53 Old Santa Fe Trail | Upstairs on the Plaza | Santa Fe, NM | 505.982.8478 | shiprocksantafe.com
CONTENTS FEATURES 14
stu d i o v i s i t James Drake dave h i c ke y an d t he art o f rem ote se n s i n g by Diane Armitage i n s i d e t h e c r i t i q ue : a c r i t i c ’ s re p o rt fr o m t h e i n st i tute o f a m er i c a n i n d i a n arts by Jon Carver
A RT S 25
art openings Art openings, exhibitions, events, performances, calls for artists
p re v i e w s Art Santa Fe, Santa Fe Community Convention Center Brad Overton: Embodying Myth Through Imagination,Blue Rain Gallery, railyard
national spotlight Revealing Creation, Los Angeles County Museum of Art, Los Angeles c r i t i c a l ref l e c t i o n s Bonjour, là, Bonjour, Adobe Rose Theatre Georgia O’Keeffe’s Far Wide Texas, Georgia O’Keeffe Museum The Breaking Ring and A Very Long Line, Center for Contemporary Arts Outdoor Vision Fest 2016, Santa Fe University of Art and Design Walter Robinson: Placebo, Turner Carroll Gallery
D EPARTME NT S 05 13
19 21 28
letters the library
Robert Irwin: All the Rules Will Change one bottle
by Joshua Baer dining guide out
t he pr i nted pag e
by Luke Dorman photography
Porto Tram Runner by Nick Tauro Jr.
wr it i n gs
Beginning Like an Old Lutheran with Coffee and Rosemary by Daniel Bohnhorst
Mark White Fine Art
414 Canyon Road, Santa Fe|www.markwhitefineart.com|505.982.2073| Open every day! Shown here: Mark Whiteâ€™s newest wind sculpture, The Swan, in our long-lasting, brilliant red color patina
maga zine VOLUME X XIV NUMBER X WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 and 2006 Top-5 Best Consumer Tabloids
Publisher | Editor Lauren Tresp Art Director Chris Myers Associate Editor | Truculent Goloso Clayton Porter Copy Editor Tim Scott Proofreader Kenji Barrett Photographers Audrey Derell, Clayton Porter Webmeister Jason Rodriguez Contributors Diane Armitage, Joshua Baer, Nicole Brouillette, Jon Carver, Kathryn M Davis, Jordan Eddy, Richard Tobin, Susan Wider, Jonah WinnLenetsky Publishers Emeriti Guy Cross, Judith Cross Cover
Mary Heilmann, Surfing on Acid, 2005, oil on canvas, 60 x 48 in. Copyright Mary Heilmann. Photo: John Berens. Courtesy of Mary Heilmann Studio. See page 37.
Table of Contents
Vase, cylinder (600-900 CE), Guatemala, ceramic, 9 x 5 x 5 in. Purchased with funds provided by Camilla Chandler Frost. Photo copyright Museum Associates/LACMA.
Advertising Laura Shields 505-977-0094 Lindy Madley 505-577-6310 Distribution Jimmy Montoya 505-470-0258 Calendar Editor firstname.lastname@example.org Letters to the Editor email@example.com Subscriptions firstname.lastname@example.org THE magazine is published 10x a year by Tresp Magazine LLC, 320 Aztec St, Santa Fe, NM 87501. Phone number: (505)-424-7641. Email address: editor@themagsantafe. com. Web address: themagazineonline.com. All materials copyright 2016 by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable for any misspellings, incorrect information in its captions, calendar, or other listings. Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel. All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised. THE magazine is not responsible for any claims made by its advertisers or for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement. JUNE
Diane Armitage has a BFA and an MFA in Art Studio from the University of New Mexico. She is an artist working in digital video; a freelance writer and editor for art publications; and an adjunct lecturer in Art History and Film Studies at the Santa Fe Community College where she established the Art History program in 1999. She has also taught for the University of New Mexico and the Santa Fe University of Art and Design. Her work in digital video was included in a traveling exhibition—Water, Water Everywhere—that began in 2012 and will conclude in 2017. waterwatereverywhere-artshow.com
Daniel Bohnhorst’s poems have appeared locally in the Santa Fe Reporter and the Santa Fe Literary Review. Since 2011, he has worked on stage at Teatro Paraguas, performing Spanish-language poetry in their poesía viva series. Most recently, he directed and acted in Word Over All, a bilingual celebration of the poets Walt Whitman and Pablo Neruda. He is also a member of the Strangers Art Collective, and his most recent chapbook, Love in the Narrows, is available at the Narrows art exhibition at the Santa Fe Community Gallery, through June 10.
Luke Dorman Luke Dorman is an artist, designer, educator, father, list maker, late-night doodler, and potential speed-eating champ of the Southwest. He currently works both as a freelance designer and graphic design instructor at Santa Fe University of Art and Design. lukedorman.com
Jon Carver Jon Carver lives off the grid with his wife and son at the back of a box canyon in Lamy, NM. He holds an MFA from the Tyler School of Art, where he studied painting in Rome and Philadelphia. His art writing has been published nationally in art ltd., Art News, and Art Papers. He has been a monthly contributor to THE magazine for the past twenty years.
To the Editor: I am writing about Jon Carver’s Matt Magee review in the May issue of THE. While we understand that not all reviews are good and accept that, it appears that Carver completely missed the point and we question if this review was composed with any research or even a visit to the gallery. This is given evidence by the quote “ Magee might be a better writer than a painter actually” when throughout the run of the show, we had unanimous feedback regarding how the pairing of hard edge lines (painted to perfection) with visible brushstrokes that give the work movement were not an easy task to pull off. Carver never mentions Magee’s connection to the hard edge abstractionists or the way Magee pulls from this movement and reinvents it in a way to make it his own. He barely even mentions painting—and this show is about painting! Could you please confirm that your writer distilled his pessimistic and uneducated assessment from an actual visit to the gallery? This review feels like something that was churned out from a few digital images and a quick glance at the press materials and an artist statement. If the writer had visited the gallery he may have gathered more information than a “formula that renders the paintings especially flat”. The reproduced images on a computer screen do look “flat”, but to see the work in person is quite a different experience. In your letter from the editor, you mention providing “a dedication to an intelligent and informed arts discourse.” We would like to support you in this goal. Guy Cross worked tirelessly to bridge the gap between Albuquerque and Santa Fe, along with Kathryn M Davis. We hope that you will continue this effort. In the goal of participating in the solution to the inconvenience of sending a writer to Albuquerque, we would like to bring a couple of local writing resources to your attention. Thank you very much for your consideration. Best, Viviette Hunt, Director, Richard Levy Gallery Letters to the Editor: email@example.com THE magazine | 5
AUGUST 5-7, 2016
Beauty, Art and Inspiration at 8,885 feet
J O A N WAT T S | Z E R O P L U S I I I
May 27- June 27 |
CHARLOTTE JACKSON FINE ART
554 South Guadalupe Street, Santa Fe, NM 87501 505.989.8688 www.charlottejackson.com Pictured from left: III-2, 2004, oil on canvas, 72 x 24 inches; III-1, 2004, oil on canvas, 72 x 24 inches; III-4, 2004, oil on canvas, 72 x 24 inches
May 27 – June 21, 2016
Opening Reception May 27 5 –7pm RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 875 01 505.820.3300 | WILLIAMSIEGAL.COM
The Historic Taos Inn
Taos Poetry Festival
Taos Pueblo Pow Wow
Big Barn Dance Music Festival
Taos Wool Festival
Music on the Mesa Summer Festival
Las Fiestas de Taos
Glam Trash Fashion Show Taos Fall Arts Festival
Taos Storytelling Festival
San Antonio Feast Day
The Paseo: UnHangable Art Fest
Mabel Dodge Luhan & Co. Symposium
Taos Pride in the Park
Old Taos Trade Fair
Latin Music Festival
San Geronimo Day
Taos Mountain Balloon Rally
San Juan Feast Day Rodeo de Taos
Robert Irwin: All the Rules Will Change Edited by Evelyn C. Hankins Prestel Publishing
At just shy of 90, Robert Irwin is finally getting that big museum retrospective. Sure, he’s had some major surveys in his native state of California—after all, he is an innovator of the California Light and Space movement—but the rest of the country hasn’t been blessed with an Irwin survey since the 1970s. That all changes this year. Robert Irwin: All the Rules Will Change and the corresponding eponymous exhibition at the Hirshhorn Museum and Sculpture Garden (Washington, D.C.) focus on Irwin’s work and path throughout the 1960s. This scholarly catalogue put out by the museum in conjunction with the exhibition traces Irwin’s trajectory from action paintings to meditative line paintings to the site specific installations that play with nature and light that we’ve come to associate with Irwin. No matter the medium or subject, Irwin’s work places great emphasis on conscious perception. “Conscious perception requires openness and surrender in tandem with effort and discipline; it is important to understand that this is not a process or way of experiencing the world that is exclusive,” says Hirshhorn Museum curator Evelyn C. Hankins. In conjunction with Irwin’s past works on display, the Hirshhorn has commissioned him to create an expansive new installation corresponding with the museum’s architecture. The exhibition is on view through September 5, 2016. If you can’t make it as far east as Washington, D.C., there’s always Marfa, Texas. Sometime this summer—rumor has it in July—Irwin’s Chinati Foundation project, fourteen years in the making, will finally be realized.
—Nicole Brouillette JUNE
THE magazine | 13
James Drake is interested in systems, the micro- and the macrocosmic. Having recently opened the show Drawing, Reading, and Counting at Arthur Roger Gallery in New Orleans (May 7 – June 18), the Texas-born, Santa Fe–based artist is still at work within a system he created for himself over four years ago: creating numbered drawings on nineteen by twenty-four inch paper every day. At the time of our interview, he was working on number 1,516. This structure—perhaps arbitrary to anyone but him—actualizes the continuity between the artist’s every act of mark making. Despite the unique variations between pieces and the specificity of each piece to him, the work asserts a sense of passing time and shifting space that is deeply familiar. In our recent studio visit, THE talked to Drake about life in the studio, idealism despite sacrifice, and his total lack of hobbies.
interview by Clayton Porter and Lauren Tresp photos by Clayton Porter
What are you working on now? This is some new work I’m doing. I’m using envelopes, which I mount on archival paper and either draw on or include poems I’ve written. It just made sense to have letters on letters. Mail will probably, eventually, be a thing of the past, but when I grew up it was this ubiquitous thing that everybody got, whether it was bills, ads, letters. I like this idea that it’s general and specific at the same time. In the big show I did in California [at the Museum of Contemporary Art La Jolla/San Diego in 2014], I had 1,242 drawings; all are numbered. This is a continuation, so when this is done I will have completed 1,516 drawings of this size. This work relates to all of the work I’m showing in New Orleans and to all of the work I did for the show in California. It all integrates. Even though it is this in itself, it is also a part of something else. I like that continuity. It’s my own personal art history.
Why do you like numbering? How did your studio here in Santa Fe come about? We bought this place in 1987 or ’88, and it didn’t have a studio. We were living in El Paso at that time, and we would come up for holidays, and I would work on the table in our living room. I obviously needed something here. So I built this space. I had to have at least sixteenfoot ceilings, because I wanted to do work that large. I basically built it thinking of drawing. There is an aesthetic aspect. I like the vigas. You’ve got to like where you work. If you hate where you work, then you should move somewhere else. So I enjoy this space; it makes me feel good and is conducive to what I do at this point in my life. I work seven days a week, believe it or not. Every day. We only came here permanently in 2001, actually on 9/11. We were flying out of New York on that day. I had the place here, a studio in El Paso, a studio in Brooklyn, and a loft in Tribeca. All of that was too overwhelming: I couldn’t maintain all of those spaces, financially, emotionally, psychologically. New York is a hard place to live, and I don’t have any assistants. Every mark you see, I made.
Is that because you prefer doing everything yourself? I totally prefer it that way. I keep it very basic: a mark on a piece of paper, made by me. Does that mean I don’t like or respond to other approaches? Heavens no, it’s just the way I like to do it. Plus, if I had an assistant, we’d be talking and listening to music… I like the introspection: you’re alone in your studio, by yourself—so what do you do? JUNE
Numbers measure everything—our years, time. They are incredibly important in human life. Without numbers you have no math; without math you have no civilization; without civilization we wouldn’t be sitting here. There is only zero to nine. That’s it. Those numbers can encompass the entire universe, and sometimes explain all different kinds of phenomena. I’m situating one piece of paper in this whole system of numbers, and this just happens to be number 1,516, and it is specific to me. Most people will go, “So what? This sounds like a lot of highfalutin art talk,” and that’s fine, but it’s important to me. I think it’s a different way of looking at life and existences through numbers, through words and figures. That’s why I still continue to draw figures. I like the continuation, again, of history.
