix’s
Baroque without Bronzino’s bizarre Allegory of Venus and Cupid, for example.
gestures and forms—even when intoxicatingly bold—retain the tentativeness of
So that’s what is needed, a masterwork that looks forward to the developments to
exploration and discovery, a Pascarella, Bronzino, or Peter Gabriel, say, is strengthened
come rather than looking over its shoulder at the past. Pollock said that his ultimate goal was
by the confidence of treading a well-worn path. Because of this eventual inevitability in
a return to figuration once he’d gathered the painterly chops and freedom Ab-Ex painting required. David Parks’s brief oeuvre is illustrative of how that might happen. In the most original of Pascarella’s pieces at Nüart he employs decorative collage elements that start to link his work ever so slightly to abstractionists like Philip Taaffe or the late Rex Rey. The intricate hard edges provided by some of these repeat-pattern collage materials play nicely against the less differentiated edges of the bravura brushwork, while the vertical, nearly square formats turn into Asian stacked landscape spaces and begin to nuance differently the foregrounded elements of gestural abstraction. Music in the Garden is an excellent example. The compositions are reminiscent of lyrical Frankenthaler pours, but accomplished with a more self-conscious paint and collage application. More literal landscapes, figurativeabstraction (?), more connection to collaged pattern and boldly decorative elements, all of these and undoubtedly many other approaches are possible further directions for this artist whose work is ready to push into postmodernity if he’ll let it. “For a long time I was with Cezanne, but now I am with Picasso” is how Arshile Gorky, the Armenian painter, described his long apprenticeship to his heroes, before he was finally “with himself ” in paintings like the three in his Garden in Sochi series. Pascarella is like a great jazz player who only plays the standards. And he plays them really well. He’s got all the chops he needs. But he’s not going to make his own mark with his marks until he lets himself swing a little harder. For Bronzino it’s upfront eroticism that tips him over the edge. For Hendrix it’s another dose tucked into his headband and lighting his guitar on fire. For postmodernity it’s the tumbling of the ivory tower of covertly sponsored Greenbergian Abstraction through the introduction of unambiguous figuration, social and political content, irony, and the embrace of “kitsch” and “low art” aesthetics, plus encouraging stylistic impurity, multiplying multiintentionalities, and prioritizing conceptualization. And mostly, through letting contemporary reality into the frame of the artwork, as my favorite hash-head, Baudelaire, advised long ago. All of which is old news, like everything post-avant, but remains descriptive of the driving forces behind the last forty plus years of contemporary art that matters, if it matters. These elements or approaches all peek out from around Pascarella’s current perfect pieces in latent ways, or as nascent beginnings—like the masked and mythic figures in Bronzino’s allegory. Packed with the full wallop of Pascarella’s painterly power punch, and taut with his talent for surface tension, who knows what they might come to mean. —Jon Carver Paul Pascarella, Music in the Garden, acrylic, oil stick, and collage on panel, 52” x 42”, 2015
OCTOBER
2015
THE magazine | 47
CRITICAL REFLECTION
Habitat: Exploring Climate Change Through the Arts
516 Arts 516 Central Avenue SW, Albuquerque
todo el mundo en su vida —Anne Gilman, an artist in Habitat, excerpt from her piece Text Edit
TODO E L M UN D O EN S U V I DA — A L L T H E W O RLD I N T H EI R LI FE. This is just one line of text from Anne Gilman’s large mixed-
Smith—and they comprise work of varied media that
are also Mitchell Marti’s elegant black-and-white images
media scroll drawing—hand-rendered information in
fleshes out a series of extremely intelligent visions, all
of dynamic vortexes and grid systems that are based on
pencil, ink, paint, charcoal, and matte medium—about
of which interrogate our complex relationships to our
satellite weather information and GPS movements of,
locating a life in space and time. What drew me to so
evolving place in the world as the planet steadily reveals
for instance, cattle, subsequently manipulated through
many of the pieces in the two separate but related
its critical mass of melting balls of wax. It’s too bad I’m
his own computer algorithms and made into lithographs.
exhibitions in Habitat was the intimate nature of much
not able to address every project since every one is
Certainly one of the most visually arresting pieces is Jerry
of the work, as if to say that the idea of our collective
compelling in its way—like the photographs by Magda
Gretzinger’s enormous wall installation, Jerry’s Map—
planetary habitat—at risk, under rapid and unsustainable
Biernat of icebergs floating away from a rapidly shrinking
comprising sections of an extensive map of an imaginary
transformations—is positioned on a fulcrum of intensely
Antarctic; or a wearable artwork by Naomi Kizhner
city that has grown from a single doodle to over thirty-
personal observations and interpretations. All the world
called Energy Addicts, small talismanic metal sculptures
two hundred panels, all organically fitting together in a
is indeed in our life: its history, its present fluctuating
that function as parasitic jewelry hypothetically feeding
gigantic work based on Gretzinger’s own rules for visual
conditions, its precarious future. So as inherently political
off the human body and mirroring, in Kizhner’s view,
organization and his personal vectors of meaning.
