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Santa Fe’s Monthly

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of and for the Arts • May 2012

ture, c e it h c r a , w h e r e a rt l a n d m e e t and the

: E C A L P F O S T I R SPI


S HE L D O N H A RV E Y B RO W N & S A LT M A N

V IN TA G E N AVA J O

W IL L I A M P E N H A L L O W H E ND E R S O N

DYA N I R E Y N O L D S - W HI T E H AW K

53 Old Santa Fe Trail

Upstairs on the Plaza Santa Fe, New Mexico

505.982.8478

shiprocksantafe.com


CONTENTS 5 Letters

37

National Spotlight: A New Deal: Art of the Great Depression at the Monterey Museum of Art, Monterey, CA

12

Universe of photographer Henry Aragoncillo

16

Art Forum: Internal Versus External by George Evans

19

Studio Visits: Jamie Hamilton and Mary Shaffer

21

Food for Thought: The Ice Cream Cone

23

One Bottle: The 2009 Pernand-Vergelesses Chartron et Trébuchet by Joshua Baer

39

Feature: Spirits of Place: Where Art, Architecture, and the Land Meet by Roger Salloch. Photographs by Sheppard Ferguson

45 Critical

Reflections:

Contemporary

Arts;

Arrhythmic Visions at the Center for No

Library

Card

Required

at

Santa

Fe

Community College and Lumen: Red Dot Gallery; Caravaggio and His Followers in Rome at the Kimbell Art Museum, Fort Worth, TX; Hiroshi Sugimoto at the UNM Art Museum; Interlopers at Evoke Contemporary; In Wonderland at the Los Angeles County Museum

25 Dining Guide: Shibumi, Andiamo!, and Better Coffeehouse

of Art; Bill Jacobson at James Kelly Contemporary; and Time-Lapse at SITE Santa Fe

29 Art Openings

55 Green Planet: Shigeko Sasamori, photograph by Jennifer Esperanza

30

Out & About

34

Previews: Lance Letscher at Eight Modern; Nancy Holt at the Santa Fe Art

57 Architectural Details: Full Moon, photograph by Guy Cross Institute; and Taos Moderns at 203 Fine Art, Taos

58

Writings: “September Eleven,” by Anthony Hassett

Relationships—sweet, tumultuous, or otherwise—have been the subject of artworks for centuries. The connection between two people has provided rich fodder for artists, resulting in masterpieces like Jean-Léon Gérôme’s Pygmalion and Galatea and The Lovers by Marc Chagall. Couples in Art (Prestel, $29.95) presents a wide range of artworks from the Metropolitan Museum of Art’s rich collection. Works are juxtaposed by theme rather than historical origin—readers can compare the embrace of a fifteenth-century Iranian couple to the affectionate body language between two men in an 1850 American daguerreotype. Images are paired with commentary by art writer Christopher Lyon, who balances historical background with lively, accessible analysis. Truly a great gift for a special someone, Couples in Art provides a fascinating look at love throughout history and the world. Image: © Metropolitan Museum of Art.


PETER ALEXANDER SUBHANKAR BANERJEE UTA BARTH THOMAS JOSHUA COOPER GLORIA GRAHAM MORRIS LOUIS ROBERT MOSKOWITZ FRED SANDBACK KATE SHEPHERD IAIN STEWART JAMES TURRELL

28 APRIL–15 JULY 2012 Transparent presents painting, photography, sculpture and works on paper spanning over 50 years from the Lannan Collection. Each artwork embodies an aspect of the word transparent, from transmitting light so that what lies beyond is seen clearly, or being fine or sheer enough to be seen through, to work that is free from pretense or deceit, or that seems to allow the passage of x-ray or ultraviolet light.

309 Read Street, Santa Fe, NM 87501 Tel. 505 954 5149 Gallery Hours: Saturdays and Sundays from noon to 5pm (weekends only)

www.lannan.org Image: Uta Barth, Ground #78, 1997, color photograph on panel 41 x 39 inches, Collection Lannan Foundation


LETTERS

magazine VOLUME XVIII, NUMBER X WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 & 2006 Top-5 Best Consumer Tabloids P ubl i s h e r / C r e at i v e D i r e ctor Guy Cross P ubl i s h e r / F ood Ed i tor Judith Cross A rt D i r e ctor Chris Myers C op y Ed i tor Edgar Scully P roof R e ad e r S James Rodewald Kenji Barrett staff p h otograp h e rs Dana Waldon Anne Staveley Lydia Gonzales P r e v i e w / C al e ndar e d i tor Elizabeth Harball WE B M EI S T E R

Jason Rodriguez fac e boo k C h i e f Laura Shields C ontr i butors

Diane Armitage, Joshua Baer, Davis Brimberg, Jon Carver, Tessa Cutler, Kathryn M Davis, Jennifer Esperanza, George Evans, Sheppard Ferguson, Anthony Hassett, Hannah Hoel, Joanne Lefrak, Marina La Palma, Iris McLister, Roger Salloch, Richard Tobin, and Susan Wider CoVER photograph by Sheppard

Ferguson

A D V e rt i s i ng S al e s

THE magazine: 505-424-7641 Edie Dillman: 505-577-4207 Chase Auldt: 505-690-3639 D i str i but i on

Jimmy Montoya: 470-0258 (mobile) THE magazine is published 10x a year by THE magazine Inc., 320-A Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road, Lamy, NM 87540. Phone: (505) 424-7641. Fax: (505) 424-7642, E-mail: themagazineSF@gmail.com. Website: www.TheMagazineOnLine.com. All materials are copyright 2012 by THE magazine. All rights are reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. All submissions must be accompanied by a SASE envelope. THE magazine is not responsible for the loss of any unsolicited materials. As well, THE magazine is not responsible or liable for any misspellings, incorrect dates, or inc rect iformation in its captions, calendar, or other listings. The opinions expressed within the fair confines of THE magazine 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 and editorials represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel, and are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity or quality of objects and/or services advertised. As well, THE magazine is not responsible for any claims made by its advertisers; for copyright infringement by its advertisers .and is not responsible or liable for errors in any advertisement.

A three-person show of paintings and works on paper on view at David Richard Contemporary, 130 Lincoln Avenue, Suite D. Opening reception: Friday, May 4 from 5 to 7 pm. Image: Michael Wright.

TO THE EDITOR: I attended the Joel-Peter Witkin show at the Bibliothèque Nationale in March and was one of many on the long line to get into the exhibition. I picked up a copy of your magazine and was quite taken with it—the design and content are excellent. Inside your magazine was a nice bonus—a twosided sheet with images of some of your covers. The interview with Witkin was right on the mark— good questions, good responses to the questions. The exhibition itself was remarkable—a truly amazing body of photography. Witkin’s new work, although a departure from his earlier work, is still “pure Witkin.” All in all, it was a fantastic night out, with much thanks to a very exciting exhibition and to your very dynamic publication. —Honoré Lefebvre, Paris, France, via email TO THE EDITOR: Inside the covered portal in front of the Merc grocery here in Placitas, there is a line-up of newspaper machines and small racks holding free publications. For years, THE magazine has been one of those publications. If you want to immerse yourself in art and art talk, pick up a copy of THE. I picked up the April issue the day it arrived. On Monday, April 9, I noticed the rack and the magazines were gone. I asked the clerk why THE was gone: “Were the rack and its magazines taken up in the Rapture?” In the February/March 2012 issue of THE, there appeared an image by Joel-Peter Witkin of a nude woman reclining against a tree and nonchalantly cradling in her palm the erect penis of a horse. There are many people who are profoundly squeamish about sex. Somebody in Placitas pitched a fit about this image, and now Placitas residents will have to go elsewhere to find THE. One squawk from “God knows whom” and everyone in Placitas is denied their copy of THE. Does this sound righ? One squeaky wheel controls the art content of Placitas? WTF! I sent this letter to you, and to thirty people in my address book. My friends are weighing in. —Greg Leichner, Placitas, via email TO THE EDITOR: This controversy at the Merc is reminiscent of the story of the pious Christian woman who calls the police to report a man taking a shower in front of a large window without curtains. When the cop

arrives he asks the woman, “Where is this man?” She points out her window to a house a quarter mile away. The cop says, “I can’t see him from here.” She says, “Of course you can’t! Here, use my binoculars.” —TF, Litchfield, OH, via email TO THE EDITOR: Sadly, that is exactly how it works everywhere. However, it takes two for this stuff to happen. One: a concerned citizen who feels the need to impose his values on everyone. Two: a cowardly vendor who instantly folds to the complaints of one person, rather than polling the Merc’s customers to discover consensus. I would be especially interested to learn the major source of the objection: the naked lady or the horse’s penis? Could the issue have survived had only one of those icons been displayed? Would the less scary pig penis be allowed to survive? Would a bikini-clad lady not touching the horse penis have been acceptable? These are exciting times. —JFA, Columbus, OH, via email TO THE EDITOR: As Supreme Court Justice Potter Stewart said, in trying to define obscenity, “I know it when I see it.” Truth be told, I’m not sure I’d want my girls seeing that photo you described. Caught me with my liberal pants down, Sparky. —HS, Boston, MA, via email TO THE EDITOR: The review of the show at the Tai Gallery by Iris McLister in your April issue was fascinating reading. Prior to reading the review, my impression was that geishas were prostitutes. After reading the review, I did some research, and now know that they spend years learning to play various musical instruments, to sing and dance, and how to be the perfect hostess to men—representing the illusion of female perfection. When men pay a geisha to entertain, sex has nothing to do with it. A geisha entertains with singing, dance, story-telling, and flirtation. Here is the kicker: the original geishas were men as social restrictions dictated that women could not entertain at a party. —Charlene Constable, via email

THE magazine welcomes your letters. Send to: themagazinesf@gmail.com

This issue dedicated to the music, spirit, and life of Levon Helm

| ma y 2012

THE magazine | 5


ANSEL ADAMS DIANE ARBUS E U G È N E AT G E T A N N A AT K I N S THOMAS BARROW HILLA & BERND BECHER J AY N E H I N D S B I D A U T H A R RY C A L L A H A N H E N R I C A RT I E R - B R E S S O N L A R RY C L A R K

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reconsidering the Photographic masterpiece

M A RT I N PA R R AUGUST SANDER

T H R O U G H J U L Y 28

CHARLES SHEELER ALEC SOTH S O U T H W O RT H & H AW E S ALFRED STIEGLITZ

Hiroshi Sugimoto (Japanese, b.1948 ) Neanderthal, 1994. gelatin silver print, © Hiroshi Sugimoto, courtesy Fraenkel Gallery, San Francisco and Pace Gallery, New York

W. H. F O X TA L B O T E D WA R D W E S T O N JOEL - PE TER WITKIN

Mike Disfarmer (American, 1884 –1959) Untitled c.1940 gelatin silver print Gift of Anthony James Ellman 2007.7.2

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Prado, 2012, oil on canvas, 54" x 50"

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explores my own beliefs as well as reflecting social issues in the broader context. may y 2012 2012 | ma

magazine ||61 13 THEmagazine THE


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ART FORUM

magazine asked three New Mexico artists and a clinical psychologist to share their take on this painting by George Evans (123gevans @gmail.com). They were shown only the image—they were not told the title, medium, or name of the artist.

of something larger, and ultimately more important than either the figures or the context of their surroundings. The hands holding the paper airplanes are capable of great things. I find it interesting that the male figure, presumably the father, is smaller and that his hand is flesh colored (though his arm is not), as if he is far removed from what the paper airplanes represent—flight, imagination, and creativity.  He is, perhaps, nostalgic for these, but he is merely going through the

Thick, wide brushstrokes energize the work and show figures in transition between stillness

motions.  The girl (his daughter?) dominates the frame, but she too is performing a ritual.

and motion. Psychologically, this mirrors the hooded youth’s stage of development: a mixture

Her demeanor suggests that innocence, creativity, and playfulness are lost to her. She is too

of adolescence and adulthood. The setting could be a bar. Perhaps the older man is a mentor

far gone to allow the Hand of God to touch her, even as it moves through her. This painting

for the youth. Maybe the younger person is a depressed, troubled teen. I wonder if we are

compels me to act. The inevitable flight of the paper planes, juxtaposed against the complete

seeing two people innocently engaged in a paper airplane contest or if we are witnessing

disinterest of the figures, stimulates my desire to shake these people and wake them up. I

something far more serious in nature. Perhaps this is not a game but a reenactment of the

want to tell them to laugh, to try, to fail, and to fly. Alas, I am convinced it is too late. 

tragedies of 9/11? The fire-like use of red and yellow combined with the work’s somber

—Destiny Allison, Sculptor and author of Shaping Destiny

mood further highlights this idea. The gray forms above the man suggest the shape of the Twin Towers. The younger person’s back is turned away from the older man and his hand is in his pocket as if getting ready to take some action. There is an emotional disconnection. Traumatic reactions entail feelings of psychic numbness. Both figures’ hands are so large they are disproportionate to the rest of their bodies. This suggests that the action with their hands is of central importance to the painting. The young person’s hand in the pocket recalls iconic images of David and Goliath.

—Davis Brimberg, Ph.D., Clinical Psychologist Two figures gaze emotionlessly outside of the picture plane. Their expressionless faces are in contrast with the playful nature of the paper airplanes that they each hold. The brushstrokes are painterly, and aside from the representational and skillful rendering of the figures’ faces, there is a grotesque nature to the rest of the presentation. The enormous scale of their hands and the holster-like pocket in the shorts of the female figure in the foreground are unsettling, perhaps due to their distortion. The blocked-out color on the arm of the man behind her reminds me of the work of Nathan Oliveira; however, I respond better to Oliveira’s color choices and blend of figurative work and abstraction. I can’t tell where these particular figures are located. The shape below the man’s knees is reminiscent of stairs, and crude lines denote the possibility of architecture behind him. Muddy lines wave across the top of the image through brown paint. Giant wine bottles march next to the girl, and two odd blue-grey rectangles sail above the figures while a block of blue-grey floats over the man’s head. I’m left wondering why these figures are so distant amidst wild and uncontrolled gestures of landscape and color. 

—Joanne Lefrak, Director of Education and Outreach, SITE Santa Fe Tim and Stephanie wear cargo shorts. I wouldn’t say Stephanie’s pretty, but she’s definitely smart looking. I can’t get a good read on Tim. He might be a Vegan. Stephanie has catcher’s mitts for hands. Tim has massive manos as well. Stephanie is self-conscious, so she stashes her gigantic left hand inside her coat pocket, concealing it as best she can. Stephanie’s right hand grips a paper plane and is a zombie-like grey. Tim has a paper plane too. This is an actionportrait—a climactic snapshot, the crucial moment before the origami “take-off.” Tim has a clear shot of Stephanie’s back. Bullseye! But there is something about Tim and Stephanie’s expressions—their attention is directed elsewhere; it is as though they paused in this precise moment for a reason, like they’re waiting for the order to “strike.”

—Tess Cutler, National Art Observer When I look at this image, I conjure the “Hand of God,” or what it might look like attached to two regular people who have lost the ability to recognize it. These hands, so disparate from the figures themselves, are powerful, imposing, and poised to act. They suggest the presence

| ma y 2012

George Evans, Inside and Outside, oil on canvas, 48” x 60”, 2011

THE magazine | 16


discover delgado

c a n y o n ro a d ’ s h i d d e n t r e a s u r e

Pippin Meikle Fine Art

Barbara Meikle

Imaging the World Gallery Lisa Ross

Hasson Gallery

Pippin Meikle Fine Art

Randall Hasson

Aleta Pippin INART

Mark Yearwood

d e l g a d o s t r e e t g a l l e r i e s . c o m


TU UD DIIO O VVI ISSI ITTsS SST

Sculptor Destiny Allison wrote: “The language of sculpture is the language of geometric symbolism— it is the language of body and the language of the physical world.” Let me respond instead to Brancusi saying, “What is real is not the external form, but the essence of things . . . it is impossible for anyone to express anything essentially real by imitating its exterior surface.” Or Degas saying, ‘”The object of art is not to reproduce reality, but to create a reality of the same intensity.” For me, sculpture isn’t separate from any other art form or means of expression. It is a way of creating a new separate reality, which is at its core the same reality.