Where do you see yourself in five to ten years? To be honest, I don’t know. I never knew I’d be using envelopes. It wasn’t any kind of theoretical or intellectual idea; I’d run out of paper, so I used what I had. Sometimes those accidents—I really like chance, coupled with history—can take you in a whole new direction. I have absolutely no idea what I’ll be doing in five years. I have no idea from piece to piece. It’s sort of not a good thing career-wise, because museums and collectors like a certain consistency. People are not comfortable when you get out of your pre-described box. But that’s what you’re supposed to do, I think. I’m going to give the commencement address for the New Mexico School for the Arts this THE magazine | 15
People are not comfortable when you get out of your pre-described box. But that’s what you’re supposed to do.
year, and I’ve been thinking, what do you say to eighteen-year olds interested in music, drama, writing, art? What do you say? And what did someone not say to me that I wish they had? I was the kid that was always drawing in class, the only kid that actually looked at the pictures when we went to the museum. I wanted to go to art school to learn certain skills. And I still believe there are skills you have to learn, but they don’t have to be tactile: there are intellectual and emotional skills, thought processes. How do you learn those things? Do you learn them, or do you just have a certain talent?—which I think is an overused term. All I’ve ever done is just work really hard. I had an affinity for it in that I loved it and was idealistic about it, and I’m still idealistic. I still get excited going to an art show.
How did you maintain that? There was a point in my life—and it happened with drawing—I just seemed to understand it. It just made sense to me in the world. It was a moment—I even remember where I was, where it occurred, how it occurred, the people that were there, it was that specific— that I knew I got it. There are people who scoff or laugh at it, but that’s not important. I believe it. That has sustained me. Every day— and I know this is clichéd stuff—I get excited about coming in here.
Are there days that I’m incredibly depressed and think the world hates me? And think, “Why doesn’t the Louvre have a room dedicated to me?” That the art world is horrible? Of course.
So you have your moments. Every day you have those moments. For me, they are always overcome by that incredible, thrilling joy of looking at something and going, “I did that, and it somehow expands the world for me, and maybe it will for someone else.”
You mentioned something about hard work versus a Godgiven gift, could you expand on that? Yeah, I couldn’t be a mathematician. I don’t think I have that particular insight. I think it is the pinnacle of intellectual endeavors. People are born differently and have all different kinds of attributes. We only know about the artists and musicians that took their natural talent and expanded on it. That was their beginning, and then they worked like crazy to see where they could take their ability.
Do you take vacations? No. I don’t even have hobbies. I’ve played golf twice in my whole life. I hated it.
Do you cook for yourself? No. I’m really, really boring. Other than my wife and family, my kids and grandkids—who are the coolest in the whole world—I like literature, music, and film. As a kid, I grew up in Lubbock, Texas. I’d go on Saturdays—it cost a dime—and see films. I was so enthralled. I think that’s why I’ve shied away from using color to this day, because those films, Flash Gordon, the Tarzan movies, early cartoons, were all in black and white. It showed me a real creative world. I loved and still love music; it takes me to places in my mind that I never imagined. And literature does the same thing. My wife complains that we never go sit on a beach. And I go, “And do what? See the ocean?” That’s great, but it’s just not my thing. Maybe I’ve missed out. I don’t know. Just about everything I read and listen to informs what I do. Watching a Harry Potter movie doesn’t inform me in any way. But watching a Chet Baker documentary really did. Or a really good, thoughtful movie that shows me some part of the world that I had no idea existed.
I think the biggest challenge maintaining a studio practice is not getting sucked into ordinary things like paying your bills. There’s a division you make in your life as an artist. It’s a real challenge. It doesn’t mean everybody is going to be wildly JUNE
successful just because you adhere to your own visions and your own conscience. That’s not a blueprint for success. There are more artists now than there have ever been in the history of the world. When I lived in New York, there were 90,000 artists in New York City! It’s just unbelievable, and it’s unbelievably difficult. That’s why I, personally, really respect all artists. Because I know how difficult it can be. And some sacrifice a lot of things to pursue that talent and vision and skill.
Do you think sacrifice is inherent in being an artist? Maybe not the cut-your-ear-off kind. But there are certain sacrifices.
Did you make those? Sure. I wish I had been around my daughter more when she was in grade school, high school. I was always working. Looking back, I think, was that really worth it? Missing out on my daughter’s life? So that I could pursue this idealistic dream? Was it really worth it? I can’t answer that question; I don’t know. Each person has to deal with that on their own. I like artists. They are some of the smartest people around. And the most informed, knowledgeable, and intellectual. It’s really pretty amazing to me. A lot of them can discuss philosophy, economics, muscle cars; they have a broad range because it informs what they do. THE magazine | 17
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You don’t know me and I don’t know you. Maybe we saw each other from across the room at an opening or at one of the August shows. It doesn’t matter, really. I mean, it matters in the sense that neither of us are total strangers to each other. If you live in Santa Fe, you’re not a total stranger to anyone else who lives here. We may not be friends. We might even be enemies. Friendship doesn’t come with a lifetime warranty. Trust has an element of strength built into it but that element is as much an act of faith as an act of will, and it’s easier to lose faith than it is to find it. The good news is, you don’t need to trust me to accept my information as factual, and my information doesn’t need to be factual in order to be valuable. The bad news is, our culture faces a threat, and the threat is imminent. You can’t hedge against a threat like this. One way or another, everyone will be harmed. The threat has been in the air for years, much in the same way that epidemics become known to large numbers of people before large numbers of people get sick and start dying. The world of finance knows about the threat. The financial media is all too willing to ask their roster of so-called experts if the threat is real or just another shadow cast by the $200 trillion Tower of Babel we refer to as “the banking system.” The reason I’m breaking the fourth wall is because I believe this threat will cause you, me, and everyone we know a great deal of pain. And when I say “pain” I don’t mean the kind of pain you feel when you have an allergic reaction to a presidential candidate. I mean the kind of pain you feel when your children look up at you and say, “Are we going to be all right?” and you don’t have an answer. The threat is negative interest rates. Just so there are no misunderstandings, when I say “negative interest rates” this is what I mean: You deposit twenty thousand dollars in a brokerage account or a savings account and leave it there. When the time comes to withdraw your money, you get less than your twenty thousand back. Instead of getting paid interest for depositing your money in a financial institution, that institution charges you interest. If that sounds medieval, that’s because it is medieval. Mark Twain said he was more interested in the return of his capital than a return on his capital. In a negative rate environment, the world of finance characterizes Twain’s preference as a flight to quality and charges a premium for it. In Japan, where negative rates have been around for years, they have a shortage of safes. Think about it.
B aer . The Japanese have all the cash they need, but they lose money on their cash unless they keep it in their safes. Which brings us to the 2010 Castelgiocondo Brunello di Montalcino. In the glass, the 2010 Castelgiocondo is the color of the blood that runs through the veins of a thoroughbred. (Sangiovese, the grape that gives us Brunello, is a contraction of “Sangue di Giove” –“the blood of Jove.”) The bouquet is all dignity and nobility, with notes of mischief and life on the run. On the palate, the Castelgiocondo reminds you that the profane and the sacred are never far apart. The finish is a moment of solidarity, a tap on the shoulder, a smile from across a crowded room. If you grew up during the seventies, eighties, or nineties, you came of age during an era when money was being created out of thin air. The more money the banking system created, the higher the prices of the goods and services you bought with that money. Inflation teamed up with death and taxes to create a triad of inevitability. If you ignored inflation, you paid a price for your ignorance, and that price was less purchasing power. If you were smart, you borrowed money, spent it on assets like art, real estate, or wine, and went to bed each night with the expectation that you’d be worth more when you woke up than you were when you went to sleep. These days, the sleep of reason has produced a monster, and that monster is negative rates. The world of finance is a monster dressed up as an aristocrat— a vampire that can, must, and will be fed. If you ignore the vampire, you run the risk of satisfying his appetite. What can you do? Don’t waste time waiting for elected officials to pass a law against negative rates. The nature of a crisis is that by the time a problem blooms into a crisis, it’s already too late to solve. Politicians like crises. The United States government is the biggest borrower on the planet. If you were the biggest borrower on earth, and had a choice between paying to borrow and getting paid to borrow, wouldn’t you choose to get paid? The best way to protect yourself is to remember the difference between inflation and deflation. In an inflationary world, wise guys talk about how much money they’ve made. In a deflationary world, wise guys talk about how much money they’ve saved. In both worlds, survivors listen. Remember that, ignore the distractions, and we’ll survive. One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. All contents are ©2016 by onebottle.com. You can write to Joshua Baer at firstname.lastname@example.org.
THE magazine | 19
RONALD DAVIS Staurolite 2016
A little bit of pixeldust on brushed aluminum
HULSE/WARMAN GALLERY Sunday July 3, 2016 | Artist Reception 2-5 pm 222 Paseo del Pueblo Norte, Taos, NM 575-751-7702 | hulsewarmangallery.com | irondavis.com
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dinner $$ cuisine: South Indian atmosphere: bustling, warm, contemporary specialties: dosas: thin crepes made from a fermented rice and lentil batter, served with sambar, chutney, and a variety of options for sides or fillings. Naturally gluten-free, many options can also be made vegan. Also try the Dahi Vada, a lentil fritter served with spiced yogurt and chutney, and the Spicy Mango Salad (pictured). For dessert, try the Beetroot Halwa & Saffron Vermicelli Payasam or Gulab Jamun. continues on page 23
THE magazine | 21
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dinner $$$ cuisine: farm-to-table Contemporary American atmosphere: upscale, comfortable, Southern-inspired specialties: locally sourced meat, dairy, and produce inform a seasonal menu. Small plates allow you to try many options, each with complex, well-rounded flavors. The Fried Green Tomato (pictured) is a unique take on a traditional dish, and the Steak Tartare canâ€™t be missed. An extensive bourbon list complements the craft cocktail menu; the Abuelito (pictured) includes smoked dark tobacco, bourbon, Carpano and bitters.
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cuisine: French-inspired bakeshop with light fare atmosphere: low-key, quaint specialties: in addition to the wide variety of rustic, French-style breads (pictured), breakfast options include pastries like the Pain au Chocolat or the Ham and GruyĂ¨re Tart with the perfect ratio of crispy exterior to soft and chewy interior. Lunch fare includes a selection of tartines (open-face sandwiches), in which simple ingredients (such as avocado and serrano ham) allow flavors to shine. Espresso drinks available. THE magazine | 23
The Narrative Figure Featuring: Esteban Cabeza de Baca, Michael Dixon, Jeffrey Hargrave, Daisy Quezada, and Justice Whitaker Five young artists from New York and Santa Fe exploring figuration in contemporary art.
Exhibition: through July 4, 2016
Michael Dixon, The Fourth of July is Yours, Not Mine, 2015, Oil on canvas, 48” x 36” x 1.5”
Plugged In Featuring: C. Alex Clark, Anne Farrell, Christian Haub, Noah Klersfeld, Matthew Kluber, Matthew Penkala, Chase Stafford Plugged In, revisits the gallery’s roots in the exploration of post-1960s abstraction with a gathering of artists influenced both by earlier developments and modern technology.
Exhibition: through July 4, 2016 Noah Klersfeld, Percussive Lights with Bathroom Floor #10, 2014, HD video 1920 x 1080
Past is Present: Alternative Processes in Contemporary Photography Featuring: Kathleen Bishop, Michael Falco, Luther Gerlach, Jackie Mathey, Jennifer Schlesinger, Sam Tischler and Bryan Whitney July 9 - September 3, 2016 Sam Tischler, Vessel #6, 2016, Van Dyke print, edition 1/3, 22” x 30”
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JUNE ARTS C A L E N D A R FRIDAY, JUNE 3
Adobe Gallery, 221 Canyon Rd. 505629-4051. adobegallery.com. Navajo Rug Exhibit: rugs from Crystal Trading Post in northern New Mexico that date from the 1920s-1940s. Through Aug 6. 5-7 pm. Axle Contemporary, location varies. axleart.com. Talkos: red or green: hybrid performance/installation by Jerry Wellman. Continues through June 5. 5-7 pm. Center for Contemporary Arts, 1050 Old Pecos Tr. 505-982-1338. ccasantafe.org. (Theme) Once Upon a Time: work by Max-Carlos Martinez. Closing reception 6-8 pm. David Rothermel Contemporary, 142 Lincoln Ave, #102. 575-642-4981. drcontemporary.com. Survivor Series by David Rothermel: new series of nonobjective art. Through June 23. 5-7 pm.
