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Santa Fe’s Monthly

m a







of and for the Arts • September 2012



5 Letters

32 Out & About


Universe of photographer Elliott McDowell


Art Forum: Bill Brandt: Eaton Place

21 Studio Visits: BJ Quintana and Kate Rivers 23

Food for Thought: The Absinthe Drinkers, by Edgar Degas

25 One Bottle: The 2010 Antoine Arena Patrimonio “Carco” Blanc, by Joshua Baer 27 Dining Guide: Aqua Santa, Tune-Up Café, and Kohnami 31 Art Openings

38 Previews: Christopher Felver at Zane Bennett Contemporary Art; ISEA2012 Albuquerque: Machine Wilderness at 516 Arts (Alb.); and Nora Naranjo-Morse at Chiaroscuro 41 National Spotlight: The William S. Paley Collection: A Taste for Modernism at the de Young Museum, San Francisco 43 Feature: A Conversation with Derek Guthrie, by Mokha Laget 47 Critical Reflections: Bea Mandelman at Harwood Museum of Art (Taos); Brace for Impact at Eggman & Walrus; Contemporary Indigenous Australian Art at Chiaroscuro; Jennifer Joseph and Rex Ray at Turner Carroll; Jimmy Mirikitani at Eight Modern; Joan Gentry and Don Kirby at Verve Gallery of Photography; Meow Wolf at OmegaMart; More Real? Art in the Age of Truthiness at SITE Santa Fe; and The Art of Gaman at the International Folk Art Museum



Green Planets: Clayton Campbell, photograph by Jennifer Esperanza


Writings: “Strokes III,” by Eleuterio Santiago-Díaz

During Hunter S. Thompson’s life numerous unauthorized biographies were written, and since his suicide, in 2005, at the age of sixty-seven, several others have surfaced. The latest is Gonzo: A Graphic Biography of Hunter S. Thompson (Abrams, $17.95), written by Will Bingley with illustrations by Anthony Hope-Smith. Narrated in the first person, Bingley’s prose uncannily succeeds in mimicking Thompson’s “voice.” Gonzo is not a full-scale biography of Thompson’s life—instead, through a series of vignettes, it offers a peek into key elements of his early days, along with some of the most exaggerated aspects of his drug-and-alcohol-fueled world. It presents a good look at Thompson’s excessive persona and the writer as a political activist. Gonzo, with its stark, movie-style black-and-white illustrations, is not only a highly entertaining read, but a page-turner as well.



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

A fundraising auction focusing on Lyme Disease awareness will help to raise money for native Santa Fean Rebecca Cohen, who has been battling Lyme Disease since 2008. Works by: Paul Shapiro, Darren Vigil Gray, Michael Wright, Sam Scott, Doris Cross, Eli Levin, Tony Price, and others. Auction, music, and food on Friday, September 14, from 5 to 11 pm at the Inn of Loretto—211 Old Santa Fe Trail. Image: Leslie McNamara.

fac e boo k C h i e f Laura Shields C ontr i butors Diane Armitage, Joshua Baer, Davis Brimberg, Jon Carver, Kathryn M Davis, Jennifer Esperanza, Steve Hilyard, Hannah Hoel, Mokha Laget, Marina La Palma, Iris McLister, Eleuterio SantiagoDíaz, Richard Tobin, & Susan Wider CoVER

Steve Hilyard, Mountain I,

archival inkjet prints, lightboxes, 2011 digital images of generic mountains manipulated to render the mountain forms symmetrical for parts of their height. These are not images of particular mountains, but diagrams of the concept of mountains realized as iconic conical forms.

At 516 ARTS for ISEA2012 Albuquerque: Machine Wilderness. Preview: P. 38


This letter is in response to the Irving Blum/ David Hickey hoe-down at the Armory for the Arts in late July. Irving Blum showed some fire with his warm anecdotes about his close encounters with art giants, whereas David Hickey barely even got out of the bathtub. His verbal assault on the Getty Museum was positively Neanderthal. Hickey is a bloated jackass—pedantic and irrelevant are words that also might apply. Give him a brush and some paint and let’s see what kind of crap he conjures up! And I extend that challenge to all art critics! As George Burns once put it, “Critics are eunuchs at a gang-bang.” —Randy Getty, Santa Fe, via email TO THE EDITOR:

A D V e rt i s i ng S al e s THE magazine: 505-424-7641 Edie Dillman: 505-577-


D i str i but i on

Jimmy Montoya: 470-0258 (mobile) THE magazine is published 10x a year by THE magazine Inc., 320 Aztec Street, Suite A. Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road, Lamy, NM 87540. Phone: (505) 424-7641. Fax: (505) 424-7642, Email: Website: 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.

| s e pt e mb e r 2012

As a visitor to Santa Fe, I attended the Irving Blum/ Dave Hickey conversation at the Armory for the Arts. I found the back-and-forth talk between these seemingly mismatched lions of the art world to be extremely entertaining. Blum told war stories of his life in the art world, while Hickey, for the most part, watched and listened. Hickey seemed to be ceding the chair to Blum pretty much, and towards the end of the evening when the talk slowed down, Hickey took on the role of interviewer, probably to keep the conversation flowing. Though my husband complained that there was no “real meat” to their conversation and that he had “heard all of these stories before,” I found the evening to be both educational and stimulating. For me, it was an honor and a privilege to be able to watch and hear Blum and Hickey talk the talk. Thanks to SITE Santa Fe for presenting this event. —Cynthia Lamb, Miami, Florida, via email TO THE EDITOR:

My congratulations to THE magazine. It has been a delight watching your magazine evolve over the past twenty years. I remember when THE was printed in only black-and-white when it arrived on the scene in 1992. Now THE mag is pretty much all color. Change is good. THE has afforded me the opportunity to be

“in the know” through its art reviews, interviews, and articles on art players in New Mexico and elsewhere. The 200+ “Universe of” articles have been the focus of conversations that are relevant to my gaining a historical and contemporary perspective on art in the Southwest and beyond. THE examines what is pertinent. Simply stated—THE magazine really matters. I wish your publication continued success in the future within the Santa Fe art community and the greater art community at large.

—T.R. Souther, Farmington, via email TO THE EDITOR:

Your announcement in the August issue stated pictorially that “Time Flies.” Yes, that is true, and it is quite difficult to believe that twenty years have passed since THE magazine arrived on the art scene. You should be praised by many for all that your magazine has contributed to the arts in New Mexico and elsewhere. Happy birthday, and many, many more. I see that THE magazine will be available on the iPad soon—that is a superlative move. Please renew my subscription.

—Steve Pollard, Buffalo, New York, via email TO THE EDITOR:

We at Parallel Studios, the presenter of Currents 2012: Santa Fe International Media Festival, would like to thank THE magazine for their editorial coverage. There are two corrections we would like to make to the review Currents 2012 by Jon Carver in the Critical Reflections section of the August issue. The first Currents exhibition took place at the CCA in 2002. In the second parargraph, Carver refers to “Robert Drummond’s District.” The work he decribes is actually by Robert Campbell and is titled Pulchrior in Luce. We would also like to thank the community, the city of Santa Fe, the state of New Mexico, and the NEA for their support. —Frank Ragano and Mariannah Amster, Executive Directors, Parallel Studios, Santa Fe, via email

THE magazine welcomes your letters, which may be edited for clarity and space. Email: Mail: 320 Aztec St., Suite A - Santa Fe NM 87501

THE magazine | 5

S E P T E M B E R 15 – D E C E M B E R 15, 2 012

O P E N I N G R E C E P T I O N F R I D AY, S E P T E M B E R 14 , 5 – 7 P M


UNIVERSIT Y OF NE W MEXICO ART MUSEUM | AL BUQUERQUE 505.277.4001 Hours: Tuesday – Saturday 10 – 4 Closed Sunday & Monday Joan Snyder, Madrigal X from 33 Madrigals, 2001, monoprint (color lithograph, monotype, and color woodcut). Collection of the artist. © Joan Snyder. Photo by Peter Jacobs. Daniel Reeves, Video still from Avatamsaka, 2012, Video projection on 72 inch glass disc, 2:40:49 loop. Courtesy of the artist. This event is part of ISEA 2012 Albuquerque: Machine Wilderness.


J O H N B E E C H | T I M E E X PA N D E D






In the Railyard Arts District | 554 South Guadalupe, Santa Fe, NM 87501 Tel 505.989.8688 |

“Time Is Elastic” (detail), 2012, aluminum, enamel, bolts, 58 x 176 x 156 inches

Raphaëlle Goethals Dust Stories

August 31 – September 22 Opening Reception Friday, August 31, 2012 5:00 – 7:00 pm


Dust in the Machine September 21 - November 25, 2012 A group exhibition about the glories and failures of the industrialized West

OPENING RECEPTION: FRIDAY, SEPTEMBER 21 6:30-8PM Featuring Chris Ballantyne, Lisa K. Blatt, Adriane Colburn, Bethany Delahunt, Jamey Stillings, Lucy Raven, Jesse Vogler, and Shirley Wegner. Dust in the Machine is presented in conjunction with the 18th International Symposium on Electronic Art Image: Shirley Wegner, Explosion with Tractor Traces

CCA Center for Contemporary Arts 1050 Old Pecos Trail Santa Fe Open: Fri - Sun 12-5pm

ERIN CURRIER Students and Soldiers, August 31–September 18, 2012 Artist reception and book signing: Friday, August 31, 5–7 pm in Santa Fe

Femen, acrylic and mixed media collage, 48"h x 60"w

D E L A D I E R A L M E I DA New Paintings, September 14–September 29, 2012 Artist reception: Friday, September 14, 5–7 pm in Santa Fe

Cacokinetics, oil on linen, 40"h x 72"w

Blue Rain Gallery | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 | 505.954.9902 | Blue Rain Contemporary | 4164 N Marshall Way, Scottsdale, AZ 85251 | 480.874.8110

billbarrett DNa

DNA 2, 2012, fabricated bronze, 46½" x 42" x 30"

August 31-OctOber 7.2012 Artists’ reception: Friday, August 31, 5:30-7:30pm LewAllen galleries at the railyard

lucylyoN together, aloNe

Best Friends II, 2012, cast glass, 17"h x 16"w x 7½"d

LewAllenGalleries AT T H E R A I LYA R D

Railyard: 1613 Paseo de Peralta (505) 988.3250 Downtown: 125 W. Palace Ave. (505) 988.8997

A mixed-media art exhibition focused on organic forms, earthy visions, and primary materials. Exhibition

August 24 to September 23, 2012

Opening Reception August 24, 5 to 8 p.m.

Special Public Reception for the International Academy of Ceramics Conference September 20, 5 to 8 p.m.

In conjunction with the 45th General Assembly of the IAC

826 Canyon Road (505) 829-7338

Jacob Baudhuin, Joan Concetta Biordi, Berkeley Brestal, Donna Brownell, Larry and Nancy Buechley, Candy Carlson, Catherine Carr, Stefani Courtois, Melissa Dominguez, Emily Elliott, Bart Ellison, Nicola Gadbois, Mario Hinojoza, David Johnson, Doug Jones, Nancy Kushigian, Mayumi Nishida, Annie McGovern, Adriana Reyes Newell, Melinda Silver, Selene Sinclair, Touri Strick, Linda Mae Tratechaud, and others…


Global Interface in American Ceramics

SFCC Visual Arts Gallery Aug. 29-Sept. 21, 2012 | Public Reception: 5 to 8 p.m., Wednesday, Sept. 19 In conjunction with the 45th General Assembly of the International Academy of Ceramics Conference CURATED BY Linda Ganstrom NCECA Exhibitions Director Clark Baughan Director of Exhibitions, SFCC James Marshall Head of Ceramics, SFCC

Virginia Pates Playa Negra in Soda Ryan Fletcher Pierogi Variation 6

Max Lehman Red Skeleton and Black Crows

Jane Sauer Owner, Jane Sauer Gallery, Santa Fe, NM

Kari Rives Lucy

School of Arts and Design | Visual Arts Gallery Mondays through Fridays, 10 a.m. to 5 p.m. 6401 Richards Ave., Santa Fe • (505) 428-1501 • These exhibitions are sponsored in part with support from GROW Santa Fe Community College Foundation.

NICOLA LÓPEZ NOTES ON THE TOWER in the Tamarind Gallery September 7 through December 21, 2012


SYN ARTEREAZIONE+CONSONANT 09.20 - 10.12 Reception: September 20th, 6-8 pm In partnership with ISEA2012: Machine Wilderness Richard Levy Gallery • Albuquerque • • 505.766.9888

Nicola Lopez, Infrastructure +2 (2012). Lithograph., 30 x 44 inches.

Artist talk, Thursday, September 6, 5:30 p.m. Public reception, Saturday, September 22, 4:30 to 7:30 p.m.

Exhibition co-sponsored by Michael Emerson & Kathryn Naassan.

a fine art lithography workshop and gallery 2500 Central Avenue SE, Albuquerque, NM | 5 0 5 .2 7 7 .39 0 1

Eddie Dominguez: Where Edges Meet September 22, 2012 - May 26, 2013 Reception: Friday, September 21, 5-7 pm


100 West 11th Street, Roswell, NM Open Daily • Mon-Sat: 9-5, Sun: 1-5 Free Admission • Donations Welcome Eddie Dominguez, Rain Cloud, ceramic, 21 3/4” diameter x 3”. Image: Jose Rivera.


ALAGalleries ARTSAtDISTRICT Lincoln Avenue

Come experience the exciting energy of the GALA Arts District, just off the historic Santa Fe plaza on Lincoln Avenue between Palace Avenue + Marcy Street. Every 1st Friday of the month, the GALA Arts District invites the public to join in the celebration of new and cuttingedge exhibitions. Discover the artwork of more than 500 contemporary artists in eight distinctive venues while strolling along prominent Lincoln Avenue where you will find renowned museums of art and history, exceptional shopping, innovative cuisine by award winning restaurants and nightlife all in a stimulating + welcoming atmosphere. Enjoy exploring Santa Fe’s most vibrant art community, the GALA Arts + Museum District!

first friday artwalk monthly ~ 5 - 7pm

Niman Fine Art michael namingha

David Richard Contemporary michio takayama

Windsor Betts kevin red star

Legends Santa Fe equine | benefit for cimarron sky dog horse rescue

Pippin Contemporary gilberto romero

Blue Rain Gallery erin currier

Allan Houser variations on the reclining figure

Evoke Contemporary new work by gallery artists


Having studied

Ansel Adams’ Zone System in the 1970s, Elliott McDowell quickly became an expert on traditional photographic printing techniques. His classic black-andwhite photographs were impeccably printed and had an out-of-the-ordinary edge as seen in Fleetwood, New Mexico—where the shark-like tail fins of a classic Cadillac dominate the foreground of a desert landscape. In 1993, influenced by the imagery of Jerry Uelsmann, Man Ray, and René Magritte, McDowell created the Mystical Dreamscapes series. In this body of work and others to follow, McDowell embraced Photoshop, delving into the surrealistic worlds of fairy-tale gardens, golden suns, ancient trees, winding waterways, and stone paths—imagery that invited the viewer to explore visual mysteries. In 2011 McDowell came full circle, returning to where he began some forty years ago—making straight photographs, this time in color.


