Santa Fe’s Monthly
of and for the Arts • September 2013
SAN TA F E ’ S F INE S T SE L E C T ION OF N AVA JO T E X T IL E S & VIN TAGE HOME F URNI S HING S 53 Old Santa Fe Trail | Upstairs on the Plaza | Santa Fe, NM | 505.982.8478 | shiprocksantasfe.com
studio visits: Bobbi Bennett and Micaela Gardner
photographer Alan Pearlman
Terre by John Tarahteeff
The 2007 Allegrini Amarone by
Joshua Baer 27
at Evoke Contemporary; Making Places at the Center for Contemporary Arts; Mitch Dobrowner at photo-eye Gallery; Native Vanguard at Zane Bennett Contemporary Art; Ted Larsen at David Richard Gallery; and Those Who Dared at Monroe Gallery of Photography
out & about
Katherine Lee at Eight Modern, Mike Stack at Chiaroscuro, and Tom Miller at Zane Bennett Contemporary Art
architectural details: Where the Rain Stopped,
Yasumasa Morimura at
Shiseido Gallery, Tokyo feature:
The Healing Power of Art, photographs by Cheye Pagel Arlo Namingha at Niman Fine Art; Coherent Light at Cloud 5 Space; Enrique Martínez Celaya at James Kelly Contemporary; Eric Tillinghast at Richard Levy Gallery; Louisa McElwain
The artist, composer, performer, feminist, and controversial public figure Yoko Ono turned eighty years old this year, and several European museums are hosting retrospective exhibitions celebrating her multifarious work. A new catalogue, Yoko Ono: Half-A-Wind Show— A Retrospective (Prestel, $60) provides a portrait of Ono’s artistic philosophy, which is influenced by her Japanese heritage. The catalogue begins by taking the reader back to Ono’s first groundbreaking solo exhibition in New York City in 1961, where works like Painting for the Wind and Painting to be Stepped On heralded the poeticism, minimalism, and the subtle humor of Ono’s later creations. The catalogue provides a portrait of Ono’s artistic philosophy, which is influenced by her Japanese heritage. Ono was at the forefront of the avant-garde movement of the 1960s and 1970s, which included artists, composers, and dancers isuch as Remy Charlip, Yvonne Rainer, Phillip Corner, and John Cage. In fact, Ono’s early works can be viewed as a precursor to artists such as Marina Abramovic. In the first half of the book we see the purity of Ono’s work before she met a certain Beatle. After meeting John Lennon, Ono had access to as much money as she needed to do her work, Her work stayed conceptual, but lost the purity of the early work. In the book there are references to her connection with Lennon, such as a poster for a 1971 joint performance at the Everson Museum of Art and a 1981 album cover for Season of Glass, with Lennon’s blood-spattered glasses sitting on a windowsill. But for the most part, this book is a retrospective of Ono as Ono, who Lennon called “the most famous unknown artist in the world.”
photograph by Guy Cross
Luisa Kolker, photograph by Jennifer Esperanza
315 Restaurant & Wine Bar, Café Pasqual’s, and Arroyo Vino
“Georgia O’Keeffe: Black Door with Snow” by Roy Scheele. Photograph: Stephen Lang
In Pursuit of Cultural Freedom
TIM DeCHRISTOPHER with Terry Tempest Williams
Tim DeChristopher is a climate justice activist and cofounder of the nonprofit Peaceful Uprising. In 2008, DeChristopher committed an act of nonviolent civil disobedience when he disrupted a government oil and gas lease auction in an attempt to protect fragile lands in southern Utah from long-term damage. After being imprisoned for 21 months, he was released in April 2013 and is now on a three-year probation. The recently released documentary film, Bidder 70, tells DeChristopher’s courageous story. This fall he will begin studies at Harvard Divinity School. … those who write the rules are those who profit from the status quo. If we want to change that status quo, we might have to work outside of those rules because the legal pathways available to us have been structured precisely to make sure we don’t make any substantial change. —Tim DeChristopher
Ticket proceeds will be donated to New Mexico Environmental Law Center.
magazine VOLUME XXI, NUMBER III
WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 & 2006 Top-5 Best Consumer Tabloids P U B L I S H E R / C R E AT I V E D I R E C T O R Guy Cross PUBLISHER/FOOD EDITOR Judith Cross ART DIRECTOR Chris Myers COPY EDITOR Edgar Scully PROOFREADERS James Rodewald Kenji Barrett S TA F F P H O T O G R A P H E R S Dana Waldon Anne Staveley Lydia Gonzales PREVIEW / CALENDAR EDITOR Elizabeth Harball WEBMEISTER
Jason Rodriguez SOCIAL MEDIA
Diane Armitage, Joshua Baer, Chris Benson. Davis Brimberg, Jon Carver , Kathryn M Davis, Jennifer Esperanza, Eric Garduño, Hannah Hoel, Stephen Lang, Marina La Palma, Iris McLister, Cheye Pagel, Roy Scheele, John Tarahteeff, Richard Tobin, Lauren Tresp, Susan Wider, and Wade Wilson COVER
Nixe by Eric Tillinghast acrylic paint on postcard – 3 1/2’ x 5 1/2” Courtesy: Richard Levy Gallery, Albuquerque Review: Page 56
An exhibition of paintings by Evelyne Boren—Freeedom of Expression—will be on view at Nedra Matteucci Galleries, 1075 Paseo de Peralta, through October 12. Boren’s vibrant landscapes feature bold colors, expressive brushstrokes, and playful palette knife work, which give her paintings a sense of spontaneity, optimism, and nostalgia. The exhibition will include landscapes from Santa Fe and Mexico, where Boren divides her time, as well as scenes from recent trips to France and Italy. Reception: Saturday, September 21 from 2 to 4 pm. TO THE EDITOR: Once again Diane Armitage captured perfectly the spirit of the Changing Perceptions of Western Landscape exhibition and she expressed it more clearly than the curator did. Congratulations to her on the perceptive way that she explores contemporary art, and thanks so much THE magazine for publishing such great writing. It is always a thrill to have our exhibitions covered in your wonderful magazine. I can’t tell you how much we all appreciate that. And thanks so much for the PDF of the review in advance of publication. I will send that out to the exhibition artists. And again, thank you so much for considering this exhibition worthy of your attention.
—Andrew Connors, Curator of Art, Albuquerque Museum of Art and History, via email
TO THE EDITOR: I really loved the Lee Price painting Tea shown in your July issue. What took away my own experience of the painting was Lauren Tresp’s review, explaining what the painting meant and leaving no room for my own experience to happen. Ms. Tresp told me what my experience was before I could feel it for myself. I realize she meant well, but art is a very private, individual exchange within each person’s soul. I don’t like being told how I feel about an artist’s work. I very much liked Price’s painting but didn’t have the same take on it as Ms. Tresp. You know why? Baa-aa, Baa-aa—because we are not sheep here. We are the only planet-of-choice as far as I know. Which makes every person on this planet an individual. Thanks for letting me spew.
—Robert Ensor, Piedras, via email
TO THE EDITOR:
THE magazine: 505-424-7641 Lindy Madley: 505-577-4471 DISTRIBUTION
Jimmy Montoya: 470-0258 (mobile) THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: firstname.lastname@example.org. Web address: themagazineonline.com. All materials copyright 2013 by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable, for any misspellings, incorrect information in its captions, calendar, or other listings. Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel. All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised. THE magazine is not responsible for any claims made by its advertisers for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.
A loud and supportive cheer for Jon Carver’s eloquent advocacy (August review of Javier Lopez Barbosa) of art purchased for pleasure and to enrich the human spirit, for his view that “Art is for seers and lookers,” and for his championing of the artist’s ability to inhabit “the real empire of human creativity that is our birthright,” in contrast to the realm constructed for the valuing of art solely as investment. And thanks to THE magazine for its ongoing support of independent artists, doing what they must. —Jonathan Morse, Santa Fe, via email
TO THE EDITOR: The brilliance of the William Clift review by Susan Wider in August is transcended only by the elegance of its design and surrounding pages. I thought Wider’s piece was timely and fresh. I wish the writer had mentioned the Paul Kane poems included in the William Clift book, but what with the pressures of deadlines she may not have had a chance to see them. I also admired what Iris McLister had to say about Christopher Benson’s paintings at the Gerald Peters Gallery.
TO THE EDITOR:
TO THE EDITOR: My husband and I have been coming to Santa Fe for Indian Market for years. As always, the market was a wonderful experience, so many marvelous sculptures, paintings, and jewelry. I picked up a copy of your magaazine at the market and read the article written by Roxanne Swentzell about the diorama at the Poeh Museum. It intrigued us, so we drove out to the museum to see for ourselves and what a treat it was. Although we love going to the Plaza in Santa Fe, our visit to the Poeh was the highlight of our trip.
Writing to you about Jon Carver and his critical reflection on Javier Lopez Barbosa in the August issue. I make it a point to read what Jon writes, as it is straight from the hip, insightful, and opinionated. I like opinionated. Jon may have used Barbosa and Mark White as a platform for expressing his opinion about the “larger” art world, but as far as I and others in our salon gathering see it, the review was brilliantly slashing—“Full on moneylaundering operation for the biggest human rights violators.” I am so tired of the nambypamby approach that I read and hear so often. Oh dear, those rich people—can’t they share? How about that Jon Carver—all teeth and claws. —Susan Christie, Truth or Consequences, via email
—Michael Moore, Santa Fe, via email
—Dorothy Parsong, Santa Fe, via email Letters: Email to email@example.com Mail: 320 Aztec St., Suite A - Santa Fe NM 87501 Letters may be edited for space consideration.
THE magazine | 5
new exhibition opening in october
Bernard Chaet (1924-2012)
MeMorial exhibition: SongS of Joy
Bass Rocks Angles, 1997-98, oil on canvas, 30" x 30"
top: Georgia O’Keeffe, Lake George, 1922. Oil on canvas, 161/2 x 22 in. San Francisco Museum of Modern Art, California. bottom: Georgia O’Keeffe,
SepteMber 6 - october 13. 2013
Lake George Barns, 1926. Oil on canvas, 21 3/16 x 32 1/16 in., Collection Walker Art Center, Minneapolis. Gift of the T. B. Walker Foundation, 1954.
Ronnie Landfield after the rain
Georgia O’Keeffe and Lake George october
Between 1918 and 1930, Georgia O’Keeffe created an extraordinary body of work inspired by annual seasonal visits to Lake George, New York. Here, O’Keeffe discovered and refined her ground-breaking approach to nature and abstraction. This exhibition showcases artwork produced during her transformative and prolific years at Lake George.
Modern Nature: Georgia O’Keeffe and Lake George was organized by The Hyde Collection in association with the Georgia O’Keeffe Museum. The national presentations of the exhibition and catalogue have been made possible in part with support from The Henry Luce Foundation and the National Endowment for the Arts. Additional support and related programming were made possible in part by a generous grant from The Burnett Foundation, and partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax. Additional support for the catalogue has been provided by Furthermore: a program of the J. M Kaplan Fund.
PArTiALLY FuNdEd BY THE CiTY OF SANTA FE ArTS COMMiSSiON ANd THE 1% LOdGErS’ TAx.
In the Smoke, 1985, acrylic on canvas, 40" x 37"
LewAllenGalleries a t t H E R a i ly a R d
217 Johnson street, santa Fe, nM 875o1 5o5.946.1ooo = okeeFFeMuseuM.org
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EUPHORBIA PAINTINGS: Cactus II, 2013. Wax encaustic, crayon on birch panels, 34” x 34”
through September 27
FILIPPUCCI Sept 15 - Oct 13
Richard Levy Gallery • Albuquerque • www.levygallery.com • 505.766.9888
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September 27 – october 26 opening reception: Friday, September 27, 5:00 – 7:00 pm
RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 87501 505.820.3300 | wILLIAMSIEGAL.CoM
CARLISLE /HAMILTON Susanna Carlisle + Bruce Hamilton
E N E R G Y F I E L D S
VIDEO SCULPTURE & I N S TA L L AT I O N
video projection on steel, walnut
29" H x 44.5” W x 0.75” D
PENELOPE KREBS F O U R S Q U A R E O I L PA I N T I N G S ON C ANVAS
above: Untitled (P13-01) diptych
AU G U S T
oil on canvas
72" x 144”
O C TO B E R
YARES ART PROJECTS 123 GRANT AVE, SANTA FE, NEW MEXICO 87501
www.yaresar tprojects.com (505) 984-0044
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Susan Davidoff + Rachelle Thiewes REGENERATIO N: CO MMO N LAN GUAGE PA I N T I N G S, PRI N TS, PH OTO S O N ALU M I N U M August 30th through September 20
Friday, August 30, 5-7 pm
DOCK AT KIVIJÄRVI 8.25, 2009. Photographs on aluminum, 30 x 45¼ inches. Edition of 10.
435 South Guadalupe, Santa Fe, NM 87501 505 982-8111 zanebennettgallery.com Tuesday–Saturday 10–5 or by appointment
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Two-Woman Show: New works by Erin Currier and Rimi Yang September 13 — 28, 2013, Artists’ Reception: Friday September 13th from 5 — 7 pm
Erin Currier Punkabbestia Acrylic and mixed media on board 72" h x 60" w
Rimi Yang First Step to Love Oil on canvas 48" h x 48" w
Blue Rain Gallery | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com
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e l d r i d g e
HISTORY IS ABOUT PEOPLE, AND PICTURES HAVE BEEN USED TO
a series of courses and workshops, primarily with the
DESCRIBE, COMMUNICATE, REMEMBER, AND CELEBRATE. THE CURRENT
Community College. My approach to portraiture is
FOCUS OF PHOTOGRAPHER ALAN PEARLMAN’S WORK IS PORTRAIT
faces and good light. In most of the photographs, the
PHOTOGRAPHY, A CONSCIOUS ACT THAT INVOLVES COOPERATION
what they do. Some of the portraits are of people
BETWEEN SUBJECT AND PHOTOGRAPHER. WITH PORTRAITURE, THE
encountered for the first time in the streets, shops,
IDEA IS TO USE THE SUBJECT’S LIKENESS TO COMMUNICATE THE ESSENCE
I’ve learned to work quickly since the subjects are often
OF THE PERSON IN THE PORTRAIT. HENRI CARTIER-BRESSON ONCE
outstanding past and current faculty at the Santa Fe straightforward and traditional. I look for interesting subjects’ clothing or the setting says something about I’ve met before, while many are of people that I have restaurants, galleries, clinics, and offices of Santa Fe. busy people in their workplace.
