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Santa Fe’s Monthly

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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


CONTENTS

5 16

universe of

20

art forum:

23

studio visits: Bobbi Bennett and Micaela Gardner

25

one bottle:

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

letters

art openings

32

out & about

38

previews:

Katherine Lee at Eight Modern, Mike Stack at Chiaroscuro, and Tom Miller at Zane Bennett Contemporary Art

41

international spotlight:

architectural details: Where the Rain Stopped,

62

Yasumasa Morimura at

Shiseido Gallery, Tokyo feature:

47

critical reflections:

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.”

61

photograph by Guy Cross

31

43

Luisa Kolker, photograph by Jennifer Esperanza

green

guide:

315 Restaurant & Wine Bar, Café Pasqual’s, and Arroyo Vino

dining

planet:

59

writings:

“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.


LETTERS

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

Laura Shields

CONTRIBUTORS

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:

ADVERTISING SALES

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: themagazinesf@gmail.com. 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.

SEPTEMBER

2013

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 themagazinesf@gmail.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.

MOdErN nature

Ronnie Landfield after the rain

Georgia O’Keeffe and Lake George october

4,

2o13

January

26,

2o14

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”

Eric Tillinghast

Water/Nymph

through September 27

SANDRA

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Richard Levy Gallery • Albuquerque • www.levygallery.com • 505.766.9888

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PAoLo CAvINATo

PETER oGILvIE

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

above: Markings

2013

video projection on steel, walnut

29" H x 44.5” W x 0.75” D

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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

OPENING RECEPTION:

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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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.

OTHER WORK

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

MY APPROACH

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

photograph by

capture the full truth in any picture. Most subjects will

Carolyn, 2009

Dana Waldon


UNIVERSE OF

SEPTEMBER

2013

THE magazine | 17


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ART FORUM

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

SEPTEMBER

2013


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: info@monroegallery.com 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.


STUDIO VISITS

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

photographs by

SEPTEMBER

2013

Anne Staveley

THE magazine | 23


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ONE BOTTLE

One Bottle:

The 2007 Allegrini Amarone by Joshua

Baer

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

SEPTEMBER

2013

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 jb@onebottle.com.

THE magazine | 25


DINING GUIDE

Charcuterie Plate 315 Restaurant & Wine Bar 315 Old Santa Fe Trail Reservations: 986-9190

$ KEY

INEXPENSIVE

$

up to $14

MODERATE

$$

$15—$23

EXPENSIVE

$$$

VERY EXPENSIVE

$24—$33

$$$$

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

$34 plus

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

2013

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.

Photos ŠKate Russell

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Oysters, Crab Claws & Shrimp 5:00pm to Close Daily

Provide us with your email so we can update you on upcoming events

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


DINING GUIDE

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

2013

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


OPENINGS

SEPTEMBERARTOPENINGS Inpost

FRIDAY, AUGUST 30

Artspace

Performance

at

Space,

Outpost

the

Stranger Factory, 109 Carlisle Blvd. NE,

FRIDAY, SEPTEMBER 13

SE,

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.

210

Yale

Bronze: mixed-media works by Ed Moses. 5-7 pm. Dialogue: Ed Moses and Rani Singh,

LewAllen

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.

SE,

Alb.

505-268-8952.

Marginalia:

Mary Long-Postal. 5-7 pm. SATURDAY, SEPTEMBER 7

photographs by Matthew Cohen. 5-8 pm. Yares Art Projects, 123 Grant Ave., Santa

M ark

S ublette

M edicine

M an

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

Peyton

5-7 pm. SUNDAY, SEPTEMBER 8

Nü art G allery , 670 Canyon Rd., Santa

Taos Center

for the

Arts, 133 Paseo del

Pueblo Norte, Taos. 575-758-2052. 4Sight:

Wright

Gallery,

E.

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

paintings

Color: oil and watercolor paintings by

and the City of Hell: works by Krittika

5-7 pm.

Stanton

Ramanujan. 3-5 pm.

Macdonald-Wright.

237

5-8pm.

by

Alexandra

Eldridge.

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

Friends

Gail Gering. 6-8 pm.

sculpture by Michael Connor.

from

the

Heart:

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

670-7612.

and collages by Charles

Magnetic

Drift:

Greeley. 5-9 pm.

interactive installation by the Lady Minimalists Tea Society.

R io

5-7 pm.

