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Santa Fe’s Monthly

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of and for the Arts • Feb. / March 2014


ITS FEBRUARY, COME FALL IN LOVE.

IT’S FEBRUARY, COME FALL IN LOVE.....

53 OLD SANTA FE TRAIL UPSTAIRS ON THE PLAZA SANTA FE, NM 505.982.8478 SHIPROCKSANTAFE.COM


CONTENTS

5

letters

10

universe of:

17

studio visits:

19

ancient city appetite:

21

one bottle:

artist Helene Pfeffer Somers Randolph and Bette Ridgeway Izanami

The 2009 Domaine de Montille Pommard

“Les Rugiens-Bas” by Joshua Baer 23

dining guide: Santa Fe Capitol Grill and Shake Foundation

27

art openings

28

out

32

previews:

&

about

Georgia

O’Keeffe

and

Ansel

Adams:

The Hawaii Pictures at the Georgia O’Keeffe Museum and The Segregation Series: photographs by Gordon Parks at Richard Levy Gallery (Alb.) 35

national spotlight:

Yoga: The Art of Transformation at

the Asian Art Museum, San Francisco 37 41

feature: critical

Bodies in Spades by Roger Salloch

reflections:

Cross Roads at Studio Broyles;

Group Show at Cloud Five; High Desert Test Sites; Kamil

Vojnar

at

Verve

Gallery

of

Photography;

New Works at Niman Fine Art; Renaissance to Goya at the New Mexico Museum of Art; Kite Crazy in Japan at the Museum

More often than not, Jaune Quick-to-See Smith’s work is seen through the lens of Native American contemporary art. True, much of her

of International Folk Art; Samurai Arts at Ellsworth Gallery;

work contains strong references to her heritage as an enrolled Sqelix’u member of the Salish and Kootenai Tribes. I See Red (snowman), a mixed-

and The Taos Municipal Schools Historic Art Collection at

media work completed in 1992, Smith forces the viewer to confront

the Harwood Museum (Taos)

labels and imagery commonly (and falsely) tacked on to the Native American identity. But Smith’s paintings have a place in some of the world’s most respected modern art museums because they hold their

51

own within a larger artistic dialogue, not limited by race or time period,

53

Smith’s work in this larger context, noting the broad range of influences,

architectural details:

Collapsed Adobe Near Ojo

Caliente, photograph by Guy Cross

like Pop art and graffiti art, that surface in the artist’s complex, “intensely imaginative,” and often subversive world.

WinLove.org—Andrew Wallace,

by Jennifer Esperanza

Kandinsky, and Jean-Michel Basquiat. In Jaune Quick-to-See Smith: An O’Keeffe Museum curator Carolyn Kastner thoughtfully examines

planet :

Matthew Wallace, and Jesse Cummins, photograph

engaging with conversations started by Georgia O’Keeffe, Wassily American Modernist ($39.95, University of New Mexico Press) Georgia

green

54

writings:

“Reincarnate” by Renée Gregorio


READINGS & CONVERSATIONS

brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction, and poetry to read from and discuss their work.

GEORGE SAUNDERS with JOEL

LOVELL

WEDNESDAY 12 FEBRUARY AT 7PM LENSIC PERFORMING ARTS CENTER —for ten years I’ve urged George Saunders onto everyone and everyone. You want funny? Saunders is your man. You want emotional heft? Saunders again. You want stories that are actually about something—stories that again and again get to the meat of matters of life and death and justice and country? Saunders. There is no one better, no one more essential to our national sense of self and sanity. —Dave Eggers

George Saunders has written, “The land of the short story, is a brutal land, a land very similar, in its strictness, to the land of the joke.” His story collections, including CivilWarLand in Bad Decline and Pastoralia, feature characters that speak in a strangely futuristic language, often abbreviated, part sales pitch, part self-help, and are found in environs like twisted amusement parks and ridiculous theme restaurants. Saunders’ unflappable humanity for his characters, the haves and the have-nots, no matter how wretched they may be, leaves the reader hopeful. Saunders’ most recent story collection is Tenth of December. TICKETS ON SALE NOW

ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:

www.lannan.org


LETTERS

magazine VOLUME XXI, NUMBER VII

WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 and 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

View/Review: Contemporary Masters at Zane Bennett Contemporary Art, 435 South Guadalupe Street, Santa Fe. Exhibition includes works by Frank Stella, Jasper Johns, and Ellsworth Kelly, among others. Opening reception: Friday, February 22 from 5 to 7 pm. Above: 1998 aquatint and lift-ground etching by Robert Motherwell.

PREVIEW / CALENDAR EDITOR Elizabeth Harball WEBMEISTER

Jason Rodriguez SOCIAL MEDIA

Laura Shields

CONTRIBUTORS

Diane Armitage, Joshua Baer, Davis Brimberg, Jon Carver, Kathryn M Davis, Jennifer Esperanza, Renée Gregorio, Hannah Hoel, Marina La Palma, Drew Lenihan, Iris McLister, Roger Salloch, Richard Tobin, Lauren Tresp, and Susan Wider COVER

Levitation by Kamil Vojnar

Courtesy Verve Gallery of Photography See page 41.

TO THE EDITOR:

In your latest issue, Hannah Hoel, in writing about the Bomb in her review of the Atomic Surplus show at the Center for Contemporary Arts said—in the typically knowing fashion of THE magazine—that the first bomb was tested at White Sands. No. Not so. The first bomb was tested northwest of Alamogordo at a site named Trinity, in the Jornado del Muerto. The White Sands Park and Missile Base is ten or twenty miles south of where the Bomb was tested, depending on where you think “White Sands” is located. The Missile Range was named that later, because of the base. When the Trinity site was selected, there was no White Sands Missile anything. At that time, it was a bomb practice range. There is no white sand at the Trinity site, nor is any visible from there. This is like confusing Brooklyn and Manhattan, or even worse, like confusing San Francisco and Oakland. —Anonymous, via email TO THE EDITOR:

It was wonderful to see that in the review of Sheldon Krevit’s show at Jay Etkin Gallery, Marina La Palma gave a thoughtful and readable description of Minimalism and Krevit’s place in that visual mode. As a practitioner of a somewhat more “noisy” minimalism, I do appreciate the discussion. Minimalism has such a strong presence here in New Mexico that I fear it is sometimes taken for granted, or considered passé. Thanks, Marina La Palma. —Dara Mark, Santa Fe, via email 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 2014 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.

FEBRUARY/MARCH

2014

TO THE EDITOR:

A thank you to THE magazine for sending Marina La Palma to review my recent show at Jay Etkin Gallery—Golden—for the December/January issue. It’s always gratifying to see that I’ve communicated to someone, in such a way, through my work. La Palma wrote about her personal experience of being in the presence of my paintings in an intelligent, perceptive, and enlightening way. The Santa Fe arts community is fortunate to have a publication like THE magazine with writers of such talent. —Sheldon Krevit, Santa Fe, via email

TO THE EDITOR:

I found your “Person of Interest” article on Jim Sloan remarkable. I congratulate THE magazine for carrying the torch for artists who make art because they love to make art. It was not only a good thing to do, it was the right thing to do. —Cynthia Lamb, Las Cruces, via email ABOUT THE BEST BOOKS 2013 ISSUE

TO THE EDITOR:

Thank you for including my book Kodachrome Memory in your selection of the Best Books, 2013. And thanks for the generous words about my pictures—”visual intelligence” and “exquisite sense of composition.” I wish my parents were still alive to read this. I enjoyed reading the other selections, and I will definitely put Charles Churchward’s It’s Modern on my must-have list. —Nathan Benn, Brooklyn, NY, via email TO THE EDITOR:

Seeing my book Healing Hands in your December issue was quite a surprise. I am humbled that the book is getting this kind of recognition. —Lenny Foster, Taos, via email TO THE EDITOR:

Thanks so much! The best books article in the December issue looks fantastic. —Samantha Waller, Prestel Publishing, via email TO THE EDITOR:

Thank you, THE magazine. It was wonderful to see our books—Brassai: Paris Nocturne and Famous—included in the issue. —Harry Burton, Thames & Hudson, NYC, via email TO THE EDITOR:

Thank you for including our MAZE book in your “Twenty Best” list. And thanks for having Diane Armitage write the review. —Michael Sumner and Melody Sumner Carnahan Calendar listings for April due by March 17. Letters: Email to themagazinesf@gmail.com Mail: 320 Aztec St., Suite A - Santa Fe NM 87501 Letters may be edited for clarity & space consideration.

THE magazine |5


217 Johnson street, santa Fe, nM 875o1 = 5o5.946.1ooo = okeeFFeMuseuM.org

J o i n u s F o r t w o n e w e x h i b i t s at t h e o ’ k e e F F e ! F e b r u a ry 7 – S e p t e m b e r 1 4 , 2 O 1 4

Georgia O’Keeffe and Ansel Adams: The Hawai‘i Pictures This is the first exhibition to bring together the work Georgia O’Keeffe and Ansel Adams created in Hawaii. Known for their iconic views of the American West, each artist responded to the unfamiliar tropical environment with originality, avoiding clichés and stereotypes, to visualize a unique sense of place in dramatic landscapes as well as intimate compositions of ancient petroglyphs and exotic foliage. Georgia O’Keeffe and Ansel Adams: The Hawai‘i Pictures was organized by the Honolulu Museum of Art and made possible with generous support from Barney Ebsworth, First Insurance Company of Hawaii, Patrick and Edeltraud McCarthy, and the National Endowment for the Arts. Additional support for this exhibition and related programming is provided by a grant from The Burnett Foundation, New Mexico Arts, a division of the Department of Cultural Affairs, and the Santa Fe Arts Commission and the 1% Lodgers’ Tax.

Georgia O’Keeffe, White Bird of Paradise, 1939. Oil on canvas, 19 x 16 in. Georgia O’Keeffe Museum. Gift of Jean H. McDonald. © Georgia O’Keeffe Museum. Ansel Adams, Leaves, Foster Gardens, Honolulu, Hawaii, 1957-1958. Gelatin silver print, 13 x 9 7/8 in. Center for Creative Photography, University of Arizona.

Georgia O’Keeffe: Abiquiu Views Georgia O’Keeffe found constant inspiration in the architecture of her homes and the views of the surrounding landscape. The first in a series of presentations, Abiquiu Views features artwork inspired by O’Keeffe’s residences, as well as her original studio worktable, arranged with her art materials and personal effects. Subsequent installations in coming months will focus on her garden, the iconic patio with the black door, and the landscape surrounding her home at Ghost Ranch. Georgia O’Keeffe, Untitled (Road from Abiquiu), undated. Photographic print, 6 1/4 x 4 5/8 in. Gift of The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum 2006-06-1372. Georgia O’Keeffe, Mesa and Road East II, 1952. Oil on canvas, 26 x 36 in. Georgia O’Keeffe Museum. Gift of The Georgia O’Keeffe Foundation (2006.05.235). © Georgia O’Keeffe Museum

January 11 - March 1

March 7 - April 18

Gordon Parks / Segregation Series Mickalene Thomas / Select Prints

Manjari Sharma: Darshan

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


R O N A L D U N I D E N T I F I E D

D A V I S

F L O A T I N G

O B J E C T S

Ronald Davis, Platte, 1979 (Floater series), cel-vinyl acrylic on canvas, 84 x 65 3/4 inches

F E B R U A R Y OPENING

2 8

RECEPTION:

C H A R L O T T E

-

M A R C H

F R I D A Y,

J A C K S O N

3 1

FEBRUARY

F I N E

28TH

A R T

In the Railyard Arts District / 554 South Guadalupe Street, Santa Fe, NM 87501 T e l 5 0 5 . 9 8 9 . 8 6 8 8 / w w w . c h a r l o t t e j a c k s o n . c o m


Join us during Art Matters | Collections, the second installment of the Santa Fe Gallery Association’s Art Matters series, January 31—February 9, 2014. Galleries and museums will host exhibitions, presentations and discussions in their respective galleries that will cover a wide range of art, historical periods and topics. *All events are free unless otherwise noted. JANUARY 31, FRIDAY Chiaroscuro Contemporary Art | Gallery talk with director John Addison about what is currently on view at the gallery and highlights of the upcoming 2014 exhibition season. 2pm Evoke Contemporary | Daniel Sprick, famous for his magnificent still life paintings, releases a premiere collection of figurative paintings that have been in the works over the past five years and will be part of a solo exhibition at the Denver Art Museum opening this summer. 5pm - 7pm FEBRUARY 1, SATURDAY David Richard Gallery | Oli Sihvonen | In Motion, Rhythmic and Optical Paintings from 1988 to 1991 Panel Discussion with Allan Graham, Lilly Fenichel and David Eichholtz. 2pm - 3:30pm Pippin Contemporary | Eric Gustafson discusses the Joys and Challenges of Collecting. 3pm - 5pm FEBRUARY 7, FRIDAY Casweck Gallery | Staged Reading “Hearts of the West- Stories of the Mail Order Brides,” a collection of letters directed by Janet Davidson. 7pm FEBRUARY 8, SATURDAY Casweck Gallery | Staged Reading “Hearts of the West- Stories of the Mail Order Brides,” a collection of letters directed by Janet Davidson. 7pm David Richard Gallery | Select Works On Paper From the June Wayne Private Collection featuring small paintings, drawings and edition works by Yoko Ono, Francoise Gilot, Marc Chagall, Louise Nevelson and Jean Dubuffet, among others Gallery discussion. 1pm - 2pm David Richard Gallery | Gesture Then and Now: The Legacy of Abstract Expressionism. Panel Discussion with Lilly Fenichel, Phillis Ideal and Eugene Newman. 2:30pm - 4pm Georgia O’Keeffe Museum | COLLECTORS, DEALERS, AND MUSEUMS: A SHARED FUTURE. Presented by Cody Hartley, Director of Curatorial Affairs. 5:30pm - 7:30pm $75 admission | fundraiser benefitting SFGA *reserve your tickets online now at okeeffemuseum.org/sfga FEBRUARY 9, SUNDAY Casweck Gallery | Wiz Allred shares his vast insight on collections during Art Matters| Santa Fe week at The Space at Casweck Galleries on West Water Street in Santa Fe. 2pm

SPECIAL EVENT ~ limited seating

*reserve your tickets online now at okeeffemuseum.org/sfga

www.ArtMattersSantaFe.org


The mastery of

N E W

DANIEL SPRICK

D R A W I N G S

+

P A I N T I N G S

Julia, oil on panel, 24 x 36 (detail)

SUBSCRIBE on our website for upcoming events at our new location in the Railyard Arts District ~ Opening in March

EvokeContemporary.com 505.995.9902 EVOKEcontemporary.com 877.995.9902 550 south guadalupe street santa fe new mexico 87501