as this exhibition is, its individual pieces are an incredibly
humans’ insatiable feeding off the electric grid. Then
From Johnson’s exquisitely modeled abstract
thoughtful amalgamation of imaginative problem solving
there are Matthew Rangel’s lithographs depicting his
images to Chin’s practical ideas for harnessing the
and sensitive individual visions that often appear as small-
adventures of wilderness trekking that merge historical
sun’s vast energy stores, and Adriane Colburn’s video
scale, intimate, and abstract thought experiments—
facts about specific places, subjective experiences,
Anaconda Pond—a vividly realized journey on a river
like Bethany Johnson’s seven delicate ink-on-paper
and cartographic documentation, visually blended into
in the Peruvian Amazon that borrows from the color
line drawings. These works could be the progeny of
strong graphic images. In Rangel’s work, topographic
enhancement techniques of satellite imaging for its
Agnes Martin’s pencil-on-canvas drawings and paintings
field research meets up with poetic inquiry on the
hallucinatory visual appeal—the work in this two-part
from the 1960s. Johnson relies on the grid as well, yet
trail and the two together plumb the depths of what it
group show is polemically related though disparate in its
these pieces represent not a rejection of the things of
means to have a sense of place. Mel Chin has conceived
approaches to thinking about our collective destiny. No
this world, as Martin insisted about her art, but instead
of a project called Bank of the Sun, a solar-powered
matter how serious the underlying themes, there are no
Johnson’s drawings are studies based on a variety of
electric system that could perhaps be utilized by the
histrionics here, only a thousand and one fascinating rays
systems of thought and practice. In her artist statement
culturally dispossessed tribal group known as the
of investigative light. I came to think of this exhibition,
she said, “I investigate and collapse the various methods
Sahrawi in North Africa—the Bank of the Sun becoming
with all its facets, like a version of Scheherazade telling
of science, cartography, philosophy, poetry, and visual
a means for the Sahrawi to achieve economic and social
her tales, one at a time each night, staving off what might
art.” As fragile as her drawings first appear—they look
independence.
or might not be the death of the planet as we know it—
like tiny and loose weavings only inches high and wide—
And so it unfolds in Habitat from project to project:
they also convey a sophisticated rigor that can bear the
Lee Lee’s bleeding aspen trees, Wendy Mason’s work
el mundo en nuestra vida.
weight of their musings.
addressing “the health risks of sunbathing, junk food,
—Diane Armitage
There are two shows in this particular version of
global warming, and drought,” and Nina Montenegro’s
Habitat—Knew Normal, curated by Nancy Zastudil, and
ironic skewering of consumer culture in her little vials
Off the Charts, curated by Rhiannon Mercer and Claude
of water for sale called Last Drops of Lake Mead. There
OCTOBER
2015
these intricate visual narratives pondering the fate of todo
Left: Adriane Colburn, Anaconda Pond, video still, 2012 Right: Jerry Gretzinger, Jerry’s Map (detail of installation), mixed media on paper, dimensions variable, 1963-present
THE magazine | 49
Contemporary Native-American Group Show
Chiaroscuro Contemporary Art 558 Canyon Road, Santa Fe
WELL, IT HAPPENED AGAIN: THIS AUGUST GALLERIES BEE-LINED INTO THEIR storage stacks and pulled out their “Native art” in hopes
host
limitations placed on men. Simpson’s warrior has been
of cashing in on Indian Market. While I truly appreciate
organization—the Southwest Association for Indian
Categories
imposed
by
the
Market’s
broken by the same structure that made him fight in
that August in Santa Fe is critical to indigenous people
Arts—limit what can be juried in as authentically
the first place and needs the regenerative energy of the
(and their gallerists) for at least a couple of reasons—the
“Indian.” But galleries and new organizations such as
female. Together, the male and female create hand-built
first is that for many this is when they earn the bulk of their
the Indigenous Fine Art Market don’t suffer from those
wings that will allow them, one day, to fly.
annual income; the second is that it signals the gathering
constraints. We see well-known jewelers such as Yazzie
Indigeneity is also key to Whitehorse’s art, within
of friends and families in one place at one time—I just as
Johnson and Gail Bird, therefore, showing luscious,
the bounds of abstraction. She is an accomplished
truly wish we could showcase Native art all year round.
non-traditional pieces in Chiaroscuro’s exhibition on
colorist whose paintings exalt the artist as mark maker;
Part of me is glad to witness the indigenous reconquest
the same weekend they manned a booth at Indian
by her own admission, she’s “always worked with
of the Plaza every summer—a financial “counting of
Market. Native people enjoy a wide variety of venues in
landscape, with calming landscape.” The melancholic
his then-revolutionary Coyote Café in 1987. Miller licensed
which to sell their art in Santa Fe, especially in August.
grandeur of her triptych, Outset, Launching, Progression,
Fonseca’s coyote and placed it all over the café’s yellow
I suspect that with SWAIA’s fairly recent inclusion of
is striking as it quietly unfolds a tale of the past, the
and red menus, matchbook covers, T-shirts, etc. Suddenly,
film and fashion in the Market, for example, we will
present, and the future. Decades of gas, oil, uranium,
Santa Fe was the place to be, and Native art was the art
be seeing an increasingly heady mix of contemporary
and coal extraction from the Navajo Reservation have
to buy. Elaine Horwitch sold out countless shows featuring
Native art in Santa Fe. I’d love for Native art to occupy
laid waste to significant parts of her homeland, with
paintings by Fonseca, Fritz Scholder, David Bradley, and
a serious place in Santa Fe’s commerce all year, while
the latest devastation being executed by the fracking
many others who have proved that they were not mere
August becomes a special feature month—a Telluride
industry. Read from left to right, the first panel of the
makers of faddish art. The inclusion in Chiaroscuro’s ninth
for contemporary indigenous culture.
triptych indicates a peaceful environment, with water
coups” that oddly happens during the same month as the Pueblo Revolt of 1680—but part of me cringes at the hype. To paraphrase the subject of a recent panel discussion, when is promoting and collecting Native art merely another tool of cultural appropriation and when is it a viable means of support? The obvious, though problematic, answer is “when Natives control and profit from their own art and its promotion.” This remains a real predicament with historic art. Contemporary Native art, on the other hand, has its own distinct narrative. Chiaroscuro’s recent group exhibition of art by Native artists recounted a few threads of that narrative. Harry Fonseca’s estate provided art that introduced a foundation for the storyline of our region’s contemporary Native art. In the 1980s, Fonseca played a key role in the reformation of Santa Fe’s sleepy gallery setting into something vibrant and commercially hot. His reclamation and sly adaptation of the iconography of coyote-as-trickster in Native art was adopted by Mark Miller when he opened
annual group exhibition of Fonseca’s work from that period was a breath of fresh air after all this time.