—Mary Shaffer In 2012, Shaffer will exhibit her glass sculptures and paintings at the following venues: The Wall Show by Eight Sculptors, Sculpturesite Gallery, Sonoma CA; 40th International Invitational, Habitat Gallery, Royal Oak, MI; Mellissa Zink Award, Taos Fall Arts Festival, Taos; and the Center for Visual Arts, Denver, CO. Shaffer will be having a one-person show at Zane Bennett Contemporary Art, Santa Fe. Opening reception on Friday, May 25, from 5 to 7 pm.

I don’t think of sculpture as language, but as a man-made object which arrests us. It births an experience which interrupts thought by evoking feeling. Only later do we explain this experience, now a memory, by language.

—Jamie Hamilton An exhibition—Arrhythmic Visions—will be on view through June 10 at the Muñoz Waxman Gallery at the Center for Contemporary Arts, Santa Fe. Review on page 53. arecibo.c1h2.net

| ma y 2012

THE magazine | 19


Taste the New Southwest

TR ADIT IO NAL JAPAN E S E RA M E N H O U S E

Inspired by Northern New Mexico and infused with local and organically sourced ingredients, Chef Charles Dale’s new menu blends a sense of balance, place and comfort to create a new twist on Contemporary American Cuisine.

shibumi R

A

M

E

N

Y

A

Lunch: 11:30 am – 2:30 pm Monday – Friday Dinner: 5:30 –10 pm Monday – Saturday Kaiseki / Izakaya Dinner: Last Thursday of the Month 26 Chapelle Street, Santa Fe, NM 87501 505.428.0077 ■ shibumiramen.com Fragrance Free

Parking Available

877.262.4666 198 State Road 592, Santa Fe encantadoresort.com

* ORGANIC GARDENING WATER CONSERVING SIMPLE & SUSTAINABLE KNOW YOUR FOOD SOURCE GROW YOUR OWN YEAR-ROUND GIVE THE GIFT OF FOOD TO OTHERS


food for thought

The Ice Cream Cone Over the centuries, iced desserts have kept prestigious company. King Solomon is said to have enjoyed iced drinks during the harvest season. Roman Emperor Nero sent servants into the mountains to collect snow, which would then be served with fruits and honey. In the late thirteenth century, merchant-explorer Marco Polo returned to Italy from the Far East bearing, among other things, a recipe for sherbet. Catherine de’ Medici, wife of King Henry II of France, introduced the nation to sherbet and other iced drinks during the 1500s. “Cream Ice” was often served at the table of King Charles I of England. Even America’s founding fathers had a taste for ice cream; according to the International Dairy Foods Association, George Washington spent about $200 on ice cream in a single summer. Thanks to the invention of the freezer around the year 1800, ice cream became a treat everyone could enjoy. Today, Americans consume more ice cream than any other country in the world. D

| ma y 2012

THE magazine | 21


“Where Elegance Reigns” —Patricia Greathouse, Pasatiempo

lunch – monday thru saturday sunday brunch dinner nightly

restaurant bar 231 washington avenue - reservations 505 984 1788

gift certificates, menus & special events online www.santacafé.com

­

Drink YourVegetables Small Batch Heirloom Vodka Hand Crafted in New Mexico by Los Luceros Destilaría Available at Select Purveyors in Santa Fe and Taos

e Los L od u ch

ros ce

Ra n

Arroyo Vino •  Restaurant&Wine Bar • Cliff ’s Liquors • Coyote Café • El Camino Cantina • El Meson Restaurant Encantado • Geronimo • Inn at Loretto • Kaune’s Neighborhood Market • Kelly Liquor Barn • Kokoman Liquid Company • Midtown Market & Lounge • Pink Adobe • Santacafé • Sunflower Market Susan’s Fine Wine & Spirits • Taos Inn • Tesuque Village Market • The Gorge • The Matador • The Palace

Drink different. www.kgbspirits.com

TAO S LI GHT NI NG W HI SK EY • HAC I E NDA GI N • VODKA VIRACOCHA NAR ANJ O O R ANGE LI QU E U R • BR I M STO NE ABSINTHE


ONE BOTTLE

One Bottle:

The 2009 Chartron et Trébuchet Pernand-Vergelesses by Joshua Baer Though I know that evenin’s empire has returned into sand Vanished from my hand Left me blindly here to stand but still not sleeping My weariness amazes me, I’m branded on my feet I have no one to meet And the ancient empty street’s too dead for dreaming. Hey! Mr Tambourine Man, play a song for me I’m not sleepy and there is no place I’m going to Hey! Mr Tambourine Man, play a song for me In the jingle jangle morning I’ll come followin’ you. — From “Mr. Tambourine Man,” by Bob Dylan, 1964. In February of 1964, Bob Dylan drove across the country with a group of friends. On their way back to New York, Dylan and his friends stopped off in New Orleans and went to Mardi Gras. Dylan started writing “Mr. Tambourine Man” in New Orleans. By the time he got to New York, in April of 1964, he was almost finished with the lyrics. Judy Collins, who later covered the song on Fifth Album, claimed that Dylan finished writing “Mr. Tambourine Man” in her apartment in New York. The rock journalist Al Aronowitz, who had the distinction of introducing Dylan to the Beatles, in August of 1964, said that Dylan may have worked on “Mr. Tambourine Man” at Judy Collins’ apartment, but that he finished writing the lyrics while he was staying at Aronowitz’s house, in Berkeley Heights, New Jersey, in April of 1964. On May 17, 1964, Dylan premiered “Mr. Tambourine Man” in concert at the Royal Festival Hall in London. In July of 1964, Dylan performed “Mr. Tambourine Man” at the Newport Folk Festival. In a black-and-white video of the performance at Newport—the video appears in Martin Scorsese’s documentary film, No Direction Home—Dylan sings the lyrics in a marginally detached, self-amused style, and accompanies himself on acoustic guitar and harmonica. In the audience, Dylan’s fans look confused. They were expecting a new protest song, with references to civil rights and Viet Nam. Instead, Dylan delivers a solipsistic anthem laced with allusions to drugs, exhaustion, oblivion, and weather. Then take me disappearin’ through the smoke rings of my mind Down the foggy ruins of time, far past the frozen leaves The haunted, frightened trees, out to the windy beach Far from the twisted reach of crazy sorrow Yes, to dance beneath the diamond sky with one hand waving free Silhouetted by the sea, circled by the circus sands With all memory and fate driven deep beneath the waves Let me forget about today until tomorrow. In August of 1964, Columbia Records released Bob Dylan’s fourth studio album, Another Side of Bob Dylan. “Chimes of Freedom” was one of eleven new songs on Another Side of Bob Dylan, but “Chimes” was the only song whose lyrics bore any resemblance to the protest songs that had appeared on Dylan’s third album, The Times They Are A-Changing. Two of Dylan’s classics—“All I Really Want to Do” and “It Ain’t Me Babe”—appeared on Another Side of Bob Dylan, and went on

| ma y 2012

to become hits when they were covered, respectively, by Sonny & Cher and by the Turtles, but the album was a disappointment to the folk music community. In his review of Another Side of Bob Dylan, Irwin Silber, the editor of Sing Out! Magazine, wrote that “Dylan has somehow lost touch with people. He seems caught up in the paraphernalia of fame.” “Mr. Tambourine Man” did not appear on Another Side of Bob Dylan. Dylan had recorded the song—as a duet with Ramblin’ Jack Elliot—during the Another Side studio sessions, but had cut the song from the album after deciding that the studio recording did not do it justice. On January 15, 1965, in what can only be described as one of the greatest studio sessions of all time, Dylan recorded four songs for his upcoming album, Bringing It All Back Home. The four songs were: “Gates of Eden,” “It’s All Right Ma (I’m Only Bleeding),” “It’s All Over Now Baby Blue,” and “Mr. Tambourine Man.” The four songs were recorded in one take. On the take, Dylan played acoustic guitar and harmonica. He was accompanied on electric guitar by Bruce Langhorne, a Greenwich Village folk musician who had worked with Joan Baez, Peter, Paul & Mary, Carolyn Hester, and Richard and Mimi Farina. Bruce Langhorne had worked with Dylan before, playing lead guitar on “Corina, Corina” in 1963, and on “Love Minus Zero/No Limit” in 1964. In 1985, in the notes for Biograph, Dylan disclosed the identity of Mr. Tambourine Man: “Bruce was playing with me on a bunch of early records.... And he had this gigantic tambourine.... It was as big as a wagon wheel. He was playing and this vision of him playing just stuck in my mind.” Which brings us to the 2009 Chartron et Trébuchet Pernand-Vergelesses. In the glass, the 2009 Pernand-Vergelesses has a benign, golden clarity. The bouquet manages to be simultaneously guarded and direct. The conflicted qualities that live in the bouquet are matched by the Byzantine flavors that come alive in the wine. You could lose your mind trying to give names to those flavors. The finish is like a story that begins without warning and ends before you can fathom its depth. One of this wine’s best features is the way it makes you long for another glass of it, no matter how many glasses you’ve had. In 2004, Bruce Langhorne consigned his tambourine to Heritage Auctions. In the auction catalogue, images of the tambourine are accompanied by a black-and-white photograph of Bruce Langhorne, Bob Dylan, Carolyn Hester, and Bob Lee in a studio in New York in 1963, and by a handwritten note from Dylan to Bruce Langhorne regarding the tambourine. To Bruce, “Mr. Tambourine Man” Back there was something else! Like they say, it was better to be in chains with friends than in a garden with strangers. So true huh? Stay well + All the Best — Bob Dylan ‘04 The note,the photograph, and Bruce Langhorne’s tambourine are now in the collection of Paul Allen’s Experience Music Project Museum in Seattle, Washington. One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. The name “One Bottle” and the contents of this column are ©2012 by onebottle.com. For back issues, go to onebottle.com. You can write to Joshua Baer at jb@onebottle.com

THE magazine | 23


DINING GUIDE

“Soup’s On”

Shibumi 418 Johnson Street 428-0077 $ KEY

INEXPENSIVE

$

up to $14

MODERATE

$$

$15—$23

EXPENSIVE

$$$

$24—$33

Prices are for one dinner entrée. If a restaurant serves only lunch, then a lunch entrée price is reflected. Alcoholic beverages, appetizers, and desserts are not included in these price keys. Call restaurants for hours.

VERY EXPENSIVE

$$$$

$34 plus

EAT OUT OFTEN

Photos: Guy Cross

...a guide to the very best restaurants in santa fe, albuquerque, taos, and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, seared Pork Tenderloin, and the Black Mussels are all winners. Comments: A beautiful new bar with generous martinis, a teriffic wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. 317 Aztec 317 Aztec St. 995-9595. Breakfast/ Lunch. Patio. Major credit cards. $$ Cuisine: Cafe and Juice Bar. Atmosphere: Casual. House specialties: Breakfast: Eggs Benedict and the Hummus Bagel, are winners. Lunch: we love all of the salads and the Chilean Beef Emanadas. Comments: Wonderful juice bar and perfect smoothies. Desserts made daily. Andiamo! 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Good wines, great pizzas, and a sharp waitstaff. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236. Breakfast/Lunch/Dinner Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American cuisine. Atmosphere: An elegant room evoking the feeling of an Anasazi cliff dwelling. House specialties: We suggest blue corn-crusted salmon with citrus jalapeno sauce, or the nine-spice beef tenderloin. Comments: Attentive service. Aqua Santa 451 W. Alameda. 982-6297. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$$ Cuisine: American. Atmosphere: Casual House specialties: Start with the Pan Fried Oysters with Watercress. For your main, we suggest the perfect Wild King Salmon with Lentils or the Long-Braised Shepherd’s Lamb with Deep Fried Leeks. Comments: Good wine list, great soups, and amazing bread.

Betterday Coffeeshop 905 W. Alameda St. Breakfast/Lunch Major credit cards. $ Cuisine: Classic coffehouse fare. Atmosphere: Casual as casual can be. House specialties: Espressos, Lattes, Macchiatos (all double shots), as well as Italian Sodas, Hot Chocolates and Teas. Recommendations: Try the Coffee of the Day—always

a surprise, never a disappointment. Comments: Food menu at the counter changes daily.

grilled salmon with leek and Pernod cream sauce, and a delicious hanger steak. Comments: Boutique wine list.

Bobcat Bite Restaurant 418 Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Patio. Cash. $$ Cuisine: American as apple pie. Atmosphere: A low-slung building with eight seats at the counter and four tables. House specialties: The inchand-a-half thick green chile cheeseburger is sensational. The secret of their great burgers is a decades-old, well-seasoned cast-iron grill. Go.

Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: All-American. Atmosphere: Patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are fantastic. Super buffalo burgers. Comments: Huge selection of beers.

Body Café 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual. House specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Asian Curry for lunch or the Avocado and Cheese Wrap. Comments: Soups and salads are marvelous, as is the Carrot Juice Alchemy. Cafe Cafe Italian Grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad, the tasty specialty pizzas, or the grilled eggplant sandwich. For dinner, go for the perfectly grilled Swordfish Salmorglio. Comments: Friendly waitstaff. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: The café is adorned with lots of Mexican streamers and Indian maiden posters. House specialties: Hotcakes got a nod from Gourmet magazine. Huevos motuleños—a Yucatán breakfast—is one you’ll never forget. For lunch, try the Grilled Chicken Breast Sandwich. The Compound 653 Canyon Rd.  982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: Contemporary. Atmosphere: 150-year-old adobe with white linen on the tables. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is flawless. Desserts are perfect. Comments: Chef/owner Mark Kiffin, winner of James Beard Foundation’s “Best Chef of the Southwest” award has a new restaurant, Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Breakfast: burritos and frittata. Lunch: sandwiches and salads. Dinner: flash-fried calamari;

Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: For your main course, go for the grilled Maine Lobster Tails, the Southwestern Rotisserie, or the grilled 24-ounce “Cowboy Cut” steak. Comments: Nice wine list.

Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: We call it French/Asian fusion. Atmosphere: Kiva fireplaces and a lovely garden room. House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass, served with black truffle scallions, and the classic peppery Elk tenderloin. Comments: Tasting menus available. Il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad, the Lemon Rosemary Chicken, and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: New on the menu: a perfect New York Strip Strip Steak at a way better price than the Bull Ring—and guess what— you don’t have to buy the potato.

Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room with small tables inside and a nice patio outside where you can sit, read periodicals, and schmooze. Tons of magazine to peruse. House specialties: Espresso, cappuccino, and lattes.

Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Basic cafe-style. House specialties: We love the Jerk Chicken Sandwich and the Phillo stuffed with spinach, black olives, feta cheese, roasted red peppers, and chickpeas served over organic greens. Comments: Chef Obo wins awards for his fabulous soups.

Dragonfly Cafe & Bakery 402 Paseo del Pueblo Norte, Taos 575-983-3085. Lunch/Dinner Beer/Wine. Patio. Cash/Major credit cards. $$ Cuisine: As organic as possible. Atmosphere: Casual. House specialties: For lucn, go for the Kale Salad or the French Country Beef Stew. Dinner faves include the superb Grilled Salmon delicious Moroccaan Roast Chicken Comments: Sunday Brunch is a winner—get the Eggs Dragonfly.

Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake. It is clear, smooth, and very dry. Comments: You will love the new noodle menu.

.