HELENE PFEFFER

makes art that captivates her curiosity, that pushes the envelope, and that gives a new translation to common subjects—such as a line, a branch, a tree, or the landscape. Her career has been marked with many solo and group exhibitions throughout New Mexico, Texas, New York, Colorado, and Louisiana. Pfeffer’s Branch Series was recently featured in a group exhibition, Art on the Edge, at the New Mexico Museum of Art, curated by Elizabeth Sussman of the Whitney Museum in New York. Her work is also featured in the Museum of Fine Arts in Houston, the Marion Koogler McNay Art Institute in San Antonio, and the Dartmouth College Museum in Hanover, New Hampshire. HelenePfeffer.com MINIMALISM

VISUAL POETRY

MY SURROUNDINGS

My quest for minimalism began with my journey

Visual poetry is a mood—the challenge of conveying

It is not what I see, but how I see it. I learned to express

from New York to Santa Fe from the frenetic crowds

an overall feeling that makes the viewer or reader hear

ideas and feelings through movement by being aware and

and constant noise to peaceful, quiet surroundings.

a beat, like in an étude or a sonata, something that is

sensitive to every turn of my body through the study of

Minimalism is a shift in thinking. The idea is to have less

personal. Being an artist and a poet, I feel the connection

music and impromptu dance. When I look out my studio

info and clutter, not only in one’s space, but also in one’s

between these two forms of art. In my paintings, a mood

window at my surroundings, or when I walk in nature, I

head. Fewer people involved in my life taking time away

can be found in the direction of a line and the excitement

not only see the leaves and branches on the trees moving

from my work, and finding more time to discover myself

that it can create according to the direction, weight, and

in the wind—I actually feel their motion. The way that I

in a place of silence where I selectively choose whatever

speed of the action with which it is executed, as well

identify with the landscape is personal and unpredictable,

I decide to think about or produce—a place where I can

as the intensity of light and the feel of a shape. Both art

and this is reflected in my paintings. By identifying with

clarify my vision and embrace the empty canvas or paper.

forms are visions of personal expression, one using paint,

my surroundings, I paint in an abstract manner, which

My colors are mostly shades of white or shades from

pasted paper, and fabrics while the other uses words to

causes the viewer to take notice of something they might

grey to black. This limited palette provides a peaceful

relate a vision.

see every day, and then suddenly they respond differently

canvas, leaving the viewer in a quiet state of mind.

to that particular thing. I live and work in a minimal space

QUIETUDE

as I do not work well in clutter. Less is more. Bottom

THE MULTI-LAYERING PROCESS

My state of quietude begins with a minimal space in which

line: I need breathing space in order to create.

I express my feelings about a subject using a multi-layering

to live and work—a place that is peaceful and quiet in

process that combines paint, fabric, paper, and found

order to have a greater understanding of myself. Being

objects. The manipulation of many types of paint creates

alone in the studio—isolated from the outside world—is

various tones of different colors, allowing me to build up

something that I find necessary. I can quietly look at my

unlimited layers of color in the making of a piece. Areas

paintings and critique them, or just enjoy them. I write

of color become infused with light as glaze and visual

or reread my poems, sometimes reading them aloud.

information is conveyed, resulting in an abstract interplay

This is a discipline that requires two things—solitude and

of those colors. As the work progresses, I begin to see

showing up.

the depth beneath the surface. The result should look as if the painting had been executed effortlessly, which, of course, is never the case.


UNIVERSE OF

photograph by FEBRUARY/MARCH

2014

D ana W aldon THE magazine |11


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Santa Fe Prep 50th Anniversary Alumni Art Show

a

Artists include: Nicola López Ted Larsen Peter Sarkisian Gandalf Gavan Will Clift Willy Bo Richardson Jesse Wood Eliot Fisher Carl Smith

a

©Aveda Corp.

Nicola López Infrastructure +3, 2012 Lithograph 44 x 29 ¾ inches

January 10 - May 10, 2014 Santa Fe Prep Library 1101 Camino de la Cruz Blanca Telephone 505 982 1829 Visit sfprep.org/50th for more information

©Aveda Corp.

Curated by Paula Castillo, Art Dept. Chair

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IN


MONROE GALLERY of photography

WHEN COOL WAS KING

John Dominis/ŠTime Inc Steve McQueen with pistol at home, Palm Spring, 1963

Opening Reception Friday, February 14 • 5 - 7 PM Exhibition continues through April 20 open daily 112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e: info@monroegallery.com www.monroegallery.com

DON'T MISS MISS THIS! THIS! DON'T During Art Matters| Santa Fe week at The Space at Casweck Galleries, two great events are coming that you won’t want to miss! Friday,  February  7th  at  7pm

Staged  Reading  of  "Hearts  of  the  West  ~   Stories  of  the  Mail  Order  Brides"   Directed  by  Janet  Davidson  of  For  Giving  Productions Tickets  -­  $15.00  per  person Saturday,  February  8th  at  7pm Wiz  Allred  presents  "The  Art  of  Collections"   followed  by   Staged  Reading  of  "Hearts  of  the  West  ~   Stories  of  the  Mail  Order  Brides" Tickets  -­  $15.00  per  person

C G

asweck alleries

fine  western  and  contemporary  art

Sunday,  February  9th  at  2pm   Wiz  Allred  presents  "The  Art  of  Collections"   will  be  FREE  of  charge Reservations  are  strongly  recommended-­  limited  seating!    

Call  for  tickets  -­  505-­988-­2966

        

  

“Bringing  Home  the  Bride�  -­  Ernest  Chiriacka


UNDER 35 PART II

01 / 24 - 02 / 15 / 2014

RECEPTION 01 / 24 / 2014

5 - 7 PM

FeAT u R I n g w o Rk s b y H eIdI b R A n d o w / b R A n d ee C Ao b A / so n yA k el l IH e R -C o mb s / m o IR A g A R C IA

zane bennett contemporary art 435 S GuadaluPE ST, SaNTa FE, NM 87501 T: 505-982-8111 F: 505-982-8160 zaNEbENNETTGallERy.COM


STUDIO VISITS

ALBERT EINSTEIN SAID, “THE MOST BEAUTIFUL EXPERIENCE WE CAN HAVE IS THE MYSTERIOUS—THE FUNDAMENTAL EMOTION WHICH STANDS AT THE CRADLE OF TRUE ART.” TWO SANTA FE ARTISTS RESPOND TO HIS STATEMENT. I am drawn to reply with a quote by Francis Bacon, who said, “The job of the artist is always to deepen the mystery.” This touches me deeply, since I create non-objective art. Having spent twenty years making figurative art, I realized that it did not excite me. There was no mystery. Shifting to color-field abstracts completely altered my experience. Every day, I pause to wonder at the ambiguity and mystery that is formed on the canvas or metal. My work gives me an unending sense of challenge, and as a consequence, enormous rewards. A beautiful experience is then multiplied when the viewer or collector brings his or her own point of view or emotion into the experience. Paul Cezanne said, “What I’m trying to translate to you is more mysterious; it is entwined in the very roots of being, in the implacable source of sensations.” I really identify with Cezanne who strove to develop an ideal synthesis of naturalistic representation, personal expression, and abstract pictorial order.

—Bette Ridgeway Ridgeway has won numerous awards, including the Oxford University Alumni Prize at the Art of the Mind exhibition at the Chianciano Art Museum, in Tuscany, in 2012. She also participated in the London Art Biennale in January of 2013, and in an invitational exhibition at London’s Gagliardi Gallery in April 2013. Her most recent exhibition The Language of Light was on view in 2013-14 at Legends Santa Fe. www.ridgewaystudio.com

The most beautiful experience we can have is the mystery that stands at the cradle of art. Mostly, I love the simplicity of carving stone. There are rare moments when I can see into the stone, when a new direction or form is revealed instantaneously, and yes, magically. The purest carving time I experience is when I am guided instinctively with no consideration of consequence or result. The most beautiful sculptures I have created seem to have come through me, not from me. The practicality forced on us by this day and age’s monetary success makes it a supreme act of sensitivity and then bravery to recognize and pursue a good artistic idea. Emotions are mysterious, but mystery is not an emotion. I would agree with Einstein that a truly beautiful experience is mysterious and add that its beauty rarely has anything to do with the hand of man.

—Somers Randolph photographs by

FEBRUARY/MARCH

2014

Anne Staveley

THE magazine |17


What a Pair!

Antique gold with walnut burl convex panel

Picture Frame Specialist since 1971

Randolph Laub studio 2906 San Isidro Court

3

Santa Fe, NM 87507

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505 473-3585


ANCIENT CITY APPETITE

Ancient City Appetite by Joshua

Baer

IZANAMI Izanami (at Ten Thousand Waves) 3451 Hyde Park Road, Santa Fe, NM 87501. 11 a.m. to 10 p.m., seven days, all year. Izanami is a fifteen-minute drive from downtown Santa Fe, and a five-minute walk from Ten Thousand Waves’ parking lot on Hyde Park Road. Izanami accepts credit cards. Reservations (highly recommended): 505-428-6390. Every dish on Izanami’s menu is great, but it would be a shame to miss these: Nasu dengaku (eggplant with miso sauce) $5. Remarkable. Gyoza (seared dumplings with pork, cabbage, scallions, and ginger) $6. Sake-braised shimeji mushrooms (sake, soy, butter, lemon, chile, and spinach) $6. Lone Mountain Ranch wagyu tri-tip steak (fresh wasabi, Himalayan pink salt) $22. Life-changing. Butakushi (Heritage pork belly, with ginger barbecue glaze) $9. Nami burger (Lone Mountain wagyu beef with caramelized onion and a miso glaze) $14. One of the best burgers in Santa Fe, and the ideal vehicle for Izanami’s aioli. Bravo. The bottom line: If you want to taste all of the above, and explore Izanami’s superb sakes, desserts, coffees, and teas, figure forty dollars per person, plus a tip. You can eat there for less, but why cheat yourself? The staff is friendly, service is impeccable, and the food is out of this world. Less may be more, but more is better. Outside the entrance to Izanami, you walk by a waterfall. In the winter, part of the waterfall is frozen. The ice melts into a pond lined with

FEBRUARY/MARCH

2014

smooth black stones. The waterfall, pond, and stones send a message: This is a place of authenticity. The food you are about to eat did not happen by accident. Attention, skill, and tradition were involved. Inside, the promise made by the waterfall is kept. With its high ceilings, hand-hewn beams, calligraphic lanterns, and distant, mysterious views, Izanami’s dining room is a place where celebration and contemplation intersect. None of this would matter if the cooking was anything less than authentic. Fortunately, chef Kim Müller—formerly of the Galisteo Inn, the Compound, and Real Food Nation—understands that a memorable meal does not happen by accident. It happens when you buy the best ingredients, stand back, and let their flavors speak. With Kim Müller in charge of the kitchen, and the delightful Noreen O’Brien—formerly of Pasqual’s—in charge of the dining room, Izanami is an answered prayer. Call them. Make a reservation. Bring an appetite. Expect to be impressed. Ancient City Appetite recommends good places to eat, in and out of Santa Fe. Contents and photograph are ©2014 by ancientcityappetite.com. Send the names of your favorite places to us: places@ancientcityappetite.com.

THE magazine |19


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ONE BOTTLE

One Bottle :

The 2009 Domaine de Montille Pommard “Les Rugiens-bas” by Joshua

Baer

Years ago, I got addicted to retail. We had a store full of works of art,

Men believe in progress, too, but in a different kind of progress.

and once or twice a week a client would come in and buy something.

Men believe the world is a cruel place—it might even be hell—but men

Right before the client said “Yes” an aura of peace and silence would

also believe that redemption is available in the form of making lots of

envelop us—the client, the work of art, and me. Each time I made a sale,

money and knowing how to spend it. If the world is a cruel place, then

I felt weightless and powerful.

the world is out to get you. That’s the bad news. The good news is that

My partners and I promoted the store as an art gallery but I always

making lots of money can protect you and the people you love

thought of it as more of a shrine than a place of business. The works of

from the world’s cruelty, even if you have to align yourself with that

art we bought and sold—Navajo blankets, Mimbres bowls, New Mexican

cruelty in order to make lots of money.

tinworks, Spanish Colonial furniture—were works of religious art. The anonymous artists who made them were fluent in a sacred language. Whenever I re-hung the gallery, I felt like I was on an altar, doing my

Which brings us to the 2009 Domaine de Montille Pommard “Les Rugiens-bas.” In the glass, the wine’s dark color is ominous, the way ships that

best to show respect and display each piece in its best possible light.

pass in the night are ominous. The bouquet is a memory, a premonition,

The gallery was on the second floor of an old building

and a déjà vu. It’s hard to separate the bouquet’s truth from the

downtown. The front door was on the sidewalk, but you had to

bouquet’s fiction. On the palate, Montille’s “Les Rugiens-bas” rewards

climb a flight of stairs after you opened the door. When I sat at

your patience. The longer you wait to taste it, the better it tastes.

the desk in my office, I would hear the front door open and then I would hear people’s voices as they came up the stairs. Most of the people who came in were couples. Hearing their voices before I saw their faces gave me hints about who they were, where they were from, and whether or not they might spend money. One of the lessons retail taught me was that women

The finish is more of a location than a flavor. It’s like living in the shadow of a secret. Even if you don’t know what the secret is, its shadow adds depth to your life. After sixteen years of selling art, I got so badly addicted to retail that all I could think about was how to engineer my next sale. This led me to concoct absurd theories about why my clients bought art. Fortunately, my subconscious mind

are optimists and men are pessimists. Almost all of the

devised a scheme to free me of my addiction. My conscious

women who came up the stairs and wandered around the

mind had no idea what my subconscious mind was doing

gallery had their chins up and their eyes open. When they

so it came as a shock when external events forced me to

saw me working at my desk they would wave or say hi or

shut down the gallery and say good bye to the nasty habit

even say something nice about the gallery. The men were

of going to work every day and selling art to the optimistic

just the opposite. The moment they got to the top of the

women and pessimistic men who constitute the general

stairs they looked at their shoes and said nothing. It was

public. What I learned, in a better-late-than-never sort

like they were afraid to be caught looking at the walls for

of way, is that it’s easier to sell art privately than publicly.

fear that the art might make them smile and betray their

I have no theories about why this is true. Sometimes

efforts to act unimpressed. Over time, I learned that

I find myself wondering whether or not I should have

women haggle as much as men. The difference between

a new theory—just one, for old times’ sake—but as soon

men and women is that when a woman decides to buy

as I begin to wonder, I remind myself that having theories

something she doesn’t waste her time pretending not to

about people who buy art is a form of self-deception,

like what she knows she’s about to buy. She just says,

and that self-deception and addiction are two sides of the

“I really like this. Can you do anything on the price?”

same coin.

A man, on the other hand, has to tell you everything that’s wrong with a piece before he asks for a better price. My theory about why men are pessimists and women

My partners and I have the art. Our clients have the money. My job is to turn the art into money. To assume anything beyond that is madness.

are optimists has to do with their respective beliefs in progress. Women are social engineers. Like the Beatles,

One Bottle is dedicated to the appreciation of good wines

they think things are getting better all time. The whole

and good times, one bottle at a time. The name “One Bottle”

notion of things getting worse is too horrible for women to contemplate. This applies to mothers, especially, but when it comes to progress, all women are true believers.