Finally, “contemporary” and “Native” are no
and trees scattered throughout. In the center panel,
longer mutually exclusive terms; IAIA’s Museum of
scientific-seeming formulas and symbols, along with the
Horwitch’s death, in 1991, signaled the end of an
Contemporary Native Art has played a phenomenal
hues of her palette, suggest a scorched-earth policy.
era that had begun with a renaissance in Native art at the
role in reshaping the public’s notions of what “Indian
Finally, the last panel looks like some alien landscape,
Institute of American Indian Arts in the sixties and seventies.
art” looks like. Chiaroscuro adds to the discourse with
blasted by deadly toxins.
Natives and other hyphenated Americans represented
ceramics by Rose B. Simpson and paintings by Emmi
Still, says Whitehorse, “I wanted people to think
themselves not as the exotic other but as their own subject
Whitehorse. Their works serve as magnificent examples
about what was going on but I didn’t want it to be a
matter. Here in Santa Fe, contemporary Native art’s energy
of the state of contemporary culture as examined by
very ugly piece—I wanted to present it in a way that
matched that of the drug-and-alcohol-fueled eighties.
artists who are Native.
it remains in a sense beautiful—that you would still
Of course, by the nineties at least, we were questioning
In The Secret of Flight, Simpson has shaped clay into
be drawn to it and look at it closely.” For both artists,
the necessity for blockbuster art exhibitions exclusive to
one of her signature sculptures, a male torso backed
healing, hope, and compassion are to be found on the
Latin Americans and their infinite subcategories, African
up against a smaller female. Simpson’s Pueblo identity
path of art.
Americans, et al., but the general consensus seemed to be
is straightforwardly recognizable in her medium, but
—Kathryn M Davis
that “if that’s what we have to do to be successful, so be it.”
that identity does not preclude the contemporary.
Just as with Indian Market today, money talks.
The Secret of Flight aims to witness the heartbreaking
Emmi Whitehorse, Outset, Launching, Progression, oil on paper on canvas, 51” x 234”, 2015
CRITICAL REFLECTION
Dyeing the Grid: Featuring Lynne Golob Gelfman
William Siegal Gallery 540 South Guadalupe Street, Santa Fe
IT IS MORE FRUITFUL TO BEGIN A CONVERSATION ABOUT LYNNE GOLOB Gelfman’s paintings by describing what they are not. Her
natural world altogether and shifts toward a meditation
as the square geometries in a Nasca culture tie-dye tunic
abstract geometrical compositions are not stable. They
on process via minimalist geometries. It is a useful shift;
included in the exhibition), visual pattern has a relational
are not self-contained or discrete. They are not narrative,
the resulting works get at the meat of her already well-
capacity, much like language. Be it through identifiable
they are not finished, and they are not perfect. They
established practice. Gelfman paints in reverse: she applies
motifs, symbolic shapes, or colors, for Pre-Columbian
may not even be paintings (more on that to come). As for
paint to the backside of the canvas and allows the paint
cultures (and many other cultures around the world),
what they are: They are encounters with process, with
to soak through the substrate, resulting in unpredictable,
pattern allowed for meaningful expressions of spirituality,
pattern, with the human penchant for order, and with
sparse compositions. Or, we can play with semantics and
genealogy, relationship with land, and more.
the human inability to establish and maintain order in any
rephrase this to say that she paints, allows the pigment to
This smart curatorial pairing informs our viewing
meaningful way.
soak through and saturate the canvas, and then exhibits
of Gelfman’s pattern-language, and is a clear instance
The poetry of the Miami-based painter’s work begins
only the reverse side of the canvas. This second phrasing
of art history’s power to elevate our experience of
with its remarkable simplicity, both in terms of process and
suggests that perhaps the painting is hidden from us, and
contemporary art. The artist’s geometries, stripped of
aesthetic. The artist creates abstracted paintings in series,
we see it “through a glass, darkly.” Returning to the things
content beyond a palette of acidic pastels, charcoals, and
which frequently explore textures and patterns found in
Gelfman’s paintings are not, I might include that we are not
muted jewel-tones, appear to us like a cipher. The reverse
the natural world, and sometimes the built environment.
actually looking at the painting at all; we see its shadow, we
painting process acts like a veil, obscuring the truth hidden
With series titles including “dune,” “cloud/water/sand,”
see its interpretation via canvas or muslin.
somewhere beyond the imperfect grid available to us.
and “topography,” the paintings communicate elemental
We see an amorphous grid of color that loosely
These works set up a Plato’s Cave dynamic, in which we
referents without representing them. In these series, the
defines an abstract geometric pattern comprised of
see the shadows on the cave wall, not the figures. Running
fluid nature of sand or water is embodied in paint that is
triangles and squares. That these patterns are seemingly
with Plato’s theory of Forms, I could say that we see the
applied with both the evenness of pattern and the open
infinite, extending beyond the confines of the picture plane,
ideal Form of the artist’s vision in its earthly shape. The
embrace of chance, the result of her technique of “reverse
suggests a relationship with textile. The presence of Pre-
question then is what do we suppose is beyond the liminal
painting,” in which she paints on the back side of the
Columbian textiles—the gallery also specializes in ancient
space of the canvas? A perfect geometry that we can
canvas and allows the pigment to soak through.