El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish. Atmosphere: Wood plank floors, thick adobe walls, and a postage-stamp-size dance floor for cheekto-cheek dancing. House specialties: Tapas. Comments: Murals by Alfred Morang. El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego Cheese marinated in extra virgin olive oil. Go. Geronimo 724 Canyon Rd. 982-1500.

La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Salvadoran Grill. Atmosphere: casual open space. House specialties: Loroco omelet and the pan-fried plantains. Try the Salvadorian tamales . Everything is fresh. Recommendations: Sunday brunch. Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual and friendly. House specialties: Start with the Pho Tai Hoi, a vegetarian soup loaded with veggies, fresh herbs, and spices. For your entrée, we suggest the Noung—it will rock your taste buds. Comments: Generous portions.

La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Enclosed courtyard. House specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad with baked New Mexico goat cheese. For your entrée, try the Braised Lamb Shank, served with a spring gremolata, couscous, and vegetables. Comments: Seasonal menus. M aria ’ s N ew M exican K itchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner Full bar. Patio. Major credit cards. $$

Cuisine: New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: Freshly made tortillas, Green Chile Stew, and Pork Spareribs. Comments: Famous for their margaritas. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Mu Du is committed to organic products. Museum Hill Cafe Museum Hill, off Camino Lejo. 984-8900. Lunch: Tuesday - Sunday Beer/Wine. Major credit cards. $$ Cuisine: American/Contemporary New Mexican. Atmosphere: Casual. House specialties: We love the Asian Shrimp Taco sand the Smoked Duck Flautas. Comments: Menu changes seasonally. New York Deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Hero Sandwiches, Pancakes, and over-the-top Gourmet Burgers. Comments: Deli platters to go are available. Nostrani Ristorante 304 Johnson St. 983-3800. Dinner Beer/Wine. Fragrance-free Major credit cards. $$$ Cuisine: Innovative regional dishes from Northern Italy. Atmosphere: Elegant. House specialties: Start with the Mushroom and Artichoke Salad. Entrees we love: the Veal Scalopinni or the Roasted Trout with Leeks, Pepper, and Sage. Dessert: Go for the Mixed Berries with Lemon Comments: Organic ingredients. You cannot go wrong dining here. Menu changes seasonally. Frommers rates Nostrani as one of the “Top 500 Restaurants in the World.” Please note: fragrance-free.

continued on page 27

| M A Y 2012

THE magazine | 25


Home of the Healing Arts The Spa at Encantado offers an innovative selection of spa and wellness services, honoring New Mexico’s indigenous healing traditions while paying tribute to Santa Fe’s established reputation for eclectic approaches to health and well being.

PATIO NOW OPEN NEW SPRING MENU FROM EXECUTIVE CHEF

LOUIS MOSKOW

DINNER NIGHTLY 315 Old Santa Fe Trail • Reservations 505.986.9190 www.315santafe.com

THE

AT E N CA N TA D O

Palace Restaurant & Saloon

877.262.4666 198 State Road 592, Santa Fe encantadoresort.com

{ WE ATHER PERMITTING }

Executive Chef Joseph Wrede

Fresh. Local. Seasonal. Lunch from $10 Dinner from $20 Indoor and outdoor One block West of Plaza Access to parking lots

505 428 0690 palacesantafe.com 142 W. Palace Ave

Kate Russell Photography

Eat Late 10:30 +


DINING GUIDE

au Poivre. Comments: Great pour at the bar. Italian, Hawaiian, New Mexican, Chinese, and Moroccan influences show up on the dinner menu. Chef Joseph Wrede works his magic in the kitchen. The Pantry Restaurant 1820 Cerrillos Rd. 986-0022 Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: New Mexican/American. Atmosphere: Bustling with counter service and extra-friendly service. House specialties: Breakfast rules here with their famous stuffed French Toast, Corned Beef Hash, and Huevos Rancheros. Also a hand-breaded Chicken Fried Steak, and homemade Meatloaf round out the menu. Comments: The Pantry has been in the same location since 1948.

Lunch and Dinner at

Andiamo! 322 Garfield Street, Santa Fe

Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light, colorful, and friendly. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile.

Major credit cards. $$$ Cuisine: Contemporary Southwestern. Atmosphere: Minimal, subdued, and elegant. House specialties: The worldfamous calamari never disappoints. Favorite entrées include the perfectly cooked grilled rack of lamb and the pan-seared salmon with olive oil crushed new potatoes and creamed sorrel. Comments: The daily pasta specials are generous and flavorful. Appetizers during cocktail hour rule.

Rasa Juice Bar/Ayurveda 815 Early St. 989-1288 Major credit cards. $$ Cuisine: Organic juice bar. Atmosphere: Calm. House specialties: Smoothies, juices, teas, chai, cocoa, coffee, and espresso—made with organic ingredients. Juice: our favorite is the Shringara, made with beet, apple, pear, and ginger.

Santa Fe Bar & Grill 187 Paseo de Peralta. 982.3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Cornmeal-crusted Calamari, the Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet.

Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Sunday Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American classic steakhouse. Atmosphere: Pueblo-style adobe. House specialities: USDA Steaks and Prime Rib. Juicy and flavorful Burgers. The Haystack fries with cornbread and honey butter is a big, big plus. Recommendations: Nice wine list. Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Patio. Major credit cards. $$$ Cuisine: Southwestern with a French flair. Atmosphere: Contemporary. House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Ristra won the Wine Specator Award of Excellence. San Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ Cuisine: Japanese Sushi and Tapas. Atmosphere: Large open room with a Sushi bar. House specialties: Sushi, Vegetable Gyoza, Softshell Crab, Sashimi and Sushi Platters, and a variety of delicious Japanese Tapas Comments: A savvy sushi chef makes San Q a top choice for those who really love Japanese food. San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: All-American. Atmosphere: Casual. House specialties: The San Francisco Street Burger, the Grilled Yellowfin Tuna Nicoise Salad, or the New York Strip. Comments: Sister restaurant located in the DeVargas Center. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio.

| ma y 2012

Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily chef specials, gourmet and buildyour-own sandwiches, wonderful soups, and an excellent salad bar. Comments: Breakfasts, organic coffees, and super desserts. Family-run. Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers are outstanding when paired with Beer-steamed Mussels, Calamari, Burgers, and Fish & Chips. Comments: Sister restaurant at 1607 Paseo de Peralta, in the Railyard District. Shibumi 26 Chapelle St. 428-0077. Lunch/Dinner Fragrance-free Cash only. $$. Parking available Beer/wine/sake Cuisine: Japanese noodle house. Atmosphere: Tranquil and elegant. Table and counter service. House specialties: Start with the Gyoza—a spicy pork pot sticker—or the Otsumami Zensai (small plates of delicious chilled appetizers), or select from four hearty soups. Shibumi offers sake by the glass or bottle, as well as beer and champagne. Comments: Zen-like setting. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes.

995-9595 Station 430 S. Guadalupe. 988-2470 Breakfast/Lunch Patio Major credit cards. $ Cuisine: Light fare and fine cofffee and teas. Atmosphere: Friendly and casual. House specialties: For your breakfast choose the Ham and Cheese Croissant or any of the Fresh Fruit Cups. Our lunch favorite is the Prosciutto, Mozzarella, Tomato sandwich on a Cabatta roll. Comments: Special espresso drinks. at El Gancho Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant House specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce. Comments: They know steak here.

Steaksmith

Table de Los Santos 210 Don Gaspar. 992-5863 Breakfast/Lunch/Dinner Sunday Brunch Full Bar. Major credit cards. $$$ Cuisine: New Mexican–inspired fare. Atmosphere: Large open room with high ceilings House specialties: Try the organic Chicken Paillard with vegetables—it is the best. For dessert, we love the organic Goat Milk Flan. Comments: Well-stocked bar. Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork. Atmosphere: Casual. House specialties: We love the Salmon Benedict with poached eggs, the quiche, the Gourmet Cheese Sandwich, and the Teaouse Mix salad. Comments. Teas from around the world. Terra at Encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: Contemporary American. Atmosphere: Sophisticated and very elegant. House specialties: For dinner, start with the Risotto with Shaved Truffles. For your main, order the Harris Ranch Beef Tenderloin served with foie gras butter, or the Fish of the Day. Comments: Chef Charles Dale certainly knows what “attention to detail” means. The Palace Restaurant & Saloon 142 West Palace Avenue 428-0690 Lunch/Dinner Full bar. Major credit cards $$$ Cuisine: Modern Italian Atmosphere: Old World flavor with red-flocked wallpaper in the bar. House Specialties: For lunch: the “Smash” Burger or the Prime Rib French Dip. Dinner: We love the Chicken Breast Diablo Italiano, Tuscan Shrimp, or the All-American Steak

The Pink Adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club. For dinner, get the Steak Dunigan, with green chile and sauteed mushrooms, or the Fried Shrimp Louisianne. Comments: Cocktail hour in the Dragon Room is a Santa Fe tradition. The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: A local institution located just off the Plaza. House specialties: Order the red or green chile cheese enchiladas. Many folks say that they are the best tin Santa Fe. The Ranch House (Formerly Josh’s BBQ) 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: BBQ and Grill. Atmosphere: Family and kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: Nice bar. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $ Cuisine: New Mexican. Atmosphere: Casual. House specialties: Green Chile Stew, the traditional Breakfast Burrito, stuffed with bacon, potatoes, chile, and cheese. Comments: The real deal. Tomme Restaurant 229 Galisteo St. 820-2253 Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Contemporary. Atmosphere: Casual and friendly. House specialties: Start with the Cheese Board. Entrée: Choose the Steak Frites, or the Southern Fried Chicken. Fave dessert: the Caramel Pots de Crème. Comments: Innovative cuisine

Tree House Pastry Shop and Cafe 1600 Lena St. 474-5543. Breakfast/Lunch Tuesday-Sunday Major credit cards. $$$ Cuisine: Only organic ingredients used. Atmosphere: Light, bright, and cozy. House specialties: Order the fresh Farmer’s Market Salad, the Birdhouse Burger, or the Lunch Burrito, smothered in red chile and served with a salad. T une -U p C afé 1115 Hickox St.. 983-7060. Breakfast/Lunch/Dinner Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home, House specialties: Breakfast faves are the scrumptious Buttermilk Pancakes and the Tune-Up Breakfast. Comments: Super Fish Tacos and the El Salvadoran Pupusas are excellent. Beer on tap in late May. V inaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: We call the food here: farmto-table-to-fork. Atmosphere: Light, bright and cheerful. House specialties: All of the salads are totally amazing— as fresh as can be. We love the Nutty Pear-fessor salad, and the Chop Chop Salad. Comments: Vinaigrette will be opening a “sister” restaurant in Albuquerque in the fall. W hoo ’ s D onuts 851 Cerrillos Rd. 629-1678 6 am to 3 pm. Major credit cards. $ Cuisine: Just donuts. Atmosphere: Very, very casual. House specialties: Organic ingredients only. Comments: Our fave donut is the Maple Bar, with or without the bacon. Organic coffee is a big plus. Z acatecas 3423 Central Ave., Alb. 505-255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo cooked in housemade Chipotle Salsa or the Slow Cooked Pork Ribs with Tamarind Recado-Chipotle Sauce with Sweet Potato Fries and Serrano Slaw. Over sixty-five brands of Tequila are offered. Comments: Savvy waitstaff. Z ia D iner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: All-American diner food. Atmosphere: Down home. House specialties: The Chile Rellenos and Eggs is our breakfast choice. At lunch, we love the Southwestern Chicken Salad, the Meat Loaf, all the Burgers, and the crispy Fish and Chips. Comments: The bar is the place to be at cocktail hour. Sweets and pastries are available for take-out.

The Betterday Coffeeshop | 905 West Alameda, Santa Fe

THE magazine | 27


Downtown

Railyard Arts District

May 1 - 29, 2012

May 18 - June 23, 2012

Opening reception: Friday, May 4, 5:00 - 7:00 p.m. WALL BATTERTON Against the wall

Opening reception: Friday, May 25, 5:00 - 7:00 p.m.

Robert Swain, Untitled, 6x7-5A 15 B3-Five, 2001 Acrylic on canvas, 72” x 84”

Wall Batterton, It’s Running Again #6, 2005, Acrylic on paper, 60” x 40”

ROBERT SWAIN Color Affect

Michael Wright, Rio Grande Gorge, 2003 Paper and charcoal on canvas, 84” x 65 3/4”

MICHAEL WRIGHT A Painting Survey

Seeing Red A Group Exhibition Featuring artwork by: Gabriele Evertz, Beverly Fishman, Harmony Hammond, Maxwell Hendler, Tim Jag, Matsumi Kanemitsu, Tom Martinelli, Scott Malbaurn, Julian Stanczak, Yozo Suzuki, Robert Swain, and Leo Valledor

DavidrichardContemporary.com 130 Lincoln Avenue, Suite D, Santa Fe, NM 87501 p (855) 983-9555 | f (505) 983-1284 info@DavidRichardContemporary.com

Julian Stanczak, Red Diffusion, 1977 Acrylic on canvas, 60” x 50”

Danielle Shelley, Earth Measure Blues 3, 2010 Oil on linen, 36” x 24”

DANIELLE SHELLEY Earth Measure Blues

Davidrichardgallery.com 544 South Guadalupe Street, Santa Fe, NM 87501 p (855) 983-9555 | f (505) 983-1284 info@DavidRichardGallery.com


ART OPENINGS

M A Y A r t o p en i n g s FRIDAY, MAY 4 Albuquerque Photographers’ Gallery, 303 Romero St., N-208, Alb. 505-244-9195. Icons of the West: photographs by Lynne Pomeranz. 5-8 pm. Chiaroscuro, 702½ Canyon Rd., Santa Fe. 9920711. New Work: sculptures by John Garrett. Gli Alberi: photographs by Irene Kung. 5-7 pm. David Richard Contemporary, 130 Lincoln Ave., Suite D, Santa Fe. 983-9555. Against the Wall: paintings by Wall Batterton. A Painting Survey: paintings by Michael Wright. Earth Measure Blues: paintings by Danielle Shelley. 5-7 pm. Gallery ABQ, 7400 Montgomery Ave., Alb. 505-268-9969. What’s New in ABQ: grand opening with work by gallery artists. 5-9 pm. Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Works by Garo Antreasian and Robert Erickson. 5-7 pm. LewAllen Gallery Downtown, 125 W. Palace Ave., Santa Fe. 988-8997. Natura: new oil paintings by Margaret Fitzgerald. 5:30-7:30 pm. Marigold Arts, 424 Canyon Rd., Santa

Fe, 982-4142. Owls, Otters, and Others: watercolors by Ruth Tatter. 5-7 pm.

Concepts II: metal arts by Celest Michelotti, glass work by Doug Gillis. 5-8:30 pm.

Mariposa Gallery, 3500 Central Ave. SE, Alb. 505-268-6828. Deliberate Mischief: works by Doug Jones and Kim Kulow-Jones. Sculptures by Scott Randolph. Jewelry by Peter Gilroy. 5-8 pm.

SATURDAY, MAY 5

New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Catalyst II: group show of work by Santa Fe women artists. 5-7 pm.

Tapestry Gallery, Firehouse Lane, Suite D, Madrid. 505-262-0392. Manifestations of Math: new works by Donna Loraine Contractor. 1-4 pm.

Palette Contemporary Art and Craft, 7400 Montgomery Blvd. NE, Alb. 505-855-7777. Akari: glass and jewelry art by Yukako Kojima. 5-8 pm. Stranger Factory, 109 Carlisle Blvd. NE, Alb. 505-508-3049. The Missing Elements: retro illustrations by Ragnar and Scott Tolleson. 6-9 pm. Touching Stone Gallery, 539 Old Santa Fe Trail, Santa Fe. 988-8072. Memory of Time: ceramic sculptures by Fusako Akao. 5-7 pm. Weyrich Gallery, Louisiana Blvd. NE, Suite 2935-D, Alb. 505-883-7410. Contemporary

Encaustic Art Institute, 18 Country Rd., Cerrillos. 424-6487. EAI Members Show: group show of international artists. 1-6 pm.