Embedded Landscape: Cindy Dominguez, Elaine Roy, Mary Ann Strandell, Susan Zimmerman. Through Aug 26. 5-8 pm. Cerrillos Station, 158 First St, Cerrillos. 505-474-7564. Mishcka O’Connor: new abstract paintings. Through July 1. 4-6 pm. Greg Moon Art, 109A Kit Carson Rd, Taos. 575-770-4463. gregmoonart. com. After Dark V: a national juried show celebrating darkness and the varied reactions emblematic to this subject matter. Through June 25. 5-7 pm. Taos Artist Collective, 106A Paseo del Pueblo Norte, Taos. 575-758-8282. taoscollective.com. Images Near & Far: showcasing photography by Marcus Best, Dan Jacobs, Jeremy G. Landau, and Heather Ross. Through June 30. 4-7 pm. THURSDAY, JUNE 9
Manitou Galleries, 123 W Palace Ave. 505-986-0440. manitougalleries. com. Roger Hayden and Hib Sabin: new work. 5-7:30 pm.
Santa Fe Public Library, Tybie Satin Davis Gallery, 145 Washington Ave. 505955-6781. Representational Geometrics: Joseph A. Regezi presents acrylic abstracts on paper. June 1-30. 5-6:30 pm.
New Concept Gallery, 610 Canyon Rd. 505-795-7570. newconceptgallery. com. Photography & Prints: group show with Woody Galloway, Bill Heckel, Steven A. Jackson, and Julia Roberts. Through June 27. 5-7 pm.
Taos Center for the Arts, Encore Gallery, 145 Paseo del Pueblo Norte, Taos. 575-758-2052. tcataos.org. Migration Metamorphosis Symbiosis Emergence: site-specific installation by T. J. Mabrey. Through July 17. 4-6 pm.
San Juan College, Henderson Fine Arts Center Art Gallery, 4601 College Blvd, Farmington. 505-566-3464. Jupiter: figurative painting by Meredith Rose. Through June 24. 5-7 pm. Stranger Factory, 3411 Central Ave NE, ABQ. 505-508-3049. strangerfactory. com. Jasmine Becket-Griffith, Desiree Fessler, and Stephen Webb: three solo exhibitions. Through June 26. 6-9 pm. TAI Modern, 1601 Paseo de Peralta. 505-984-1387. taimodern.com. Lance Letscher: Secret File: new collage work. Through July 2. 5-7 pm. Taos Arts Council, Taos Town Hall, 400 Camino de la Placita, Taos. taosartscouncil.org. The Presence of Light: work of 13 Taos photographers. Through Aug 5. 5-7 pm. Turner Carroll Gallery, 725 Canyon Rd. 505-986-9800. turnercarroll. com. Holly Roberts and Wanxin Zhang: Reconstruction: two-person show featuring Roberts’s mixed-media photography and ceramics by Zhang. Through June 19. 5-7 pm. SATURDAY, JUNE 4
April Price Project Gallery, 201 Third St NW, ABQ. 505-573-0895. aprilpriceprojectsgallery.blogspot.com.
FRIDAY, JUNE 10
Axle Contemporary, location varies. axleart.com. Cary Cluett: Cool Fire: solo show in conjunction with Currents 2016. Through June 26. Currents 2016: The Santa Fe International New Media Festival, El Museo Cultural, 555 Camino de la Familia and the Railyard Plaza. currentsnewmedia.org. Exhibitions, multi-media performances, workshops, artists’ talks, times and venues vary. June 10-26. Opening night events 6 pm-12 am. Ellsworth Gallery, 215 E Palace Ave. 505989-7900. ellsworthgallery.com. Form and Fruition: three American abstract artists, Jeff Juhlin, Karolina Maszkiewicz, and Kim Piotrowski. Through Aug 12. 5-7 pm. Exhibit/208, 208 Broadway SE, ABQ. 505-450-6884. exhibit208.com. Michael Hart: Weird Tales: southwestern surrealist paintings. June 4-25. 5-8 pm. form & concept, 435 Guadalupe St. 505-982-8111. formandconcept. center. Virtual Object: a show of 3D printed works, in conjunction with the Currents New Media Festival. La Cocina: multimedia installation by Priscilla Dobler. Both through Aug 11. 5-7 pm.
Nisa Touchon Fine Art, 1925-C Rosina St. 505-303-3034. nisatouchon.com. Small is the New Big: small works by big names in the world of collage art. 5-7 pm. photo-eye Gallery, 541 S Guadalupe St. 505-988-5159. photoeye.com. Inherit the Dust: photographs by Nick Brandt. Through July 23. 5-7 pm. Placitas Community Library, 453 Hwy 165, Placitas. 505-867-3355. placitaslibrary.com. Sean Moon: solo exhibition. Through June 30. 5-7 pm. Tansey Contemporary, 652 Canyon Rd. tanseycontemporary.com. Rodeo Rider and Other Wild Pictures: solo show by collage artist Bruce Helander. Through June 26. 5-7 pm. SATURDAY, JUNE 11
Free Form Art Space, 1619 Camino de Baca Ln. 847-219-5323. freeform.com. Leggo my Ego: Pathoses of Contemporary Culture: Art Shape Mammoth and Freeform Art Space present the work of Seth Goodman, Jennifer McCandless, and Margaret Noble. Through July 2. 5:30-8 pm. SUNDAY, JUNE 12
Philip Bareiss Gallery, 15 NM-150, Taos. 575-776-2284. taosartappraisal. com. Barry Dinowitz: The Mystery of Modern Art: intuitive, non-objective paintings. Through June 26. 5 pm. FRIDAY, JUNE 17
Phil Space, 1419 2nd St. 505-983-79450. philspacesantafe.com. Katy Kidd: Pimping Paradise and Jerry Wellman: Synaptic Press. On view June 13-28. 5-8 pm. Santa Fe Studio Tour, SFUAD Fine Art Gallery, 1600 St Michaels Dr. santafestudiotour.com. Studios open June 18-19 and June 25-26, 10 am-5 pm. Gallery opening 5-8 pm. SATURDAY, JUNE 18
516 Arts, 516 Central Ave SW, ABQ. 505-242-1445. 516arts.org. Three concurrent exhibitions for PhotoSummer 2016: As We See It: Contemporary Native American Photographers: group exhibition exploring perspectives on identity and place. Future Tense: highlights select CENTER alumni photographers. Starn Brothers: Absorption of Light: large elemental photographs. All through Sept 16. 6-8 pm. Kurt Markus, Vogue Hommes, Paris, France, 1991, gelatin silver print, 12 x 9.5 in. Kurt Markus: The Fashion Years 1987-2014 will be on view at Verve Gallery of Photography June 17-Aug 27. continues on page 27
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Art House, Thoma Foundation, 231 Delgado St. 505-995-0231. thomafoundation.org. Mouse in the Machine: Nature in the Age of Digital Art: digital artworks from the Thoma collection that examine how software can simulate natural processes. 5-7 pm. Heidi Loewen Fine Art, 315 Johnson St. 505-988-2225. heidiloewen.com. New Smoke Fired & Gold Leafed Platters & Sculptures. Through July 10. 10-5 pm. Richard Levy Gallery, 415 Central Ave SW, ABQ. 505-766-9888. levygallery. com. Camera-less: group exhibition. June 4-July 29. 6-8 pm. Santa Fe Collective, 1114G Hickox St. 505-670-4088. santafecollective.com. Victoria Carlson: Genii Loci: Men. Places. Through July 6. 6-8 pm. FRIDAY, JUNE 24
David Rothermel Contemporary, 142 Lincoln Ave, #102. 575-642-4981. drcontemporary.com. Encaustics by Ellen Koment: debut solo show with the gallery. Through July 7. 5-7 pm. Gerald Peters Gallery, 1005 Paseo de Peralta. 505-954-5700. gpgallery. com. The Art of Chris Maynard; Gwynn Murrill: Nearing Nature; and Two Works: Tony Angell, Ron Kingswood, Jim Morgan, John T. Sharp: all through July 23. Opening 5-7 pm. Artist talk with Chris Maynard Sat, June 25, 11 am. GVG Contemporary, 241 Delgado St. 505-982-1494. gvgcontemporary. com. Uncommon Ground: new paintings by Leigh Anne Chambers and Kathleen Hope. Through July 15. 5-7 pm. Hunter Kirkland Contemporary, 200-B Canyon Rd. 505-984-2111. hunterkirklandcontemporary.com. Tranquility in Motion: new paintings by Rick Stevens. Through July 10. 5-7 pm. Tansey Contemporary, 652 Canyon Rd. tanseycontemporary.com. Nature Through Glass: work by five internationally recognized glass artists. Through July 25. 5-7 pm. Turner Carroll Gallery, 725 Canyon Rd. 505-986-9800. turnercarroll.com. ROY G BIV: work by Jamie Brunson, Fausto Fernandez, and Robert Townsend. June 21-July 10. 5-7 pm. William Siegal Gallery, 540 S Guadalupe St. 505-820-3300. williamsiegal.com. Perchance: ceramic sculpture by Cheryl Ann Thomas. Gardens: silk ikat weavings by Polly Barton. Both through July 26. 5-7 pm.
555 Taos, 1022 Reed St, Taos. 555taos.com. Ugly Pie: works by Gabriel Abeyta. Through June 11. Bellas Artes Gallery, 653 Canyon Rd. 505-983-2745. bellasartesgallery.com. 35 Years of Beauty Without Regret: group exhibition celebrating the gallery’s 35th anniversary. Through July 9. Canyon Road Art Brokerage, online. canyonroadartbrokerage.com. 505995-1111. John Nieto. Through June 30. Center for Contemporary Arts, 1050 Old Pecos Tr. 505-982-1338. ccasantafe. org. The Breaking Ring: Colorado-based collective M12 presents an installation and sculpture about wild horses in the American West developed during their residency at Santa Fe Art Institute in 2015. A Very Long Line: a video installation by Postcommodity, a trans-disciplinary collective based in Santa Fe known for its site-responsive projects that amplify a shared 21st century indigenous perspective. Both through June 19.
Charlotte Jackson Fine Art, 554 S Guadalupe St. 505-989-8688. charlottejackson.com. Joan Watts: Zero plus III: new minimalist works in oil on canvas. Through June 27. City of Mud, 1114A Hickox St. 505954-1705. cityofmud.com. UnderSee/ subliminal and sublime: group show featuring aquatic and subconscious art, curated with artifacts, jewelry and décor to coordinate with the theme. Through June 24. David Anthony Fine Art, 132 Kit Carson Rd, Taos. 575-758-7113. davidanthonyfineart.com. With Wilder Nightingale Fine Art, 119A Kit Carson Rd, Taos. 575-7583255. wnightingale.com. Eye of the Photographer: Four Guys, Two Galleries: a collaborative photography exhibition that will feature four northern New Mexico photographers: William Davis, Steven Immel, Chris Pulos, and Terry Thompson. Through July 4. David Richard Gallery, 1570 Pacheco St, Ste A1. 505-983-9555.
davidrichardgallery.com. The Narrative Figure: figurative work by six young artists from Santa Fe and New York. Plugged In: artists influenced by 1960s abstraction and modern technology. Both through July 4. Encaustic Art Institute, 632 Agua Fria St. 505-989-3283. eainm.com. Over 200 pieces of encaustic and wax art from artists nationwide, for sale and a permanent collection. Ongoing. Evoke Contemporary, 550 S Guadalupe St. 505-995-9902. evokecontemporary.com. Iconic: summer group exhibition featuring Javier Marín. Through June 18. form & concept, 435 Guadalupe St. 505-982-8111. formandconcept.center. Made in the Desert: the gallery’s inaugural exhibition of contemporary craft from New Mexico and Arizona including an array of media, from ceramic to neon. Through Aug 22. Georgia O’Keeffe Museum, 217 Johnson St. 505-946-1000. okeeffemuseum.org. Georgia O’Keeffe’s Far Wide Texas: a selection of rarely seen watercolors, painted by Georgia O’Keeffe during the years she lived in Canyon, Texas (1916-1918). Through Oct 30. Harwood Museum of Art, 238 Ledoux St. 575-758-9826. harwoodmuseum. org. Mabel Dodge Luhan & Company: featuring the life and times of one of the early 20th century’s most significant cultural figures: Mabel Dodge Luhan (1879-1962). Through Sept 11. Hunter Kirkland Contemporary, 200-B Canyon Rd. 505-984-2111. hunterkirklandcontemporary.com. Jennifer J. L. Jones: Hypnotic Starlings: Jones’s latest paintings inspired by her travels. Through June 5. IAIA Museum of Contemporary Native Arts, 108 Cathedral Pl. 888922-4242. iaia.edu. Lloyd Kiva New: Art, Design, and Influence: work of Lloyd Henri “Kiva” New (19162002). Through July 31. Akunnittinni: A Kinngait Family Portrait: visual dialogue between an Inuk grandmother, mother, and daughter. Forward: Eliza Naranjo Morse: drawing, clay, organic and recycled materials create a connection between the artist’s Pueblo roots and her contemporary art practice. Both through July 31. Institute of American Indian Arts, Lloyd Kiva New Welcome Center, 83 Avan Nu Po Rd. iaia.edu. Lloyd “Kiva” New: Touching Native Inspiration: reproductions of early Lloyd New textiles, paintings, and previously unknown watercolors. Through 2016.