WROTE, “THE MOST DIFFICULT THING FOR ME IS THE PORTRAIT. YOU
In an ongoing project titled Land of Enchantment I’ve
HAVE TO TRY AND PUT YOUR CAMERA BETWEEN THE SKIN OF A PERSON
photography to explore the interface between the
AND HIS SHIRT.” IN SEPTEMBER, PEARLMAN WILL BE EXHIBITING SANTA
undeveloped beauty that remain in New Mexico. The
FE FACES AT VERVE GALLERY OF PHOTOGRAPHY, 219 EAST MARCY STREET,
destructive nature of these changes with the hope
SANTA FE. THE EXHIBITION RUNS FROM SEPTEMBER 6 TO NOVEMBER 2,
marginally successful efforts to curb them.
used the style of traditional black-and-white landscape developed landscape and the small areas of relatively goal of the project is to focus attention on the of contributing to the continuing but thus far only
WITH AN OPENING RECEPTION ON FRIDAY, SEPTEMBER 27, 5 TO 7 PM. LOOKING AT AUGUST SANDER
smile initially because that’s the expected behavior when
Over a period of almost fifty years, Sander produced
one is asked to be in a picture. That “camera face” is
thousands of portraits of the people of Germany for a
usually not of great interest. Through conversation and
documentary project he called People of the 20th Century.
direction, I work for an expression that I hope will engage
He used a large-format camera on a tripod and available
the viewer of the final print and remain true to the subject.
light. Since the speed of film at that time was relatively slow, the subjects were carefully posed and arranged
to accommodate long exposures. The subtle tonality of
I’ve been making photographs for a very long time,
Sander’s prints adds significantly to the compelling nature
but became seriously interested in portraiture through
of the portraits. Although some of his picture titles and aspects of his system of classification may seem quaint or even demeaning today, the photographic quality and the scope of the work provide us with an invaluable and artful record. Sander’s work has been an inspiration to many photographers, including myself. Through the portraits in my current series, Santa Fe Faces, I’ve tried to capture an instant in the city’s rich history and some of the fascinating diversity that is Santa Fe today.
RELATIONSHIP BETWEEN PHOTOGRAPHER AND SUBJECT In my view, the relationship should be an honest and respectful one. By definition, a portrait is a picture of a subject who has agreed to cooperate in the process and has thus put some trust in the photographer. To paraphrase Richard Avedon, every portrait should say something factual about the subject, even though it is impossible to
capture the full truth in any picture. Most subjects will
THE magazine | 17
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THE MAGAZINE ASKED A CLINICAL PSYCHOLOGIST AND TWO PEOPLE WHO LOVE ART TO SHARE THEIR TAKE ON THIS ACRYLIC-ON-CANVAS PAINTING BY JOHN TARAHTEEFF ENTITLED TERRE (THE SHOOTING STAR), AS SEEN AT NÜART GALLERY, SANTA FE. THEY WERE SHOWN ONLY THE IMAGE—THEY WERE NOT TOLD THE TITLE, MEDIUM, OR NAME OF THE ARTIST.
obvious; others rather obtuse) in this single painting could fill a book. At first glance, the artist presents us with a happy, summertime version of de Chirico and even the ominous shadows we associate with his work derive more from the pastel South Beach sensibility than from the brooding architectural landscape that
A mixture of animation and immobility exists inside this
characters appear between emotional and physical states.
typifies much of de Chirico’s work. The artist also
rich, multilayered work. Crashing waves, skywriting,
Their faces are blank, their bodies frozen.
includes a Picasso reference through the harlequin.
and a soaring seagull sharply contrast against the scene’s
—Davis Brimberg, Ph.D., Clinical Psychologist
A twenty-first century Madonna and Child takes center stage in the image. And, as every good Elizabethan stage
motionless characters. A dog with a foxtail, for example, appears suspended in time. As a symbol of cunning
Still Life with Orange and Candle by the Sound. I find it
performance of comedy ought to have—according to
and slyness, this dog-fox invites us to look beneath the
difficult to live in the present. Physically I exist in this
various versions of what the Queen herself enjoyed in
characters’ veneer. Metaphorically, the orange also
moment but my thoughts are most often elsewhere.
comedic theatre (prior to Shakespeare, of course)—
represents the psychological peeling back of these figures.
Freeze time and the world would look like this image.
we also have a dog and a ball, well, to be exact, an
A man wearing a fisherman’s hat, holding a hobo bag, is
A moment occupied by bodies but not by minds. Even
orange under Mom’s foot. All of the painting’s figures
simultaneously dressed as a court jester. Shakespeare
as I write this, I’m reviewing my behavior from the bar
and elements appear together on a stage set above
often used the character of the fool to portray a wise
last night, making a mental note of my appointment next
the beach and are looking out across a bay to a distant
man in disguise. Perhaps the artist uses this blue-collar
Monday, anticipating a meal. You’re sitting on my lap but
urban landscape. While there is some highly stylized but
worker in a similar way. A disproportionately large white
we are hours, years, miles, and priorities apart. You and
well-executed technique in this work, one cannot help
woman nurses an African baby. Her size implies great
I spend a day together at the coast—the opera. We fly
but wonder if, perhaps, the artist is leading us on an
importance as sustenance for the infant. The artist also
on the same plane. Yet for all of our nearness we are not
art historical respite as we embark upon the final days
suggests multiculturalism is essential for our survival.
close. Time is a constant space between us.
of summer. Or just maybe the artist is having a good
A pubescent boy stands like an ancient Greek statue, which
—Eric Garduño, Director at William Siegal Gallery
chuckle at all the seriousness of art and wants us simply to laugh and enjoy ourselves a bit more.
mirrors the setting’s ionic column. The boy, however, also wears a skirt and tights—nothing here is clear-cut. All the
20 | THE magazine
The number of art historical references (some clearly
—Wade Wilson, Owner of Wade Wilson Art
MONROE GALLERY of photography
THOSE WHO DARED
Josie’s – Santa Fe,1977
E L L IOT T MC D OWEL L P H OTOGRAPHER Ralph Morse ©Time Inc.: Jackie Robinson rounding Third base during World Series against the Yankees, 1955
Exhibition continues through September 22 open daily
E L L I OT T M C D OW E L L .C O M
112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e: firstname.lastname@example.org www.monroegallery.com
A N D R E W S M I T H G A L L E RY I N C .
CLASSIC AND HISTORIC, MASTERPIECES OF PHOTOGRAPHY
RAY METZKER SHADOW CATCHER
LEE FRIEDLANDER MANNEQUIN
EXTENDED THROUGH SEPTEMBER 30, 2013
OCTOBER 4, 2013 JANUARY 5, 2013 ARTIST RECEPTION: OCTOBER 4, 2013, 4 - 6p
Ray Metzker, Philadelphia, 1963
Lee Friedlander, New York City, 2011
Featuring exhibitions of ANSEL ADAMS photographs from THE DAVID H. ARRINGTON COLLECTION N e x t t o t h e G e o r g i a O ’ Ke e f f e M u s e u m a t 1 2 2 G ra n t Ave . , S a n t a Fe , N M 8 7 5 0 1 5 0 5 . 9 8 4 . 1 2 3 4 • w w w. A n d r e w S m i t h G a l l e r y. c o m • H o u r s : 1 1 - 4 , M o n d ay - S a t u r d ay.
PIET MONDRIAN ONCE SAID, “THE POSITION OF THE ARTIST IS HUMBLE. HE IS ESSENTIALLY A CHANNEL.” TWO ARTISTS RESPOND. And Antonin Artaud agreed when he wrote that he didn’t want to meet himself in his poetry. I paint keenly poised to receive the nuanced messages the paintings themselves suggest. I am at times driven and fevered with the business of galloping after their demands, or dull with a staring trance that fumbles for a thread. Although subtly aware of myself, my styles, and my strokes, I recognize my attack as merely a tool to the work’s end. Indeed, I see less myself in the beings of these works and more their rugged need to be just what they are.
—Micaela Gardner Gardner moved back to Santa Fe two years ago from the Bay Area, where she exhibited her work in yearly solo shows, mostly at Turn of the Century Fine Arts, in Berkeley. She is currently seeking representation in Santa Fe. micaelagardner.com
I thought the definition of “artist” was huge ego. I guess sometimes it is, but usually in the creative zone, where I am making something, I feel like I’m either a conduit from a source, or from God, or from an artist that has passed. Recently I’ve been making a hundred and one bulls and a hundred and one horses out of ceramics—not typically my medium. These pieces are influenced by the late ceramist, Beatrice Woods. While my hands are on the clay, I feel her presence. All the Native American work I’ve done in the last several years has been channeling messages on Chumash land, usually under a large tree that was indigenous to the Chumash. And in years past when working with angels and goddess icons, I felt that I was receiving visions from the source. In terms of humility, I am forced to be humble in those quiet times of prayer, meditation, and listening.
—Bobbi Bennett In 2012 and 2013, Bennett’s work was shown at Jeannette Williams Fine Art, Santa Fe and in Los Angeles at the Wallspace Gallery. She is currently exhibiting Native works at Ambiance, Santa Fe and has an exhibition opening on September 20 at La Junta Galleria, Bernalillo. As well, Bennett has been commissioned to do the three presidential suites at the Four Seasons Hotel, Maui. www.bobbibennett.com
THE magazine | 23
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Drink different. Small Batch Heirloom Spirits Hand Crafted in New Mexico at Rancho de Los Luceros Destilaría
The 2007 Allegrini Amarone by Joshua
On January 31, 2001, three Scottish judges sitting in a special court at Camp
Ten Commandments in the foyer of the Alabama Judiciary Building in Montgomery.
Zeist, in the Netherlands, convicted Abdelbaset Ali Mohmed al-Megrahi of
Justice Moore, a West Point graduate and Vietnam veteran, installed the
two hundred and seventy counts of murder. Al-Megrahi, the former head
replica without the consent of the other Alabama Supreme Court Justices.
of security for Libyan Arab Airlines, was held responsible for the deaths of
On September 9, 2001, Ahmad Shah Massoud, a central figure in Afghanistan’s
all passengers and crew aboard Pan Am Flight 103, which exploded over
resistance against the Soviet Union, and known throughout Afghanistan as “the
Lockerbie, Scotland, on December 21, 1988. Before, during, and after the trial,
Lion of Panjshir,” was interviewed by a pair of Tunisian men posing as Moroccan
al-Megrahi maintained his innocence. He was sentenced to life in prison. On February 19, 2001, the Oklahoma City National Memorial was
journalists. The interview took place at Massoud’s headquarters in Khwaja
dedicated and opened in Oklahoma City. The memorial included the Field
detonated an explosive device hidden in a video camera. Massoud and one of
of Empty Chairs, a grass field with one hundred and sixty-eight chairs
the assassins were killed by the explosion.
constructed out of bronze, glass, and stone, to commemorate the death of each victim of the Oklahoma City bombing, on April 19, 1995.
On March 1, 2001, the Taliban destroyed the Buddhas of Bamiyan, two
monumental stone statues that overlooked the passage of the Silk Road through the Bamiyan Valley, in central Afghanistan. The Buddhas, which had been carved between 504 and 557 AD, were shattered by anti-aircraft weapons, dynamite, and tank shells five days after Mullah Mohammed Omar, the leader of the Taliban, referred to the statues as idols.
On April 30, 2001, the Sharm el-Sheikh Fact-Finding
Bahauddin, in northeastern Afghanistan. During the interview, the Tunisians
On the morning of September 11, 2001, the residents of New York City woke up to one of the most beautiful days in living memory. At 7:00 a.m. the temperature was 67 degrees, with a nearly cloudless sky and twenty miles of visibility. Which brings us to the 2007 Allegrini Amarone. In the glass, the 2007 Allegrini Amarone combines darkness with clarity. If you hold up your glass to a lit candle you will see layers of garnet folded into layers of scarlet. The bouquet is neither a suggestion nor a statement. Without trying to be profound, it lets you know that the wine you are
Committee Report, also known as the Mitchell Report,
about to taste is a stroke of good luck, maybe even a stroke of genius.
was released by an international committee chaired by
On the palate, the 2007 Allegrini Amarone takes a step back from the
former United States Senator George Mitchell. The Report
bold, un-hedged impressions made by Allegrini’s other Amarones,
recommended the cessation of violence between Israel and
including their precise 1998 and lush 2004. After taking that step
Palestine, and a freeze on Israeli settlements.
back, the wine lets you rest inside its patience. The finish is not so
On May 6, 2001, Pope John Paul II, the two hundred and
much a fond farewell as a brief, exciting, and altogether memorable
sixty-fourth Bishop of Rome, visited the Omayyad Mosque
kiss goodbye. It acts like it might linger, like it might turn into
in Damascus, Syria. John Paul was the first Pope to enter
something entertaining. And then it’s gone.
a mosque. In his address to its members, John Paul said:
American Airlines Flight 11, a fully fueled Boeing 767
“Your land is dear to Christians. Here our religion has known
traveling at four hundred and sixty-six miles per hour, hit the
vital moments of its growth and doctrinal development, and here
north face of the north tower at 8:46 a.m. The aircraft entered
are found Christian communities which have lived in peace and
the tower between the ninety-third and ninety-ninth floors, and
harmony with their Muslim neighbors for many centuries. We
was intact when it reached the core of the building.
are meeting close to what both Christians and Muslims regard
United Airlines Flight 175, a fully fueled Boeing 767 traveling
as the tomb of John the Baptist, known as Yahya in the Muslim
at five hundred and ninety miles per hour, hit the south face of
tradition. The son of Zechariah is a figure of prime importance
the south tower at 9:03 a.m. The aircraft entered the tower
in the history of Christianity, for he was the Precursor who
between the seventy-seventh and eighty-fifth floors.
prepared the way for Christ. John’s life, wholly dedicated
There are two kinds of people in this world: The ones who
to God, was crowned by martyrdom.”
think 9/11 will never happen again, and the ones who know it
On June 11, 2001, Timothy McVeigh, a Gulf War veteran
will. Of all the questions that have been asked, answered, and left
and self-proclaimed advocate of “White Power,” was executed
unanswered about 9/11, the big question is, What did we learn?
for his role in the Oklahoma City bombing. According to
It’s an honest question. As survivors, we owe the dead—and
McVeigh’s authorized biography, American Terrorist, by Lou
each other—an honest answer.