Pre-Columbian art objects and textiles—throughout the
only grasp in a state of imperfection? Or a divine cloud of
The inclinations present in these previous works are
exhibition augments the experience of Gelfman’s work by
whirling color, which we can only participate in through
expanded upon in the “thru” series exhibited in Dyeing
providing us with an entry point into a discussion about
the limited means of the triangle and square?
the Grid at William Siegal Gallery (through October 13).
pattern. Pattern is a central principle in art (not to mention
—Lauren Tresp
As implied in the title, this recent body of paintings,
the universe), and regardless of whether a pattern is
created from 2014 to 2015, drops any reference to the
representational (such as floral motifs), or abstract (such
OCTOBER
2015
Lynne Golob Gelfman, thru 5, acrylic on canvas, 54” x 108”, 2014
THE magazine | 51
GO WEST
Gerald Peters Gallery 1005 Paseo de Peralta, Santa Fe
KISS YOUR ADZE GOODBYE. THAT WAS THE GIST OF WHAT PAINTER Bert
Ernest
burst upon us and it was glorious.... One wonder
Smoke and Mirrors a spiral terrace winding down the
Blumenschein in 1898 after their wagon lost a wheel
Phillips
relayed
to
fellow
artist
after another descended upon us.... There was light
distant peak and a broad, vertical swath sliced from
outside of Taos, where Phillips had gone in search
everywhere.... A new era began for me.” A century
the near peak bear witness to the bane of strip mining.
of a wheelwright. One look at the local landscape
later, artists continue to revisit this experience.
Harold Gregor’s “flatscape” paintings explore
was enough to persuade both travelers to tarry, and
Go West features small, poetic cast-metal pieces
the rich terrain of landscape abstraction discovered
Phillips to stay. The rest is art history. In 1915 the
by Andrew John Cecil, three landscape paintings by
in Richard Diebenkorn’s Cityscapes and later Ocean
Taos Society of Artists was formed by Phillips and
Chuck Forsman, and three by Harold Gregor. The
Park series from the late 1960s, and more directly the
other Anglo artists drawn westward by the lure of the
highly accomplished works by Forman and Gregor draw
1990s aerial landscapes of Wayne Thiebaud, such as
breathtaking landscape of northern New Mexico.
upon particular moments in the history of American
Thiebaud’s River Bend Farms (1996) and Flatland River
landscape painting.
(1997). Gregor’s three paintings from his Flatscape
With their progressive choice and handling of subject matter, the Taos art colony were the first
Chuck Forsman’s oil-on-panels recall Regionalism,
series translate their uniquely American vernacular
artists to bring a modernist tradition of painting to
an agrarian realist style within American Scene
of California landscape abstraction to the farmland
the region, followed after 1950 by a second wave
Painting, which rose in the 1930s from the headwaters
of his native Midwest, the quintessential locus of
of East and West coast painters, later known as the
of the Great Depression, only to yield, by decade’s
flatness. In Gregor’s Flatscape #107, square fields of
Taos Moderns, whose permanent residents included
end, to the postwar assertion and triumph of New
deep blue edged with orange stripes and juxtaposed
Agnes Martin, Bea Mandelman, Louis Ribak, Edward
York abstraction from the 1940s. Forsman varies
with adjacent plots of wine-red hues invite the eye’s
Corbett, and Clay Spohn—along with sojourns by
his landscape perspective and handling to produce
response to the yellow-and-green crop rows that
Richard Diebenkorn, Mark Rothko, Ad Reinhardt,
diverse effects. His photo-realist Thaw suggests a
frame the upper edge of the canvas.
and Clyfford Still—and, from the early 1970s through
vantage atop a ridge on the tail of the Rockies; the
The small, cast-metal objects of Andrew John Cecil
2000, by the last influx of modernists: Agnes Martin
toy-train view of houses clustered in the valley below,
are toy-scale renderings of a man-made canal, dam
(returning), Larry Bell, Ken Price, Ron Davis, Bruce
in Smoke and Mirrors, and the bird’s-eye panorama,
barricade, headgate, bridge supports, giant earth-moving
Nauman, and Susan Rothenberg.