FRIDAY, MAY 11 Canyon Road Contemporary Art, 403 Canyon Rd., Santa Fe. 983-0433. Terra Scapes— Tributes to Mother Earth: works by Alice Webb, Madina Croce, and Cyndia Harlan. 5-7 pm.

and Repose: paintings by Don Stinson. 5-7 pm.

SATURDAY, MAY 12 Rio Bravo Fine Art, 110 N. B’way, Truth or Consequences. 575-894-0572. Together: paintings by Diane Campbell. Sculptures by Joe Campbell. 6-9 pm.

FRIDAY, MAY 18 Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Sacred Places— Watercolour Diaries from the American Southwest: landscapes by Tony Foster. 5-7 pm. Intrigue G allery, 715-B Canyon Rd., Santa Fe. 820-9265. Man Up: paintings by Pamela Frankel Fiedler. 5-8 pm.

Downtown Subscription, 376 Garcia St., Santa Fe. 983-3085. Fire and Ice: paintings by Andrea Broyles. 4-6 pm.

Karan R uhlen G allery, 225 Canyon Rd., Santa Fe. 820-0807. Twenty Years of Monotypes (1983-2003): works by Janet Lippincott. 5-7 pm.

Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. New Works on Paper: work by Lex Hedley, Lars Jonsson, Julia Loken, and September Vhay. Between Culture

M useum of Contemporary Native Arts, 108 Cathedral Pl., Santa Fe. 983-1777. Native American Portraits—Points of Inquiry: images that document the changing perceptions of

Photographs of trees by Irene Kung and mixed-media sculptures by John Garrett will be on display at Chiaroscuro— 702½ Canyon Road—through June 2. Reception: Friday, May 4 from 5 to 7 pm. Photograph: Irene Kung.

continued on page 32

| ma y 2012

THE magazine | 29


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OUT AND ABOUT photographs by Mr. Clix Dana Waldon Anne Staveley Laura Shields and Jennifer Esperanza

WHO SAID THIS?

WHO SAID THIS?

“I might work on a painting for a month, but it has too look like I painted it in a minute.”

1. Hans Hofmann 2. Mark Rothko 3.Willem de Kooning

THEMAGAZINEONLINE.COM

Randolph Lau


Native peoples over a span of almost 100 years. 5-7 pm. Palette Contemporary Art and Craft, 7400 Montgomery Blvd. NE, Alb. 505-855-7777. Akari: glass and jewelry art by Yukako Kojima. 5-8 pm.

SATURDAY, MAY 19 203 Fine Art, 203 Ledoux St., Taos. 575751-1262. Taos Moderns—Postwar Modern Art: group show. 5-8 pm.

FRIDAY, MAY 25 Ahalenia Studios, 2889 Trades W. Rd., Santa Fe. 699-5882. Moundbuilders—Exploring the Ancient Southeastern Woodlands: works by Linda Lomahaftewa and America Meredith. 6-9 pm. Andrew Smith Gallery, 122 Grant Ave., Santa Fe. 984-1234. Saints and Sinners: photographs by Miguel Gandert. 5-7 pm. David Richard Contemporary, 544 S. Guadalupe St., Santa Fe. 983-9555. Color Affect: paintings by Robert Swain. Seeing Red: group show. 5-7 pm.

Mill Fine Art, 530 Canyon Rd., Santa Fe. 982-9212. Transcendental Modern: paintings by Charles Greeley. 5-7 pm. Museum of Contemporary Native Arts, 108 Cathedral Place, Santa Fe. 983-1777. Alumni AlumnUS: self-portraiture group show. 5-7 pm. Pippin Contemporary Art, 125 Lincoln Ave., Santa Fe. 795-7476. Tribal Exploration: works by Suzanne Wallace Mears. 5-8 pm. Silver Sun Gallery, 656 Canyon Rd., Santa Fe. 983-8743. Transitions: watercolors by Bette Yozell. 4:30-7:30 pm. Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Teleharmonium: paintings by Matthew Troy Mullins. The Fluid Line: glass sculpture by Mary Shaffer. American Cities: prints by Tony Soulié. 5-7 pm.

SATURDAY, MAY 26 516 Arts, 516 Central Ave. SW, Alb. 505-2421445. Time Pieces: three collaborative projects exploring time and place. 6-8 pm.

Time Pieces—three collaborative projects that explore time and place on view through August 11 at 516 ARTS, 516 Central Avenue SW, Albuquerque. Reception: Saturday, May 26 from 6 to 8 pm. Image: Messenger Pigeons by Christy Hengst

Center for Contemporary Arts, 1050 Old Pecos Trail, Santa Fe. 982-1338. Arrhythmic Visions: sculpture and wall works by Jamie Hamilton and Alison Keogh. Through Sun., June 10. ccasantafe.org Charlotte Jackson Fine Art, 554 S. Guadalupe St., Santa Fe. 989-8688. Dialogues in Steel: works by Elliot Norquist and Jeremy Thomas. Through Sun., May 27. charlottejackson.com

Act I Gallery, 218 Paseo del Pueblo Norte, City of Santa Fe Community Gallery, 201 West Marcy St., Santa Fe. 955-6705. Art Working with Words: workshop with Sabra Moore. Sat., May 5, 12-2 pm. 5 Folds Towards a Book: workshop with Suzanne Vilmain. Sat., May 19, 1-3 pm. Poetry Reading: with various Santa Fe poets. Wed., May 16, 6-8 pm; Wed., May 23, 6-8 pm. santafenm.gov Eldorado Arts and Crafts Association at La Tienda at Eldorado, 7 Caliente Rd., Santa Fe. Eldorado Studio Tour. Opening night, Fri., May 18, 5-7 pm. Open studios, Sat., May 19 and Sun., May 20, 10 am-5 pm. eldoradostudiotour.org Encaustic Art Institute, 55-A 18 Country Rd., Cerrillos. 424-6487. Total solar eclipse viewing. Sun., May 20, 1 pm-sunset. eainm.com Fort Selden State Monument, 1280 Fort Selden Rd., Radium Springs. 575-526-8911. Mother’s Day: free admission for mothers. Sun., May 13, 10 am-3 pm. nmmonuments.org

The 15th Annual Placitas Studio Tour—53 artists and artisans in 44 studios—takes place on Saturday, May 12 and Sunday, May 13, from 10 am to 5 pm. I-25 to Placitas Exit 242. Follow the yellow signs. Map and preview: placitastour.com. Image: Serena Mann.

GVG Contemporary, 202 Canyon Rd., Santa Fe. 982-1494. Heavy Metal/Precious Metal: metalwork group show. 5-7 pm. Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. Radiant Flux: paintings by Jennifer J. L. Jones. 5-7 pm. Janine Contemporary, 715 Canyon Rd., Santa Fe. 989-9330. A Chance Encounter: prints and video installation by Steven R. Mendelson. 6:30-8:30 pm. La Mesa of Santa Fe, 225 Canyon Rd., Santa Fe. 984-1688. Forests and Totems: sculptures and oil paintings by Russ Vogt. 5-7 pm.

Taos. 575-758-7831. Silver and Gold: paintings by Stephen C. Datz. 4-6 pm. La Tienda Exhibit Space, 7 Caliente Rd., Santa Fe. 428-0024. Dimensions: group show. 5-7 pm. Richard Levy Gallery, 514 Central Ave. SW, Alb. 575-766-9888. Frames of Reference: John Chervinsky & 17 Stones: Jenna Kuiper. 6-8 pm.

SPECIAL INTEREST Axle Contemporary, various locations. 6705854. E Pluribus Unum: at SITE Santa Fe, 1606 Paseo de Peralta. Sat., May 12, 11 am-1 pm. Jungle: installation by Lara Nickel and Brandon Soder. To Sun., May 20. axleart.com

Hunter Kirkland Contemporary, 200B Canyon Rd., Santa Fe. 984-2111. Three Painters Paint: works by Rick Stevens, Greg Harris, and Peter Burega. Through Sun., May 13. hunterkirklandcontemporary.com Jane Sauer Gallery, 652 Canyon Rd., Santa Fe. 995-8513. Avian and Other Stories: works by Noel Hart. Through Tues., May 22. Works by Patrick McGrath Muniz: Fri., May 25 through Tues., June 19. jsauergallery.com Kathryn Street Arts Festival, 507 Kathryn St., Santa Fe. 474-3060. Summer Workshops: blacksmithing, capoeira, African drum and dance, clay as canvas. Through July and August. kathrynstreet-artsfestival.org La Posada Hotel and Resort, 330 E. Palace Ave., Santa Fe. 988-1234. Cultivating Women’s Leadership: luncheon honoring Nina Simons. Tues., May 29, 11:30 am.

LewAllen Galleries at the Railyard, 1613 Paseo de Peralta, Santa Fe. 988-3250. Summer’s Response: paintings by Emily Mason. Through Sun., June 10. lewallengalleries.com The Millicent Rogers Museum, 1504 Millicent Rogers Rd., Taos.  575-758-2462. The Art of the Dress—Four Conceptual Fittings: works by Michelle Cooke, mixed media; Nancy Delpero, painter; Deborah RaelBuckley, sculptor; and Zoe Zimmerman, photographer. The Power to Create, Collect, and Inspire: works by Millicent Rogers. Maria Martinez—Matriarch of San Ildefonso. Through Dec. 2012. millicentrogers.org Mirador Gallery, 616 Canyon Rd., Santa Fe. 995-1977. Tibetan Contemporary Masters: group show of artists from Lhasa, Tibet. Through August. miradorgallery.com Museum of Contemporary Native Arts, 108 Cathedral Place, Santa Fe. 983-1777. 2nd Annual MoCNA Art Market. Sat., May 26 to Mon., May 28. Initiation: 2012 BFA student show. Through Thurs., May 10. Under The Influence—Iroquois Artists at IAIA. Through Tues., July 31. Ladies and Gentleman, this is the Buffalo Show: works by Frank Buffalo Hyde. Through Tues., July 31. mocna.org Museum of Indian Arts and Culture, 710 Camino Lejo, Santa Fe. 476-1250. Breaking the Rules: works by Margarete Bagshaw. Through 2013. Woven Identities: basketry art from the museum’s collections. Through 2014. indianartsandculture.org National Hispanic Cultural Center, 1701 4th St. SW, Alb. 505-246-2261. 10th Annual National Latino Writers Conference. Wed., May 16 through Sat., May 19. nationalhispaniccenter.org New Mexico History Museum, 113 Lincoln Ave., Santa Fe. 476-5200. Points of Inquiry: Native American portraits. Fri., May 18 through November. nmhistorymuseum.org New Mexico History Museum at the Santa Fe Community Convention Center, 201 W. Marcy St., Santa Fe. 476-5200. Matanzas, Butch Cassidy, and Territorial Conundrums: Historical Society of New Mexico’s Statehood History conference. Thurs., May 3 through Sat., May 5. hsnm.org New Mexico Museum of Art, 107 W. Palace Ave., Santa Fe. 476-5072. It’s About Time-


ART OPENINGS

Kosmos Factory Arts Space on 5th, 1715 5th St., Alb. 505-353-2045. Revelations: A play  by James Galloway presented by The Galloway Players. May 3, 5, 10, 11, 12, 17, and 19, 8 pm; May 6, 13 and 20, 4 pm. factoryon5.com

—14,000 Years of Art in New Mexico: survey of historic New Mexico art. Fri., May 11 through 2014. nmartmuseum.org New Mexico School for the Arts, 275 E. Alameda, Santa Fe. 310-4194. Artspring 2012: fundraising exhibition and performance. Fri., May 11, 5 pm. nmschoolforthearts.org

Lucky Bean Cafe, 500 Montezuma Ave.,  Santa Fe. 438-8999. Poetry at Paul’s— Oh 12 We Delve: poetry reading. Sat., May 5, 5 pm. Email driguana@earthlink.net for info.

OFFCenter Community Arts, 808 Park Ave. SW, Alb. 505-247-1172. 7th Annual Albuquirky House Tour: self-guided tour throughout Alb. Sat., May 5, 1-4 pm. offcenterarts.org

Mine Shaft Tavern, 2846 Hwy. 14, Madrid. 505-473-0743. CrawDaddy Blues Fest: Cajun food and live music. Sat., May 19 and Sun., May 20, 12-7 pm. themineshafttavern.com

Placitas Mountaincraft Soiree Society, venues throughout Placitas. 505-7711006. 15th Annual Placitas Studio Tour. Sat., May 12 and Sun., May 13, 10 am-5 pm. placitasstudiotour.com

National Hispanic Cultural Center, 1701 4th St. SW, Alb. 505-724-4771. Noche de Oro: Mexican, Spanish, Latin, and Native American music and dance. Sat., May 5, 7 pm. nhccnm.org

Rancho de Corrales Event Center, 4895 Corrales Rd., Corrales. 505-892-9217. Corrales Studio Art Tour. Sat., May 5 and Sun., May 6, 10 am–5 pm. corralesartsstudiotour.com

Santa Fe Playhouse, 142 E. De Vargas St., Santa Fe. 986-1801. One Woman Dancing: solo contemporary dance concert with Julie Brette Adams. Fri., May 11 and Sat., May 12, 8 pm. Sun., May 13, 2 pm. onewomandancing.com

Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1122. Works by Ryan Greenheck and Nick Joerling. Through Sat., May 26. santafeclay.com Santa Fe University of Arts and Design, 1600 St. Michael’s Dr., Santa Fe. 888-4973553. Summer Theatre Intensive: workshops for high school juniors and seniors. Wed., June 20 through Sun., July 8. santafeuniversity. edu/theatreintensive SITE Santa Fe, 1606 Paseo de Peralta, Santa Fe. 989-1199. Time-Lapse: works by Mary Temple, Byron Kim, Rafael Lozano-Hemmer, Eve Sussman, and Rufus Corporation. Through Sun., May 20. sitesantafe.org

CALL FOR ARTISTS A show of abstract paintings by Charles Greeley will be on view at Mill Fine Art, 530 Canyon Road. Reception: Friday, May 25 from 5 to 7 pm. On Saturday, May 12, 2012 the Museum of Latin American Art—628 Alamitos Avenue, Long Beach, CA—will host its gala fundraiser, Milonga, to benefit the museum’s exhibition fund. Patron tickets include an original monotype print by Santa Fe–based Argentinean artist Sergio Moyano. Details: 562-216-4141 or thewave@molaa.org

Eggman and Walrus, 131 W. San Francisco St. and 130 W. Palace Ave., Santa Fe. 231-5039. The Dirt Experience: mountain bike art show. Deadline: Tues., July 15. eggmanwalrus.com (e)merge Art Fair,1358 Florida Ave. NE, Washington, D.C. 2012 (e)merge Art Fair: accepting applications from unrepresented artists and galleries. Deadline: Tues., May 15. emergeartfair.com

Sumner and Dene, 517 Central Ave. NW, Alb. 505-247-1172. Albuquirky Little Houses: silent auction fundraiser for OFFCenter Community Arts. Fri., May 4, 5-9 pm. offcenterarts.org

Girls Incorporated of Santa Fe, 301 Hillside Ave., Santa Fe. 982-2042. 40th Annual Girls Inc. Arts & Crafts Show. Deadline: ongoing. girlsincofsantafe.org

William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. Pacha: paintings by Machaca de Aquino. Through Sat., May 19. williamsiegal.com

Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-3432. Seeking professional New Mexico artists working in 2-D, but will consider all media. patina-gallery.com

Wordharvest, 304 Calle Oso, Santa Fe. 471-1565. Your Work in Progress: Make Your Manuscript Better: with Sandi Ault. Sat., May 5, 9 am-4 pm. Travel Writing and Blogging for Fun and Profit: with Lesley King. Sat., May 19, 9 am-4 pm. wordharvest.com