SUNDAY, JUNE 26
Manitou Galleries, 225 Canyon Rd. 505-986-9833. manitougalleries.com. Earth and Sky: new paintings from Tom Murray. 5-7:30 pm.
Lance Letscher, Secret File, collage, 19.5 x 16.5 in. TAI Modern presents a solo exhibition of new collage works by Letscher, opening Fri, June 3, 5-7 pm. On view through July 2. continues on page 30
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OUT & ABOUT PR@themagsantafe.com
photos: Audrey Derell, and by submission
LewAllen Galleries, 1613 Paseo de Peralta. 505-988-3250. lewallengalleries. com. Henry Jackson: Continuum: a new body of paintings that apply wax, solvent, and pigments to canvas. Through June 5. Magpie, 1405 Paseo del Pueblo Norte, El Prado. 781-248-0166. magpietaos. com. Ruchell Alexander: recent work by Alexander, who was mentored by artist Bill Gersh. Through June 10. Museum of Indian Arts & Culture, 710-708 Camino Lejo. 505-476-1269. www.miaclab.org. Landscape of an Artist: Living Treasure Dan Namingha: every year the museum honors an artist as the MIAC Living Treasure. This year, Dan Namingha is honored. Through Sept 11. Museum of International Folk Art, 706 Camino Lejo. 505-476-1200. internationalfolkart.org. Morris Miniature Circus: Return of the Little Big Top: built over the course of forty years by W.J. “Windy” Morris of Amarillo, the Morris Miniature Circus is a 3/8”-scale circus modeled after a 1930s “railroad circus.” Through 2016. National Hispanic Cultural Center, 1701 4th St SW, ABQ. 505-724-4771. nhccnm.org. Moving Forward, Looking Back: Journeys Across the Old Spanish Trail: artistic and genealogical project combining photography, video and sound by artist and curator Janire Nájera. Through Sept 30. El Retrato Nuevomexicano Ahora/ New Mexican Portraiture Now: work of eleven local artists. Through June 12. House on Mango
Street: Artists Interpret Community: works highlight issues facing adolescents in urban areas. Through Sept 25. New Mexico History Museum, 113 Lincoln Ave. 505-476-5200. nmhistorymuseum.org. Fractured Faiths: Spanish Judaism, The Inquisition, and New World Identities: this show tells the story of Spanish Jewry’s 1492 diaspora. Through Dec 31. Lowriders, Hoppers and Hot Rods: Car Culture of Northern New Mexico: step into a stylized lowrider garage. Through March 2017. Santa Fe Faces: Portraits by Alan Pearlman: ninety portraits created between 2009 and 2013 to document the diversity of the City Different at one moment in its long history. Through Sept 18. New Mexico Museum of Art, 107 W Palace Ave. 505-476-5072. nmartmuseum.org. Alcoves 16/17.2: art by Philip Augustin, Stephen Davis, Katherine Lee, Walter Robinson and Jack Slentz. Through June 19. A ssu m ed Id e nt it ie s : P hot og r a p hs b y A n n e Nog g le : New Mexico artist Anne Noggle (1922-2005) was a pilot, curator, professor, and photographer. Self-Regard: Artist Self-Portraits from the Collection. Both through Sept 11. Finding a Contemporary Voice: The Legacy of Lloyd Kiva New and IAIA: work from the museum’s collection by IAIA faculty and alumni from the 1960s to the present. Con Cariño: Artists Inspired by Lowriders: exploring the vision to transform a car into a sculpture. Both through Oct 10.
New Mexico State Capitol Rotunda Gallery, 411 State Capitol. 505-9864614. The Ecozoic Era: Plant|Seed|Soil: group exhibition of contemporary art that illuminates our connection to the Earth as living beings. Through Aug 5. New Mexico State University Art Gallery, 1390 E University Ave, Las Cruces. 575-646-2545. uag.nmsu. edu. An Ocean Trapped Behind a Wall: group exhibition examining the instability of respresentation in an age of unprecedented proliferation of images. Through July 23. Nisa Touchon Fine Art, 1925-C Rosina St. 505-303-3034. nisatouchon. com. Small is the New Big: Small Works by Big Names in the World of Collage Art: over twenty collage artists present small-scale works made from found materials. Through June 15. Nüart Gallery, 670 Canyon Rd. 505988-3888. nuartgallery.com. Before the Beginning: new paintings by Cecil Touchon. Through June 12. Patina Gallery, 131 W Palace Ave. 505-986-3432. patina-gallery.com. Rhythmical Arrangements: master maker Petra Class presents her latest collection inspired by the luster of the Jazz Age. Through June 26. Peters Projects, 1011 Paseo de Peralta. 505-954-5800. petersprojects.com. Kiki Smith: Woven Tales: solo exhibition of eleven ten-foot-tall tapestries created on Magnolia Editions’ jacquard loom in
Oakland, CA. Through July 30. Magnolia Editions: Innovation & Collaboration: group exhibition of work made by Magnolia Editions. Through Aug 27. photo-eye Gallery, 541 S Guadalupe St. 505-988-5159. photoeye.com. Gardening at Night: Photographs by Cig Harvey: the artist’s latest body of color photography, exploring notions of time, family, nature and home. Through June 4. Rio Bravo Fine Art Gallery, 110 N Broadway Ave, T or C. 575-894-0572. Underneath the Western Skies: new paintings by Dave Barnett. Through July 10. Ruhlen-Owen Contemporary, 225 Canyon Rd. owencontemporary.com. Creative Transition: inaugural group exhibition under new gallery owner Tim Owen features painting and sculpture from gallery artists. Through June 9. Santa Fe Clay, 545 Camino de la Familia. 505-984-1122. santafeclay. com. John Beckelman, Bede Clarke, Candice Methe: three master ceramic artists exploring the finer nuances of the vessel. Through July 2. Santa Fe Collective, 1114G Hickox St. 505-670-4088. santafecollective. com. New Paintings by Terri Rolland: small paintings and collages made out of clay and acrylic paint. Through June 8. Santa Fe Community Gallery, 201 W Marcy St. 505-955-6705. Narrows: group exhibition by Strangers Collective including 32 local emerging artists and
writers. The show’s title is a reference to the small apartments and studio spaces where the artwork takes shape. Through June 10. Selby Fleetwood Gallery, 600 Canyon Rd. 505-992-8877. selbyfleetwood. com. Kevin Box: In the Garden: sculptures celebrating the intricacies of origami. Tansey Contemporary, 652 Canyon Rd. tanseycontemporary.com. Dissonance: solo exhibition from mixedmedia artist Carol Coates, utilizing photography, print, and paint on wood. Through June 5. University of New Mexico Art Museum, 1 University of New Mexico, ABQ. 505-277-4001. unmartmuseum. org. Remnants: Photographs from the Disfarmer Studio: portraits from the Arkansas studio of Mike Disfarmer. Through June 16. Verve Gallery of Photography, 219 E Marcy St. 505-982-5009. vervegallery. com. Bellas Figuras: photography by Brigitte Carnochan, Elizabeth Opalenik, Josephine Sacabo, and Diana Hooper Bloomfield. Through June 11. Kurt Markus: The Fashion Years 1987-2014: June 17-Aug 27. William Siegal Gallery, 540 S Guadalupe St. 505-820-3300. williamsiegal.com. Tom Waldron: Recent Sculpture: hand fabricated forms in steel. Through June 21. SPECIAL INTEREST
ARTScrawl Albuquerque, various locations, ABQ. artscrawlabq.org. Citywide first Friday arts tour. See listings maps online to create your self-guided tour. Fri, June 3, 5-8 pm. The Heights ARTful Saturday, Sat, June 18, 1-4 pm. ARTsmart New Mexico, various locations. ARTfeast Edible Art Tour: galleries pair with restaurants. All ticket proceeds benefit ARTsmart programs for youths. Canyon Rd, Fri, June 10, 5-8 pm. Downtown, Sat, June 11, 5-8 pm. Center for Contemporary Arts, 1050 Old Pecos Tr. 505-982-1338. ccasantafe.org. Yoga in the Ring: practice yoga in The Breaking Ring with Chelsea Call. Thurs, June 2, 6:30-7:30 pm. Psyche Speaks: An Open Studio Collage Process: an interactive collage experience with Ericka Becker. Sat, June 4, 12-5 pm. Community Sewing Circle: expand your social circle with sewing. Thurs, June 9, 6-8 pm. El Zaguán Salon: artists and writers share their talents and discuss art. Sat, June 11, 7-9 pm. David Richard Gallery, 1570 Pacheco St, Ste A1. 505-983-9555. davidrichardgallery.com. Collecting New Media Art: panel discussion featuring new media artists Anne Farrell and Matthew Kluber. Sat, June 11, 4-5 pm.
El Rito Open Studios, various locations, El Rito. 505-927-8461. facebook.com/ elritoopenstudiosfirstsaturdays. Artists open their studios to visitors. Follow signs through town. Sat, June 4, 10-5 pm. Encaustic Art Institute, 632 Agua Fria St. 505-989-3283. eainm.com. Beginning encaustic and wax classes taught by EAI founder Douglas Mehrens. No experience necessary, all materials provided. Sat, June 4 and Sat, June 18. FantaSe Fest 2016, Downtown Santa Fe. Free multimedia interactive light festival including art installations, local bands, performances, food trucks, and more. Sat, June 18, 6 pm-12 am. National Hispanic Cultural Center, 1701 4th St SW, ABQ. 505-724-4771. nhccnm.org. Remember the Time: a concert and dance with New Mexico musicians. Wed, June 22, 7 pm. New Mexico History Museum, 113 Lincoln Ave. 505-476-5200. nmhistorymuseum.org. “Those who Served: Honoring D-Day”: a lecture by author and historian Jeff Lowdermilk. Sat, June 4, 2 pm. ¡Órale! Border Low & Border Slow: writer and cultural activist Denise Chavez in conversation with photographer Daniel Zolinsky. Sun, June 19, 2 pm. Map Mania: a free symposium exploring historic maps. Various events, June 24-25.
Nisa Touchon Fine Art, 1925C Rosina St. 505-303-3034. nisatouchon.com. Collage Party!: make postcard-size collages. BYOB, supplies provided. Sat, June 11, 6-9 pm. 3-Day Collage Workshop with Cecil Touchon: June 17-19, 10-5 pm. Details at mkt.com/artscorp.
dance performance, Sun, June 19, 1:304:30 pm.
Prints and Paintings by Bruce Lowney. Two book signings with the artist. aSea Gallery, 836A Canyon Rd, Fri, June 17, 6-9 pm. Exhibit/208 Gallery, 208 Broadway SE, ABQ, Sat, June 18, 3-6 pm.
The Lensic, 211 W San Francisco St. 505-988-1234. ampconcerts.org. The Robert Cray Band: American blues. Cray was inducted into the Blues Hall of Fame in 2011. Tues, June 14, 7:30 pm.