Michel and Dan Herbeck, “his only sustaining relief from his unsatisfied sex drive was his even stronger desire to die.” At 2:00 am on the morning of August 1, 2001, Alabama Supreme Court Chief Justice Roy Moore installed a five thousand two hundred and eighty-pound granite replica of the
To the victims of 9/11, to their families, to the responders, and to the survivors, One Bottle offers its sympathy. One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. The name “One Bottle” and the contents of this column are ©2013 by onebottle.com. For back issues, go to onebottle.com. Send comments or questions to email@example.com.
THE magazine | 25
Charcuterie Plate 315 Restaurant & Wine Bar 315 Old Santa Fe Trail Reservations: 986-9190
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.
EAT OUT OFTEN
Photo: Guy Cross
...a guide to the very best restaurants in santa fe, albuquerque, taos, and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: Generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. Watch for special wine pairings. 317 Aztec 317 Aztec St. 820-0150 Breakfast/ Lunch. Patio. Major credit cards. $$ Cuisine: Café and Juice Bar. Atmosphere: Casual. House specialties: Breakfast: Eggs Benedict and the Hummus Bagel, are winners. Lunch: we love all of the salads and the Chilean Beef Emanadas. Comments: Juice bar and perfect smoothies. Andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Great pizza. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236. Breakfast/Lunch/Dinner. Full bar. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American with a what we call a “Southwestern twist.” Atmosphere: A classy room. House specialties: For lunch, we suggest the Ahi Tuna Tacos or the Fried Ruby Trout. For dinner, start with the Heirloom Beet Salad. Follow with the flavorful Achiote Grilled Atlantic Salmon. Dessert fave is the the Chef’s Selection of Artisanal Cheeses. Comments: Attentive service, and a creative chef assures a superb dining experience. The new patio/bar menu includes Empanadas, Pan Fried Scallops, Tequila Cured Salmon Carpaccio, perfect Buffalo Burgers, and some knockout desserts. Body Café 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$ 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. B ouche
451 W. Alameda Street 982-6297
Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: Standouts starters are the “Les Halles” onion soup and the Charcuterie Plank. You will love the tender Bistro Steak in a pool of caramelized shallot sauce, the organic Roast Chicken for two with garlic spinach, and the Escargots a la Bourguignonne. Comments: Menu changes seasonally. Chef Charles Dale and staff are consummate pros. Cafe Cafe Italian Grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad, the tasty specialty pizzas, or the grilled Eggplant sandwich. For dinner, try the perfectly grilled Swordfish. Café Fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch. Patio Cash/major credit cards. $ Cuisine: Contemporary comfort food. Atmosphere: Casual and bright. House specialties: Ricotta pancakes with fresh berries, the chicken enchiladas; and the green-chile Cheese burger. Comments: Organic and housemade products are delicious. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian maiden posters. House specialties: Hotcakes got a nod from Gourmet magazine. Huevos motuleños—a Yucatán breakfast—is one you’ll never forget. For lunch, try the Grilled Chicken Sandwich.
Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: Good old American. fare. Atmosphere: Patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are fantastic. Super buffalo burgers. Comments: Huge selection of beers. Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: For your main course, go for the grilled Maine Lobster Tails or the grilled 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines. Doc Martin’s Restaurant 125 Paseo del Pueblo Norte. 575-758-2233. Lunch/Dinner/Weekend Brunch Full bar. Major credit cards. $$$ Cuisine: Regional New American. Atmosphere: Friendly—down home. House specialties: For lunch try Doc’s Chile Relleno Platter or the Northern New Mexico Lamb Chops. Dinner faves are the Pan Seared Whole Boneless Trout and the Green Chile Smothered Chicken Burrito. Comments: Great bar, wonderful desserts, and a kid’s menu. 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 with a nice patio outside where you can sit, read periodicals, and schmooze. Tons of magazine to peruse. House specialties: Espresso, cappuccino, and lattes.
Chopstix 238 N. Guadalupe St. 982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, Kung Pau Chicken, and Broccoli and Beef. Comments: Friendly owners.
El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish. Atmosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-tocheek dancing. House specialties: Tapas, Tapas, Tapas. Comments: Murals by Alfred Morang.
Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ 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.
El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego Cheese marinated in extra virgin olive oil. Go, you will love it.
Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: French/Asian fusion. Atmosphere: Elegant and stylish. House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass served with black truffle scallions, and the classic peppery Elk tenderloin.
La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Enclosed courtyard. House specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad. For your entrée, try the Braised Lamb Shank with couscous, and vegetables.
Il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad; the Lemon Rosemary Chicken; and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to Table, all the way.
Maria’s New Mexican Kitchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner (Thursday-Sunday) Beer/wine. Patio. Major credit cards. $$ 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.
Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers, Comments: Chef Obo wins awards for his fabulous soups.
Midtown Bistro 910 W. San Mateo, Suite A. 820-3121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Large open room. House specialties: For lunch, start with the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrées we love are the Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop. Comments: Good dessert selection.
Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake. It is smooth and dry. La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast / Lunch / Dinner / Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian tamales. Comments: Nice Sunday brunch. Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: The Pho Tai Hoi: vegetarian soup loaded with veggies. Comments: Friendly waitstaff and reasonable prices.
Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic products. New York Deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. Comments: Deli platters to go. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile.
continued on page 29 SEPTEMBER
THE magazine | 27
Full Bar/Lounge Area Award-Winning Wine List Classic French Bistro Farmers Market Produce Join our e-newsletter at www.315santafe.com for specials, promotions & wine dinner updates.
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and enjoy a free dessert! Sun-Thur, 5:00 -9:00 pm u Fri - SaT, 5:00 - 9:30 pm 315 Old SanTa Fe Trail u SanTa Fe, nm u www.315 SanTaFe.cOm reServaTiOnS recOmmended: (505) 986.9190
CLOUD CLIFF BAKERY at the SANTA FE FARMERS MARKET TUESDAY and SATURDAY
Terra at Four Seasons Encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties: For breakfast, we love the Blue Corn Bueberry Pancakes and the Santa Fe Style Chilaquiles. For dinner, start with the sublime Beet and Goat Cheese Salad. Follow with the Pan-Seared Scallops with Foie Gras or the delicious Double Cut Pork Chop. Comments: Chef Andrew Cooper partners with local farmers to bring fresh seasonal ingredients to the table. A fine wine list and top-notch service.
CAFÉ PASQUAL’S 121 Don Gaspar Ave. 983-9340 Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile. Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American, all the way. Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs and Burgers. Haystack fries rule Recommendations: Nice wine list. Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Patio. Major credit cards. $$$ Cuisine: Southwestern with a French flair. Atmosphere: Contemporary. House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Nice wine list. Rose’s Cafe 5700 University W. Blvd SE, #130, Alb. 505-433-5772 Breakfast/Lunch. Patio. Major credit cards. $ Cuisine: A taste of the Yucatán with a Southwest twist. House specialties: We love the Huevos Muteleños: corn tortillas w/ refried black beans, eggs topped with Muteleños sauce, cotya cheese, and fresh avocado. Lunch: the Yucatán Pork Tacos. Comments: Kid’s menu and super-friendly folks. San Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ Cuisine: Japanese Sushi and Tapas. Atmosphere: Large room with a Sushi bar. House specialties: Sushi, Vegetable Sashimi and Sushi Platters, and a variety of Japanese Tapas. Comments: Savvy sushi chef. San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: All-American. Atmosphere: Casual. House specialties: The San Francisco Street Burger or the Grilled Yellowfin Tuna Nicoise Salad. Comments: Sister restaurant in the DeVargas Center. Comments: Reasonable prices. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Southwest Contemporary. SEPTEMBER
Atmosphere: Minimal, subdued, and elegant House specialties: The worldfamous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Pan-seared Salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Happy hour special from 4-6 pm. Half-price appetizers. “Well” cocktails and House Margaritas only $5. Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmeal-crusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet. Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. Atmosphere: Contemporary and hip. House specialties: we suggest that you start with the Seared Ahi Tuna. For your main, we love the Chicken Fried Chicken with mashed potates and bacon bits, the flavorful Ceviche, or the Beer Battered Fish and Chips. All of the desserts are right on the mark. Comments: A great selection of wines from around the world. Quality beers. And marvelous mixed drinks. Two happy hours: 3-6 pm and 9 pm on. Generous portions and reasonable prices. Menu changes with the seasons. Go. Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily specials, gourmet sandwiches, wonderful soups, and an excellent salad bar. Comments: Organic coffees and super desserts. Do not pass on the Baby-Back Ribs. Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Real casual. House specialties: Beers are outstanding, when paired with the Beer-steamed Mussels, Calamari, Burgers, or Fish and Chips. Comments: Sister restaurant in the Railyard District. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining.
House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff. Station 430 S. Guadalupe. 988-2470 Breakfast/Lunch Patio Major credit cards. $ Cuisine: Light fare and fine coffees and teas. Atmosphere: Friendly and casual. House specialties: For breakfast, get the Ham and Cheese Croissant. Lunch fave is the Prosciutto, Mozzarella, and Tomato sandwich. Comments: Special espresso drinks. Steaksmith at El Gancho
Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant House specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce. Comments: They know steak here. Sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner. Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. Atmosphere: Large open room. House specialties: In the am, try the Mediterranean Breakfast— Quinoa with Dates, Apricots, and Honey. Lunch favorites is the Indonesian Vegetable Curry on Rice; Comments: For your dinner , we suggest the Prix Fixe Small Plate: soup, salad, and an entrée for $19. Wines and Craft beers on tap. Tecolote Café 1203 Cerrillos Rd. 988-1362. Breakfast/Lunch Major credit cards. $$ Cuisine: New Mexican and American. Atmosphere: Down home and casual. House. specialties: For breakfast, go for either the Sheepherder’s Breakfast: new potatoes with jalapeno and onion, topped with red and green chile, melted chees, and with two eggs any style or the perfect Eggs Florentine: two poached eggs with hollandaise and an English muffin or the made-from-scratch pancakes. Lunch favorites are the Carne Adovada Burrito; the Green Chile Stew; the Tostada Compuesta; and the Frito Pie. Comments: No toast is served at Tecolote. Why? It’s a Tecolote tradition, that’s why.
The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive. 505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: Local flavors. Atmosphere: Casual, calm, and friendly. House specialties: At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, foillow with the Trout with a Toasted Piñon Glaze. Comments: Nice wine bar. The Compound 653 Canyon Rd. 982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: Contemporary. Atmosphere: 150-year-old adobe. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef/owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award. The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: Modern Italian Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch: the Prime Rib French Dip. Dinner: go for the Scottish Salmon poached in white wine, or the Steak au Poivre. The Pink Adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club. For dinner, Steak Dunigan or the Fried Shrimp Louisianne. Comments: Cocktails and nibblles at cocktail hour in the Dragon Room is a must! The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: A local institution located just off the
Plaza. House specialties: If you order the red or green chile cheese enchiladas. Comments Always busy., you willnever be disappointed. The Ranch House 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: BBQ and Grill. Atmosphere: Family and very kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: The best ribs. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$ Cuisine: Traditional New Mexican. Atmosphere: Easygoing and casual. House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese. Comments: The real deal Tune-Up Café 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home. House specialties: For breakfast, order the Buttermilk Pancakes or the Tune-Up Breakfast. Comments: Real friendly. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: Light, bright and very cheerful. House specialties: All organic salads. We love all the saleads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: NIce seating on the patio. In Albuquerque, visit their their sister restaurant at 1828 Central Ave., SW. Zacatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Slow Cooked Pork Ribs. Also offered are over sixty-five brands of Tequila. Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: All-American Atmosphere: Down home. House specialties: The Chile Rellenos and Eggs is our breakfast choice. At lunch, we love the burgers, the Southwestern Chicken Salad and the crispy Fish and Chips. Comments: wonderful selection of sweets to takeout. The bar is the placeto be at the cocktail hour.
Arroyo Vino Restaurant & Wine Bar 218 Camino la tierra • 983-2300 • Tuesday - Saturday
Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to tableto mouth. Atmosphere: Casual. House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox. A variety of teas from around the world available, or to take home.
THE magazine | 29
FRIDAY, AUGUST 30
Stranger Factory, 109 Carlisle Blvd. NE,
FRIDAY, SEPTEMBER 13
Alb. 505-508-3049. Tiny Theater of the Ab-
Charlotte Jackson Fine Art, 554 S.
Alb. 505-268-0044. Power Line: recent
surd: paintings by Turf One and Travis Louie.
Exhibit/208, 208 Broadway Blvd. SE,
Guadalupe St., Santa Fe. 989-8688. Green/
paintings by Nina Elder. 5-8 pm.
A Nervous Harbor: sculpture and paintings by
Alb. 505-450-6884. Art is Fact: abstract
Sawdust Bear. 6-9 pm.
paintings by Angela Berkson. 5-8 pm.
Bronze: mixed-media works by Ed Moses. 5-7 pm. Dialogue: Ed Moses and Rani Singh,
Sat., Aug. 31, 2-3 pm.
Peralta, Santa Fe. 988-3250. Songs of Joy:
Weyrich Gallery, 2935-D Louisiana Blvd.
Karan Ruhlen Gallery, 225 Canyon Rd.,
works by Bernard Chaet. After the Rain:
NE, Alb. 505-883-7410. Exploration of Space
Santa Fe. 820-0807. Wax Works—The Art
works by Ronnie Landfield. 5-7 pm.
in Time—A Retrospective: ink paintings by
of Hot and Cold Wax Technique: works
Mary Carroll Nelson. 5-8:30 pm.
by Martha Rea Baker, Ellen Koment, and
TAI Gallery, 1601-B Paseo de Peralta,
Galleries, 1613 Paseo de
Santa Fe. 984-1387. Two Roads Diverge in a Bamboo Forest—Oita’s Art Movement: group
Matrix Fine Art, 3812 Central Ave.
show of bamboo work. 4:30-7 pm.
Mary Long-Postal. 5-7 pm. SATURDAY, SEPTEMBER 7
photographs by Matthew Cohen. 5-8 pm. Yares Art Projects, 123 Grant Ave., Santa
Jay Etkin Gallery, 703 Camino de la Familia,
G allery , 602-A Canyon Rd., Santa Fe.
Fe. 984-0044. Four Square: four-color stripe
New Concept Gallery, 610 Canyon
Santa Fe. 901-550-0064. Genoneonology: mixed-
820-7451. Nathan Benn—Kodachrome
paintings by Penelope Krebs. Energy Fields:
Rd., Santa Fe. 795-7570. Context and
media work by Tanmaya Bingham. 5-7 pm.
Memory: book signing and photographs.
video and sculpture installation by Susanna
Abstraction: paintings by Kathleen Doyle
Carlisle and Bruce Hamilton. 5:30-7:30 pm.