OUT THERE

Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Generalized Section: prints and video installation by Mitchell Marti. Mapping Atmospheres 2008-2011: multimedia prints by Soledad Salame. Through Fri., May 18. zanebennettgallery.com

PERFORMING ARTS Armory for the Arts, 1050 Old Pecos Trail, Santa Fe. 992-2588. Love and Emma Goldman: rock opera with Wise Fool New Mexico and Santa Fe Performing Arts. Thurs., May 17 to Sun., May 20.

| ma y 2012

Estación Indianilla, 111 Claudio Bernal, Colonia Doctores, Delegación, Mexico City, Mexico. 55-5761-9058. Kailash: pictures, photographs, and video work by Ricardo Mazal. Thurs., May 3, 8 pm. estacionindianilla.com.mx Moenkopi Legacy Inn and Suites, Junction 160/164, Tuba City, AZ. 928-283-4500. Eighth Annual Cultural Tourism Conference. Wed., May 9 through Fri., May 11. iaia.edu Navajo Nation Museum, Arizona 264, Window Rock, AZ. 928-871-7941. What Makes Land Sacred?: with speakers Rabbi Harry Rosenfeld and Medicine Man Johnson Dennison. Saturday. May 19, 2:30 pm. congregationalbert.org Listings for the June issue are due by May 16. Email: themagazinesf@gmail.com

THE magazine | 33


PREVIEWS

Taos Moderns: Postwar Modern Art May 11 through June 9 203 Fine Art, 203 Ledoux Street, Taos. 575-751-1262. Reception: Saturday May 19, 5 to 8 pm. Drawn by its singular landscapes and near-indescribable quality of light, a motley crew of artists found their way to Taos around the middle of the 1900s. As told by David L. Witt in his 2002 book, Modernists in Taos, there was Wesley Rusnell, a would-be poet whose ink drawings attracted the praise of Lawrence Ferlenghetti, the owner of San Francisco’s City Lights Bookstore. When Rusnell came to Taos, he promptly won first prize in an art competition and decided to stay a little longer. Then there was Michio Takeyama, who would have been a banker if he hadn’t discovered art, would have stayed in Japan if his daughter hadn’t married a California boy, and would have stayed in California if a student hadn’t asked him to come to Taos. New York City clerical worker Louise Ganthiers felt her life grinding to a halt, so she packed up her bags and left for Mexico. When she wandered into Taos a year later, Ganthiers started selling ice cream in the summer, saving enough money so she could paint all winter. Surely the most enigmatic of the Taos Moderns was Louis Catusco, a World War II veteran, who used his GI Bill benefits to study art in Brooklyn. He spent his old age in Taos, avoiding any contact with the press and keeping a pack of rather aggressive dogs outside his compound. Despite their differences, these artists help define a distinct new period in American art, grounded firmly in the dirt and sky that frames Taos. Works by more than twenty important Taos Modernists will be on view at 203 Fine Art, including pieces by Rusnell, Takeyama, Ganthiers, and Catusco, drawing attention to this important yet often overlooked period of American art.

Lance Letscher: Twenty-five Books and an Ear Eight Modern, 231 Delgado Street, Santa Fe. 995-0231. Through Tuesday, May 15 Once there was an artist whose head was filled with ideas. When he was a child, he loved to draw. His mother gave him art supplies for Christmas. When he got a little older, he went to art school and studied printmaking. For a while, the artist made sculptures out of wood and marble. Then, the artist discovered that if he cut out many bits of paper, of all different colors and from many different places, and carefully layered the bits of paper on a big sheet of paper, he could create something very beautiful—a collage. Many people from all around the world loved this work, and the artist became famous. One day, the artist was making a collage for a children’s hospital in Texas. He started to see his work through the eyes of children, and wondered what they might think about his art. So he decided to tell stories with his collages. The artist, whose name is Lance Letscher, wrote a book for children called The Perfect Machine and illustrated it with his beautiful, intricate art. Today, you can see the artist’s work at Eight Modern in Santa Fe.. Within the rich, intricate layers of Letscher’s work, you might just find a story of your own. Of this exhibition, Letscher says. “This show is primarily comprised of collaged books that are meant to function independently as well as, hopefully, gain some energy and momentum as a group. The title, Twenty Five Books and an Ear is intended to open several possible avenues of interpretation—one being an oblique reference to the Van Gogh/ear mythology. The ear is a symbol of the ultimate artistic effort or offering. It also alludes to the idea of an audience for the contents of the books.”

Nancy Holt: Sightlines Saturday, May 5 through Friday, June 29 Santa Fe Art Institute, Gallery II, 1600 St. Michael’s Drive, Santa Fe. 424-5050. Reception: Saturday May 5, 4-6 pm. The environmentalist movement gained momentum during the 1960s with the publication of Rachel Carson’s Silent Spring. As the impact of oil spills, air pollution, and nuclear technology began to sink into the global consciousness, artists began to embrace the beauty of the elements, forgoing the confines of museums and galleries for pieces installed in the natural world. Nancy Holt was one of the pioneers of the Land Art movement. Her work combined elements of architecture, art, and time-based media. From 1966 to 1980, Holt created several of her most important works, including Sun Tunnels, a collection of four giant concrete drain pipes that are dwarfed by the expanse of the Utah desert that surrounds them. Each is perforated with circular holes, aligned with the movements of the sun on the solstices, and with the shape and placement of star constellations. This piece, as well as Views Through A Sand Dune, is influenced by the artist’s early fascination with photography, providing her viewers with a new “lens” with which to view the natural world. Many of Holt’s works from this period will be on display through the end of June at the Santa Fe Art Institute, including never-before-seen examples of Holt’s poetry and drawings.

34| THE magazine

Louise Ganthiers, Chimera, oil on masonite, 24” x 43”, 1959

Lance Letscher, Up or Down, collage, 12” x 19 7/ 8 ””, 2012

Nancy Holt, Views Through a Sand Dune, Narragansett, 1972

| ma y 2012


ANDREA BROYLES Fire and Ice

Downtown Subscription • 376 Garcia Street, Santa Fe May 1 to May 31 • Reception: Friday, May 11, 4-6 pm www.andreabroyles.com

dimensions Works by Ursula Freer, Paul Biagi, Susan Latham, Carol Leyba, Carol Sky, and Bob Everett

At The La Tienda Exhibit Space

Opening Reception Saturday, May 26 from 5 - 7 pm Show runs through June 23 www.TheExhibitSpace.com 7 Caliente Road Santa Fe, NM 87508 505.428.0024


THE-HOLTapr.qxd:Layout 1

4/16/12

12:11 PM

Page 1

Santa Fe Art Institute

Nancy Holt:

Sightlines Exhibition: May 5 – June 29, 9am-5pm M-F SFAI Galleries I & II. Opening Reception, Saturday May 5, 4-6pm SFAI. Artist & Curator Talk: w/ Nancy Holt and Curator Alena WIlliams, Monday May 7, 6pm SFAI SFAI's Artists and Writers in Residence April Readings and Open Studios. Thursday April 26, 5:30pm, SFAI Multimedia/Installation Artist Amy Franceschini Lecture, Mon June 18. Workshop, Sat June 23rd WWW.SFAI.ORG, 505 - 424 5050, INFO@SFAI.ORG, SANTA FE ART INSTITUTE, 1600 ST.MICHAELS DRIVE, SANTA FE NM 87505 THE SANTA FE ART INSTITUTE PROMOTES ART AS A POSITIVE SOCIAL FORCE THROUGH RESIDENCIES, LECTURES STUDIO WORKSHOPS, EXHIBITIONS, COMMUNITY ART ACTIONS, AND EDUCATIONAL OUTREACH FOR ADULTS AND YOUNG PEOPLE. THIS EXHIBITION IS ORGANIZED BY THE MIRIAM AND IRA D.WALLACH ART GALLERY, COLUMBIA UNIVERSITY. PRESENTATION OF SIGHTLINES AT SFAI IS MADE POSSIBLE BY GENEROUS FUNDING FROM THE BURNETT FOUNDATION, KINDLE PROJECT, LANNAN FOUNDATION, McCUNE CHARITABLE FOUNDATION, NATIONAL ENDOWMENT FOR THE ARTS, OPPENHEIMER BROTHERS FOUNDATION, CITY OF SANTA FE ARTS COMMISSION AND THE 1% LODGERS’ TAX, AND NEW MEXICO ARTS, A DIVISION OF THE DEPARTMENT OF CULTURAL AFFAIRS.

The Andrew Smith Gallery, INC.

M a s t e r p i e c e s

o f

P h o t o g r a p h y

Miguel Gandert Saints and Sinners May 25 - July 30th, 2012 Artist Reception: May 25, 5-7 p.m.

Miguel Gandert, Hijo Del Hombre

122 Grant Ave., Santa Fe, NM 87501 Next to the Georgia O’Keeffe Museum

• 505.984.1234 • www.AndrewSmithGallery.com


N AT I O N A L S P O T L I G H T

Lineman by

Charlotte Rothstein

This 1938 lithograph by Illinois painter and printmaker Charlotte Rothstein depicts a burly lineman hard at work during the Great Depression. Linemen installed telephone, telegraph, and electric power lines, expanding America’s ever-growing electrical grid. At this time, the lineman’s trade was considered to be extremely dangerous, and many died of electrocution. But with an unemployment rate of nearly twenty-five percent, these men were lucky to have jobs at all. Times were also tough for artists, but many found support with the Works Progress Administration. This program, enacted in 1935 by President Franklin Delano Roosevelt, created jobs for millions. Artists like Rothstein were able to continue their work through this program, charged with capturing the spirit of their fellow Americans. A selection of works by WPA artists will be on view through June 17 in A New Deal: Art of the Great Depression at the Monterey Museum of Art, 559 Pacific Street, Monterey, California. Info: montereyart.org D

| ma y 2012

THE magazine | 37


John Chervinsky: Frames of Reference Project Room: Jenna Kuiper: 17 Stones

w

ne

es t da

April 13 - June 29 Reception: Saturday, May 26, 6-8 pm

MONROE GALLERY of photography

STEPHEN WILKES Day To Night

Coney Island, Day To Night

Exhibition continues through June 16

Richard Levy Gallery

Albuquerque

www.levygallery.com

505.766.9888

112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e: info@monroegallery.com www.monroegallery.com


F E AT U R E

Spirits of Place: where art , architecture , and the land meet by

R oger S alloch |

photographs by

S heppard F erguson

This is art that offers you a sanctuary for your own being. You drive north out of Aix-en-Provence. The villages haven’t changed the way they sit in the landscape in a hundred years. The hills have a bold-faced determination about them that speaks of their youth. Barely a few million years old, they were once huge

constellation of beams and platforms in the distance

like an open book it is a structure that shelters the eye

coral reefs carved by waves. They are not ancient

is an outdoor theatre—the work of Frank Gehry. It

that has been lucky enough to find its way this far. To

mountaintops. They do not roll gently toward the sky.

is an auditorium, it is a studio, and it is a moment of

the left is a contained body of water, and in the middle

They grab at the clouds, and the villages that cluster

architectural sculpture—shaping the space within and

of that pond, Louise Bourgeois’s Spider is poised in the

in the valleys seem grateful for the sudden respite the

without. It is like a musical measure lifted from the

sunlight as if it had always been there, as if this was

cliffs provide from the sharp summer heat, from the

score of a contemporary composer: there is that same

its home. In the immediate distance, vineyards remind

crisp winter winds. I was headed for a place called

jarring juxtaposition of cadenzas and tremulous notes,

you that you are close to nature. In the far distance,

Château La Coste. The closest village is Le Puy-Ste.-

the same vast space and intimate excitements, the

Mt. Sainte-Victoire draws your attention to the sky

Réparade. I got lost, had to make a U-turn. Finally an

same invitation to take a seat and listen, and, if nothing

and the clouds. You are not just close to nature, you

entrance to my destination was announced by two

else, then to listen to the wind and the birds. But we

are part of it.

curves of a massive concrete eggshell cracked down

are not there yet.

Welcome to Château La Coste, a four hundred

the middle by a slit in the light. A vineyard unfolds

You park, it’s not a garage—it’s a kind of open

and sixty acre spread of which three hundred

to the right. It was winter and only the fingers of the

space beneath the entrance to the domain. You don’t

thirty-eight acres are vineyard, and the remaining

vines seem to reach up and out into the sun. Beyond, a

have to lock your car. Codes and keys seem part of

hundred and twenty-two acres are a park in which

shiny, elongated aluminium barrel fills a declivity in the

another world. You go up some stairs, you are outside.

many contemporary sculptors—Sean Scully, Richard

slope. It houses the winery and you will learn that it

You stand still. To your right is Tadao Ando’s welcoming

Serra, Hiroshi Sugimoto, Andy Goldsworthy, Tom

was designed by Jean Nouvel, as you will learn that the

pavilion, a facade, a roof, some transparent panels—

Shannon, and Tunga—and five winners of the Pritzker continued on page 40

| ma y 2012

THE magazine | 39


architecture prize—Jean Nouvel, Tadao Ando, Frank

imposing an aesthetic, or an argument. Art requires

his best to improve its quality. Even the lowest-priced

Gehry, Renzo Piano, and Norman Foster—have been

intense meditation, and the process is tangible on the

bottle surprises by its excellence. Let the wine speak

invited to contribute to an environment that seeks

well-kept paths, on the perspectives, on the dance

for Paddy, for what happens when someone believes

to counter the impact of the world’s fast going-to-

from building to work of art to building again. Above

in what he is doing, not just for himself, but also for

hell places with an island of serenity where art and

all, and this is why it works at Château La Coste, the

others. No, they tell you at the desk, we don’t mind if

architecture and nature fit together so effortlessly

art and architecture conspire with nature to create an

you take pictures, but not the Louise Bourgeois Spider

that the old world suddenly feels new. When invited,

environment in that is far from the maddening crowd,

or the Tadao Ando Chapel, if you can resist, because

the architects come, they wander the land, they

people can rediscover that old sense of marvel that

we like people who come here to have a surprise.

choose their setting, they develop their own sense

goes with innocent pleasure. No signposts tell you

Every time you turn a corner on a path, the

of place. This is not a city of one building crammed

how to get there. Barely any publications have given it

surprise is complete. Frank Gehry’s auditorium is

up next to another. Here buildings are created for an

a spread. Call it a folly; nay, it is the result of exquisite

finished, and seems to liberate the space it creates,

environment in which they can come to life on their

taste, hard work, perseverance, and vision. The

giving flight to the music it would be wonderful to hear

own, and in this inversion of supply and demand—of

man behind the domain is Patrick McKillen, an Irish

there. It is not hard to imagine a soprano’s cadenza

how buildings and surroundings interact—there is a

billionaire, and that is about all the information that is

taking off toward Mt. Sainte-Victoire, and returning

new idiom. This is not competition. This is community.

readily available. McKillen doesn’t do interviews and

refreshed for its audience. Two artists’ studios by

Everything is casual at Château La Coste, but

doesn’t allow himself to be photographed. He likes

Jean Prouvé flank an eighteenth-century Vietnamese

nothing is an accident. Every effort is made to avoid

wine, has worked hard on the vineyard, and has done

temple and speak for the connections between


F E AT U R E

historical epochs. The dialogue is quiet—it invites

an exquisite evocation of the ultimate struggle? Is the

visitor is grateful to be part of a dialogue between

you in. The ideas whisper. In the world in which we

future of the planet already stored in these boxes?

man and nature by the mere fact of being here oneself

live they seem to speak of the impossible: of shared

All the buildings and sculpture at Château La

interests, of community, of solidarity, of the spiritual

Coste are widely scattered over the grounds. Long

in every man—the spiritual that doesn’t need a guiding

walks through the woods are required to get from

Some contemporary art has a finger on the pulse

cleric to lead the way. Ando takes a thirteenth-century

one building to the next, and the pilgrimage around

of the planet. You look as long as you can stand the

Provençal chapel and envelops (and protects) it with

the whole architectural circuit, which takes about two

report on the way things really are. Think Warhol.

panes of glass that conduct the eye down corridors and

hours, is punctuated with works by contemporary

Think Nan Goldin’s photography. Think Banksy’s

into the surrounding landscape, where it is hard not to

sculptors weighing tons. Richard Serra’s slabs of steel

graffiti. Now that China has become such an important

think about God, even if you don’t believe in Him. In

float through the woods like naked hinges of the

art market, think Wei Wei. Then think Warhol again,

another part of the domain, another Ando structure

world revealed; Tunga’s pendant sculptures challenge

because you won’t ever be able to escape him.

made of rough wood houses four huge transparent

the observer to imagine nature without gravity—glass

A different sort of artistic vision takes you beyond

cubes. The cubes are labelled Rubbish, Co2, The Future,

crystals hang from cords at unlikely angles. Leaving

the clamor of the crowds waiting on line outside,

and Water. Each cube contains multiples, glasses, and

Tunga behind, the visitor goes down the hill to pause

beyond the earphones and the talking guides. This is

detritus—or nothing except the glow of the light that

by Sean Scully’s massive rectangular temple of colors,

art that offers you a sanctuary for your own being, a

radiates from Ando’s imagination. The building seems

where the eye moves back and forth between the

place where you can go deep inside yourself the way

to ask questions: is this what there will be in the end—

work of art and the surrounding landscape. Again, the

you might have done when you were six years old.