ARCOS Dance, Santa Fe Railyard. Elegy: a site-specific and technology-integrated experiment in transmedia storytelling, held in conjunction with Currents New Media Festival. Thurs, June 16, 6 pm. Blackout Theatre Company, 10601 Performance Space, 10601 Lomas Blvd SE, ABQ. 505-4895092. blackouttheatre.com. Beyond the Shadows: a nonverbal, shadow puppet show. Center for Contemporary Arts, 1050 Old Pecos Tr. 505-982-1338. ccasantafe.org. Taos Opera Institute: Cantos Quartet: four vocalists present pieces from operas and Broadway productions. Thurs, June 16, 6-7:30 pm. Round Pen Duets: Equus Projects:
Filastine, Santa Fe Railyard Plaza. ampconcerts.org. Multimedia performance as part of the Currents 2016 New Media Festival. Sat, June 11, 8:30 pm.
Meow Wolf, 1352 Rufina Cr. 505-8861251. Alaric and Econarchy: postpunk, deathrock, metal, darkwave, punk. Sun, June 19, 9 pm. New Mexico Actors Lab, 3205 Calle Marie. 505-820-1086. nmactorslab. com. Proof: by David Auburn, a Pulitzer Prize and Tony Best Play winner. Various times through June 12. Santa Fe Railyard Park. Free Railyard Park Movie Series. ampconcerts.org. Finding Nemo, Fri, June 3, 8 pm. Monty Python and The Holy Grail, Fri, June 17, 8 pm. Skylight, 139 W San Francisco St. 505-660-9122. skylightsantafe.com. EmiArteFlamenco: all ages event. Taos Mesa Brewing, 20 ABC Mesa Rd, El Prado. 505-886-1251. ampconcerts. org. James McMurtry: folk-rock/ Americana. Sat, June 25, 8 pm. Zircus Erotique Burlesque Company, The Lodge, 750 N St Francis Dr. 505-231-3803. zeburlesque.com. Zircus Erotique Burlesque & Variety Show: burlesque, belly dance and variety acts. Fri, June 10, 8:30 pm. CALLS FOR ARTISTS
THE magazine. 505-424-7641. themagsantafe.com. Call for Submissions. Have your photography featured on THE Photography page in the July issue. The July theme is “reflections.” Submit up to 3 photos (300 dpi, at least 10 in. on one side) to firstname.lastname@example.org. Selected winner will receive a $50 gift card to a Santa Fe business. Deadline June 20. this page: Colin Johnson, Big Numbers, Heart & Teeth, 2011, mixed media on wood, 8 x 10 in. On Fri, June 10, 5-7 pm, there will be a reception for Small is the New Big, an exhibition of collage at Nisa Touchon Fine Art. On view through June 15. opposite: Marina Zurkow, Mesocosm (Wink, TX), 2012, courtesy of bitforms gallery. At Art House, Mouse in the Machine: Nature in the Age of Digital Art will include digital artworks from the Thoma collection that examine how software can simulate, generate and recreate natural processes. Opening reception Sat, June 18, 5-7 pm.
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Brad Overton: Embodying Myth Through Imagination May 27 – June 18 Blue Rain Gallery 544 S Guadalupe St Opening Reception: Friday, May 27, 5 – 7 pm The first public exhibition at Blue Rain Gallery’s second location, Brad Overton: Embodying Myth Through Imagination opens Friday, May 27. The new location in the Railyard Arts District is the space formerly occupied by David Richard Gallery. Steeped in the ancient lore of the Aztecs, Overton’s paintings pair ornate attire and Día de los Muertos–inspired face painting with mysterious and lush backgrounds. Overton says his paintings are “meant to host the sublime, which is the undercurrent of our world; its origin and mystery.” This is Brad Overton’s third solo show at Blue Rain Gallery. The exhibition will be on display through June 18.
Art Santa Fe July 7 – 10 Santa Fe Community Convention Center 201 W Marcy St Opening Night VIP Party: Thursday, July 7, 5 – 9 pm Art Santa Fe returns for its 16th year this summer, July 7-10. Now under the ownership and management of Redwood Media Group (also of Spectrum Miami and Artexpo New York), they hope to expand both the fair’s reach and programming. Exhibitors this year consist of world-class galleries and art publishers from all over the world. Art Santa Fe will feature specially curated programming that includes site-specific projects, demonstrations, and lectures with this year’s curatorial theme being “Horizon.” The fair will take place over four days at the Santa Fe Community Convention Center in conjunction with the Santa Fe Art Trifecta. Day passes to the event will be available for $20. For more information and a complete list of exhibitors and programming, please visit artsantafe.com.
—Nicole Brouillette Brad Overton, Obsidian Butterfly, oil on canvas, 80 x 52 in.
Art Santa Fe, photo courtesy Redwood Media Group.
N AT I O N A L S P O T L I G H T
Revealing Creation: The Science and Art of Ancient Maya Ceramics May 21 – Ongoing Los Angeles County Museum of Art 5905 Wilshire Blvd, Los Angeles, CA lacma.org Cylinder Vessel with Pedestal Base, Guatemala or Mexico, Northern Petén or Southern Campeche, possibly Los Alacranes, Maya, 650-850 CE, slip-painted ceramic with post-fire stucco and pigment. Purchased with funds provided by Camilla Chandler Frost. Photograph of M.2010.115.13. image copyright LACMA Conservation Center, Yosi Pozeilov.
In the colorful galleries designed by contemporary artist Jorge Pardo, the Los Angeles County Museum of Art houses its Art of the Ancient Americas Program. On May 21, the department opened its newest ongoing exhibition, Revealing Creation: The Science and Art of Ancient Maya Ceramics. Drawing on collaborative research by LACMA’s Conservation Center and the Art of the Ancient Americas Program, the exhibition combines knowledge of Mayan culture with new insights gathered from technical analysis of these ancient vessels. The show examines the practice of creating these ceramics as both an art and science, and considers the labor of shaping, painting, and firing clay within the context of primordial creation. The research of LACMA’s Conservation Center allows scholars to analyze the make-up of vessel composition and the chemistry of pigments. Select research images are displayed alongside the objects in the gallery, allowing visitors to see inside the vessels, as shown here with this x-ray image of a vessel dated around 650-850 CE. To see more and explore the digital collections, visit the department’s dedicated website, ancientamericas.org. THE magazine | 33
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F E AT U R E
and the Art of Remote Sensing by Diane Armitage
The mind of Dave Hickey is a heat-seeking missile whose targets are the idiosyncratic, the weird, the cool, the hot, and the wasted or near wasted. His targets are the suicidally brave, the hilarious, the hard working, and the unclassifiable oddballs and hipsters who make art that Hickey recognizes for its passions, however modulated by differing circumstances and generational pulls. Yet any attempt to classify Hickey himself and his tastes in art will run a person right into a neon-colored wall of molten plastic or into a quasi-sea of horse hair waves that offers no real answers, formulas, consistencies, or self-satisfied through-lines. Don’t try to reach for Hickey in his bouncy aerial net—you never will. Just be willing to go along for the ride when he touches ground and begins to saunter across our great topographical and cultural divides. Keep your seat belt unfastened and do take along some Dramamine if you are prone to motion sickness induced by ricocheting verbal strategies that dodge and burn. Remote sensing refers to the use of aerial sensor technologies to detect and classify objects on Earth by means of propagated signals, such as those generated by electromagnetic radiation. Remote sensing is the contemporary geographer’s perfect bucket of new tools in order to read and interpret the features of landscapes that often don’t reveal the true nature of what lies in front of the naked eye. Hickey has his own unique set of perceptual tools for quickly penetrating the surface of an artwork—or a cultural movement— and guiding a reader, viewer, or a listener into the terrain he has discovered and defined on his own terms. No one writes about culture—whether the subject is Siegfried and Roy in Las Vegas and the taming of their tigers, the democracy Pia Fries, Prato, 1998, oil on wood, 59 x 43 in. Courtesy of the artist. JUNE
inherent in the sport of basketball, or the paradise regained in the structuralist cinema of Jennifer Steinkamp—the way that Hickey has done. A person may not always enjoy Hickey’s pointed barbs hurled at the clusters of banality he finds everywhere around him, but he is exhilarating in his insights. He uses provocation as a form of thought experiment. It goes without saying that Hickey has a way with words, and here I’m going to borrow a phrase from the film historian Geoffrey O’Brien, writing in a recent issue of Artforum: O’Brien makes reference to certain kinds of exceptional critics—“commentators as artists, makers of freestanding verbal objects.” In Hickey’s vast cultural peregrinations he has carved a place for himself as an artist who decidedly creates freestanding verbal objects, dazzling in their unexpected patinas, their braiding of associations, their intricate underpinnings, and accompanying anecdotes. And in one of his latest books, 25 Women: Essays on Their Art, the writer’s intellectual gymnastics, laid out on the pages like incarnate thought forms of a devout iconoclast, take a reader on immensely pleasurable rides, not only into the world of visual art, but into the complicated workings of the writer’s own mind. Hickey and the art historian Julia Friedman were at SITE Santa Fe in April to talk about the writer’s latest books: the essays on women artists and Hickey’s two compilations of bon mots, Dust Bunnies: Dave Hickey’s Online Aphorisms, and Wasted Words: The Essential Dave Hickey Online Compilation, edited by Friedman, that were culled from his adventures in online engagements—or, in other phrasing, his adventures in the raw and the cooked. And if he felt that the virtual platform for online dialectical criticism was a failure—“I
was glad to have it published just to embarrass those people”—his essays on such artists as Ann Hamilton, Pia Fries, Mary Heilmann, Joan Mitchell, Roni Horn, Michelle Fierro, and Alexis Smith are exacting and stimulating. I began reading at the end of the book because I was curious as to what Hickey had to say about one of my least favorite artists, Elizabeth Peyton, whose cult of celebrity, expressed as effete portraiture, I don’t particularly like, and I can’t quite grasp the reasons for her international success. It’s been amazing to me how Peyton’s thinly conceived project doesn’t just evaporate when exposed to the light (it’s like there is no there there, or maybe that’s the point). Regardless, who cares if these pretty little faces melted back into their pictorial supports? Evidently, Hickey does care. Anyway, his “essay” on Peyton, “The Prince’s Chateau,” was anything but a traditional piece of criticism; instead, it took the form of a fable—about characters named Elizabeth, David, Prince Harry, and a writer named Oscar (Wilde, I presume), all contained in an airless and artificial atmosphere. Squeezing even more preciousness out of Peyton’s images of abject beauty, Hickey’s fable rests on the fulcrum of this idea: “Your wound is not having a wound,” or the perils of perfection in the land of the fey. However, the ante is upped considerably in the other essays, with language that sweeps the reader along over a complex and undulating terrain populated with all these freestanding verbal objects. There are these testaments about the paintings of Michelle Fierro that he wrote in his essay “Beauty Marks”—“they are exactly right in their wrongness”—or the work of Pia Fries—“the most forgiving of nature and culture continues on page 39
THE magazine | 37
F E AT U R E
I write love songs for people who live in a democracy. —Dave Hickey, 25 Women: Essays on Their Art
Dave Hickey, 2016. Photo: Drew Cassidy Lenihan, courtesy SITE Santa Fe.
