THE magazine December 2014- January 2015

Page 1

Santa Fe’s Monthly









of and for the Arts • Dec./Jan. 2014-15

Photo Credit: Wendy McEahern Photography

53 Old Santa Fe Trail | Upstairs on the Plaza | Santa Fe, NM | 505.982.8478 |

C ON TE N T S There are the books that make you think, the books that make you see, and then there are the books that make you hear. American Spirit: An Exploration Of The Craft Distilling Revolution, by James Rodewald, is a book that makes you hear. Between 1998 and 2009 Rodewald was drinks editor at Gourmet. In 2012 Rodewald traveled around the country, asking craft distillers questions and listening to their artisanal answers. “I didn’t like rum for the longest time,” says Lance Winters, owner and master distiller at St. George Spirits in Alameda, California. “The best of the rums had a strong molasses quality, and that was okay, but it wasn’t anything to scream about. Molasses is good as a flavoring agent in a dish, but there’s nothing for me to love about molasses. Sugar cane, on the other hand, is good beyond the sweetness.” Here’s my recipe for a dynamic evening: Buy a bottle 03 letters of Hillrock Estate’s Bourbon, Clear Creek

14 universe of: artist Dirk Kortz 20 art forum: The Merry-Go-Round by Mark Gertler

Distillery’s Poire William Eau de Vie, Santa Fe

23 studio visits: John Vokoun and Mark Spencer 25 one bottle: 2001 Château de Lascaux Rouge by Joshua Baer

Spirits’ Apple Brandy, or Balcones Distilling’s

27 dining guide: Cafe Fina and Thai Vegan 31 art openings

Baby Blue Whiskey. Build a fire in your fireplace.

32 out & about 37 previews: Tom Birkner and Don Stinson at Gerald Peters Gallery and Red at Turner Carroll Gallery

Light it. Curl up on your couch. Pour yourself

39 national spotlight: Robert Altman at the Museum of Modern Art 41 feature: Best Books 2014

a glass from one of the bottles listed above.

49 critical reflections: Coyote Deconstructed at GF Contemporary; Erika Wanenmacher

Open a copy of American Spirit. Start sipping.

at Phil Space; Polígrafa Prints at Zane Bennett Contemporay Art; Eugene Newmann at David Richard Gallery; Fall Group Show at Chiaroscuro; Figurations III at Nüart Gallery; Francisco Benítez at Santa Fe Community College; and Yves Klein and Lucio Fontana at the Museum of the 20th Century, Palazzo Reale, Milan, Italy

Start reading. Read the quotes aloud. It will be

59 green planet: In the Round: A Collaboration bsetween Ai Weiwei and Contemporary Native American artists, photographed by Jennifer Esperanza

a night to remember.

62 writings: “Still Life” by Tony Hoagland

61 architectural details: Agnes Martin Studio, Taos, 2002, photograph by Guy Cross


magazine VOLUME XXII NUMBER VI WINNER 1994 Best Consumer Tabloid





After the History—167 Years of Dysfunction: An exhibition of works by graduating students in the Santa Fe University of Art and Design’s studio arts program. On view at the SFUAD’s Fine Arts Gallery, 1600 St. Michael’s Drive. Reception: Friday, December 12 from 5 to 7 pm. Image: Randy Ortiz Martinez.

TO THE EDITOR: When I saw your November cover with young girls—some dressed, some naked—the word “pedophile” immediately came to my mind. I was shocked and thought that this is a very, very strange cover for THE magazine. How could this cover possibly have anything to do with art? Reluctantly, I decided that I should read the article, no matter how offensive I might find it. After reading it, I realized that you cannot always judge a book (or a magazine) by its cover. Ms. Armitage pointed out several facts about Henry Darger that altered my initial perception of him. Quoting Armitage, “Darger was utterly masterful in his use of space, color, and texture, and the various tableaux of bodies and gestures and facial expressions of every description... his work was generated from his own private ocean of mysticism, filled with marvelous and complex revelation...” some art historians and aficionados say that Darger is not only one of the most influential outsider artists, but one of the most important contemporary artists as well. After reading Armitage’s article a second time, I went online and Googled “Henry Darger.” I found a massive amount of information about him on the Web. My final conclusion is that Darger was a recluse, an isolated and solitary soul with a wild imagination; he was a true artist and certainly not a pedophile. —NICK RIETMAN, VIA EMAIL



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: Web address: 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.



TO THE EDITOR: Diane Armitage did a top-notch job on her Henry Darger article. I have had the oppotunity to see Darger’s work at various outsider art fairs over the years, and, yes, he created an absolutely amazing body of work. Armitage’s understanding of Darger’s life, art, and his place in the art world was right on the mark. Make no mistake, Darger was not a damaged person, as some have said. He was an artist with a unique vision of the world he knew. —R.L. GELMANN, VIA EMAIL TO THE EDITOR: Although the exhibition Inside Out was only open for a total

of eleven hours, it was well attended by the community— from Mayor Gonzales and our state representative Brian Egolf to many of Santa Fe’s established artists and collectors. The exhibition featured the work of Santa Fe residents who are being treated for mental illness. All of the sales, and there were many, went directly to the artists. For most of the artists, it was the first time to see their work professionally framed and in a gallery. Held at James Kelly Contemporary, a big thanks goes to Jim Kelly for allowing this exhibition to take place in the middle of his current show, and to Stephen Husbands, the gallery manager, who took down the Matt Magee show, helped install Inside Out, then rehung Matt Magee’s show. Many of the framers in Santa Fe donated the framing so that the show benefited the gallery. Special thanks to Gavin Collier & Company who went the extra mile in helping with the framing. The work in the exhibition came from three sources in Santa Fe: Casa Milagro and Casa Cerrillos, who provide housing and support services for adults being treated for mental illness, and the Clubhouse at Lifelink, a drop-in center providing support services as part of St. Elizabeth Shelter for the homeless. Inside Out was part of National Mental Illness Awareness Week and both the mayor and governor signed proclamations of support. You can view images from the exhibition at We hope that the exhibition will be up longer next time so more people can see the wonderful work these artists have created. —BRUCE VELICK, INSIDE OUT CHAIRMAN, VIA EMAIL TO THE EDITOR: Thank you THE magazine fo sending a PDF of Lauren Tresp’s review of my show at Hand Artes Gallery. Please let Ms. Tresp know how much I appreciate her sensitivity to my life and work. In fact, reading her review makes me feel like it’s all been worth it. Should Ms. Tresp make it up to Truchas, I’d love to share a bottle of some good red and a bit of the sweetness that Truchas has to offer. —JEANE GEORGE WEIGEL, TRUCHAS, VIA EMAIL

the magazine | 5

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.



Gary Shteyngart was born in Leningrad, U.S.S.R., in 1972 and immigrated with his family to New York at the age of seven. Speaking of fellow Soviet Jews coming to America under Jimmy Carter, Shteyngart deadpans: “Russia gets the grain it needs to run; America gets the Jews it needs to run: all in all, an excellent trade deal.” His recent memoir, Little Failure, equal parts hilarious and heartbreaking, chronicles his early memories of the Solomon Schechter Hebrew School in Queens, New York through university years to his present status as an

Karen Russell is a novelist and short story writer and was one of The New Yorker’s “20 Under 40” in 2010. Her debut novel, Swamplandia!, is set in Ten Thousand Islands off the southwest coast of Florida and tells the story of the Bigtrees, a family of alligator wrestlers who live in a theme park. Praised by Carl Hiaasen as “both shimmering and stark,” Russell’s first novel was subsequently adapted into a series on HBO. A recipient of a 2013 MacArthur Foundation “Genius Grant,” Russell is also the author of the story collection St. Lucy’s Home for

established (albeit insecure) writer.

Girls Raised by Wolves as well as the recent Vampires in the Lemon Grove.

…a testament to Mr. Shteyngart’s abilities to write with both self-mocking humor and introspective wisdom, sharp-edged sarcasm and aching—and yes, Chekhovian—tenderness. –Michiko Kakutani of The New York Times on Little Failure

Ms. Russell deftly combines elements of the weird and supernatural with acute psychological realism; elements of the gothic with dry, contemporary humor. From apparent influences as disparate as George Saunders, Saki, Stephen King, Carson McCullers and Joy Williams, she has fashioned a quirky, textured voice that is thoroughly her own: lyrical and funny, fantastical and meditative… –Michiko Kakutani of The New York Times on

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Above left: Ansel Adams, Point Sur, Storm; Big Sur, CA, 1946; Gelatin silver print, 19.5x15”; Courtesy Ansel Adams Publishing Rights Trust. Above center: Ernest H. Brooks II, Pirouette; Santa Barbara Island, 1993; Gelatin silver print, 18.25x18.75”, 1998, ed. 1/50; © Ernest H. Brooks II. Above right: Dorothy Kerper Monnelly, Melting Ice; Ipswich River, Boxford, MA; Gelatin silver print, 20x16”, 1994; © Dorothy Kerper Monnelly

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DIRK KORTZ—BEST KNOWN FOR HIS PAINTINGS OF BLUES MUSICIANS AND CIRCUS SIDESHOWS—grew up on the East Coast where he studied painting, film, and creative writing at Fairleigh Dickinson University in New Jersey. Kortz works in series, approaching each new group of paintings with two or three images in mind and a general idea of the composition. The images do not have to relate to each other in an obvious way, but they must have some kind of resonance for him. Kortz’s paintings, collages, assemblages, and woodcarvings are included in many collections throughout the United States and abroad. DISPARATE IMAGERY


In a sense there is no completely disparate imagery because

Many artists have periods when they do very different

the mind can make associations between any two or more

kinds of work. I never seem to completely get out of

images. You might call two images disparate if you are

my periods and do them all more or less simultaneously,

unable to connect them, but that’s usually because you are

even though the newest work always takes the lead.

trying to make familiar associations—that is, literal ones,

This has been a problem in a way, but whatever

the kind that you can explain to yourself. There’s nothing

I may think about it, that’s just the way I do it. Making

wrong with that, and I’ve obviously depended on it in my

one highly recognizable type of work is wiser in the

earlier work, but that’s not the kind of associations I’m

commercial sense as it tends to “brand” an artist.

interested in in my recent paintings. I think of it more as

It works well for some, but for me it just feels stifling.

‘resonance’ than association.

I still go outside and make objects out of wood, even though it has been twenty-five or thirty years since I


did that seriously.

Explaining the new paintings seems self-contradictory since I do not want them explained in the sense that


we normally use that word. I even titled one painting

Some of the ideas I have about this series of paintings

The Explanation in order to get that point across. We

could be applied to abstract art, but I like to use

depend so much on interpretation, reference, and

representational images even though I am trying to

some kind of meaning to navigate our lives and give us

avoid representation—or more accurately, because of it.

a comforting sense of control that we lose a lot of the

I couldn’t say much about associations unless I had images

immediacy of simple experience—seeing with our eyes

that implied association in the first place. I understand

instead of our thoughts. It doesn’t always come easily and

why some people want to know what it “means,” but

requires real effort on the part of the viewer. I would be

there’s more value in being confounded enough to go

satisfied (temporarily anyway) if the paintings just helped

beyond that to something more immediate. If you want

to stretch a few eyeballs. I don’t want to be didactic or

to take some kind of meaning from it, it’s best to do it

preachy about it, and it helps if you bring your sense of

after you’ve really seen it.

humor with you.







It’s well known that many artists draw their energy

I started using a grid with over a hundred squares in an

from their own childhoods and what may seem “retro”

attempt to relate images that had no obvious associations.

to younger folks was just a formative part of my own

I knew it couldn’t be done on the literal level but I was

life. Even in the Blues and Side Show paintings, I was

really more interested in my own particular feeling of

back in a different world. The fact is that when I look

resonance between images—connections that had some

at the imagery of present popular culture, it doesn’t

kind of poignancy or energy for me that was so immediate

speak to me much. To that degree, I am just a product

that a literal explanation was irrelevant. At first, the grid

of my time. Inevitable to some degree, but I have

was just an exercise. But I liked the suggestion of a comic

nothing invested in being a reactionary curmudgeon

book–like progression because it set up expectations that

so I suppose it’s worth examining to see how I might

would not be met.

stretch my work in the future.

the magazine | 15


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THE magazine asked a clinical psychologist and two people who love art for their take on this 1916 oil on canvas, The

We see a mysterious carousel. Rigid figures

to grab for. They have all been taken, thus

appear tense and terrified. They also seem

leaving us trapped in our circumstances.

to be preparing for battle. Indeed, several

Life is never as it seems. This painting

characters are soldiers from different

had more to give than I expected. As I

military branches. Psychologically, the

explored this work, it dawned on me that

figures’ positions are significant. Some

I would never disregard it as I did when

jut forward as if aggressively and eagerly

first viewing it.







nervously and hesitantly. Additionally, the carousel represents life’s journey: the ups

First of all, it’s a fun image. Just looking

and downs (i.e., emotions, relationships,

at it makes me smile and laugh and

Merry-Go-Round , by

finances, careers). And yet, because this

wish I was back on Newport Island in

“Wheel of Life” only provides the illusion

California riding their marvelous merry-

British artist Mark Gertler.

of motion, it also symbolizes stagnation

go-round. I did that growing up and

and entrapment. Likewise, it is not

I think it sensitized me for going round

surprising to find adults here instead of

and round on the merry-go-round.

children. Circles represent wholeness

I get all that from looking at and feeling

and the Self, according to the theorist

this image. The second stage of my

Carl Jung. Many cultures consider them to

looking is how wonderfully symmetrical

be protective images. Yet, this circle has

this image is and how that gives me a

gone horribly wrong. There is no sense

sense of wholeness and comfort—this is

of serenity. What happened? Perhaps the

a good thing for art to do for a person.

moons above cast a spell upon this dark

And, finally, I think I must compliment

carnival? The moon is often associated

the artist for his ability to create this

with witchcraft. If I could name this image,

happiness and wholeness in a single

I would call it Innocence Lost.

small piece of art. We need to recognize


that this is not easy to do—it takes a

They were shown only the image and were given no other information.

craftsman as well as an artist. I guess we At first glance this painting had no great

could say these are important elements

effect on me, but as I studied it closer

to hope for in art.

it revealed multilayered impressions in


a rather quick manner. I let the image

20 | the magazine

sink in and began to decipher its covert

British painter Mark Gertler is most famous

meanings. The first impression is of a

for his painting The Merry-Go-Round,

happy and carefree bygone time, then

viewed as a satire on the horror of war.

a deeper reality sets in. There seems

The painting shows a fairground carousel

to be an aspect of pompous arrogance

frozen in mid-spin, the mouths of its

or imperial smugness. The frozen and

uniformed riders clamped open in a

superficial smiles seem to have a stance

scream. D.H. Lawrence described the

of disbelief that the world is anything

painting as “myriads of the wounded, in

but perfect. We will always continue on

their bright blue uniforms and red scarves,

the never-ending search for the most

and bands, and swing boats, and a whole

exhilarating ride. The carousel represents

rowdy enjoyment. It is queer.” Gertler’s

humanity’s journey; it is, after all, real life.

friend Lytton Strachey commented: “I felt

Whirling in both joy and insecurity, we

that if I were to look at it for any length of

secretly wish the high speed and dizziness

time, I should be carried away, suffering

to end, but as the momentum slows to a

from shellshock. I admired it, but as for

stop we all so eagerly buy another ticket

liking it—one might as well think of liking

and go again. Another unusual observation

a machine-gun.”

was that the carousel had no brass rings



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In general, people avoid like the plague the great discomfort of expressing or even discussing what might change their view of themselves or the world. Artists expressing themselves through forms, colors, and ideas, and being open to change and discovery can be very threatening, even terrifying to some. Art can present one with imagery that demonstrates that your worldview is not the worldview. If it doesn’t support your core beliefs you lose your sense of comfort and control. The applecart is overturned and the apples just go all over the place.