—becoming one of the pins that holds this heaven in place.

continued on page 42

| ma y 2012

THE magazine |41


The art and architecture conspire with nature to create an environment that is far from the maddening crowd Leaving the Scully rectangle behind, I take a break. I

capital, with frontiers, with immigration laws, with

in Russia, in France, in America. Women standing up

don’t smoke, but wished I did. A smoke would have

surveillance cameras. No laws governed its practice.

to the Egyptian army. Other women raped in Africa.

been a ritual act, helping me get ready for whatever

No theories dictated behavior. It was a republic of the

American candidates for the presidency clashing with

was about to happen next. Instead, I just shut my eyes

spirit, as if all the different architectural and sculptural

the women of America over birth control. Here it was

for a moment, and there they were again: the birds

events spread out over these acres were only really

a different world. It wasn’t determined to outlast all

on the neighbors’ roofs, the dog across the street, the

there only to encourage a long forgotten sense of

other cultures and civilizations, to impose its values—

snow banks, and the high tide marks of the seaweed

innocence. I looked at the map I had been given and

at no matter what the cost. It was fragile, and it was

on the beach—all that I loved when I was young, when

realized I had missed one of the installations. I walked

precious. I had a feeling I could hear the diffident

it was new. When I opened my eyes, I was under the

back to Goldsworthy’s underground cavern The Oak

McKillen say, “Right, like a good bottle of wine.”

distinct impression that something equivalent was

Room. Climbing down into it, I stared at the branches

Château La Coste is not alone. There are other

taking place right in front of me. I was looking at this

that held the domed ceiling together. I was protected

islands of serenity like it scattered around the planet—

landscape from a different point of view, as though I

by the structure, yet reminded of just how transient it

archipelagos of other heavens on earth that visionary

hadn’t ever seen it before.

all was. How long would it be before the tight weave

capitalists have set apart, somehow or the other

My heart didn’t race. On the contrary, it grew

in the ceiling of the room began to come apart? That

hoping to stave off the encroachments of speculation

quiet and rings expanded from a sudden awareness

was the moment when I decided I would try to write

and development, which they know too much about

of where I was, rings that led me in widening circles

about Château La Coste. Coming down by train that

having paid dearly for their achievements. In a vast

back over the years. This was not a world with a

morning, the crying of 2012 had been shrill: elections

marshy area near Düsseldorf there is Insel Hombroich,


F E AT U R E

a museum without guards, without entrance fees,

master’s presence is tangible. No matter how long

Victoire over and over again, always from a slightly

without explanations. Visitors stroll among artworks

Cezanne studied the world around him, he knew it

different angle. Every time he set off, he struggled

and are left to their own imaginations when it comes to

would always need to be spoken for again and again,

with a vision that wanted to address the tumult of the

“understanding” the art they are looking at. So too, off

need to be painted and painted and so sheltered, and

real world, yet protect us from it with an architecture

the coast of Japan, the islands of Naoshima, Teshima,

preserved. In every canvas his genius was this—not

of beauty that was his peculiar genius. Now we can

and Inujima welcome visitors to a protected collection

so much that he painted beautifully, but that like a

do it with him once again—and with ourselves too.

of old villages, rice paddies, and contemporary art

child he could point his paintbrush at something as if

I’ve never seen anyone use a cell phone at Château La

and architecture where the old stands up to the new,

he was seeing it for the first time, capturing the logic

Coste. Enough said. D

where the past joins forces with the future, and even

and the colors and the violence of that sensation and

something as far-fetched as “hope for the planet”

transferring them to his canvas. To be at Château

seems to make sense. But my argument would be

La Coste is to have walked into a three-dimensional

that there is nevertheless something about Château

Cezanne painting. The Scully rectangle could have

La Coste that sets it apart, on its own, something the

been lifted out of one of the later landscapes, the

other heavens on earth can only envy.]

Ando chapel suggested by some shadows in the corner

Ten kilometers north of Aix-en-Provence is

of Mountains in Provence, near Estaque, done in 1883.

where Cezanne worked and walked a hundred years

Cezanne walked these roads, painted these trees,

ago, and wherever you go at Château La Coste, the

these buildings, and that mountain, the Mt. Sainte-

| ma y 2012

Roger Salloch lives in Paris. He is both a writer and photographer whose articles and stories have appeared in The Paris Review, The North Atlantic Review, Fiction, Rolling Stone, and THE magazine, among others. Exhibitions of Salloch’s photography have taken place in New York, Paris, Hamburg, Naples, Delhi—and a year ago—in Vologda, Russia. (Anoart.fr) Doroga, a road movie set in Russia, and based on a short story by Salloch, is currently in pre-production as a feature film. Photographs by Sheppard Ferguson. www.sheppardferguson.com

THE magazine | 43


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CRITICAL REFLECTIONS

I n W onderland : T he S urrealist A dventure

of

W omen A rtists

in

M exico

and the

U nited S tates L os A ngeles C ounty M useum of A rt 5905 W ilshire B oulevard , L os A ngeles

Who do we think about

prime. Lundeberg, along with many other

wonder is that Kahlo’s translations of her

surrealists, understood the potency of

quixotic narrative never seem to grow

To defy time, to struggle with opposites,

shadows and how to visually employ them

stale. In fact, the opposite is true—Kahlo’s

it’s André Breton, with his Surrealist

to depict the disquieting intuitions that often

in order to give an added frisson to the

work continues to grow in its impact

Manifesto, and his cohorts in crimes of

rule our days and our nights—all this is at

awareness of our mortality.

upon us. However, there are many other

when we think about Surrealism? Usually

chance encounters with the unconscious—

the heart of Surrealism and can be keenly

The pursuit of the surreal is the

artists such as René Magritte, Salvador Dalí,

felt when looking at the work of the forty-

quest for what resides inside the visible,

rabbit hole that wait to be investigated, and

and Max Ernst. But what about Breton’s

eight artists that comprise In Wonderland,

and Kahlo was a master at registering the

if seeing In Wonderland in all its juiciness is

artist wife Jacqueline Lamba? And the two

many of whom I’ve never heard of

sur-realities of her existence. Everything

not an option, the accompanying book is as

extraordinary individuals—surrealist artists

before—like Fein, now ninety-three and

about her history was surreal, and the

fabulous and substantial as the exhibition

in their own right—who were involved

living in California, and Alice Rahon, Muriel

power of her self-portraits is directly

itself. Here are some of the surreal “muses”

and

Streeter, and Lilia Carillo. However, many

proportional

of

who went on to meet their own Mad

Dorothea Tanning? The latter would wind

of the women included made art that has

her insights about herself. No matter

Hatters, Red Queens, and Cheshire Cats

up marrying Ernst, twenty years her senior,

become part of the surrealist canon—

how many times you might look at

and then delved into private alchemies too

and staying with him until he died, in 1976.

unforgettable works by artists such as Frida

reproductions of her work, you will not

Tanning was one of the most gifted of the

Kahlo, Remedios Varo, Leonora Carrington,

cease being transfixed by her images. The

numerous and varied to describe. —D iane A rmitage

women surrealists and she used talent and

Lola Álvarez Bravo, Lee Miller, and Louise

willfulness to leverage herself away from

Bourgeois, whose work had long been

her stuffy Midwestern roots, liberating

attached to surrealist practice. Yet, back in

herself as she went in search of other

the 1930s and ’40s the women surrealists

surrealist artists, eventually meeting Ernst

had to struggle with a lot more than their

in the early 1940s in New York.

unconscious desires and a need for freedom.

with

Ernst,

Leonora

Carrington

I had wanted to see Tanning’s Birthday

A male in that loosely defined group was

for quite some time and, as it was included

all too happy to subsume a female artist,

in the exhibition In Wonderland, I finally

particularly if she was attractive; he would

got my chance. I wasn’t disappointed—

call her his “muse,” and view her as his

it was one of the highlights of this very

sexual playground and an alluring extension

comprehensive and intelligently curated

of his visions. What the men most wanted

show. The scholar and writer Whitney

from the females they associated with was

Chadwick referred to this painting in her

for them to be liberated, yes, but pliable,

landmark book, Women Artists and the

childlike, and not overly independent from

Surrealist Movement, published in 1985, in

the men or their pronouncements. This is

which she wrote, “The academic perfection

why so many women artists associated with

of Birthday intensifies the effect of the

Breton et al turned their backs on them and

interwoven strands of fantasy and reality...

proceeded to excavate their own psychic

Her costume, at once theatrical and drawn

landscapes in order to create a rich body

from nature, establishes the duality of the

of paintings, drawings, sculptures, collages,

painting, while the torn fabric suggests

and photography.

a struggle between opposing forces.”

The American artists Kay Sage and

This image is a quintessential surrealist

Helen Lundeberg were both outstanding

work born of technical facility and a cool

painters and were well represented in this

grasp of the inherent mystery that resides

exhibition. Sage was known for images that

within the scope of any existence. Here is

might be likened to cities of the future,

a classic fusion of eroticism, dream imagery,

pared down to essential geometries and

and the strange power of ordinary objects

a post-apocalyptic ambience, devoid of

seen through a non-ordinary lens.

humans, and rendered in a somber palette

I was hoping that Tanning would survive

of grays, off-whites, and black. Lundeberg’s

through the duration of In Wonderland

graphic skills are noteworthy, and they

as one of only three living artists in the

give her images an added punch in the

show—Yayoi Kusama and Sylvia Fein being

juxtapositions of precisely painted objects

the other two—but Tanning passed away

situated in metaphysical spaces that are

on January 31, 2012, two days after the

tinged with the melancholy awareness

exhibition opened; she was one hundred

of time’s relentless arrow flying away

and one years old.

from youth and eventually beyond one’s

to

the

authenticity

incarnations of Alice’s journey down the

Dorothea Tanning, Birthday, oil on canvas, 40¼” x 25½”, 1942

| ma y 2012

THE magazine |45


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T ime -L apse 1606 P aseo

Powers of Ten (1977)

de

SITE S anta F e P eralta , S anta F e

later O’Doherty zooms back to earth, where life emerges

five down to cleverly read like a very large calendar. Up to

as seen from an airplane, a kind of “kinetic assemblage glued

date, but not to the minute, the viewer receives the daily news

joins mathematics, space, and time in a nine-minute

together with reproductions, powered by little mythic motors

according to Mary Temple.

demonstration of the scale of the universe. The first shot is a

and sporting tiny models of museums.” In the midst, “one

Proceeding further through the labyrinth, the visitor is

blurry still life, cropping almost everything in the frame with a

notices an evenly lighted ‘cell,’ […] the gallery space.” Here

monitored using stop motion cameras viewable on playback

Matisse-like table-slant. Overlapping text prefaces the film while

sits SITE Santa Fe. Within its Time Capsule Lounge, Powers

in SITE’s entryway. Themes of surveillance are prevalent

a hand takes a strawberry from a fruit platter. The screen fades

of Ten plays on repeat, alongside three other films chosen for

throughout Time-Lapse, gently shifting our view from the

to a couple smiling gaily, flashing extremely white teeth and sun-

their demonstrations of time by the CCA Cinematheque’s

particular to the general while the individual gives way to a

squinted eyes. They unwrap food, unscrew bottles, and arrange

Jason Silverman.

larger system. In Rafael Lozano-Hemmer’s piece Pulse Index,

a feast for their lazy afternoon near the Chicago lakeside. The

Inside the evenly lighted cell, writes O’Doherty, “there

the visitor enters a large darkened room and is confronted by an

camera assumes a bird’s-eye view of the rectangular picnic

is no time.” Those pristine walls, unsoiled surfaces, and

L-shape of two full walls, glowing with digitally pulsing shades of

blanket, narrowing in to frame a single square meter. It focuses

windowless chambers offer an artificial viewing space where

rose, beige, and ochre. Here is a collective portrait (a testimony

on the reclining male, dozing in his pale khakis and pastel pink

time and its vicissitudes do not enter. Art is isolated from the

to how white Santa Fe is) formed by willing SITE visitors who

button-down. Every ten seconds, the camera moves ten times

social world and missing kinetic actuality. Indeed, SITE Santa

offered their finger to the little black pulse reader upon entry.

farther away until finally after reaching 10 meters, we view

Fe’s spatial interior suggests the controlled environment

Arranged in multiple gridded panels, the first section shows the

that initial picnic scene from a hundred million light years away.

inherent in O’Doherty’s White Cube. Using the pretext of

fully enlarged fingerprint of the most recent participant. As the

From these outer stretches of the universe there is emptiness,

their exhibition Time­-Lapse, SITE’s immaculate corral, framed

next person releases their vitals into the machine, the previous

and the cheerful couple by the Chicago lakeside is long gone.

by an abundance of perfect right angles and crisp white lines,

print pours into the adjacent grid, and the next, and the next,

From this faraway point, the camera reverses the zoom and

destabilizes its eternal blank void by enacting within its cells its

getting smaller and smaller until enveloped by a vast kinetic

travels back through space and time, returning to earth, and the

own microcosm of change.

network comprised of minute disappearing identities.

24

picnic, entering the back of the man’s hand, searching through

Like receiving messages from outer space, SITE receives

Time-Lapse itself plays with the dissemination of information,

the surface hairs and pores of skin into the microscopic cells of

a scanned digital image every day from Mary Temple, whose

poking at time in all its guises. If you’re keen to pass a lazy

human matter.

piece, Currency, consists of an approximate four-hour daily

afternoon, monitored by cameras of course, SITE invites you into

In the opening pages of Brian O’Doherty’s The White

practice in which she peruses news headlines, selects a political

the retro-inflected Time Capsule Lounge. Gaze at the cerulean

Cube (1976), the spacecraft withdraws from earth “until [Earth]

figure, and draws an ink portrait of said figure. She subjectively

blue ceiling while loafing in an oversized beanbag chair, imagining

becomes a horizon, a beachball, a grapefruit, a golf ball, a star.”

places the portrait higher or lower on the page based on how

the room from a hundred million light years away. Perch on a

Our point of view slides from the particular to the general. We

close this leader’s actions will bring the world to peace. At the

groovy curved bench to watch Silverman’s film selection, or if

imagine a bird’s-eye view of history in which time functions in

bottom of this thirteen-by-six-and-a-half-inch paper, Temple

time permits, choose a book from the Time Capsule Library and

superimposed layers and evades the quotidian horizontal line

writes her own headline. About the size of a newspaper

read what great minds have to say about time.

that shuffles us along like a conveyer belt. Two paragraphs

tabloid, each page combines in a grid seven images across and

—H annah H oel

Mary Temple, Currency, India ink on paper, dimensions variable, 2007. Courtesy of the artist and Mixed Greens, NYC.

| ma y 2012

THE magazine | 47


I nterlopers

The recent passing

EVOKE C ontemporary 130 L incoln A venue , S anta F e driven or otherwise edgy work. A sampling of these featured

works which are for the most part simply mischievous, this

prominently in Interlopers, an exhibition of works on paper at

one is downright menacing; for me, it is indeed an interloper

of art critic Hilton Kramer attracted plenty of media attention.