Cook. 5-7 pm.
THURSDAY, SEPTEMBER 5
5-7 pm. SUNDAY, SEPTEMBER 8
Nü art G allery , 670 Canyon Rd., Santa
Arts, 133 Paseo del
Pueblo Norte, Taos. 575-758-2052. 4Sight:
Leich Lathrop Gallery, 323 Romero St.
Fe. 988-3888. Meeting My Daemons:
Palace Ave., Santa Fe. 989-9888. Homage to
NW, Alb. 505-243-3059. Sexy Mammoths
Color: oil and watercolor paintings by
and the City of Hell: works by Krittika
Ramanujan. 3-5 pm.
4 Walls/3 Curators: group show
Santa Fe Clay , 545 Camino
and silent auction. 5-7 pm.
de la Familia, Santa Fe. 984-1122. In/Site: works by Meredith Brickell and Lyn
FRIDAY, SEPTEMBER 6
Duryea. 5-7 pm. 5G North Gallery, 1719 5th St. NW, Alb. 505-771-
Silver Sun Gallery, 656
1006. From To—The Ordinary
Canyon Rd., Santa Fe. 983-
Transformed: works by Wayne
8743. Bears, Buffalos, and
Mikosz, Riha Rothberg, and
Gail Gering. 6-8 pm.
sculpture by Michael Connor.
Pivotal Conversations: paintings 203 Fine Art, 203 Ledoux
by Jovan Sherman. 5-7 pm.
St., Taos. 575-751-1262. Solo Show: Large paintings to small
SATURDAY, SEPTEMBER 14
drawings by Tom Dixon. 5-7 pm. E ggman & W alrus , 130 W. Axle Contemporary at the
Palace Ave., Santa Fe. 660-
Santa Fe Railyard, Santa Fe.
0048. Limitless: paintings
and collages by Charles
Greeley. 5-9 pm.
interactive installation by the Lady Minimalists Tea Society.
A rt ,
110 N. Broadway, Truth Eight Modern, 231 Delgado
or Consequences. 575-
Street, Santa Fe. 995-0231. New
894-0572. Land As Spirit—
Works by Katherine Lee, with Fire,
New Mexico North and South
Flags, and Sacrifice: paintings by
1993–2003: oil paintings by Noël Hudson. 6-9 pm.
Katherine Lee. 5-7 pm. New work by Ed Moses on view at Charlotte Jackson Fine Art, 554 South Guadalupe Street. Exhibition runs to September 23. Reception: Friday, August 30 from 5 to 7 pm. Dialogue between Ed Moses and Rani Singh on Saturday, August 31 from 2 to 3 pm. SEPTEMBER
continued on page 34
THE magazine | 31
For artists without gallery representation in New Mexico. Full-page B&W ads for $600. Color $900. Reserve space for the OCTOBER issue by MONDAY, September 15. 505-424-7641 or email: firstname.lastname@example.org
WHO WROTE THIS? “Genius is a trademark you paste on your products when you put them up for sale.”
1. Wolfgang Mozart 2. Wilhelm Reich 3. Oscar Wilde 4. Mark Twain
Honey Harris in Conversation with THE magazine on Thursday, Sept. 12 at 10:30 am – 98.1 FM KBAC
OUT AND ABOUT photographs by Mr. Clix Lisa Law Alan Pearlman
Jonas Povilas Skardis
Mac (and PC) Consulting 速
Training, Planning, Setup, Troubleshooting, Anything Final Cut Pro, Networks, Upgrades, & Hand Holding
phone: (505) 577-2151 email: Pov@Skardis.com Serving Northern NM since 1996
FRIDAY, SEPTEMBER 20
FRIDAY, SEPTEMBER 27
by Peter Ogilvie. 5-7 pm.
A Gallery Santa Fe, 154 W. Marcy St.
Canyon Road Contemporary, 403 Canyon
No. 104, Santa Fe. 603-7744. Sculpture
Rd., Santa Fe. 983-0433. Sculpture and Glass:
435 S. Guadalupe St., Santa Fe. 982-
and Jewelry: works by Nat Hesse and
works by Casey Horn, Doug Gillis, and
8111. Walling: Containing Architecture: new
Carol Ware. Paintings by David Forlano.
Roger Hubbard. 5-7 pm.
paintings and sculpture by Tom Miller.
5-7 pm. Marigold Arts, 424 Canyon Rd., Santa Fe. Chiaroscuro, 702 1/2 Canyon Rd., Santa
982-4142. A Lifetime of Love: functional art
Fe. 992-0711. Distances: paintings by
rugs by Connie Enzmann-Forneris. 5-7 pm.
5G North Gallery, 1719 5th St. NW, Alb.
Mike Stack. Dualities Series: works by Tim Silver Sun Gallery, 656 Canyon Rd., San-
505-771-1006. Connecting the Dots: slides
ta Fe. 983-8743. Colors of New Mexico—Skies,
and discussion on the Amazon with Bianca
GVG Contemporary, 202 Canyon Rd.,
Florals, and Visual Inventions from the Land of
Harle and Vickie Peck. Fri., Sept. 13, 5:30-7
Santa Fe. 982-1494. Anniversary Exhibition:
Enchantment: photographs by Elena Giorgi.
group show of gallery artists celebrating
Jag. 5-7 pm.
GVG’s fourth anniversary. 5-7 pm. Hunter Kirkland Contemporary, 200-B
East Mountain ARTScrawl: gallery openings
Canyon Rd., Santa Fe. 984-2111. Sculp-
in the East Mountain area. Sat., Sept. 7,
ture by T. Barny. Encaustic and mixed-
10 am-5 pm. Northeast Heights ARTScrawl:
media works by Laura Wait. 5-7 pm.
gallery openings in Northeast Heights area. Fri., Sept. 20, 5-8:30 pm. artscrawlabq.org
Palette Contemporary Art
7400 Montgomery Blvd. NE, Alb. 505-
Chiaroscuro Contemporary Art, 702 1/2
855-7777. Common Thread: paintings by
Canyon Rd., Santa Fe. 992-0711. Contemporary
Daniel North. 5-8 pm.
Native Group Show: works by Rick Bartow, Yakita Starr Fields, and others. Through Sat.,
SATURDAY, SEPTEMBER 21
Sept. 14. chiaroscurosantafe.com
Nedra Matteucci Galleries, 1075 Paseo
Couse Foundation, 146 E. Kit Carson
de Peralta, Santa Fe. 982-4631. Freedom of
Rd., Taos. 575-751-4308. Open House:
Expression: landscape paintings by Evelyne
tour of historic studio, ongoing exhibition,
Boren. 2-4 pm.
and gardens. Sat., Sept. 7, 5-7 pm. cousefoundation.org
SUNDAY, SEPTEMBER 22
David Richard Gallery, 544 S. Guadalupe Las
St., Santa Fe. 983-9555. Any Position Limits the
7 Paseo de San Antonio Rd., Placitas. 505-867-
View (We Are Only Here for a Spell): paintings by
5718. Placitas Artist Series: group show. 2-3 pm.
Allan Graham featuring ADD-VERSE, a video Top: Homage to Color on view at Peyton Wright Gallery, 237 East Palace Avenue—works by Stanton MacdonaldWright (1890-1973), one of America’s leading modernist painters. Reception: Friday, September 6 from 5 to 8 pm. Middle: The Green Fuse—photography by Patricia Galagan on view at photo-eye Bookstore, 370 Garcia Street. Through Friday, October 18. Bottom: Two Roads Diverge in a Bamboo Forest: Oita’s Art Movement: bamboo art at Tai Gallery, 1601 Paseo de Peralta. Reception: Friday, August 30 from 4:30 to 7 pm. Basket by Kajiwara Aya.
and photographic installation with twenty-five poets and Allan and Gloria Graham. Fri., Sept. 13 to Sat., Oct. 19. Reception: Tues., Oct. 8, 5-7 pm. davidrichardgallery.com Encaustic Art Institute, 18 County Rd. 55A, Santa Fe. 424-6487. 5th Annual Afternoon
P hotography , 219
2013 Open Your Heart Gala at the Las
Gala and Art Auction: demonstrations,
E. Marcy St., Santa Fe. 982-5009. Invis-
Campanas Clubhouse, 132 Clubhouse
auction, raffle, poetry reading, and music.
ible Light—The World in Infrared: works
Dr., Santa Fe. 269-7711. Open Your Heart Gallery
Sun., Sept. 15, 2-6 pm. eainm.com
by Nevada Wier. Photographs by Janet
Foundation: cocktails and live auction for charity.
Russek and by Alan Pearlman. 5-7 pm.
Sat., Sept. 7, 6-9 pm. heartgallerynmfoundation.org
William Siegal Gallery, 540 S. Guada-
ARTScrawl, various locations in Alb. 505-
Santa Fe Super Chief: book signing by
lupe St., Santa Fe. 820-3300. Architectural
244-0362. First Friday ARTScrawl: citywide
Douglass Folsom. Sat., Aug. 31, 2 pm.
drawings by Paolo Cavinato. Photographs
gallery openings. Fri., Sept. 6, 5-8:30 pm.
V erve G allery
Garcia Street Books, 376 Garcia St., Santa Fe. 986-0151. The Return of the
continued on page 36
34 | THE magazine
Painting the Saint Francis de Assisi Church at Quick Draw
A Truly Art-Full Season September in Taos Highlights
Aspen yellow is not the only fall color in Taos.
k TRUE k FALSE
AUG 31 - SEPT 2 Taos Artist Organization Studio Tour SEPT 5-7 Michael Hearne Big Barn Dance in Taos Ski Valley SEPT 5-26 TCA 4Sight Art Exhibit & Sale SEPT 6-7 First Weekend Taos Art Walks SEPT 6-8 Jewelry Show & Sale Millicent Rogers Museum SEPT 9-15 U.S. Bridge Federation Regional Tournament SEPT 20 Work by Artists Under 40 at Blumenschein Home and Museum SEPT 21 Taos Rotary Club’s Chile Challenge SEPT 27 Taos Fall Arts Festival Exhibition Openings SEPT 28 TCA Quick Draw & Art Auction SEPT 28-29 Old Taos Trade Fair at Martínez Hacienda SEPT 28-29 Taos Chamber Music Group “Bach Joy” Concert
SEPT 29 Billy Cobham Jazz Concert at TCA SEPT 30 San Geronimo Day at Taos Pueblo Find all events at
TAOS.org/fall2013 888.580.8267 PHOTOGRAPH: TERRY THOMPSON
Hunter Kirkland Contemporary, 200-B
Taos Art Museum, 227 Paseo del Pueblo
Canyon Rd., Santa Fe. 984-2111. Surface Mat-
Norte, Taos. 575-758-2690. Ron Barsano Paints
ters: sculpture and paintings by Eric Boyer and
the Naked Truth: work by Ron Barsano. Sat.,
Charlotte Faust. Through Sun., Sept. 8. hunter-
Sept. 28. taosartmuseum.org
kirklandcontemporary.com Taos Center
Arts, 133 Paseo del
Millicent Rogers Museum, 1504 Millicent
Pueblo Norte, Taos. 575-758-2052. The Abby
Rogers Rd., Taos. 575-758-2462. Taos Nation-
and Dean Show: sculpture, ceramic, and mixed-
al Society of Watercolorists: group show. Through
media work by Abby Salsbury and Dean Pulver.
Sun., Sept. 29. Turquoise Legend Jewelry Show: group
Through Tues., Jan. 7. tcataos.org
show. Fri., Sept. 6, 5:30-8 pm. millicentrogers.org Than Povi Gallery, 6 Banana Lane, Santa Fe. Museum
Contemporary Native Arts, 108
455-9988. Pojoaque River Art Tour: silent auction,
Cathedral Place, Santa Fe. 983-1777. Changing
Native American dance, and tour of artists’ gal-
Hands—Art Without Reservation 3: contem-
leries. Reception Fri., Sept. 20, 5-8 pm. Through
porary Native North American art from the
Sun., Sept. 22. pojoaqueriverarttour.com
Northeast and Southeast. Through Tues., Dec. Verve Gallery of Photography, 219 E. Marcy
St., Santa Fe. 982-5009. Book signing with Janet Museum
International Folk Art, 706
Russek and David Scheinbaum. Fri., Sept. 27, 2-4 pm. vervegallery.com
Camino Lejo, Santa Fe. 476-1200. Japanese Bamboo Art: lecture and artist demonstration with Rob Coffland and Yufu Shohaku. Sun., Sept.
William Siegal Gallery, 540 S. Guadalupe St.,
1, 1-4 pm. internationalfolkart.org
Santa Fe. 820-3300. Paintings and sculpture by Karen Gunderson and David Henderson.
New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Ethnic Pottery Prints: works by Julia Roberts. Through Mon., Sept. 2. newconceptgallery.com OffCenter
Through Sat., Sept. 21. williamsiegal.com Sexy Mammoths and the City of Hell: images based on Dante’s poetry and animal skeletons by Krittika Ramanujan on view at Leich Lathrop Gallery, 323 Romero Street, Albuquerque. Reception: Sunday, September 8 from 3 to 5 pm. Photographs by Peter Ogilvie on display at William Siegal Gallery, 540 South Guadalupe Street. Also on view are architectural drawings by Paolo Cavinato. Reception: Friday, September 27 from 5 to 7 pm.
5G North Gallery, 1719 5th St. NW, Alb. 505-
771-1006. Patty Stephens: a cappella concert
Photography Gallery, 1654 State Rd. 76,
and interactive improvisation. Sun., Sept. 22,
Truchas. 505-689-1107. Visit the gallery and see
11:45 am and 7 pm. factoryon5.com
multi-media work by Joan Zalenski on the High Road Annual Art Tour #17, Sat. and Sun., Sept, 21-
ShortGrass Music Festival, various locations
22 and Sat. and Sun., Sept. 28-29. 10 am-5 pm.
in Cimarron and Colfax. 575-376-2417. 9th Annual ShortGrass Music Festival: country rock,
Bookstore, 370 Garcia St., Santa
Fe. 988-5152. The Green Fuse: photography
Celtic music, and more. Fri., Sept. 20 to Sun., Sept. 22. shortgrassfestival.com
by Patricia Galagan. Through Fri., Oct. 18. Telluride Blues
Brews Festival, various
locations in Telluride, CO. 1-866-515-6166. 20th Sandia Resort
Casino, 30 Rainbow Rd.,
Alb. 505-404-8335. Books on the Bosque—
Annual Telluride Blues / Brews: multiple artists. Fri., Sept. 13 to Sun., Sept. 15. tellurideblues.com
A Magical Night: cocktails, dinner, and auctions to benefit the Placitas Community Library. Sat.,
CALL FOR ARTISTS
Sept. 21, 5:30 pm. placitaslibrary.com Atelier Richelieu, 60 Rue de Richelieu, 75001, Silver City Museum, 312 W. Broadway, Silver
Paris. 33-1-40-10-16-93. Cutlog 2013: contem-
City. 575-538-5921. Our Saints Among Us—
porary art fair and film festival. Deadline: Sun.,
Revisited: Hispanic devotional art. Fri., Sept. 6,
Sept. 15. cutlog.org
4-6 pm. silvercitymuseum.org Georgia O’Keeffe Museum, 217 Johnson Tamarind Institute, 2500 Central Ave. SE,
St., Santa Fe. 946-1000. Georgia O’Keeffe Mu-
Alb. 505-277-3901. New Editions: group show
of lithographs and monoprints. Through Fri.,
photographs to be judged by panel of jurors.