—MARK SPENCER Spencer’s most recent exhibition was in July 2014 at the Nüart Gallery, Santa Fe. View Spencer’s paintings at or



Are we emotionally capable of adapting to this new world of constant streams of information, multitasking, flittering data, and persistent news updates? I think trying to adapt to this cultural phenomenon is a daunting challenge for contemporary society. Perhaps this is why I am so compelled to work with data, chaos, and corrupted computer files. Maybe the quest in my art is to find some moment of quiet or solace rising from the bubbling pool of chaotic data in our lives. So few of us even understand how visual perception is even possible—and if we don’t know ourselves, how can we ever contend with constant streams of news and data imbued with the worst common denominator of humankind?

—JOHN VOKOUN Vokoun’s paintings were on display at Art Santa Fe during July 2014. A one-man show of his work will be announced in early 2015. Studio tours are available.





the magazine | 23

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o ne b ottle :

the 2001 chÂteau BY

de l ascauX J OSHUA B AER .


Seventeen thousand years ago, a group of young men got down on their

Le Grotte de Lascaux, or The Lascaux Cave. By 1948, one thousand people

hands and knees and crawled through a hole in the ground. The hole led

a day were walking through what came to be known, at least in Europe,

into a cave. When the young men stood up, they could not touch the

as the Cradle of Art. Each of those people entered the cave, saw the

ceiling, even when they jumped. They saw outlines of what appeared

paintings, and asked the same question. What does it mean?

to be the walls of the cave but as soon as they stepped away from the

Which brings us to the 2001 Château de Lascaux Rouge.

entrance, the cave went black. In the darkness, when they called to

Château de Lascaux’s wines are not made in Lascaux. They are made

each other they heard their own voices calling back from a distance. On their second visit, the young men brought torches. Deep

in Vacquières, a village in the Languedoc region, three hundred and eighty kilometers southeast of Lascaux. In 1984, after earning his degree in

inside the cave, by firelight, they saw bulbous concretions, fissures, and

agricultural engineering, Jean Benoit Cavalier took over the management

stalagmites. Some of the forms looked familiar. Although the cave walls

of several old vineyards on the outskirts of Vacquières. By 1990, Cavalier

were still, the forms appeared to be moving.

had consolidated the vineyards, rebuilt their ancient cellars, and started

On their third visit, the young men brought one of their elders. The elder was a holy man. After the holy man saw the cave walls, he opened three small leather pouches, licked his fingers, and applied black, red, and yellow ochre to the forms. As the young men held their torches, large animals appeared on the cave walls.

making wine. He called his domaine Château de Lascaux—literally, “the castle of limestone.” While there are a number of imposing limestone buildings in and around Vacquières, it is worth noting that Cavalier placed a gold silhouette of a horse on his labels. What does it mean? It means that Jean Benoit Cavalier

In the firelight, the young men saw why the forms had

has a penchant for sophisticated puns. The silhouette on

appeared to be in motion. The forms were cattle, horses,

Château de Lascaux’s labels matches the silhouette of one

and stags, either running or standing in herds.

of the horses depicted in The Lascaux Cave. In French,

On September 12, 1940, Marcel Ravidat, an

cavalier means “off hand,” “out in front,” or “scornful.” In

eighteen-year-old apprentice garage mechanic, decided

English, we say “arrogant” or “stand-offish.” The French

it was a good day to have an adventure. Ravidat lived

expression faire cavalier seul means “to go it alone.”

in Montignac, a village on the Vézère River, in the

The expression evolved from the medieval connotation

Dordogne region of southwestern France. As a boy,

of a cavalier, or “knight”—as in a knight on horseback.

Ravidat had heard stories about a tunnel that ran

In the glass, the 2001 Château de Lascaux displays

under the Vézère, a passage that connected the old

a deep scarlet core that gives way to a pomegranate red

Castle of Montignac to the Manor of Lascaux. After

at its edges. The bouquet is simultaneously feral and refined.

breakfast, Ravidat set out on foot through the woods

On the palate, there are elements of aggression, humility,

outside Montignac accompanied by his dog, Robot.

and reconciliation. Twelve years after being bottled, this

Later that morning, Ravidat found Robot standing

wine has a story to tell, but it tells its story in fragments.

next to a hole in the ground. Robot’s tail was wagging.

You don’t get the beginning, middle, and end in sequence,

Ravidat assumed that Robot had chased a rabbit down

the way a red wine of pedigree might tell it. The finish is

the hole, but when Ravidat knelt by the hole and tried to

nervous, and more than a little bit frightening. It calls to

catch sight of the rabbit, cold, damp air blew into his face.

mind the last line of John Donne’s Sonnet 19: “Those are

Ravidat and Robot returned to Montignac. Ravidat

my best dayes, when I shake with feare.”

gathered three of his friends—Jacques Marsal, Georges

What does it mean? It means those four words and

Agnel, and Simon Coencas. Marsal and Coencas were

their question mark are what human beings have in

fourteen years old. Agnel was fifteen. The four teenagers

common, what we have to offer to each other and to

and Robot returned to the spot in the forest where cold

ourselves. We have asked the question about Stonehenge,

air emerged from the ground. It took them most of the

the pyramids, the crucifixion, the Heart Sutra, Joyce’s

afternoon to enlarge the hole. As soon as the hole was

Ulysses, Stravinsky’s Rite of Spring, Pollock’s Blue Poles,

wide enough, they crawled through it. In the cave, when

Diebenkorn’s Ocean Parks, and many of Bob Dylan’s lyrics.

they stood up and called out to each other, they heard

We keep asking the question because the answer refuses

their voices calling back from a distance. After crawling

to show its face. Instead, it defies our intellect, whispers

out, the teenagers camouflaged the entrance, swore

to our souls, and invites us to set off on an adventure. The

oaths of secrecy, and went home. The next morning, they

moment we accept its invitation, we discover the unknown.

returned with a box of matches and an oil lamp. Inside, they lit the lamp, held it up, and saw cattle, horses, and stags running in herds along the walls of the cave. Within a year, one hundred thousand people had visited DECEMBER/JANUARY


For Mark Zaplin, in memoriam. One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. All content is ©2014 by Write to Joshua Baer at

the magazine | 25


Now Serving Dinner Friday to Sunday: 5:30–8:30 pm.

Beer and Wine—Very Soon

CAFÉ FINA 624 Old Las Vegas Highway - 466-3886 No Reservations!

$ K E Y



up to $14









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

$34 plus



...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. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: Generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ 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. $$$$ Cuisine: Contemporary American. Atmosphere: A classy room. House specialties: For dinner, start with the Heirloom Beet Salad. Follow with the Achiote Grilled Atlantic Salmon. Comments: Attentive service. bouche 451 W. Alameda Street 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: Start with the Charcuterie Plank. The Bistro Steak and the organic Roast Chicken are winners. Comments: Chef Charles Dale is a pro. cafÉ fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch/Dinner ( Sun.) Wine/Beer soon in 2015 Cash/major credit cards. $$ Cuisine: We call it contemporary comfort food. Atmosphere: Casual. House specialties: For breakfast, both the Huevos Motulenos and the Eldorado Omelette are winners. For lunch, we love the One for David Fried Fish Sandwich. Comments: Chris Galvin will be cooking dinners on Friday, Saturday, and Sunday evenings from 5:30 to 8:30 pm. cafÉ pasQual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and

Indian posters. House specialties: Hotcakes got a nod from Gourmet The Huevos Motuleños is a Yucatán breakfast—one you’ll never forget. cheZ mamou 217 E. Palace Ave. 216-1845. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Artisanal French Bakery & Café. Atmosphere: Casual. House specialties: Start with the Prosciutto Melon Salad or the Green Apple Salad. For your main, try the Paillard de Poulet: lightly breaded chicken with lemon and garlic sauce, or the Roasted Salmon with white dill sauce. Comments: Pastas are on the mark. chopstiX 238 N. Guadalupe St. 982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, and Kung Pau Chicken. Comments: Friendly owners. counter culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ 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. $$ Cuisine: Good old American. fare. Atmosphere: Patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are the best. Super buffalo burgers. Comments: Huge selection of beers. coYote cafÉ 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: Main the grilled Maine Lobster Tails or the 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines. dr. field goods Kitchen 2860 Cerrillos Rd. 471-0043. Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: New Mexican Fusion. Atmosphere: Casual and friendly. House specialties: Faves: the Charred Caesar Salad, Carne Adovada Egg Roll, Fish Tostada,, and Steak Frite. Comments: You leave feeling good. 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. $$$ Cuisine: Spanish Atmosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-to-cheek dancing. House specialties: Tapas. Comments: Murals by Alfred Morang. el mesÓn 213 Washington Ave. 983-6756. Dinner Beer/Wine. Patio. Major credit cards. $$ 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. hillside 86-B Old Las Vegas Highway. 982-9944 Lunch: 11-2:30. Closed Wednesday. Major credit cards. $$$ Cuisine: Inspired New World cuisine. Atmosphere: Spacious and bright. House specialties: Botanas: meat and seafood that you cook at your table on hot rocks. They are accompanied by corn tortillas, moles, and oils. Fernando Olea’s black pepper Angus beef tenderloin is perfection. Comments: innovative cuisine. epaZote on the

fire & hops 222 S. Guadalupe St. 954-1635 Dinner - 7 days. Lunch: Sat. and Sun. Beer/Wine. Patio. Visa & Mastercard. $$$ Cuisine: Susatainable local food. Atmosphere: Casual and friendly. House specialties: Small plates we love: the Green Papaya Salad and the Braised Pork Belly. Fave large plates: the Cubano Sandwich and the Crispy Duck Confit. Comments: Nice selection of beers on tap or bottles. georgia 225 Johnson St. 989-4367. Patio. Aprés Lunch and Dinner - Full bar. Major credit cards. $$$$ Cuisine: Clean and contemporary. Atmosphere: Friendly and casual. House specialties: Start with the Charcuterie Plate or the Texas Quail. Entrée: The Pan-Roasted Salmon absolutely deliscipus. Good wine list and a bar youwill love. Comments: Try the Aprés Lunch: served from 1:30-5:30.

geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: We call it French/Asian fusion. Atmosphere: Elegant and stylish. House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass and the classic peppery Elk tenderloin. Comments: Wonderful desserts. harrY’s roadhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Down home House specialties: For breakfast go for the Scrambled Eggs with Smoked Salmon, Cream Cheese. Lunch: the Buffalo Burger. Dinner: the Hanger Steak. Comments: Friendly. il piatto italian farmhouse Kitchen 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad; the Lemon Rosemary Chicken; and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to Table, all the way. iZanami 3451Hyde Park Rd. 428-6390. Lunch/Dinner Sake/Wine/Beer Major credit cards. $$$ Cuisine: Japanese-inspired small plates. Atmosphere: A sense of quietude. House specialties:. We loved the Nasu Dengaku, eggplant and miso sauce, and the Pork Belly with Ginger BBQ Glaze. Comments: Super selection of Sake. Jambo cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers. Comments: Fabulous soups. Joseph’s culinarY pub 428 Montezuma Ave. 982-1272 Dinner. Beer/Wine Major credit cards. $$$ 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 Crispy Duck, Salt Cured Confit Style. Comments: The bar menu features Polenta Fries and the

New Mexican Burger. Wonderful desserts, an excellent wine selection, beers on draft, and great service. Kohnami restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: Love the Sake. la plancha de eldorado 7 Caliente Rd., La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$ 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. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: The Vegetarian Pumpkin Soup is amazing. Fave entree is the BoTai Dam: Beef tenderloin w/ garlic, shallots, and lemongrass. Comments: Friendly. la plaZuela on the plaZa 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ 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. m.a.m.a.’s world taKe-out 3134 Rufina St. 424-1116/ 989-8028. Breakfast/Lunch: 9am-3 pm. $$ Cuisine: Middle Eastern, American, Mexican, Asian, and Salvadoran. House specialties: Pad Thai, Falafels, Burritos, Pupusas, and the world-famous Hiram’s Hot Dog. Comments: Grab, go,and enjoy. midtown bistro 910 W. San Mateo, Suite A. 820-3121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Beautiful open room. 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: Real sweet dessert selections.

continued on page 29 DECEMBER/JANUARY


the magazine | 27

Locally-Sourced, Seasonally-Inspired Cuisine Chef/Owner Louis Moskow’s classically prepared French fare has received notable praise from Wine Spectator, Esquire, Zagat, Bon Appétit, Food & Wine, Fodor’s, The New Mexican & The Albuquerque Journal.


Sun-Thur, 5:00-9:00pm u Fri-Sat, 5:00-9:30pm 315 Old Santa Fe Trail u Santa Fe, NM u Reservations:(505) 986.9190


Comments: For your dinner, we suggest the Prix Fixe Small Plate: soup, salad, and an entrée for $19. Wines and Craft beers on tap. 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.