Jacket cover for Dave Hickey’s 25 Women: Essays on Their Art. Book and jacket designed by Mike Brehm, University of Chicago Press, 2016.
catastrophically jumbled.” Hickey goes on to write in his essay on Fries, “The Remains of Today,” that her paintings call to mind the work of “Robert Ryman’s early, brown-linen abstractions, Rauschenberg’s roughest combines, and Robert Smithson’s bulldozer interventions, because of their stupid courage, their physical bravura … Fries will risk chaos in her search of some informing madness.” In reading Hickey, it helps to know something about art history and be willing to let go of some, if not all, of your assumptions about Contemporary Art. You need to let yourself go and meet him part way on his bad boy, drugstore cowboy, high-speed chase across what it means to make art in a democracy. In the essay “Surfing JUNE
on Acid,” about the painter and old friend Mary Heilmann—part of Hickey’s cohort from the 1960s and ‘70s in the free-wheeling days of California surfing to the New York night clubs— Hickey reflected that “as outsiders, we were, in sequence, beach kids, hipsters, beatniks, hippies, rockers, druggies, drifters, burnouts, and late bloomers. Finally, blandly, boringly, and mostly by attrition, we became what we are now: transnational art personalities.” But how Hickey could ever think of himself as bland and boring is quite a stretch when his every idiosyncrasy holds every one of his audiences in thrall. There is no one else like him scrutinizing the world below while drifting on his caffeine-laced cloud, filtering his propagating signals and delivering
the news as he perceives it. Lucky is the artist who is embraced by Hickey’s remote sensing practice with its “imperative of passionate labor.” Hickey is a relentless, hard-to-please scout, sorting through the accrued details of the topography of inward beings—those whose visions spark a latticework of connections, don’t make a claim to be politically correct, and help to fertilize a question, the nature of which I quote from his fable at the end of the book: “There was a long silence when Oscar stopped speaking, and finally David said, “Oscar, that is a very dumb story.” “My point exactly! It raises the question of which is better, beauty intact, or beauty broken down for parts…” or for some other informing bit of madness. THE magazine | 39
by Jon Carver
I N S I D E T H E C R I T I Q U E :
Sarah Elsberry (Osage), Oryx-woman, installation view, 2016 blown glass, water jet cut steel, steel, alabaster, clay, horse hair, 66 x 48 x 30 in. photo: Jason S. Ordaz, courtesy of the IAIA Museum of Contemporary Native Arts
migratory monarchs, the babble of snow melt, and the sweet surprise of a purple iris opening, the art history teacher struggling to keep students in the dark, elucidating images, is another sure sign of the season. As an adjunct instructor at the Institute of American Indian Arts for almost a decade, teaching one or two classes a semester has been enlightening. In addition to the efficacy of field tripping and the benefits of digital citation tools, working at IAIA has taught me that the intellectual and creative value of education lies in interfacing with students. This is an academic way to say it’s been an honor to learn with and befriend, if briefly, the people who take my classes. They come from the land masses called the Americas, plus Hawaii, Japan, Africa, Australia, and nearly everywhere else. The majority of students have tribal affiliations and maintain close ties to ancestral lands, occasionally being excused from classes to travel for ceremonies, powwows, art openings, etc. Many come from mixed tribal and/or European and/or African ancestries, and most have been identified in one way or another as students of exceptional promise. This past March, I was invited to attend the senior studio arts students’ midterm critique, as a guest critic alongside faculty members
Dana Chodzko, Brian Fleetwood, Jeff Kahm (Plains Cree of The Little Pine First Nation), and Neil Ambrose-Smith (Flathead Salish Tribe of Montana). The critique is a focused session of viewing, discussing, and constructively criticizing finished pieces and works in progress as part of the prep for a senior year thesis show, or senior project as it is called at IAIA. As I get to the crit I see coffee, tea, and an array of dainty pastries and breakfast breads set up on a table in the hallway. When First Nations gather, even for art school critiques, nourishment is a priority. William Thoms (Confederated Tribes of the Chehalis Reservation) is passing a cast latex hominid-bird mask around for closer inspection. The rendering of the form is exact, and the face, even in this state of floppiness, is expressive, sculpted to convey a sense of wisdom and interiority. Thoms entered my contemporary art class rattling off quotes from Derrida and Baudrillard and introduced the class to out-there artists none of us had encountered, like Mark Pauline. Though when the intellectual art talk culminates, his summative statement is often something like, “Anyway, I just want to make monsters!” Senior projects were presented this year in two shows: one at the IAIA Museum of Contemporary Native Arts and one at the Balzer Contemporary
F E AT U R E
A Critic’s Report from the Institute of American Indian Arts
Amanda Beardsley (Hopi, Laguna Pueblo, Choctaw), The Butterfly Charmers, installation view, 2016
Lee Palma (Comanche), Reconstruction, installation view, 2016
acrylic, canvas, aerosol, chinese paper, gemstones, paintmarkers, 84 x 72 in.
taffeta, lace, machined metal pieces, 60 x 48 in.
photo: Jason S. Ordaz, courtesy of the IAIA Museum of Contemporary Native Arts
photo: Jason S. Ordaz, courtesy of the IAIA Museum of Contemporary Native Arts
Edge Gallery on the IAIA campus. Thoms’s contribution to the MoCNA exhibition, Groundbreakers, included the mask adorned with an elaborate halo and two latex hands folded around long locks of human hair. At other institutions I’ve been taken to task for expressing “radical political views.” Let’s just say that a lot of people are in denial about the manipulative role of the CIA in Abstract Expressionism (and much else). At IAIA, however, the students challenge my political positions as often as I challenge theirs. Native America understandably opposes a lot of establishment positions, grounded as those positions are in colonialistglobalist thinking, outdated empiricism, and white supremacy. Sarah Elsberry (Osage) articulated the deepest sense of political awareness in my contemporary art class this semester, wavering between a well-founded cynicism, verging on hopelessness, and an infectious idealism about activist art. Her ambitious oryx-woman sculpture—rooted in the history of the African species transplanted into the White Sands region of New Mexico, the sad tie of that land to atomic militarism, and the fact that for a time as a little girl, Elsberry coincidentally lived in J. Robert Oppenheimer’s house at Otowi Bridge—is an allegorical stand-in for herself. The skeletal centauress is clamped together at crit time and incorporates nearly every
fabrication practice the school offers. She has beautifully patterned steel ribs and limbs, and a skull of carved alabaster. Cast glass organs, filled with gypsum powder gathered from White Sands are delicately suspended from her spine. The concern at the crit is whether she’ll have time to get it done. Elsberry laughs a little nervously, and assures her professors she will, and she does. The body as the site of oppression and genocidal objectives is central to Diné artist Carmelita Topaha’s project, which takes shape as a board game involving ceramic figures as European and Native game pieces, on a forced-perspective, trapezoidal, checkered table. The game board is also littered with bullet shells, blankets, and other signifiers of the world’s largest genocide. Why did we play Cowboys and Indians as kids but never Nazis and Jews? Topaha has a sense of sensuality, lucidity, and touch in her ceramic work that vividly evokes Beatrice Wood. In a final move, she sculpts a pair of white moccasins, indicating a figure that has stepped off the board and will no longer play the game. We look at a series of patinaed and powder-coated sculpture maquettes in steel and bronze, demonstrating an impressive level of professionalism, by John Michael Herrara, a Norteño, born and raised in
THE magazine | 41
Kuakea ‘O. Yasak (Maoli, Japanese, Filipino, German), Ho’ohuli Mana’o: Influences, installation view, 2016 charcoal and Conté drawing, acrylic screenprint photo: Jason S. Ordaz, courtesy of the IAIA Museum of Contemporary Native Arts
Santa Fe. In their final presentation they will be scaled up and have a more visceral impact. More compliments for the large, slumped, glass platter paintings by Russel Frye, who grew up south of Gallup on the Ramah Navajo Indian Reservation. Most of the constructive criticism concerned how to hang these elegantly crafted tondos; for purity of pulchritude, this work simply shines. Exiting the sculpture studios, we find that the main studio arts building houses the painting, jewelry, new media, and photography studios, some faculty and art school admin offices, and a generous lunch buffet. We break and eat before Terrance Clifford (Lakota, Cheyenne Eagle Butte), born in Shiprock, NM, a photography major, shows us iconic portraits of people who have impacted his life. His classmate, George Alexander, is shown holding his grandfather’s songbook in both hands. Kristin Kaye has focused her IAIA undergraduate career on readying herself for the field of web design and digital programming. I invite you to visit her excellent and informative website, Walk N Beauty—kristinkayedesigns.com/ walknbeauty—which expounds values of her people, the Diné. Next, we viewed a shoebox model for a subtly askew living room installation with a video component by Lee Palma (Comanche). Lee could
be quiet in class but always responded with insight when called upon and only asked on-target questions. An interesting discussion on installation art ensued during the critique, as each respondent imagined their way into the tiny couch in Palma’s minimalist maquette. While I don’t think that project has come into its full-size manifestion, the antebellum dress she presented at MoCNA, titled Reconstruction, is a masterful piece of work, all ornamented-out with metal bangles. Her jewelry for gods and goddesses series, Vitam Aeternam, in the Balzer Gallery show is equally impressive. Palma’s attention to the theme of world mythologies and histories sounds a nice note of pan-culturalism. If you have a penchant for distinctive jewelry with an ironic subtext, then Carly Feddersen (Colville Confederated Tribes) is the woman whose work you want to see. Her complex, beautiful animal lockets and stone “finger necklaces” both fit her description as “sometimes mordant … wearable micro-fictions.” Frank’s Finger, a gesture towards a fellow classmate, is especially endearing. In this smart and sardonic work, dark humor is a form of medicine in the recovery from genocide, slavery, and displacement, and will be useful in the coming struggle against corporate oligarchy and environmental devastation. I tried out the hard-to-take
F E AT U R E
Terrance Clifford (Lakota, Cheyenne Eagle Butte), installation view, 2016
Melissa Shaginoff (Chickaloon, Pyramid Lake), S’keneay C’ eze’, installation view, 2015
archival pigment prints on Epson Exhibition Fiber paper, 16 x 23 in. each
rawhide, beads, brass wire, walrus ivory, driftwood, porcupine quills, moose antler and ribs, whale baleen, glass, bronze, steer horn, wool, 30 x 7 x 3 in.
photo: Jason S. Ordaz, courtesy of the IAIA Museum of Contemporary Native Arts
photo: Jon Carver
medicine of my thirteen-year-old’s favorite riddle these days on Carly, Frank, and the rest of the contemporary art class: “Q. What’s the similarity between food and dark humor? A. Some people just don’t get it.” High-spirited, boundlessly curious, and full of light amidst darkness, Journeyway Price (Crow) comes from a background of artists (and firefighters) and created sculptures of traditional jewelry on a larger-thanlife scale made primarily of cast concrete. It is as though the earrings and elk tooth necklace were intended for the Crazy Horse Memorial—or the Colossus of Rhodes. Is a necklace still a necklace if you can walk right through it or gather friends to sit inside its circle? Move over Claes and Coosje, Journeyway still has a few questions about scale to raise. Amanda Beardsley’s images of anime-inspired characters in a brightly colored, pop-surreal world inspired by Hopi, Laguna Pueblo, and Choctaw stories have bounced off the walls of the school for the past four years. In addition to a large-scale purple painting that transposes the traditional Feast of the Cranes imagery into Beardsley’s idiosyncratic visual language, she also produced a prolific selection of jewelry objects, abstracting elements of the paintings. Melissa Shaginoff’s (Chickaloon, Pyramid Lake) lifesize self-portrait, with a series of fetishes suspended JUNE
in the air before it, was strikingly successful. The floating objects extended the space of the painting into that of the viewer in a simple but compelling way. Seth Picotte’s (Teton Sioux) carefully rendered realist prints and drawings depict narrative scenes of native life and political protest on found papers and old oil refinery receipts, recalling the native ledger art tradition. The last presenter of the day, and probably the most talented draftsman graduating from IAIA this spring was Kuakea ‘Olilikolaulani Michael Namau’u Yasak. A laid-back guy, he has a wonderfully elaborate name that reflects his Hawaiian, Japanese, Filipino, and German heritages. His highly realist charcoal and Conté crayon portraits on colored grounds recall Steven Assael or Kent Williams. The screen-printed patterns in color, overlaying the red or black grisaille drawings, are way cool, but continuing the patterns up and down the walls beyond the pictures is genius; the move provides a metaphysical context for the depicted individuals. Yasak’s final presentation was a stunning summation of his own dedication to realism, and to the friends whose likenesses he captures so well. Overall, the work in both exhibitions followed suit, and as guest critic, all that’s left to say is “congratulations.” THE magazine | 43
Georgia O’Keeffe’s Far Wide Texas
Georgia O’Keeffe Museum 217 Johnson Street
A COUPLE OF YEARS AGO, IN THE PAGES OF THIS MAGAZINE, I STATED that Georgia O’Keeffe was “an inconsistent painter at best; at times she was just
to create line and harmony, is a very different animal than the Italian chiaroscuro
plain bad.” This was prefaced by something I continue to believe: She composed
most Western painters are familiar with, a method for creating the illusion of
excellent pictures. O’Keeffe, in my experience of her work, had a killer sense of
dimensionality and drama that developed during the Renaissance. Dow used notan,
form and color. It is my contention that she learned this from Arthur Wesley Dow.
and so did Aubrey Beardsley and the International Art Deco style. But no one put
The exhibition Georgia O’Keeffe’s Far Wide Texas offers solid evidence of how an
the concept into practice more notably and effectively than Katusushika Hokusai,
American Modernism, brewed out of Japanese ukiyo-e as filtered through Europe,
the artist who made the iconic print, Great Wave, circa 1830, during the late Edo
reached a full-flavored maturity in the southwestern United States. Maybe it took
period of Japanese history.
New York to appreciate it, but that Modernism needed the soil of New Mexico to grow into its prime.