FEBRUARY/MARCH

2014

and the contents of this column are ©2014 by onebottle.com. For back issues, go to www.onebottle.com. Send comments or questions to jb@onebottle.com.

THE magazine |21


DINING GUIDE

Tasty Duck Nachos at

Santa Fe Capitol Bar & Grill 3462 Zafarano Drive Reservations: 471-6800

$ KEY

INEXPENSIVE

$

MODERATE

up to $14

$$

$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 photographs :

G uy C ross

...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. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: Generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. Watch for special wine pairings. Andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ 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. $$$$ Cuisine: Contemporary American with a what we call a “Southwestern twist.” Atmosphere: A classy room. House specialties: For dinner, start with the Heirloom Beet Salad. Follow with the flavorful Achiote Grilled Atlantic Salmon. Dessert: the Chef’s Selection of Artisanal Cheeses. Comments: Attentive service. Body Café 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$ 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, the grilled Swordfish. Café Fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch. Patio Cash/major credit cards. $$ Cuisine: Call it contemporary comfort food. Atmosphere: Casual. House specialties: For breakfast, both the Huevos Motulenos and the Eldorado Omlet are winners. For lunch, we love the One for David Fried Fish Sandwich, and the perfect Green Chile Cheeseburger. Comments: Annamaria O’Brien’s baked goods are really special. Try them. You’ll love them. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ 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. 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. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. Comments: Good selection of beers and wine. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: Good old American. fare. Atmosphere: Patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are the best. 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: Main the grilled Maine Lobster Tails or

the classic peppery Elk tenderloin.

beer on draft, and great service.

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: Down home. House specialties: For lunch try Doc’s Chile Relleno Platter or the Northern New Mexico Lamb Chops. Dinner faves is the Pan Seared Whole Boneless Trout. Comments: Great bar.

Harry’s Roadhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Down home House specialties: For breakfast go for the Scrambled Eggs with Smoked Salmon, Cream Cheese, or the French Toast. Lunch: the All-Natural Buffalo Burger. Dinner the Ranchero Style Hanger Steak or the Grilled Salmon Tacos. Comments: Friendly.

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 utterly delicious Ruiaku Sake

Dr. Field Goods Kitchen 2860 Cerrillos Rd. 471-0043. Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: New Mexican Fusion. Atmosphere: Casual and friendly. House specialties: Starters: Charred Caesar Salad, Carne Adovada Egg Roll, and Fish Tostada. Mains: El Cubano Sandwich, Steak Frite, and the Pizza Margartia. Comments: Nice portions and you leave feeling good. Real good.

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.

the 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines.

Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room where you can sit, read periodicals, and schmooze.. House specialties: Espresso, cappuccino, and lattes. El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish Atmosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-to-cheek dancing. House specialties: Tapas, Tapas, Tapas. Comments: Murals by Alfred Morang. El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego Cheese marinated olive oil. 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

Izanami 3451Hyde Park Road. 428-6390 Lunch/Dinner Saki/Wine/Beer Major credit cards. $$$ Cuisine: Japanese-inspired small plates. Atmosphere: A sense of quitetude. House specialties: For starters, both the Wakame and the Roasted Beet Salads are winners. We also loved the Nasu Dengaku—eggplant and miso sauce and the Butakushi—Pork Belly with a Ginger BBQ Glaze. Comments: A wonderful selection of Saki and very reasonable prices. Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ 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. Joseph’s Culinary Pub 428 Montezuma Ave. 982-1272 Dinner. Beer/Wine Major credit cards. $$$ Cuisine: Innovative. Atmosphere: Intimate. House specialties: Start with the Butter Lettuce Wrapped Pulled Pork Cheeks or the Scottish Fatty Salmon Sashimi. For your main, try the Lamb & Baby Yellow Curry Tagine or the Crispy Duck, Salt Cured Confit Style. Comments: Produce is procured locally. The bar menu features Polenta Fries and the New Mexican Burger. Wonderful desserts, excellent wine,

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. $$ Cuisine: An Authentic Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian tamales. Comments: Sunday brunch. Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: Pho Tai Hoi: vegetarian soup. Comments: Friendly waitstaff. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Casual House specialties: Start with the Tomato Salad. Entrée: Braised Lamb Shank with couscous. Comments: Beautiful courtyard for dining. Maria’s New Mexican Kitchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner (Thursday-Sunday) Beer/wine. Patio. Major credit cards. $$ Cuisine: American/New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: House-made Tortillas and Green Chile Stew. Comments: Perfect margaritas. 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 with mirrors. House specialties: For lunch: the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrée: Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop. Comments: Good dessert selection.

continued on page 25 FEBRUARY/MARCH

2014

THE magazine |23


CLOUD CLIFF BAKERY at the SANTA FE FARMERS MARKET TUESDAY and SATURDAY

Fresh Seafood Flown in Weekly!

OySterS

er

bSt O l e n i e ma

liv

muSSel

S Wild Wh ite Shrimp iSh F ed t S SOle Oa Cra r e b l O h W 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


DINING GUIDE

Major credit cards. $$ Cuisine: New Mexican and American. Atmosphere: Casual ajnd Friendly. House. specialties: For brakfast, 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.

SHAKE FOUNDATION—GREEN CHILE BURGERS, FRIES, AND SHAKES—631 CERRILLOS ROAD, SANTA FE - OPEN 7 DAYS – 11-6 Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic. New York Deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ 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. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile. Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ 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. $$$ Cuisine: Southwestern with a French flair. Atmosphere: Contemporary. House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Nice wine list. Rose’s Cafe 5700 University W. Blvd SE, #130, Alb. 505-433-5772 Breakfast/Lunch. Patio. Major credit cards. $ Cuisine: A taste of the Yucatán with a Southwest twist. House specialties: We love the Huevos Muteleños and the Yucatán Pork Tacos. Comments: Kid’s menu and super-friendly folks. San Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ 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. S an F rancisco S t . B ar & G rill

50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar.

FEBRUARY/MARCH

2014

Major credit cards. $$ Cuisine: As American as apple pie. Atmosphere: Casual with art on the walls. House specialties: At lunch try the San Francisco St. hamburger on a sourdough bun; the grilled salmon filet with black olive tapenade and arugula on a ciabatta roll; or the grilled yellowfin tuna nicoise salad with baby red potatoes. At dinner, we like the tender and flavorful twelve-ounce New York Strip steak, served with chipotle herb butter, or the Idaho Ruby Red Trout served with grilled pineapple salsa. Comments: Visit their sister restaurant at Devargas Center. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Southwest Contemporary. Atmosphere: Minimal, subdued, and elegant House specialties: The world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Panseared Salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Happy hour special from 4-6 pm. Half-price appetizers. “Well” cocktails only $5. Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmealcrusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet. Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. Atmosphere: Contemporary and hip. House specialties: Tuna Steak, the Chicken Fried Chicken with mashed potates and bacon bits, the flavorful Ceviche, the New York Strip with a Mushroom-Peppercorn Sauce, and Ruby Red Trout. Desserts are on the mark. Comments: A great selection of wines from around the world. Happy hours 3 to 6 pm and after 9 pm. 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: . Do not pass on the Baby-Back Ribs when they are available. Second Street Brewery 1814 Second St. 982-3030.

Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Real casual. House specialties: Beers are outstanding, when paired with the Beer-steamed Mussels, Calamari, Burgers, or Fish and Chips. Comments: Sister restaurant in the Railyard District. Shake Foundation 321 Johnson St. 982-9708. Lunch/Early Dinner - 11am-6pm Major credit cards. $$ Cuisine: All American. Atmosphere: Casual with outdoor table dining. House specialties: Green Chile Cheeseburger, the Classic Burger, and Shoestring Fries Comments: Sirloin and brisket blend for the burgers. Take-out or eat at a picnic table. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff. Station 430 S. Guadalupe. 988-2470 Breakfast/Lunch Patio Major credit cards. $ Cuisine: Light fare and fine coffees and teas. Atmosphere: Friendly. House specialties: For your breakfast, get the Ham and Cheese Croissant. Lunch fave is the Prosciutto, Mozzarella, and Tomato sandwich. Comments: Many Special espresso drinks. at El Gancho Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant House specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce. Comments: They know steak here.

Steaksmith

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 morning, try the Mediterranean Breakfast— Quinoa with Dates, Apricots, and Honey. Our lunch favorite is the truly delicious 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

Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to tableto mouth. Atmosphere: Casual. House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox. A variety of teas from around the world available, or to take home. Terra at Four Seasons Encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties: For breakfast, we love the Blue Corn Bueberry Pancakes. For dinner, start with the sublime Beet and Goat Cheese Salad. Follow with the Pan-Seared Scallops with Foie Gras or the delicious Double Cut Pork Chop. Comments: Chef Andrew Cooper partners with local farmers to bring fresh seasonal ingredients to the table. A fine wine list and top-notch service. The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive.  505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ 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 Toa sted Piñon Glaze. Comments: Nice wine bar. The Compound 653 Canyon Rd.  982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American Contemporary. Atmosphere: 150-year-old adobe. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef/owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award. The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ 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 Sandwich. For dinner, Steak Dunigan or the SanFried 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 BBQ ribs. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$ Cuisine: Traditional New Mexican. Atmosphere: Easygoing and casual. House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese. Lunch: choose from the daily specials. Comments: This is the real deal Tune-Up Café 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ 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: Easy on your wallet. Vanessie

of

Santa Fe

434 W. San Francisco St. 982-9966 Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American. Atmosphere: Piano bar and oversize everything, thanks to architect Ron Robles. House specialties: New York steak and the Australian rock lobster tail. Comments: Great appetizersgenerous drinks. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: Light, bright and cheerful. House specialties: Organic salads. We love all the salads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: NIce seating on the patio. In Albuquerque, visit their sister restaurant at 1828 Central Ave., SW. Zacatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Slow Cooked Pork Ribs. Over 65 brands of Tequila. Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: All-American diner food. Atmosphere: Casual.House specialties: The perfect Chile Rellenos and Eggs is our breakfast choice. At lunch, we love the Southwestern Chicken Salad and the Fish and Chips. Comments: A wonderful selection of sweets available for take-out. The bar is most defintely the place to be at cocktail hour.

THE magazine |25


Oli Sihvonen | In Motion

January 31 - March 8, 2014 | Reception: Friday, January 31, 5:00 - 7:00 PM Panel Discussion: Saturday, February 1, 2:00 - 3:30 PM Lilly Fenichel, Allan Graham, David Eichholtz ART MATTERS | COLLECTIONS | www.ArtMattersSantaFe.org Oli Sihvonen, Elegy (017), 1988, Oil and acrylic on canvas, 60 x 68 “

Gesture Then and Now: The Legacy of Abstract Expressionism

January 24 - February 22, 2014 | Reception: Friday, January 31, 5:00 - 7:00 PM Featuring John Connell, Lilly Fenichel, Jean-Marie Haessle, Phillis Ideal, Ward Jackson, Jack Jefferson, Matsumi Kanemitsu, Beatrice Mandelmann, Eugene Newmann, Paul Pascarella, Deborah Remington, Louis Ribak and Michio Takayama Panel Discussion: Saturday, February 8, 2:30 - 4:00 PM Lilly Fenichel, Phillis Ideal, Eugene Newmann, Paul Pascarella ART MATTERS | COLLECTIONS | www.ArtMattersSantaFe.org Lilly Fenichel, #14, 2013, Oil on polypropylene, 37 x 25.5 “

Selections From the June Wayne Private Collection February 8 - March 1, 2014

Featuring works on paper by Marc Chagall, Jean Dubuffet, Alberto Giacometti, Françoise Gilot and Louise Nevelson among others Presentation: Saturday, February 8, 1:00 - 2:00 PM David Eichholtz ART MATTERS | COLLECTIONS | www.ArtMattersSantaFe.org Jean Dubuffet, Jeux et Travaux, 1953, Color lithograph, ed. 38/60, 26 x 19.25 “

Paul Pascarella | New Moon West

February 28 - April 12, 2014 | Reception: Friday, February 28, 5:00-7:00 PM Private in-gallery dinner and reception: Saturday, March 22, 6:00 - 9:00 PM Call for reservations and tickets ART MATTERS | SUSTENANCE | www.ArtMattersSantaFe.org Paul Pascarella, Dance (triptych), Acrylic, oil stick,collage on panel, 48 x 72 “

Julian Stanczak | Lineal Pathways

March 14 - April 19, 2014 | Reception: Friday, March 14, 5:00 - 7:00 PM Private in-gallery dinner and reception: Saturday, March 15, 6:00 - 9:00 PM Call for reservations and tickets ART MATTERS | SUSTENANCE | March 14 - 23, 2014 | www.ArtMattersSantaFe.org Julian Stanczak, Reversal Pair Blue Plus Green, 2006, diptych, each panel 16” x 16”, overall 16” x 34”

DavidrichardGALLEry.com DAVID RICHARD GALLERY

The Railyard Arts District 544 South Guadalupe Street, Santa Fe, NM 87501 (505) 983-9555 | info@DavidRichardGallery.com


OPENINGS

ARTOPENINGS

FEBRUARY MARCH THURSDAY, JANUARY 30

Santa Fe Community College, 6401 Richards Ave., Santa Fe. 428-1501. Dos Pintores—Dos Senderos: Padre y Hijo: paintings by Andrés Martínez and Adrian Martínez. 5-7 pm. FRIDAY, JANUARY 31

Andrew Smith Gallery Annex, 203 W. San Francisco St., Santa Fe. 984-1234. Outer and Inner—Contemplations on the Physical and the Spiritual: survey of discourses by Patrick Nagatani. 5-7 pm. David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. In Motion: paintings by Oli Shivonen. Gesture Then and Now—The Legacy of Abstract Expressionism: group show, featuring John Connell, Eugene Newmann, and Paul Pascarella among others. Paintings from the 1970s by Thomas Downing. 5-7 pm. Panel discussion for In Motion: Sat., Feb. 1, 2-3:30 pm. Panel discussion for Gesture Then and Now: Sat., Feb. 8, 2:30-4 pm.

Palette Contemporary Art and Craft, 7400 Montgomery Blvd. NE, Alb. 505-8557777. Czech Glass Modernism: works by Frantisek Vizner. 5-8 pm. photo-eye Gallery, 376-A Garcia St., Santa Fe. 988-5152.  Conventional Entropy: photographs by Kevin O’Connell. 5-7 pm.