THAI VEGAN | LUNCH/DINNER 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: Excellent wine list. ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Patio. Major credit cards. $$$ Cuisine: Southwestern with a French flair. Atmosphere: Contemporary. House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Nice selection of wines. rose’s cafe 5700 University W. Blvd SE, #130, Alb. 505-433-5772 Breakfast/Lunch. Patio. Major credit cards. $ Cuisine: A taste of the Yucatán with a Southwest twist. House specialties: We love the Huevos Muteleños and the Yucatán Pork Tacos. Comments: Kid’s menu and super-friendly folks. san Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ 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



| 1710 CERRILLOS ROAD | 954-1780

Full bar. Major credit cards. $$ Cuisine: As American as apple pie. Atmosphere: Casual with art on the walls. House specialties: Lunch: the San Francisco St. hamburger on a sourdough bun or the grilled salmon filet with black olive tapenade and arugula on a ciabatta roll. Dinner:, the flavorful twelve-ounce New York Strip steak, with chipotle herb butter, or the Idaho Ruby Red Trout, served with grilled pineapple salsa. Comments: Visit their sister restaurant at Devargas Center. santacafÉ 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ 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 Pan-seared Salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Happy hour special from 4-6 pm. Great deals: 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. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmealcrusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet. santa fe bite 311 Old Santa Fe Trail. 982-0544 Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Lunch: the juicy 10 oz. chuck and sirloin Hamburger or the Patty Melt. At dinner) the Ribeye Steak is a winner. The Fish and Chips rivals all others in Santa Fe. Comments: Their motto” “Love Life. Eat good.” We agree. santa fe capitol grill 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. Atmosphere: Contemporary and hip. House specialties: Tuna Steak, the Chicken Fried Chicken with mashed potates and bacon bits, Ceviche, and the New York Strip with a MushroomPeppercorn Sauce. Desserts are on the mark. Comments: A great selection of wines. Happy hours 3-6 pm and after 9 pm. saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ 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. $$ Cuisine: Pub grub. Atmosphere: Real casual. House specialties: We enjoy the Beer-steamed Mussels, the Calamari, and the Fish and Chips. Comments: Good selection of beers shaKe foundation 321 Johnson St. 982-9708. Lunch/Early Dinner - 11am-6pm Major credit cards. $$ 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.


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;

terra at four seasons encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties: Breakfast: Blue Corn Blueberry Pancakes. Dinner: the sublime Beet and Goat Cheese Salad. Follow with the Pan-Seared Scallops with Foie Gras or the Double Cut Pork Chop. Comments: Chef Andrew Cooper brings seasonal ingredients to the table. Excellent wine list. thai vegan 1710 Cerrillos Rd. 954-1780 Lunch/Dinner Major credit cards. $$ Cuisine: Vegan all the way. Atmosphere: Easygoing. House specialties: Start with the Spring Rolls or the Tofu Satay skewers. For your main, we suggest the Stir-Fried Vegetables or the Spicy Eggplant, both served with Steamed Brown Rice. Comments: Try the Papaya Salad and any of the Wraps. the artesian restaurant at oJo caliente resort & spa 50 Los Baños Drive. 505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: Local flavors. Atmosphere: Casual, calm, and friendly. House specialties: At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, and foillow with the Trout with a Toa ste Piñon Glaze. Comments: Nice wine bar. the compound 653 Canyon Rd. 982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American Contemporary. Atmosphere: 150-year-old adobe. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef and owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award. the palace restaurant & saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ 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 Salmon poached in white wine, or the Steak au Poivre. Comments: Super bar. the pinK adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club Sandwich. Dinner: Go for the classic Steak Dunigan or the Fried Shrimp Louisianne Comments: Appetizers and drinks (generous pours) in the Dragon Room during the early evening is fun—a lively crowd.

the shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: A local institution located just off the Plaza. House specialties: If you order the red or green chile cheese enchiladas. Comments Always busy., you will never be disappointed. the ranch house 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ 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. $$ Cuisine: Traditional New Mexican. Atmosphere: Easygoing and casual. House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese. Lunch: choose from the daily specials. Comments: Real deal. tune-up cafÉ 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home. House specialties: For breakfast, order the Buttermilk Pancakes or the TuneUp Breakfast. Comments: Easy on your wallet. A local hangout. vanessie


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. When you are 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. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Pork Ribs. 65 brands of Tequila for your drinking pleasure. Zia diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: All-American diner food. Atmosphere: Real casual.House specialties: The perfect Chile Rellenos and Eggs is our breakfast choice. At lunch, we love the Southwestern Chicken Salad, the Fish and Chips, and any of the Burgers Commets: A wonderful selection of sweets available for take-out. The bar is most defintely the place to be at cocktail hour.

the magazine | 29

SUZAN WOODRUFF CRACKS IN THE LIGHT November 28 - January 10, 2015 Artist Reception: Friday, December 12, 2014

Suzan Woodruff, Dragons Tail, Acrylic, 48” x 70”

5:00 - 7:00 PM

TOM MARTINELLI VERTICAL STRIPE PAINTINGS November 28 - January 10, 2015 Artist Reception: Friday, December 12, 2014 5:00 - 7:00 PM

Gallery Talk featuring: Suzan Woodruff and Tom Martinelli Saturday, December 13, 2014 2:00 - 3:00 PM The Railyard Arts District


544 South Guadalupe Street, Santa Fe, NM 87501


(505) 983-9555 |



Elizabeth Showers. 5-7:30 pm.

caswecK galleries, 713 Canyon Rd., Santa Fe. 988-2966. Angie Yazzie: master potter discusses pottery and demonstrates wood-firing. 5-7 pm.

stranger factorY, 109 Carlisle Blvd. NE, Alb. 505-508-3049. The Winter Salon: annual group exhibition. Creatures of Growth Growth: drawings and paintings of a surreal world by John Paul Gutierrez. 6-9 pm.

historic villa aceQuia, 4828 Corrales Rd., Corrales. 505-898-9716. Art for Animals: Second Annual Fine Arts Benefit Sale. 5-9 pm. niman fine art, 125 Lincoln Ave., Santa Fe. 988-5091. Winter Exhibition: works by Dan Namingha, Arlo Namingha, and Michael Namingha. 5-7 pm. sorrel sKY gallerY, 125 W. Palace Ave., Santa Fe. 501-6555. Trunk Show: jewelry by

wheelhouse art, 418 Montezuma Ave., Santa Fe. 919-9553. Toy Box: group invitational with twenty-nine artists. 5-7 pm. SUNDAY, DECEMBER 7

new meXico historY museum, 113 Lincoln Ave., Santa Fe. 476-5200. Setting the Standard—The Fred Harvey Company and its Legacy Legacy: new addition to the exhibition Telling New Mexico.

Opening events include a documentary film screening and talk with the curator. 10 am-5 pm. Info: FRIDAY, DECEMBER 12

david richard gallerY, 544 S. Guadalupe St., Santa Fe. 983-9555. Cracks in the Light: works by Suzan Woodruff. Vertical Stripe Paintings Paintings: paintings by Tom Martinelli. 5-7 pm. eYe on the mountain art gallerY, 614 Agua Fria St., Santa Fe. 982-308-0319. Guadalupe Guadalupe: twelve Southwestern artists explore the sacred meaning of Guadalupe. 5-8 pm. matthews gallerY, 669 Canyon Rd., Santa Fe. 992-2882. Morang and Friends:

paintings by Alfred Morang and his contemporaries. 5-7 pm. photo - eYe booKstore + proJect space, 376-A Garcia St., Santa Fe. 988-5159. Hiroshi Watanabe—The Day the Dam Collapses Collapses: photographs by Watanabe. 5-7 pm.

santa fe universitY of art and design fine arts gallerY, 1600 St. Michael’s Dr., Santa Fe. 473-6011. After Dysfunction the History—167 Years of Dysfunction: BFA exhibition featuring works by Brandon Birkey, Jackie Nutting, Randy Ortiz Martinez, Diana Padilla, Nouel Riel, Katherine Rita, Talisa Zayas. 5-7 pm. tai modern, 1601 Paseo de Peralta, Santa Fe. 984-1387. Nancy Youdelman— Embellished sculptural assemblages made Embellished: from the debris of past lives. 5-7 pm. turner carroll gallerY, 725 Canyon Rd., Santa Fe. 986-9800. Red: works by Hung Liu, Kate Petley, Rex Ray, Ann Weiner, Greg Murr, Shawn Smith, David Linn, and Deborah Oropallo. 5-7 pm. SATURDAY, DECEMBER 13

david richard gallerY, 544 S. Guadalupe St., Santa Fe. 983-9555. Cracks in the Light and Vertical Stripe Paintings: artist talk with Suzan Woodruff and Tom Martinelli. 2-3 pm. SUNDAY, DECEMBER 14

las placitas presbYterian church, 7 Paseo de San Antonio, Placitas. 505-8678080. Artists Series: fused glass by Lisa Chernoff, digital art by Amy Ditto, acrylic and encaustic works by Dianna Shomaker, and fiber works by Kris Thoeni. Reception: 2-3 pm. Michael Chapdelaine performs pieces for classical guitar: 3-5 pm. FRIDAY, DECEMBER 19

patina gallerY, 131 W. Palace Ave., Santa Fe. 986-3432. Wrapped Beauty for the Season beaded works of jewelry by Claire Season: Kahn. 5-7 pm. FRIDAY, JANUARY 2

caswecK galleries, 713 Canyon Rd., Santa Fe. 988-2966. Angie Yazzie: the master potter discusses pottery and demonstrates wood-firing. 5-7 pm. 20,000 Tones: new work by Carlos Estrada-Vega at William Siegal Gallery, 540 South Guadalupe Street, Santa Fe. Through Tuesday, January 6, 2015. DECEMBER/JANUARY


continued on page 34

the magazine | 31

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manitou galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Calendar Art Show: works by gallery artists. 5-7 pm.

david anthonY fine art, 132 Kit Carson Rd., Taos. 575-758-7113. Carpe Diem: new and selected works by Tina Mion. Through Sun., Mar. 1.

sorrel sKY gallerY, 125 W. Palace Ave., Santa Fe. 501-6555. The Pickup Artist: photos by Barbara Bowles. 5-7:30 pm.

encaustic art institute, 18 County Rd. 55A, Cerrillos. 424-6487. EAI Members Exhibit encaustic works. By appointment Exhibit: through Wed., Dec. 31.


santa fe claY, 545 Camino de la Familia, Santa Fe. 984-1122. Six Under Thirty-Six: ceramic works by emerging artists. 5-7 pm. vivo contemporarY, 725 Canyon Rd., Santa Fe. 982-1320. Order and Chaos: interpretations of inner chaos by fourteen ViVO artists. 5-7 pm.

gallerY 901 901, 901 Canyon Rd., Santa Fe. 559-304-7264. The Art in Wax: a national juried encaustic small-works exhibition. Through Tues., Dec. 30. War Department: selections from MoCNA’s permanent collection at the Museum of Contemporary Native Arts,108 Cathedral Place, Santa Fe. Reception: Friday, January 23 from 5 to 7 pm. Image: Melanie Yazzie. Toy Box: a group invitational on view at Wheelhouse Art, 418 Montezuma Avenue, Santa Fe. Reception: Friday, December 5 from 5 to 7 pm. Image: Ursula Coyote.


las placitas presbYterian church, 7 Paseo de San Antonio, Placitas. 505-8678080. Artists Series: sculptures by Cate Clark, photographs by Mary Lee Dereske, paintings by Amy Hautman and Katherine Christie Wilson. Reception: 2-3 pm. Willy Sucre and Friends play quartets for guitar and string trio: 3-5 pm.

gerald peters gallerY, 1011 Paseo de Peralta, Santa Fe. 954-5700. Off Ramp— New Paintings by Tom Birkner and Don Stinson realist paintings of the urban and Stinson: western landscapes. Fri., Dec. 5 through Sat., Jan. 10. Jean cocteau cinema, 418 Montezuma Ave., Santa Fe. The Twilight Angel: screening of film by James Koskinas on Sun., Dec. 28 at 3:30 pm.

wheelhouse art, 418 Montezuma Ave., Santa Fe. 919-9553. Room 732: works by James Marshall’s hand-building class at Santa Fe Community College. 1-3 pm.

Kindred spirits animal sanctuarY, 3749-A Hwy. 14, Santa Fe. 471-5366. Holiday celebration with the lighting of a live tree and meditation. Sat., Dec. 13, 4-7 pm.


mocna, 108 Cathedral Park, Santa Fe. 424-2300. Dark Light—The Ceramics of Christine Nofchissey McHorse, Star Wallowing Bull—Mechanistic Renderings, War Department, and other shows. 5-7 pm.

mocna cna, 108 Cathedral Park, Santa Fe. 424-2300. Open studio: local artist in residence Keith Grosbeck. Sun., Dec. 14, 12-4 pm. SWAIA’s Moving Image Class X Winners film showcase, through Thurs., Feb. 12. More events:


Zane bennett contemporarY art, 435 S. Guadalupe St., Santa Fe. 982-8111. Under 35: Part III: group show. 5-7 pm.

new meXico historY museum, 113 Lincoln Ave., Santa Fe. 476-5200. Holiday celebrations include Christmas at the Palace Young Native Artists Holiday Show Palace, Sale and a candle-lit procession of Las and Sale, Posadas Fri., Dec. 12 through Sun., Dec. Posadas. 14. Full info:


516 arts, 516 Central Ave. SW, Alb. 505242-1445. From the Ground Up—Design Here & Now: built and speculative projects by established and emerging Albuquerque designers and architects. 6-8 pm. SPECIAL INTEREST

516 arts, 516 Central Ave. SW, Alb. 505-242-1445. Floyd D. Tunson—Son of Pop: survey of Tunson’s works addressing cultural identity, American social history, race and class relations, pop culture, art

georgia o’Keeffe museum, 217 Johnson St., Santa Fe. 946-1000. Georgia O’Keeffe— Views paintings of the Ghost Ranch Views: stark landscape and spectacular color at Ghost Ranch. Through Sun., Mar. 22.

history, and the beauty of pure abstraction. Through Sat., Dec. 13.

0581. Christmas lights display. Sat., Nov. 29 through Wed., Dec. 31.

artscrawl, Alb. Citywide, self-guided arts tour, Fri., Dec. 5, 5-8 pm. Route 66 ARTScrawl, Fri., Dec. 12, 5-8 pm. Create your tour:

caswecK galleries, 713 Canyon Rd., Santa Fe. 988-2966. Small Works, Small Wonders: works by Ernest Chiriacka, William T Wiley, Motoko Kamada, Christopher Warner, Stuart Nielsen, and more. Through midJan.

bugg lights, Belen Harvey House and Museum, 104 N. 1st St., Belen. 505-861-

new meXico school for the arts, 275 E. Alameda St., Santa Fe. 982-6124. Open house for prospective students and current applicants. Sat., Dec. 6, 1-3 pm. on the map—unfolding albuQuerQue art + design, Multiple venues in Albuquerque. An expansive collaboration

continued on page 36

34 | the magazine




celebrating Albuquerque art. Sat., Jan. 31.

New Mexico Mexico: historic and contemporary artworks. Fri., Dec. 12 through Fri., Jan. 16.

recYcle santa fe art festival, Santa Fe Community Convention Center, 201 W. Marcy St., Santa Fe. 603-0558. The country’s largest and oldest recycled-art market. Recycled-fashion show: Fri., 7 pm. Fri., Dec. 5, 5-9 pm, Sat., Dec. 6, 9 am-5 pm, and Sun., Dec. 7, 10 am-5 pm. Info and tickets:

william siegal gallerY, 540 S. Guadalupe St., Santa Fe. 820-3300. 20,000 Tones: mixed-media works by Carlos Estrada-Vega. Through Tues., Jan. 6. Yuletide in taos, Various venues in Taos. Festivities include an arts and crafts fair, caroling, and lighting of the Taos Plaza Christmas tree. Through Thurs., Dec. 25. Full info:

santa fe claY, 545 Camino de la Familia, Santa Fe. 984-1122. Holiday Sale and Open House: works by studio members, students, teachers, and staff. Fri., Dec. 5, 3-7 pm and Sat., Dec. 6, 9 am-2 pm.