My Passion for Photography I have been fascinated with photography since childhood. I was given a Brownie camera at a young age and remember that looking into the viewfinder was a whole different world. Later, my dad let me use his Polaroid camera and I remember taking portraits of my friends. As our family traveled by car, I have memories of looking out the window and seeing people, places, and things, which I photographed in my mind. Today, that same feeling of entering into a special space occurs while looking into the camera. There is a sense of being in another reality and I consider this place to be sacred. I lose track of time while working and I think it can be compared to what athletes call being in the zone—my favorite place to be. I think that it was my destiny to become a photographer. Looking back on my life, there were so many things that pushed me in that direction. Picking up a camera brings me to life.

Digital/Photoshop versus Straight Photography I come from a background of classical approach. The early 1970s were a time of learning how to make photographs that looked like those of the great photographers. Early mornings with a cup of coffee and viewing the big coffee table books of Adams, Arbus, Caponigro, Weston was a meditation for me. The f/64 Group became my philosophy. In those days I was lugging around big cameras to get the big negative, and would seek out those who knew more than me to help improve what I was doing, both in photographing and printing. In the early nineties, with digital coming to life, I became interested in knowing just what the heck was a pixel. Digital photography allows one to capture and make incredibly fine images. However, it took a long time for me to stop using film. In 2003 I took my last roll of film. It was a tough transition and I began to go through digital cameras like socks. I missed touching and feeling the film, laying it on the light box, and looking through a loupe. Somehow I got over that sense of loss. Today, the equipment I use gives me confidence and the look I have always wanted. Bottom line is we are in a digital age and I am fine with it.

Exploring Mystery and Magic I have always been a believer of the unseen. When I am taking pictures or deeply involved in making the image in the digital darkroom, something wonderfully mysterious happens—the feeling of being in another reality. When I was doing those early sketches for black-and-white images like Moonrise over Rolls Royce Boots and Wurlitzer, the moment those images were made was something I can go back to and replay in my mind. However, the thing that amazed me was that they always turned out better than my sketches, and I felt that there was something more at work, something that really cannot be described. The same thing occurs when building a composite image and it is given birth. At that moment, I am usually sliding across the floor in my desk chair in a state of bliss. Without the mystery and the magic, life would be boring.

Buji I have a little book titled Zen 24/7. In it are a few pages discussing the Zen term buji. I thought about this on and off for years. When I made the photo composite titled Buji Bird it became clear to me what it means. The little heron in Buji Bird is simply living its life, doing what is in its nature—just living in the moment, walking on the beach. The same is true with Sweet Lassy—she is following her nature of being a cow. She grazes and makes milk and is simply being. Photography is my nature. I am doing what comes naturally to me, and it feels right. I thrive on the interaction with people while taking their portraits—the elation at the moment of taking what I know is a great photograph, and that final moment when the finishing touch is done to a composite image. Although I have now moved back into a more “straight” style of image-making, there will always be a photo composite hanging in the ethers. I love what I do, and my hope is that when my work is viewed it brings some joy. That’s my buji.

photograph of

Elliott McDowell by Dana Waldon

As well as showing locally at the Andrew Smith Gallery, Santa Fe, the Afterimage Gallery, Dallas, and Tina Goodwin Fine Art, Denver, McDowell has had numerous one-man and group shows in the United States and abroad. His photographs are in the collections of the Metropolitan Museum of Art, Denver Art Museum, Center for Creative Photography, Albrecht Kemper Museum, and the New Mexico Museum of Fine Arts. To see more:

| s e pt e mb e r 2012

THE magazine | 15



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THE magazine asked a clinical psychologist and three people who love art to share their take on this 1955 photograph—Eaton Place—by Bill Brandt. They were shown only the image—they were not told the title, medium, or name of the artist. This piece is voyeuristic. We see the private world of a lonely

edge. Gradually, she becomes aware of the glare in her eyes.

He said, “Get out of your head. You are spending way too

pre-pubescent boy. He appears to be lying down on either a

Vapidity engulfs her.

much time there.” I knew what he meant. I had become

bed or couch in what may be his parents’ bedroom. An empty

—Jennifer Bartlett, Professor of Art, Groosmont College, San Diego

more interior than exterior, daily losing track of all that was

chair and dresser complete the scene. The emptiness of this

around me. I found the interior dialogue bigger, better, more

stark space suggests alienation. There is no emotion inside this

engaging. Safer. My retreat started slowly. I lost hours. Not

room. The only life we see is the child, who looks away from

quite blacking out, I would voyage into another domain, free-

the viewer. He does not connect with us or with anything in the

The camera can cut up everyday reality and create complete

associating about the past and a fictional future. I controlled

room. There is no suggestion of life outside the window, either.

surreality. This photo, like many others by Bill Brandt, uses the

the vision and the outcome. Alone on the couch, the windows

This work is teeming with emotional isolation and sadness. The

natural properties of the wide-angle camera lens to dramatize

of my apartment thrown open to the white noise of street

child’s facial expression and position appear adult-like. We do

scale change and distort our perception of familiar distances.

sounds, I would imagine myself an entirely new person, an

not see a carefree youth. I also imagine that he could be lying

These distortions, his cropping of the figure, and his characteristic

avatar dominating a world so dynamic even the universal

on a Freudian psychoanalyst’s couch. The doctor sits behind

high contrast, create images with a dream-like feeling. I think

laws of nature didn’t apply. Afghanistan was not a country

his head and says, “Tell me more about your dream.” The dark

they are some of the best pictures of the human interior world,

in my interior realm. The real world? Overrated. I had been

room symbolizes the child’s sadness, while the open floor-to-

pictures of the thoughts, images, and feelings that flit through our

consumed by its searing reality. It wasn’t the carnage or the

ceiling window implies a better future is possible. All is not lost.

minds constantly. His images are often strange and sometimes

killings. It was the real aftermath of the battles—the ennui

The windows are in contrast with each other—one being fully

shocking, but also, for me, they are comforting because

that choked me when I returned. No job. No family. No

open while the other is fully closed. We see ambivalence here—

they feel somehow universal and shared. The words I think of

prospects. No purpose. Flashbacks. I don’t know how long

the boy longs for opportunities for his future in the outside

when looking at this image are dislocation, displacement, and

I lay there. Was it simply overnight or for as long as a few days

world but also wants to remain a child with his parents. This

disembodiment. If Brandt were less of an artist, this archetypal

or a week? I had lost touch. All my senses gone. There was

child is feeling the profound conflict of adolescence.

picture of the inner world contrasted with glimpses of the outer

nothing but the inner voice and now the doctor demanding

—Davis Brimberg, Ph.D.,Clinical Psychologist, Santa Fe

world might seem a bit obvious. But Brandt was a great artist

my full attention.

who could see the expressive possibilities of pushing just one or

—Marilyn Bauer, Art Writer, Sewalls Point, Florida

two properties of a lens and Like a lucid dreamer, she lies on the bed with

black-and-white film. Other

the new loneliness he has presented her.

great photographers have

cropped their subject to

Minutes ago, he walked out, leaving the balcony door open, his cigarette

show us that reality is often

still burning in the ashtray outside. The smoke is languidly drifting

only what is familiar to us

through the room, silently weaving around the space above her head.

and that the unfamiliar and

abstract lurk everywhere, if

There is nothing else left of him.

only we were to look harder.

Other great photographers

Is she upset? Or is she excited, shivering about the new


possibilities only now presenting themselves to her?

settings, darkroom work,

and printing to change the

Despite the raw light illuminating the childlike contours of her

familiar into something we

face, darkness creeps into the corners and stillness of the room.

work hard to recognize.

The contrast is alien, paralyzing.


formal interest or technical

There is no sound, just the stale smell of smoke and


leather. Her breath is shallow, her eyes unblinking.

dig into the psyche. If we


She lies upon an old blue bedspread, its coarse texture vaguely

through the mind of the

registering in her subconscious. She stretches her arms gently

young girl in the photo,

above her head and digs her right thumb into the nap of the

I feel it is simply what is

fabric. The smoke from his cigarette dissipates and all else is

going through our own, and

motionless. She waits for the light to fade, for time to move

Brandt has done his job well.

forward and bring inspiration, hope, anything.

—Steve Halvorsen, Collections Manager, Tai Gallery, Santa Fe

A shoe drops to the floor, her foot dangling over the mattress

18 | THE magazine








but is



| s e pt e mb e r 2012

September Events at EAI 4 t h A n n u a l E A I F un d r a i si ng Ga l a & A rt S a l e Sa tu rd a y, Se p t e m b e r 1 5, 5 - 8 p m . Jazz Quartet - Wonderful Food Buy any donated artwork for $299.

National Encaustic Invitational Show Se p t. 2 2 nd - S u n . O ct . 2 1s t O p e ni n g - S ep t e m b er 22, 1 - 6 pm . Jurors: Ellen Koment & Mark Di Prima

Encaustic Art Institute A non-profit arts organization. For map and information, go to or call 505 424-6487

18 County Road 55A(General Goodwin Road), Cerrillos, NM 87010


Ray Bradbury wrote, “Don’t think. Thinking is the enemy of creativity. It’s self-conscious, and anything selfconscious is lousy. You can’t try to do things. You simply must do things.” Two artists respond to Bradbury’s statement. The intuitive is only realized after a history of critical process. Bradbury was only partially correct. He negates that history. As a distance runner, I understand that the state of euphoria that can be reached while running only happens after hours of training. However, it is crucial to trust that history of artistic practice. It is important to begin, to “do things” without self-doubt, fear, and questions. To know that all of my history will inform the marks, the decisions that I make with my work, is a crucial first step. I can begin to do and to allow the current to take me to transcendence. Expansion takes over and I arrive at a place where intuition draws from all my history of thought and process.

—Kate Rivers Rivers’ paintings were shown at Mathews/Deloney Newkirk Galleries, Santa Fe, in 2011, and at Living Arts, Tulsa, Oklahoma, in 2012. Upcoming shows in 2012 at Paseo Originals, Oklahoma City, in December, and at Mathews/Deloney Newkirk Galleries and Kirk Hopper Fine Art, Dallas, in 2013.

Thought can lead to doubt and doubt is the number one Unholy Dog of Creativity. I saw graffiti on a wall that said, “If you get out of the way, art will happen.” Creativity must be allowed to surface without impediment. It rises from a collection of knowledge gained through experience. This applies to all disciplines of art: writing, dance, painting, or just strummin’ on an old guitar. Ya just gotta “Surrender, Dorothy.” I may be thinking too much, but it seems to me that an artist is the epitome of a free person, simply because she/he has freed herself/ himself from limitations: their own and those imposed upon them.

—BJ Quintana Quintana has been on hiatus from the art world for ten years, though quietly continuing to make art. The exhibition Brace for Impact at Eggman & Walrus in July was her first Santa Fe show in twenty years. For private viewing, contact Quintana at her Albuquerque studio: See page 57 for Brace for Impact review.

photographs by

| s e pt e mb e r 2012

A nne S taveley THE magazine | 21





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At the first cool sip on your fevered lip You determine to live through the day, Life’s again worthwhile as with a dawning smile You imbibe your absinthe frappé.

—From the 1904 Broadway musical It Happened in Nordland, by Glen MacDonough and Victor Herbert

Perfectly potent and poetically prohibited, the infamous beverage known as “the green fairy”—absinthe—has made a comeback in recent years, luring a new generation of drinkers to discover what Vincent van Gogh and Arthur Rimbaud raved about during the drink’s bohemian heyday. Said to have been invented by Dr. Pierre Ordinaire in the late 1700s, absinthe’s key ingredients are wormwood, fennel, and anise, giving it a slightly bitter flavor similar to licorice. In the late nineteenth century, absinthe became so popular among the French bourgeoisie that the early evening was called “l’heure verte”—“the green hour.” After prohibitionists spread colorful—though patently false—rumors about the drink’s hallucinogenic properties, it was banned in the United States in 1912, and in France, in 1914. These bans only served to increase absinthe’s romantic allure, earning it the adoration of many great artists and writers, not to mention an entire scene in Baz Luhrmann’s 2001 movie, Moulin Rouge. The ban was finally lifted in 2007. Brand names such as Kübler and Jade began to appear in liquor stores and bars. Critics, initially made skeptical by the hype, have been pleasantly surprised by the quality of several brands. If you’re interested in sampling “the green fairy” for yourself, Eric Asimov, wine critic at The New York Times, advises, “forget the sugar, remember the water.” Sound interesting? You can buy Brimstone Absinthe Liqueur produced by KGB Spirits at purveyors in Santa Fe, Taos, and Albuquerque. D | s e pt e mb e r 2012

THE magazine | 23

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one bottle

One Bottle:

The 2010 Antoine Arena Patrimonio “Carco” Blanc by Joshua Baer

We stayed in a house on the coast north of Boston. The house was fifty

Cherry tomatoes, eggplant, sweet corn, torpedo onions; blueberries,

yards from the rocks and the rocks were fifty feet from the Atlantic.

nectarines, white peaches—making dinner was almost too easy. Simple food

There was no sand. If you walked to the edge of the rocks and dove into

calls for simple wines, at least in theory. In practice, there is such a thing as

the water, you were swimming in the open ocean, with eighteen fathoms

a surplus of simplicity. The more basic the dinner, the more complex the wine

below you and two thousand nautical miles between you and the west coast

needs to be.

of Ireland.

Which brings us to the 2010 Antoine Arena Patrimonio “Carco” Blanc.