Oct. 18. tamarind.unm.edu
Deadline: Thurs., Nov. 14. okeeffemuseum.org
36 | THE magazine
Distances: paintings by Mike Stack September 20 to October 18 Chiaroscuro, 702½ Canyon Road, Santa Fe. 992-0711 Reception: Friday, September 20, 5-7 pm Ocean viewers often tarry by the shore at sunset to catch a glimpse of an optical phenomenon known as the “green flash.” For less than a second, just before the sun dips below the horizon, a luminous green light appears. This natural variation of color has
this month, a series of square, oil-on-linen paintings that mesmerize the eye with subtle shifts of warm, even hues spreading across the canvas in quarter-inch lines. Although the color tones are similar and seem to blend into one another, no single hue is ever repeated in an individual painting. “Variation has provided a keystone to my understanding of color,” Stack writes of his work. “I like when a painting blooms or shimmers, when a sense of space or scale continually shifts and is orchestrated in a way that can be intuitively felt but not quite explained…Variation is the protagonist in what I see.”
New Works by Katherine Lee, with Fire, Flags, and Sacrifice: paintings by Katherine Lee September 6 to October 19 Eight Modern, 231 Delgado Street, Santa Fe. 995-0231 Reception: Friday, September 6, 5-7 pm Katherine Lee, who received her bachelor of fine arts at the College of Santa Fe in 2008, made waves several years ago with her exhibition Animal Violence and Topless Women Eating Jam, a grotesque yet intriguing show of drawings that garnered mixed reviews—but most certainly provoked a reaction. Lee’s upcoming solo show at Eight Modern is a return to painting, her usual medium, and unnerving architectural landscapes, her usual subject. In Exterior 23 (Overgrown Domestic Scene) a walled-in back yard shows clues of life—a still smoldering fire pit, a plastic table and chairs, an empty clothesline—but the landscape beyond resembles what the nation of Syria must look like nowadays. Death seems to lie low like the fog that is seeping in over the landscape. Although the painting is completely still, there is an aggressive violence that seems to roil just below the surface. A similar aura hangs above her painting Exterior 25 (Enemy), where the entry to an abandoned shop reflects what looks to be the beginning of a small inferno. Although Lee claims in her artist’s statement to be “concerned ultimately with little beyond the act of painting and the technical result,” and her technical abilities are indeed notable, her viewers might begin to think that there is something more complex going on in this young painter’s artistic subconscious.
Walling: Containing Architecture: paintings and sculpture by Tom Miller September 27 to October 18 Zane Bennett Contemporary Art, 435 S. Guadalupe Street, Santa Fe. 982-8111 Reception: Friday, September 27, 5-7 pm
Katherine Lee, Exterior 22, oil and spray paint on illustration board on panel, 30” x 40”, 2010-13
the work of the Arizona-based artist Mike Stack. Chiaroscuro hosts Stack’s first solo show
Mike Stack, Elephant Dome, oil on linen, 50” x 48”, 2013
captivated people for hundreds of years. A similar but more static color variation occurs in
the Mexico–United States border wall were all created during times of barely-contained tensions between one group of people and another. Walls redefine the area where they are erected, changing the way people move, see, and interact with one another. Tom Miller’s recent work capitalizes on the powerful symbolism of walls. In his acrylic-on-paper painting New Standard (white) a half-completed wall made of I-beams and corrugated metal seems to emerge and jut out of a grayscale background, confronting the viewer with an uncomfortable choice between separation and connectivity—the one side seems claustrophobic and harsh, the other amorphously incomplete. New Standard appears to complete the construction that New Standard (white) began, bringing the viewer to a place where she can no longer move forward, but must alter her path to avoid the imposing structure before her. At the Zane Bennett show, a real wall will be erected out of plywood, resin, and paint, allowing viewers to contemplate the divisions we purposefully create to separate ourselves from others.
38 | THE magazine
Tom Miller, New Standard, acrylic on paper, 22” x 30”, 2012
A wall is an archetype of human separation—the Great Wall of China, the Berlin Wall, and
I N T E R N AT I O N A L S P O T L I G H T
Las Meninas Renacen de Noche by
Artists Diego Velázquez and Yasumasa Morimura don’t seem to have much in common,
Velázquez’s work manages to redefine the artist as subject, satirize Western artistic
the former being a Spanish painter whose major works were completed during the
conventions, and deconstruct the concept of the “masterpiece”—while still somehow
1640s, and the latter being a contemporary artist born in 1951 in Osaka, Japan. But
exhibiting a deep respect for the original paintings. In fact, Morimura traveled to Seville
as with his earlier work referencing Frida Kahlo, Cindy Sherman, and Rembrandt,
this year to interview a Velázquez expert in order to gain a deeper understanding of the
Morimura literally places himself within Velázquez’s art for his upcoming Tokyo
Spanish Baroque. Las Meninas Reborn at Night, a show of about twenty works, will be
exhibition, tucking his painted face within a photo cutout of the Spanish artist’s
held at the Shiseido Gallery in Tokyo’s Ginza neighborhood, from September 28 until
1656 masterpiece Las Meninas. His new series of twenty self-portraits based on
December 22, 2013.
THE magazine | 41
2013 –2014 EVENTS
Tim DeChristopher with Terry Tempest Williams
Jamaica Kincaid with Robert Faggen
Jeremy Scahill with Tom Engelhardt
Luis Alberto Urrea with Michael Silverblatt
The Dark Room Collective
Bryan Stevenson with Liliana Segura
George Saunders with Joel Lovell
Greg Grandin with Avi Lewis
Trevor Paglen with Rebecca Solnit
Dave Zirin with David Barsamian
Benjamin Alire Sáenz with Cecilia Ballí
Sandra Steingraber with Laura Flanders
Colm Tóibín with Michael Silverblatt
F E AT U R E
“You can accept or reject the way you are treated by other people, but until you heal the wounds of your past, you will continue to bleed. You can bandage the bleeding with food, with alcohol, with drugs, with work, with cigarettes, with sex, but eventually it will all ooze through and stain your life. You must find the strength to open the wounds, stick your hands inside, pull out the core of the pain that is holding you in your past, the memories, and make peace with them.” —Iyanla Vanzant, american inspirational speaker, spiritual teacher, and author.
shapes. Some may
be more obvious to the world, some known only to the victim and perpetrator. If a person grows up in a home where there is abuse, it is difficult for them not to think of it as normal. Most survivors discount the abuse. Some don’t even call it abuse because that may make an angry or powerful person responsible and the danger to themselves can be increased. Some horrifying statistics follow: about thirty-nine million people in the United States are survivors of childhood physical, mental, emotional, or sexual abuse. More than one in three girls and one in five boys are abused sexually before the age of eighteen. Thirty to forty percent of victims are abused by someone in their family. Another fifty percent are abused by a family continued on page 44
THE magazine | 43
friend or an acquaintance. And nearly one in four women in the United States reports experiencing violence by a current or former spouse or boyfriend at some point in her life. Question: how can one heal from abuse? How can a person begin to put his or her life back together? Answer: by acknowledging what happened and releasing oneself from the pain. This is how an abused person can begin to set him or herself free.
CHEYE PAGEL, a student at the Santa Fe University of Art & Design, confronted the aftereffects of abuse in a series of powerful photographs as part of her senior project. Accompanying her photographs are her words:
â€œThe best part about being an artist is that I can use it as a way to confront or rise above my fears and the things that have deeply affected me in twenty-two years. As a child, I went through mental and physical abuse. Rather than try to bury those memories and hide from the hidden scars they left me with, I chose to confront and embrace them because that period of my life gave me the building blocks to be who I am today. These images are my personal confrontation and acceptance of my past and my current relationship with the people who abused me. While this project is intensely personal, I hope it resonates with those who have gone through similar things.â€?
F E AT U R E
THE magazine | 45
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Enrique Martínez Celaya: Concepts and Studies for The Pearl The work is fundamentally impenetrable to me. Why shouldn’t it be to someone else?
James Kelly Contemporary 550 South Guadalupe Street, Santa Fe
house installation in The Pearl conceals anguish under a ceiling of projected stars. Unlike the maquette, with
–Enrique Martínez Celaya
THE IMMEDIACY OF ENRIQUE MARTÍNEZ CELAYA’S
its self-containment, drawings of the house with stars
exhibition of preparatory drawings and maquettes at
deep understanding recedes. As slippery as nirvana
quality that did not translate to the three-dimensional
James Kelly Contemporary is stunning—markedly so
during a meditation session, once we think we’ve got
installation piece at SITE.
when compared to the finished product, the installation
it, realization steals away. In an essay about the artist,
Every boy, and every home, must have its dog. For
The Pearl, showing concurrently at SITE Santa Fe.
Daniel A. Siedell proposes that Martínez Celaya’s works
Martínez Celaya, that dog is a German shepherd, the
In fact, the exhibition at Kelly’s gallery is meant to serve
on paper “act as the ‘still, small voice’ compared to the
eternal guardian, a heartbreakingly faithful friend. The
as a studio visit, sans artist, complete with drawings,
thunder and lightning of his paintings and sculpture.”
artist’s studies convey the endearing, profound love
sketchbooks, and maquettes; books, articles, and an
Upon entering the Railyard gallery, it is readily apparent
we experience with our beloved pet. For a lonely boy,
intelligent staff are also there for your edification. If you
that the show here is more delicate, vulnerable, and
that dog can be more lifesaver than companion, keeping
didn’t quite get The Pearl, a visit to James Kelly could turn
fragile than what is on display across the street at SITE.
savage predators (like love and loss) at bay. In the gallery
radiating from it are quite exuberant, even childlike, a
your experience around. From it, I came to believe that
The Dove, a smallish drawing of a boy crying colored
exhibition, dogness is delivered more directly by the
Martínez Celaya’s work, albeit figurative, is not nearly as
tears, carries its own solemn presence in a way that the
clay Study for the Treasure Keeper than by the drawing
narrative as it would seem on first glance: It is the stuff
painting of the boy and the bronze sculpture across the
on the wall next to it. The excellent watercolor-and-
of memory articulated in the strangely familiar language
street don’t. On the other hand, while the large tarred-
ink paper piece The Gate presents the dog swimming
of the unconscious. His vocabulary consists of, but is not
and-feathered boat piece at SITE is strikingly evocative,
in water; in or on his head is a small house—his crown,
limited to, an achingly lonesome little boy; birds, dogs,
its counterpart, Untitled (Boat and Lighthouse), a charcoal
his obsession, his everything. The treasure keeper will
and other animals; water and the vehicles that traverse it;
drawing at James Kelly, is rather more academic. Still, it is
gladly lay down his life for the boy, and we, the viewers,
and the devices—both mechanical and metaphoric—that
an absolutely luscious drawing (but then I’ve always loved
are relieved that the abandoned child has such a brave
make a place a home.
works on paper for their tactility and directness) and I
sentinel at his side. At SITE, Martínez Celaya created
Martínez Celaya’s work is largely about what
suspect that, in terms of longevity, the drawing will hold
an elaborate fountain with a bronze sculpture of the
it cannot say. It is post-structuralist and poetic, built
its own via the very hesitancy with which it is rendered.
boy-hero weeping into a trough that carries his copious
upon a foundation of science and literature. The result
Martínez Celaya makes ghosts, not objects, and this
tears into the next gallery. It is an arresting piece, but
is an odd mixture of the ineffable and the mundane,
drawing is effectively haunted. In his own writings about
one that either hits or completely misses its audience.
comprehensible during that brief moment of awakening
his work, the artist has hinted that his media is the mater
If it doesn’t score an instant strike with the viewer, that
from a dream in which the impossible has just matter-
of grief itself. A house-shaped maquette in the gallery is
is probably because it comes across as too self-aware,
of-factly occurred. Under the reign of full consciousness,
labeled The Grief Box; across the street, the plywood-
too precious, to be an effective work of art. In his Studies for the Fountain at Kelly’s gallery, an ink, graphite, and conté crayon work on paper, Martínez Celaya manages in a few exquisite strokes to conflate sculpture, painting, and drawing on the toothy paper. “It’s strange,” he told critic Jori Finkel of The Los Angeles Times, “to love painting and to be so much anti-painting.” Studies for the Fountain is breathtakingly beautiful in its delivery, far beyond the object it was meant to be a prep drawing for. As to the above quote by the artist: Impenetrability is one thing. Don’t allow it to fool you into thinking Martínez Celaya doesn’t work on a seductively intimate level. Concepts and Studies is must-see viewing for any fans—and the not-so-convinced—of his work, and is indispensible to eradicating much of the preciousness of The Pearl at SITE Santa Fe, replacing it with the personal and the profound. —Kathryn M Davis
Enrique Martínez Celaya, Untitled (Boat and Lighthouse), watercolor and charcoal on paper, 38½” x 61”, 2013
THE magazine | 47
Louisa McElwain 1953-2013, Retrospective Exhibition EVERY PAINTER WHO TACKLES THE SOUTHWESTERN landscape navigates a well-worn trail of regional scene
painting (especially representation) a valid medium.
motifs and other artists’ stylistic solutions to them. It’s a
This was the era when many top painting programs
tough path that rarely pays off in a new voice strong enough
throughout the U.S. were trading in their earnest
to rise above that sometimes crass and always clamorous
Modernist ideals for the convoluted cultural navel-gazing
chorus. A mini-retrospective of landscape paintings by the
of Conceptualism. An aspiring landscapist like McElwain
late Louisa McElwain at EVOKE Contemporary in Santa
would have had few options in such a climate—one
Fe charts one such journey that achieved that goal in a
either abandoned one’s principles by joining the party
curious way. Where most serious contemporary western
or else left the hall. Choosing the latter path, McElwain
painters go to great lengths to avoid the illustrative clichés
went unabashedly in search of nature’s aesthetic wonders.
of the tourist art trade, she found success by diving right
Like John Muir with a paint box, she wandered alone into
into that overexposed genre and extracting something new
the labyrinthine world of arroyos and canyons and re-
invented it, apparently untroubled by the neurosis of the
McElwain, who was born in 1953 and tragically died
aspiring art star striving to carve out a place in the big
this past spring at sixty, belongs to a generation of painters
critical narrative. Though she did often succumb to the
who had to struggle through a frosty period in the 70s, 80s
devices of the scene painting trade, there are moments in
and 90s when painting was mostly out of favor in the world
her best works where she pushes straight through those
of art. In the catalog for this show the artist is quoted as
pat solutions to something stronger that transcends them.
saying “it took me years to recover from art school.” The
In her small picture Above Burro Springs—which depicts a
text does not elaborate as to what specifically was difficult
rectangle of receding Grand Canyon space as a vertical
for her there, but it is true that many college art departments
wall of color—the tones and marks set up a syncopated
in those years were dismissive of students who still thought
complexity of complementary and dissonant notes.