Zane bennett contemporarY art, 435 S. Guadalupe St., Santa Fe. 982-8111. ZBCA Annual Group Show Show: works by Holly Roberts, David Nakabayashi, Karen Yank, Michael Freitas Wood, Sonya KelliherCombs, Heidi Brandow, and Karina Hean among others. Through Fri., Jan. 23.

site santa fe, Meem Auditorium, Museum of Indian Arts and Culture, 710 Camino Lejo, Santa Fe. SITEcenter: Forging a Nail—From Meteorite to Trinitite. Futurefarmers and special guests reflect on their newly commissioned work for Unsettled Landscapes. Tues., Dec. 9, 6 pm.


national hispanic cultural center performing arts season, 1701 4th St. SW, Alb. 505-246-2261. This season includes Siembra the first Latino theater festival, Siembra, dance performances, musical concerts, and more. The Nutcracker Ballet in the Land of Enchantment a holiday performance. Full Enchantment: schedule:

sorrel sKY gallerY, 828 Main Ave., Durango, CO. 970-247-3555. Trunk Show: jewelry by Navajo artist. Artie Yellowhorse Thurs., Dec. 4 and Fri., Dec. 5, 5 pm. tai modern, 1601 Paseo de Peralta, Santa Fe. 984-1387. Nancy Youdelman—Embellished: artist talk with Youdelman. Sat., Dec. 13, 2-3 pm.

performance santa fe, Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe. Christmas Eve Concert: Gershwin and Tchaikovsky works played by young virtuoso pianist and composer Emily Bear. Wed., Dec. 24. Family preview: 2 pm. Evening performance: 5 pm. Tickets:

tanseY contemporarY, 652 Canyon Rd., Santa Fe. 995-8513. Small Scale, Big Ideas: fine art/craft works by gallery artists. Through Tues., Jan. 6. taos art museum and fechin house, 227 Paseo del Pueblo Norte, Taos. 575-7582690. Nutcracker Market: artisan works in the spirit of Russian and Southwestern craft traditions. Fri., Dec. 5 through Sun., Dec. 14, 10 am-4 pm.

santa fe universitY of art and design fine arts gallerY, 1600 St. Michael’s Dr., Santa Fe. 473-6011. Plays and concerts by SFUAD students. Details: santafeuniversity. edu/events/

taYlor dale fine tribal art, 129 W. San Francisco St., Santa Fe. 670-3488. First Friday Art Walk. Fri., Dec. 5 and Fri., Jan. 2 the gallerY abQ, 8210 Menaul Blvd. NE, Alb. 505-292-9333. A Winter Gathering: well-priced works in all media. Receptions: Fri., Dec. 5, 5-8 pm, Sat., Dec. 20, 3-6 pm, and Fri., Jan. 2 5-8 pm. Through Mon., Jan. 26. william r. talbot fine art, 129 W. San Francisco St., 2nd fl., Santa Fe. 9821559. Holy Adobes—The Churches of

36 | the magazine


currents, New Media Festival deadline for 2015 submissions is Mon., Dec. 1, 2014. To submit online:

After the History—167 Years of Dysfunction: exhibition of work by graduating students in the studio arts program at the Santa Fe University of Art and Design’s Fine Arts Gallery, 1600 St. Michael’s Drive. Reception: Friday, December 12 from 5 to 7 pm. Image: Brandon Birkey. Local art scholar Paul Parker conducted a national search for a box of Alfred Morang’s writings and personal effects. What he discovered is shown alongside artwork by Morang and other New Mexico modernists. Morang and Friends at Matthews Gallery, 669 Canyon Road, Santa Fe. Reception: Friday, December 12 from 5 to 7 pm. Encaustic Art Institute Members Exhibition on view through Wednesday, December 31, 2014 at the Encaustic Art Institute, 18 County Road 55A, Cerrillos. 424-6487. Details: Image: Carol Babington.

new meXico museum of art and friends of contemporarY art + photographY. Art on the Edge 2015 2015: fourth biennial juried exhibition to be shown at the New Mexico Museum of Art. Open to artists in New Mexico or bordering states. Deadline: Sun., Dec. 7. To apply:




Red: Hung Liu, Kate Petley, Rex Ray, Ann Weiner, Greg Murr, Shawn Smith, David Linn, and Deborah Oropallo. Turner Carroll Gallery 725 Canyon Road, Santa Fe. 986-9800 December 8 through January 16, 2015 Reception: Friday, December 12, 5 to 7 pm

sense of design, while his series of clown-like faces in oil and

change) and the mythic West in our minds.” The dualities of

pigment prints on canvas with silkscreen overprinting offer a

the enduring Western myth vs. the relentless change that has

very different sensibility that is comic yet disturbing. If you go

colored every corner of the country leave us with glowing

to the opening reception, you are requested to wear red.

sunsets serving as familiar subjects and also as backdrops to the constructions that once represented signs of progress.

brings together works by gallery artists whose diverse

Off Ramp: New Paintings by Tom Birkner and Don Stinson Gerald Peters Gallery 1011 Paseo de Peralta, Santa Fe. 954-5700 December 5 through January 10, 2015

Top: Tom Birkner, Kingman, AZ, 2014, oil on canvas, 26” x 54”, 2014

approaches to art-making include a range of styles, media,

Since the days of the early explorers in the New World

Bottom: Hung Liu, Persephone, mixed media on panel, 20½” x 20½”, 2014

and interpretations on the theme of red. From love, passion,

the great American West has lured artists to capture its

and power to good luck and good fortune, the symbolic

sweeping landscapes. Civilization has changed the face of

representation of the color and the sheer vibrancy of the

these landscapes, and realist painters Tom Birkner and Don

pigment link the diverse styles and associated meanings.

Stinson both find themselves attracted to depicting the

The works of these artists are represented in collections as

current state of the land. Birkner is fascinated with aspects

diverse as those of the Whitney Museum of American Art,

of suburban America such as malls or small-town main

Harvard University, the Baltimore Museum of Art, and the La

streets, gas stations, and motels in disrepair. His new series

Jolla Museum of Contemporary Art. Hung Liu, Chinese-born

focuses on turnpikes and the roadside cafés that appear in

and trained as a social realist during the Cultural Revolution,

the natural world just off the highway. Composed of striking

uses old documentary photographs and traditional symbols

hues, these landscapes draw on a modernist legacy that once

to present primarily female figures connected to the historic

depicted trains crossing the open prairie, supporting a belief

and on-going struggles of her people. Deborah Oropallo

in progress that seems as worn as its subjects. As cars speed

deconstructs the figurative elements embedded in her resin-

by on the turnpikes, these places continue to inhabit the

on-aluminum panels by painting linear abstractions over them,

view, now settled into the land just off the road. Don Stinson

while Greg Murr’s exquisite drawing and rendering skills

is a westerner who renders prairies and foothills, but as they

depict pearls, plants, and animals in colored pencil, graphite,

exist today, part of a picture that includes elements of human

intaglio, or woodcuts. Rex Ray works in mixed media and

interaction and twentieth-century detail. Stinson says, “In

resin-on-panels, creating abstracted organic forms with a sure

the West, we always have a tension between (the constant

The color red evokes a multitude of meanings based on cultural and personal associations. The exhibition Red



If nothing can stay the same, these artists embrace change by exposing it in classic but familiar images.

the magazine | 37

Visualizing Albuquerque

From the Ground Up: Design Here + Now

Albuquerque MuseuM

516 ArTs

Encompass: 7th & Mountain

Antoine Predock: Strata

H A r wo o d A r T C e n T e r

riCHArd levy GAllery

January through June 2015


P r e s e n t i n g Pa r t n e r s 516 arts

Creative albuquerque

indian Pueblo Cultural Center

sCa Contemporary art

albuquerque Museum

Downtown Contemporary

south Broadway Cultural Center

april Price Projects gallery

Dsg Fine art

OFFCenter Community arts Project

Bernalillo County Public art Program

exhibit 208

national Hispanic Cultural Center

tamarind institute

Center for Contemporary arts

Frederick Hammersley Foundation

Central Features City of albuquerque Public art Program

KiMo theatre gallery

Harwood art Center

new Mexico PBs/KnMe-tV north Fourth art Center Owings gallery

sumner & Dene UnM art Museum UnM Hospitals art Program Westbund West

richard Levy gallery

S p e c i a l T h a n k S : albuquerque convention & Visitors Bureau and city of albuquerque, cultural services Department L e f t to r i g H t: © 1 9 8 4 J o e L- P e t e r W i t k i n • Da n i e L L e ra e m i L L e r • a n to i n e P r e D o c k • L e a a n D e r s o n





(COURTESY NBC UNIVERSAL) M*A*S*H*, McCabe and Mrs. Miller, Nashville, and Come Back to the Five and Dime Jimmy Dean, Jimmy Dean—these film titles evoke scenes that brought side-splitting laughter or tears, and lines that haunted us, or were longquoted on the street. They are a fraction of the impressive list of movies, television programs, and cable series created by Robert Altman (1925-2006) over his forty-year career as an independent director. The retrospective at New York’s Museum of Modern Art includes screenings of his famous films as well as little-known early works, all of which proved pivotal in defining a period of American independent film. Besides introducing a satiric approach to the anti-war movement, his directorial style used improvisation and overlapping dialogue, a technique that was beautifully realized in Gosford Park, a film that served as the model for the currently popular PBS series Downton



Abbey. He worked with an impressive array of actors including Lily Tomlin, Robin Williams, Elliot Gould, Sissy Spacek, Sally Kellerman, Robert Duvall, and Helen Mirren, providing them with roles that elicited unforgettable performances. Altman’s interest in popular music led to collaborations with well-known musicians like Leonard Cohen, Joshua Redman, Harry Nilsson, and Van Dyke Parks. Their music figured prominently in his work, as did a pioneering irreverent approach to cinéma vérite, demonstrated in the cable series Tanner ’88, co-created with Garry Trudeau. The fifty programs assembled by MoMA’s film curatorial team range from features, television and cable series to music videos, shorts, and documentaries and takes place from December to January 17, 2015 at the Museum of Modern Art, 11 West 53rd Street, New York City.

the magazine | 39




BOOK SALE MONDAY, DEC. 1 THROUGH SATURDAY, DEC. 13 10 am to 5 pm MON–FRI 11 am to 4 pm SAT Please join us for our annual holiday book sale. This is the only time of the year that we discount our titles, and we have a lot of exciting new releases.


Cool Trash for Future Generations Reception: Friday, December 12 from 6-8 pm.

RADIUS BOOKS 227 East Palace, Suite W Santa Fe, NM 505.983.4068

Your Manuscript Formatted for Print on Amazon’s Create Space, Kindle Direct Publishing, and all eBook Publications.

PHIL SPACE 1410 2nd Street, Santa Fe 983.7945 AYA TREVINO PHOTOGRAPHY

Offering Website Design for Authors








If you love Andy Warhol, but think that Warhol


and silkscreened images of Marilyn Monroe and


Commissioned Magazine Work (Prestel, $150), written


From 1948 on, Warhol collaborated with the most


was just about Campbell’s Soup cans, Interview, other celebs, then Andy Warhol: The Complete by Paul Maréchal, is a book you will want to own. significant publications of his time: Vogue, Vanity Fair, Harper’s Bazaar, Time, Esquire, Rolling Stone, New York Magazine, Sports Illustrated, and Playboy, creating both


covers and illustrations. He did marvelous sketches of


like. The sheer volume of Warhol’s magazine work is

impressive, as is the size of this stunning book (408

film, not memory cards. The photographs in his most

and Lee Ranaldo, founder of Sonic Youth, contribute

pages and 1,000 illustrations). Warhol’s magazine

recent book—American Jukebox: A Photographic Journey

forewords. Felver’s time capsule of a book is most

covers: Time, (Jane and Peter Fonda, 1970), New York

(Indiana University Press, $50)—are black-and-white,

definitely a page-turner. VA

Times Magazine, (Norman Mailer, 1976), Vanity Fair,

and his images of Big Joe Williams, Cab Calloway,

(Alfred Hitchcock, 1977), New York Magazine (Truman

and others date from 1978 to Lisa Marie Presley in

Captain Linnaeus Tripe: Photographer of India and

Capote, 1984), are stand-outs in this lollapalooza of a

2013. Felver has had an “all access” pass over the past


book that offers the reader a unique look at Warhol’s

forty years to photograph many great musicians and

Publishing, $65) was published in conjunction with the

connection to popular and commercial culture. GC

singers. A short list of the over two hundred and forty

touring exhibition of Tripe’s photographs, organized

shoes, hats, gloves, handbags, automobiles, and the





photographs include Rosanne Cash, Terry Allen, Rick

by the National Gallery of Art. Having joined the East

Photographer Christopher Felver is decidedly old

Danko, Merle Haggard, Graham Nash, Willie Nelson,

India Company in 1839, Tripe (1822-1902) was an

school—a throwback to the good old days before

Lou Reed, Pinetop Perkins, Tom Waits, Patti Smith,

official photographer for the British government and

digital photography, a time when photographers used

and cover boy Pete Seeger. Composer David Amram

later became part of the first generation of amateur continued on page 42



the magazine | 41

photographers who sought to transform their

aesthetic device (in his images of patterns in wires,

sections of American lives as well as individuals

fascination with this new medium into a sustainable

fences, and towers), and as a recording device (in his

from her travels around the world. If the picture

professional practice. And, like Andrew Fenton and

St. Louis street scenes). He also experimented with

of the Irish child is one of the most benevolent,

Francis Frith, who were also making photographs at

collage, assemblage, and photomontage. Allmer and

one of the most harrowing is a double-page spread

that time, he recognized a growing market for the

Sears present many previously unseen images and offer

of a dust storm in New Mexico, from 1935. In the

documentation of exotic locales. Tripe’s work takes

insights into Burroughs’ photographic practices in their

photograph, which is filled with a dense grainy light,

us on an extensive journey and introduces us to

joint introduction and individual essays. The volume also

the figure of a man stands in the thick dust and looks

some of the first photographs ever taken of Burma

includes critical essays by David Brittain, Susan Laxton,

like an unanchored ghost in a swirl of gray particles.

and India, with their spectacular architecture and

and Barry Miles. There is even an unedited facsimile

Contrasting the picture of the man with the one

unique cultural practices, at a time of momentous

of Burroughs’ 1963 essay “The Photo Collage,” which

of the child made me think of a quote from Lange

change in Asia. This book also demonstrates Tripe’s

reveals some of his own thoughts about photography.

that states, “You can’t do people in trouble without

commitment to his own high artistic standards, and

“The collages can be panoramic or precise—You can

photographing people who are not in trouble, too.

these mysterious pictures, with their subtle sepia

trace time lines down one street or flash a city—You

You have to have those contrasts.” DA

tones and astute framing, are some of the most

can mix in time collages of other cities and places.” SW

The Painter (Alfred A. Knopf, $24.95), the second

accomplished, yet unassuming images in the history

novel by adventure writer Peter Heller, chronicles One of my favorite images in Dorothea Lange: Grab

the troubled and seemingly unavoidably tumultuous

a Hunk of Lightning (Chronicle Books, $50) is of

life of the complex and nuanced painter/fisherman

Patricia Allmer and John Sears aim to give the

a child’s broad, clear-eyed face, smiling shyly and

Jim Stegner (a character loosely based on Taos

photographs of William S. Burroughs much-deserved

staring directly at the camera. The head, though,

painter Jim Wagner). Stegner, a highly successful

attention and exposure in their book Taking Shots: The

is cropped and off center, and you can’t tell if it’s

painter, is haunted by a troubled and dark past.