The house had a slate roof and a copper chimney. On the ground floor

Antoine Arena lives and works in the Patrimonio region at the north

there was a kitchen, a living room, and a bathroom. A narrow flight of stairs

end of Corsica. Arena’s vineyards are planted in a chalky soil—the same vein

led up to two small bedrooms. The dormer windows on the second floor

of chalk that runs north through Burgundy and Champagne and under the

faced north, east, south, and west. In the morning, when the sun rose out

English Channel to the Cliffs of Dover. The chalk is a remnant of fossilized

of the ocean, the walls of the upstairs rooms turned pink, then orange,

oyster shells. Vines planted in chalky soils tend to struggle during infancy

and then gold. In late summer, the sunlight ripened into something rich

and mature slowly, but after they mature, they produce grapes of character

and thick. You saw it dance and float on the Atlantic but also felt the weight of it against your skin. On cloudy days, the color of the water made its way through every shade of pearl grey. At night, if there was any kind of a moon, the ocean seemed closer and smaller than it did during the day. On the dark water, the moonlight was a wide, cobbled path that stretched all the way to the horizon. It was the kind of place where you could not forget where

and distinction. Arena’s 2010 Patrimonio Blanc is made with Vermentinu grapes from his Carco vineyard, a three-hectare parcel with a south-facing slope. Carco is the Corsican equivalent of chargé, which means “loaded” or “laden” in French. Chargé can also be translated as “fraught.” In the glass, the 2010 Patrimonio Blanc is a lean, transparent gold. Depending on the temperature of the bottle, the bouquet

you were. Cormorants and seagulls flew by the house, calling

is either obvious or legendary. As the wine approaches room

to each other in sharp cries. Lobster boats came within fifty

temperature, its obvious aromas retreat and its legendary

feet of the rocks. The purr of their diesel engines faded in

associations emerge. Think of sunlight turning into straw and

and out. The harbor buoy groaned every three seconds. At

straw turning into gold. On the palate, the 2010 Patrimonio

night, and in heavy fog, the horn at the lighthouse blasted

Blanc is like swimming in deep water. No matter how

away. Behind the foreground sounds was the ocean itself,

disciplined a swimmer you are, you know you are at the

rinsing and grinding, pushing and yielding, never missing

mercy of forces beyond your control. The finish extends

a beat. Each time the tide turned, the pressure of the air

that connection by asking the right questions: Is this a shy

dropped. When you fell asleep, you drifted off with the

wine with aggressive tendencies or an aggressive wine

tide. When you woke up, a wave breaking against the

with defensive tendencies? How can a Vermentinu deliver

rocks was the first sound you heard.

this degree of depth without showing all of its cards? If we

There was a tide pool near the edge of the rocks. The original owners of the house had called it “the crab

open a second bottle and drink it, will we know more or less about this wine than we do now?

pool.” At low tide, the crab pool was empty, but an hour

After we left Massachusetts, the house with the slate

before high tide, waves broke over the rocks and filled

roof and the dormer windows was sold to a couple who

the pool with six feet of clear water. At high tide, the

used phrases like “unlocking value” and “implied consent.”

surface of the water came level with the surface of the

The husband was descended from an old Boston family.

ocean. If you dove into the crab pool and floated on

He and his wife owned a pleasure boat and had admired

your back you could look out at the horizon and watch

the property from the water. Their master plan was

the waves roll towards you. The water in the crab pool

to tear down the house with the slate roof and build

was warmer than the ocean, but it still took your breath

a mansion. Unless someone drags me there against my

away. As soon as you dove in all you could think about

will, I will never watch the moonlight on the water from

was how and when you would climb out, but after you

that spot again. No matter how beautiful the moonlight

climbed out, all you wanted to do was dive back in.

might be, watching it from the bay window of a modern

Spending two weeks at the house was like spending two weeks at sea. Towels, toothbrushes, and clothes

mansion would be too simple—too simple, too obvious, too painful, and too sad. D

never dried. Regardless of whether you were inside or outside, the air itself was damp. Breathing became a lighter form of swimming. My wife and I cooked simple meals. By the middle of August, the local farms and orchards were in full harvest.

| s e pt e mb e r 2012

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 For back issues, go to Send your comments or questions to

THE magazine | 25


On the Patio at

Aqua Santa 451 West Alameda, Santa Fe Reservations: 982-6297




up to $14







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



$34 plus


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. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, seared Pork Tenderloin, and the Black Mussels are all winners. Comments: A beautiful new bar with generous martinis, a teriffic wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. 317 Aztec 317 Aztec St. 820-0150 Breakfast/ Lunch. Patio. Major credit cards. $$ 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. Andiamo! 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Good wines, great pizzas. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236. Breakfast/Lunch/Dinner Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American cuisine. Atmosphere: Elegant room. House specialties: Blue Corn crusted-Salmon with citrus jalapeno sauce, and the Beef Tenderloin. Comments: Attentive service. Aqua Santa 451 W. Alameda. 982-6297. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$$ Cuisine: American. Atmosphere: Casual House specialties: Start with the Pan Fried Oysters with Watercress. For your main, 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: Coffehouse fare. Atmosphere: Casual. House specialties: Espressos, Lattes, Macchiatos, Italian Sodas, and Teas. Comments: Food menu changes daily. Bobcat Bite 418 Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Patio. Cash. $$ Cuisine: As American as good old apple pie. Atmosphere: A low-slung building

with eight seats at the counter and four tables. House specialties: The inch-anda-half thick green chile cheeseburger is sensational. The secret? A decades-old, well-seasoned cast-iron grill. Go. Body Café 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual. House specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Avocado and Cheese Wrap. Comments: Soups and salads are marvelous, as is the Carrot Juice Alchemy. Cafe Cafe Italian Grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Major credit cards. $$ 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 Fina 624 Old Las Vegas Highway. 466-3886. Breakfast/Lunch. Patio Cash/major credit cards. $ Cuisine: Contemporary comfort food. Atmosphere: Casual and bright. House specialties: Ricotta “pancakes with fresh berries and maple syrup; chicken enchiladas; a perfect green-chile cheese burger. Comments: Organic andhousemade products are delicious. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: The café is adorned with lots of Mexican streamers and Indian maiden posters. House specialties: Hotcakes got a nod from Gourmet magazine. Huevos motuleños—a Yucatán breakfast—is one you’ll never forget. For lunch, try the Grilled Chicken Breast Sandwich. Chopstix 238 N. Guadalupe St.  982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, Kung Pau Chicken, and Broccoli and Beef. Comments: Combination plates available. Friendly owners. (The) Compound 653 Canyon Rd.  982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ 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 the

James Beard Foundation’s “Best Chef of the Southwest” award. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. Comments: Good selection of beers and wine. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ 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. Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: For your main course, go for the grilled Maine Lobster Tails or the grilled 24-ounce “Cowboy Cut” steak.

Comments: Great bar and good wines.

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.

Major credit cards. $$ Cuisine: New Mexican Atmosphere: Casual. House specialties: Tacxs, burritos, burgers. frito pies,, and combination plates. Comments: The best Carne Adovada Burrito (no beans) that we have ever had. Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: We call it French/Asian fusion. Atmosphere: Elegant. House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass, served with black truffle scallions, and the classic peppery Elk tenderloin. Il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ 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. Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo stuffed with spinach, black olives, feta cheese, roasted red peppers, over organic greens. Comments: Chef Obo wins awards for his fabulous soups.

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.

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 dry. Comments: New noodle menu.

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.

La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian tamales. Recommendations: Sunday brunch.

El Parasol 833 Cerrillos Rd
Santa Fe, 995-8015 30 Cities of Gold Rd.,
Pojoaque. 455-7185 603 Santa Cruz Rd., 
Española. 753-8852 298 Dinosaur Trail,
Santa Fe. 995-8226 1903 Central Ave., Los Alamos. 661-0303 Breakfat/Lunch/Diinner

Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: The Pho Tai Hoi: vegetarian soup loaded with veggies.

La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Enclosed courtyard. House specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad with baked New Mexico goat cheese. For your entrée, try the Braised Lamb Shank, served with a spring gremolata, couscous, and vegetables. Comments: Seasonal menus. L egal T ender 151 Old Lamy Trail. 466-1650 Lunch/Dinner Beer/wine. Patio. Major credit cards. $$

Cuisine: New Mexican. Atmosphere: Casual. House specialties: Burgers, Pulled Pork, Lamy Cubano Sandwich, Braised Short Ribs, and the Wedge Salad. Comments: Huevos Rancheros, Belgian Waffle,and a Special Drink Menu at Sunday Brunch. Kid friendly. M aria ’ s N ew M exican K itchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner (Thursday-Sunday) Beer/wine. Patio. Major credit cards. $$

Cuisine: American/New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: Freshly made Tortillas, and Green Chile Stew. Comments: Perfect margaritas. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Mu Du is committed to organic products. New York Deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ 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. 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 any 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. Menu changes seasonally. Frommers rates Nostrani as one of the “Top 500 Restaurants in the World.” Please note: fragrance-free.

continued on page 29

| s e pt e mb e r 2012

THE magazine | 27

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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. A hand-breaded Chicken Fried Steak rounds out the menu. Comments: The Pantry has been in the same location since 1948.

Now serving Beer and Wine

TUNE-UP CAFÉ 1115 Hickox Street, Santa Fe • 983-7060 Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light, colorful, and friendly. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile. Rasa Juice Bar/Ayurveda 815 Early St. 989-1288 Major credit cards. $$ 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. Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Sunday Brunch/Lunch/Dinner/Bar Menu. Full bar. Smokefree dining rooms. Major credit cards. $$$ Cuisine: All-American Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs, and Burgers. The Haystack fries rule Recommendations: Nice wine list and a good pour at the bar/ Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Patio. Major credit cards. $$$ Cuisine: Southwestern with a French flair.Atmosphere: Contemporary. House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Nice wine list San Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ Cuisine: Japanese Sushi and Tapas. Atmosphere: Large room with a Sushi bar. House specialties: Sushi, Vegetable Gyoza, Softshell Crab, Sashimi and Sushi Platters, and a variety of Japanese Tapas Comments: A savvy sushi chef makes San Q a top choice for those who really love Japanese food. San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ 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. Major credit cards. $$$ Cuisine: Contemporary Southwestern. Atmosphere: Minimal, subdued, and elegant. House specialties: The world-

| s e pt e mb e r 2012

famous calamari never disappoints. Favorite entrées include the perfectly cooked grilled rack of lamb and the panseared salmon with olive oil crushed new potatoes and creamed sorrel. Comments: The daily pasta specials are generous and flavorful. Appetizers during cocktail hour rule. Santa Fe Bar & Grill 187 Paseo de Peralta. 982.3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmeal-crusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet. Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily chef specials, gourmet and build-your-own sandwiches, wonderful soups, and an excellent salad bar. Comments: 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. Comments: Friendly waitstaff, 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 a Fresh Fruit Cup. Lunch fave is the Prosciutto, Mozzarella, Tomato sandwich 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.


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 Four Seasons Encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: Amrecian with Southwest influences. Atmosphere: Elegant and sophisticated. House specialties: For dinner, start with the tempting Burrata Cheese, Heirloom Tomato, Asparagus, and Petite Greens appetizer or the perfect Tempura Soft Shell Crab with Avocado, Citrus, Radish, and Margarita Aioli. For your main, we love the delicious Pan-seared Alaskan Halibut with Baby Artichokes, Corn Purée, and Wild Arugula Salad, and the tender and flavorful Black Angus Beef Tenderloin with Espanole Sauce, Summer Baby Vegetables, and Truffle Fries. Comments: Local organic ingredients. A fine wine list, and top-noth service. The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: Modern Italian Atmosphere: Victorian style merges with the Spanish Colonial aesthetic House Specialties: For lunch: the “Smash” Burger or the Prime Rib French Dip. Dinner: Start with the Marlin Sashimi. For your main, go for the Herb-Crusted Chicken Breast, the Alaskan Halibut, or the All-American Steak au Poivre. Comments: Good wines list and a great pour at the bar.

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. $$$ Cuisine: BBQ and Grill. Atmosphere: Family and kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: Nice bar. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $ Cuisine: New Mexican. Atmosphere: Casual. House specialties: Green Chile Stew, the traditional Breakfast Burrito, stuffed with bacon, potatoes, chile, and cheese. Comments: The real deal. Tomme Restaurant 229 Galisteo St. 820-2253 Dinner Beer/Wine. Major credit cards. $$$ 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.

Tree House Pastry Shop and Cafe DeVargasCenter. 474-5543. Breakfast/Lunch Monday-Saturday Major credit cards. $$$ Cuisine: Only organic ingredients used. Atmosphere: Light, bright, and cozy. House specialties: Order the fresh Farmer’s Market Salad, or the Lunch Burrito, smothered in red chile. Yum. Tune-Up Café 1115 Hickox St.. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home, House specialties: Breakfast faves are the scrumptious Buttermilk Pancakes and the Tune-Up Breakfast. Comments: Super Fish Tacos and the El Salvadoran Pupusas are excellent. Now serving beer and wine.Yay! Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: We call the food here: farmto-table-to-fork. Atmosphere: Light, bright and cheerful. House specialties: All of the salads are totally amazing— as fresh as can be. We love the Nutty Pear-fessor salad, and the Chop Chop Salad. Comments: Vinaigrette will be opening a “sister” restaurant in Albuquerque in the fall. Whoo’s Donuts 851 Cerrillos Rd. 629-1678 6 am to 3 pm. Major credit cards. $ Cuisine: Just donuts. Atmosphere: Very, very casual. House specialties: Organic ingredients only. Comments: Our fave donut is the Maple Barn. Zacatecas 3423 Central Ave., Alb. 505-255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo cooked or the Slow Cooked Pork Ribs with Tamarind Recado-Chipotle Sauce. Over sixty-five brands of Tequila are offered. Comments: Savvy waitstaff. Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: All-American diner food. Atmosphere: Down home baby, 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 at the Zia is place to be at cocktail hour.

Delicious Bento Boxes and more...

Kohnami -313 South Guadalupe street - 984-2002

THE magazine | 29

Three Guys from Venice Beach BiLLy aL BenGsTon It HIt tHe Fan! freD eVersLey LIgHt Lens DouG eDGe MoLded, Poured and Cast sepTemBer 28 - noVemBer 3, 2012 openinG recepTion friDay, sepTemBer 28, 5:00-7:00 pm 544 south Guadalupe street, santa fe, nm 87501 | p (505) 983-9555 | f (505) 983-1284


September Art openings FRIday, august 31 David Richard Gallery, 544 S. Guadalupe St., Santa Fe. The Circle ReViewed—1964 to 2012: work by Tadasky. Shapin’ Up: work by Leo Valledor. 5-7 pm.

THURSDAY, SEPTEMBER 6 South Broadway Cultural Center Gallery, 1025 Broadway Blvd. SE, Alb. 505899-0456. Closer to the Bone—Wild Passion: paper sculpture, etchings, and more. 6-8 pm.

FRIDAY, SEPTEMBER 7 BODY, 333 Cordova Rd., Santa Fe. 986-0362. A Walk in the Woods: landscape photography by Daniel Quat. 5-7 pm. Capriccio, 333 Montezuma Ave., Santa Fe. 982-8889. Elegy: photographs by Deborah Samuel. 5-7 pm. Gebert Contemporary, 558 Canyon Rd., Santa Fe. 992-1100. Around the Globe: work by Patsy Krebs, Bruno Mezcua, Rakuko Naito, and Keiko Sadakane. 5-7 pm.

Palette Contemporary Art and Craft, 7400 Montgomery Blvd. NE, Alb. 505-855777. Nature: paintings by Daniel North. 5-8 pm. Silver Sun Gallery, 656 Canyon Rd., Santa Fe. 983-8743. L.I.F.E.—Live It Fully Expressed!: photography by Rick Allred. 4:30-7:30 pm. Starbucks, 106 W. San Francisco St., Santa Fe. 670-8004. Santa Fe and Abroad: paintings by Dominic Monti. 5-8 pm. Stranger Factory, 109 Carlisle Blvd. NE, Alb. 505-508-3049. The Pit of Unease: 2-D works by Travis Lampe. Anomie: sculptures by Doubleparlour. Kaiju vs. Yokai: paintings by Joel Nakamura. Mystic Visions: woodcuts by Jon MacNair. 6-9 pm. Weyrich Gallery, 2935-D Louisiana Blvd. NE, Alb. 505-883-7410. Public Lands, Personal Visions: mixed-media works by Carol Chamberland. 5-8:30 pm.

SATURDAY, SEPTEMBER 8 203 Fine Art, 203 Ledoux St., Taos. 575751-1262. Recent Paintings:  oil paintings by Tom Dixon. 5-8 pm. Burris Hall Gallery, 903 National Ave., Las Vegas, NM. 505-454-3024. Back Into the Woods With You, Son: paintings, drawings, and sculpture by Michael Gullberg. 2-5 pm. Rio Bravo Fine Art, 110 N. Broadway, Truth or Consequences. 575-894-0572. Selections from The Window Series: paintings, aquatints, and linocuts by Harold Joe Waldrum. 6-9 pm.