The Gallery ABQ, 8210 Menaul Blvd. NE, Alb. 505-292-9333. Moments and Memories: mixed-media works by Darlene Moore, Fran Ryan, and Ray Tussing. 5-8 pm. ViVO Contemporary, 725 Canyon Rd., Santa Fe. 982-1320. Giving Voice to Image 2: group show;

collaboration between poets and artists. 5-7 pm. Weyrich Gallery, 2935-D Louisiana Blvd. NE, Alb. 505-883-7410. Architectonics Plus Additions: fine-art tapestries by Donna Loraine Contractor. 5-8:30 pm. SATURDAY, FEBRUARY 8

David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555.Selections from the June Wayne Private Collection: works on paper by Marc Chagall, Yoko Ono and others. Presentation/reception: 1-2 pm. Garson

and

Sons, 2415 San Pedro Dr., NE,

Alb. 505-255-7092. Book signing with Charlie Carrillo and Jerry Montoya. 1-3 pm. Rio Bravo Fine Art, 110 N. Broadway, Truth or Consequences. 575-894-0572. Singularity: retrospective of works by Susan Christie from the bmid-1980’s. Collaboration—A Dialogue with Susan Christie and Deborah Klezmer 2013-2014: “Pentimento” paintings by Susan Christie. “Permeables” glass works by Deborah Klezmer. 6-9 pm. Weyrich Gallery, 2935-D Louisiana Blvd. NE, Alb. 505-883-7410. Architectonics Plus Additions: fine-art tapestries by Donna Loraine Contractor. Artist’s talk at 1 pm. SUNDAY, FEBRUARY 9

Artisan, 12601 Cerillos Rd., Santa Fe. 9544179. Demo Day; Live Serigraph EditionPrinting: Issa Nayaphagas’ artwork printed by Serigrafix.1:30-3:30 pm. THURSDAY, FEBRUARY 13

Canyon Road Contemporary, 403 Canyon Rd., Santa Fe. 983-0433. Clouds: pastel works by Kathy Beekman. 10 am-5 pm.

William & Joseph Gallery, Rd 727 Canyon Rd., Santa Fe. 982-9404. Serigraphs as Reproductions: Lecture by Jason Rodriguez and Kestrel Andrus of Serigrafix. 6-8 pm.

ViVO Contemporary, 725 Canyon Rd., Santa Fe. 982-1320. Giving Voice to Image 2: group show; collaboration between poets and artists. 5-7 pm.

SATURDAY, FEBRUARY 15

Greg Moon Art, 109-A Kit Carson Rd., Taos. 575-770-4463. Waling Dreams: figurative works by Catherine PorterBrownc. 5-7 pm.

SATURDAY, FEBRUARY 1

Act 1 Gallery, 218 Paseo del Pueblo Norte, Taos. 575-758-7831. Silvery Winter Light: 25th anniversary show of gallery artists. 2-4 pm.

SUNDAY, FEBRUARY 16

Las Placitas Presbyterian Church, 6 mi. E. of I-25 on NM 165, Placitas. 505-867-8080. Placitas Artists Series: works by Jim Carnevale, Rod Daniel, Adrienne Kleiman, and Geri Verble. 2-3 pm.

Tortuga Gallery, 901 Edith Blvd. SE, Alb. 505-369-1648. My Heart is in the Trees: pastels by Denise Weaver Ross. 6-8 pm. THURSDAY, FEBRUARY 6

FRIDAY, FEBRUARY 21

NM State Land Office Commissioner’ s G allery, 310 Old Santa Fe Trail, Santa Fe. 259-4154. One Tree, Many Roots—An Art Exhibit on Behalf of the Environment: works by Diana Stetson and Noël Chilton. 4-6 pm.

Giacobbe-Fritz Fine Art, 702 Canyon Rd., Santa Fe. 986-1156. Circus-inspired Group Show: part of ARTFeast’s Edible Art Tour. 5-8 pm. SUNDAY, FEBRUARY 23

FRIDAY, FEBRUARY 7

New Mexico History Museum, 113 Lincoln Ave., Santa Fe. 476-5200. Transformed by New Mexico: photos by Donald Woodman. 10 am-5 pm.

EXHIBIT/208, 208 Broadway SE, Alb. 505450-6884. Conjunctions: paintings by Mark McCarney. 5-8 pm.

FRIDAY, FEBRUARY 28

Manitou Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Landscape Group Show: featuring Douglas Aagard. 5-7:30 pm.

David Richard Gallery, 544 S. Guadalupe St. Santa Fe. 983-9555. New Moon West: new paintings by Paul Pascarella. 5-7 pm.

Marigold Arts, 424 Canyon Rd., Santa Fe. 982-4142. North Country: watercolors by Robert Highsmith. 5-7 pm.

Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. View/Review— Contemporary Masters: group show. 5-7 pm.

Mariposa Gallery, 3500 Central Ave. SE, Alb. 505-268-6828. Dazzleship: multi-media works by Cynthia Cook. 5-8 pm.

FEBRUARY/MARCH

2014

FRIDAY, MARCH 7

EXHIBIT/208, 208 Broadway SE, Alb. Outer and Inner: Contemplations on the Physical and the Spiritual: a survey of Patrick Nagatani’s work of the past fifteen years. Includes twenty-four Buddhist tape-estries at Andrew Smith Gallery Annex, 203 West San Francisco Street. Reception: Friday, January 31 from 5 to 7 pm.

continued on page 30

THE magazine |27


Honey Harris in Conversation with THE magazine on Thursday, February 6 at 10:30 am 98.1 FM KBAC Special Guest: Axle’s Matthew-Chase Daniel

THE DEAL

For artists without gallery representation in New Mexico. Full-page B&W ads for $700. Color $900. Reserve space for the April issue by Friday, March 14. 505-424-7641 or email: themagazinesf@gmail.com

WHO WROTE THIS? “There is something addictive about a secret”

1. Hilary Clinton 2. Edward Snowden 3. J. Edgar Hoover 4. Julian Assange


OUT AND ABOUT photographs by Mr. Clix Lisa Law and Jennifer Espaeranza

Jonas Povilas Skardis

Mac (and PC) Consulting 速

Training, Planning, Setup, Troubleshooting, Anything Final Cut Pro, Networks, Upgrades, & Hand Holding

phone: (505) 577-2151 email: Pov@Skardis.com Serving Northern NM since 1996

THEMAGAZINEONLINE.COM


OPENINGS

505-450-6884. Aslant: paintings constructions by Lucy Maki. 5-8 pm.

and

Manitou Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Wine, Chocolate, and Jewelry. 5-7:30 pm.

Act 1 Gallery, 218 Paseo del Pueblo Norte, Taos. 575-758-7831. Collectors Classes: panel discussions on art collecting. Sat., Feb. 15, Sat., Mar. 1, Sat., Mar. 15, 2-4 pm. actonegallery.com

Palette Contemporary Art and Craft, 7400 Montgomery Blvd. NE, Alb. 505-8557777. Geometrically: encaustic paintings by Jo Moniz. 5-8 pm.

Albuquerque Art Museum, 2000 Mountain Rd. NW, Alb. 505-891-8146. Art and Spirituality: roundtable discussion. Sun. Feb. 9, 3-4 pm. Race, Gender, and Ethnicity: roundtable discussion. Sun. Mar. 9, 3-4 pm. nmartreview.com

The Gallery ABQ, 8210 Menaul Blvd. NE, Alb. 505-292-9333. Light, Color, and Brilliance: oils, photography, and jewelry by Maria C. Cole, Andrew Kozeliski, and Sandra Baca. 5-8 pm.

Albuquerque ArtsCrawl, various locations in Alb. 505-244-0362. First Friday/Third Friday: citywide gallery openings. Fri., Feb. 7, 5-8:30 pm; Fri., Feb. 21, 5-8:30 pm. artscrawlabq.org

THURSDAY, MARCH 13

Albuquerque Museum, 2000 Mountain Rd.,NW, Alb. 505-842-0111. Arte en la Charrería—The Artisanship of Mexican Equestrian Culture. Through Sun., Mar. 30. albuquerquemuseum.org

Manitou Galleries, 225 Canyon Rd., Santa Fe. 986-0440. Western Images Group Show. 5-7:30 pm. FRIDAY, MARCH 14

David Richard Gallery,544 S. Guadalupe St. Santa Fe. 983-9555. Lineal Pathways: work by Julian Stanczak. 5-7 pm. Marigold Arts, 424 Canyon Rd., Santa Fe. 9824142. Hand-woven rugs by Sandy Voss. 5-7 pm. SPECIAL INTEREST

333 Montezuma Arts, 333 Montezuma Ave., Santa Fe. 988-9564. The Art of Systems Biology and Nanoscience: group show that reveals a view of the world of living cells via illustrations, images, video, musical performances, and scientific lectures. Fri., Mar. 28, 4-8:30 pm; Sat., Mar. 29, 10 am-8 pm. stmc.health.unm.edu/art/2014.html

Singularity: Retrospective 1988 to Present—works by Susan A. Christie at Rio Bravo Fine Art, 110 North Broadway, Truth or Consequences. Also showing works by Deborah Klezmer. Reception: Saturday, February 8 from 6 to 9 pm. Image: Susan Christie.

Casweck Galleries, 203 W. Water St., Santa Fe. 988-2966. Collections: talk by Wiz Allred. Hearts of the West—Tales of the Mail Order Brides: reading directed by Janet Davidson. Fri., Feb. 7, 7 pm; Sat., Feb. 8, 2 pm and 7 pm. Sun., Feb. 9, 2 pm (talk only). casweckgalleries.com Center for Contemporary Arts, 1050 Old Pecos Trail, Santa Fe. 983-1338. ICEPOP: works by Sandra Wang and Crockett Bodelson. All the News That’s Fit to Print: group show. Through Sun., Mar. 30. ccasantafe.org David Anthony Fine Art, 132 Kit Carson Rd., Taos. 575-751-0075. Exothermic Reactions: photographs of miniature pyrotechnic tableaux by David Mapes. Through Fri., Feb. 28. davidanthonyfineart.com Galeria El Farol, 808 Canyon Rd., Santa Fe. 415-328-4321. An American Hero: bronze sculptures by Floyd Red Crow Westerman. Thurs., Feb. 13 through Fri., Feb. 28. Georgia O’Keeffe Museum, 217 Johnson St., Santa Fe. 946-1000. Georgia O’Keeffe—

Giving Voice To Image 2: A Collaboration of Poets and Artists at ViVO Contemporary, 725 Canyon Road. Two receptions: Friday, January 31 from 5 to 7 pm and Friday, February 7 from 5 to 7 pm. Image: George Duncan.

Abiquiu Views: artworks inspired by O’Keeffe’s home and studio. Georgia O’Keeffe and Ansel Adams—The Hawaii Pictures Fri., Feb. 7-Sun., Sept. 14. okeeffemuseum.org Harwood Museum, 238 Ledoux St., Taos. 575-758-9826. Slow and Steady Wins the Race: works on paper by Ken Price. Poetry in Motion: prints, drawings, and photographs by Charles Mattox. Art for a Silent Planet: work by Jonathan Blaustein, Nina Elder, and Debbie Long. Sat., Feb. 22 to Sun., May 4. harwoodmuseum.org Indian Pueblo Cultural Center, 2401 12th St. NW, Alb. 505-843-7270. Contemporary Indigenous Discourse Series: forum. Thurs., Feb. 6, 5-7 pm. mocna.org Millicent Rogers Museum, 1504 Millicent Rogers Rd., Taos. 575-758-2462. 12th Annual Miniatures Show and Sale: works by Taos County artists. Fri., Jan. 31, 5:30 pm. millicentrogers.org Museum of Contemporary Native Arts, 108 Cathedral Pl, Santa Fe. 983-1777. Crow’s Shadow Institute of Arts Collection: group show. Prints by Kenojuak Ashevak. Traces of the Plains: works on paper, multimedia installation of printed matter and video by John Hitchcock. T’ah aniiłtso Yéé’bii’ Neiikai (Endangered Species): mono-prints by David Sloan. Through Thurs., July 31. iaia.edu/museum Museum of Contemporary Native Arts, 108 Cathedral Pl, Santa Fe. 983-1777. Full Consciousness of Being: mixed-media work by Tony Tiger. Bon à Tirer: prints from MoCNA’s permanent collection. The Place Between: works by Sallyann Paschall and Alex Peña. Through Mon. Mar., 31. BFA Creative Writing Event— Hearts Afire: reading with IAIA faculty and students. Sun., Feb. 9, 2-4 pm. iaia.edu/museum Santa Fe Botanical Garden at Museum Hill, 715 Camino Lejo, Santa Fe. 4719103. Birds in the Garden: sculpture exhibit by Christy Hengst. Through Sat., May 31. santafebotanicalgarden.org Santa Fe Creative Tourism and the City of Santa Fe Arts Commission, various locations in Santa Fe. 505-913-7266. DIY Santa Fe—A Creative Tourism Journey: art and

30 | THE magazine

craft workshops and events through March. santafecreativetourism.org Santa Fe Prep Library, 1101 Camino Cruz Blanca, Santa Fe. 982-1829. 50th Anniversary Alumni Art Show: group show. Through Sat., May 10. sfprep.org/50th Tansey Contemporary, 652 Canyon Rd., Santa Fe. 995-8513. Works by Frances Priest, Emma Varga, and Sheryl Zacharia. Ongoing. tanseycontemporary.com Tortuga Gallery, 901 Edith Blvd. SE, Alb. 505-369-1648. Workshop by pastel artist Denise Weaver Ross. Sun., Feb. 23, 2-5 pm. Heart and Trees: poetry reading/closing reception by Denise Weaver Ross. Sat., Mar. 1, 4-8 pm. facebook.com/TortugaGallery Tower Galley, 78 Cities of Gold Rd., Santa Fe. 455-3037. 2014 Sculpting Workshop: with Roxanne Swentzell. Mon., Feb. 10 to Fri., Feb. 14. swentzellinc@roxanneswentzell.net Tune Up Cafe, 1115 Hickox St., Santa Fe. 5771087. Softscapes: abstract landscape photography by Grace Berge. Ongoing. graceberge.com PERFORMING ARTS

Las Placitas Presbyterian Church, On NM 165, Placitas. 867-8080. Duo Noire: Guitar duo. Sun., Feb. 16, 3 pm. placitasartistsseries. org Teatro Paraguas, 3205 Calle Marie, Santa Fe. 424-1601. Don’t Panic—It’s Only Finnegans Wake: Adam Harvey interprets James Joyce’s classic novel. Fri., Jan. 31, 7 pm; Sat., Feb. 1, 7 pm; Sun., Feb. 2, 2 pm. teatroparaguas.org Teatro Paraguas, 3205 Calle Marie, Santa Fe. 424-1601. The Dailiness: poetry reading by Lauren Camp with music by Char Rothschild and Paul Brown. Sat., Feb. 1, 4 pm. teatroparaguas.org Warehouse 21, 1614 Paseo de Peralta, Santa Fe. 989-4423. The Jewel in the Manuscript: drama by Rosemary Zibart, starring Nicholas Ballas and Barbara Hatch. Thurs., Jan. 30, 7:30 pm. warehouse21.org

FEBRUARY/MARCH

2014


PREVIEWS

Georgia O’Keeffe, Dole Pineapple Juice Advertisement, featuring O’Keeffe’s Heliconia Crab Claw, 1940. Collection of DeSoto Brown. Courtesy Honolulu Museum of Art.