Photography of William S. Burroughs (Prestel, $49.95).

a boy or a girl. Lange said of this image, “Isn’t

Having spent time in prison for shooting a known

Known for his experiments in literature, painting, film,

that a beautiful face? That’s Ireland. That’s pure

sexual predator, and also losing his teenage

and music, Burroughs was also a prolific photographer

Ireland.” This book represents a lifetime of Lange’s

daughter who was murdered during a drug deal,

of portraits, self-portraits, travel shots, and construction

dedicated scrutiny of the human condition, and

Stegner moves to a small town in the Colorado

and demolition sites. He used the camera as both an

included in this overview of her career are cross-

Rockies to focus on painting, fly fishing, and seeking

of photography. DA


some semblance of peace. His plans go awry when

to symbolic and educational images. In this substantial

of books on a floor, the UPS van seen through an

he encounters a man beating a small horse and he

and profusely illustrated tome, Shagan recommends

almost translucent curtain, and a book with the

cannot help but involve himself on behalf of the

focusing on the imagery to derive meaning because

words “Are you My Mother?” placed on a picnic

innocent roan. What follows is a page-turning tale

the translations of the ancient texts, while containing

blanket in a summer field. About her photographs,

of suspense. A flawed and complex protagonist,

humor, satire, and insider stories, have multiple

Blackmon has said, “The stress, chaos, and need to

Stegner is masterfully rendered in prose that is

interpretations. The prints are thought to have been

simultaneously escape and connect are issues that

often more akin to poetry. Stegner’s narration of

made by many of the major ukiyo-e artists, known

I investigate. Caught in a swirl of soccer practices,

events, people, and places (including familiar sites

for their depictions of the pleasure-seeking “floating

play dates, and work, we must still create the

around Santa Fe) pierces the world around him. He

world.” Shunga translates as “pictures of spring,” and

space to find ourselves. These issues, as well as

views everything as the artist he is, with curious

references sex, not pornography—a concept that

generational shifts in parenting styles are what I am

clarity and sensitivity balanced by the knowing

might have been very foreign in pre-modern Japan. JM

exploring.” Homegrown is beautifully designed and

wisdom of a heart that’s been full and wrung out

will give viewers hours of enjoyment and wonder.

time and time again. LT

Julie Blackmon’s latest book, Homegrown (Radius

And the kids will love it, too. VA

Japanese Erotic Art: The Hidden World of Shunga

Books, $55) is an extension of her earlier body of

Poetics of Light: Contemporary Pinhole Photography

(Thames and Hudson, $75) chronicles the erotic art

work Domestic Vacations, in which she created

(Museum of New Mexico Press, $55) accompanied

form, which was taboo to view or collect from the late

staged scenes reflecting the chaos of suburban

the exhibition of the same name at the New

nineteenth century to the 1950s, by illustrating and

life. Blackmon’s digitally manipulated dreamscapes

Mexico History Museum, a show that celebrated

discussing the symbols and motifs found in the images.

are clean, precise, and encapsulate those small

the acquisition of the Pinhole Resource Collection

All strata of Japanese society appreciated the paintings,

moments of real family life. Blackmon is a master

by the Palace of the Governors Photo Archives.

prints, and illustrations made by artists starting in the

of composition, of the theatrical, and of visual puns.

The catalogue presents a survey of two hundred

seventeenth century. Author Ofer Shagan presents

Each of her highly stylized images of commonplace

contemporary pinhole photographs alongside several

hundreds of prints and their histories in thematic

moments are judiciously orchestrated and filled

essays covering the collection, the history of this

chapters, ranging from amusement quarters to

with disparate elements that Blackmon somehow

early photographic technique, and contemporary

questions of size; from self-satisfaction to children,



explorations within the medium. Authors Eric Renner

old people, ugly people; from violent sex and death

narratives. It’s the details that get to you: the pile

and Nancy Spencer began the collection in conjunction





continued on page 44 DECEMBER/JANUARY


the magazine | 43

with their publication, Pinhole Journal, which drew

from museums and put on public display as examples

then there is the PRADA MARFA, a site-specific

renewed attention to the ongoing experimentation

of “Degenerate Art.” This denunciation extended

installation, photographed at night, which gives it

and diversity of artists working within this particular

to works in nearly every major art movement:

an eerie green glow out on the West Texas plains.

format. The catalogue is dominated by large, full-

Expressionism, Dada, Surrealism, Cubism, and Fauvism.

There is every visual twist and turn you could

and multi-page illustrations that showcase a variety

In his speeches and writings, Hitler spread his beliefs

think of in this book—from kitschy landscape

of international artists, a broad range of techniques,

in racial purity and in the superiority of an Aryan

photographs made into puzzles, stunning aerial

and diverse subject matter. Photographs are often

“master race.” Degenerate Art: The Attack on Modern

views of oil rigs positioned in the middle of carefully

accompanied by images of the experimental cameras

Art in Nazi Germany 1937 (Prestel, $45) is a richly

groomed fields, to a haunting and lifeless image of

used to take them, offering an intimate glimpse into

illustrated book with one hundred and fifty full-color

the Sacramento River. From the intensely enigmatic

the infinite potential of the pinhole. LT

plates and ten meticulously annotated essays that

to the deeply disturbing, this book is a provocative

bring into sharp focus the madness of that time and

record of various landmarks—some familiar, some

Nietzsche claimed there were two chief forms of art:

provide insights into the Nazis’ anti-Semitic stance

obscure—and the never-ending desire to intervene

the Apollonian and the Dionysian. Apollo was the

toward modern art. VA

in them, come hell or high water. DA

Greek god of solemn dreaming, self-control, healing,

From his vast archive of images, William Ewing

Take three of the foremost names in twentieth-century

common sense, and distance. Dionysus was the god



art—Andy Warhol, Jackson Pollock, and Salvador

of wine, excess, wildness, rage, emotion, and passion.

postmodern intersections of nature and culture.

Dalí—and peruse the stories of their lives and art in

When Adolph Hitler came into power, his primary

Although Ewing is also drawn to traditional

three books that look to the graphic novel for inspiration.

goals were to purify German culture, to promote the

images of landscape, Landmark: The Fields of

Each book—This is Warhol, This is Pollock, and This is Dalí

Apollonian ideal, and to stamp out the Dionysian—a

Landscape Photography (Thames & Hudson, $65)

(Lawrence King Publishing, $15.99)—follows a similar

category that included Jewish culture, the mentally

swerves toward ironic juxtapositions of land

format, examining each artist’s life and work in detail.

and physically deformed, gypsies, homosexuals, and

and various cultural impositions on it. Some

For Warhol it begins with “The Chimneys of Pittsburgh,”

avant-garde modernism. Hitler viewed modern art

of the images seem to be straight out of a sci-fi

for Pollock “Post-War America,” and for Dalí “A Visual

as a deliberate attempt to “insult German feeling and

film, so bizarre are the configurations of, say,

Mind.” Researched for historical accuracy, they convey

destroy or confuse natural form.” In 1937, works by

a dead tree against a huge snow bank accompanied

minutiae about each artist’s work, influences, and quirks.

George Grosz, Wassily Kandinsky, Paul Klee, Max

by cables, hefty machinery, and what looks to be a

The illustrations are marvelous. Catherine Ingram discusses

Beckmann, Otto Dix, and many others were stolen

rugged outdoor bar with fur-covered stools. And

each artist’s work, as well as writing about details of their






lives—such as Warhol’s time capsules, Ruth Kligman

illustrators Luke Frost and Therese Vandling, which

write about his work. At over five hundred pages,

meeting Pollock, and Dalí’s love for his wife Gala. On the

add to the accessibility of Girst’s work. SW

there is a lot here to absorb. Read, look, and learn. GC

Chinese conceptual artist Ai Weiwei, one of the

The travel photographs of Victoria Sambunaris are

back covers are quotes by each artist. These are books, fun to read, and are quick lessons in art history. GC

leading cultural figures of his generation, displays

like no others. They are landscapes that record the

The Duchamp Dictionary (Thames & Hudson, $29.95)

great courage in placing himself at risk to effect social

terrain and the hand that man has played in altering

offers an unusual presentation of Marcel Duchamp’s

change through his art. In April 2011 he was thrust

these landscapes. Sambunaris engages in a solitary

life and work. Author and Duchamp scholar Thomas

into the global media spotlight when authorities in

journey to record these places, also collecting

Girst presents more than two hundred alphabetical

Beijing arrested him on suspicion of economic crimes

encounters with the inhabitants and artifacts from

entries that range from American Women to Chocolate

and held him incommunicado for three months. His

her trips, whether mineral specimens, travel books,

to Quick art. Girst leads us deep into Duchamp’s

detention sparked international accusations over

or maps. Victoria Sambunaris: Taxonomy of a Landscape

thinking and influence, at times taking us right inside

human rights abuses in China. Compelled by a sense of

(Radius Books, $60) is a handsome picture book

the artist’s head. Some of the entries are only one

social conscience, Ai’s work extends across multiple

of these images. The horizontal views Sambunaris

sentence or one quotation long, like the one for

areas—filmmaker, photographer, sculptor, writer,

captures using a 5x7 field camera and sheet-fed film

Progress: “There is no progress in art. There might

publisher, curator, and architect—and through social

reflect the grand expanse of the American earth while

be progress in civilization—which I don’t believe at

media he communicates with a global public, engaging

recording the transportation of goods and the effects

all—but in art, I am sure it does not exist.” Other

fellow artists with projects on a massive scale. His

of industry on the land. She makes excellent use of

entries last for a paragraph or two and are at once

sculptures, photographs, and public artworks are

two-point perspectives to exaggerate these presences

amusing and informative. Girst’s introduction sets the

loaded with political conviction and personal poetry,

into seemingly infinite spaces. Sambunaris’s artist

stage for the book’s format by showing us how the

often making use of recognizable and historic Chinese

statement asserts: “My photographic life has been

dictionary form has influenced and inspired artists. He

art forms. Ai Weiwei: Spatial Matters (The MIT Press,

a dedicated response to the American landscape.

also peppers his text with many Duchamp quotations

$60), is organized into five sections—Inhabit, Build,

My photographs are meant to inspire awe and

to keep the artist’s personality close to the reader.

Collaborate, Investigate, and Engage—that examine

wonder of a particular terrain and to facilitate grander

The book includes more than five dozen two-color

and report on themes of space and the relationship

questions about landscape and our place within it.”

collages—one for each alphabet-letter heading,

of objects within. As well as Ai’s writings and excerpts

These views from the road also make us think about

and others for specific entries—by experimental

from his blogs, there are a host of contributors who

what we have done to these places. In the pocket continued on page 46



the magazine | 45

of the book-binding is a second softbound volume

of those artists achieved immortality. In the painting

consideration both within the context of the domestic

containing photographs of ephemera—the relics

Calling of Saint Matthew, Caravaggio represents

sphere as well as on the global scale, giving readers

collected on the journey, from mineral samples to

the gesture of God to man from Michelangelo’s

new to Chinese art a comprehensive introduction to

travel logs and maps, along with an essay by Natasha

Sistine Chapel masterwork, Creation of Adam,

the current landscape. Accompanied by high quality

Egan describing Sambunaris’s process and her

while its appearance in the movie poster image

illustrations, this behemoth is as visually stunning as it

encounters with place. JM

for the film ET is a direct, if irreverent, reference

is informative. LT

to the famous gesture. We may smile at the sight The twenty-first century doesn’t own the use (or

of Marge Simpson as the Mona Lisa, but, as a

It is naïve to believe that creativity flashes like a

abuse) of masterpieces being altered for mass

quote by the former Louvre painting curator René

light turned on in a dark room. Artists work under

consumption. In Mona Lisa to Marge: How the

Huyghe reminds us, “From time to time a work of

the influence, just as any of us do—from the world

World’s Greatest Artworks Entered Popular Culture

art contrives to bring together and express all the

around us to the things that intrigue or fascinate

(Prestel, $24.95), authors Francesca Bonazzoli

ideas that mean most to the spirit of a particular

us, or moved us as kids. For the visual artist, it

and Michele Robecchi trace the history of icons

time and give it its meanings.” JMs

is not uncommon that a particular work makes a

from the Discobolus to Botticelli’s Birth of Venus

Wu Hung’s Contemporary Chinese Art (Thames &

dent in the psyche, an impression that compels

to Grant Wood’s American Gothic, presenting many

Hudson, $95) presents an introductory narrative of

further exploration, investigation, and sometimes

instances of works that were altered or had their

Chinese art developments since the 1970s, a time

breakthroughs. In My View: Personal Reflections on

meaning re-imagined for popular consumption.

period characterized by social, political, and economic

Art by Today ’s Leading Artists (Thames & Hudson,

This re-purposing of images often occurs due to

upheaval and change since the Cultural Revolution.