in Plots, of steeply undulating, quilted slopes bring to
machine parts, and fence sections. The gallery statements
What summoned them all, in varied guise, was a
mind the contoured rolling plains of Grant Wood’s
rightly point to Cecil’s transformation of utilitarian devices
landscape of vast imaginative force, sublime, humbling,
idyllic Heartland. Yet Forsman’s concern with “the
into dynamic forms, as well as to their more potent status
and transformative. Ansel Adams wrote later of
human impact and vast changes on the face of the
as “icons of a passed agricultural and industrial century”
his first visit to Yosemite in 1916, the year after the
landscape” emerges in subtle touches: the luminous
that “speak to a lost innocence, a failed cultural notion
Taos Society was formed: “The splendor of Yosemite
clouds in Plots almost mask a white corporate jet; in
of a bountiful landscape with limitless resources.” In the context of Go West, Cecil’s artifacts are dystopian relics, bodeful talismans for the future of landscape in an age of reckoning for climate change. The
American
landscape
is
perhaps
the
preeminent cultural icon for a nation as new as ours, lacking the millennial heritage of Europe’s civilization. If, as author Shelby Foote believed, the Civil War was our Iliad, then El Capitan, Half Dome, and the giant sequoias are our cathedrals, and the Ohio Valley and Hudson Valley our earthly Edens. The American landscape is a central vein for our artistic imagination, from the Hudson River School to the New York School, from Aaron Copland’s Appalachian Spring to the film score for The Big Country composed by Jerome Moross. And if the American landscape is a metonymy for American culture, then it is critical to note—especially in these grim political times (and citing just the EuropeanJewish heritage of Copland, Moross, and many of the Abstract Expressionists)—that the American landscape was settled by immigrants and celebrated by the children of émigrés. —Richard Tobin Andrew John Cecil, 49 Rivers, polychrome cast bronze, 16” x 24” x 24”, nd
CRITICAL REFLECTION
Urban Americana
TAI Modern 1601 Paseo de Peralta, Santa Fe
IF CUBISM ALLOWED US TO BREAK INTO PIECES THE COMPLEXITIES OF THE world and lay them out in two dimensions, we might
October 4). Most of these subjects are eyesores
kind of totem to the Everyday.” Framed this way, the
view painter Erik Benson’s collaged acrylic paintings
that stand somewhere between cold anonymity and
paintings capture and preserve the easily overlooked,
in similar terms. Instead of smashing things to pieces,
desperate stabs at reinvention. Similarly, they also
even temporary moments in a city’s life. But the
Benson’s work begins as deconstructions, reconstructed.
stand somewhere between the manufactured or
repetition and accumulation of these small moments—a
The artist’s paint-as-collage process grew from a simple
constructed and the incidental effects of natural decay
knit-bombed tree, or a newly graffitied wall—very
misfortune—an allergy to oil paint—and the subsequent
and happenstance. While it would be easy to write them
much affect daily life. If we think of the metropolis as a
need to find a new way forward. Next was the discovery
off as glorifications of urban blight, these paintings dive
body, an entity that lives and dies, can be sick or healthy,
of dried drops of paint on the floor, which he peeled off
deeper under the surface and provide a nuanced starting
the daily life of its inhabitants is an essential part of that
and used to collage. From this resourceful beginning,
point in thinking about the city that neither glorifies nor
body, and is both dependent upon and directly affects
Benson’s practice has grown mature and methodical: he
deplores the difficulties of urban decay.
the health of that body.
paints acrylics onto sheets of glass, allows the paint to
Each building stands alone in a gray, unforgiving
Benson’s singular vision and unique process cull
dry to a point of elasticity, and carefully cuts the shapes
sky. In no title (Knit Bomb) (2015), a building speckled
poignant moments to explicate this proposition. While
he then collages onto canvas.
with pink, blue and gray windows rises into a white-
some work can fall into a trap of relying on a unique
His images almost exclusively deal with the
gray sky behind a leafless tree. The tree has been knit-
process to justify itself, Benson’s process continues
mise-en-scène of the urban environment. Housing
bombed, a form of graffiti in which public fixtures—
to stand up to the larger issues within the work. The
projects, office buildings, nonspecific cement walls, and
trees, fire hydrants, stop signs—are wrapped in knitted
sharp precision and calculating nature of the process
otherwise marginal places comprise the scenes in Urban
accoutrements. In the artist’s statement, he refers
translates well into the overall aesthetic. Each image
Americana, his recent exhibition at TAI Modern (through
to capturing these mundane moments as creating “a
communicates a “piece-y-ness,” in which we can see that the built environment is comprised of a build-up of layers, both literally and figuratively. Build, decay, build, decay; the circle of a city’s life is tangible in Benson’s pieced-together knit bombs and pasted graffiti. It is also evident in the pairing of dismal brown and gray buildings accented by unnatural neons and borderline putrid pinks and teals. They evoke equal parts appreciation for the indomitable human spirit to beautify, and pity for such seemingly futile efforts. The exhibition is not without humor. A series of small watercolors, the Gratitude Series, depicts plastic bags. Cast offs from big box stores, drug stores, or take-out restaurants, the bags are caught up on bits of weeds or otherwise crumpled up and abandoned. They are minimally rendered landscapes or still lifes and serve as studies of the minutiae that comprise daily life. The artist’s dedicated observance of such small, quirky details adds some humanity back into these otherwise figure-less places. In Smiley Thank You (2015), a big yellow smiley face peers out at us from a plastic bag, one of his eyes askew. This is the closest we come to seeing a subject populate these images, and the inclusion pulls at the heart strings, invoking pity, affection, and curiosity. The artist’s output feels like a somewhat neurotic vision made tangible: a vision that observes and reimagines reality according to some pathology. Ultimately these images help us observe the city environment in all of its nuance: caught up in the cycle of life and death, diseased and recovering, inhuman yet home to so many. —Stephanie Tucker Erik Benson, Ghosts of Modernism, acrylic on canvas, 30” x 34”, 2015
OCTOBER
2015
THE magazine | 53
Drawing Now 2015
Albertina Museum Albertinaplatz 1, Vienna, Austria
ONCE THE CENTER OF AN EMPIRE, VIENNA IS A TREASURE HOUSE OF MUSEUMS. The Albertina, founded in the eighteenth century, holds one
evolve into oval forms in subtle colors.
material and transforms it into art. The piece is beautifully
of the largest graphic collections in the world, including fifty
Of course, the museum as institution, as site, and as
simple as encountered in the gallery. The video adds the
thousand drawings and watercolors, and nearly a million
concept is drawn into this maelstrom of enquiry. Rainer
dimension of the artist’s method, evoking for me the Zen-
prints. There has been a passion in Austria and Germany
Prohaska’s Drawing an Orange Line turns the Albertina into
inflected painting action of Jackson Pollock, without the
since the middle of the twentieth century for connecting the
a three-dimensional drawing board. Orange cargo belts,
massive ego involvement.