O’Keeffe and Ansel Adams: The Hawaii Pictures February 7 through September 14 The Georgia O’Keeffe Museum, 217 Johnson Street, Santa Fe. 946-1000 No public reception Georgia O’Keeffe and Ansel Adams are inextricably linked

to

the

landscapes

that

inspired

them.

For O’Keeffe it is, of course, Ghost Ranch, near Abiquiu, and for Adams, it is California’s Yosemite National Park. But at different points in each of their artistic careers, O’Keeffe and Adams both arrived on the shores of the Aloha State, and the works these modernists created there reveal a Hawaii beyond the tourist leaflets. The Hawaiian Pineapple Company, now known as

Gordon Parks, At Segregated Drinking Fountain, Mobile, Alabama, (from the Segregation Series Portfolio), archival pigment print, 20” x 16”, 1956

Dole, paid O’Keeffe to come to the islands in 1939 to create two paintings for their advertisements. But,

Segregation Series: photographs by Gordon Parks

for LIFE magazine depicting an African-American family in

as might be expected, O’Keeffe had her own way of

January 11 through March 1

Montgomery, Alabama, in the 1950s, living under Jim Crow

doing things, famously trashing a peeled pineapple the

Richard Levy Gallery, 514 Central Avenue SW,

laws. These photographs depict realities that we are now all

company had sent to her hotel and explaining in a letter

Albuquerque. 505-766-9888

too familiar with—segregated drinking fountains, shopping

to her then-husband, Alfred Stieglitz, that it had been

Reception: Saturday, February 1, 6 to 8 pm 

mall entrances, and playgrounds. But these full-color images

“manhandled.” In the final advertisement, O’Keeffe

When the influential African-American polymath Gordon

also show evenings of relaxing in the living room, children

depicted an intact, live pineapple, emerging as if from

Parks died, in 2006, The New York Times wrote: “In finding

sprawled on beds, and summer afternoons on the front

the womb of the surrounding tree. O’Keeffe produced

early acclaim as a photographer despite a lack of professional

porch, giving these families back the dignity and humanity

twenty paintings while in Hawaii, capturing flowers and

training, Parks became convinced that he could accomplish

the outside world was set on taking away from them. Parks’

landscapes that eschewed stereotypical visions of the

whatever he set his mind to. To an astonishing extent,

iconic, empathetic images undoubtedly played a role in

islands. Adams’ Hawaii photographs, commissioned

he proved himself right.” By then, Parks had established

moving America’s mindset forward during one if its most

on two separate occasions by the Department of the

himself as a writer, poet, musician, composer, and

troubled eras. Included in the exhibition is the exciting

Interior and Hawaii’s Bishop National Bank, brings out

Hollywood director—best known for the 1971 film Shaft.

addition of twelve previously unpublished photographs that

a side of the state’s cultural diversity you won’t see in

This month at Richard Levy Gallery, visitors can see the

the Gordon Parks Foundation discovered last year in an old

travel magazines.

works that kicked off Parks’ career, a series of photographs

storage box. 

32 | THE magazine

FEBRUARY/MARCH

2014


A N DRE W S M I T H G A LLERY IN C. Announcing a special exhibition at the Andrew Smith Gallery Annex at 203 W. SAN FRANCISCO ST., Santa Fe, NM:

Patrick Nagatani Outer/Inner-Contemplation on the Physical and the Spiritual

Ja n u a r y 3 1 - Ma rch 14, 2014 Reception for the artist: Friday, January 31, 5-8 pm.

Guanyin, 2009 © Patrick Nagatani from The Buddist Tape-Estries

Mahasthamaprapta, 2009 © Patrick Nagatani from The Buddist Tape-Estries

Featuring work from the series Novellas, The Buddist Tape-Estries and his latest work The Race.

Yellow/13 © Patrick Nagatani from The Race

N e x t t o t h e G e o r g i a O ’Keeffe Mu seu m at 1 2 2 Gran t Ave., Santa Fe, NM 87501 5 0 5 . 9 8 4 .1 2 3 4 • www.An d rewSm it h Gallery.com


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

Yoga: The Art of Transformation The Chakras, According to Gichtel

Here in Santa Fe, yoga studios have become more common than grocery stores—whether you think of it as exercise, a form of relaxation, or a spiritual practice, there is a dim room and a soft-spoken, spandex-clad instructor awaiting your attendance. If you boast a textbook downward dog but are pained to admit how little you know about the practice’s ancient origins, a visit to San Francisco’s Asian Art Museum this spring might be in order. Yoga: The Art of Transformation exhibition draws out the practice’s important role within the Jain, Buddhist, Hindu, and Sufi religious traditions. Over one hundred artworks, including sculptural pieces created at the close of India’s Chola dynasty in 1250 and a 1938 silent film of master yogi T. Krishnamacharya, provide a visual exploration of yoga’s history and philosophical roots. Many of the works reveal yoga’s more extreme, even violent side—a painting from the sixteenth century depicts a battle between opposing yogic sects, and a thirteenth century sculpture of Bhairava, the Hindu deity Shiva’s most frightful manifestation, is anything but calming. Yoga: The Art of Transformation is on view from February 21 through May 25 at the Asian Art Museum, 200 Larkin Street, San Francisco. asianart.org FEBRUARY/MARCH

2014

THE magazine |35


F E AT U R E

BODIES IN SPADES

Qatar is a Muslim country. Dogma prevails: generally speaking artists cannot represent the human form. Yet in mid-October last year, Damien Hirst went against the grain, tradition, and possible fatwas to exhibit the contents of the fourteen enormous balloons he had installed in front of the Sidra Medical and Research Center, a building specializing in women’s and children’s health. As Hirst took off the wrappings one by one, thirteen of the balloons turned out to contain the cross section of a gigantic fetus nestled in bas-relief against the walls of its uterus. Thirteen balloons and thirteen fetuses from conception to birth—a series ending in the fourteenth sculpture of a fully shaped forty-six-foot statue of a naked baby boy. Anywhere in the world, these pieces would have been surprising. In this context they were astonishing. Why did Hirst do it? What was Hirst trying to accomplish? To tell us? To make us see? And, why now?

ccoonnttiinnuueedd oonn ppaaggee 4358 FEBRUARY/MARCH

2014

THE magazine |37


WE LIVE IN A DIGITAL WORLD, everyone is a pixel, everyone has eighteen passwords, everyone is connected to someone else who lives out there in cyberspace (if living is what it can be called), and we are all friends. Knowledge isn’t knowledge—it has become information. Meaning is cumbersome and gets deleted because it can’t be programmed. Nothing sticks. Everyone is tapped, recorded, registered, noted, and passed over. Almost. Then Nan Goldin stepped into the Fray. Her visual diary—The Ballad of Sexual Dependency—chronicled struggles for intimacy and understanding among friends and lovers. The piece was finished in the 1980s and it is a visionary study, a collection of photographs that reestablish a sense of our rapport with our real and tangible selves. Reclusive, arcane, a private jewel at the time, recently it has become a staple of the art scene. Featured at the Arles festival in 2008, and at the Tate in London in 2009, the video relentlessly explores the connection between flesh and family, between bones and friends, between skin and lovers, between light and laughter, between the longings of desire and the heartbeat of life. A band called The Tiger Lilies picked up on it, and the narrative was moved along by their voices, their poetry, and instruments. Images ring in your ears. The suffering on view, and the suffering and impotence and solitude, are extended by the score and become real. The ballad is there to remind us that we, too, have something about us that is personal. Even if we have to go to sadness and pain to discover what it (still) is. Empathy. Remember that? Georg Baselitz is another good example of a major contemporary artist for whom the body has suddenly acquired a primordial importance. Three of his pieces were recently shown at the Ropac Gallery, in Paris. They are monumental brass sculptures, made as if of wood, as if of natural materials. They represent bodies, one a cadaver on its hip, a cubist construction, the pieces of what was once a life, pulled together a last time, for display, only lying on the ground, as if beaten down to the last breath. Another work represents a three-figure family who seem to float above the landscape— father, mother, and a child whose small hand rests lightly on an adult’s arm. The gesture is itself beautifully modest and moves the whole work into a moment of art in which far more than representation is at stake. In fact, it moves it into a tradition that began in Egypt where the pharaohs and their queens were also represented with their children lightly holding on to their arms. But this is not a family on its way to the afterlife. This is a family in the afterlife, its soul caught in a last gasp that Baselitz feels, captures, molds, and preserves—a castle of shadows, caught for a last instant by art, throwing a

powerful light on a fortress of feelings that no longer exists. Except in the gallery. Again, as with Hirst, the question has to be, why now? Or consider Antony Gormley, one of England’s finest sculptors. A few years ago, Gormley populated the tops of skyscrapers in New York City with major human figures, like angels overlooking, and looking after the teeming masses below, angels doing what they could for the rush of humanity hell-bent on a destination that didn’t have a GPS reading, at least not yet. In another famous Gormley work, an angel with something like a sixty-foot arm-spread stands on a hillside in Scotland as though wishing that all would be well in the world at his feet. At the same time, and in an opposite manner, in the remarkable show Bodies Unlimited, which opened in Paris last year (curated by Caroline Smulders), Gormley took his statues and transformed them into constructions made of white Styrofoam rectangles, all the same size. Sometimes these blocks were piled together and transformed into recognizable forms, abstract forms of bodies, but more often they were scattered as single pieces, sometimes just one, sometimes four or five pieces as though randomly gathered, or left over after some final blow. “Exactly,” said Gormley when questioned. “Left over, that is what they are, this is what it looks like in the end.” The list of the body sensitive, the body obsessed, and body mourners is long. Keith Haring, Ron Mueck, William Kentridge, Kiki Smith, (Jeff Koons: not everyone is profoundly moving). And we haven’t even touched on body art, with performers like Marina Abramovic, who put their own bodies on the line, escaping the mystery of the rectangle and of the sculptors’ hands by exploring just how far one can take a body into something it isn’t supposed to be doing—like torturing itself, like breathing its own lover’s breath until it nearly suffocates, like sitting still for hours and letting other people try to read their own story into somebody else’s skin and flesh and bones. Or on a different continent, take Zhang Huan, the considerable Chinese artist who leaped to prominence after Tiananmen Square. The collective was dead, massacred by the tanks. What recourse then for art? Sit on a public toilet? Cover yourself with honey? Let the flies feast and meanwhile take pictures, asserting the primacy of the individual in the only place it might still be true, no matter what his condition? Zhang Huan could be speaking for the global reaction to globalization itself. Our bodies used to be all we had. We felt good. We hurt. Regardless, we got up early in the morning, we went to work, we earned money, and we had families. We raised children, we were proud, we were defeated, and the lucky among us sometimes fell in love and even flew a little. Now, whatever the experience, it has been depersonalized, it has been connected. We don’t talk to each other anymore, we converse, conversations by the zillions—all of them knitted up into a Yahoo link that is long enough to hang yourself, and so invisible that people don’t even notice it and hardly wonder why poor Tom, Dick, or Harry did himself in.


F E AT U R E

In Edward FitzGerald’s translation of Omar Khayyam’s the Rubaiyat,

“think-piece.” Sell your programs somewhere else. If you to want to put

it is written, “the moving finger writes, and having written, moves on.”

a seahorse on your ass, because maybe it will help you swim through the

In our world, the moving finger slips across the screen, and having

final flood, then do it. If you want to tell the world you were conceived in

slipped, slips on. While the slur of digital clouds becomes our daily

Idaho by tattooing the words “Idaho Girl” on the sole of your foot, then do

bread, art is doing its best to remember, to buckle down, and buckle

it. Feelings are soldiers. After empathy, hope, anger, courage, and pride are

up with what is left. The next big thing and maybe the last big thing, is

their duty.

us. We must see what we have—this knee, this shoulder, this hip (with

Three thousand years ago the pharaohs went to their tombs in the

or without its metal prosthesis), and this sex. What have history and

pyramids, comfortable with their idea of how their souls would fare over

philosophy and religion and soul-searching brought us? The ice caps are

the centuries. Today’s artists are taking us to our galleries and our museums

melting, everyman has a gun, the local commercial center has become

and our Websites in the same way. This is how our bodies will be viewed

The list of the body sensitive, the body obsessed, and the body mourners is long

the local shooting range, drones pick off enemies ten thousand miles

three thousand years from now, long after the end of the world, as we

away, sea levels are rising, islands disappearing, the asteroids that miss

know it. In spite of all efforts to prove the contrary, to pick one example out

us get closer and closer. Soon we won’t even know what is happening

of billions, a young woman in Texas accused of destroying criminal evidence

because there will be so much information we won’t be able to sort our

because she had an abortion after being raped—in spite of such initiatives,

way through it. Diabetes in America is about to become an epidemic.

the word is out: This is who we are, this is who we were, these fetuses, these

And indifference is, too. Isn’t it normal that millions of Africans will

sorry lovers, these proud tattooed Olympic champions, these bared souls, these

shortly die of hunger? Isn’t evolution also about population control?

bent bones—we are the line in the sand.

You can’t be everybody’s friend. When the end of the world is so clearly written on the calendar of coming events, and when it, too, will only be no more than a blip on a screen (unseen of course, except by the last survivor, who probably won’t have, and won’t need, the strength to push the delete button), art realizes it has a responsibility to toll the bell. Forget the headlines. But don’t forget the bell. It tolls for thee. (Sounding the tocsin, it may even save us, for a

Images: Opening page—Damien Hirst These two pages from left to right: George Baselitz, Antony Gormley, Nan Goldin, and Zhang-Huan Roger Salloch lives and works in Paris, France. He is a writer and a photographer www.anoa-galerie.com. Tropical Disturbance, a new play, is up for a workshop production in San Francisco this spring. Salloch has written regularly about the arts for THE magazine and for Rolling Stone in Paris.

while.) “Don’t fit in is what the bell is telling you. This is you. This finger-trip is where you begin and this finger-trip is where you end. How many tips on your body? Count them. Twenty-eight for boys and the same for girls, only with the girls still counting. The point of view is personal. The writer thinks it is important to make such assertions, even in a neutral and critical

FEBRUARY/MARCH

2014

THE magazine |39


In Pursuit of Cultural Freedom

A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.