$40), edited by Simon Grant, presents one-page

the notoriety of the initial artwork itself. In his

Presented as a chronological survey, the text covers

essays by numerous notable contemporary artists

preface, artist Maurizio Cattelan lets the reader

art movements, styles, key artists, and significant

in which they reveal the predecessors who,

know he does not believe in the sacredness of

art projects, as well as China’s growing number of

in some fashion, inspire their work, and offer

images. While Cattelan understands that not all

museums, galleries, alternative exhibition spaces,

personal insights that provide thoughtful reading.

of the thirty artists represented in the book might

and arts publications. These topics are broken down

There’s much to choose from: Urs Fischer on the

feel proud to see their work reproduced on coffee

into clear and readable sections that are carried by

Italian sculptor Medardo Rosso, Marlene Dumas on

mugs and slippers, he claims that this is how many

a large offering of illustrations. Each topic is given

Ingres, Raymond Pettibon on Victor Hugo, Hiroshi


Sugimoto on Petrus Christus, and Vija Celmins on

transcendental qualities of light—at sunrise, sunset,

though most of the cover, excepting the words

Philip Guston—there are seventy-eight pairings

in the fog, through storm clouds, under a full moon.

of the title, has been crossed out and cleverly

in all. Images by both paired artists accompany

Caspar David Friedrich (Thames & Hudson, $80)

redacted. JC

the text. The art-historical connections will give

highlights Friedrich’s radical probing of an existential

readers a greater understanding of both artists’

loneliness that was utterly unique for its time. DA

work in a format that accommodates modern

In 1927 August Sander said, “Let me speak the truth in all honesty about our age.” Sander

attention spans as well as our contemporary


hunger for wide-ranging knowledge. JM

Unknowns (Radius Books, $55) is a text-and-image


compilation that documents the installations and

between World Wars I and II. He classified his

Caspar David Friedrich (1774-1840) was a painter

artworks that made the exhibition curated by

fellow Germans by profession, social class,



author Claire C. Carter at the Scottsdale Museum

and family relationships. August Sander: People

Romanticism. Friedrich took his viewers to the

of Contemporary Art an award-winning show.

of the 20 th Century (Schirmer/Mosel, $125) is a

brink of visual uncertainty and then left them

Jenny Holzer ’s paintings and neon work employing

beautifully printed seven-volume set. Sander ’s

there to find their own way back from his sublime

texts from de-classified government documents

asture black-and-white photographs—a accurate

images—profound contemplations of land, sea, and

are a highlight. From David Taylor ’s matter of

and straightforward reflection of his time—

sky peopled with thoughtful wanderers meditating

fact photographs of border patrol activity at the

were made in simple surroundings giving hints

on the infinite. Of all the great nineteenth-century

United States/Mexico boundary to Taryn Simon’s

ofthe profession of the sitters through the

painters, Friedrich could be thought of as the first

subversion of the virtual simulations of terrorism

background or by the clothes they wore. Sander

abstract artist. He focused on isolated landscape

used by the United States Army to train soldiers,


vistas and lent to them an iconic philosophical

these are must-see works for artists, historians,

exposure times, so he could focus on detail.

longing that served as a subtext for his images. He

and theorists interested in the art and artifice of




also invested his land- and seascapes with a patina

espionage, covert military action, and the lasting




of open-ended spirituality, his brush forever dipped

effects upon our world wrought by the disastrous

of his fellow countrymen. This book is an

in the mystery of existence. No other artist of his

and largely secret “war on terror.” The ominous,

important sociological document, as well as a

time painted with such exquisite dedication to the

black book arrives in its own manila dossier file,

photographic masterpiece. GC










accomplished this by creating a photographic of






cameras, is








long refined images

the magazine | 47

photograph: Dan Cato

Exclusive Video Installation by Tony Abeyta AMBIENT FLOWER MOBS





eugene newMann: selections: then and now

david richard gallerY 544 south guadaluPe street, santa Fe

IN HIS LATE SIXTIES, EUGENE NEWMANN READILY BEGAN BARING HIS CONCERN with the aging body. Almost all of his work refers to a

despite the latent threat of a body emerging amid the

the more gestural works in the show but also stands as

body or bodies, but over the years his interest in the figure

dominating ochers, blues, and reds, most of his work is,

a threshold for Newmann’s architectural elements that

as an object of desire developed into an investigation of

for all cataloguing purposes, abstract with only a handful of

randomly hold space elsewhere in his work, reminding us

the body’s varied dispositions. His early works were

actual gesture drawings.

that all these amorphous bodies still need a place to lie down.

inspired by reclining nudes, which evolved into yogic

Newmann was a bit young for the Abstract

bodies, and most recently into bodies near death. This

Expressionist movement, and his contemporaries were

Newmann’s preoccupation with the yogic body is

current chapter distinctly swaps the female subject for the

those prominent abstract painters living in New Mexico

evinced in Chakra’s On Fire (2003), not just in title but also in

male as Newmann explores the most iconic dying body

in the seventies—namely Sam Scott and Frank Ettenberg.

the stretching form whose limbs are literally on fire. From

from art history—Christ. His recent exhibition at David

David Hill, who co-founded Collected Works Bookstore,

2013, Not Quite Out of the Woods Just Yet 1 announces

Richard Gallery, Selections: Then and Now, includes over

started buying their (at the time) less conventional

a lack of safety while inferring an eventual clearing, its

twenty paintings from the past thirty-five years that blur

paintings, and many of the early works at David Richard

title teetering metaphorically between dark and light. In

the line between portraiture and everything else. The

Gallery are on loan from Hill’s personal collection, namely

Sanskrit, “nirvana” literally means “out of the woods,”

figure is fairly consistently buried by layers of paint, barely

the Small Bodies series, inspired by classical reclining nudes.

and in keeping with Newmann’s interest in Eastern ideas

recognizable as a malformed thing upon the surface, and

Small Bodies #1 is decidedly graphic and out of place amid

this thirty-by-forty-inch horizontal suggests a humorous approach to old age in which Newmann unabashedly claims he is still whacking through the thicket, expecting to reach nirvana eventually. The painting itself tells a similar narrative. A profile bust in bone-white strangely and crookedly floats like a drowned sculpture haphazardly lodged in green, brown, black, and white brush marks—a brush that butts up against a luminous pale blue world. The earthly meets the heavenly as Newmann gruffly elaborates on this transitory corporeality. Falling, Falling, Fallen 3 (2008) references Christ’s deposition from the cross, although it takes a hint from the artist to see the comparison. The limp body of Jesus partly or fully propped up as he is taken down from the cross makes the same rectangular bulge as the iconographic sap-green mass in Newmann’s account. Beneath the nonrepresentational image is the half-dead body, framed by crimson areas that take on bodily connotations. These complementary colors alone are so notable in Renaissance religious paintings that Falling, Falling, Fallen 3 suddenly embodies a well-grounded exposition of a ripe mortality. Newmann conceals the body by literally abstracting the human form and coaxing it elsewhere so that it is often recognizable only as some kind of ghostly landscape. In the New Mexico PBS series ¡Colores!, which features Newmann, he recalls how in the sixties and seventies artists were asked to take sides on the issue of abstraction. They had to mount their flag and stay there. Today’s freedom to cross-pollinate aesthetic traditions leaves an artist with a very flexible narrative—but a narrative nonetheless. As Newmann continues to bum around in the woods with the rest of us, his delineations seem to probe at this problem of subjectivity. Selections: Then and Now is thus a selection of self-portraits groping for the other side.

—hannah hoel

Eugene Newmann, Falling, Falling, Fallen 3, oil on canvas, 27¾” x 22”, 2008



the magazine | 49


¡saludos, Barcelona! 50 Years oF PolÍgraFa Prints

Zane Bennett conteMPorarY art 435 south guadaluPe street, santa Fe

IN 1964, THE POLÍGRAFA OBRA GRÁFICA STUDIO WAS FOUNDED IN BARCELONA changed, but only briefly, just for the conceptual thrill of it.

by Manuel de Muga and subsequently expanded by

print is part of that fund-raising process. In the case of the

his son, Joan, to include facilities for every manner

second Christo print in this exhibition, Wrapped Woman, a

That said, I feel compelled to state that while I admire

of producing multiples such as etching, lithography,

lithography collage from 1996, it’s anyone’s guess what the

Christo’s projects that have stayed within the bounds

woodcuts, and silkscreens. Internationally known artists

wrapped nude female body, stretched out on a platform,

of urban settings, like his Wrapped Reichstag or his vivid

such as Helen Frankenthaler, Lynda Benglis, Ed Ruscha,

is meant to signify. Initially, I found this piece riveting for

Central Park Gates, I absolutely detest his interventions in

Bernar Venet, April Gornik, and Christo have made prints

its unfathomable strangeness. It contains a flat cutout of

the landscape. I’m mystified by the artist’s overreaching

there, and some of their work is in this exhibition. There

a statuesque woman’s body wrapped in thin bands of

ambitions to tamper with habitats and other aspects of

are also two prints by one of Europe’s most revered

transparent plastic and tied in string. Placed on a diagonal

natural environments. A wrapped fountain is one thing, a

contemporary artists, the late Antoni Tàpies from Spain,

on the picture plane, the figure seemed to hover above

wrapped river is quite another.

whose graffiti-inspired, abstract imagery lent itself well to

its pedestal placed on a field of green grass. For whatever

To be able to see work in the flesh by Tàpies, even

the process of etching.

reason, it didn’t strike me right away just how perverse

as multiples, was a decided pleasure, and his two etchings

Of the twenty-eight pieces in this show, the work

the image really was. At first fascinated, but then repulsed,

were exquisite and charismatic, as his work tends to be.

of Tàpies, Christo, and Venet proved the most visually

I turned away from it and went back to look closely at

Considered one of the greatest of post–World War II

arresting. Venet’s two photo-etchings, with their bold black

Wrapped Fountain.

European artists, Tàpies focused on a type of “meditative

lines against a stark white ground—a curved spiraling form

This complex print is dynamic and worth studying in

emptiness” in his images, but they also were often inflected

in one print and a series of angles in the other—reminded

depth, as if it were part puzzle and part present waiting to

with what appear to be random signs, patterns, splotches,

me alternately of charcoal drawings by Richard Serra and

be unwrapped. The shape of the actual fountain in the Plaça

or stains that one could relate to as pentimenti on old

paintings by Franz Kline. For those familiar with Venet’s

d’Espanya has been cut out in thick paper or cardboard and

European walls. In addition, the artist’s enigmatic marks are

work in metal, these prints are totally in keeping with the

wrapped in cotton material, and then bound with navy-blue

also like fragments of calligraphic messages that have the

strong graphic quality of his three-dimensional pieces and

string. Christo also drew shaded areas on the white fabric

overtones of graffiti. In the visions of an artist like Tàpies,

are a logical extension of his sculpture. And Christo, as well,

to give the fountain a sense of dimensionality. To the right of

the seemingly informal chaos of signs on a canvas or a piece

does not break rank with his personal aesthetics—that of

the fountain are schematic diagrams of it from the side and

of paper can have the aura of messages delivered from the

wrapping and trussing a cultural landmark, thereby isolating

from the top, and they bear a resemblance to Renaissance

Oracle at Delphi concerning the reality of the uncertain, the

it and giving it a whole other signifying function.

architectural drawings. The lithographic part of the print

provisional, the discontinuous nature of contemporary life.

—diane armitage

Christo’s lithography collage Wrapped Fountain, 1975-

looks like a crayon drawing over a time-lapse photograph of

2009, was, or perhaps still is, a project for La Fontana de

traffic around the plaza. The three different aspects of the

Jujol, Plaça d’Espanya, Barcelona, conceived in collaboration

print all work in consort to provide not only a monumental

with the artist’s late wife Jeanne-Claude. One of the

quality to the image, but a sense of how mysteriously

ways that Christo funds his work is by making prints and

transformed cultural landmarks become by way of Christo’s

drawings of a potential undertaking, and the making of this

signature wrapping style—objects and buildings utterly



Antoni Tàpies, Claus i Ditades, etching, 239/16” x 3011/16”, 1971

Christo, Wrapped Fountain, lithograph and collage, 2113/16” x 2715/16”, 2009

the magazine | 51

Yves Klein and Lucio Fontana: Klein Fontana Milan Paris 1957-1962



Novecento (Museum

of the T wentieth C entury ) Via Marconi 1, Milan, Italy

THIS CRUCIAL SHOW CONSTITUTES A DIALOGUE BETWEEN THE WORKS of two artists who, while having much in common, proceeded

that both Minimalism and Arte Povera carried forward in the

expansion of the artwork. Other pieces included in the show

along parallel but distinct paths in mid-twentieth-century art.

international art scene. Fontana and Klein were also fearless

are his enormous clay objects. Boulder-sized, grayish, and

Lucio Fontana, like many modern Italian artists, is not as well

provocateurs who took great aesthetic and professional risks,

misshapen, they look something like meteorites that have

known as he should be in the United States, while Yves Klein

even if today we may not comprehend how radical a slashed

somehow landed in the gallery. In street level vitrines, several

is more so, partly because of being Parisian, and also as a result

canvas or a slab of pure color were at that time. (Another

huge blow-ups of photographs of the artists are displayed.

of the splash/scandal of his famous 1960 Pompidou Center

Italian artist, Michelangelo Pistoletto

One shows Fontana with the meteoric sculptures; another shows a young Klein mixing a cauldron with, presumably,

performances with nude models whose blue-paint-covered

—whose ambitious and impressive foundation in

bodies functioned as “brushes” as they lay upon canvases,

Piedmont I also visited—has made, in this vein, a series

leaving the imprints of their bodies as a trace and artifact of

of subtractive works titled Un Lavoro Meno (One Less

One thing that captured me about this show is its proximity

the performance. Klein called these works Anthropometries.

Work), meaning they are in a sense “subtracted” from his

to the iconic cathedral of Milan, which holds a particular position

They appear here along with other pieces from the 1957

brain or, in a more metaphysical sense, from the realm of

in my personal mythology. But in a broader perspective, I believe

installation Pigment Pur (Pure Color).

the potential. In many ways Fontana and Klein are the actual

this proximity illustrates an important aspect of why the avant-

At the top of this distinctive building, the Museum of the

precursors, leaving aside for the moment the Futurists and

garde of mid-twentieth-century Europe had such a profound

Twentieth Century—one of Milan’s several Civic Museums, and

Dada, of performance art and body art and all the subsequent

impact on society and art. It is precisely this juxtaposition of the of-

which faces the Duomo—is a two-story loft area that

experimental branching of this aspect of modernism. The kind

the-moment, radically experimental in the arts with monuments

contains Fontana’s 1951 installation Struttura al neon (Neon

of intense yearning for an essence of the art act ultimately led

and artworks that go back to the medieval, the baroque, even

Structure) which animates the space with swirls of light. It is a

Klein to a devotion to pure color: gold, and what we might

to layers of ancient history (Roman walls, and the foundations—

dynamic, gestural piece, timeless in its appeal due to the way

call a peacock blue. Included in the show is Klein’s figure Blue

beneath the Duomo, for example—of early Romanesque basilicas)

it interacts with the space as if “born there all its life,” which

Venus, the classical armless female torso, completely engulfed

with which Europeans live their everyday lives. The brave new

of course it was. Neon Structure is essentially the iconic image

in a bright, saturated blue that significantly alters its impact.

world of today, in which I am struggling to type this article on

that represents the museum and in this context crowns the show.

paint, which he obviously used in enormous quantities.