On the face of it, it may seem odd to track an art trail from early nineteenthcentury Japanese woodblock prints, with their flatness and acute cropping, to an
Far Wide Texas features early watercolors—which she handled far more
exhibition at a museum in Santa Fe, New Mexico, nearly 200 years later. Perhaps
masterfully than she did oils—painted in the wide expanses of west Texas. There,
the far, wide, and utter flatness of the Texas panhandle taught the youthful O’Keeffe
O’Keeffe learned how to look at the forever skies she would come to crave—and
to look and, more importantly, to see in a way that the eastern United States never
learn to savor—in her adopted home in northern New Mexico. And she put to work
could have. Take the Evening Star No. VI as an example: its saturated color lit by
for herself the concept of “filling a space beautifully,” which she had learned from
the setting sun, the open horizon made to feel unending by not filling in the skyline
Arthur Wesley Dow, who had studied painting in France in the late 1890s. After
where it meets the land, the swirling motion of the revolving Earth in space nearly as
returning to the United States, a curator of Asian arts at Boston’s Museum of Fine
romantic as Van Gogh’s Starry Night. None of that cornball sentiment for O’Keeffe,
Arts led Dow to understand the lessons of Japonisme as manifested on canvas by James
though, who was about as romantic as an old shoe in a soup pot. (Or so her carefully
MacNeil Whistler. Dow preached the value of “a few harmonious lines” (Cathy Curtis
constructed persona would have us believe.)
in the Los Angeles Times, July 13, 1991) over the virtues of copying nature. Accuracy,
Having expanded her vision through the teachings of Arthur Wesley Dow,
he believed, should take a back seat to beauty. O’Keeffe came into direct contact with
O’Keeffe would inevitably maintain the clarity of that vision by living in northern
Dow when she was studying at Teacher’s College in Columbia University. I maintain
New Mexico. Some seven decades after making the Texas watercolors, half-blinded
that he was the single most important influence on how O’Keeffe saw the world
by macular degeneration, O’Keeffe would not let go of what she saw.
around her and what she longed to convey in her painting: the abstracted patterns
—Kathryn M Davis
of nature—but more than that, its generosity of expanse and the infinite possibilities within the cycle of birth and death. The broad horizontal bands of bold color that
Georgia O’Keeffe, Evening Star No. VI, 1917, watercolor on paper, 8.875 x 12 in. Georgia O’Keeffe Museum, gift of The Burnett Foundation (1997.18.003), copyright Georgia O’Keeffe Museum.
she is known for had their genesis in the simple watercolors that form the meat and the bones of Far Wide Texas. Curator Carolyn Kastner, with support from curatorial director Cody Hartley, has again offered compelling insight into the heart of early twentieth-century Modernism in this country. When
teachings, his impact was so great that she stopped painting. She worked entirely in charcoal for two years after studying with a Dow devotee, before learning from her mentor at Columbia. Off O’Keeffe went to teach art at what is now Texas A&M University. Twenty-eight of the fifty-one watercolors she made while in Canyon, Texas, from 1916 to 1918, are on view at the museum, and in one gallery spans the artist’s arc from a “realist” style of painting—perfectly acceptable and completely forgettable—to nude studies that become more and more abstracted, described as they were through O’Keeffe’s absorption of notan as it was taught by Dow. Notan, the ancient Japanese concept of using light and dark JUNE
THE magazine | 45
Bonjour, là, Bonjour by Michel Tremblay Adobe Rose Theatre 1213 Parkway Drive
BONJOUR, LÀ, BONJOUR CENTERS ON A POOR WORKING CLASS QUÉBÉCOIS family, who dream of the opportunity to visit the
about relationships. Finally, she threatens to expose
is a question posed by the playwright: what could
font of all things French: Paris. They are equally
Serge’s big secret, that he and the youngest sister
be worse than being gay in 1970s Montréal? The
jealous, resentful, and excited that their brother
Nicole are in love and moving in together.
answer: incest. This is even articulated in the play,
has had the opportunity to spend his whole summer
Again, this is all best seen as metaphor. Armand
when Lucienne says to Serge, “You should have been
in France, but it quickly becomes clear that their
stands in for Canadian leadership, benevolent,
a queer. You can’t imagine how much I hoped that for
fixation with their brother is more than just familial.
but deaf to the problems of Quebec, while the
you. Because believe me, you’d be much better off
The family orbits a primary patriarch, Armand,
two middle sisters represent working class French
with another guy than your own sister.”
who is literally deaf to everything that’s going
Canada. The youngest sister, Nicole, played with
The set design by Geoff Web is simple, elegant,
on in the family. Meanwhile, Serge (Armand’s
enthusiasm and confidence by Alexandra Renzo, is
functional, and striking. Three beautifully upholstered
son) is forced to serve as the
boudoir-red pieces of furniture
surrogate patriarch, because
that could double as modern
of his vitality and willingness
art serve interchangeably as
to listen. The rest of the family
(and cast) are all women: four
throughout the play and also
sisters (all older than Serge)
add the only bold color in an
and two distant aunts who live
otherwise black-box space. The
with Armand. Serge is pulled
only other use of color appears
between all four sisters and his
as accents in the also impeccable
affection for his father, which
costumes designed by Jasminka
is well supported by Wendy
Jesic that call to mind the French
Chapin’s staging and the Adobe
New Wave, with their black
Rose’s black-box design, where
and white designs and varying
Serge is always in the middle
accents of red thrown in.
Bonjour, Là, Bonjour is not
by the many women in his
an easy play to stage, but Wendy
life. The situation becomes
Chapin did an excellent job in a
gradually more bizarre as it’s
style reminiscent of Anne Bogart’s
revealed that all four sisters
are sexually attracted to Serge.
characters move in syncopated
geometric patterns. This worked
oldest sister, Lucienne, played
well for the fast-paced musicality
by Lynn Goodwin in a stand-
of the scenes, which are labeled
out performance. She is a fiery
by musical scoring based on the
devil in red.
number of characters in each:
The play must be seen as
“Trio, Duo, Solo, Quartet…”
metaphor. If taken literally, the family reaches levels
perhaps representative of the circularity and navel-
Overall, Adobe Rose should be applauded for
of dysfunction that rival the court of Henry VIII. As
gazing Tremblay sees in his culture. The two middle
this solid production of a difficult play. Unfortunately,
Tremblay said in 1978, “I know what I want in the
sisters, who are well rendered in the production,
the play closed on May 29, but the Rose continues
theatre. I want a real political theatre, but I know
may be the Québécois obsession with all things
their 2016 season with Lobby Hero by Kenneth
that political theatre is dull. I write fables.” Each
French. Finally, the aging aunts are the chafing
Lonergan, September 8-25. If you have not yet
character represents some aspect of life in 1970s
conservatism of Montréal’s old guard. Serge himself
seen one of their plays, do yourself a favor and
Montréal. Anglicized and married to an English-
is played engagingly and with great energy by Dylan
check it out.
speaking doctor, Lucienne represents the powerful
Marshall. He best represents Tremblay himself and
elite of Quebec society and has shed her working
a youthful desire for change and freedom. It seems
class mores for fine clothes and liberal attitudes
that at the root of Serge’s incestuous relationship
Bonjour, là, Bonjour, production view, 2016.
A Very Long Line and The Breaking Ring
Center for Contemporary Arts, Muñoz Waxman Gallery and spector ripps project space 1050 Old Pecos Trail
THERE’S A FLAT, WHITE BENCH IN THE MIDDLE OF THE SPECTOR RIPPS project space at the Center for Contemporary Arts. Try lying on your back on
communities, broken borders, displaced humanity, and the militarization of
that bench to experience A Very Long Line. There are four synced film projectors
daily life that “securing” a boundary entails.
overhead. Their color footage is broadcast simultaneously on all four of the
In tandem with Postcommodity’s message, CCA also presents The Breaking
twelve-foot-high by twenty-four-foot-long walls of the square space as we travel at
Ring, a social sculpture by art collective M12. In the same landscape of the Muñoz
varying speeds—slow, fast, rushed, like glorious crescendos and decrescendos—
Waxman Gallery where WWI military-style scaffolding recently arose for an
and in alternating directions along the US-Mexico border. We are in the passenger
equally provocative exhibition, we are now invited to enter a twenty-four-foot
seat of a moving vehicle, looking through flickering, passing fences as we try to
gentling ring—made from hand-peeled aspen logs—for taming wild horses. The
make out the images of trees, houses, cars, trailers. Daily life. Or nothing at all.
fence theme carries over from A Very Long Line, but it’s a fence of a different sort.
The original engineered soundscape coming from four speakers—one mounted
A horse really will fit in here for taming, mind you, but this particular ring is meant
above each corner of the space—incorporates the rumbling of semi trucks and
to host public “actions” that range from improvisational dance to mahjong to yoga.
the whizzing of traffic blended with other ambient sounds. Alternatively, making
Each gathering within the circle is being filmed to create a documentary record of
oneself small and standing in a corner of the space offers a different perspective,
the ring’s activation and completion. Stepping inside the ring myself, I cannot stop
with the motion of the images seeming to travel right through one side of your
thinking about wild horses that need to stay that way.
body and to emerge from the other. Ask a friend to stand between you and the
Running along two walls, just outside the ring, M12 has wheat-pasted, in
motion, and your impressions change again, just as borders themselves do—along
order and in one unbroken line, all two hundred and fifty pages of their 2015 book,
with your perceptions of them.
An Equine Anthology, about the history, mythology, and politics of wild horses.
This immersive audiovisual installation is the work of art collective
The black-and-white content ranges from poetry and prose to photography to
Postcommodity, made up of artists Raven Chacon, Cristobál Martinez, and Kade
recipes to newspaper clippings. M12 is a group of artists, researchers, designers,
L. Twist. The images of this continuous film loop speed up and slow down, or stop
architects, and writers that chooses to maintain a neutral stance in its projects,
altogether. They were shot along the fences that border the high desert between
while striving to present multiple aspects of an issue.
Arizona and Mexico. We cannot tell which side of the border we are on.
CCA’s re-engineered entrance to the Muñoz Waxman Gallery now offers a
Postcommodity, in their own words, sound like this: “A Very Long Line
raised, glass-fronted observation area that allows visitors to look down on the
recognizes all indigenous peoples that are intermeshed in the theater of the
art in a way that was not possible previously. This is a chance to contemplate
contemporary crisis of the Americas—here we (Postcommodity) refer to the
CCA’s innovative installations as though viewing an open landscape. Enhanced
historical stewards of the land, and those who are following ancient indigenous
perspectives and broader interpretations are the happy result.
trade routes in search of economic opportunity.”
Before entering the space through the curtained doorway, we are first met with only the soundscape of the film. It’s a strange, resonant, and
Left: Postcommodity, A Very Long Line, video still, 2015. Courtesy of the artists.
reverberating prelude, because we really have no idea what is inside. Once
Right: The Breaking Ring by M12, installation view during contact improv dance event, 2016. Courtesy of the Center for Contemporary Arts.
through the doorway, the images assault and disorient, but not for long. They soon fascinate. We want see through the fence, trying to make out something we can understand. Experiencing A Very Long Line from any vantage point in the gallery is like taking a road trip through the heartbreak of disrupted
THE magazine | 47
Walter Robinson: Placebo
Turner Carroll Gallery 725 Canyon Road
JOSEPH CORNELL MEETS MARCEL. THE DICTIONARY DEFINES “PLACEBO” as “a soft brick, imperfectly burned.” Wait, that’s
Pop-Art portraits of Freud on a stick, likely a critique
place for placenta (“the smoke from the jasmine drove
for “place brick.” I skipped a line, sorry; placebo: “a
of our tendency to find succor and seek solutions to
the bees from the church… placenta?”).
medicine given merely to humor the patient; especially
life’s stresses through recourse to psychoanalysis. Odd
Arguably the most engaging piece was Teeter (brass,
a medicine containing no medicine but given for its
(Nevereven) is a wall series of nine odd (sic) objects
wood, hair), a life-size facsimile of a small cannon on
psychological effect.” The word is from the Latin, “I will
arranged in a horizontal row, in which a letter is
wheels. Its intended function as artillery is belied by the
please.” I know: who asked? But when you pull out the
affixed to each object and the letters in sequence spell
brightly painted rims and the addition of bicycle seats
Latin card, it usually conjures up the Roman Catholic
“nevereven.” This is a reverse-rebus effect in which a
and handlebars at each end of the barrel, converting the
Church or something to do with its liturgy. Sure enough:
word is not alluded to by the visual objects selected
cannon to a children’s seesaw. So the placebo conceit
a less-applied definition for “placebo” is: “in the Roman
to represent it. Promise (MDF, wood, and human hair)
could apply here to the pleasure that the seesaw brings
Catholic Church [see?], the vesper hymn for the dead,
says it all: a wide, pristine paintbrush on the wall, a
as a toy, stripped of the pain that the cannon’s brass
beginning Placebo Domino (I will please the Lord).” If you
testament to best intentions and promises to keep—
cannonball would bring were it a functioning armament.