EVOKE Contemporary. Last year’s Decadence group show

and an unwelcome one at that, and we see where Besser’s

There was a flurry of commentary on his East Egg brand of

had a similar slant, with oil paintings of lascivious nudes and

fondness for edginess can manifest itself into a love of the off-

conservatism, winking references to his curmudgeonly attitude

gun-toting blondes. This exhibition feels equally muscular in its

puttingly macabre. Peter Dvorak’s renderings of angular, long-

towards contemporary art, and his quotable criticism of the

content but slightly less brazen in its objective.

limbed ladies are composed in vintage hues of pale melon and

Whitney Biennial, whose organizers “have amply demonstrated

A handful of exceptional works by Mexican-American

gauzy mauve: think Egon Schiele with less angst or Gustav

their weakness for funky, kinky, kitschy claptrap.” Indeed, as a

artist Gaspar Enriquez are included here, several of which

Klimt without the gold leaf. Dvorak’s watercolor etching Black

staunch and eloquent champion of classic modern art, Kramer

belonged to Sandy Besser. Shine on Mijita Shine on feels

Hair is dominated by a curly mass of the stuff. Though the

can be defined by his take-no-prisoners attitude towards

reverential in its depiction of female dulcitude. Bathed in

subject’s face is hidden, the straining neck and outstretched

more challenging contemporary practices. I don’t consider

golden yellow light, a young Hispanic woman has a peculiarly

arm are unmistakably feminine. It’s a striking portrayal of

myself particularly conservative, but I do tend to appreciate an

innocent smile. Purple eye shadow is swiped on her eyelids

womanly beauty that is both effortless and refined.

artwork for its aesthetic value before I appreciate it based on

and her hair is teased into a crown of shiny dark curls. In its

Disagreeing with any sort of established art historical

its espousal of a sociopolitical message. Frequently decrying the

radiant conveyance of feminine sweetness and innocence, it

canon, particularly one that invites so profuse and vocal an

“intellectual noise” of contemporary art, Kramer said that in

might strike those of us familiar with Mexican iconography

opinion as modern art does, is bold, but blind adherence

experiencing it one “is more likely to enjoy it and be responsive

as a sort of re-imagined Guadalupe retablo. Enriquez has

to a particular movement or doctrine is often short-sighted.

to it if the question he brings to it is ‘What is it?’ rather than

acknowledged the presence of cultural and emotional

Nevertheless, the development and consequent expression

‘What does it mean?’ …because if you approach a work of art

motivations in his work—including the horror of the Juárez

of one’s viewpoint is crucial in what Kramer called “this age

attempting to abstract from it some general meaning, the whole

mass murders of women and the far-reaching effects of drug-

of irony and institutionalized subversion.” The distinctive

experience is going to be lost.” Kramer knew what he liked,

war violence. These troubling and deeply touching aspects of

nature of Sandy Besser’s collection reflects his appetite

and so did art collector Sandy Besser, albeit with a much more

his practice couldn’t have escaped Besser’s keen eye.

for art born of unusual motivations, even when it means

charitable attitude towards contemporary art. Before he passed

Also from Besser’s collection is a queasy little drawing

embracing the absurd or ugly. Despite its misfit tendencies,

away last fall, Besser, a longtime resident of Santa Fe, amassed

called Suicide, by Jonathan Moro. A small, buck-toothed

the work featured in Interlopers feels refreshingly earnest

a large and rather eclectic art collection. In addition to his

boy stares ahead blankly, perched on what looks like a

and genuine. Let’s face it: with all due respect to Mr. Kramer,

predilection for regional folk art, he had a fondness for modern

bird swing. His legs disconcertingly end mid-thigh, and to

sometimes there is great pleasure to be had in the funky,

teapots and nineteenth-century African beadwork. He also

balance himself he holds on to the side of the swing not

kitschy and kinky.

adored contemporary drawings, and sought out emotionally

with a hand but with a two-pronged pincer. Surrounded by

—Iris McLister

Right: Jonathan Moro, Suicide, mixed media on paper, 12¼” x 13¼” Left: Gaspar Enriquez, Shine on Mijita Shine on, acrylic on paper, 48” x 36”


CRITICAL REFLECTIONS

C aravaggio

and

H is F ollowers

in

R ome

K imbell A rt M useum 3333 C amp B owie B oulevard , F ort W orth

In January I took advantage

What Caravaggio was famous for

or brawled with just about anybody he

was twofold: First, he developed a style

could get his hands on, and illegally carried

of a post-holiday period of unemployment

odd standouts by the original bad boy of

of painting in which chiaroscuro (the play

weapons as his drink-fueled paranoia grew.

to take a trip to Fort Worth, Texas. Nope,

art. As noted in the exhibition’s wall text,

of light against shadow) is paramount. In

For every squeamish patron, however,

not Dallas—just good old Cowtown,

Caravaggio lived in Rome from the mid-

fact, Caravaggio’s paintings are darker

there was a willing collector; Rubens cajoled

USA. As an adjunct instructor of Western

1590s until 1606, when he killed “a rival.”

than they are lit, which we call tenebrism.

the Duke of Mantua to purchase the Death

art history from the Baroque period

He fled the city with a price on his head.

The most dynamic of his followers—

of the Virgin after it was rejected by the

onward, I was eager to see the mouth-

The man known as “the most famous

from Orazio Gentileschi and his better-

Church for its vulgarity. Vulgar or not, it was

wateringly titled exhibition, Caravaggio and

painter in Rome” brokered that fame in

known daughter, Artemisia, to Georges

Caravaggio’s naturalism that earned him

His Followers in Rome, at the Kimbell Art

other city-states of what would become

de La Tour and Jusepe de Ribera—used

praise from other artists.

Museum. While the show was heavy on

Italy. Caravaggio died in 1610 during an

that tenebrism to great dramatic effect.

Despite his reputation among his

the “followers” side, the Caravaggios on

unsuccessful attempt to return to Rome,

Yet it was Caravaggio who mastered the

painter followers, Caravaggio slipped from

display were exquisite, although I would

possibly from sunstroke exacerbated by

passion behind the technique. In real life,

public favor until art history revived him

have cheerfully traveled much further to

his chronic syphilis. Breaking news holds

Caravaggio’s canvases reveal details in the

in the twentieth century. He is the first

see a painting as monumental as, say, The

that Caravaggio was murdered by the

shadows—including marvelous colors and

painter I show students when I teach the

Conversion of St. Paul (1601), in person.

Knights of Malta in retaliation for his violent

depictions of flesh in dimmed light—that

Baroque period. Now, writing about an

Still, what pleasure to behold the Boy Bitten

behavior—an assassination ordered by the

reproductions cannot yield. Caravaggio may

exhibition I saw months ago, I am tempted

by a Lizard live—one of a few genuinely

Catholic Church.

not have been the draftsman that his Flemish

by my adulation of the artist to remember

contemporary Peter

the Kimbell’s offering as Caravaggio’s

Paul

Rubens

was,

triumph, with his followers left in a pale

but

both

artists

and mannered dust. Can this be true?

understood

and

Reviewing my notes, I recall that there was

utilized color and light

no mistaking Caravaggio’s work from any

in a way that very few

of the others’. Still, The Entombment (circa

of their peers could.

1612) by Rubens was a small but stunning

second

painting, while Gentileschi père came

key to Caravaggio’s

The

across as surprisingly and consistently good.

fame (or, during his lifetime,

painted figures with the sly braggadocio, the

is the fact that he

brazen sexuality, and the hung-over anguish

made grand Counter-

of the debauched Caravaggio. His Young Sick

Reformation paintings

Bacchus is a prime example, a joy to behold

of

that

of agonizing discomfort and the physical

the Church deemed

effects of excessive alcohol consumption.

suitable

bring

The museum’s wall text proposed that the

its

themes to

back

Sick Bacchus is a self-portrait of the artist “as

to the fold, and he

followers

a melancholic genius.” With his pale lips and

placed those subjects

the greenish hue of his face, the Bacchus

in

down-and-

boasts a sickly grin as he holds a cluster of

the

dirty

environments

unripe grapes that are beginning to turn

he frequented. His

red. The boy looks haggard around the eyes

Death of the Virgin

and mouth; his pure white toga is as chalky

(1606), for example,

as his lips. Wreathed with laurel leaves,

depicts the mother

his head seems to pound with that special

of God not as the

headache that only wine brings. Caravaggio

Queen

Heaven

began his career specializing in illustrations

but as a bloated and

of

of fresh fruit, and the still life in the picture

bare-legged possibly after

a

corpse,

is spare and phallic; the gray, clay-like table

modeled

holds two firm peaches and a group of dull

drowned

purple grapes. This is an unrepentantly

prostitute. Caravaggio

bibulous character, and therein lies his

painted

charm—as with the artist himself, the

what,

and

who, he knew: this Michelangelo Merisi da Caravaggio, Young Sick Bacchus, oil on canvas, 26” x 21”, 1593.

The bottom line, though, is that no one

notoriety)

from a man who slept

master of human shortcomings. —Kathryn M Davis

Courtesy Galleria Borghese, Rome

| ma y 2012

THE magazine | 49


B ill J acobson : P lace (S eries ) N ew P hotographs

J ames K elly C ontemporary 550 S outh G uadalupe , S anta F e

Throughout the history of art

deliberately

photography

between modernist abstraction

to create images that resemble

uses

and photography’s unavoidable

various media have represented

away from mimetic representation,

by sheer virtue of the numbers of

late-modernist paintings by artists

potential to be taken for reality.

the

in the beginning of the twentieth

pictures that can be produced and

like Rothko or Ellsworth Kelly.

Much has been made recently

verisimilitude. While all art is the

century focused on the idiosyncratic

reproduced. Baldessari’s studio

My favorite piece in this show,

of “a sense of place” in art, and

mapping of some possible reality,

subjectivities of artist and viewer

warehouse full of photographic

Some Planes #204, employs the

Jacobson puns on this by “placing”

the problem of trying to produce

as sites for the formation of a

images

type

horizon line between earth and

a central rectangle against actual

images that closely resemble the

universality independent of both

anticipates the everythingness that

sky to divide the picture plane

and

world as we see it is that how

societal norms and the appearance

epitomizes the digital age. Painting

into two luminous halves. Were

In Place #425 a black vertical

we see the world is ultimately

of the world.

and photography have always

it not for the presence of some

rectangle

anointed

vehicle

of

disrupts

backgrounds. the

three

the

been in dialogue about issues of

barely visible scrub grass in the

pristine horizontals of a seascape

representation. Vermeer, with his

far distance, this picture would be

divided into land, ocean, and sky.

reproduced.

who comes to mind for having

camera obscura, is in many ways the

more abstract color-field painting

The black rectangle is interpreted

broken new ground in this area.

first photographer, while someone

than mimetic photography. The

in multiple ways: as sculptural

the

Neolithic,

is

constructed

photographer of recent times

During

Baldessari

by

the images in which the world is

being determined by the art and

John

catalogued

of

Though if you tip the scales

like Richter flips the script by using

magic is that it hovers perpetually

monolith, or 2-D monochrome

animals are the repository of

towards painting, Gerhard Richter

photographic naturalism as a

between the two.

“placed” into the landscape, or as a

naturalism.

convincing

cave

paintings

period

also enters the conversation.

subject for conceptualist painting.

But the emphasis of this show

negation of the center of the image.

bronzes and stone carvings hold

Both artists recognized early and

Jacobson’s early series of

is on Jacobson’s new Place series,

It can also be read as a deep, dark

sway through the fall of Rome.

often that Walter Benjamin was

blurry cityscapes, one of which

which departs from the premises

portal, or the iconic assertion of a

The Renaissance adds oil painting

right. Art in the age of mechanical

is on view here, recalls certain

of Malevich’s Suprematism to

central subject making the Place

as the best map of what the

reproduction

different

Richter paintings, while in his Some

produce very simple images that

series a meditation on how images

world really looks like. And in the

properties than it had in the past

Planes series of a few years ago,he

also explore the fuzzy boundaries

are constructed. Other images

Classical

has

nineteenth century, painting is

are clearly pictures of fabricated

replaced by photography, which

“spaces” created in the studio, but

adds the concept of “that exact

bearing the same central rectangle,

moment,” or time, to the mix,

which often reads as an abstract

and removes the vagaries of the

canvas leaning against a wall, in

human hand. Film follows rapidly

others as a doorway, and in one

as motion and sound make the

case as a plywood panel.

medium ever more true to the human

experience.

All are realistic depictions of

High-def

fabricated or fictional “places,”

video has a moment of re-staking

or real places fictionalized by the

photography’s claim to immediacy,

disruptive central rectangular plane.

thereby briefly trumping film.

Rather than accurate depictions

Yet today the nouveau-baroque

of reality, which would make

realism of 3D movies puts film

them inadequate maps of extant

back on top as it attempts to claim

territories, these become highly

the traditional—though in this

realistic

case virtual—aspect of sculpture:

places, questioning ideas of how

activated space. Still and all, the

we see what we see and how we

map is not the territory, and even

know what we know, and making

our best virtual realities remain

Jacobson’s

unreal. This is the intellectual

complex meditations on how

and aesthetic pressure point Bill

we use art to construct both our

Jacobson exploits.

empirical and our metaphysical

maps

of

works

non-existent

into

highly

Our chosen medium for

realities, and just how inseparable

realism is simply a visual language—

the two are. Few artists today

in other words, one of the

achieve this level of philosophical

major ways as a species that we

query, making Jacobson neither

acculturate our seeing for the sake

painter nor photographer, but

of advancing mutual (and societal)

instead a conceptualist of the

visions of the world. This is why

highest order. —Jon Carver

abstraction, as defined as a turning

Bill Jacobson, Place (Series) #512, pigment print, 28” x 22”, 2011


CRITICAL REFLECTIONS

H iroshi S ugimoto

U niversity of N ew M exico A rt M useum UNM C enter for the A rts , A lbuquerque a short flight of stairs from the museum’s Main Gallery, which

“I have so many ideas being cooked in my brain.” —Hiroshi Sugimoto

inviting our individual projections.

creates the feeling of heading into a sort of secret, attic-like

Next, McKinnon takes us outdoors with Kattegat,

space. There is bright light from the emergency exit doors

Kullaberg (1996) and Bay of Sagami, Atami (1997), which are

University of

at one end and the darkness of a movie theater at the other,

part of the thirty-year-long Seascapes project. Sugimoto’s aim

New Mexico

where a segment about Sugimoto’s work from the PBS film

here is to present water and air, and to do so he selected

Art Museum to continue to introduce us to new surprises. Their

Art 21: Art in the 21st Century (Season Three) 2005, plays on a

coastal locations and photographed at each of them for one to

current Hiroshi Sugimoto exhibition is the first one-person show in

continuous twelve-minute loop, with seating provided.

three weeks. “I just stay there,” says Sugimoto, “and feel I’m

Leave it to the

New Mexico for this internationally renowned photographic artist.