Fontana went in a different direction in his quest for

an electronic device and find a Wifi spot from which to transmit

the fundamental in art. He painted canvases which were

it to THE magazine, should retain its umbilical ties to and respect

Not exactly contemporaries—Fontana was born in

then slashed. An array of these shows the intensity of his

for the past with a capital P. Without a sense of history, in the arts

Argentina in 1899, Klein in Paris in 1928—these artists

experiment. His intention was to bring painting into three

as in life and politics, we are truly lost in space.

nevertheless grew close over the years. Fontana saw Klein’s

dimensions by what he called Spatialism, which meant opening

—Marina La Palma

first show in Milan and became a collector of Klein’s work.

up the canvas by a calculated incision that suggests a violent

They worked on a project for the 1960 Venice Biennale,

gesture, a slash. Variously sized and shaped canvases in different

which, alas, was never realized. Each in his way was reaching

shades and textures exhibit this violent intervention by which

Left: Yves Klein

for a purity or ultimate reduction to some essential aspect of art

Fontana tried to achieve a kind of reduction and simultaneous

Right: Lucio Fontana


Francisco BenÍteZ: doÑa inÉs lost her sliPPer

santa Fe coMMunitY college visual arts gallerY 6401 richards avenue, santa Fe

LOCAL SANTA FE ARTIST FRANCISCO BENÍTEZ LEADS HIS VIEWERS INTO a parallel universe in his current solo exhibition at the Santa

paper and Mylar, and the ancient technique of encaustic—she

her identity, now lost through displacement, the ramifications

Fe Community College Visual Arts Gallery. Doña Inés Lost Her

remains static; she is to be gazed upon, she is not to gaze.

of the individual impact of a large-scale cultural encounter are communicated with poetic simplicity and accessibility.

Slipper presents a series of paintings contemplating two women’s

The maidservant also suffers from the implications of gaze,

inner challenges when faced with a collision of worlds. In

yet she is more dynamic, even verging on defiant. She does not

The exhibition is well summarized in Seeing and Not

Benítez’s pictorial space, that collision occurs in a fictional realm

come from the aristocratic world in which she is now lost. Again,

Seeing, a diptych portrait of the two women, side by side.

inspired by Old World Europe and colonial America. Doña Inés,

her energy is reflected primarily through choice of media and a

On the left, Doña Inés stands facing away from the viewer.

an imagined European aristocratic woman transplanted from

painterly style that feels more engaging, modern, and vital. The

We can just barely glimpse the flesh of her neck. She is

her home and into a new world is shown in various reiterations

maid is shown in oil, but the vestiges of the Baroque, both in dress

primarily wig and costume. She is alone, impenetrable and

of portraiture alongside her unnamed American maidservant,

and style, have vanished. In fact, there is an overriding absence of

oppressed. On the right is the maidservant. In a simple white

presumably plucked from her home and people and thrust into

identity markers: Her dress is plain, her hair is simple. The style of

blouse, she stares out at the viewer directly; searching, lost,

a foreign world of service. The artist captures the complexities

painting is modernized. In State of Mind I, we see the maid’s face.

similarly oppressed, yet alive. Rather than pandering to easy

of these two individuals with a compelling and masterful use of

Setting and background are disregarded entirely. Her visage is

condemnations or didacticism about large-scale historical

disparate media, ranging from traditional oil painting to ancient

rendered in wash-like, loose brush strokes. Precise detail fleshes

conditions, Benítez contemplates the implications of the

encaustic to black-and-white photography.

out her intense eyes, confronting her viewers. This dynamic

gaze in visual representations and gives us a nuanced and

The artist cites his personal heritage as inspiration for this

is also at work in a series of photographs taken with a vintage

insightful vision of individual lives colliding.

body of work. “I spent significant amounts of time with my

1930s Kinax camera. In each of these, such as Becoming III, the

—lauren tresp

Chippewa grandmother in Taos… A major part of inspiration

subject is captured first out of focus, then each frame progresses

for this exhibition is my grandmother’s story of being sent to

until she is viewed clearly. Her eyes are always vibrant and active.

a boarding school at the age of eight, her removal from her

She sees, she is difficult to see. A photographic metaphor for

Francisco Benítez, Doña Inés in Industrial Landscape, oil on canvas, 72” x 72”, 2014

people’s land and separation from her family,” he stated in the exhibition press release. The son of a Spanish set designer and New Mexican flamenco dancer, he himself grew up in various, disparate places—New Mexico, New York, and Spain—with exposure to multiple cultures. “I felt a need to develop an exhibition that explored the complexity, challenges, and rewards that come from growing up in a multi-ethnic and cultural household… This project in a sense is a way for me to reconcile those identities.” Benítez addresses these complexities with a highly personal and accessible narrative style that smartly utilizes various media, each with subtly differing connotations and resonances. The imaging of Doña Inés, our aristocrat, is created through oil painting with a familiar yet formal historicity. The artist, having spent time in Spain, his father’s homeland, was deeply influenced by such Spanish masters as Diego Velázquez and Francisco Goya, as well as by Baroque master Caravaggio’s tenebrist style. This painterly style combined with her period costume provides viewers with a comfortable point of entry and allows us to situate Doña Inés in a distant, obsolete time and place. The artist then disrupts and challenges this easy characterization with anachronisms such as fictive industrial backdrops and incongruities like unnatural, grid-like overlays of tear drops. She is in a state of continual displacement, yet the foreignness and fracturing of her world is not expressed through her own actions or expressions. She remains politely stoic. Posing for her portraits while bearing the accoutrements of her status and place, she is an object of the world around her rather than a subject. Unenviable product of her unique constellation of time, place, and culture, she is unable and ill-equipped to adapt, grow, change, or enact her will. Even as the artist shifts between media—portraits of her span pastels, drawings on



the magazine | 53

Figurations III

Nüart Gallery 670 Canyon Road, Santa Fe

FIGURATIONS III IS NÜART GALLERY’S THIRD SURVEY OF CONTEMPORARY figurative work, and the exhibition takes us from the human

woman in Cabeza en el mar has her chin—just touching the

Michael Bergt. Both artists—Mothner in acrylics and Bergt

form to Hershey’s Kisses to miniature horses. On view are

surface of the water in a way that ought to tickle—and her

in gold leaf—create otherwordly reflected light. Mothner’s

paintings and ceramic sculpture by six artists who work in

head intact, but her eyes bore into the viewer and penetrate

paintings featuring the iconic chocolate Hershey’s Kiss

a variety of media and reside in a variety of places. There

in a heartrending way. Gálvez manages to paint tremendous

present the candy’s silver foil as a brilliant glow; other pieces

are oil paintings from Spain and Italy, architectural ceramics

emotion into his subjects’ gazes.

displaying horse figurines take us inside her own power, as

from New York, and acrylics from Santa Fe and California.

Silver and gold mark the work of Carol Mothner and

in Honor the Little White Horse Dream Shadows, where the

And then there’s the added bonus of discovering

shadows cast by these tiny creatures morph into

the building’s historical architectural details from

huge dragons that, she says, reflect her nature.

the gallery’s earlier days as Gormley’s Grocery

Bergt’s gold leaf shines in a different way—often

Store. Not to be missed are the wonderful tin

shimmering from behind his subjects—and he

ceilings, the hardwood floors with different-size

goes further by etching exquisite symbols into

boards, and the old aqua door that manages to fit

each golden background. There is a magnificent

an overall pale-turquoise color thread that unites

crane etched into Wings, lotus flowers and stars

the exhibition.

in Amanda, and a Madonna-like halo with eyes

The mind-confounding ceramics of James

and flames in The Seeker. The effect of all this gold

Tyler greet us outside the gallery and in one of the

leaf causes gold tones to pop out everywhere in

front windows. Tyler builds his sculptures—often

the paintings. There are little golden lights in the

of enormous human heads—from hundreds of

figures’ hair, clothing, jewelry, and highly textured

architectural red stoneware bricks. He cuts the

skin tones.

bricks from the “finished” wet clay head and then

Vincenzo Calli’s oil paintings round out

numbers, fires, and reassembles them by hand. The

the exhibition. Here we have larger, full-bodied

resulting faces appear almost digitized in the clay

figures. In Un mattino d’estate a young man is

and have the puzzle-like feel of an archaeological

shaving and we are the mirror. The floors, walls,

excavation. Behind Tyler’s man on the broad

window, tree trunks, and the bench he sits on are

windowsill we meet the acrylics of John Tarahteeff,

geometric and angular in a flat, naïve style. Even

in which intense color is key, but in surprising

his hair is wiry, his expression empty. This gives

ways. In Her Turn a young girl lures a fish and her

the softness of the cottony tree leaves outside

orange sweater lures us. But just when you think

and the swirls in his bowl of shaving cream an

that the gold reflections in the sweater, the sky, and

expressive lightness. Those same swirls are back

the girl’s hair are the true highlights of the picture,

in Profumi, contained within the pink roses in the

you notice a hidden golden daffodil that steals the

woman’s green tote bag. Her face, and that of

show. And the fun continues in other pieces by

the man she has just passed, is blank with vacant

Tarahteeff. Brightly colored geometric-patterned

eyes. The man’s little white dog with his bared

bikini bottoms are overpowered by a little banana-

teeth gives off more life. But then there are Calli’s

yellow bird overhead in Bathers (Friends). A green

shadows for these figures and the surrounding

bustier feels like it should be the focal point in Land’s

greenery, and they are alive with movement and

End, but it’s really that little yellow bird again, this

nuanced colors.

time perched on the harlequin’s black hat. And in

Gallery owner and curator Juan Kelly, an

each painting one figure’s eyes are wide open and

inspirational painter in his own right, says he usually

another one’s eyes are closed, creating contrast

begins with a concept when he hangs a new show,

between physical and sensual awareness.

until peripheral vision intrudes, and he begins to care

Alberto Gálvez’s translucent oil paintings of

a great deal about how the pictures work together.

faces are exactly that: paintings, not portraits. There

He explains that the initial concept “usually flies away

is an ethereal, muted softness that feels like the

because the art does what it wants.”

diffusion of watercolor. In Cabeza de mujer, Gálvez

—Susan Wider

refrains from painting both the top of the woman’s head and also her chin. This clipped effect causes us to zero in on her eyes which glance left. Next to her is Cabeza de hombre and he is also cropped at hairline and chin. He stares directly at us, which is almost as disconcerting as his “unfinished” left ear. The young

Vincenzo Calli, Un mattino d’estate, oil on canvas, 47” x 39¼”, 2014 Carol Mothner, Honor the Little White Horse Dream Shadows, fluid acrylic on panel, 10¾” x 10¾”, 2014


deconstructing coYote: thanKsgiving in the southwest

gF conteMPorarY 707 canYon road, santa Fe

COYOTE WAS BORN, AT LEAST AS A MARKETABLE COMMODITY, IN SANTA FE iin the late twentieth century. Known for millennia in

inside out, like the true shape shifter that he is.

including children’s toys twist themselves into entrails that

indigenous circles as the trickster, it is perhaps fitting that

Curator Braziel is probably best known for her work

spill out from the deer’s torso onto and under an antique

Coyote allowed himself to lapse, for a couple of decades

with New Mexico Arts’ Art in Public Places TIME program.

Bureau of Indian Affairs table. The notion of reclamation

anyway, into the guise of a tame dog wearing a striped

TIME, or Temporary Installations Made for the Environment,

is alive here, as the animal and, metaphorically, indigenous

kerchief, pigeonholed within the two dimensionality that

has been greatly influenced by Braziel’s participation over

cultures reclaim their rights to define their own identities.

became known as Santa Fe style. 2-D Coyote will always be

the last five or so years. She recently livened things up by

In the front gallery where the rest of the exhibition

associated with Canyon Road and all that was perceived by

turning to the Navajo Nation, the Institute of American

takes place, a marvelous triptych by Dambrova asserts that

many as the predictable, grimly cheerful “art” that gave Santa

Indian Arts, and the Museum of Contemporary Native

The Body Remembers, no matter how it is mangled by life.

Fe a bad name—a reputation we still struggle to overcome.

Arts, among other groups and individuals, for artists who

Olsen’s black, charred-wood table inlaid with aluminum

Some thirty years after the heyday of faux-Pueblo

submit a relentlessly challenging definition of “contemporary

furthers notions of reclamation, as does her LED chandelier

style, Coyote makes his return, leaner and meaner than

Southwest art.” Far from the static-as-a-cigar-store-Indian

made of upcycled plastic bottles. The sharpness of her

ever. Deborah Fritz’s GF Contemporary presents a twenty-

imagery we see on Museum Hill and in galleries in town and

design sense belies the trope of re-purposed materials; her

first-century adjustment to Coyote’s image in a refreshing

throughout the region, much of the work Braziel chooses for

work is always stunningly incisive. Atop Olsen’s table, and

exhibition curated by Eileen Braziel. Deconstructing Coyote:

her projects is rigorous in its commitment to an electrifying

under the chandelier, lies the pièce de résistance: Marcus

Thanksgiving in the Southwest is a group show that pushes well

visual aesthetic. That aesthetic does not distinguish between

Kenny’s Thanksgiving Coyote. The roped and taxidermied

beyond Canyon Road’s comfort zone. The exhibition was

Native and non-Native, Santa Fean and non–Santa Fe artists.

animal is trussed up like some ghastly turkey, with dollar bills

strategically scheduled around that iconic American holiday of

Coyote’s artist roster includes Tony Abeyta, Bert Benally,

for stuffing, and served on a platter. It is utterly and wickedly

food, football, and (for better or worse) family: Thanksgiving.

Chris Collins, Bill Dambrova, Jaque Fragua, Cannupa Hanska

magnificent, an Ouroboros caught in the gruesome act of

The harvest feast on the fourth Thursday in November

Luger, Marcus Kenney, Beth Olsen, and Will Wilson. I deeply

consuming and regenerating itself.

manages to whitewash our nation’s history of genocide,

appreciate that tribal affiliations, when they apply, are not

positioning Native Americans as willing and generous hosts

listed. An artist is an artist, not an ethnicity.

to their own ruin. If only they’d let those Pilgrims starve! I bet

Abeyta’s video, Acquiesce, was made for New Mexico Arts’ indigenous dome program, and is here projected in

Entering the gallery, the viewer comes upon Jaque

a tondo shape, part of a series that reflects on the beauty

Fragua’s Mok Uh Sins, a hot-pink text installation in neon that

that can be found in destruction and waste. Abeyta has

Conflated with the landscape of the Wild West as

defies the stereotype of Indians in fringed leather, beads,

allowed himself to move on from his Modernist paintings

found in New Mexico, little did Santa Fe’s tourists know that

and feathers. Like the other artists in the show, Fragua’s

to a whole new medium with a whole new meaning; this

for many communities in the Southwest, Coyote has always

work is straightforward but not undemanding, sensitive

is your chance to see him push his very real talent beyond

had “one foot in and one foot out of a cycle of deliberate

and authentic, with a twist of wry humor and beauty. His

his previously competent, yet clearly commercial artwork.

ambiguity,” as Braziel puts it. That ambiguity has resulted in

neon sign sets the tone for the exhibition—a tone that is

I would posit, in fact, that he is finally coming into his own,

yet another transformation for the mythical creature—and

smart, multilateral, and compelling throughout. Also in

and congratulate him.

the very act of Deconstructing Coyote is not always pretty.

the entryway, Luger’s Hand Me Down portrays a slab-built

Finally, Benally’s Jesus is NDN is an animated video

In his scruffily triumphant return, Coyote spills his guts and

porcelain deer lying proud and alert despite its fatal wounds.

that cleverly presents Christ as, well, an Indian. Wilson

his blood, breaks his own heart and yours, and turns himself

Yarn, a second-hand knitted afghan, and reclaimed items

continues to ably and provocatively combine technology—

the original Coyote counseled exactly that.

in this case an augmented-reality app—with antique forms of photography in his “talking tin-type photographs.” Chris Collins is known for casting just about anything and everything in metal and making it look uncannily appealing. In his Santa Fe Scene, he re-introduces Coyote, in the form of a 24-carat gold-leafed skull, to the wealthy second- and third-home crowd as well as the locals. It’s apt, because Coyote is nothing if not adaptable. Long may he thrive. I trust that Canyon Road gallerists will sit up and take notice of his latest—and greatest in decades— appearance.