FRIDAY, SEPTEMBER 14 Exhibit 208, 208 Bway SE, Alb. 505-450-6884. Two-Person Show: collage and assemblage work by Cynthia Cook and Carlos Quinto Kemm. 5-8 pm. Peyton Wright Gallery, 237 E. Palace Ave., Santa Fe. 989-9888. The Constant Line: paintings by Sewell Sillman. 5-8 pm.

Santa F e C lay , 545 Camino de la Familia, Santa Fe. 984-1122. Primed: group show. 5-7 pm. Steven Boone Gallery, 714 Canyon Rd., Santa Fe. 670-0580. Terra Ventus Earth Wind: photographs of world travels by Steven Boone and Joseph Cosby. 5-7 pm. VERVE Gallery of Photography, 219 E. Marcy St., Santa Fe. 982-5009. A Sense of TIME: work by Susan Burnstine, Michael Crouser, and Douglas Ethridge. 5-7 pm.

SATURDAY, SEPTEMBER 15 Nedra Matteucci Galleries, 1075 Paseo de Peralta, Santa Fe. 982-4631. Michael A. Naranjo—Inner Vision: bronzes by Native American artist Naranjo. 2-4 pm. University of New Mexico Art Museum, 203 Cornell Drive NE, Alb. 505-277-4001. Dancing with the Dark: prints by Joan Snyder, 19632010. The Transformative Surface. 5-7 pm.

GVG Contemporary, 202 Canyon Rd., Santa Fe. 9821494. Anthro: group show. 5-7 pm. Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. Two-Person Show: paintings by Greg Harris. Sculptures by T. Barny. 5-7 pm. Inpost Artspace at the Outpost Performance Space, 210 Yale Blvd. SE, Alb. 505-268-0044. Folk Artists of Albuquerque: group show. 5-8 pm. Legends Santa Fe, 125 Lincoln Ave., Santa Fe. 9835639. Equine—An Exhibit: group show to benefit Cimarron Sky Dog Horse Rescue. 5-7 pm. Manitou Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Work by Ethelinda and Arthur Lopez, Jim Eppler, and B.C. Nowlin. 5-7:30 pm. Mariposa Gallery, 3500 Central Ave. SE, Alb. 505-268-6828. Hoy Soy Mariposa: prints by Diana Stetson. Dreams of Floating Leaves: paintings by Sam Esmoer. 5-8 pm. Meyer East Gallery, 225 Canyon Rd., Santa Fe. 9831657. Desert Skies: paintings by David Jonason. 5-7 pm. New Concept Gallery, 610 Canyon Rd. Santa Fe. 795-7570. Landscape Paintings: works by Cecilia Kirby Binkley and Linda Petersen. 5-7 pm.

Together Alone, an exhibition of contemporary glass by sculptor Lucy Lyon at LewAllen Galleries at the Railyard, 1613 Paseo de Peralta. Reception: Friday, August 31, from 5:30 to 7:30 pm. continued on page 34

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THE magazine | 31

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Santa Fe Community College Visual Arts Gallery, 6401 Richards Ave., Santa Fe. 4281501. Ecumene—Global Interface in American Ceramics: juried group show. 5-8 pm.

David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-1284. It Hit the Fan: new work by Billy Al Bengston. Light Lens: new work by Fred Eversley. Molded, Poured and Cast: new work by Doug Edge. 5-7 pm.

THURSDAY, SEPTEMBER 20 Richard Levy Gallery, 514 Central Ave SW, Alb.
505-766-9888. DISTRICT (2012): installation by Robert Drummond. SYN: installation by
Artereazione+Consonant. 6-8 pm.

FRIDAY, SEPTEMBER 21 A Gallery Santa Fe, 154 W. Marcy St., Santa Fe. 471-8255. Equinox Opening: group show of sculpture and painting. 5-7 pm. Center for Contemporary Arts, 1050 Old Pecos Trail, Santa Fe. 983-1338. Dust in the Machine: group show. 6:30-8 pm. GF Contemporary, 707 Canyon Rd., Santa Fe. 9833707. Les Origines: sculptures by Pascal. 5-7 pm. New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Figurative Etchings and Photographs: works by Julia Roberts and Bill Heckel. 5-7 pm. Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-0432. Speaking of Klee: clay works by Sheryl Zachariah. 5-7 pm. Roswell Museum, 100 W. 11th St., Roswell. 575624-6744. Where Edges Meet: work by Eddie Dominguez. 5-7 pm. Wade Wilson Art Santa Fe, 409 Canyon Rd., Santa Fe. 281-788-7609. Solo Show: paintings by Justin Garcia. 5-7 pm.

SATURDAY, SEPTEMBER 22 Tamarind Institute, 2500 Central Ave. SE, Alb. 505-277-3901. Notes on the Tower: lithographs by Nicola Lopez. 4:30-7:30 pm.

Manitou Galleries, 225 Canyon Rd., Santa Fe. 986-9833. The Secret Works of B.C. Nowlin. 5-7 pm. Marigold Arts, 424 Canyon Rd., Santa Fe. 982-4142. Wind Maps and Wild Horses: art rugs by Connie Enzmann-Forneris. 5-7 pm.

SUNDAY, SEPTEMBER 30 New Mexico History Museum, 113 Lincoln Ave., Santa Fe. 476-5200. Altared Spaces— The Shrines of New Mexico: photography by Siegfried Halus, Jack Parsons, and Donald Woodman. 2 pm.

SPECIAL INTEREST 516 Arts, 516 Central Ave. SW, Alb. 505242-1445. ISEA2012 Albuquerque—Machine Wilderness: conference and exhibitions. Sat., Sept. 15 to Thurs., Sept. 27. American Heart Association at the Hotel Albuquerque, 800 Rio Grande Blvd. NW, Alb. 505-353-5818. 2012 Heart and Soul Ball: benefit dinner. Fri., Sept. 21, 6-10 pm. Barnett’s Las Cruces Harley Davidson, 2600 Lakeside Dr., Las Cruces. 575-621-4942. Cruisin’ for Critters: charity motorcycle run. Sat., Sept. 29, 10 am-6 pm. Buffalo T hunder R esort and C asino , 20 Buffalo Thunder Trail, Santa Fe. 4384650. Artist’s Materials Expo 2012— Creative Spirit!: art supply and workshop exposition. Thurs., Sept. 13 to Sun., Sept. 16.

New oil paintings by Tom Dixon at 203 Fine Art, 203 Ledoux Street, Taos. Reception: Saturday, September 8, from 5 to 8 pm. Canyon Road Contemporary, 403 Canyon Rd., Santa Fe. 983-0433. Aspect 3: paintings by Mark Horst. Through Mon., Sept. 10. Charlotte Jackson Fine Art, 554 S. Guadalupe St., Santa Fe. 989-8688. Time Expanded: works by John Beech. Through Sat., Sept. 29. Couse Foundation, 146 Kit Carson Rd., Taos. September Open House: exhibition honoring Virginia Walker Couse. Sat., Sept. 1, 5-7 pm. David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. The Circle ReViewed—1964 to 2012: works by Tadasky. Through Sat., Sept. 22. Delgado Street Contemporary, 238 Delgado St., Santa Fe. 920-6487. Sites of Disrepair— States of Repair: work by Michael Diaz. Through Sat., Sept. 29. El Rancho de las Golondrinas Living History Museum, Exit 276 off I-25, Santa Fe. 471-2261. Fiesta de los Niños: children’s festival. Sat., Sept 1 and Sun., Sept 2, 10 am-4 pm. El Rancho de las Golondrinas Living History Museum, Exit 276 off I-25, Santa Fe. 471-2261. Santa Fe Renaissance Fair. Sat., Sept. 22 and Sun., Sept 23, 10 am-6 pm.

Dust in the Machine—a group show about the glories and failures of the industrialized West at the Center for Contemporary Arts, 1050 Old Pecos Trail. Reception: Friday, September 21, from 6:30 to 8 pm.

El Zaguan, 545 Canyon Road, Santa Fe. 983-2567. Family Secrets Redux: works by Brenda Roper. Through Wed., Sept. 12.

Encaustic A rt I nstitute, 18 Country Rd. 55-A, Cerrillos. 424-6487. 4th Annual Art Gala. Sat., Sept. 15, 5-10 pm. Annual National Juried Show. Sat., Sept. 22, 1-6 pm. Georgia O’K eeffe M useum at Georgia O’Keeffe’s home and studio, Abiquiu. 505-685-4539. Abiquiu Day: sketch and watercolor at O’Keeffe’s home. Mon., Sept. 24, 7 am-6 pm. Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. A Modern Epic Vision: works by Gaston Lachaise. Through Sat., Sept. 22. Ghost Ranch, 1708 U.S. 84, Abiquiu. 505-210-1092. Annual Exhibition: Art Through the Loom Guild. Through Sun., Sept. 23. Inn and S pa at L oretto, 211 Old Santa Fe Trail, Santa Fe. 820-2653. Lyme Disease Awareness Benefit: art auction and talk. Fri., Sept. 14, 5-11 pm. Harwood M useum, 238 Ledoux St., Taos. 575-758-9826. Bea Mandelman Collage: exhibition runs through October. Lannan Foundation at the Lensic, 211 W. San Francisco St.,
Santa Fe. 988-1234. Michelle Alexander with Liliana Segura: conversation on mass incarceration and racial injustice. Wed., Sept. 12, 7 pm. continued on page 36

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an introduction

Opening Reception Fr i day, S e pte mbe r 2 1 s t, 2012 5 pm - 7 pm o n v i e w t h ro u g h S a t u rd a y, O c t o b e r 2 7 t h , 2 0 1 2 i m a g e a b o v e : “ D a r k Tu r q u o i s e ” o i l , a c r y l i c , a n d compound texture on canvas, 50 x 50 in.

4 0 9 C a nyo n R o a d Santa Fe, NM 87501 ph: 505. 423. 5933 www.wadewilsonar


LewAllen Gallery, 1613 Paseo de Peralta, Santa Fe. 988-3250. Together Alone: sculptures by Lucy Lyon. Through Sun., Oct. 7. Mesa Public Library, 2400 Central Ave., Los Alamos. 505-662-8247. The Next Big Idea: physiocartography work by Bill Gilbert. Through Fri., Sept. 28. Panel discussion: Sat., Sept. 15, 1-2:30 pm. Museum Hill Laboratory of Anthropology, 708 Camino Lejo, Santa Fe. 231-1776. Native Treasures Collectors’ Sale: benefit for Museum of Indian Arts and Culture. Sat., Sept. 15 and Sun., Sept. 16, 10 am-4 pm. Natural History Museum, 
1801 Mountain Rd. NW, Alb. 505-269-7711. Open Your Heart 2012 Gala: benefit auction and raffle for New Mexico foster children. Sat., Sept. 15, 6:30-9:30 pm. Nuart Gallery, 670 Canyon Rd., Santa Fe. 988-3888. Theory of Forms: paintings by Erin Cone. Through Sun., Sept. 16. OFFCenter Community Arts Project at Robinson Park, 8th St. and Central Ave., Alb. 505-247-1172. 10th Annual “We Art the People!”—Folk Art Festival. Sun., Sept. 9, 10 am-4 pm.

Indigenous Dance Company. Mon., Sept. 10, 6 pm. Of Bodies of Water: workshop. Sat., Sept. 9 and Sun., Sept. 10, 4-7 pm. September Artists and Writers in Residence Open Studio. Thurs., Sept. 27, 5:30 pm. Santa Fe Center for Spiritual Living, 505 Camino de Los Marquez, Santa Fe. 983-5022. The 1 of Hearts: film on writers and poets. Sat., Sept. 8, 6:15 pm and 8:15 pm. Santa Fe University of Art and Design, 1600 St. Michael’s Dr., Santa Fe. 473-6011. Making a Better Living as an Artist: marketing workshop with Sara Eyestone. Sat., Sept. 15, 9 am-4 pm. Santa Fe Wine and Chile Fiesta, various locations in Santa Fe. 438-8060. 22nd Annual Santa Fe Wine and Chile Fiesta: tastings and tours. Wed., Sept. 26 to Sun., Sept. 30. Taos Center for the Arts, 133 Paseo del Pueblo Norte, Taos. 575-758-2052. 12th Annual Quick Draw and Art Auction: watch local artists as they work. Sat., Sept. 29, 12 pm. Taos Convention Center, 120 Civic Plaza Dr., Taos. 575-613-5340. Taos Fall Arts Festival: work by over 250 artists. Fri., Sept. 28 to Sun, Oct. 7.

Pecos Studio Tour, various locations in Pecos. 505-670-7045. 2012 Pecos Studio Tour. Sat., Sept. 29 and Sun., Sept. 30, 10 am-5 pm.

Taos Institute for Glass Arts, 1021 Salazar Rd., Taos. 575-758-4246. Taos Art Glass Invitational: group show. Fri., Sept. 14 to Sun., Oct. 7.

Santa Fe Art Institute, 1600 St. Michael’s Dr., Santa Fe. 424-5050. “The Dance of Waters”: lecture by Rulan Tangen, director of Dancing Earth

Taos Pueblo, 120 Veterans Hwy., Taos. 575-7581028. San Geronimo Festival: traditional ceremonies. Sun., Sept. 30, 7:30 am.

ABurlyQ! Burlesque and Sideshow Spectaculár!, featuring burlesque and “boylesque” performers, sideshow artists, and more to be held Friday, August 31 to Saturday, September 1. Stage show series occurs on Friday, August. 31, and Saturday, September 1, at the Sunshine Theater, 120 Central Avenue, SW, Alb. Tickets: and The Hacienda, 3124 Hwy. 28, La Union. 505470-1067. Working with Energy, Symbol and Sacred Geometry: presentation by Marcia McCoy. Sun., Sept. 2, 11 am-1 pm.

Shelley Morningsong’s Full Circle: Native American fusion music. Through Sun., Sept. 2. Wed.-Sun. at 7 pm, Sat. at 1 pm.

University of New Mexico Art Museum, 203 Cornell Dr. NE, Alb. 505-277-4001. UNMAM Distinguished Lecture Series: lectures throughout Sept. and Oct.

Music from Angel Fire, various locations in and around Taos. 888-377-3300. Music from Angel Fire: chamber music festival. Through Sun., Sept. 2.

Villa Hispana at Expo New Mexico, 300 San Pedro Dr. NE, Alb. 505-222-9700. Southwest Tequila & Taco Fest. Sat., Sept. 29, 12-5 pm.

Old Dowlin Mill, 641 Sudderth Dr., Ruidoso. 575-257-7395. You’re Family: play by Robert Patrick, directed by Mary Maxson. Fri., Sept. 21 and Sat., Sept. 22, 7 pm.

Virtual ArtSpace, 316 Read St., Santa Fe. 7958139. Opening Celebration: photography, video, and sculpture. Fri., Aug. 31, 5–8 pm.

Shortgrass Music Festival, various locations in Cimarron. 888-376-2417. Shortgrass Music Festival: music by Charlie Albright, Ann and Pete Sibley, and Gary P. Nunn. Fri., Sept. 7 to Sun., Sept. 9 html

Wild Rivers Recreation Area, NM Hwy. 378, Cerro. 575-586-2049. NeoRio—Confluence of Art and Environments: art symposium on the natural world. Thurs., Sept. 27 to Sat., Sept. 29. William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. Dust Stories: paintings by Raphaëlle Goethals. Through Sat., Sept. 22.