trove of historic works residing there with contemporary
usually used to hold things together, are stretched all around
A team of Cuban artists based in Madrid, Los
art practices. In 1975 the Albertina and New York City’s
the architectural complex, giving it the look of something
Carpinteros, whose work often resembles architectural
MoMA mounted a legendary exhibition called Drawing Now.
gift wrapped or ready for shipping. This is something one
models, present the large drawing Tornado Amarillo Doble
Forty years later, Drawing Now: 2015 once again attempts
does not register when first approaching the building, but
(diptico), a captivating whirlwind of yellow Lego-like
to take stock of what drawing can be, illustrating how it is
only after being informed. For the artist this was also a
bricks spiraling up to become sky. They have in the past
no longer limited to paper, and showcasing an emphatic
two-year performance, given the repeated interventions of
used such forms in making sculptures and environments.
expansion of the very notion of drawing. The exhibition
official architectural protection forces, of which Vienna has
Their focus, as the name suggests, is on craftsmanship
includes works by thirty-six international artists and groups.
many. Reflections on the museum space are also enacted
and this piece references that long-standing, pragmatic
I cannot do justice to all of them here and will only point to
by Lotte Lyon, mirroring and highlighting functional aspects
aspect of drawing as a preparation for making something.
a few highlights to convey the breadth of this show.
such as stairs and escalators, usually ignored by the museum
Group-produced art is a phenomenon I last saw amply
visitor unless they malfunction, but here singled out as
represented in 1994 at arts festivals in Australia, which
integral graphic elements of the environment.
was then replete with collective art activity. It’s good to
Several artists query the medium of drawing itself, examining the conditions and possibilities of production and the role of appropriated images. Others reimagine drawing
My favorite works were these kinds of site-specific and
see that the mode survives in fine art, as well as in areas
as a performative activity. Robin Rhode’s A Spanner in the
ephemeral pieces questing into the space of the possible,
such as design, engineering, and artforms such as cinema,
Works of Infinity elegantly integrates the drawn and the
interrogating everything from what is drawing to what is
theatre, and music, where it is fundamental. I’d like to see
performed. Nikolaus Gansterer creates a laboratory-like
a line to how does the viewer fit into this work? Monika
a lot more collaborative art making, such as we have here
environment, making drawings via objects interacting with
Grzymala’s Spatial Drawing Vortex is made with nearly four
in Santa Fe with Meow Wolf, to take us further away from
various materials: sand, chalk, glass bottles, and a pendulum.
kilometers of black-and-white duct tape; one wall has
the precious romantic artistic notion of the lone genius
Constantin Luser suspends wire objects and then renders
only straight lines, the facing wall is the vortex. Grzymala’s
laboring away in solitude.
their image precisely onto the walls adjacent, creating a
process, explained in a video, is to create the work alone
—Marina La Palma
shimmer of double vision. Tacita Dean, known for large-
and never to correct or remove anything. Making the piece
format chalk drawings and films, combines charcoal
is an improvisational dance of unrepeatable gestures that
sketches and flea-market materials into an assemblage.
integrates her body and the space. She takes a utilitarian
The show contains plenty of actual marks-on-paper drawing, from precise plans for imaginary worlds to simple line drawings like David Shrigley’s Headless Drummer and beautifully rendered images such as Olga Chernysheva’s Untitled (Person Protected by Blanket) and Person Protected by Drawing as well as Muntean/Rosenblum’s Untitled (Focus on the Future). Andrea Bowers takes images from the Internet and her own snapshots of political demonstrations and “slows them down” by redrawing them in colored pencils. Amy Cutler, whose work I have admired at SITE Santa Fe, uses colored pencils to produce figures inhabiting an uncanny pan-ethnic folk environment, wherein figures carry mysterious bundles—though her piece at SITE uses real rags in bundles rather than drawings. Micha Payer and Martin Gabriel’s multiple panels combine drawing and color into cryptic narratives; Jorinde Voigt’s Quintessence incorporates and maps the ideas of sociologist Niklas Luhmann into abstract, multilayered works. Spontaneity and impact are offered by works bridging modes such as street art, comics, or larger-than-life drawn environments, like Aleksandra Mir’s massive, fantastical Tropical Room or Dan Perjovschi’s witty graffiti walls. Ignacio Uriarte’s telephone doodlings, revisiting the same surface repeatedly,
Monika Grzymala, Spatial Drawing Vortex, mixed media, dimensions variable, 2015
CRITICAL REFLECTION
Luminous Flux 2.0
Art House, Thoma Foundation 231 Delgado Street, Santa Fe The new media are not ways of relating us to the old “real” world, they are the real world and they reshape what remains of the old world at will. —Marshall McLuhan
MARSHALL MCLUHAN WROTE THE ABOVE STATEMENT ABOUT THE WILD AND WOOLY nature of new media two years after he wrote The Medium Is the
the imaginative uses of materials, hardware, software, and the
time spent trying to comprehend a complex work, such as John
Message: An Inventory of Effects. His book is so influential and has
scintillating ideas at the root of every piece—ideas that require
F. Simon Jr’s Automata Studies, which never repeats in its patterns
been cited so much that I think most of us feel as if we’ve read it
our willing attention without assaulting our senses. This is art to
formed by digital animations driven by Simon’s algorithms. His
many times. Be that as it may, in 1967 who among us could have
settle in with and to investigate in depth without resenting the