The first two pictures McKinnon presents—Carpenter

a part of this nature and landscape.” Each image is carefully

Organized by museum director E. Luanne McKinnon, the show is

Center, Richmond (1993) and Castro Theater (1992)—are

divided into half sea, half sky. The resulting photos shimmer in

designed as an overview of five of Sugimoto’s projects in black and

from Sugimoto’s Theaters project, in which he photographed

every shade of grey, and create inviting canvases that are not

white. Sugimoto was born in Tokyo, in 1948, and his work over the

several historic American theaters and left the camera

unlike the shining movie screens.

last thirty-five years has produced what McKinnon calls “nothing

shutter open for the entire length of a feature film.

Lightning Fields 187 (2009) and Lightning Fields 216 (2009)

less than exquisite, visual meditations upon the qualities of space

The effect is of a dark, empty theater and a bright white

move us from day into night, but surprisingly these images

and time, and the essence of natural and cultural realities.”

screen, like a non-movie movie, with some of the light

were photographed in Sugimoto’s studio during electricity

McKinnon uses the museum’s Van Deren Coke Gallery

reflecting eerily off of features such as the ceiling and the

experiments. From the Lightning Fields project, these images

for this ten-image installation, which is, in her words, “both

stage. Sugimoto’s goal was to create a shining screen.

are meant to record the effects of electrical discharges on

an aesthetic and a narrative.” The small, narrow gallery is up

And he does, but he also creates a sort of blank canvas,

photographic dry plates. The pictures have an anatomical feel as well. The tiniest branches of the lightning strikes could be the smallest roots of a plant or feathery nerve endings in the body. We’re not quite sure. We are led back into the material realm with Mechanical Form 0036 (2004) and Mechanical Form 0028 (2004). Sugimoto admits that he struggled with math in school but was drawn to physics. Through photographs of the detail in nineteenth-century machine tools, the Mechanical Forms project was designed to demonstrate three-dimensional mathematics. “It’s a translation of my visual understanding,” explains Sugimoto. McKinnon saves the Dioramas project for last with Gemsbok (1980) and Neanderthal (1994), taking us from the mechanical to the almost human. For this project, Sugimoto photographed historical museum dioramas, and he trips us up beautifully when our minds take that split second to realize that of course these aren’t actual photos of prehistory. But for that split second, what we see is almost believable. Sugimoto uses a large-format, L.F. Deardorff & Sons camera, and he follows early photographic practices and printing techniques. “What kind creates these nice grey tones?” asks Sugimoto. “And what level of grayness makes black tones, not losing the medium tones, but extremely deep black? So in that sense, I am a very craft-oriented person.” “Part of my work as director at UNM Art Museum,” McKinnon explains, “has been to bring exhibitions to our student and general audiences which would otherwise not be easily available unless one was travelling extensively. I am also dedicated to bringing high-profile work to New Mexico that is international in scope.” Looking at Sugimoto’s work without first reading McKinnon’s accompanying wall text and gallery guide could leave the viewer off balance. It’s often not clear where we are or what we’re really looking at. In fact, we’ve played right into Sugimoto’s hand. “I want people to get puzzled first,” he says. And we do, in a most delightful way. —S usan W ider

Hiroshi Suhimoto, Lightning Fields 216, gelatin silver print, 2009

| ma y 2012

THE magazine | 51


N o L ibrary C ard R equired L umen : F ine A rts

and

S anta F e C ommunity C ollege 6401 R ichards A venue , S anta F e

B ook A rts

Over the past few

R ed D ot G allery 826 C anyon R oad , S anta F e

to sprawling explorations of the possibility of layered meanings,

Charles Hobson’s Trees, based on a W.S. Merwin poem, and The

most of the works are one of a kind. Others are limited editions.

Seasons by Pam Mac Kellar. Sometimes they literalize a pun, as

centuries, the book has evolved in tandem with the human.

Perfect vehicles for the marriage of text and image, artists’

in the carousel of rusted-steel silhouettes titled Face Book, by

It has bilateral symmetry, a spine and is, like each of us, a

books challenge boundaries, beginning with that between

repository of cultural values. Books are among the few

book and sculpture. Viewers’ assumptions are exploded in a

Some pieces mimic, conjure, approximate, or embody a

artifacts still in general circulation that pre-date what Guy

promiscuous mix of media, techniques, and processes—inkjet,

plethora of things-in-the-world: stage sets, castles, windows,

Debord called the “Society of the Spectacle”—the global

letterpress, polymer, and transfers—are barely contained by

pieces of furniture, household objects; for example, Marci

system of commodity culture (in which their infant cousin,

a dizzying array of formats and bindings: flag accordion, coptic,

Easterbrook’s Cup of Tea and Suzanne Vilmain’s Toast, a book

the e-book, participates fully). Artists’ books as a genre

magic wallet, carousel, and pop-up.

retrofitted with a metal toaster. Aja Riggs’ Repository, its pages

Cheryl Trostrud White.

grew largely out of the early twentieth century European

Most of the works could be characterized as assemblages.

being lifted out of a tiny box on legs, looks a bit like a guillotine

avant-garde. They continue to morph, incorporating collage,

The divine is in the details. Materials—wood, fiber, beads, animal

at first glance. Peggy Johnston’s Star Coral consists of six little

painting, sewing, etching, and many other crafts.

skin, feathers, paper—are soaked, distressed, folded, crimped,

domes of saturated red paper constructions festooned and

Like the birds that delight us with their arrival, a flock of

cut, stamped, shredded, and so on. The artists slash and burn their

bound at the top with sea-blue thread and sitting on a bed of

book arts exhibits comes to northern New Mexico this spring.

way to haunting evocations of loss, decay, memory, or intimacy.

black sesame seeds. Emily Martin’s Slices is a complicated cake

Red Dot Gallery presents Lumen: Fine Arts and Book Arts, featuring

Everything is recontextualized—from memorabilia to flotsam, as in

in a pink box, while her Siftings reflects aspects of its content in

Will Karp’s enchanting 49 Master Pieces of Art, a hinged set of five

Loraine Klinger’s Day in the Life of Garbage. Not that the treatment

its zigzag binding. Patricia Pearce’s Bound by Alchemy series and

five-by–five-inch color images of storm-drain covers.These open

is haphazard or chaotic. Shawn Sheehy’s Field Guide to North

Marilyn Chambers’ visceral mix of paper, metal, and fetish, African

in an irregular hopscotch pattern and retract cozily into a metal

American Wildflowers is an engineering marvel. Joy Campbell’s

Journal, incorporate found or made objects that radiate mystery

case two inches high. I recognized with pleasure from last year’s

Tax Time, a witty fright wig of curled paper receipts, is as carefully

and allure. Tor Archer’s “altered book,” Book of the Huntress,

Rotunda show Debra Meyer’s Metamorphosis: a paper lantern–

constructed as all her works. Loraine Klinger’s Slinky Book is a tour

offers exquisite little Venus of Willendorf–shaped figures and

like ball of stained or burnt paper, encircled by a tiny constellation

de force of precision hand cutting. Julie Leonard’s Fragments is a

tiny, familiar scrap-metal pieces bound by copper wire. Also on

of nails loosely held by arcing copper wire, perched on a piece of

wall of accordion-folded found pages artfully eroded and pierced in

display and worth a trip is the intriguing Bound Under the Influence

driftwood.

suggestive shapes that mingle destruction with delicacy.

& Cabinets of Curiosities: Books and Works on Paper, by Suzanne

At Santa Fe Community College’s No Library Card Required,

In these shape-shifting statements, information and

a National Book Arts Invitational exhibit spills over into adjacent

noise may exchange masks. There’s frequently an underlying

Viewing is not ideal when so many of these hybrid objects

hallways and foyers with a substantial array of student works as

commentary on The Book as a moribund artifact of print

are in glass cases, for most were meant to be interacted with—

well as BAG Shows Off, featuring works by members of Santa Fe’s

culture. In Barbara Doroba-Ogg’s A Dying Breed, a tortured

their sequential dynamic meant to have some kind of cumulative

Book Arts Group. Patricia Pearce and Marilyn Chambers, BAG

phone book is both recognizable and totally transformed. A

effect, their materials inviting touch. Nevertheless, these works

members and faculty in the School of Arts and Design’s Book

number of works, such as Lynn Roberts’s Aftermath, give analogs

aptly mirror the complexity and fragility of the world we inhabit.

Arts program, spearheaded this exciting show. From little gems

of natural elements or of landscape. Particularly elegant are

—M arina L a P alma

Vilmain, at the Mesa Public Library in Los Alamos.

Charles Hobson, Quarantine


CRITICAL REFLECTIONS

A rrhythmic V isions

Kandinsky:

C enter for C ontemporary A rts 1050 O ld P ecos T rail , S anta F e it’s as good a hook

That’s a sound visual concept here, but what impresses

the complexity of applied design, and evokes instead the

as any to snare the

even more is how well both artists work with enduring

kind of expressive geometry found in Kandinsky’s kinetic

reader scanning the current issue for shows worth a visit—

but outmoded genres, avoiding genre’s high tendency

compositions from the mid-1920s.

better than Leonardo, who is invoked in the CCA text

toward academic cliché.

And that works: God help any viewer caught in the

about the installations of Jamie Hamilton. His sketches and

Tracing Keogh’s process-métier to the mid-1960s

exhibition space if Hamilton’s constructions were made

large-scale steel and polycarbonate sculptures “[evoke]

is trumped when noting that Hamilton’s installation

to move. But as fantasy and expressive abstraction, they

the many mechanical devices and designs by Leonardo

aesthetic first took visible shap in the 1920s and 1930s

are delightful visual allegories on love and death and the

da Vinci.” In doing so, Hamilton “showcases the beauty

with the likes of Marcel Duchamp’s Large Glass and

other stuff of dreams. There’s more Dalí than da Vinci in

and complexity of machinery and its connection to natural

Calder’s kinetic mobiles. One could even make the case

the dragonfly flutter of Eros, and the allusion to mortality

forms.” Maybe so, but doesn’t Leonardo already do that?

(to mix metaphors) that the engineering of Constructivist

in the title of Thanatos is tempered by a visual schematic

It would be more accurate to submit that Hamilton’s

sculpture was a seedbed of the later artistic elevation

worthy of Saul Steinberg.

sculptures showcase the beauty and complexity of

of mechanical devices in installations from the 1970s

If Hamilton’s steel installations and Keogh’s process art

Leonardo’s machinery and its connection to natural forms.

by artists such as Rebecca Horn. Compared to the

deal in tropes—here, investing with fresh meaning visual

And if Hamilton’s works were weak, that would be a

Surrealist mediation of Calder’s and Horn’s mobiles,

conventions that can border on or transgress the terrain

gracious tack to take for the rest of this review. But his

Hamilton’s constructs come across as almost classical,

of cliché—they succeed in engaging viewers by imbuing

work is really quite strong, and it’s not because he has

seeming to eschew Horn’s irony for the eloquence of

a poetic approach to their materials with unabashed or

captured the art or design of da Vinci’s devices. If we want

da Vinci’s mechanica. Yet a closer look in the presence

understated visual appeal.

to credit any source, I’d give kudos to Kandinsky, with a

of Hamilton’s structures reveals work that only mimics

—R ichard T obin

nod to Duchamp. But more on that later. The claim for a connection to natural forms fits Hamilton’s work, but it’s better as a bridge to the clay constructs by Alison Keogh. Keogh’s clay installations range from papered walls with sweeping brushstrokes made with site-specific clay slurry, or slip (Exit 264; Exit 265)—“applied to the wall with my forearm in a dance involving clay, body, and gallery wall”—to cotton and muslin fabric dipped in clay slip and worked over a support (Cloaked Earth) or stacked in sheets to form a layered structure (Stratum 264), to “mandala” pieces like the grid of poured sand piles (Repose) and the clay-wash works on paper created by gestures made in the clay by different parts of Keogh’s body (Clay Drawings). Process art has been around since the mid-1960s, yet it continues to be significant when done well, as here. If Keogh’s tantric characterization of her work as “a dialogue with the natural world, passing through my body, expressed through breath, mindful awareness, and repetitive gestures” tends to make some viewers blink rapidly or mentally make the mandarin face of Kingsley Amis’s Lucky Jim, that reaction is assuaged by the visual quality and conceptual rigor of the work itself. In his fine introduction to the exhibition, curator Craig Anderson notes that he “envisioned an artistic pairing based on a compatibility in counterpoint… Their abstract works spring from both cognitive and intuitive sources and trace separate paths of eccentric artistic exploration.” No stranger to arrhythmia myself, I’ve always shied away from the term, in part because I always have to look up the spelling. Here it is used to suggest that Hamilton’s geometric penchant for mechanical design and Keogh’s tangible connection to the earth are seemingly out of sync with each other, yet on reflection can be seen to express an underlying common source in nature.

| ma y 2012

Jamie Hamilton, Eros, steel and polycarbonate, 15h’ x 12’w x 8’d

THE magazine | 53


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GREEN PLANET

Shigeko Sasamori was thirteen years old and in Hiroshima when the atomic bomb was dropped.  She was seriously injured and has sustained over twenty surgeries.  To this day she travels to speak out for Peace. “ I saw the airplane. There was a beautiful blue sky. Then I felt a force that knocked me down. None of us could breathe, all of our clothes blew off. One-fourth of my body was burned, but I felt nothing. I was in shock. Then I saw how horrible everyone was around me.  Such horrible stories. It still makes me cry to talk about it.”

Photograph by Jennifer Esperanza | ma y 2012

THE magazine | 55


MARK Z. MIGDALSKI, D.D.S. GENERAL AND COSMETIC DENTISTRY “DEDICATED TO PREVENTION, SERVICE & EXCELLENCE”

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A R C H I T E C T U R A L D E TA I L S

F ull M oon photograph by

| ma y 2012

G uy C ross THE magazine | 57


WRITINGS

September Eleven by

Anthony Hassett

There was so much methamphetamine And sodomy, in the end All the participants would do Was cry…the pit bulls Were put away, the bullhorn Sounded in the street But no one listened, And it chanted as it took hold, Cosseting the vast and monstrous Dawn, it brought noise down Around our ears, Patting us like dogs…of course The videos helped immeasurably And the thought of one’s own gaze Being returned…the morning sunlight Stretched out like a body On a rack; fighter jets rushed overhead And the wretched shape Of runt luminescence

“September Eleven” is from from Gazette (CSF Publishing, $19.99)—first in a series of many volumes. Hassett’s life has been an unceasing half-century of philosophical inquiry, civil disobedience, defiance of socio-political structures, flagrant rebellion, and pursuit of the real.

58 | THE magazine

| ma y 2012


Garo Antreasian | Robert Erickson

Garo Antreasian, Column E,F,G, 2000, charcoal, 71 x 16 inches (each)

© courtesy Gerald Peters Gallery.

Robert Erickson, Persian Walnut Rocker, 2011, persian walnut, 44 1/2 x 26 5/8 x 42 inches

© courtesy Gerald Peters Gallery.

FAIR CURVES & IntERSECtIng AnglES May 4 - June 9, 2012 Opening reception with the artists: Friday, May 4th, from 5pm - 7pm

1011 Paseo de Peralta, Santa Fe, NM 87501 | tel 505-954-5700


Installation View - Five Pieces, 2012, Mixed media, each piece approximately 72 x 8 x 8 inches

John Garrett: New Works

May 4 - June 2, 2012 Reception Friday May 4, 5-7 pm

www.CHIAROSCUROSANTAFE.com

Ulvio Pugliese, Edition of 5, Pigment print on rag paper, 28 x 39 inches

Irene Kung: Gli Alberi

c h i a r o s c u r o 702

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& 708 Canyon Road, at Gypsy Alley Santa Fe, New Mexico 505.992.0711


The Magazine - May, 2012 Issue