GREG GRANDIN with AVI

LEWIS

WEDNESDAY 26 FEBRUARY AT 7PM LENSIC PERFORMING ARTS CENTER Over the course of the last two decades, as Latin America recovered from the Cold War and rejected the economics of neoliberalism, country after country has elected leaders committed to advancing the ideals of liberty, equality, and solidarity. Together, the region has come up with a set of proposals – on inequality, social justice, climate change, and immigration – which provide a blueprint for a sustainable internationalism. Washington ignores these issues and instead continues to lecture Latin Americans on the virtues of “free trade” and national security. Latin America might be the world’s best, and last, hope for a more humane future. — Greg Grandin Greg Grandin is a professor of history at New York University and the author of several books on Latin America, including A Century of Revolution: Insurgent and Counterinsurgent Violence during Latin America’s Long Cold War; Empire’s Workshop: Latin America, the United States, and the Rise of the New Imperialism; and Fordlandia: The Rise and Fall of Henry Ford’s Forgotten Jungle City. Grandin has published extensively on issues of revolution, popular memory, U.S.— Latin American relations, photography, genocide, truth commissions, human rights, disease and political violence. His newest work is The Empire of Necessity: Slavery, Freedom and Deception in the New World. TICKETS ON SALE NOW

ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:

www.lannan.org

FLOYD RED CROW WESTERMAN

BRONZE SCULPTURES EXHIBITION February 13 to February 28, 2014

Presented by Rosie Westerman and Solar Banner

Galeria El Farol

808 Canyon Road, Santa Fe

415-328-4321


CRITICAL REFLECTION

Kamil Vojnar: Elsewhere

Verve Gallery of Photography 219 East Marcy Street, Santa Fe

“I photograph your face. I move your arm. And I don’t know why. I print my pictures, I cut them, glue, paint, scratch, glue again, paint again. I don’t know why. Something is pressing me on. It must be done! I don’t know why!” – Kamil Vojnar

SOCRATES SUPPOSEDLY SAID SOMETHING TO THE EFFECT THAT THE ONLY TRUE run / And I feel just like Jesus’ son / I guess

wisdom consists of knowing that you know nothing.

levitates off a red couch toward the artificial light of a large

Of course, since Socrates himself never wrote anything down

fixture on the ceiling. The sense that this is not a rational or

I just don’t know / And I guess that I just don’t know.”

we don’t really know what he said, though Plato does quote

sustainable position is perfectly palpable.

—Jon Carver

lines with a similar gist in the Apology, his record of Socrates’

In this sense Vojnar is an allegorist for an unallegorical

defense against charges of corrupting youth and failing to

age. How many of our current personal and political

believe in the same gods as his fellow Athenians. While his trial

situations are similar high-wire acts, unsustainably

ended in a sentence of exile from Athens, Socrates trumped

suspended, and fraught with an

his accusers by subsequently choosing suicide, self-imposed

atmosphere of tragedy? His Flying

exile from life itself, via hemlock, rather than any forced

Blind series epitomizes dashed

departure from his home. Or so we are told.

hopes and impossible dreams with

The Taoist philosopher Lao Tzu writes poetically,

its multiple images of fallen or falling

in the Tao Te Ching, “To darken the darkness, that is the

angels and desperate, irrational

gate of all wonder.” This is interpreted as an admonition to

attempts to take to the air. Vojnar’s

wander deeper into the unknown and unknowable as the

technique of multiple printings and

truest source of awe; in other words, to prize above all the

re-printings of the same images

mystery of existence as the true, infinite basis for being.

combined and recombined through

The Romantic poet Keats spoke positively of what he

digital and physical collage, hand-

called “negative capability,” or the ability of the sage and

painted and patinaed, mimics a

artist to accept the fundamental unknowability of reality,

process of constant interpretation

at a time when the European neo-classical thinkers, having

in denial of fixed certainties. As

derived the principles of modern science from Aristotle

Yeats put it, “The best lack all

and his predecessor Thales, thought and sought (foolishly)

conviction, while the worst are full

to categorize, classify, and elucidate in total every knowable

of passionate intensity.” The center

aspect of experience and reality. It didn’t take long, however,

isn’t holding. Our economies, our

before Werner Heisenberg, the German theoretical physicist,

ethics, and our environment are all

introduced his uncertainty principle—essentially that the

incredibly unstable at this juncture,

observer affects the experiment in ways that make objectivity

and without ever saying it explicitly,

impossible. This concept in combination with Swiss physicist

Vojnar

Fritz Zwicky’s widely accepted theories that about ninety-

the

seven percent of the universe is made up of substances

insurmountability

and energies that are nearly imperceptible to humans and

hallmarks of our time. He hints

of utterly unknown constitution, led modern physics to the

with a quiet strength at the cycle

brink of mysticism, where it currently still resides.

of tortures that is the price of our

So, when Czech photographer Kamil Vojnar writes in

elegantly

sadness,

expresses

uncertainty, that

are

all and the

mass delusions.

response to his receiving the Jacob Riis Award for photography

Was Socrates plagiarizing King

that he hasn’t got a clue as to why he is compelled to

Solomon, who some four hundred

construct his especially mysterious images, he’s in excellent

or so years before the Greek

company. His are perhaps the most intriguingly unresovable

philosopher stated, “Fear of God

images I’ve ever encountered. They are by turns haunting,

is the beginning of knowledge”?

neurotic, erotic, deeply disturbing, and stunningly, tragically

Is this what James Joyce meant by

beautiful. While the subject matter broadly defies any

his “Jewgreek is greekjew” line in

fixed interpretations, there are some recurring elements.

Ulysses? For sure, we will never

In general, Vojnar presents narrative bits of dangerously

know. Literature, whether Biblical

achieved or frustrated dreams of power, which, if they haven’t

or Modernist, like all good art, is

already collapsed in failure, are precariously perched to do

never built on certainties. Or as my

so. A tightrope walker balances above city rooftops, plagued

recently deceased hero Lou Reed

by a flock of pigeons threatening to send him tumbling down

puts it in Heroin, his proto-punk ode

from his delicate position. A woman in a diaphanous gown

to smack: “When I’m rushing on my

FEBRUARY/MARCH

2014

Kamil Vojnar, Acrobat (Prague Version), mixed media on canvas, 36” x 24”, 2013

THE magazine |41


Renaissance to Goya: Prints and Drawings from Spain

New Mexico Museum of Art 107 West Palace Avenue, Santa Fe

GOYA’S GAME OF THRONES. WHAT FIRST STRUCK ME ABOUT THIS EXHIBITION of Spanish prints and drawings from the British Museum

There is the low lighting of the prints, due in part to the weak

England (all three will die within three years of each other).

were the crowds. True, it was a Sunday, free to New Mexico

cones of light from the high overhead spots, exacerbated by

Goya’s art after 1790 exemplifies the fundamental Romantic

residents and a draw for tourists on holiday. But I’ve gone to

the dark matte wall shades (resembling ruby red, teal blue,

premise: the primacy of personal, subjective experience—

other major, more contemporary shows at the Museum of Art

ochre) that absorbed whatever diffused light did reach the level

itself a reactive offshoot of the Enlightenment’s elevation of

on a Sunday where you couldn’t rub two guards together, much

of the prints. More problematic, Renaissance to Goya makes

reason and the individual over traditions of church and state.

less visitors. Here, crowds were forming respectful lines that

a better book than an exhibition. In fact it is also a book, by

Heir to Velázquez and, like him, court painter to the Spanish

slowly passed down each row of prints, scrutinizing the images,

exhibition curator Mark McDonald, published by the British

Bourbon kings, Goya’s unflinching royal portraits capture the

consulting the wall text. They were engaged. Why? Of course

Museum Press and accompanying the traveling show. Perhaps

ebb of the old order and the demise of the monarchy. The

the Spanish provenance of these largely Baroque prints speaks

that’s the problem. Viewers contend with a panoply of Spanish

shocking impact of his Third of May 1808 painting, documenting

to the state’s living Hispanic legacy. But my sense was that

prints from the seventeenth to the early nineteenth century

the atrocities of the occupying Napoleonic forces in Spain,

visitors were engaged by the technical virtuosity, poetic subject

whose chronological sequence is subordinated in the show to

is reflected and amplified in the exhibition’s prints from his gruesome Desastres de la Guerra series. Goya’s own title—Fatales consecuencias de la sangrienta guerra en España con Buonaparte, Y otros caprichos enfáticos— underscores the source of his enormous impact on modern art and artists from Manet to Matisse and Picasso: his genius for investing intaglio techniques— principally etching and aquatint—with an expressive line, extreme light-dark contrast, and intense subject matter of individual suffering to yield imagery of enormous immediacy and emotive power—a “yo lo vi” (“I saw this”) that the viewer shares with the artist as eyewitness. Goya’s art does far more than witness (and hasten) the collapse of monarchy and the passing of the Western paradigms of church and state, enshrined in Baroque rhetoric and displaced by the Enlightenment. The prints selected from his four intaglio series from 1797 are his personal testament to the ultimate limits of Renaissance humanism pushed to the eighteenth century enthronement of reason—exemplified in the etching-aquatint El sueño de la razón produce monstruos, whose ambivalent title (“The sleep/dream of reason produces monsters”) arguably points to Goya’s increasingly dark, pre-Freudian visions of reason’s vulnerability to the irrational. Goya’s Spanish Entertainment subtends Manet’s Incident in a Bullring,

matter, and formal beauty of the prints. For today, in an age of

their distribution by region—Valencia 1500-1700, Castile 1550-

and his Figures Dancing in a Circle inspires La Danse by Matisse.

lean and mean, this was indeed a feast for the eyes.

1600, Madrid 1600-1700, Madrid 1700s, Andalucia 1550-1700.

But his depictions of war’s disasters lead directly to Guernica.

We are committed to contemporary art—the good, the

This regional taxonomy lends itself to scholarship, but it has the

Goya’s prints are quintessentially Romantic and

bad, and the oh-boy-is-that ugly—above all, because it’s the art

effect of thwarting any attempt by viewers to visually discern a

profoundly modern. They explore the deeply unsettling

of our times. Some of it is wonderful, too much of it is dreary

stylistic or other critical thread running through the progression

rationalist foible troubling philosophes from Plato to Pogo and

or gritty, weighed down with artless allegory and way too full of

of prints from alcove to alcove. You have to go to the wall text

evoking a core insight of modernism: “We have met the enemy,

itself. But if, to quote the poet Keats (of course I had to look it

(and the book) for that. The single exception to the regional

and he is us.” Goya’s prints move us because they eschew

up), “Beauty is truth, truth beauty,” it’s clear that, for our times,

categories is the Goya section. That is where we can find a

rhetoric and embrace reality. The result is truth. Goya’s truth

Truth has the day shift and the night shift. Beauty (for now) is

context and narrative for this show.

history. At least it’s art history (and most of it).

At his prime in the waning decades of the eighteenth-

The visual and poetic appeal of these (mostly)

century Enlightenment, Francisco José de Goya y Lucientes is

seventeenth- and eighteenth-century Spanish prints and

an exact contemporary of the Neoclassic Jacques-Louis David

drawings is even more striking given the show’s limitations.

in Napoleonic France and fellow Romantic William Blake in

possesses its own eloquence. And that’s the beauty of it.

—Richard Tobin

Francisco de Goya, Figures Dancing in a Circle (from Los Disparates), etching, aquatint, and drypoint on paper, 9 ½” x 14”, c. 1815-19


CRITICAL REFLECTION

Full Circle SITE Scholars 2012-2013

Cloud Five 1802 Second Street, Santa Fe

TO COME FULL CIRCLE IS TO RETURN TO WHERE ONE BEGAN. THE FIRST THING that sprang to my mind, therefore, upon seeing this exhibition’s

figure, perhaps less “civilized,” grabs his crotch. A third element,

while the works are appealingly tactile, their materials suggesting

title, was T. S. Eliot’s pronouncement: “We shall not cease from

beyond the cognitive dissonance between civilized human and

intimate pliancy. The layering produces an effect that is more

exploration, and the end of all our exploring will be to arrive

animal head, is the backgrounds, which have a spacious quality,

decorative than what is suggested by the text and colors chosen.

where we started and know the place for the first time.” We

like clouds, marbled paper, or psychedelic washes of color.

The show looked wonderful in the former Cloud Cliff

presumably “know” the same old place in a fresh way as a result

The segments of painted board are mounted on a wood panel,

Bakery, repurposed as a gallery space. The background color

of our journey, finding it anew because we have been somehow

augmenting the constructed quality of these images, which

and lighting all added to the warm, professional feel of the show.

transformed in the process.

are captivating and memorable. The title suggests trickery or

Other events listed in the small catalogue added to the sense of

The current wise saying “wherever you go there you are”

deception, perhaps because we all embody both the animal and

personal engagement and sensuality that were keynotes of this

points at something similar to what Eliot was alluding to; the way

human within the compass of our lives, yet often are at odds

exhibition. On two Saturdays, Jessica Gulliford drew portraits

things seem to be to the observer is very much a product of how

with our own nature. Hannah Hoel’s First Book of Samuel (red,

of gallery visitors, which they could then take home. The other

the observer is. The one thing we cannot escape is ourselves. Part

white, black), led me to pull out my King James Bible and re-read

event was Lucy Madeline’s Imbibe, in which she produced an

of the appeal of Buddhist philosophy to contemporary Americans

the First Book of Samuel. (Hoel also writes for this magazine.)

unusual concoction of raw, wild cacao, coconut butter, red

is the central wisdom it offers that the self is largely if not entirely a

Having done so, I still wasn’t clear what aspect of the thorny,

rose petals, and coconut sugar, which were ritually blended in a

cultural construct that we reinforce every day through our choices.

contradictory text was the subject of these works. A photocopy

mortar and pestle and offered to visitors. Rich comfort food with

I was tempted to look for commonalities or unifying themes

from the biblical text is covered in places with large red painted

the thrill of the unknown.

in the work of the five artists in this show. They are among those

dots. Over this page (on two of the three pieces) stretches a

—Marina La Palma

chosen for the Scholar’s program by SITE Santa Fe, based on

knitted cotton scrim, one red, one black, with round holes cut

their recent graduation from various art programs; each artist is

out of it. This is difficult terrain—the foundational texts are filled

technically accomplished in the medium she has chosen. But the

with numerous murders and wife-stealings and acts of vengeance,

Hannah Hoel, First Book of Samuel, red paper, acrylic medium, and cotton thread, 18 ¾” x 17 ½”, 2013

works are individualistic and unique, while sitting together well. KaiLani Mayer’s Tapestry, draped and drooped across the entire back wall of the oddly shaped gallery space, is a defiant banner of the discarded. She dispensed lint rollers to friends and family over several months, and then sewed together the detrituscovered used strips, augmenting them with horsehair and red thread. The stitched forms read as something structural and are meant to stand, like bricks; but they are soft, and composed of that which we usually discard. It is a provocative juxtaposition that stays in the mind. KB Jones showed several portraits in oil or oil pastel on linen. In one, a semi-nude pregnant woman is absorbed in her iPhone; in another, a woman in panties half turns toward the viewer from within a painted all-over field of contrasting dots. The dot motif persists in Female Scientists, appearing almost as a halo above one of the scientists’ heads. Clearly, the human figure is central to Jones’ work, whether standing unabashedly at center stage, curled in a fetal position, or head down, absorbed in something we cannot know. Trang Vu displayed large cyanotype digital prints. In several a slender, young female figure, often surrounded with vases full of flowers, is caught in a private dance, her visage turned away or effaced by blurring, shadow, or over-printing. Titles such as Rouge Dream (the dancer wears a red dress) and Nom du Theatre underline the oneiric selfconsciousness. Nine characters, some posed seductively in red spike heels and lacy babydoll dresses, seem far away, in their own world, acting out a personal drama to which the viewer is not party except as invited voyeur. Other prints reference the world of classic photography, with different printing treatments of one subject, such as a full-blown peony. Taken together, this work suggests a reflection on the history of photography. Brandee Caoba’s Smoke and Mirrors is a series of one large and four small paintings on board featuring an adult white male figure sometimes sitting on furniture, wearing a business suit and wearing an animal mask—rabbit, tiger, cat—on his head. One FEBRUARY/MARCH