EVOKE Contemporary 130 Lincoln Avenue, Santa Fe These colors and marks combine in a compact architecture through which the picturesque dissolves into an all-over surface as abstract as the incomprehensibly scaled geology from which it was derived. McElwain did not mature to this explorative style in a vacuum; we’ve seen an explosion in recent decades of bold, expressive woman painters. Dana Shutz, Cecily Brown, Jenny Saville and Marlene Dumas, to name a few, all handle the material with a confidence and facility kindred to hers. An increasingly acknowledged regional figure, McElwain deserves to be looked at in that larger context too, even if few followers of the fashionable trends those artists represent would have the nerve to put her there. What makes her exceptional, at least to this reviewer, is that she paints as well as some of those noted above while avoiding the earnest self-contextualizing that marks their and so many other university-trained contemporary artists’ work. That in itself is refreshing, but only because she does it so well. It’s not unusual for artists to turn their backs on the art world; it is rare though for those who do so to make things that can be appreciated on its terms as well as their own. As a former student of the landscape realist Neil Welliver, and a follower of the color theories of Josef Albers,
those terms well enough. Her strongest late canvases, which map geological and atmospheric strata as luminous shadowed incisions through earth and sky, are art-historically astute fusions of both the regional landscape tradition and the whole span of modern expressionist painting. Georgia O’Keeffe, another stubbornly
sojourner in the west, is reputed to have said once (about some artist she did not particularly admire): “Well, [they] never made friends with the paint!” McElwain appears to have favored a full frontal assault on the medium; she grabbed her paint around the waist, pulled it close, and made it dance a fierce tango. —Christopher Benson
Louisa McElwain, Above Burro Springs, oil on canvas, 20” x 30”, 2011
Arlo Namingha, Dialogue Through Form
IT’S LIKE SEEING LIFE WITHIN STONE, WOOD, AND BRONZE. Arlo Namingha’s show at Niman Fine Art captures the artist’s
can experiment with.)
Niman Fine Art 125 Lincoln Avenue, Suite 116, Santa Fe swims toward the blue fish of Imagine, on the right. Namingha uses fewer than a dozen graceful, sweeping curves for each fish and captures their character and their fluid movement beautifully. They reflect his optimism about imagining and
love and respect for the land and also for the materials he uses
Maiden combines bronze and wood and demonstrates
to articulate these emotions. Large bronzes have a woodlike
Namingha’s appreciation of what he describes as “the strong
quality. Wood becomes landscape. And stone is his canvas to
simplicity of lines and curves.” Her bronze form results from
Many of the show’s sculptures are stacked works in
pass along motifs linked to his ancestor Nampeyo’s revival and
four curves: two extend downward for her shoulders, one
marble or Indiana limestone or Texas shell with three, four,
stylization of ancient pottery designs.
creates her head, and the fourth sweeps from temple to
or five components. Namingha has stacked them in a way
hoping for pure water in our world.
The show includes a range of pieces from jewelry to
temple, forming her strong chin. Half of her garment is made
that creates slight overhangs, which result in accidental
sculpture to monoprints. In Guardians Namingha crafted two
of padauk wood and the grain flows downward as though
shadows that enhance the beauty of the stone. They are
large curved and notched bronze segments that can either
easily disassembled—by simply lifting or pulling them apart.
connect or stand separately, depending on the mood of the
A trio of wall hangings (Horizon #6, Landscape #21,
Fifth World #2 is made from five pieces of Texas shell.
owner. The deep red of the bronze looks like gorgeous wood
Horizon #5) is full of surprises. Here Namingha builds
The creamy yellow color of the stone contrasts with the
grain until you read the accompanying descriptive tag and
aluminum housings that are then powder-coated in black.
smooth recesses left by dissolved fossils. For this show, the five
learn that this is indeed bronze and the rich patina comes
Inside he layers different woods and even Texas shell to
elements are standing side by side with two slightly hinged in
from titanium and red ferrics. “I work with wood so I want to
create mini landscapes. Each choice of wood offers a different
an open position to reveal their interiors, but they could just as
warm up the bronze,” says Namingha. Each curve represents
texture, and he assembles the finished work so that certain
easily be stacked, or partly stacked. The creative possibilities
a face—the identical twin grandsons of spider woman—and
pieces of wood protrude while others recede. Some of the
for positioning are endless. Namingha’s intention here is to
features Namingha’s signature, katsina-evoking, round, open
textures are inherent in the wood itself while others are
involve the viewer in both the creation of the components’
mouths and open eye slits.
crafted by Namingha into graceful curved edges or dark
placement and the idea of constant change.
Sandhills is a four-element installation that again offers options. The three long bronze blocks are identical but can
channels. “It’s the idea of using natural colors,” he says, “and creating harmony.”
When Namingha was in his teens, his mother asked him to help out one weekend in the family’s gallery, which exhibited
be placed on end or lengthwise in any orientation to create
With Mimbres, Hope, and Imagine, Namingha takes us
the work of his father, Dan Namingha, but he balked. Yet after
the effect of hills or outcroppings. The fourth element is
into a marine world. Mimbres is a Texas limestone sculpture of
just that one weekend watching clients react to his father’s
a perfectly round sun, which can also be moved at will.
two fish. Here again they can be displayed in many orientations.
work, he resolved to develop his own art. At the time he was
(Fortunately the gallery has small wooden maquettes on hand
Subtle lines in their tails evoke the four directions. Hope and
carving katsina dolls and he has never lost his love for wood. “I
of Sandhills, Guardians, and Chanters that visitors and clients
Imagine are monoprints. The green fish in Hope, on the left,
started with wood,” he says, “and that’s where my heart is.” He uses blood wood, African mahogany, purple heart, bass wood, and the list goes on and on. He understands each one and knows how to reveal their grain and their character. He can even achieve a woodgrain effect in limestone. He surprises us with subtle differences between the front and the back of a sculpture. He has developed an ability to chisel in a way that controls the concaves, and then he listens. “You can hear when it’s about to break,” he says. His technique enables the components to nest. Namingha invites us to take our impressions of his beautiful surface transformations with us into the world. We can look at natural stone and wood and wonder what Arlo Namingha might do with them. —Susan Wider Left: Arlo Namingha, Balance #6, marble, 20” x 8” x 7”, 2013 Right: Arlo Namingha, Sandhills, bronze 36” x 17” x 11”, 2008
THE magazine | 49
Zane Bennett Contemporary Art 435 South Guadalupe Street, Santa Fe
CURATOR RAOUL PAISNER’S SENSITIVE AND SUBTLE accrochage of works by artists who are both contemporary
George Longfish addresses some of the same politically
masters and indigenous Americans has a cumulative effect,
charged material in brilliantly crafted paintings. Longfish grounds
breaking like a slow wave as you move through the brave Zane
meticulous black and white drawings of native figures in full regalia
Bennett spaces. Downstairs, where the larger, blockbuster,
against colorful impasto grounds of words (stenciled à la Jasper
museum quality works are held, tumultuous forces clash. You
Johns) and fast-food imagery. Longing for the Supreme Buffalo Burger
hear the clashing drumbeat of war, the agony of broken treaties,
is as cuttingly sardonic as it sounds—the comparison between
the harsh cacophony of the mainstream media, the moaning of
advert-induced, consumer-as-idiot longings and traditional hunting
the millions of souls who perished or were stolen by the primitive
is served up—and due to the reverent treatment of the figure
and ill European colonial expansion upon these shores. These vast
drawing, it takes a moment to grasp the enormity of Longfish’s
and monstrous motions and notions are combated by beauty with
project, and to recognize the nauseating social complexes he so
a wry and bitter wit, with the sly sense of art and artists’ agility
when it comes to slipping the neck-nooses and foot-snares set for the unwitting.
Like Longfish, Bunky Echo Hawk, Stephen Paul Judd, and Frank Buffalo Hyde all employ elements of mass media and pop-
The upper galleries carry the same potent energies to
culture to similar black-humored effect. Judd’s Honor the Treaties
a contemporary surface of calm seas and smiling sun; waves
offers the Incredible Hulk with long black braids and his fist in your
spun from a violent center now break steadily upon the sand, a
face. His mock-up of the Shepard Fairey Hope poster brilliantly
persistent reminder that the past creates the present by moments,
replaces Obama’s mug with that of a Hopi woman and the text
that the moon swings around the earth thirteen times for each
with the new title, Hopi. Frank Buffalo Hyde’s hilarious Captain
time we circle the sun, tides rise and fall like your breathing chest,
Tonto Scissorhands, a portrait of Johnny Depp as all three fictional
and sometimes, the dawn rolls in on time.
characters indicated balances perfectly between homage and
Edgar Heap of Birds makes the music go bang with his
monographic white-on-red rants that put a righteous bullet in the
Upstairs we get back to the future. While there are no major
blind bull’s eye of the imperial American government. From a series
works by T.C. Cannon in the show, the many small drawings,
of red grounds, Heap of Birds erased texts that then read white as
paintings, and prints show the master’s more intimate side and
the page upon which they are printed as writ by a finger in blood;
ground the upstairs space in the 1960s and ‘70s, when these artists
Coca-Cola colors, the most arresting in the world; go ask Goya
mostly came into their own. This sense of intimacy and quietude
on the middle of the 3rd of May. These prints bash the U.S. Killing Machine. One lists the Washita River and Sand Creek massacres that killed so many innocents alongside the shooting at Sandy Hook Elementary School in 2012 in an associative leap that brings perspective and immediacy to the terror and despair produced when needless, irrational violence is perpetually perpetrated by the psychotic elements of a spiritually bereft culture.
holds throughout the upstairs galleries, anchored by the modernist color-field paintings of George Morrison. Morrison eschewed identifiable “native” themes in favor of an obsessive universal formalism, and the paintings and prints on display here still exude an immense and harmonious personal power. Coupling them with the figures and sculptural paintings in clay by contemporary ceramicist Anita Fields allows the dignity of each artist to emerge, creating a calm that seems an antidote to the bombast and turmoil of the exhibition below. Ramona Sakiestewa’s subtly toned weavings and sewn drawings increase the impression of gentle, well-earned peace. Finally, suspended in this beatific sky are small buffalo marionettes, and three larger marionette sculptures by Armond Lara. The strings of the carved wood figures are strung with beads, baubles, and attributes of the central figures. Each shows an anonymous face behind a mask. As Billy the Kid holds a rifle, while As Dali holds a pocket watch. Recalling carved wood effigies, and numerous folk-art traditions, these complex, narrative forms have an incredible inventive and imaginative quality. Lara’s Yellow Horse Dancer downstairs is of a larger, more imposing scale, but, as always, there is another face behind the mask, and the breathless sense of awaiting a next first act, the coming of dawn. —Jon Carver
Left: Frank Buffalo Hyde, Captain Tonto Scissorhands, acrylic on canvas, 48” x 36”, 2004 Right: George Longfish, Looking for the Supreme Buffalo Burger, acrylic on canvas, 94” x 110”, 2004
Those Who Dared
Monroe Gallery of Photography 112 Don Gaspar Avenue, Santa Fe
THOSE WHO DARED, AN EXHIBITION OF PHOTOGRAPHY AT MONROE GALLERY, expands on the organization’s longstanding program of
across the room’s dark carpet. Sadat, partially obscured in
decrying the brutish Soviet Union during times when it could
showcasing significant historical figures and events with imagery
shadow, looks out of an open window, his hands resting on the
have proved fatal. A 1982 photograph of him by Harry Benson
that’s often political and always provocative. With a grouping
sill. Among the few color photographs on display is an image
is mysterious and beautiful. It depicts the black-clad, heavily
of works that spans decades and continents, the exhibition
of Aung San Suu Kyi. Also taken by Eddie Adams, the picture
bearded Solzhenitsyn in the middle of a Vermont snowscape.
functions like a historical survey: a who’s who of people most
captures Suu Kyi in a meditative stance, her hands clasped
He arches backward, his large hands spread out across his
of us know for their achievements. As such, Those Who Dared
together against her chest, with yellow flowers in her hair.
chest. His mouth is slightly open and his eyes are closed. His
is a sort of collective retrospective of people and events that
One of the planet’s most prominent political prisoners, Suu
posture suggests a number of possibilities: relief or reflection
shaped the twentieth century. It’s also surprisingly cohesive,
Kyi has fearlessly stood up against oppression in her homeland
or ecstasy—all of them intimate and recognizable in their
despite the huge range of personalities—from Martin Luther
of Burma for decades. Deeply influenced by the non-violent
humanity. It’s a deeply touching and unexpectedly meditative
King, Jr. to Jacques Cousteau to Ai Wei Wei—who may
teachings of Mahatma Gandhi (who also makes an appearance
take on such an outspoken personality.
represent disparate aims and causes, but whose actions display
in this exhibition), Suu Kyi famously said, “It is not power that
This exhibition seems like a gift for those of us lucky
human qualities united in goals of exploration, persistence, and
corrupts, but fear. Fear of losing power corrupts those who
enough to spend time with it and learn from it. Iris Murdoch
wield it and fear of the scourge of power corrupts those who
once wrote that art’s purest goal and highest achievement
are subject to it.”
must be “to tell the only truth that ultimately matters.”