theme is the presentation of an “infinitely evolving composition” that he thinks “behaves more like a plant than a painting.” In an opposite realm from that of Simon’s expansive computer-based work is Gschwandtner’s large piece, illuminated from behind in a lightbox and made from old 16mm film clips and hand-painted film leader. Having first appropriated found documentary material from two sources—the Bradford Dyeing Company in Rhode Island that provided camouflaged material to the military, and an instructional film about making shadow puppets for children—the artist then sewed strips from the two films together to make a quilt-like object. From a distance, the quilt, suspended in the lightbox, glows with a vivid radiance and does indeed engender a trompe l’oeil experience. But closer inspection reveals the true nature of Camouflage II and its tiny 16mm cells of information. This is a work whose subtext is conceptually and literally pieced together in wondrous fashion as Gschwandtner plays with the meanings of dye and military fabric and the homonym of dye and the play of children who grow up to perhaps join the camouflaged world of war games, which of course aren’t games at all. I was intensely drawn to the artist’s quilt of many colors, which doubles as a hall of mirrors with its triggered memories and its layered associations. In Jim Campbell’s piece, Home Movies, Pause, there is also the use of old film footage, but in this case it’s combined with the manipulation of image resolution. In contrast to the millions of pixels in a standard high definition television set, Campbell
even guessed at the profound influence that new media would
has deliberately made his found material into extremely low-
exert on modern culture nearly fifty years after McLuhan’s book
resolution moving images that almost totally distort the original
was published? Having a personal computer that ran endless
information. The resulting manipulations, with their pastel
streams of zeros and ones, and sitting back while the world
hues and their fuzzy geometry, take on a quixotic quality that
was being reinvented at every keystroke, was hardly a gleam in
defies expectations about what home movies are. Added to
the average person’s eye. Fast forwarding to 2015 and to Santa
the inherent abstraction of the information is a metal grid that
Fe, host to a plethora of galleries that still focus primarily on
overlays the projection and merges a poetic play of soft colors
traditional processes for making art, here in the Art House on
and dancing forms with a more severe modernist impulse.
Delgado Street are several intimate spaces showcasing a series of
This iteration of Luminous Flux 2.0 will be installed at Art
rigorously conceived works in new media whose relationship to
House until the spring of 2016 and it’s a must see exhibition.
the digital isn’t necessarily the prime rationale for their existence.
Where else can you watch the protracted struggles of a tiny
One of the most fascinating pieces is Sabrina Gschwandtner’s
man crawling out of an ink bottle and then leaving his dark and
Camouflage II, analog in nature and pieced together with an old-
existential tracks of black goo across a sheet of simulated white
fashioned sewing machine. Other works are pre-digital in their
paper? Where else but in Peter Sarkisian’s video installation Ink
realization, as in Desmond Paul Henry’s ballpoint drawings done
Blot, a devilishly clever spin on the world of Gulliver’s Travels.
with the aid of a WW II bombsite plotting instrument.
—Diane Armitage
Thoma Foundation curator Jason Foumberg wrote that all the work in Luminous Flux “…derives from physics; [luminous flux] is the measure of light energy, or brilliance, perceived by the human eye from a light source.” That said, the underlying visual pleasure this exhibition provides has more to do with
OCTOBER
2015
Top: Jim Campbell, Home Movies, Pause, LEDs, metal, wire, and custom electronics, 76” x 66” x 3”, 2014 Bot: Sabrina Gschwandtner, Camouflage II, 16mm film, polyester thread, lithograph ink, and lightbox, 48½” x 73”, 2015
THE magazine | 55
Our 22nd Year!
Santa Fe Scout Collection
October 10th, 11th & 12th 10am – 5pm
Our popular tour runs for all three days of the holiday weekend, so you can see more artwork & artists in their studios, explore the Pueblo of Abiquiú & enjoy the fall color of the Chama River Valley. You’ll discover a variety of unique pieces from fine art to traditional crafts. Maps available at all studios & businesses for this free self-guided tour.
For information call 505-257-0866 or on the web at: http://www.abiquiustudiotour.org We have a free iPhone/iPad App: http://abiquiustudiotour.org/app/app.html Special – A Group Show by many of the artists is at the Abiquiú Inn, through October 30th Partial funding granted by the County of Rio Arriba Lodger’s Tax fund
Handmade in Santa Fe, One-of-a-kind Purses from rescued Navajo weavings...embellished with sterling silver conchos, vintage horse tack, elk tips, fringe and stone. No two alike. For the Cowgirl in You.
1219 Cerrillos Road (next to The Raven)
Dana Waldon 505.660.6442 • santafescoutcollection.com
Fiscally sponsored by Luciente, Inc.
FOUND
Artist in His Studio by Eduard Charlemont (Austrian, 1848–1906) is noteworthy as a virtuoso pastiche of Dutch seventeenth-century painting that combines portrait and still life genres. The artist seen painting at the easel has been identified as “Van de Velde,” and as Johannes Vermeer. That the subject is actually Vermeer is doubtful, as the artist appears to be painting the model of a ship—not a subject Vermeer ever treated in his work. Vermeer or not Vermeer? You decide.
OCTOBER
2015
THE magazine | 57
Jennifer Esperanza Photography www.jenniferesperanza.com ~ 505 204 5729
The Encaustic Art Institute Presents
National Juried Encaustic/Wax Exhibition
Did you want to be a writer and then your life took over?
Opening Reception Saturday, October 3rd 11am - 5pm
NEXT Page
Meet the artists: Noon to 3pm
Dianna Shomaker (NM) “Cowboy “ (detail) 29 x 29
EAI Gallery open Wednesday - Sunday 11am - 5 pm Contact Douglas Mehrens/Founder 505-989-3283
Linda Wein (MO) “Simple Pleasure “ (detail) 6 x 8
Customized Suppor t for Creative Writers
wax • resin • pigment ART
Contact: Jamie Figueroa Writer/Writing Consultant
Gallery represents over 200 works of Encaustic/Wax art in traditional and contemporary styles, including cross-over media.