2014

THE magazine |43


New Works

Niman Fine Art 125 Lincoln Avenue, Santa Fe

THERE IS SOMETHING FOR EVERYONE AT NIMAN FINE ART. THOUGH THE FAMILYrun gallery only represents the three Namingha artists,

paintings are those of Dan Namingha, and comprise

could be observed individually. The sculptures are works

their works are diverse enough to appeal to multiple

mostly abstracted landscapes. The palette of these oil-

by Arlo Namingha, the elder of the two sons. Created

audiences’ sensibilities. The gallery was established

on-canvas works is bold and vibrant. The colors seem

in bronze, various kinds of stone, and wood, the works

by Hopi-Tewa artist Dan Namingha in 1990 to exhibit

to be malleable and as ephemeral as the Southwestern

have an earthen, natural palette. Although the titles

his

trajectory

skies they capture. Visual details and textures are muted

frequently refer to specific, literal subjects, the pieces

for contemporary Native American artists: being

in favor of form and dynamic planes of color. October

are often abstracted beyond easy identification. Instead,

underrepresented or pigeon-holed as such. The gallery

Cottonwoods (2013) depicts a flattened landscape with

the sculptures communicate through form, texture,

continues to exhibit his work, as well as the work of his

golden trees glowing in front of a shadowy mesa. The

and movement. Much of the work is characterized by a

two artist sons, sculptor Arlo Namingha and conceptual

trees are shaded with blacks and greens, while the mesa

compelling duality between materiality and conceptuality.

artist Michael Namingha. While these three men share a

is shaded unexpectedly with a lighter gray. The effect is

For instance, in Clouds #2 (2013), three blocks of Indiana

common family legacy and cultural heritage, they are also

not of darkness, but of intrinsic, shimmering light that

limestone are each carved into geometrical shapes with

distinct artists. Dan and Arlo communicate the spirit of

lingers while the sun descends. A glimpse of orange

one rounded side and subtle, single curved lines in relief.

their ancestry in unique ways, and extend contemporary

peeks through the trees in the center of the landscape—

Their surfaces are polished to a smooth, slightly gleaming

sentiments about Hopi-Tewa culture in their own visual

perhaps an adobe wall—which balances and centers the

surface. Stacked in a balancing column, the sculpture

styles and media. Michael, on the other hand, creates

composition with its earthy warmth. These paintings

expresses real weight and gravitas, calling for reflection

images critical of pop culture and avoids inclusion of

evoke a sense of homeland and reverence for place while

on the meaning of the title.

Native American imagery.

striking a balance between traditional Southwestern

work

outside

of

the

unfortunate

The family legacy began with renowned Hopi potter

imagery and a clean, eloquent aesthetic.

Michael Namingha’s inkjet prints occupy the far end of the gallery, a light, sunny area where the incoming light

Nampeyo (ca. 1860-1942), the great-great-grandmother

Turning to the sculptures, the gallery space is

gleams off of the artist’s polished, Plexiglas-mounted

of Dan Namingha. Nampeyo is credited with revitalizing

somewhat crowded. Since each sculpture radiates a

images. Michael combines photography with text and

the pottery-making tradition among the Hopi and for

certain heavy monumentality, the pieces would be better

color, often contextualizing the text in unexpected,

integrating ancient Sikyátki designs into her own creative

served with ample viewing space so that each piece

provocative ways. Two pieces from his Santa Fe Cliche

style. Dan’s mother, Dextra Quotskuyva Nampeyo (b.

series read HIS BREATH SMELLED

1928), is also a famed potter and artist working within

LIKE GUACAMOLE AND TEQUILA,

traditional Hopi-Tewa style. The Namingha family

(2010) and SHE TOLD ME SHE

represents a break with traditional Native American

COULD FEEL MY AURA (2010). The

artwork in favor of a new aesthetic. Though Dan and Arlo

text floats over a color-saturated

continue to embrace Hopi symbology, all three artists

Santa Fe sunset, a feel-good image

share a modern penchant for a minimalist, abstracted

that contrasts with the irreverent

visual language.

and hollow-sounding New Age-y

An array of sculptures fills the space at Niman Fine Art, with richly colored paintings on every wall. The

sentiment. Though these three bodies of work are distinct and varied, the three artists share a willingness to defy expectations and challenge viewers with unique compositions and insights. They also share reverence for their crafts, evident in their polished techniques and high degree of finish. Whether seeking out Native American arts or not, the experience of colors, textures, forms, and sentiments at Niman Fine Art is rewarding and stands on its own.

—Lauren Tresp

Michael Namingha, Nothing Succeeds Like Excess, pigment print mounted on acrylic plate, 20” x 20”, 2013 Arlo Namingha, Clouds #2, limestone, 18” x 7” x 7”, 2013

Indiana


CRITICAL REFLECTION

Tako Kichi: Kite Crazy in Japan

Museum of International Folk Art 706 Camino Lejo, Santa Fe

IN JAPANESE, TAKO KICHI TRANSLATES ROUGHLY TO “KITE CRAZY,” AND THE ALMOSTyear-long exhibition at the Museum of International Folk Art

Knowing a bit about the characters on the kites greatly aids in

their colorful, exuberantly painted surfaces. Mostly narrative and

explores the delightful tradition of Japanese kite making and flying.

their appreciation. Daruma, with bulging eyes and stern, brooding

often depicting symbols and design elements native to their area

For centuries, Japan’s people have flown elaborately decorated

mouth, appears repeatedly. Legend has it that he was the founder

of origin, the kites also feature warriors, gods, and heroes that

kites for fairs, competitions, and community events, but most

of Zen Buddhism. He was an Indian guru who traveled to

come from Japanese folklore. Just as many of the kites depict

often simply for fun. This outdoor activity attracts young and old

China and meditated ceaselessly. Meditation is difficult, though,

animals, beloved for associated traits of longevity, wisdom, and

alike, and is dependent on skilled artisans to construct and paint

and sometimes downright exhausting—once Daruma lost his

other attributes. The crane and tortoise, synonymous with

the kites. The long-running exhibit is displayed in the Museum’s

concentration and fell asleep. When he awoke, angrily determined

long life, appear on many kites. Depending on the region, other

Bartlett Gallery, whose deep-blue walls make an elegant

to never drift off again, Daruma cut off his eyelids and threw them

animals make appearances as well: the fugu, or blowfish—a

background for the hundreds of kites on view.

into his garden. They grew into a potent tea plant, and to this day,

creature important to the cuisine and livelihood of fishermen in

it is said that Zen monks may drink strongly caffeinated teas to aid

the Chugoku area of Japan—figures prominently on kites made

them in conscientious meditation.

in that region.

Whole festivals are structured around “kite battles,” in which large teams of villagers fly gigantic kites from opposite banks of a river. The kites, of course, become tangled, and fall

Traditionally, Japanese kites were crafted with a frame

Not surprisingly, kite-making practices and designs vary

into the water. A town-wide tug-of-war ensues, and the team that

made of split bamboo that was layered with handmade washi,

according to their region of origin. The Museum organizes

manages to snap the line of the other team’s kite is the winner.

or mulberry, paper. What truly makes these kites so glorious is

the exhibition this way, transforming the show into a veritable Japanese geography lesson. Kites of various sizes and shapes in bright, kaleidoscopic colors are hung chock-a-block across the tall gallery walls—a dramatic presentation that cunningly references the energetic, sky-high aspects of the objects on display. An area of the exhibition space devoted to miniature kites was especially pleasing. Kites the size of postage stamps were nevertheless elaborately decorated, and inch-long spools of extra-thin kite string were enough to make this dollhouse enthusiast swoon. Some of the kites were so tiny they were placed in clear, corked bottles that were no bigger than thimbles. Used as toys, collectibles, or simply as decoration, these precious ornaments speak to a culture long devoted to beauty for beauty’s sake. Learning about cultures and traditions of foreign countries, especially a nation that places as high a premium on aesthetic development and expression as Japan, is an illuminating exercise. This exhibition taught me that for the Japanese, kites are a playful and creative aspect of their tradition-heavy culture. It’s an activity for letting go and celebrating—void of hidden messages and requiring little need for analysis. It’s simply a delightful way to spend a day outside, with friends or alone, with a beautifully painted butterfly or samurai soaring overhead. This pleasant show isn’t revolutionary or mind-altering, but it gives a thoughtful glimpse into a centuries-old tradition that made me want to… well, go fly a kite. In addition to hands-on activities (a kite-making station was placed prominently in the front of the exhibition space during my visit in late November), the show features mounted iPads interspersed throughout the gallery that allow viewers to explore key points of interest in an easy-to-navigate format. If you missed lectures, programs, and workshops associated with this exhibition, not to worry. This spring there will be several events, such as an Asian New Year celebration and a kite-making workshop and demonstration. (To learn more, contact Felicia Katz-Harris at 505-476-1221 or felicia.katz-harris@state.nm.us.)

—Iris McLister

Hirosaki, Tsugaru-style kite painting, Aomori Prefecture, Thoku Region, Japan, mid-20th century. Courtesy of David M. Kahn

FEBRUARY/MARCH

2014

THE magazine |45


The Taos Municipal Schools Historic Art Collection

Harwood Museum of Art 248 Ledoux Street, Taos

MY FAVORITE WAY TO GET FROM ONE FLOOR TO ANOTHER AT TAOS’S HARWOOD Museum of Art is to take the back stairwell. It often reveals

to the bombers’ windows, offering beautiful sparkle within

words like Participate, Imagine, and Contribute on the risers

surprises. Once there was a very funny home movie—looping

this sinister subject. In keeping with the educational theme,

of some of the individual steps. The landing, with its original

on a monitor at the bottom of the stairs—of Taos painter Ila

Brenneman presents an entire wall of paintings that allow us

adobe wall exposed, is a mini schoolroom with a child-

McAfee with her “performing” cats. Another time, on the

to compare and contrast styles of trees, including those by

sized low table and four chairs and a chalkboard on the

second floor landing, there was a terrific exhibition preview

Joseph Amadeus Fleck, Alfred Morang, and the vertical slashes

wall. The table is stocked with crayons, chalk, pens, pencils,

featuring works from something called the Taos Schools Historic

that depict not only the coyote fence in front of us but also

sketchbooks, and composition books. Visitors are invited to

Art Collection. What historic art collection?

the distant stands of mountainside pines in Earl Stroh’s Green

write a poem inspired by a work of art or to describe the kind

The museum’s full-blown exhibition answers that

Hills. A grouping on another wall lets us study the mountain

of art we might like to collect. We can even vote for our top

question, and most of the nearly one hundred historic paintings

renderings and beautiful skies of Charles Reynolds, Kimball

three favorite paintings. Within the gallery Brenneman used

are on display. The collection’s origin dates to 1948, when

Blood, John DePuy, and Charles du Tant.

periwinkle blue on some of the walls to pull our eye across

local artists were invited to exhibit their work during a PTA

And there are other wonderful surprises in this

the room on one diagonal and then she switched to several

convention. The keynote speaker mistakenly thought the

“classroom.” Ford Ruthling’s Goat, for example. The perfectly

darker-blue walls to pull us toward that back stairwell. A clever

exhibition was a permanent collection and congratulated

charming sage-green beast munches hay contentedly while

strip of wooden molding runs along the walls above the art to

the community for providing such inspiration to their school

listening to the musings of a blue duck. The goat’s back is

help create the schoolroom feel. I was instantly transported

children. This prompted several community members to solicit

decorated with thirteen vintage flowers in antique rose, and

back to the art gallery on the New Mexico State Fairgrounds

paintings from local artists to create just such a collection. The

the space around the duck and the goat’s head radiates white

in Albuquerque where paintings were always hung above one

list of works reads like a Who’s Who of Taos artists, from

light. The star of Emil Bistram’s Ranchos Church is not the

another in columns of twos and threes, rather like a classroom

Mary Blumenschein to Emil Bistram to Cady Wells to Andrew

church at all. It’s the shadow of a nearby cross that stretches

with its walls covered in visual aids.

Dasburg. Despite many mishaps and disappearances over

across the foreground. Here is the iconic view of the iconic

The front entrance to the exhibition features a wall-sized

the years, only fourteen of the original paintings are currently

church from its iconic side, but it’s the cross slicing in from

1950s photo of the Taos Municipal Schools Future Business

missing. There is a beautiful example of Rebecca Salsbury

somewhere else that disarms the viewer. By far the biggest

Leaders of America. These larger-than-life images are some

James’ use of reverse oils on glass called The New Plant. Her

surprise of all for me is Crusade #1 by Inez Shearer. Little

of the very pupils who benefitted from having this art in their

colors for the adobe house, turquoise trim, and aqua sky are

is known about Shearer, but her use of bold color, and her

midst. Nearby, a fifteen-minute video by Kathleen Brennan

Southwest-perfect with a single red geranium drawing our eye

figures’ sad, elongated faces make us want to see more of her

presents an edited oral history interview of Jane Mingenbach

inside the window. Curator Jina Brenneman uses Salsbury’s red

work. She manages to create emotional depth in the angel’s

as she tells the story of how the collection was formed, lost,

flower to lead us along the wall through the red paint highlights

face by using only three simple lines, and even the character of

and rediscovered. The paintings are now on long-term loan

in the sky and mountains of Stan Aiello’s Green Brew and on into

the deer’s upturned face tugs at us.

to the Harwood Museum of Art for conservation, care, and

Cady Wells’ Landscape with its ruddy hillsides.

Not only do Brenneman and director of museum

Dorothy Brett’s Outward Bound surprises us with her use

learning Rebecca Aubin use that back stairway effectively,

of oil and glass. There are three bomber planes flying through

they also create the ambiance of the one-room schoolhouse

gold and grey clouds of smoke while dovelike propeller planes

throughout the second-floor’s Peter and Madeleine Martin

dance around the bombers. Brett has applied bits of glass

Gallery. I did take those back stairs and was greeted with

exhibition.

—Susan Wider

Ford Ruthling, Goat, watercolor on paper, 14” x 18”, 1959 Dorothy Brett, Outward Bound, oil and glass, 29” x 39”, nd.