Sunshine Theater, 120 Central Ave. SW, Alb. 505-764-0249. ABurlyQ!: burlesque performances. Fri., Aug. 31 and Sat., Sept. 1, 8 pm. The Lensic, 211 W. San Francisco St.,
Santa Fe. 988-1234. Aspen Santa Fe Ballet—Program II. Sat., Sept. 1, 8 pm.

PERFORMING ARTS CALL FOR ARTISTS Dancing Earth at the Lensic, 211 W. San Francisco St.,
Santa Fe. 988-1234. Walking at the Edge of Water: dance performance. Fri., Sept. 28 and Sat., Sept. 29, 7:30 pm. Harwood Museum of Art, 238 Ledoux St., Taos. 575-758-9826. Taos Chamber Music Group: 20th season opener. Sat., Sept. 22, 5 pm. Solo show of paintings by Justin Garcia at Wade Wilson Art Santa Fe, 409 Canyon Road. Reception: Friday, September 21 from 5 to 7 pm.

36 | THE magazine

Lodge at Santa Fe, 750 N. St. Francis Dr., Santa Fe. 2012 Heritage Performance Series—

3rd Ave. Arts, 910 E. 3rd Ave., Durango, CO. 970-903-8854. 7th Annual Sacred Arts Festival: request for sacred art from any faith tradition. Deadline: Mon., Sept. 24. Fred Jones Jr. Museum of Art, University of Oklahoma, 555 Elm Ave., Norman, OK. 405325-3178. National Weather Center Biennale: juried art exhibition awarding prizes for weather art. Deadline: Mon., Oct 1.

| s e pt e mb e r 2012

2012 Taos Art

Glass Invitational September 14th – October 7th

Celebrating national and regional artists working in glass Exhibitions, lectures, demonstrations, workshops, The Collectors Tour, and artist receptions For full schedule and brochure: brought to you with help from:


Nora Naranjo-Morse September 14 through October 13 Chiaroscuro, 702½ Canyon Road, Santa Fe. 992-0711 Reception: Friday, September 14, 5 to 7 pm. Tewa sculptor and poet Nora Naranjo-Morse explained how she decided to combine her clay work with other media. One day, while mining clay on a hillside, Naranjo-Morse noticed a landfill nearby. She had always considered clay deposits sacred places—places people could think about their connection with the earth. “The juxtaposition of this ‘sacred’ place with the dump brings to light environmental and cultural issues that in reality are global, human, and environmental issues,” she concluded, and began to incorporate materials from the dump into her work. After completing Always Becoming in 2011, a celebrated five-year project for the Smithsonian’s National Museum of the American Indian, Naranjo-Morse will have a solo show at Chiaroscuro this September. Always Becoming, a family of five upward-reaching sculptures, is stunningly creative and contains symbols that are deeply significant to the Native community. Naranjo-Morse created her new body of work after the completion of Always Becoming, building on her experience at the Smithsonian but once again embracing solo work in the studio. This show will confront the relationship between humans and their environment through both large- and small-scale works. Nora Naranjo-Morse, Untitled, mixed media, 33” x 37” x 16”, 2012

Ordered World: Christopher Felver September 28 through October 19 Zane Bennett Contemporary Art, 435 South Guadalupe Street, Santa Fe. 982-8111 Reception: Friday, September 28, 5 to 7 pm. Take heed, photography junkies! On September 28, Zane Bennett Contemporary Art will unveil works by Christopher Felver—an internationally celebrated photographer and filmmaker. The exhibition will feature black-and-white portraits taken over the past thirty years of musicians, artists, writers, and poets: Agnes Martin, Hunter Thompson, Patti Smith, Susan Sontag, Allen Ginsberg, Donald Judd, and Norman Mailer to name but a few. “Felver’s endeavor has been to use a stubborn sympathy to depict the face without introduction, fussiness, or false elegance,” writes New Art International Magazine. Felver has also created several important documentaries, including films on poet Lawrence Ferlinghetti and artist Donald Judd that will be on view.

ISEA2012 Albuquerque: Machine Wilderness Saturday, September 15 through Thursday, September 27. 516 Arts, 516 Central Avenue SW, Alb. 505-242-1445 Reception: Thursday, September 20, from 6 to 8 pm. Albuquerque Museum, 2000 Mountain Road NW, Alb. 505-243-7255 Reception: Thursday, September 20, from 5 to 7 pm. 505-766-9888

Gerhard Richter by Christopher

Richard Levy Gallery, 514 Central Avenue SW, Alb.
505-766-9888 Reception: Thursday, September 20, from 5 to 7 pm. Northern New Mexicans are known for being more environmentally aware than your average bear— check out the Earthships in Taos if you’re skeptical. Additionally, the area has secured a respected place in the world of contemporary art. So it’s no surprise that one of the world’s premiere conferences on art, technology, and the environment is based in Albuquerque. Organized by 516 Arts, the theme of this year’s International Symposium of Electronic Art is Machine Wilderness. Artists and scientists from around the globe will discuss the intersection of nature and technology, from the creation of wildlife-friendly cities to an examination of the complex and powerful infrastructure we all depend on. Speakers include performance artist Laurie Anderson and Dr. Denis Rolo—a.k.a. Jaromil—who will talk about the revolutionary currency known as the Bitcoin. Music, installations, films, and exhibits will take place throughout Albuquerque, Santa Fe, Taos, Los Alamos, and beyond. We highly recommend heading to the Website——to check out the almost overwhelming list of events. Image by Stephanie Rothenberg

38 | THE magazine

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October 5–8 2012 • 575.538.5555

Funded by Silver City Lodger’s Tax


Woman with a Veil by

Henri Matisse

William S. Paley, the man who transformed CBS into a media giant, was known for his excesses and affairs. Twice married and known as a playboy well into his eighties, Paley purchased expensive European cars, racehorses, and the New York Yankees. But without philanthropists like Paley, we wouldn’t have much to look at in museums. Paley, who died in 1990, was friends with Pablo Picasso and maintained a long relationship with the Museum of Modern Art. When he died, the museum received eighty-four masterpieces from his collection, including Picasso’s Boy Leading a Horse and Gauguin’s Queen of the Areois. If you can’t make it as far as the East Coast to see Paley’s collection at MoMA, the de Young Museum in San Francisco will be exhibiting a selection of works from Paley’s collection in mid-September. Many must-see paintings will be on display, including Boy Leading a Horse and Matisse’s Woman with a Veil. The William S. Paley Collection: A Taste for Modernism is on view from September 15 through December 30 at the de Young Museum, 50 Hagiwara Tea Garden Drive, San Francisco, CA. D

| s e pt e mb e r 2012

THE magazine | 41




talking art criticism with

f e at u r e

Derek Guthrie by

Mokha Laget

In 1974, Derek Guthrie and the late Jane Addams Allen put out an eight-page gazette in Chicago called the New Art Examiner, which became the largest serious art journal published outside New York City. The NAE had a nearly three-decade run, gained a national audience, and produced a remarkable list of writers who subsequently found professional success and status. In 1995, ill health forced Allen into retirement and within a few years the publication folded. Returning to Chicago in 2004, Guthrie gave a lecture that inspired Kathryn Born to lead a publication effort by Northern Illinois University Press, which gave rise to an anthology—The Essential New Art Examiner. In reviewing the anthology, art critic Donald Kuspit praised its contribution to art criticism. Mokha Laget spoke with Guthrie for THE magazine about art criticism, the gallery system, and the “powerful art elite.” Mokha Laget: You were one of the founders of the New Art Examiner, a magazine that

ML: It’s reached crisis proportions. Anti-intellectualism is on the march to “manufacture consent,”

was a seminal publication of art criticism in the eighties and nineties. Last month the

as Noam Chomsky said. And the critic always depends on the editor who is dependent on the

NAE anthology was published. Take me back. Derek Guthrie: The NAE started because

publisher… who depends on revenue. DG: There is no critic unless there is an editor who

both Jane Addams Allen and I were fired from the Chicago Tribune after pressure from

has somewhere to put the stuff. A critic can only get in the pulpit where he’s asked to be. And

the powerful art elite, museums, and galleries. We refused to be part of the Chicago art

obviously it will be a different kind of freedom depending on if it’s a niche audience or a larger

cheerleading club. We were dead professionally, and Jane said, “If we want to be art writers

magazine. So there’s no point in talking about criticism, you have to talk about the critical venue.

we have to be our own publishers.” The anthology is the result of a renewed interest in the NAE’s legacy.

ML: The relevant venues like October Journal are small. Then you have the big three: Artforum, Art News, and Art in America. You are from England—how does criticism compare in Europe? DG: I

ML: The NAE’s editorial policy was different from that of other art publications—it wanted to

don’t know enough about France or Germany. It’s better in London than New York; we have Art

take the difficult and controversial issues head-on. How did you find your writers? DG: We

Monthly there. Frieze is also a big magazine in London, and they’re very trendy. In Europe, you

offered a freedom that was attractive to both new and established critics who couldn’t quite sing

have a diversity of press that you don’t have in the States.

in the same way elsewhere. We wanted intelligent writing that was free from politics. It was about the quality of discourse that would not be dumbed down nor bound by jargon.

ML: What about museum catalogues? DG: The academic who is hired by the museum to write the catalogue essay is like a lawyer hired to make your case inside the art jargon. It may be

ML: You were one of the only venues to help young critics develop a voice. How have they fared

enlightened. But it’s not criticism.

after the NAE? DG: I think Eleanor Hartley is a superb example; she’s written stuff for Art in America and other publications. By the way, I’ve got a great quote here, let me find it... “In writing

ML: Have art critics become irrelevant? The gallery system is pretty much in cahoots with the

art criticism,” Eleanor says, “there are practical problems. The venues for art criticism today are

art market, and art is big business now. They don’t really have much use for a critical framework.

limited and impose restrictions on what may be discussed. Art magazines that operate as trade

DG: The system is so well oiled and the market so well fixed that they don’t need critics anymore.

journals and are dependent on gallery advertising for income tend to focus on reviews of artists

Art criticism originated to speak about the phenomena of looking and thinking, and there is still a

or exhibitions that are in the public eye, while art coverage in most publications has a strong bias

need for that.

towards celebrity and entertainment. As a result, certain kinds of essays never get written, as there’s nowhere to publish them.”

ML: So the problem happens in the “art distribution system,” as you’ve called it. The system takes a product, packages it, and streamlines it to pass through the culture to get bought and sold, or go

ML: Right, there are art critics and there are art writers. People often confuse the two. DG: Let’s

to auction. In other words, does the corporate art system basically cannibalize the artist, the art,

just say that an art critic is a thinking person, and whereas an art writer may just be writing copy,

and the critic? DG: Yes, absolutely. Forty years ago, you could look at the market and you could

an art critic shares a response and an opinion. Intelligent discourse. Now that’s criticism.

say there were a few dealers out there who were ready to stand by other work than the tried and true. There was a choice. I think that we’re going to have to reignite relationships with artists, and

ML: Which brings up the media outlets. There’s an increasing stranglehold on content in the

rethink the course of how art has developed—the history and the struggles. Otherwise, there’s

mainstream press—and it definitely has an anti-intellectual bias. DG: Yes, and it’s been gaining

no notion of a standard except what sells.

ground for a long time. It’s part of postmodernism, which questions the whole idea of people making judgments. And it’s a total failure of academia. Kids think success is a matter of social

ML: And critics need to become informed sources again. Today there is no place where critics can

networking. The old-fashioned intellectual is obsolete in this modern world—except for people

even be trained. Art students go to school, they sit in art history classes and look at a lot of slides,

who really care about ideas and thinking.

but they’re not told how to think about them. Art colleges in the United States have become continued on page 45

| s e pt e mb e r 2012

THE magazine | 43

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very codified cookie-cutter environments… DG: The art education system is totally stupid, out

a dynamic, heroic image. Jackson Pollock was like a genius. People living under Communist rule

of date, and irrelevant. You can get your MFA without ever having read a word of criticism. You

didn’t want to look at programmed revolutionary art. The American government had a stake in

might as well graduate economics students who don’t know how to read the Wall Street Journal.

art criticism because the critic’s words became icons of freedom. And there’s always been social warfare going on around different identities.

ML: It’s about learning to read on another level, to read what’s going on in your environment, to understand the meta-language. DG: Absolutely. That’s why bloody artists ought to be taught criticism.

ML: Let’s talk about who the critics are in the United States, what’s their position, what is

They should be encouraged to read or think about what The New York Times says. That’s essential.

meaningful and what is not. Take Donald Kuspit. DG: Well, Kuspit is one of the major critics out there, and he fights his corner, and he is an old-timer now, but he is perhaps the most critical

ML: Looking forward, we can say yes, things are bleak, but somewhere there are still thinking

person on the art scene. He takes his cue from a kind of European thinking. Kuspit has strongly

minds at work, there are still pockets of resistance, as John Berger calls them. So how do their

attacked some of the leaders in the American avant-garde, on academic and philosophical terms.

voices get heard? DG: I think it’s very hard for us today to get out from under the toxic world that the media has created. And of course that’s a terribly tall order. Just to know how one’s brain is

ML: Robert Hughes. DG: Well, he did Shock Of the New, and that was definitive, but he’s not

being deadened by the banality of the consensus. What Andy Warhol told us is that banality is fine.

very active. His book Nothing If Not Critical is worth a thorough read. Hughes was one of the first people to point out that the New York art scene was losing the cutting edge of being authoritative.

ML: It’s also a tall order for artists who are looking to the media for recognition, and dealers who expect them to get exposure, because all of it fuels the system. DG: I think the first thing you have

ML: Rosalind Krauss. DG: She is an incredible influence on so many people, a great thinker, and

to do is get competence back, which is the ability to have a discourse. You can start with Critical

with Benjamin Buchloh, Douglas Crimp, and Hal Foster they’re like the Vatican of New York,

Mess, edited by Raphael Rubinstein, or James Elkins’ Whatever Happened to Art Criticism?

with the exception of Kuspit who is more like Martin Luther. (Laughs.) They’ve dealt with all the issues in a very scholarly way. They are the authentication of the New York avant-garde of the last

ML: The art critic also has to be thinking and writing globally now. There are huge cultural hurdles

thirty to forty years.

there that need some form of mediation for different audiences, because the reference points aren’t the same. DG: That’s why we like to look at art from other places, to find out what their

ML: Dave Hickey. DG: Well, he raises issues of high culture and low culture. But Dave Hickey

values are. But the market of late capitalism flattens indigenous culture. Even Qatar and the United

managed a rock-and roll group for years and he’s looking to find a source of vitality inside the

Arab Emirates were buying and exhibiting contemporary art from the West because they wanted

American culture that can be co-opted into making good visual art, even if it’s about a Las Vegas

to be part of worldly international culture. And that’s about buying icons of approved vitality. Now,

waitress. And he attacks some of the hypocrisy that goes on. But I don’t know if he’s very discerning.

whether they have vitality or not is a critical issue, because the market is not constant. That’s about how the money gets channeled and is the issue of patronage. They don’t need critics for that.