B ravo

F ine

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

2013

continued on page 34

THE magazine | 31


THE DEAL

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: themagazinesf@gmail.com

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

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OPENINGS

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

Zane

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.

Bennett

Contemporary

Art,

5-7 pm

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.

SPECIAL INTEREST

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.

pm. factoryon5.com

group show of gallery artists celebrating

5-7 pm.

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

and

Craft,

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

Placitas

Presbyterian

Church,

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.

garciastreetbooks.com

V erve G allery

of

Garcia Street Books, 376 Garcia St., Santa Fe. 986-0151. The Return of the

continued on page 36

34 | THE magazine

SEPTEMBER

2013


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

TAOS is

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


OPENINGS

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

for the

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

of

Northeast and Southeast. Through Tues., Dec. Verve Gallery of Photography, 219 E. Marcy

31. iaia.edu/museum

St., Santa Fe. 982-5009. Book signing with Janet Museum

of

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.

Contemporary

Fine

Art

PERFORMING ARTS

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,

photo-eye

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

photoeye.com

and

Brews Festival, various

locations in Telluride, CO. 1-866-515-6166. 20th Sandia Resort

and

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

seum

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

Photography

Competition:

landscape

SEPTEMBER

2013


PREVIEWS

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

SEPTEMBER

2013


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

Yasumasa Morimura

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.

SEPTEMBER

2013

THE magazine | 41


2013 –2014 EVENTS

25 SEPTEMBER

Tim DeChristopher with Terry Tempest Williams

16 OCTOBER

Jamaica Kincaid with Robert Faggen

30 OCTOBER

Jeremy Scahill with Tom Engelhardt

20 NOVEMBER

Luis Alberto Urrea with Michael Silverblatt

12 DECEMBER

The Dark Room Collective

15 JANUARY

Bryan Stevenson with Liliana Segura

12 FEBRUARY

George Saunders with Joel Lovell

26 FEBRUARY

Greg Grandin with Avi Lewis

19 MARCH

Trevor Paglen with Rebecca Solnit

2 APRIL

Dave Zirin with David Barsamian

16 APRIL

Benjamin Alire Sáenz with Cecilia Ballí

7 MAY

Sandra Steingraber with Laura Flanders

21 MAY

Colm Tóibín with Michael Silverblatt


F E AT U R E

THE

OF

HEALING

POWER

ART

“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.

ABUSE

comes

in

all

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

SEPTEMBER

2013

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:

“The 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.�


F E AT U R E

SEPTEMBER

2013

THE magazine | 45


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CRITICAL REFLECTION

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

SEPTEMBER

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-

and good.

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,

McElwain

understood

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

defiant

aesthetic

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


CRITICAL REFLECTION

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

woven.

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

SEPTEMBER

2013

THE magazine | 49


Native Vanguard

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

saliently indicts.

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

crowing mockery..

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  


CRITICAL REFLECTION

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

boundary-breaking.

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

—Iris McLister

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

SEPTEMBER

2013

THE magazine | 51


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HIGH ROAD

ARTISANS

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.


CRITICAL REFLECTION

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

—Hannah Hoel

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

2013

THE magazine | 53


Coherent Light

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

phenomenon

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

of

bioluminescence

in

which

marine

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

Coherent

Light,

although

loosely

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

—Lauren Tresp

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


CRITICAL REFLECTION

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,

—Richard Tobin

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

SEPTEMBER

2013

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,

there yet.

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


CRITICAL REFLECTION

Making Places: Linda Fleming

and

Michael Moore

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

creative activities.

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

interior spaces.

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

SEPTEMBER

2013

THE magazine | 57


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GREEN PLANET

LUISA KOLKER: SHAMANIC HEALER PSYCHOTHERAPIST AND CEREMONIALIST

Photographed by Jennifer Esperanza in the Aspens above Santa Fe, August 2013

is a seed of “loveYourthatpainforgot how to grow. Water it with awareness, warm it with kindness, sing to it with courage. Your pain, loved by you in this way, will transform into grace.

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SEPTEMBER

2013

THE magazine | 59


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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

SEPTEMBER

2013

Guy Cross THE magazine | 61


WRITINGS

photograph by

Stephen Lang

Georgia O’Keeffe: Black Door with Snow by

Roy Scheele

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.

SEPTEMBER

2013


Lines

of

LiminaLity

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


Tim Jag

Distances

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

Dualities Series

Mike Stack

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

505-992-0711

THE magazine September 2013  

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