CRITICAL REFLECTION

Andrea Broyles: Cross Roads

Studio Broyles 821 Canyon Road, Santa Fe

ANDREA BROYLES’ SMALL STUDIO ON CANYON ROAD IS A RICKETY OLD SPACE with two, arguably three small rooms. It is her studio

own home. If the body acts as a site from which to

and her gallery, within which her latest show, Cross

understand the world, then Broyles’ findings convey

Roads, opened in early December. Broyles moves

a grim phenomenology—one that feels honest if not

from sculpture, installation, drawing, and painting

downright revealing.

with an identifiably consistent aesthetic, presenting

The Waiting’s empty horizon is reversed with

a solitary, introspective figure amid a vast, dry

whitish-blue air and a marine-blue ground upon

landscape. Her figures verge on the primitive but

which a vertical body roots. Long brush strokes span

are always intentional, and the artist seems staunchly

from shoulder to toe blocking out the figure that is

unconcerned with facial features and physical details.

nonetheless emotive despite lacking eyes, fingers,

The body ’s inside and outside are rendered in the

toes, and any physical creases. She is a nonsexual

same rough pigments with a contour that separates

female, bound by a thin line that circles up around the

merely for the sake of divvying up the elements.

body like a cast spell or barbed wire, and although it

The two piles of rocks sitting outside her front

does not constrict or injure, nevertheless keeps her

door are in fact two heaps of cast clay and porcelain

legs together, arms by her side, posed, and waiting.

breasts—the nipples get lost in the mounds and the

Waiting becomes a noun: the waiting. The lack of

mounds get lost in the multitude. Earth and body

facial features is not a harmless decision. It’s not that

fuse. Broyles made them in response to the ancient

the figures could never see, but more that they seem

habit of stoning women in the Middle East. Stamped

to become blind by the hand of the artist. The paint

upon the surface of some breasts in big capitals are

conceals identity and forces erasure—anonymity to

the words “HATE” and “WHORE.” She turned the

an extreme.

objects of abuse into earthen, bodily shapes that

In Chrysalis, Broyles literally covers the eyes of

read like gravestones but also suggest cutting into

a nearly life-size ceramic sculpture in the corner of

skin with words reminiscent of a self-reflexive

the gallery. The figure is fully wrapped by a snaking

female psyche at its worst. Ultimately the

white coil that looks like a hive or cocoon from which

viewer is meant to throw the “rocks.” This is

something will emerge. Only the nose and mouth

where Broyles’ work gets most political and

are visible as if for airflow or confession, and she

most “female” although the pieces inside the

looks at once like a prisoner and an egg sac about to

gallery are in essence probing, contemplative

transform and flutter away. Chrysalis teeters between

self-portraits. Dealing with the body is a

mummification and coming into being, between the

charged practice for any female artist and

anonymous and the social, and ultimately between

Broyles handles it with graceful subtlety.

death and life.

Paintings like Blue Hour and The Waiting,

In the show ’s title piece, Cross Roads, a

both oil on board, show a particularly blue

ceremonious installation made of black sand poured

palette that invokes a morose appetite.

in the shape of a Greek cross affects the entire

In Blue Hour, a dark grey figure amassed

show. It takes up the entryway, forcing the viewer

from broad, fuzzy brushstrokes stands

to walk around it. Malformed clay feet look like

to the side of the square board. It kind

chunks of earth but are clearly arranged in pairs

of leans inward—tall and central against

that “walk” toward the center of the cross. The

an empty horizon of icy blue ground and

piece is a little literal, but is the only one to really

foggy slate-blue air. It’s a vacuum of space,

involve another individual, a partner, and thus social

almost romantic and awesome, but jolted

engagement; another pair of feet is necessary to

by a vertical line where two boards align to

walk the other line and the feet are even different

create the surface upon which it’s painted.

sizes. Cross Roads so strongly prompts ideas of ritual

Materials are always present in Broyles’

(in which the participants walk across a metaphorical

work. They ’re apparent, raw, unfinished

threshold) that it characterizes the whole show

around

with a repetitious, cyclical practice—a reading both

the

edges,

uneven,

maybe

repurposed, often viscerally dry, so that

compelling and unavoidably female.

the viewer never forgets where the work

—H annah H oel

came from. Blue Hour has the existential isolation of an Edvard Munch portrait: the person is always alone even in his/her

FEBRUARY/MARCH

2014

Andrea Broyles, Chrysalis, ceramic, 56” x 14” x 6,” 2013

THE magazine |47


High Desert Test Sites 2013

Michael Bisbee Studio, Magdalena Ridge Observatory, Warehouse 1-10 Magdalena, New Mexico

INTERNATIONALLY KNOWN ARTIST ANDREA ZITTEL, AND FOUR COMPANIONS, began the High Desert Test Sites series eleven years ago in

recent water crisis by partly delving into the surface appeal

extensive caravan of people, both Magdalena residents and

the area around Joshua Tree, California. Zittel has an

of water with its reflective and refractive nature. His Untitled

out-of-town visitors, who made it to the top. Here is where

extensive history of doing projects that have a clear social

projection might have seemed almost too beautiful were it

we met the very welcoming arms of Big Science, with all its

trajectory and a philosophical emphasis on relational

not for the actual skull of a four-horned sheep that hung on

far-reaching, data-gathering capacities, along with its unusual

aesthetics. Her work is often accompanied by objects

the wall and dominated the hypnotic movement of waves.

willingness to become an accomplice to art.

that one could utilize in a desert environment, such as

The skull’s dimensional presence against the flat projection

The newly established alternative art space, Warehouse

various forms of portable shelter. Many of Zittel’s personal

cast shadows that at first made me think there was a huge

1-10, begun by Magdalena artist Catherine DeMaria, was

inclinations for making art were transferred to the

black spider on the wall. It was as if the lyrical nature of

the matrix for an experimental play, The Journal of Missionary

underpinnings of the High Desert series, and what evolved

water met a messenger from the underworld insinuating its

Linguistics, by California writer Alisha Beth Adams. The

was an ever-expanding mix of individuals working with

grave narrative that, as New Mexicans, we all are caught

performance was essentially an early read-through of a work-

spaces that had cultural, social, and geographical possibilities

between what we would like to take for granted and what

in-progress, yet the piece never felt that it had a nebulous

previously ignored. Participating artists gravitated to sites

is, in fact, staring us in the face: water’s imminent scarcity if

hold on its sophisticated and captivating themes. Performed

like old drive-in theaters, mysterious rock formations,

not its out and out demise.

by Marisol Miller-Wave as the character Fay, and Lake Sharp

decrepit or abandoned towns, desert gulches, and old

The extremely non-traditional site was in the guise of

as Charity, the plot concerns two Christian missionaries at an

mining camps. One artist from last October’s HDTS 2013

the Magdalena Ridge Observatory, perched at ten thousand

unspecified time in the last century, and the pitfalls inherent

created an invisible restaurant out in the middle of nowhere

feet and reached by a steeply winding and treacherous

in trying to translate the ideas of one culture into another

in the California desert that people could nevertheless find

road. (The observatory is connected to the New Mexico

more resistant one. In this case, the episodic story involves

with the aid of a cryptic map.

Institute of Mining and Technology based in Socorro.)

Native Americans in the Southwest and two Anglo women

The projects from HDTS 2013 were, geographically

The MRO is where California-based sound artist Chris

who attempt a clumsy dance, with its sometimes mutually

speaking, the most ambitious yet and, though they began

Kallmyer presented his mountaintop piece This Distance

exclusive steps, regarding both cross-cultural and inter-

as usual around Joshua Tree, they also encompassed

Makes Us Feel Closer, a concert of car horns, pre-recorded

personal relationships. Indeed, it is this word translation,

sites along Route 66 and culminated in pieces created in

and computer-controlled. Kallmyer’s subtle and haunting

traducere, that is emphasized throughout Adams’ writing as

Albuquerque, Belen, and Magdalena. The sites in Magdalena

music drifted out into the dusk over the spectacular

Fay and Charity slowly reveal their own histories—filled with

ranged from a more traditional space, such as the studio of

landscape. The land fell away at our feet as we looked to

secrets, revisionary thinking, and outright mistakes. The two

Michael Bisbee, to a mountaintop. Bisbee showed a series

the west of the ridge and, as the sun went down, a full

women dig deeply into the “dysfunction of the faithful” as

of video pieces that were all part of one installation and

moon rose at our backs. Shadows deepened as we carefully

the play deconstructs, in a backward cascading fashion, the

addressed the seductive properties of water while also

picked our way back and forth near the low-throated car-

uses and misuses of language, revealing itself as the primary

implying something deeper—the potential absence of water

horn music that came to seem like foghorns drifting over an

meaning of Adams’ play.

with its accompanying psychological chill generated when

ocean of empty space, where the distant mountains looked

—Diane Armitage

water disappears, as it did in Magdalena this past summer

like faraway cresting waves. One would be hard pressed to

at the height of New Mexico’s ongoing drought. A painter

envision a more dramatic setting for a sound installation,

by training, Bisbee felt the need to investigate Magdalena’s

and, contrary to what you might think, there was an

Michael Bisbee, Untitled, video still with skull, 2013 Alisha Beth Adams, The Journal of Missionary Linguistics, detail of performance with Lake Sharp (left) and Marisol Miller-Wave, 2013


CRITICAL REFLECTION

Samurai Arts

Ellsworth Gallery 215 East Palace Avenue, Santa Fe

THE SAMURAI ARTS EXHIBITION AT ELLSWORTH GALLERY FEATURED pristine relics, regal weaponry, and garments worn by

artifact room of the British Museum than a contemporary

the scrolls, as they can be attributed to actual Japanese

the samurai class are the main features of the Samurai

art space in Santa Fe. The weaponry and armor comes

artists.

arts exhibition at the Ellsworthy Gallery in addition to

from collections in Japan, France, and New York, and are

One of the smallest items is the tsuba, the sword-

photography chronicling the end of one of the greatest

impressive in terms of their preservation. The works in

guard at the beginning of the hilt of a takana. On close

eras in Japanese history. y. The show paid homage to

silk, embossed leather, horn, copper, and iron glimmer,

inspection, the guard depicts forest imagery and the

a hermetic culture that had a great respect for the art

much like lights bouncing off the water of Tokyo—once

characters of the clan of the samurai who owned it.

of war, but also for the process of creating intricate,

called Edo—Harbor. The show weaves a narrative

Adjacent to the tsuba is the tessen—an armored fan made

functional, and spiritually symbolic works. A darkened

about a society of warriors and craftsmen who had a

of iron and paper, which could be used to block an enemy’s

room to the left of the main gallery space felt more like an

deep interest in symbolism and the beauty and necessity of

sword advance. The fan is adorned with lotus petals

functionality. Many of the artifacts reveal a deeper

and cherry blossoms, a unique intersection between its

understanding of Japanese culture, including

function in violence and its aesthetic beauty. The majority

the influence of Shinto—the

of these objects come from the Edo period, a time when an

indigenous spirituality of

attempt was made to fully unite Japan under the Tokugawa

Japan—and of Buddhism.

Shogunate. Leaders from local provinces were forced to

integrated

move to the modern capital and port Tokyo, formerly Edo,

the beauty of their religion,

as a means to create a subjugation of commoners and an

culture, and landscape with

extrapolation of material wealth. Due to this movement

the functionality of the

of the ruling class, the Edo period was a period of civil

armor used in war. The

tension between warring regional tribes, known as daimos,

The

samurai

intricately

which were comprised of combative clans and militia who

adorned with gold leaf

often went into battle against each other while the ruling

and elegant images of cherry

Shogunate class turned its head and looked the other way.

blossoms, ocean scenes, and

This created an increase in battles where allied clans would

potent symbols of the samurai

turn on each other in the heat of combat, communicating

era in Japan. Several animals,

through scrolls mounted on the back of their armor.

including cranes, which suggest

The instability and the gravity of the violence of the era is

pieces

are

testament

seen best in the Tosei Gosuku, the full-battle armor that is

to the traditional hawking and

fortified with iron, leather, and lacquer. On the back of the

longevity, martial

hawks—a arts

peacocks,

in

Japan—and

which

signify

elegance and wealth, are the

lacquered plate are two small iron hooks used to mount scrolls to communicate who was winning a battle, or when an alliance had disintegrated or emerged.

most prominent symbols in

Underlying motifs of the exhibition are suggestions

the exhibition. From the stance

of the looming breakthrough of the Western world into

of art history, the most

this isolated society. The jinbaori—a war surcoat worn

important pieces in

by a general—is comprised of bone, silk, and, most

the exhibition are

importantly, imported European wool. This was the first time European goods had been used in Japanese attire. A more obvious indication of the invasion from the outside is seen in the photographs in the exhibition. Western photographers introduced the medium to Japan, and the studio recreations of actual samurai in battle give insight into the faces of the warrior class. When the Edo period ended, in the late nineteenth century, western photographers rushed to Japan to document a culture that would dissipate rapidly. A dynamic, hand-tinted print of a samurai archer offers an understanding of the collective respect for the performers of battle.

—Drew Lenihan

Samurai Battle Armor, c. 1680

FEBRUARY/MARCH

2014

THE magazine |49


500+ full-color images in 260+ pages 4000+ artists indexed to their galleries Gallery, Studio & Museum profiles Detailed street-by-street maps Informative articles Dining & lodging resources Glossaries of art terms

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GREEN PLANET

winlov.org Andrew Wallace, Matthew Wallace, and Jesse Cummins rode their bicycles 4,997 miles from Washington State to Virginia Beach to bring consciousness to the issue of human trafficking. They are making a documentary about their journey. www.winlove.org Photographed in October 2013 on I-40, in Arizona, by Jennifer Esperanza FEBRUARY/MARCH

2014

THE magazine |51


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

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

Collapsed Adobe Near Ojo Caliente photograph by Guy Cross FEBRUARY/MARCH

2014

THE magazine |53


WRITINGS

Reincarnate by

Renée Gregorio

we could be trees grown next to each other only I’d have to be quiet sometimes, you said, and I said you’d be one of those trees that never stop swaying, and we could be the harsh resonant beat of drum, skin stretched taut and the stick we could be Coho salmon in Eagle Nest Lake fished for through 20-inch-thick ice we could be the lake itself we could be the smoke in the air between us in the Ford pickup we could be the way the road winds we could be etched fish and bird in stone we could be parallel lines on the highway we could be the singing bowl and the wood that elicits its sound we could be hungry, on the streets, our palms up we could be snakes in desert grass, the dust from starts, the tail of a comet, the nouse under the bed, the road on a map, just hands, just mouths, just eyes we could be manatees, crows, swallowtail butterflies, the new moon, or blood and bones again, searching the root of the other we could be.

“Reincarnate” is from the volume Love & Death: Greatest Hits (Tres Chicas Books, El Rito, NM, $15), with poetry by Renée Gregorio, Joan Logghe, and Miriam Sagan.

54 | THE magazine

FEBRUARY/MARCH

2014


Emmi Whitehorse

c h i a r o s c u r o 702 1/2 & 708 CANYON RD AT GYPSY ALLEY, SANTA FE, NM

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The magazine - Feb 2014