ML: How do you rate critics who are writing for The New York Times, like Roberta Smith versus figures like Jerry Saltz who is pretty much a paid billboard to promote the system. DG: Roberta

ML: And many of these countries in parts of the East or Africa have not been through this kind

Smith writes professional, straight reporting. She’s studious. By the way, she’s Saltz’s wife. Jerry

of art-critical discourse, but globalization is forcing a lot in their face. DG: The Arab Spring was

Saltz is the Woody Allen of the art world, except he’s not as intelligent as Woody Allen. I’d rather

a revolution because of the cell phone, facilitated by technology, and by the kids that are into

hear Woody Allen talk about culture than Jerry Saltz any day. (Laughs.)

technology. The old regime that was kept in place by Western money was upstaged by populism. And that is an aspect of the Western idea of freedom that traditional, Middle Eastern Islamic

ML: LA Times? DG: What’s his name? Christopher Knight. He’s quite good. I think he is one of the

cultures don’t have. So people will always go to the place where they think there is freedom.

best, actually. He refused a job at The New York Times.

ML: Yet here we are in the West and the East with extremist ideologies and religious zealots who

ML: The American concept of “culture” is Pop culture, not the European sense of intellectual and

hate the notion of an open society. DG: Now that takes you to the philosophical question, What

artistic knowledge. We talk of high/low culture, but those two concepts are still blended here, there’s

is freedom? That’s as old as the hills, but in terms of a society, it’s moving into a Westernized global

little distinction. It’s tough for a serious critic. DG: You have museum culture, and you have popular

market. Cars and Gucci bags are going to appeal all over the world. They’re status symbols. It’s

culture. What’s happened in recent years is that popular culture and museum culture have been

not just simply an issue of art appreciation—it’s a question of the modeling of the image.

moving closer together. Andy Warhol started all of that in the sixties. The lines between art culture and popular culture are now blurred. And God help anybody who wants to say they shouldn’t be blurred.

ML: Then who determines whose images become essential. It’s a war of persuasion, of propaganda—basically a culture war, which also targets science, women’s choices, and LGBT

ML: Let’s fast-forward twenty years. Give me your view of what art making and art criticism looks

issues. DG: Look, American art was subsidized during the Cold War as a battering ram to show

like here in twenty years. DG: Well, everything goes in cycles; history tells us that. And nothing can live indefinitely. And, you know, fashion has gotten into this business, and fashion

the corporate art system cannibalizes the artist, the art, and the critic.

| s e pt e mb e r 2012

is the market. So you’re either going to have intelligent commentary on it or you’re not. You have to decide what’s the intelligent commentary, and then you look to those people. The visual arts have always been profoundly affected by technology. And now images are machine-made. I think we will be debating the viability of this human business of making marks as an integral part of making art, because art can only exist in an object. Mokha Laget is a writer, translator, and poet who lives in New Mexico. She travels extensively as an international French interpreter, was a contributing writer to the New Art Examiner, and has written art reviews for THE magazine.

THE magazine | 45


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More Real? Art

in the



Truthiness 1606 Paseo


MerriamWebster ’s 2006 word of the year, was coined on Comedy Central’s news-parody show The Colbert Report. Steven Colbert, the anchormanhandsome, faux-conservative, pundit charmer host, defined the Report’s word of the day in October 2005 as “the reality that is intuitively known without regard to liberal ideals such as reason and logic.” In other words, he who yells loudest—and broadcasts the most stridently— is right. In these days of blatant media bias, we can no longer trust that our news is presented with anything other than a stab at factual accuracy. Context is gone; even such grande-dame institutions as The New York Times, long a bastion of objectivity in reporting, is suspect as it comes down on the side of style over journalism. Today, Colbert and his progenitor, Jon Stewart of The Daily Show, both of whom hold heady court on Comedy Central, serve to point out the blather of inconsistency and general knuckleheadedness in cable-television news programming. From Fox to MSNBC, punditry reigns. Objectivity is arguable, dependent upon which talking head’s particular bias you happen to agree with. Journalism derives truth, such as it may be, from its audience.

In a parallel, post-minimal and/or postmodern art—call it what you will—sets aside the primacy of the object in favor of its meaning. The object, if indeed there is one, stands in for a sign, or signs, whose meaning wavers in and out of focus like a desert mirage. Real or not? That’s up to you, the viewer. And since personal identity is as mutable as the ocean’s surface on a stormy day, the meaning of a work of art is going to change from moment to moment, because it can never be viewed by the same person twice. Meaning in art, therefore, is as much a construct as individual identity with all its characteristics including gender, ethnicity, intelligence and emotional quotients, ancestry, class, and educational and career opportunities. Identity is, in a word, fluid. Therefore truth in art is equally pliable. Richard Locayo said it this way in his review of the exhibition in Time magazine’s July 30 issue, “[Colbert’s] truthiness turned out to offer a way to think about all kinds of things… a term as widely useful as authenticity.” Through the ages, art has lied to us: For example, painting represents three-dimensional images on a twodimensional surface. But we’ve gotten so used to that fact we no longer question it—except when we do, as in the case of trompe l’oeil paintings. What other lies does the visual language of popular culture get away with?

SITE Santa Fe’s exhibition, More Real? Art in the Age of Truthiness, was curated by Elizabeth Armstrong of the Minneapolis Institute of Arts. The show is commendable for its clarity of purpose, combining as it does notions of truthiness with one of the chief purposes of contemporary art—to question all that is universally accepted about art. Tautologically, art today is often most effective and pleasurable when it successfully embodies the infinity symbol of the snake eating itself, referencing an endless chain of meaning derived from that which is lent it by the viewer. As Marcel Duchamp had it, the viewer completes the work of art. More Real? is a pleasure to experience, starting off as it does with an architectural intervention by Gregg Lynn of pod-mod forms—the exterior of the building hasn’t looked this good since Dave Hickey’s 2001 biennial exhibition, Beau Monde. One of the first installations the viewer encounters is Mark Dion’s delightfully exasperating Waiting for the Extraordinary. His mid-twentieth-century waiting room is a performance piece that perfectly caricatures being rudely put in one’s place by a bored, gum-snapping, nail-filing receptionist— who does not break character—and her tools of the trade: a take-a-number machine, ancient magazines that exacerbate the crawl of time, and the symbolic language hinting at the occult


SITE Santa Fe Peralta, Santa Fe

practice of the man behind the door whom we await. We find ourselves hoping that, like the Wizard of Oz, he’ll give us courage, brains, and heart—we hope, succinctly, that the wait will be worth it. When the receptionist finally calls our number, we enter the inner sanctum, only to discover that no one is present. Cast items lie like ciphers of the Illuminati on a long, narrow table, glowing in the dark as if to suggest they hold impossibly lofty secrets. Unfortunately, as art and as symbols, they are anticlimactic and rather dreary. No wonder that receptionist looks so put upon. Many other works of art deserve attention, but one must not be omitted from mention. Iñigo Manglano-Ovalle’s Phantom Truck is a stunner, in large part because it is so difficult to see. For one thing, the lighting in the gallery is dim at best; the murkiness suggests an evil sorcerer’s dark mirror. For another, the content is difficult to discern by looking alone; the semitruck trailer is an innocent vessel for what the Bush administration longed for it to contain, weapons of mass destruction in Iraq. Is the language of WMDs, as presented here, a sign of truth or flat-out lies, or—more likely in politics and art—the vocabulary of a position that can never be pinpointed exactly?

—Kathryn M Davis

Iñigo Manglano-Ovalle, Phantom Truck, mixed media, 393” x 98” x 156”, 2007 Courtesy the artist and Galerie Thomas Schulte. Photo: Wendy McEahern

| s e pt e mb e r 2012

THE magazine | 47

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Jimmy Tsutomu Mirikitani: Drawings of

Gaman: Arts



from the J apanese I nternment

Camps, 1942-1946 Museum

of I nternational


The story of

t h e artist Jimmy Mirikitani reads like a work of fiction by Haruki Murakami, except Murakami did not invent this tale. Jimmy was born Tsutomu Mirikitani in Sacramento, California in 1920, and was therefore an American citizen. However, he had spent his youth in Hiroshima, only coming back to America when he was eighteen in order to attend art school. When America declared war on Japan after Pearl Harbor, Mirikitani and 120,000 other Japanese-Americans were swept up and taken away to internment camps all over the Western United States. At that time, Mirikitani was living with his sister in Seattle, but families were often separated, and his sister was sent to the Minidoka internment camp, in Idaho, while Mirikitani wound up at Tule Lake, in California. Mirikitani, outraged by the injustice, renounced his citizenship rather than sign a forced oath of allegiance. And so begins Mirikitani’s strange and sad odyssey—from handsome young artist

to indentured servant after the war, to traveling cook after his citizenship was restored, to livein chef, to homeless man on the streets of New York. Through it all, the artist, even as he aged, did his drawings every day through every season, just a few blocks away from the World Trade Center. So many surreal elements in this saga, so much fertile ground for an ultimate rebirth facilitated by the filmmaker Linda Hattendorf and her award-winning documentary The Cats of Mirikitani. In her film, a miracle slowly unfolds as Hattendorf, taking an interest in Mirikitani and his daily life on the corner of MacDougal and Prince Streets in SoHo, begins to film the shy artist. She is curious about his dedication to his work, his mysterious persona, the story of how he wound up homeless. But it’s only after 9/11 that Hattendorf becomes directly involved in Mirikitani’s survival as she literally moves him out of the dust and ashes from the collapsed Twin Towers and into her apartment. This is the

Jimmy Tsutomu Mirikitani, Koi, crayon and ink on paper, 51” x 46”, ca. 1995-2007

| s e pt e mb e r 2012

crucial intervention that begins the unraveling of Mirikitani’s past, present, and future selves and leads to the artist’s familial, and financial, resurrection. Hattendorf brings about a reunion between Mirikitani and his sister after fifty years; he gets healthcare and his own place to live; and recognition comes to him for his drawings. Mirikitani’s art functions as a bridge to his cultural roots, to his memories of being unjustly interned and humiliated at Tule Lake, and to his childlike wonder at the world of cats and fish and flowers. Mirikitani’s exhibition at Eight Modern has a direct relationship to The Art of Gaman at the Museum of International Folk Art, and one of the artist’s images is in that show, a panoramic view of the Tule Lake camp done when he was interned there in the early 1940s. The Art of Gaman incorporates the work of many

Folk Art Hill, Santa Fe

individuals who used whatever materials they could lay their hands on: pieces of discarded wood, metal, toothpicks, buttons, sewer pipes, weeds, string, and pieces of cloth. And they created a variety of things: dolls, furniture, elaborately carved walking sticks, games, paintings of the camp, carved relief sculptures. And there is one example of a traditional-looking baseball shirt created from a mattress cover— the Japanese-American men loved the game of baseball and promoted the playing of it in the

internment camps. In addition, they fabricated a lot of jewelry, and none of what I saw seemed as if it was made from found objects; it was all very professional looking and ran the gamut from traditional Japanese motifs to up-to-date stylish designs. One piece of particular interest, both visual and cultural, was the suite of decorated envelopes created by Mikisaburo Izui and addressed to his son, George, who had been released from internment in order to go to school. Sent from the camp address of 41-3-F, Minidoka, Idaho, to places in Illinois, Izui’s envelopes were small works of art, with ink drawings on the left side— either a camp scene or a botanical study. These envelopes are not only things of beauty, they are an archive of longing symbolizing the will to rise above the hand of fate. Is that the end of the story? No. Unlike the artist Jimmy Mirikitani, not everyone held in the camps had such inspiring chapters added to the dark parts of their story— few individuals were able to pick up where they left off in their previous lives, as careers had been shattered and houses and property confiscated or sold off to the highest bidder. A complicated saga such as Mirikitani’s rarely gets such a redemptive blast of hope and good will at the eleventh hour, let alone a measure of recognition for the commitment to his artwork against all odds.

—Diane Armitage

THE magazine | 49

S. Kawamoto, U.S. Detention Camp, Santa Fe, NM, paint on wood slab with fence post, 14” x 26” x 3”, 1942

The Art

Eight Modern 231 Delgado Street, Santa Fe

Don Kirby & Joan Gentry: The Anasazi Project

To exult

in monotony: perhaps the only real challenge left for accomplished photographers shooting landscape monuments of the Southwest is getting people to look at them. I am referring both to their prints and to the monuments themselves. Thanks to our National Park Service, access to these natural wonders is easy and open to anyone with a camera. And the digital camera of the common man today is often the same one that professional photographers use. Add the pervasive presence of the Internet and its instant and inexhaustible inventory of digital images of these sites, not to mention the frequent appearance of these high desert monuments as backdrops to slick new car commercials on TV. The Web provides digitized prints of these sites taken by the great American photographers of the nineteenth and twentieth centuries. Viewing the prints of ancient Indian ruins published in The Anasazi Project, by Don Kirby and Joan Gentry, visitors to Verve Gallery could not help but recall the now iconic photographs of the same sites—often from the very same vantage—by the likes of Timothy O’Sullivan and Ansel Adams. And—not to go too deep into Plato’s cave—the photo book, being a collection of scaled-down

images of the prints of the photographed images of the actual monuments, is what the Philosopher would call shadows of shadows of shadows of the real thing. No doubt Marshall McLuhan would be able to decipher the message in the medium here, but I’m hard put to find it. Like most coffee table books, The Anasazi Project is short on explanatory text that could help to situate a viewer not familiar with the geography or history of the Southwest. The photographs in the book (and the selected prints for the small exhibit) depict cliff dwellings that survive from the “Anasazi,” a Navajo word borrowed by early archaeologists to identify prehistoric ancestors of the twenty or so modern Pueblo tribes or communities living in New Mexico and Arizona. The ancient groups or clans that eventually formed these Puebloan ancestors date perhaps to 1500 BCE. From about 1200 CE they occupied and farmed in the Four Corners region of the Colorado Plateau—encompassing the area around the quadripoint juncture of Utah, Arizona, New Mexico, and Colorado. The legacy of the ancestral Puebloans from the Four Corners region during this period survives in the ruins of small villages and larger pueblos comprising shallow cave structures built into the sides of soaring cliffs.