Among the most recognizable images is that of a man
This captivating exhibition serves as a beautiful testament to
standing before a row of four military tanks; Jeff Widener’s
The exhibition includes images whose interpretations
1989 Tiananmen Square photograph is still gripping despite
and implications are decidedly less straightforward. One
those who ultimately mattered.
its widespread reproduction. The tanks, lined up in robotic
of the standouts is a shot of Russian novelist and historian
and chilling precision, make an impactful and grotesque
Alexander Solzhenitsyn. Best known for the novella One Day in
juxtaposition to the poignantly small human figure facing
the Life of Ivan Denisovich and the sweeping Gulag Archipelago,
them down. Other photographs capture lesser-known
Solzhenitsyn was a bold and outspoken critic of Communism—
Harry Benson, Alexander Solzhenitsyn, Vermont, 1982, archival pigment print, 16” x 20”
figures, and these are some of my favorites. When art can teach us about people whose actions have directly affected our lives, it behaves as a bridge between history’s purely intellectual resonance and its equally important, though more nebulous, spiritual or emotional resonance. A tender shot of Richard and Mildred Loving embracing does just this. Mildred was black and Richard was white, and their 1967 Virginia marriage resulted in prison sentences for each. The very idea of a law preventing interracial marriage now seems shudderingly backwards, but the couple’s tribulations ultimately resulted in a resounding victory. The Supreme Court unanimously ruled to strike down the law, and its abolishment paved the way for similar legislation throughout the country. For decades, Loving v. Virginia has been cited in numerous cases involving discrimination. A 1978 vertical snapshot of Anwar Sadat by Eddie Adams pictures the Egyptian president looking out of a narrow window. The scene feels a bit tense, with a pallid pool of sunlight spread
THE magazine | 51
TAKE THE HIGH ROAD 16th Annual High Road Art Tour September 21-22 & 28-29 10 am - 5 pm In the
High Road to Taos Scenic Byway
r free d” p you a Pick u he High Ro s t op o t t s t r e u “Tick of the to in art! y at an ance to w ch for a
Partial funding by Rio Arriba County Lodger’s Tax, Taos County Lodger’s Tax, New Mexico Arts, a division of the Department of Cultural Affairs, the National Endowment for the Arts, and WESST.
Mitch Dobrowner: Storms
photo - eye G allery 370 Garcia Street, Santa Fe
THERE IS NO CARNAGE IN MITCH DOBROWNER’S NEW SHOW, STORMS , search of “mother ship supercells.”
despite its subject matter. His black-and-white photographs,
into a UFO sighting. Clouds above the house plunge horizontally
which celebrate Dobrowner’s forthcoming book from Aperture,
into a disc shape, while fluffy tendrils float down and hover above
Up close Storms’ photographs appear blurry and powdery
also titled Storms, capture awesome weather patterns that in
the house. Rope Out is a common description for the maturation
soft. Blustering winds create plenty of movement to relegate crisp
documentation present a calm façade and definitive lull amid
of a twister, but also makes the awesome strength witnessed here
lines to photographing corpses, and his paper-rag surface makes
chaos. This vicariously voyeuristic opportunity permits space
sound like an entertaining sport. Taken in Regan, North Dakota,
the printed pigment look like small, painterly brush strokes.
for aesthetic observation and evokes questions about climate
it’s probably the most catching, iconographic photograph. Dead
The widely variegated greys in their amorphous shapes look like
change. In light of recent devastating natural disasters, our role
center is a thick gestural line that swings from the stormy clouds
a draftsman’s tiny ellipses able to squeeze the whole grey-scale
in shifting nature’s balance seems integral, but it is telling that not
above and hits the ground with the frayed eruption of spiraling
from a single pencil. Bolts of lightning in images like Wall Cloud
one of the photographs in Storms shows a living organism other
gases penetrating the earth. The surrounding area is tranquil and
look like blind contour lines; their sgraffito-like silhouettes are a
than plant life. Via these terrific images, Dobrowner delivers the
barren, in hiding from this forceful pounce.
crisp, subtractive white, determined and delicate. Dobrowner’s
sobering reality of Mother Nature’s wrath that makes man so
Out of nearly one thousand images used throughout the
technical skills, keen eye, and luck expose Mother Nature’s
completely irrelevant it’s hard to remember the brave, rogue
pages of National Geographic in 2012, Rope Out was chosen as
strength but also her weakness. The whole point of a storm, says
photographer behind the lens clicking the shutter.
one of the magazine’s top ten. Dobrowner’s work has been
Dobrowner, is “to turn an unstable environment into a stable
Images like Veil, made in Buffalo, South Dakota, show a
featured in Time magazine, The Economist, National Audubon
environment again.” The earth fights to maintain equilibrium just
tremendous tension in what is essentially water vapor. Disclosing
Society, on CNN, and in dozens of other art and news sources
like the rest of us. Storms are alive, weak in points, but gaining
polarizing forces, the far left is a narrow strip of completely clear
across the globe. An admirer of Ansel Adams, Dobrowner
strength in others. Eventually, they dissipate like bad colds, and
sky that swiftly becomes enveloped by a fluffy cylindrical shape
shares a particular love for the Southwest landscape but also
Dobrowner admits, “If I’m going to go, let me go like this.”
whose underside is bright and utopic, shedding light in the far
inclement weather, leading him to connect with acclaimed
distance onto flat plains. Just above this heavy blanket, clouds
storm chaser Roger Hill. In a recent talk at photo-eye Gallery,
threaten as they swirl to the right, going up and up like icing
Dobrowner noted, “Wherever weather is, is wherever we go,”
on a great big cupcake. The textures merge into a grey abyss
a motto that prompted trips to otherwise unexciting territory in
Mitch Dobrowner, Arm of God, archival pigment print, 14” x 21”, 2009
that flows down alongside in a smooth veil of wispy tethers—barely discernable rain and wind. Veil is a monochromatic version of Turner’s vast landscapes that blend light and dark, earth and sky into elemental amalgamations. Our distance from the storm is unfathomable except to recognize the tiny rows of black dots trimming the horizon as bushes. They may be great big trees, but from here size is impossible to gauge and anything relatively human scale is distinctly tiny. The sublime, as evoked by the Romantics—where nature is simultaneously beautiful and terrible— revisits Dobrowner’s viewer and promptly shuffles him back down to earth. Like most of Dobrowner’s titles, Veil is a cunning and playful description for something unnamable. Rather than go untitled, his simple phraseology turns the terrifying into an imaginative game of finding pictures in clouds. Pillar Cloud, which was shot in Lewistown, Montana, takes an arc of clouds culminating in a deluge of vertical rain and turns it into an architectural installation. Starship converts a quaint wooden fence and country house from a pastoral landscape SEPTEMBER
THE magazine | 53
Cloud 5 Project 1805 Second Street, Santa Fe
A N O L D S PA C E H A S B E E N C A R V E D O U T A N D F I L L E D W I T H L I G H T. Or, more accurately, it has been filled with meditations
balls. The resulting microcosmic topography fully activates
from minimalist, iridescent squares to windows that open
on light and our many experiences of it, whether as a
the experience of viewing; points of radiance, chromatic
up to layers within layers of light-color. Each image invites
medium for communicating information or as an object
effect, and depth shift as the viewer shifts before the panel.
the viewer to shift perspectives continuously, inspecting
in itself. This space, Cloud 5 Project, is the studio of local
Joanne Lefrak’s work speaks to the expressive
their curious three-dimensionality. Mayumi Nishida’s mixed-
neurophysiologist-cum-artist-cum-curator Stephen Auger.
properties of light in her scratched Plexiglas drawings. An
media panels consist of glass baubles methodically layered
The studio has taken shape within the updated industrial
unpopulated landscape in Trinity Site is nearly invisible except
over a mirrored surface, and are similarly interactive.
skeleton of Cloud Cliff Bakery & Cafe, and like the many
for the shadows cast by her etchings. The subject matter in her
The combined refractive and reflective properties of her
lofts, studios, and restaurants populating Santa Fe’s Second
work often deals with locales with historical and/or cultural
materials create surprising and ephemeral patterns that
Street neighborhood, Cloud 5 is a hip space with a mise-en-
weightiness that is felt rather than seen. Or, perhaps not felt
evolve and morph according to the viewer’s movement.
scène more akin to Venice Beach than the Plaza. Auger has
at all depending on the conscientiousness and experience of
Erika Blumenfeld’s piece, Bioluminescence Vol. 1 (Pyrocystis
created a light and airy personal work space, as well as an
the viewer. This play of presence and absence in historical
Fusiformis), is a looped video installation capturing the
occasional exhibition space.
space and historical information is subtly paralleled in the play
between light and shadow in her method.
plankton produce and emit light as a means of self-defense.
Coherent Light was the first such installment, with the gallery open for viewing only on Friday evenings from June
August Muth’s holographic works explore an altogether
28 until August 4, 2013. The show was also accompanied by
different conception of light in that they are images of light
a series of salon-style conversations with each of the Santa
itself, or recordings of light events. Muth’s holograms range
Blumenfeld’s contribution introduces both an organic element of light and a utilitarian one. Caity Kennedy’s outdoor light installation, the only
Fe–based artists, including Stephen Auger,
piece to remain installed through the
Erika Blumenfeld, Joanne Lefrak, August
summer, comes to life after dark, when the
Muth, and Mayumi Nishida, as well as a
LED-bedecked hanging sculptures become
semi-permanent courtyard installation by
a sea of shimmering, bulbous jellyfish.
Meow Wolf collaborator Caity Kennedy.
These objects are assembled from found
As an exhibition focused on our perceptual
or everyday objects, and are embellished
experience of light as an object, art and
with lights, paint, and glitter. And while
science are inherently entwined. However,
these individual pieces continue to display
beyond this prevailing (and fascinating)
their constructedness, in the dark of night
theme, one would be hard-pressed to
they become otherworldly. The effect is
identify further coherence among these
all the more fascinating due to the blatant
bodies of work.
contrivances in Kennedy’s use of such banal
Auger’s interest in exploring visual
media as acrylic fingernails. Light, in this
perception of light and color is threaded
instance, turns the ordinary-bordering-on-
throughout the course of his artistic career.
tacky into a musing on illusion and artifice.
The Resonant series on display in Coherent
Light consists of mixed-media paintings
organized around that concept, does
created with pigment and miniscule optical
one thing thoroughly: it asks its viewer
glass spheres. Laying the pigment first,
to relax the grip of his eyes on the world.
Auger then adds the glass spheres, letting
In a culture conditioned to continually rip
them travel through and accumulate color,
information from its many light sources,
or remain clear and luminous, a process
the offerings in Coherent Light encourage
poised between organic erosion and
bemused interaction with and passive
controlled manipulation. The resulting
absorption of the experience of light in its
colorscapes have the effect of cangiante,
own right, as an object of wonder and a
a canonical Renaissance technique used to
vessel for expression.
create shadow, not in a darker hue, but a
different hue altogether. This iridescence is achieved doubly in Auger’s work due to harmonious waves of color embedded with the undulating veils of miniscule crystal
Caity Kennedy, Moon Jelly, mixed media, dimensions variable, 2013
Ted Larsen: Some Assembly Required
David Richard Gallery 544 South Guadalupe Street, Santa Fe
IS TED LARSEN THE LOVE CHILD OF CONSTRUCTIVISM AND MAX ERNST? the foreshortened illusion of Missing Present.
God only knows—and maybe ARTnews, where you’d find
On the formal level, at least, you could make a persuasive
a question like this as the lead-in for a not-so-nuanced look
case for the Constructivist aesthetic. Stripped of its utopian
This allusive quality is especially evident in those
at Some Assembly Required, Ted Larsen’s recent exhibition of
content, the Russian early modern theory espoused three
sculptures in which the support, or armature, function of the
sculpture at David Richard Gallery. It’s a very strong show
principles in its art making: tektonika, whereby the constituent
welded steel bars is elevated to visually embody the proffered
of spot-on assemblage sculpture whose visual whimsy and
industrial materials invest the work with meaning; konstruktsiya,
conceit: (Loose Knot, Nearly Complete, One Choice, Personal
wry humor rely upon Larsen’s knack—that’s too ARTnews-y:
or “construction,” basically the assembling of the sculpture from
Space, Soaring Down). It is equally apparent in the chiastic play
gift—for harnessing good design to still better invention.
various components (at the time, a revolutionary approach vis-à-
between the virtually identical polychrome compositions of
The result is a series of small geometric metal-and-plywood,
vis traditional sculpture’s carving and modeling), and faktura, or
Orderly Confusion and Random Pattern, either one of whose
polychrome wall constructions of enormous visual appeal and
the choice and handling of the materials. It is unlikely that Larsen
motley Mondrian stack of enamel-plated plinths—luggage or
seductive anecdote. The experience for the viewer is akin to
explicitly subscribes to these principles but, whatever the artist’s
books of varied hue—beguiles the viewer with its Edward
perusing the short stories of Cheever or Chekhov.
approach, his sculpture does reflect their virtue of ensuring
Hopper palette and whispered tales of Cannery Row.