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www.eainm.com EAI is a 501c3 non profit arts organization. 632 Agua Fria Street (Also access from Romero Street) Santa Fe NM 87501 • 505 989 3283
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GREEN PLANET
# p r o t e c t o a k f l at “The morally correct decision is always the right decision. That is why we need to preserve oak flat and other sites that have spiritual significance.” —Larry Price Oak Flat is part of Arizona’s Tonto National Forest. The San Carlos Apache have used it for generations in young women’s coming-of-age ceremonies. In 1955, President Dwight Eisenhower removed it from consideration for mining activities. In December 2014, during the final days of the previous Congress, John McCain and Jeff Flake added a rider to the must-pass National Defense Authorization Act that opened Oak Flat to mining conglomerates Rio Tinto and BHP Billiton, the world’s two biggest mining companies. To learn more, visit these sites: azminingreform.org, earthworksaction.org, and nativephotographer.com Navajo photographer Larry Price photographed at Santa Fe Indian Market 2015 by Jennifer Esperanza OCTOBER
2015
THE magazine |59
WHO READS THE magazine?
Expatriates who own a bar on the beach, that’s who!
SUBSCRIBE: $40 a year. $75 for 2 years
Call: 505-424-7641 or Email: the magazinesf@gmail.com Mail: 320 Aztec Street, Santa Fe, NM 87501
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A R C H I T E C T U R A L D E TA I L S
On
the
O ld S anta F e T rail
photograph by
OCTOBER
2015
Guy Cross THE magazine |61
WRITINGS
Fortune by
Tony Hoagland
Like in the Chinese restaurant, it is the perfect forethought and timing with which the slices of orange arrive on a small plate with the bill. So, while you are paying what is owed, the sweet juice fills your mouth for free. And the fortune cookie too which offers you the pleasure of Breakage and then the other pleasure of Discovery, extracting and reading the little strip of paper with a happiness that you maybe conceal, the way a child you once were is even now concealed inside you. Maybe you will marry a red-haired woman. Maybe you are going to take a long journey. Maybe a red-haired woman will steal your car and take a long journey. Maybe you will be buried next to your mother. And when the people you are dining with smile and read their fortunes out loud, and ask you to tell them your own, you smile and tell them a lie, and they laugh and think you are weird and funny and sad and you know that you are all of those things, but you don’t tell them the truth because you don’t trust anyone, and you never have: that is your fortune.
“Fortune” is from Tony Hoagland’s book of poems What Narcissism Means To Me (Graywolf Press, St. Paul, Minnesota). He is also the author of Donkey Gospel, winner of the 1997 James Laughlin Award of the Academy of American Poets, and Sweet Ruin, winner of the Brittingham Prize in Poetry. He teaches at the University of Houston.
62 | THE magazine
OCTOBER
2015
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Showcasing by some the 20th century’s innovative modernist artists, the Vilcek Foundation Collection features Showcasing worksworks by some of theof20th century’s most most innovative modernist artists, the Vilcek Foundation Collection features more more thanartworks 50 artworks representing America’s first homegrown, truly homegrown, avant-garde art movement. than 50 representing America’s first truly avant-garde art movement. In partnership withGeorgia the Georgia O’Keeffe Museum, the New Mexico Museum Art presents O’Keeffe in Process from September In partnership with the O’Keeffe Museum, the New Mexico Museum of Artofpresents O’Keeffe in Process from September 11, 11, through January 17, 2016. both exhibitions forspecial one special of Modernism: A Season of American 20152015 through January 17, 2016. EnjoyEnjoy both exhibitions for one ticket ticket price.price. Fall ofFall Modernism: A Season of American Art isArt a is a Fe-wide collaboration among museums and art galleries focusing on modernism and modernist art.information For information events, SantaSanta Fe-wide collaboration among museums and art galleries focusing on modernism and modernist art. For aboutabout events, lectures, workshops, and exhibitions, visit fallofmodernism.org lectures, workshops, and exhibitions, visit fallofmodernism.org
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TheFoundation Vilcek Foundation Collection exhibition was organized by the Philbrook of Art,Oklahoma. Tulsa, Oklahoma. Exhibitions andprograms public programs made possible by generous The Vilcek Collection exhibition was organized by the Philbrook MuseumMuseum of Art, Tulsa, Exhibitions and public are madearepossible in part in by part generous support support from The Burnett Foundation, The Hearst Foundations, the Nancy and Robert J. Carney Exhibitions Endowment. Additional was provided by the Fe Santa Fe Community from The Burnett Foundation, The Hearst Foundations, and theand Nancy D. and D. Robert J. Carney Exhibitions Endowment. Additional support support was provided by the Santa Community Foundation; New Mexico Arts, a division of the Department of Cultural Affairs by the National Endowment for theand Arts; theFe Santa Arts Commission 1% Lodgers’ Foundation; New Mexico Arts, a division of the Department of Cultural Affairs and by and the National Endowment for the Arts; the and Santa Arts Fe Commission and the and 1% the Lodgers’ Tax. Tax.
ERIC GARDUÑO GRAVITY'S DELTA
October 9 – December 21, 2015
WILLIAM FREJ DÍA DE LOS MUERTOS
October 9 – December 21, 2015
1011 PASEO DE PERALTA, SANTA FE, NM
505 954 5700 | PETERSPROJECTS.COM