Joan Gentry, Anasazi Ruin, “Pico,” Utah, gelatin silver print, 14” x 18¼”, 1995

These defensive dwellings were abandoned and reoccupied at various times in response to the impact of the local climate on farming. Several of these structures and their surviving wall paintings are the focus (mostly in Utah) of The Anasazi Project. One special feature of this book of photographs is the poetry that accompanies it. The format, pairing photographs of a particular cliff dwelling site with poems by Ann Weiler Walka, succeeds in reinforcing the visual impact by an effective fusion of image and text. Perhaps the strength of Walka’s poetry goes a long way toward ensuring what we are supposed to feel when contemplating these powerful images of a vanished culture embedded in timeless landscapes. But if the intended effect of every artistic image is put at risk by the “familiarity breeds contempt” of pervasive dissemination, how much harder for images created by the mimetic medium of photography in particular. It is too facile to argue that, in landscape photography, the unerring eye of the photographic medium has the unique capacity to vicariously place us on site, experiencing the monument as directly as if it were actually before us. But whether we encounter these ancient cultures of the Colorado Plateau in prints or in person, how do we come

Verve Gallery of Photography 219 East Marcy Street, Santa Fe away with even a fraction of what the ancestrall Puebloans must have felt (unless it wore for them as well?) gazing down from an adjacent ridge upon the enormous oxymoron of their magnificent, diminutive cave structures, set like rows of shark’s teeth in the clenched jaws of a towering cliff? In short, in an incessant cycle of repetitive images, how do we really “see” them in the daily iteration memorialized by the photograph? I don’t have the answer, but clearly the ancient Puebloans did, and these photographers do. And G.K. Chesterton, who—and allow for his Christian metaphors—got a lot closer to the answer than most. Chesterton once wrote: “Because children have abounding vitality, because they are in spirit fierce and free, therefore they want things repeated and unchanged. They always say, ‘Do it again’; and the grown-up person does it again until he is nearly dead. For grown-up people are not strong enough to exult in monotony. But perhaps God is strong enough to exult in monotony. It is possible that God says every morning, ‘Do it again’ to the sun; and every evening, ‘Do it again’ to the moon…. It may be that He has the eternal appetite of infancy; for we have sinned and grown old, and our Father is younger than we.”

—Richard Tobin





First there

was the Taos Society of Artists, and later the Taos Moderns. Now the University of New Mexico’s Harwood Museum of Art brings us a welcome female Taos six. The group includes Barbara Harmon, Frieda Lawrence, Gisella Loeffler, Ila McAfee, Millicent Rogers, and Stella Snead in an exhibition of fantastical realism. The show is beautifully presented by Harwood curator Jina Brenneman in the museum’s second-floor Peter and Madeleine Martin Gallery, and the discovery of these artists and their work makes a visit well worth the trip. The building itself is a treat, with its blend of original John Gaw Meem construction along with new galleries, all tucked away on a quiet Taos side street. Most of these six women were contemporaries. The thread that links them is their desire and ability to capture the whimsical and the fanciful. The paintings by Barbara Harmon—unique among the six, as she is still alive and residing in Taos—take us into her Beatrix Potter–like world of adorable, yet realistic bunnies, squirrels, and kittens. It is easy to see the influence of artists and writers who inspired Harmon, such as Kenneth Grahame and British children’s book illustrator Arthur Rackham. In

Bringing in the Harvest (1956) Harmon uses pencil on watercolor to create a charming scene with pipe-smoking grandpa mouse sorting seeds while grandbaby mouse tries on grandpa’s shoe. From Harmon we move to paintings by Frieda Lawrence. Brenneman has included a thirty-three by twenty-six inch photograph of each artist, and Lawrence’s is in complete contrast with her art. In the photo she has a cigarette dangling from her half smile, a frumpy dress, and even frumpier hair. Yet in her paintings, she presents sophisticated settings. One of these untitled, undated works includes gilt-edged mirrors and wall sconces, elaborate cakes, even a dainty fan and a pink parasol. In another untitled work she gives us her version of the lady and the unicorn, sprinkling the canvas with red—even in the unicorn’s mane. Up next are paintings by Stella Snead, whose work feels like an introduction to surrealism. Crisis Birds (1950) depicts two leafless trees in the foreground—a dark-brown one on the left and a dark-blue one on the right. On the trees’ stark branches Snead perches birds that look like stylized, stone-carved chess pieces. Only one has its beak open to sing, or perhaps to squawk in alarm, given the painting’s title and what appears to be a menacing cloud of smoke over the low

Stella Snead, Crisis Birds, oil on board, 22 ¾” x 14 ¾”, 1950

Collection of Andrew Teufel. Photo: Cris Pulos

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The Harwood Museum of Art 238 Ledoux Street, Taos

Gisella Loeffler, Black Pottery, acrylic on board, 83/ 8 ” x 83/ 8 ”, n.d. Collection of the Harwood Museum of Art. Photo: Cris Pulos

hills in the distance. The works by Millicent Rogers represent her interpretation of Hans Christian Andersen’s The Little Mermaid, and are all drawn in colored pencil with tremendous whimsy. As the red and gold dragon stands on the shore and ponders his reflection in the green lake in She Sets Eyes on Narcissus and Goes Journeying (ca. 1930), the sky boasts yellow air-bubble clouds. Here dragons are adorable, quests fanciful and fun. The exhibition’s section on Gisella Loeffler gives the viewer excellent insight into her creative range. She was inspired and influenced by AustroHungarian folk art style, and we see it played out in her letters, crewel embroidery, paintings, and children’s book illustrations. Several of her letters are presented in a wall display, which shows us how much she cared about color. These letters are full of illustrations, sometimes in watercolor, sometimes colored pencil, and even children’s crayons. “Fall is so beautiful—so gold and blue— here in New Mexico,” she writes. We are also treated to what Mabel Dodge Lujan described as Loeffler’s “funny little painted children.” Here the bold colors of the Austrian tradition are obvious. Loeffler has taken Southwestern Pueblo Indian children and rendered them on wooden squares with blocks of dense vivid acrylic. In Rabbit Hunt, that’s exactly what we do; we search under the three horses’ hooves for the poor little bunny. But no; he has in fact escaped to the upper right hand corner where he prepares to dash out of the picture in a blaze of candy pink.

The exhibition concludes with two paintings by Ila McAfee. Encounter on the Stairs is an undated lithograph of two of McAfee’s performing Siamese cats. (Yes, she really did train her cats to perform tricks of sorts, and there’s even a video loop in conjunction with the exhibition to prove it.) Foam Fillies brings us into McAfee’s world of horses, a subject she is noted for. A quick walk past this painting would be a shame. The viewer might catch the way McAfee painted gorgeous reflected sunlight in the foreground, but would probably miss the way she fashioned the waves’ crests into horses’ heads. Brenneman cleverly weaves a seventh artist into the exhibition in photographer Mildred Tolbert, who took five of the six black-and-white photographs of the artists and probably merits her own show sometime soon. Throughout the presentation there are also display cases containing other examples of and insights into these artists’ work, such as books they illustrated and note cards and gift tags they designed. Best of all, in the middle of the gallery there is an inviting Southwesternstyle seating area complete with a cowhide rug and an old chest covered with children’s books from the period. (Half of the show’s artists, Harmon, Loeffler, and McAfee, were children’s book illustrators.) Here you can sit and read to yourself or to a child—if you’re lucky enough to have one with you—from books illustrated by Loeffler and others. Oh, go ahead; read to your lost child inside.

—Susan Wider

THE magazine | 51

MONROE GALLERY of photography




The Struggle For Human Rights


SANTA FE CLAY CONTEMPORARY CERAMICS 505.984.1122 Martin Luther King Marching for Voting Rights with John Lewis, Reverend Jesse Douglas, James Forman and Ralph Abernathy, Selma, 1965


Exhibition continues through September 23


Open Daily

112 DON GASPAR SANTA FE NM 87501 992.0800 F: 992.0810 e:

Message from La Habana


Alexandre Arrechea, Roberto Diago, Glenda León, Reynier Leyva Novo, Ibrahim Miranda, Sandra Ramos, José A. Vincench August 31 – September 21 • ALEXANDRE ARRECHEA


Friday August 31, 5–7 pm

Last Days of Champlain, 2012. Stainless steel, 14½ x 188½ x 12 inches.


435 South Guadalupe Street, Santa Fe, NM 87501 T: 505 982-8111



for I mpact

Where the

Buffalo Roam is a 1980s flick about Hunter S. Thompson’s rise to fame alongside Oscar Zeta Acosta. The film also shares a title with an obscure Western made in 1938, as well as a sculpture at Eggman & Walrus by New Mexico–based artist Bunny Tobias. In this sculpture there is one buffalo, and it doesn’t roam, but rather stands in a living room that’s about a foot wide and seven inches tall with a burgundy wood floor. The box hangs on the wall at about eye level. The buffalo (a small model, perhaps store-bought and quite realistic) gazes in a decidedly full-length mirror boasting beveled edges opposite. There are two mid-century modern ochre armchairs, one in each corner, with a floor lamp off to the right. This is the picture of a dignified vintage home or log cabin, fairly normal except for the exchange of mammals—buffalo for human. Behind the somewhat miserablelooking housed creature, hanging on the far wall, is a handsome matted and framed portrait of him. Like some Joseph Kosuth paradigm, this life-size image is exactly the scene we see, as if questioning the viewer in some vague mockup universe: what is art, the photograph, the vignette, or the idea of roaming buffalo? Dissimilar to Kosuth is that the definition does not describe what we see. Here, the description/title is not a dictionary definition. Far from some Hunter S. Thompson lark or wild thunder of free beasts, Tobias’s sculpture is quite the opposite. In fact, the whole show at Eggman & Walrus, Brace for Impact, reads like a Saussurean caper. Tobias and complementary New Mexico– based artist BJ Quintana hold a two-woman

Eggman & Walrus 31 West San Francisco Street & 130 West Palace Avenue Santa Fe show downstairs in the main gallery while several other artists command the upstairs—namely Christopher Lavery’s piece called Vacations West or Anywhere Else, which is an installation that projects the sounds of a provincial parade through a series of unexpected speakers. An overturned plastic red lawn chair holds nine small black discs (speakers) that adhere like a life-support system with a tangle of black wires disastrously left untied. It’s offensively reminiscent of Weekend at Bernie’s, while three small UFO-style barbeque grills sporting sprouted submarine tubes that end in mini gramophones (also speakers) provide the accompanying shiny pistachio and light blue enamel color scheme. Likewise, the bright-yellow ladder with useless hoses piled on top could provide a lookout point for some ineffectual vacationer. Yes, this scene could be west or anywhere else, but it definitely evades the image of any ideal vacation, not that that’s its claim. Vacations West or Anywhere Else consumes most of the room, and with its lo-fi soundtrack is less evocative of a holiday than an all-American barbeque bearing a sign outside that says, “Wave as you go by.” The most obvious example of Brace for Impact’s Saussurean rouse is BJ Quintana’s Alligator In An Alligator Box. No surprises here. A black play alligator sits inside the rather refined interior of a black vintage alligator box that’s the perfect size for opera gloves. It’s lined with red silk and herein lies the artificial alligator, humorously resting as if in an open casket. He seems keenly aware of the perpetrator who skinned his long-lost namesake, and the title reads on the inside top on a black plaque in gold script. The red silk, the vintage black alligator, and the self-

aware italicized lettering are all reminiscent of a magician’s trappings, and although Alligator In An Alligator Box is nothing but transparent, a certain suspicion lingers throughout the upturned social vestiges of this show. No, things aren’t exactly what they seem. Tobias’s Lolita could not light the loins of any but the most perverse man. A miniature white wooden garden chair reclines adhered with disjointed body parts of four different dolls. A head, two disparate arms and a pair of legs join in varying barely compatible sizes, all stuck to the chair’s white slats in a freakish Frankenstein composition that’s reminiscent of a defiled Barbie catching some rays. She may not appear unbearably alluring or deviously sexualized, but Tobias’s Lolita is nonetheless a vivid interpretation of Nabokov’s leading nymphet. Always with a sense of humor, Brace for Impact showcases a whacky lineup saturated by Snellen-chartmeets-Ed-Ruscha quips by Quintana, and repurposed household objects inspired by the Dadaists. Various boxes stage miniature vignettes (not just in alligator), retro toy cars pour out of a cast iron faucet, and Spider-Man hinges from a scuffed

wooden axle with Quintana’s one-liners like “Metamorphosis” and “Sex is just a click away” hovering nearby in bold black-and-white letters. The most fetishized objects for both Tobias and Quintana are the ample wooden tailoring contraptions. Dress forms and old shoe lasts parade down the gallery walls in a spectacle intended to disrupt our conceptions of art. It is perhaps unfortunate or auspicious that today’s hipster subculture, which is barely shy of mainstream, is obsessed with quotidian retro objects. From LPs and vintage cocktails to Chuck Taylors and sweater vests, most of Brace for Impact’s vintage finds are now prized as charming household décor easily found in reproduction at places like Urban Outfitters. Mainstream or not, applause goes to Eggman & Walrus for showing anything comparable to Urban Outfitters’ décor that parades as art.

—Hannah Hoel

Top: BJ Quintana, Alligator In An Alligator Box (ca.1930), plastic alligator toy, brass, 12” x 4” x 4”, 2012 Bottom: Bunny Tobias, Where the Buffalo Roam, mixed media in shadow box, 2011

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THE magazine | 53

Fine art STORAGE Packing, CRATing SHIPPING custom ARCHIVAL Boxing Collection

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Australian Contemporary Indigenous Art II


is a unique place, a huge continent peopled by humans who may have been part of the first wave of migrations out of Africa over forty thousand years ago. The impact of the arrival of Europeans, beginning a few hundred years ago, on its indigenous cultures was dramatic and sometimes dreadful. In the 1960s the great anthropologist Claude Lévi-Strauss noted the disappearance of entire communities of meaning in the region. Fortunately, there has been a counterdevelopment in the saga. Since the 1970s, a small number of Australian aboriginal people have been able to pursue artmaking that, while grounded in their own legacy, also has access to a variety of traditions, materials, and markets outside their own communities. Australian Contemporary Indigenous Art II is the second show of such work at Chiaroscuro

(the first was in 2010) in conjunction with Vivien Anderson Gallery in Melbourne. The artists included are Djambawa Marawili, Dorothy Napangardi, Jean Baptiste Apuatimi, Ginger Wikiylirir, Kay Baker, Anyupa Stevens, Teresa Baker, and members of the Tjungu Palya whose work is sometimes produced collectively. Coming from around the continent—Yolngu country, Arnhem Land, the Pitjanjatara lands of the Anangu artists, the Tiwi islands off the coast of the northern territory, and Yuendumu in the central desert—they bring us their complex expressions and reflections, informed by international modern art as well as the work of their own indigenous predecessors. Aboriginal artists explain that their work comes out of something that is usually translated as “dreaming” or “dreamtime,” which seems to operate like the multidimensional memory palace of a vast land.