At first glance the work is not imposing, and it’s certainly
both structural integrity in the work and visual discourse with
But apart from the visual wit and wordplay—or perhaps
not intrusive. A typical piece is less than two feet in height,
the viewer. Larsen’s pervasive use of polychrome salvage steel
better, at the source of it—is Larsen’s formidable command of
a linear wall-mounted assemblage of welded lengths of
plating adds the “found-element” factor so effectively deployed
his medium. The wit and whimsy that pervade these sculptures
square-sided metal bars that run at right angles along x-y-z
in Duchamp and later Surrealist sculpture (with a nod to Picasso’s
are entirely a function of Larsen’s approach to facture—shapes
axes within some imaginary three-dimensional grid. For
seminal use of the device in his projecting Cubist wall constructs),
and colors as visual grammar—and his underlying sense of
some pieces, the metal armature serves as support scaffold
and applied with great effect here to establish chromatic texture
design’s narrative force—as visual syntax. This openness to
for a single slab or for stacks of contiguous laminate plywood
and poetic tone for each piece.
form and materials as visual language yields highly personal
rectilinear plaques—all plated with industrial-dye metal strips
For several pieces in the show (Linear Curve, Past Prediction,
yet engaging work (whereas the Constructivist submission to
whose matte, chalky enamel surfaces of green, blue, cerulean,
Random Pattern, Real Fantasy, and Whole Half) Larsen uses the
an overriding utopian agenda often led to art as propaganda).
orange, ochre or tan suggest the polychrome remnants
welded steel bars simply as support for a single wall tableau,
His Never Again—a seemingly effortless amalgam of thin
of some Rubiks cube cut into strips in some waste-salvage
in the sense here of a projecting abstract panel with strongly
burgundy, ochre, and white plated rectangles stacked
WALL-E world. But a closer look and a bit of reflection make
narrative overtones. The panel of Past Prediction floats out from
contiguously like accordions along a horizontal axis—is as
apparent the visual appeal of each piece and a strength and
the wall like a mounted flat tv screen, a plywood high-relief
enigmatic, random, and purposeful as a poem by William
subtlety that ground it. Here and There (2012) is both a visual
divided horizontally into two wraparound zones of patina green
Carlos Williams: “so much depends/upon//a red wheel/
and figurative gateway to the show. An irregular, seven-foot
and white plating and, attached to its surface, a vertical wooden
barrow//glazed with rain/water//beside the white/chickens.”
lattice of welded steel projects six feet from one gallery wall.
frame that optically bends forward as it extends to the upper,
Its widely spaced vertical bars proclaim a boundary yet invite
green zone. In the similar tableau of Linear Curve, this play of
passage, a kind of portal to the dozen wall pieces that bracket
perspective is elaborated in the jig-saw cube formed on the
and define the gallery enclosure.
surface from polychrome triangles of salvage steel, and again in
Ted Larsen, Never Again, salvage steel, silicone, vulcanized rubber, plywood, 45” x 14.5” x 11”, 2013
THE magazine | 55
Eric Tillinghast: Water/Nymph
Richard Levy Gallery 514 Central Avenue SW, Albuquerque
Reflecting on these musings that produce unexpected images allows one to understand that the imagination needs a constant dialectic. For a thoroughly dualized imagination, concepts are not centers of images which come together because of their resemblance to each other; concepts are the points where images intersect at incisive and decisive right angles. —Gaston Bachelard, Water and Dreams: An Essay on the Imagination of Matter
E RIC TIL LIN GHA S T ’ S R EC EN T B O DY O F W O R K, WATER/NYMPH , I S B OT H curious and compelling. For one thing, it compelled
to isolate, for example, a svelte woman by or in a pool.
oracles who got their inspiration from the spirits within
me to track down the meaning of the names he gives
Or he has applied a flat black that surrounds instances
underground springs are the presiding deities in this
his cohort of bathing beauties—a group of sixties-era
of a more dynamic pictorial nature, such as a plunging
exhibition. But however resonant their names might
women featured on some of the appropriated postcards
waterfall, as he has done in the piece Angel Falls, the
be—Thetis, Calliphaea, and Pagea—the postcard size of
that the artist used in this show. The women had names
largest image in the show and one of the most dramatic
these supernatural beings renders them no bigger than
like Clytie, Vila, Iasis, and Nixe, which were also the
and abstract. It is Tillinghast’s odd focus on abstraction,
insects. And here, too, is another level of association
titles of individual pieces. In the past, Tillinghast has
both on a conceptual and a visual level, which proves the
embedded within the artist’s own hydrologic cycle:
worked not only with the theme of water, as he does
most interesting aspect of his project. But who are all the
The nymph state in the insect world is the stage where
here in the forty altered postcards that constitute most
nymphs, and how do they relate to what appears as both
the immature insects resemble adults but are not quite
of this exhibition, but also with its actual substance in
a cliché in a postcard reality and something else deeper,
complex and stunning installations such as Rain Machine,
more mysterious, and even mythical?
In another section from Gaston Bachelard’s book,
seen at the Center for Contemporary Arts in Santa Fe
Delving not only into Greek mythology, Tillinghast
he wrote, “Though forms and concepts harden rapidly,
a few years ago. However, Water/Nymph emphasizes a
has referenced Roman, German, Slavic, Chilean, and
material imagination still remains an active power.”
strong sense of conceptual detachment from the actual
even Pre-Columbian myths to contextualize his water
There is no elemental substance as suggestive and
experience of water and its often forceful properties.
sprites and nymphs. Mythology was, of course, our
potent as water. In its movement and sound, in its
With the exception of one small installation of black
first organized form of natural history, and it served to
restorative and destructive properties, in its colors,
cast-iron bowls filled with water and positioned on the
explain to a pre-empirical age the origin of water-based
reflectability, and refractive nature, water and its fluid
floor—and here the water looks like ink—this show of
phenomena: like where springs came from, or lakes and
dynamics is not just a stage in the development of
small-to-very-small works on paper enlisted a different
ponds, or what lived in the cascading foam of waterfalls,
Tillinghast’s artistic practice; for him, it is also a psychic
part of our perceptual brain.
or presided over sites such as Delphi in Greece with
bond and a ravishing mirror with endless permutations.
Every postcard has been altered by a process of
its oracular Pythian Sibyl. For something as bland and
Even in these postcard images of seaside, pond, lagoon,
elimination as Tillinghast has applied acrylic paint so
innocuous as 1960s kidney-shaped swimming pools with
or waterfall, the artist has altered their conceptual
only a body of water is left in the image. What remains
women perched on the edge, Tillinghast has overlaid tiny
substrate and drawn their liquid essence to himself,
is either a natural body of water, like Havasu Falls, Horse
slivers of ancient knowledge that associate the mutability,
isolating not only an inherent beauty, but also an open-
Creek Falls, or Niagara, or the water is contained in that
poetry, and mystery of water with the female psyche.
ended suggestibility in the making and altering of images
man-made entity known as a swimming pool. Most of
Sea nymphs, the goddesses and water sprites
that revolve around a particular theme. In this work,
the artist’s pictorial interventions have used white paint
who resided in rivers and streams, and the female
the process of abstraction fits the representation like a glove. It’s important when viewing Water/Nymph not to be misled by Tillinghast’s relatively simple means for exploring a huge topic. Like a deck of fortunetelling cards, there is no beginning or end to the narratives born of myth and wild imaginings—each story becoming an intimate piece of a puzzle extracted from a cosmic set of universal reveries. —Diane Armitage
Left: Eric Tillinghast, Delphi, acrylic on postcard, 3½” x 5½”, 2013 Right: Eric Tillinghast, Angel Falls, acrylic on postcard, 10” x 7”, 2013
Making Places: Linda Fleming
MAKING AND PLACES ARE INDEED KEYWORDS HERE. Moore and Fleming’s lives, before and since their expansive
the late 1960s illustrate how early her work was concerned
trajectories intersected, were carried out via movement
with an incisive consideration of color and forms in space.
through places and by the unrelenting work-play ethic of their
Intriguing and accomplished on their own, they point lucidly to
drawing, painting, carpentry, and a hundred and one other
the themes of a life’s work.
Center for Contemporary Arts 1050 Old Pecos Trail, Santa Fe experience and offers a variety of work through which the visitor may enact a personal itinerary. It is a “made place,” at once home, work, and exhibition. —Marina La Palma
The question of human curiosity as expressed through
Top: Linda Fleming, Lightning Ball, powder-coated steel, 72” x 40”, 2013
A big, wooden oval table surrounded by chairs holds a
the collection of artifacts, and the making of models of the
Bottom: Michael Moore, Nevada Tanks, photo collage, 14” x 11½”, 2010
pewter candelabra and a few books, among them Time Before
universe figures in several of Fleming’s large graphite-on-rag
History: Five Million Years of Human Impact; The Eye of the Lynx,
-paper drawings. In Greentime people in eighteenth-century
on the beginnings of the discipline of natural history; Worlds in
dress in a baroque space examine vitrines full of specimens
Collision, by Emanuel Velikovsky; Buckminster Fuller’s Critical
of plants, shells, and crustaceans. In Shell Goblet a spinal cord
Path; The Aleph, by Jorge Luis Borges; and Annie Dillard’s Pilgrim
floats in a space dominated by a shattered, reassembled
at Tinker Creek. These and other titles are about human nature,
goblet. One wall features large acrylic-on-canvas landscapes
humans looking at nature, and the artifacts humans study and/
by Moore, with titles like California Pastoral, Some Nevada
or make in dialogue with nature. They prepare the visitor for
Nocturnes, and Disappointment Lake. These paintings are song-
the expansive experience of spending time with this exhibit,
lines of travel across the sublime contours of the land. In John’s
which invokes a joyful big-picture approach to life and art,
Coal Train a string of cars delineates a quirky horizon across
elegantly joining one with the other.
a vast, rugged space. Moore’s work traverses many such
On the concrete floor is a large rubber mat reminiscent of
spaces, yielding a portrait of the artist as a road trip. Below
a map of the cosmos. Dark Matter lies like an area rug cut out
the paintings is displayed Auto Biographies, a swath of digital
in the typical eccentric shapes that are a signature of Fleming’s
prints of selections from Moore’s journals detailing in hand-
work. I almost wrote “of Fleming’s mind,” because her
lettering a lifelong topography, mainly of the southwestern
sculptures strike me as robust, three-dimensional realizations
United States. The text is interspersed with ink drawings
of a thinking process. This impression was confirmed when I
of the many vehicles in which those journeys were taken,
sat in the velvet wing-chair nearby and put on headphones to
and whose breakdowns, repairs, and sometimes final days
hear Fleming’s pithy autobiographical narration of twenty-six
are chronicled. The documented wanderings of these two
work spaces, from childhood bedroom to the most recent.
committed artists record a unique and contemporary form
These studios were self-crafted to increasing degrees over
of nomadism, returning to and constructing places, whether
the years (since she was in her twenties, she has built most
urban, post-industrial, or remote—Colorado, Nevada, San
of them herself). In one section, she discusses working in her
Francisco, Manhattan, Benicia, Brooklyn, Pittsburgh, Oakland.
studio and having to refold her mind back into her skull when
Fleming’s 2013 video Making Places is a dream-like walk-
someone else enters the space. This helped me in looking at
through of the houses, studios, and other spaces that the two
her works. On shelves sit numerous maquettes made of paper,
have built together.
felt, balsa wood, even rusted metal. These are utterly delightful
Found objects and many of Moore’s smaller journals with
spatial thought-experiments that highlight an interplay between
drawings and paintings fill three vitrines. Behind these is Wall
fragility and endurance. The sculptures, usually floor-standing
of Ephemera with bits of influences and inspirations, models,
or hung on walls, are made of durable, industrial materials
sketches, and collages. Both Fleming and Moore work out
such as powder-coated or stainless steel. They embody form
their ideas and produce work in diverse media, including some
and emptiness, negative space and mass, inner and outer,
interesting photo collages. In one rear corner, Moore has a slide
while honoring color and surface in particularly dynamic ways.
show running, with many images from his travels; the oddly
Our viewing flows between the positive space-form, with its
archaic clicking advance of the slide trays seems comforting. In
fragmented reflective surface, and the alluring intricacies of
the corresponding rear corner, the viewer is offered two large
tree stumps to sit on to watch Fleming’s digital video Creek
Fleming’s large, powder-coated steel sculpture, Helios,
Walk, which gives us a hand-held version of the special place
fills the center of the foyer space with a brilliant presence.
she has walked to for many years in brittle summer and snowy
Beyond it, a wall of watercolors on paper by Moore is
winter, always with her dogs. The footage, edited by Fleming’s
collectively titled The Weather Channel. Both project a sense
son, Luz, is accompanied by her freeform a cappella singing.
of awe and engagement with the elemental. A set of Fleming’s
This exhibition—deliberate in its layout—thoughtfully
geometric gouache, colored pencil, and Mylar drawings from
includes sound in non-intrusive ways that enhance the
THE magazine | 57
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THE magazine | 59
US ! JO IN
“Oppositions and Paradoxes” SHOW DATES | September 7th - October 1 RECEPTION | Saturday, September 7th from 5-7pm
WILDER NIGHTINGALE FINE ART 119-A Kit Carson Road, Taos, NM 87571 575-758-3255 | firstname.lastname@example.org | www.wnightingale.com
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A R C H I T E C T U R A L D E TA I L S
Where the Rain Stopped, Southern New Mexico photograph by
Guy Cross THE magazine | 61
Georgia O’Keeffe: Black Door with Snow by
Is this black door a recess in the wall, or one that shyly hides within the darkness? There has to be a recess, says the line that cuts through the perspective in the snow, for that’s the way the white elects to go. The flakes against the buff adobe wall drift swaying by like moths or butterflies, less sharp against the gray from which they fall than when they reach the black, where they appear to enter sidling in. For no wind blows, and the flakes build up a kind of shadow in soft reverse, a woodblock print in which a Janus, mirror image has been hung to bless all coming out and going in.
62 | THE magazine
As an undergraduate at the University of Nebraska in the early and mid-1960s, Roy Scheele studied with Karl Shapiro and attended the Bread Loaf Writers’ Conference, where he met Robert Frost, John Ciardi, and John Frederick Nims. Scheele’s recent collection of poems—A Far Allegiance—is published by The Backwaters Press, Omaha, Nebraska, $16.
susan schwalb and Clifford smith
clIfford SmIth, gray Surf I, oIl on lInen, 44 x 66 IncheS
SuSan Schwalb, Interlunar VIbratIonS VII, SIlVerpoInt, alumInum poInt and acrylIc on wood, 24 x 24 IncheS.
SuSan Schwalb, Interlunar VIbratIonS V, SIlVerpoInt, copperpoInt and black geSSo on wood, 12 x 12 IncheS
clIfford SmIth, gray Surf II, oIl on lInen, 44 x 66 IncheS.
august 30 – october 5, 2013 o P e n i n g r e C e P t i o n : f r i d ay, a u g u s t 3 0 t h f r o m 5 - 7 P m t o v i e w a d d i t i o n a L w o r k s P L e a s e v i s i t w w w . g P g a L L e r y. C o m o r C a L L e v a n f e L d m a n , d i r e C t o r , ( 5 0 5 ) 9 5 4 - 5 7 3 8 f o r m o r e i n f o r m at i o n . a L L i m a g e s © 2 0 1 3 , C o u rt e s y g e r a L d P e t e r s g a L L e ry ®
1 0 1 1 Pa s e o d e P e r a Lta , s a n ta f e , n e w m e x i C o 8 7 5 0 1
Stack, Antelope Well, 2013, Oil on linen, 18 x 18
Jag, Azur del Mar, 2013, Acrylic on canvas, 60 x 66
Jag, Canto, 2013, Acrylic on canvas, 40 x 47
Stack, Echo Canyon, 2013, Oil on linen, 72 x 68
September 20 - October 18, 2013 Opening: Friday, September 20, 5-7pm
c h i a r o s c u r o 702 1/2 & 708 CANYON RD AT GYPSY ALLEY, SANTA FE, NM
www. chiaroscurosantafe .com