—KathrYn m davis

Bill Dambrova, The Body Remembers What We Forget, oil and acrylic on canvas, 84” x 180”, 2014. Photo: Sean Deckert /Calnicean Projects



the magazine | 55


Phil Space 1410 Second Street, Santa Fe

WHY NOT LEAVE YOUR OVERHEATED LEFT-BRAIN AT HOME ON THE SHELF TODAY, and ride the translucent ghost of your pet mesohippus to

needing ghost pets probably often end up with extinct species,

spider of fate waits on the web of stars that form another.

work? This is just one of the vital questions that this elaborate

since they must be so plentiful. At any rate, it’s a bit too small

Datura Person, a bellflower with legs, floats against a dark starry

installation raises, usually followed by, What the hell is a

for riding to work, maybe just a canter around the living room,

expanse, while Radiolara suggests that microbes from outer

mesohippus anyway?

or if I get just a little bit smaller…do you dare me?

space are how we got here. The sculptural birds and moths

Alongside her prodigious skills as a maker of precious

Get smaller like Bird Singer, a twenty-four-inch-high

that energize this installation are composed of shards of broken,

objects and master caster of visually compelling spells, Erika

thermoplastic-polymer personage who sings a flock of birds

antique glass that the artist uncovered in the arroyo near her

Wanenmacher’s utter comfort with the ambivalent states of

and butterfly moths directly from the heart to flutter around

home-studio. Planes of glass are bound with silvery solder to

what Jung called the collective unconscious is eerily impressive.

the large Datura at the center of it all. Like a true sacrament and

compose the sparkly, diaphanous birds and moths that flutter

She is a surrealist if she must be boxed up like a sugarcoated

sacrifice, like a stained glass window that has curled in on itself

across the walls. The little humanesque figures, including a self-

modernist, but better to see her as an eddy in the river, or

and grown wild, eschewing the stone tracery of the cathedral

portrait song-eater and the mesohippus, are made of semi-

a black hole galaxy where surrealism spirals back into the

for the domed and open sky, and most of all, like a proper

opaque thermo-plastic, which in the afternoon sunlight of Phil

mythical mystic once again, its original primordial home. She

pagan idol, Datura roots the human imagination, wonder, and

Space appears to glow from within like an absurd Bernini.

is an indigenous inhabitant of the territory salvaged from

reverence in the worldwide soil of origin, in the beautiful,

Part creation myth, part return-to-the-prehistoric-garden

the stitched-together skins of freshly slain cult-of-nature

flower trumpeting, green leaf, and sunshiny water world. The

song, half-funny half the time, yet filled with the poignant

Romantics, which Freud the elder colonized, and Andre “The

empire of plants provides real, imaginary, extinct and extant

longing of cosmic distance and watchful apprehension of the

Tyrant” Breton then tried to fence off as his own private

populations, of whatever species or spell, with the breath,

rare day when fate will cut the threads, Incorporate brings

bestiary. But praise be, the witch-goddess Wanenmacher has

nutrition, medicine, shade, and sustainable shelter we all call

another fantastic set of visions from Wanenmacher’s super-

arisen as a killer healing-plant to restore freedom of association

home. Bird Singer sings her heart out to create, as Little Blue

brain into being. Corporeal form, how we come to inhabit our

to all inhabitants of the vast imaginary region formerly known

Eyes, a fragment of face (of another or the same someone),

bodies, and what happens between them is the real meditation

as Surrealandia. Fortunately for us, she is gifted with the ability

cries bluebirds of happiness from her eyes into the azure.

here. Erika Wanenmacher is an artist’s artist, a genuine maker

to dream out loud, and selflessly dedicates herself to forging

Does a mesohippus ghost puppy whimper in the middle

of meaningful things, and a true visionary. I see your left-brain

broken shackle splinters into love songs sung for spiders with

of the night? Is it a good idea to tie them up, or not? Don’t

slinking towards us. Unhitch your little mesohippus and ride

scissors, 3D mapping delicate melty moths, and eye-spying

they usually just break loose and get up on the couch anyway?

like the wind!

spirits in the stars.

Eventually you know those cushions will smell like ectoplasm.

—Jon Carver

So is Mesohippus a pet ghost that just happens to be a

Rounding out this extra-imaginative mystos menagerie

mesohippus, or a pet mesohippus that just happens to be

are four digital prints that combine Hubble Space Telescope

a ghost? I guess since they’re extinct the only way to have a

imagery with iconic organisms. A large Luna moth gathers

Erika Wanenmacher, Mesohippus, thermal-set plastic, 2014

pet mesohippus these days is in ghost form, but then people

sustenance from the center of a galaxy, while the eight-armed

Erika Wanenmacher, Datura, found leaded glass, 2014


Fall grouP show

chiaroscuro 702½ canYon road, santa Fe

C H I A R O S C U R O H A S A S T R O N G G R O U P S H O W F O R T H E FA L L . viewers enter an extension of their own space.

The quality is consistent over a range of work comprising

four acrylic-based canvases of the Australian artists, and

photography by Renate Aller, Bonnie Bishop, and Walter

by extension, to the two narrow weavings by Rebecca

Thus when a large abstract painting like Lawrence

W. Nelson, paintings by Lawrence Fodor and by native

Bluestone and to Kay Khan’s four festive sculptural forms

Fodor’s Without Gravity X is displayed within sight of any

Australian artists Kalaya Tjukurpa, Wayiyul, Mina Mina

shaped by stitched fabrics, silk, cotton, and bamboo.

of Aller’s ocean or desert prints, the effect is reversed: Any

Jukurrpa, and Kapi Kutjara, textiles by Rebecca Bluestone, and sculptures by Kay Khan.

The digital photography dominates the group show—

allusive reference of the painted abstract image yields to its

almost irrespective of the comparable quality of the painting,

material status as a pigment-brushed canvas on a stretcher

No single aesthetic is shared by the photographers in

textiles, and fabric sculptures. Perhaps it is simply a matter

hung on a wall in the same physical space occupied by

the show, but what is common to their work is the choice

of taste, but I would submit that the visual dominance of the

the viewer.

of the particular medium of archival pigment ink print. The

photographs over the other art mediums has to do with a

dye method of these stable and durable images can be

fundamental dichotomy that seems to have set photography

metamorphosis happens with Walter W. Nelson’s Black

reproduced in any size as an exact match of a traditional

apart from the traditional “fine arts” almost from its

Place photographs on view in a space adjacent to the area

print, without limitations of resolution and sizing. The latter

inception as an art form.

occupied by the Australian paintings and by Khan’s fabric







effects of the archival pigment ink print are most apparent

Perhaps it is best explained by comparing photography

constructs. The Black Place prints become windows onto

here in the work of Renate Aller, whose work features

with painting, whose descriptive and narrative function it

a distant high-desert plateau, and by their proximity they

mostly large prints of forty-seven by sixty-eight inches.

displaced early on. Both photography and painting, as art

reduce the paintings to tapestries and the fabric sculptures

Aller is best known for her ocean photography, in particular

forms, rely upon the viewer’s suspension of disbelief, which

to beautiful craft.

for their views of the Atlantic Ocean captured over the

requires viewers to enter into the vicarious experience that

Given the enormous immediacy of photography’s

last fifteen years from the same vantage point—but with

each medium intends to convey. But the virtual immediacy

capacity to invoke a convincing suspension of disbelief, the

shifting camera height yielding different horizon lines—on

of the verisimilar photographic image overwhelms any

task of displaying photography together with other allusive

Long Island’s east shore. Aller cites as one influence the

fictive claims by an actual painted image, much as, say, the

art mediums is formidable. I suspect that even a Casper

seascapes of the nineteenth-century German Romantic

Tim Burton film version of Alice in Wonderland induces a far

David Friedrich seascape such as the menacing Monk by the

painter Casper David Friedrich. In recent years Aller has

more compelling suspension of disbelief in the viewer than

Sea would be hard put to hold its spell if hung within sight of

taken to photographing desert landscapes, whose shared

any stage production could conjure. Photographic prints in a

Aller’s lowering #60 Atlantic Ocean.

aesthetic with her seascapes is the subject of Ocean/Desert

gallery immediately transport the viewer to the place whose

—richard tobin

(Radius Books, 2014), represented by her eight prints in the

appearance is experienced very much the way viewers would

show. The mutual effects of her juxtaposed views of ocean

experience it directly. And large-format prints like Aller’s

and desert, “simultaneously spectacular and calm” (New

Ocean/Desert views are virtual windows through which

Walter W. Nelson, The Black Place, Untitled 16A, archival pigment ink print, 25” x 33”, 2013

Republic, October 6, 2014), are due in no small part to the archival print’s capacity to maintain high resolution in large-scale prints such as #79 Great Sand Dunes May 2013. Equally rich and subtle results are achieved on a smaller scale in the show’s six pigment prints by Walter Nelson from his series The Black Place: Two Seasons. The title refers to a desolate highdesert plateau frequented by Georgia O’Keeffe over the course of twenty years and recorded in her paintings and drawings of the remote locale on the Navajo Reservation some one hundred miles northwest of her Ghost Ranch. Nelson’s subtitle refers to his description of its “visual extremes of aridity and snow”—where ferocious winds drive the desert’s black sands, a tangible legacy of its distant past as an active volcanic field. Bonnie Bishop’s four photographic prints are rich chromatic abstractions whose virtual impastos and striated surfaces serve as a visual bridge to the fourteen oil-based, mixed-media paintings in the show by Lawrence Fodor, the



the magazine | 57


prize fighters super heroes & seductive women

Jennifer Esperanza Photography ~ 505 204 5729

Santa Fe Scout Collection available at

ICL STUDIO | January 15-31 2015 Opening Reception: Thurs, January 15 6 -9 pm 2051 NW 2nd Ave | Wynwood Miami, FL | 505 603 2080

1219 Cerrillos Road and

Santa Fe Dry Goods

on The Plaza

Dana Waldon

505.660.6442 •


. y on agua . T , Fr za iel az que eran r Ja Esp nB ee , and ifer l i , E as nn on uel y Je s b n M Joh rico ta Fe h et de San nn , Fe n e ) : K der ntow t igh ad ow o r on l in d t ( d ft Le eyta aphe Ab togr

In The Round, a collaboration curated by Eileen Braziel between Ai Weiwei and contemporary Native American artists from New Mexico and Florida, has its international premier at the Concept Art Fair, Bayfront Park, during Miami Art Basel 2014. Tuesday, December 2 to Sunday, December 7, 2014. Supported by New Mexico Dome Project.

o Ph



the magazine | 59

Who Reads THE magazine? SUBSCRIPTIONS $40 one year $75 two years

Filmmaker Emily Esperanza in Oaxaca, Mexico, reads THE magazine, that’s who!


the We accept Visa & Mastercard

Photograph: Jennifer Esperanza






GUY CROSS the magazine | 61




The French have it wrong, said Larry; the self isn’t a historical fiction or a cultural construct or a linguistic hallucination; the self is a creature and it lives in a burrow under the hillside of history a modest animal like a badger or a vole rarely seen resourceful neither beautiful nor ugly but merely alive— And he smiled briefly, like a sad child who feels secretly a little proud for being sad, —and, making sure there was a wall behind him, he tipped back, carefully, in his chair.

Tony Hoagland is the author of Donkey Gospel, winner of the 1997 James Laughlin Award of the Academy of American Poets, and Sweet Ruin, winner of the Brittingham Prize in Poetry. Hoagland teaches at the University of Houston. “Still Life” is from What Narcissism Means to Me (Graywolf Press, $14.00). “He has been brilliant from the beginning, but What Narcissism Means to Me issues from a more profound engagement—with America and with the self. It shows us our age and how great poetry is still possible.” —Rodney Jones

62 | the magazine



Tom Birkner + Don STinSon n





Tom Birkner, Scene Somewhere in Texas, 2014, oil on canvas, 38 x 60 inches. © 2014 courtesy, Gerald Peters Gallery








Don Stinson, Green River Bridge (detail), 2014, oil on linen, 20 x 60 inches. © 2014 courtesy, Gerald Peters Gallery

d e c e m b e r 5 , 2 0 1 4 – j a n u a r y 1 0 , 2 0 1 5 , G e r a l d p e T e r S G a l l e r y, S a n Ta F e 10 0 5 pa S e o d e p e r a lTa , S a n Ta F e , n e w m e x i c o F o r i n q u i r i e S a n d T o v i e w a d d i T i o n a l w o r k S i n T H i S e x H i b i T i o n v i S i T G p G a l l e r y. c o m

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public auc Tion previewS: december 5th, 10:00 Am – 8:00 pm mSt december 6th, 9:00 Am – 1:00 pm mSt yo u c a n r e G i S T e r T o b i d o r aT T e n d T H e a u c T i o n a T w w w. S a n T a F e a r T a u c T i o n . c o m

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F o r i n F o c A LL : 505 - 954 - 5858, em A i L : c u r Ato r @ S A n tA F e A rtAu c t i o n . co m o r v i S i t S A n tA F e A rtAu c t i o n . co m

Holiday E xhibition December 2014

Renate Aller Australian Artists Rick Bartow Bonnie Bishop Rebecca Bluestone Daniel Brice Cobi Cockburn Mel Douglas Lawrence Fodor John Garrett Irene Kung Peter Millett Walter W. Nelson Chris Richter Leah Siegel Rose B. Simpson Penny Truitt Emmi Whitehorse Richard Whiteley

Holiday Reception - Saturday, December 27, 2-5pm

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


www. chiaroscurosantafe .com Rebecca Bluestone, Color Study 5 , 2013, Silk, Dyes, Cotton Warp, 60 X 35 inches

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