Dorothy Napangardi, Karntakurlangu 2, synthetic polymer paint on canvas, 60” x 60”, 2009

Chiaroscuro 708 Canyon Road, Santa Fe Quite distinct from our conventional sense of dream as either a “made-up” fantasy or a deep clue to individual psychological conflicts and mental structures, “dreamtime” denotes a collectively held cosmos in which past and future are also immediate and present; continuous with the landscape and environment in which it developed over long time periods, it is a kind of necessary witnessing of the created world. Most of the indigenous, pre-industrial cultures we know of had something like this sort of deep reciprocity with the natural world. Dorothy Napangardi’s Sandhills is a large painting executed in synthetic polymer on canvas. It speaks of rain and distance, starry skies, cloud formations, and geological time and change, of human and animal movement across vast space—appearing and disappearing, seeking and losing, hiding and

finding. It does so in a palette of blacks, greys, and browns, creating different experiences for the viewer from across the room and up close. Djambawa Marawili’s Baykultji, Burrumitjpa and other earth-pigments-onbark works by him hang in a room off the main gallery. Sinuous energy lines of black, white, red ochre, and brown marked by intricate cross-hatchings depict force fields within which figures float, spatially neither behind nor in front of the patterned lines. The snout and paws of a dingo-like creature, in Metamorphosis/Dhahkalmayi, touch a point from which lines fountain off downwards and bellow upward in squash shapes: the lines resemble many things—furrowed fields, ant trails, sand dunes, ocean waves. Their fractal and never-the-same-twice quality induces a kind of trance. In today’s physics a select few individuals, with years of preparation and the aid of complex systems, witness certain classes of phenomena. The rest of us have to take their word for it. They report back from realms— such as those of sub-atomic particles or interstellar spaces—which we may believe in but which are not directly tangible to us. Aboriginal art’s particularly abstract renditions of the interpenetration of landscape, ceremonial, and mythic symbols have the urgent clarity of communiques from a world that’s not always accessible but is nevertheless very real. These works can be read like graceful, idiosyncratic blueprints bringing news of a sentient, dynamic, and inspiring realm in which humans may participate but not dominate. Several of the artists were present at the opening. Marawili spoke a little about their work and performed ceremonial actions to bring in or connect the works with the gallery space and the gathered people. Jean Baptiste Apuatimi, who works in earth pigments on canvas, prepared herself with a beautifully painted face and feathered armbands and “danced in” her paintings. Just as the artists were welcomed by a Pueblo elder, the gallery staff, and the audience-participants (who also danced a little), the artworks, too, needed to be acknowledged as being alive and connected to their legacy. Perhaps this is true of any genuine artwork, but we cannot always feel it or we lack the means to acknowledge it.

—Marina La Palma


THE magazine | 55










1 3 - 1 6


PECOS STUDIO TOUR September 29 & 30, 2012 10AM to 5PM



T O U R . C O M



Santa Fe’s

young artist collective Meow Wolf has consistently presented extraordinarily good and deceptively complex work for several years. Their latest project does not disappoint. OmegaMart is an effort fueled by Meow Wolf–offshoot CHIMERA, an arts cooperative whose aim is to involve children in collaborative creative projects. Meow Wolf artists went into dozens of Santa Fe schools, working with kids to dream up the products that line the shelves of this outrageously fun fauxmart. Says long-time Wolfer Nicholas Chiarella, “Our goal was to not only educate kids and encourage them to reconsider the media and messages of their everyday world, but also to demonstrate that their conceptual abilities as artists are already developed—that their ideas are already art-worthy.” The creative input of elementary-age children is evident here, but there’s also a sure-footedness that’s an essential but woefully overlooked quality in art. Playing on our familiarity with American retail environments, Meow Wolf turns its marvelously unorthodox eye and orgiastic, seemingly endless energy to the decidedly mundane arena of the grocery store. On opening night, bright balloons festooned

OmegaMart 1640 St. Michael’s Drive, Santa Fe the modest space, which is situated in an inconspicuous shopping mall anchored by a Carl’s Jr. and a bicycle shop. A couple of small tables by the front door were laid out with “snacks”—hardboiled eggs dyed in noxious neon colors and a tray of some goopy, muffin-cupped mixture that the counter girl told me was “semi-edible.” The exhibit is made realistic by the inclusion of industrial metal racks and tinny elevator music. When I asked Meow Wolf organizer Emily Montoya about public response to OmegaMart, she replied that many visitors “really understand and appreciate good value.” The aluminum casings of irresistibly silly 15 oz.-size cans of “Rabbit Shards” and “Beef Peels” are rendered obsolete by the fact that the cans’ contents are actually filled with adobe. Reassuringly, organic bits of hay pop out over the top—after all, the labels do claim that they’re “all-natural.” Against the wall is a produce display case containing items that ostensibly belong to the fruit and vegetable family. One open bin contains “happles”—lumpy spheres that resemble Granny Smiths—with smiles carved into them. Featherlight coils of metallic purple “Zalg” look and feel like hardened spray foam, and, with their psychedelic color and otherworldly weightlessness, they might be organs of outer-space creatures. A birth-

control packet says IMPULSE CONTROL on the front, but instead of pills the tiny plastic windows inside hold bright Nerd candies. A lot of works in the show are like this—genius in their ability to make you giggle. A box containing a product called Shrubs advertises “avocado-flavored French fry treats.” The translation of goofy concepts into tangible, purchasable products is thrilling. These things beg to be touched, studied, and sometimes recoiled from, which is not unlike the way we shop for groceries, but certainly unlike the way we think of our interactions with contemporary artwork. The OmegaMart website is fun, if not particularly informative, but that’s probably the point. Described as “a grocery store committed to affordable, organic, nationally localized product,” the website has an employment section, where a downloadable job application informs would-be employees that the corporation “may disclose information relating to inventory management systems, hematophagy, stocking techniques, apocalyptic prophecy, herpetology, invasion plans, and broad artistic satire.” Unlike in previous installation-based exhibits, OmegaMart provides a space where Meow Wolf can sell their art, which is a real treat. Why not pick up a packet

of miniature “Fuzzy Balls?” Or a “Futuristic Party Hat for Small Animals,” packaged expertly in durable plastic? It’s actually a teeny-weeny red battery cap. It set me back five bucks and now makes for a particularly pleasing objet d’art, thumb-tacked above my thermostat. The exhibition’s visual language—for OmegaMart introduces, unquestionably, its own lexicon—is shot through with elements of steam punk, anime culture, and Fellini-esque absurdity, but no artspeak is necessary in describing this show and, best of all, there’s no pressure to “get it.” Nevertheless, with OmegaMart, Meow Wolf achieves several things. The store successfully questions the unflinching trust we put in the corporations whose products we’re accustomed to buying and consuming; it satirizes American consumer culture and our rabid, mostly illusory obsession with saving money. It also delightfully reinvents and revitalizes an experience as seemingly humdrum as grocery shopping, and maybe most importantly, it reminds us that modern art can be interactive and participatory, in fact it should oftentimes be tactile and enjoyable and rather silly.

—Iris McLister

Installation view.

| s e pt e mb e r 2012

THE magazine | 57


The Northern Nine at the La Tienda Exhibit Space at La Tienda Gallery

Museum Quality Works on Paper For the New to Experienced Collector MILTON AVERY































This exhibit features artwork from nine women artists living and working in and around the northern New Mexico town of Las Vegas, one hour east of Santa Fe.

Linda Wooten-Green • Janet Stein Romero • Johanna Keenan Carol Hodge • Debbie Morse• Carol Macomber Nancy Bohm • Amber Lon MacLean • Jane Lumsden SA



7 Caliente Road, Santa Fe, NM 87508

West Mesa & Gallery Drawings

West Mesa Drawings: Studio View, each 23.5” x 18”, 2012

Leich Lathrop Gallery September 7 to October 3, 2012 Open Mon. – Sat.10 – 5 & Sun, 12 – 5 Reception: September 7, 5:30 to 7:30 pm 323 Romero Street NW, Albuquerque, NM 87104 ph 505-243-3059

Now selling Japanese and Asian paper for artists



US 28


La Tienda Gallery at Eldorado

Chuck Lathrop


5 Saturday,Road September 7:00 pm www. 7 Caliente Santa8th, Fe, 4:00 NM –87508 AS EG ER Y


Opening Reception: Saturday, September 8 from 4 to 7 pm 25




BY APPOINTMENT 505.988.1166

Exhibition dates: Show Dates: August 31 - September 25 August 31 – September 25, 2012





Color Rx: Jennifer Joseph


pleasure is constantly in demand, yet deeply suspect for being so. Too much fun and unencumbered beauty will drive those who perceive themselves as having less fun and experiencing less unencumbered beauty to do some very strange things. Usually these involve covert or overt attempts to stop the fun and unencumbered beauty from happening. This takes the form of inspiring fear of fun and encumbering beauty with all sorts of sophistry, demanding censure, preaching imperatives concerning the conduct of the body (the key to all social control), and legislating to outlaw as much fun and unencumbered beauty as possible. This pleasure in life must be stopped before you hurt yourself, they will say. They being the mayors and governors, legislators, judges, military chieftains, and our dear conniving

Jennifer Joseph, Eye Test 03, oil on panel, 2012

| s e pt e mb e r 2012


Rex Rey

president, to name a few. They being the CEOs and the CFOs and the boardroom chairmen and the priests and preachers and the crooked cops. It’s not most of us. Planetwide, the people who make the point of their lives the social control of others is actually a fairly small percentage. Most of us don’t engage in that kind of large-scale oppression and big-league pathology. Life is full of risk. No government, organized religion, or corporation will ever be capable of completely mitigating those risks, but the psychos who run such entities don’t see it this way. They’re busily hemming in your life and possibilities, using the excuse that they’re saving you from risk when, in fact, their real desire is your oppression. The number of stupid laws, ordinances, statutes, and rules that function this way continues to grow, and nobody I know doesn’t have at least one

Turner Carroll Gallery 725 Canyon Road, Santa Fe story of how they have been made to suffer unnecessarily through some governmental, religious, or corporate organization. And for many this is a daily occurrence. In the United States, we are currently operating under a government by the corporation-person, for the corporation-person, with a fat dollop of hypocritical religiosity on top. Call it creeping totalitarianism. The antidote for this situation is fun and unencumbered beauty, the pleasures of real pleasures and the pursuit of happiness minus so much restriction. It is not enough to oppose. Alternative social realities must be established. Take note: the three-headed corporate, governmental, religious beast of strangling social control adamantly seeks its own unregulated freedom at the daily expense of ordinary people. Follow your leaders, then, and insist you have the right to seek, and take, the same liberties.

Color Rx, a recent showing at Turner Carroll Gallery of works by local artist Jennifer Joseph and San Franciso denizen Rex Rey was a welcome alternative. Nowhere near as preachy as I’m being here, the exhibition offered pure perceptual pleasure of the type that makes you remember why life is worth living. These elegant images of unencumbered beauty remind us of what awaits once the psychopaths of social control are cleared away. Color, an extravagance that nature doesn’t require but rather gives freely, is one of the great pathways to happiness. It is pure, essentially uncontrollable, and as such, deeply suspect. In the 1800s, in painting, pure, bright colors were considered shockingly libertine. The soot on Michelangelo’s ceiling had grown so heavy that everyone assumed he toned down his tones, and since he is the greatest religious painter of all time, everyone else sought to follow his temperate example and reign in the potential brilliance of chroma. But we know that the little giant of art was nothing if not passionate, and the twentieth-century cleaning of the Sistine Chapel ceiling revealed that he was also an incredible colorist, though early Modernism had already started prying the lid off the box of pure pigment and bold color. Joseph and Rey are both keepers of this bright flame. Joseph’s oil paintings consist of concentric rings of delicately modulated color at the supersaturated end of the spectrum. Like ripples in water, these beautiful pictures continuously expand and contract in the eye in a way that is arresting. They ground you in the here and now of optical pleasure. They make no overt references. They have no social program to announce. But their boldness and freedom sing an inspiring song of freedom, and pure pleasure. Rey’s work exhibits a similar sense of freedom, play, excellence of design, and perfection of perceptual pleasure. His small, resin-coated collages are delicious. The power of pleasure, the enjoyment of life, ought not to be underestimated. The current, dominant tone of our fucked-up world is the muddy grey of increasing oppression. Color Rx offers up just the right medicine.

—Jon Carver

THE magazine | 59


5:20 PM

Page 1

Santa Fe Art Institute

Dancer, Choreographer Founding Director of DANCING EARTH CREATIONS, Rulan Tangen Lecture/Reception “The Dance of Waters” Monday September 10, 6pm Tipton Hall Workshop “Of Bodies Of Water” Sat & Sun, 9/8 & 9, 4-7pm Driscoll Fitness Center September Artists & Writers in Residence Open Studio. Thursday, September 27, 5:30pm SFAI Musician and Sound Artist Steve Peters Lecture, "Making a Place to Listen", October 8 Workshop, "Listening, Finding, Giving, Receiving" October 13 & 14 Sound Installations "The Very Rich Hours" October 8 (folllowing lecture) "Chamber Music 2: Atrium" October 1 – 31 WWW.SFAI.ORG, 505 -424 -5050, INFO@SFAI.ORG. SANTA FE ART INSTITUTE, 1600 ST.MICHAELS DRIVE, SANTA FE NM 87505 | SANTA FE ART INSTITUTE PROMOTES ART AS A POSITIVE SOCIAL FORCE THROUGH RESIDENCIES, LECTURES STUDIO WORKSHOPS, EXHIBITIONS, COMMUNITY ART ACTIONS, AND EDUCATIONAL OUTREACH FOR ADULTS AND YOUNG PEOPLE. SFAI IS AN ENVIRONMENT WHERE CREATIVITY, INNOVATION, AND CHALLENGING IDEAS THRIVE. PARTIALLY FUNDED BY CITY OF SANTA FE ARTS COMMISION AND 1% LODGER’S TAX AND BY NEW MEXICO ARTS, A DIVISION OF DEPARTMENT OF CULTURAL AFFAIRS

jennifer esperanza photography

THE-SFAITangenCorrected:Layout 1

505 204 5729

new mexico



Green Planet

Artist Clayton CampBell Contemporary artists need to put back more into their communities than they take out. This is the era of the socially engaged cultural producer, a hybrid of practicing artist, arts writer, facilitator, fundraiser, production manager, publicist, and advocate  for the overwhelming necessity for artists to contribute to the evolution of knowledge and intelligence, and to be seen as a public asset contributing to the general good. —Clayton Campbell This August, Clayton Campbell’s seminal project Words We Have Learned Since 9/11 was presented at Linda Durham’s Wonder Institute. The project is a site-specific exhibition of photographic portraits, which establishes intercultural dialogue between diverse populations about cultural differences and how people view their futures.  At each exhibition site, visitors are invited to be photographed with “words” they have learned since 9/11. The new photographs are then added to the exhibition. Words We Have Learned Since 9/11 can be viewed at

photographed in santa fe, new mexico by Jennifer

| s e pt e mb e r 2012


THE magazine | 61


Strokes III by

Eleuterio Santiago-Díaz

Your word has been painted, steady hand and fire, infinite times. The mind never retains the canvas— how could it? But step after step, my breath secretes back its dense substance. The strokes still come with the sweat and pain Print by Yoshiko Shimano

of so many dusks at the old dōjō. I just hope they resemble your germ, Unlettered Master, more than the kanji calligraphy I once laid at your feet.

62 | THE magazine

Breaths (UNM Press, $21.95) is “a poetic exploration of Budo and Zen” by Eleuterio Santiago-Díaz. His poems—accompanied by Yoshiko Shimano’s prints—”balance action, energy, meditation, and contemplation on how to live attentively and actively in the world.”

| s e pt e mb e r 2012

WAT E R C O L O R S H O W Harold Gregor | Keith Jacobshagen | Suzanne Siminger

Harold Gregor, Hot Day; Rain?, 2012, acrylic on canvas, 52 1/8 x 80 1/8 inches

August 24 – October 6, 2012 Opening reception: August 24th from 5pm to 7pm To view more works by These arTisTs visiT

Mary Etherington, Director of Contemporary Art 505.954.5761 or

1011 Paseo de Peralta, santa Fe, nM 87501 | tel 505-954-5700

Š 2012 courtesy Gerald Peters Gallery.

Nora Naranjo Morse September 14 - October 13, 2012

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

THE magazine - September 2012 Issue  

THE magazine is Santa Fe New Mexico's magazine of international art, photography, culture, and restaurant dining.

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