viewed Walter Robinson’s Placebo show (April 29-May 13,
unkept. In Denouement, five fat colored pencils some
But then the “vesper hymn for the dead” level of Placebo
Turner Carroll) between those parameters, you’d have
three feet high hang side by side in a wall-mounted
kicks in, upturning the Teeter’s sword-into-plowshares
been in a good position to get the playful-to-profound
frame, each pencil inscribed with a different word:
conceit and leaving the viewer with an ominous sense
effects of his mixed-media assemblages and wall reliefs.
jasmine (yellow), placenta (salmon); smoke (lavender);
that it is the cannon itself that is the placebo, masking the
If you missed the show at Turner Carroll, you can still
bees (yellow ochre); church (rust red). The viewer
deadly nature of the “toy” upon which the children play.
redeem that oversight by viewing his contribution to a
spends an inordinate amount of time rearranging the
small group show at the New Mexico Museum of Art,
order of the word-pencils in a futile effort to find some
from its Alcoves series, on view until June 19. The Alcoves
intelligible phrase—thwarted by the failure to make a
group show includes his Toll, which displayed the lightdark nuance of his works in Placebo. Toll (28 x 1.5 x 11.5 in.) is a jar-shaped (Acoma?) Pueblo pot, with clay-red and brown leaf pattern, from which sprouts a facsimile of the bronze Liberty Bell, slightly larger than the pot, rising up by its clapper from the vessel’s interior and attached above to its headstock, the metal or (here) wood beam that transmits torque from the wheel to the bell to make it ring. On the purely visual level, Toll is a playful, surrealist fusing of two contrasting cultural icons—ceci n’est pas un pot. But a moment’s reflection reveals the dark humor and deeper meaning: Toll can be read as an ironic commentary on postcolonial Pueblo culture living within the larger framework of American democracy—symbolized by the Liberty Bell—and its history with Native America. At best, that history tests the Liberty symbol’s notion of freedom and any claim, vis-à-vis Native peoples, that the “bell tolls for thee.” Robinson’s Placebo comprised ten mixed-media tableaux involving familiar objects, unconventional placements, and text annotation. A Sense of Belonging (MDF, epoxy, metalflake) suggests an Addams family wall plaque: a candy-corn orange plastic plate with the title text scribbled on it in dayglow ghoulish green font. Cure (epoxy, wood) features a matching pair of
Walter Robinson, Teeter, wood, brass, hair, 39 x 62 x 24 in.
Outdoor Vision Fest
Santa Fe University of Art and Design 1600 Saint Michael’s Drive
I ARRIVE AT THE SIXTH ANNUAL OUTDOOR VISION FEST TEN MINUTES ahead of its official start time of 8:45 pm, and the
screens stretched between pillars and across windows.
and the haste, and remember what peace there may be
shadowy parking lot is already packed. Around the
These openings, designed to direct angular shafts of
in silence.” No one heeds Ehrmann’s advice in this digital
corner from Santa Fe University of Art and Design’s
Southwestern sunshine into sheltered spaces throughout
jungle. Not far from Fe’s piece, Phat Le has built a skeletal
Visual Arts Center, the site of the one-night event, I inch
the day, now serve to capture ghostly blue light in midair.
tower and projected tiny construction workers across its
into a snug spot next to T66. That’s the sculpture studio,
High above the main courtyard, a giant projection
base, a criticism of the housing crisis in his homeland of
one of three World War II–era barracks occupied by
wraps around a massive tower in the shape of a cube, one
Vietnam. The work’s title is Apartment: It is not done, but
the studio arts department. SFUAD’s website describes
of many Platonic solids that Legorreta employed in this
sure, you can come, and its mesh enclosure reminds me of
the former military infirmary complex as “rustic”—a
structure. His inclination for polyhedrons can be traced
the installations of Louise Bourgeois.
perfect place for students to “make a gigantic mess” in
back to his mentor Luis Barragán, who attended lectures
As the evening winds down, videos begin to vanish
their art school experiments.
by Le Corbusier. Far below, the elegant geometric lines
from the walls. Students rush to pack up their equipment
These simple sheds politely correspond with
of the tower find an echo in a sculpture by Fabrizio Ferri.
as the chilly spring wind picks up. The tower above the
Brutalist buildings by Philip Register on the other end of
In SSAI (Synthesized Sound and Image), the artist uses
main courtyard reads “NO SIGNAL” for a moment, and
campus, erected in the 1960s and ’70s. Then there are
projection mapping to send fingers of light blazing along
then it goes dark. In just over two hours, Outdoor Vision
the architectural interventions of Mexican modernist
the edges and across the many planes of a gemlike form.
Fest has run its course. As with so many of his projects,
Ricardo Legorreta (1931-2011), who designed the Visual
I slip back through the corridor and find myself in a
Legorreta had to battle the local government to carry
Arts Center and the Santa Fe Art Institute. The rusty red
smaller courtyard, with walls that periodically jut inwards at
out his vision for the SFUAD campus. His buildings
buildings radically reshaped SFUAD’s skyline in 1999.
odd angles to fragment the space. “Modern architects want
were too tall and his earth tones weren’t earthy enough
Tonight, the Visual Arts Center rises above the barracks
too much clarity in a building,” Legorreta said. “They miss the
to match Santa Fe Style. Nowadays, the starchitect’s
like a cubistic canyon coursing with lava. This structure is
pleasures of mystery and intrigue.” Here, studio arts students
vernacular has permeated architectural styles in Santa
the largest sculpture on view at Outdoor Vision Fest, acting
are conducting some of their first experiments with digital art,
Fe and Albuquerque. Surely some of the outstanding
as a multifaceted support for the diverse new media works
often as departures from their chosen mediums.
students at Outdoor Vision Fest are bound for similar
by students and guest artists that fill its exterior spaces.
Ceramicist Samantha Fe has fashioned her favorite
career leaps—locally, nationally, and perhaps, like
Traversing a bumpy lawn behind the building, I
easy chair into a projection screen and cast a tiny video of
Legorreta, across the globe.
encounter a projection that spans one of the structure’s
herself on it. Beneath the hubbub of the crowd, her voice
outer walls. It’s a winner’s showcase for the “Frontier/OVF
reads Max Ehrmann’s 1927 prose poem, Desiderata, for
microNARRATIVE” video competition, which challenged
which the artwork is titled. “Go placidly amid the noise
Outdoor Vision Fest, installation view, 2016. Visual Arts Center, Santa Fe University of Art and Design. Photo: Natalie McPherson.
students from SFUAD and its sister schools to tell complete stories in sixty-second films. Three animations took the top slots, with a CGI piece by Gabriella Adelai Lovato-Dale as the standout. There’s a gritty charm to Lovato-Dale’s Flutter, the tale of a lonely robot who encounters a glowing butterfly. A single student stands in the center of the field, her neck craning to take in the grandiose presentation. I ask her if she’s one of the winners. “No, I’m a freshman,” she says, sounding terrified. The prospect of filling Legorreta’s massive masonry walls, inspired by the pre-Columbian temples of Mesoamerica, must seem like an insurmountable challenge to the young artist. All in good time. Passing inset windows that cut pitch-black holes in the building’s facade, I enter an arcade filled with excited spectators. The crowded passage is a vein to the building’s largest courtyard, a layout that references the Colonial architecture of Legorreta’s homeland. It also makes for prime projection opportunities, with backlit
THE magazine | 49
THE Printed Page is dedicated to showcasing original work by illustrators, graphic designers, and other creatives working graphically. Local and regional artists and designers will be commissioned to create series of three full-page works, either of their choosing or within thematic parameters provided by THE magazine.
On the opposite page is the second design in our debut series created by local artist Luke Dorman. Luke is an artist, designer, educator, father, list maker, late-night doodler, and potential speed-eating champ of the Southwest. He currently works both as a freelance designer and graphic design instructor at Santa Fe University of Art and Design. See Luke’s first design in the May issue of THE. lukedorman.com
THE Photography Page is a thematic photo competition that seeks to feature the creative work of THE readers. Each month, a new theme is chosen and readers are welcome to submit up to three photographs. The selected photograph is printed and the winner receives a $50 gift certificate to a Santa Fe-area business. The July theme is “reflections.” Send submissions to firstname.lastname@example.org.
On page 53, the winning photograph from the theme “the decisive moment,” is Porto Tram Runner by Nick Tauro Jr. Nick Tauro Jr. is a photographer based in Albuquerque. He is the founding member of the Latent Image Collective, a photography group with members across the U.S. and Europe. Nick has been included in group exhibitions in New Mexico, New Jersey, Pennsylvania, New York, and Scotland. He has been published in Fraction Magazine, Float magazine online, and Capabna Magazine (Russia). Nick is also an instructor with Fresh Eyes, a group that teaches photography to incarcerated youths in New Mexico. nicktaurojr.com latentimagecollective.com @nicktaurojr
50 | THE magazine
TAKING ART IN NEW DIRECTIONS.
Nick Tauro Jr. Porto Tram Runner, Portugal submission theme: “the decisive moment” JUNE
THE magazine | 53
Beginning like an Old Lutheran with Egg Coffee
In the style of the old country, I mix an egg with the coffee grounds, and add this wet potting soil to a pan of boiling water. With the clock ticking softly, garlic drying in the rafters, dusting of new snow on the lawn, dusting of cinnamon on my toast, I open a long exposure in the space between my icons, a prickly pear cactus allowing itself to flower. How lucky to have this pasture cleared, this dereliction of all duty but the headlong locomotive of the poem, or the votive floating quietly away from shore, Happy release for those of us who used to fill in the answer sheets according to which bubble patterns looked the best. There will be a price for these slow mornings, some equivalent to the sunken eyes of the greyhound with thigh fatigue waiting to be adopted. For now I choose a melody to follow through the fairgrounds, knowing any chord might release a name or firebird from the locks of memory, Might bring a lover home on the midnight bus, wearing the sun dress she knows is your favorite, God it looks great on you, come here, come here.
As the oil hardened, religious he was rising for the rosemary flecked in her every fresh-baked.
Daniel Bohnhorst’s poems have appeared locally in the Santa Fe Reporter and the Santa Fe Literary Review. Since 2011, he has worked on stage at Teatro Paraguas, performing Spanishlanguage poetry in their poesía viva series. Most recently, he directed and acted in Word Over All, a bilingual celebration of the poets Walt Whitman and Pablo Neruda. He is also a member of the Strangers Art Collective, and his most recent chapbook, Love in the Narrows, is available at the Narrows art exhibition at the Santa Fe Community Gallery, through June 10.
54 | THE magazine
Gwynn Murrill n e a r i n g n at u r e
J u n e 2 4 – J u ly 2 3 , 2 016 O p e n i n g r e c e p t i O n w i t h t h e a rt i s t: J u n e 2 4 t h , 5 - 7 p m t O v i e w a d d i t i O n a l w O r k s v i s i t w w w. g p g a l l e ry. c O m F O r i n q u i r i e s c O n ta c t e va n F e l d m a n , ( 5 0 5 ) 9 5 4 - 5 7 3 8
1 0 0 5 Pa s e o d e P e r a lta , s a n ta f e , n M 8 7 5 0 1 • ( 5 0 5 ) 9 5 4 - 5 7 0 0 Coyotes in a Rectangle, bronze and steel, edition 1/9, 78 1/2 x 15 x 15 inches. © 2016 gwynn murrill, courtesy gerald peters gallery.
B R A D OV E R T O N Embodying Myth Through Imagination, May 27 – June 18, 2016 in our new Railyard location Artist Reception: Friday, May 27th from 5 – 7 pm
Oxomoco, oil on canvas, 70" h x 70" w
D OW N TOW N | 130 Lincoln Avenue, Suite CSanta Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com R A I LYA R D | 544 South Guadalupe Street, Santa Fe, NM 87501
THE magazine is Santa Fe New Mexico's magazine of international art, photography, culture, and restaurant dining.