Page 1

Santa Fe’s Monthly










of and for the Arts • June 2008








Lance M. Fung, Curator

June 22, 2008–October 26, 2008 Opening Weekend Events: June 20–22 505.989.1199 Photos: This announcement is made possible in part by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax.

SITE Santa Fe presents The Seventh International Biennial

LUCKY NUMBER SEVEN Lance M. Fung, Curator June 22-October 26, 2008 Piero Golia Soun Hong Scott Lyall Nick Mangan Eliza Naranjo Morse Nora Naranjo Morse Ahmet Ögüt

Shi Qing Mandla Reuter Nadine Robinson Zbigniew Rogalski Wael Shawky Raphaël Siboni Rose B. Simpson

Studio Azzurro: Fabio Cirifino Paolo Rosa Stefano Roveda Leonardo Sangiorgi


ARTISTS: Martí Anson Erick Beltrán Luchezar Boyadjiev Michal Budny Ricarda Denzer Hiroshi Fuji Fabien Giraud

OPENING WEEKEND EVENTS FRIDAY, JUNE 20 Biennial Preview Reception, 6–7:30 pm Tickets $250 Biennial Post Party, featuring Dengue Fever, 10 pm Tickets $25 SATURDAY, JUNE 21 Biennial Members Opening, 2–4 pm Free for members Lucky Number Seven Summit with Biennial Artists, 5–6:30 pm National Dance Institute of New Mexico, 1140 Alto Street, Santa Fe Sponsored by Gebert Contemporary & Chiaroscuro Contemporary Art Tickets $10/$5 BBQ Supper with entertainment by the Joe West Band, 7 pm Sponsored by Landfall Press, Inc. Tickets $30 SUNDAY, JUNE 22 Public Opening 12–5 pm Free Admission Individual tickets for Biennial Opening Weekend Events can be purchased by calling SITE Santa Fe at 505.989.1199 x 20, or visiting

HOURS Wednesday–Saturday, 10 am–5 pm Friday, 10 am–7 pm Sunday, 12 pm–5 pm


$10 General Admission $5 Students, Teachers & Seniors Free to SITE Santa Fe Members Free every Friday Free public admission on Fridays is made possible by The Brown Foundation, Inc., of Houston.


Drew Tal, Point of View Gallery, New York







Universe of artist Iris Vazquez


Person of Interest: Jim Denevan


Studio Visits: Clayton Porter Ted Larsen, and Donald Woodman



Museum Café: Patinette Cafe at MOCA, Los Angeles

Reflections from Chicago: Marsden Hartley at the O’Keeffe: Another Man in a Woman’s Museum, by Judy Chicago


Food for Thought: Frida Kahlo and Diego Rivera at the Blue House


Oddities: Which is Life, Which is Art?


One Bottle: The Lucien Albrecht Crémant D’ Alsace Brut Rosé, by Joshua Baer



Dining Guide: Geronimo and Café Café Italian Grill


Openings & Receptions


Out & About


Previews: Thomas Ashcraft at the Center for Contemporary Arts; Colette Hosmer at William Siegal Gallery; Lucky Number Seven at SITE Santa Fe; Susan York at the Lannan Foundation; Tamar Kander at Joyce Robins Gallery; and The Cradle Project at Downtown Lofts Building (Alb.)

Critical Reflections: Alchemy and Snap Crackle Pow! at 516 Arts (Alb.); Anthony Hassett at Parks Gallery (Taos); Baron Wolman at Andrew Smith Gallery; Carlos Quinto Kemm at Exhibit/208 (Alb.); Defining the West at Gerald Peters Gallery; Fernando Delgado at Artspace 116 (Alb.); 14th Annual Juried Graduate Student Exhibition at University of New Mexico (Alb.); Margeaux at box gallery; Nancy Youdelman at Eight Modern; Peregrine Honig at Dwight Hackett projects; Sand, Silk, and Snow at photo-eye Gallery; Voices Against the War at New Concepts Gallery; and Yulia Pinkusevich at Loka (Taos)


National Spotlight: Takehito Koganezawa @ Christopher Grimes Gallery, LA


Architectural Details: Summer, Santa Fe, photograph by Guy Cross


Interview: Lance Fung, curator of SITE Santa Fe Biennial, Lucky Number 7


Writings: “Take a Left at My Mailbox,” by Miriam Sagan

In a career spanning more than six decades, Lucian Freud has redefined portraiture and the nude through his unblinking analysis of the human form. Although best known as a painter, Freud has made etching a constant part of his work since 1982. In Lucian Freud: The Painter’s Etchings (Museum of Modern Art, $40), the full scope of Freud’s etchings are represented, ranging from early experiments of the 1940s to the increasingly complex compositions created since his rediscovery of the medium in the early 1980s. Freud’s etchings are based on an intense process of observation, but his fluid style reflects the more painterly and gestural approach that he developed in his works on canvas. Freud has described his work as autobiographical, stating in 1974, “It is about myself and my surroundings. It is an attempt at a record. I work from the people that interest me and that I care about, in rooms that I live in and know.” The book includes more than seventy etchings, juxtaposed with twenty-three paintings and seven drawings.


magazine VOLUME XV, NUMBER VIII WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005-06 Top-5 Best Consumer Tabloids

P U B L I S h e R S / C R e AT I V e D I R e C T O R S

Guy Cross and Judith Cross ART DIReCTOR

Chris Myers


diane arMitaGe COPy eDITOR

edGar sCully


JaMes rodewald KenJi Barrett

S TA F F P h O T O G R A P h e R

Center presents Review Santa Fe on Friday, June 6, from 6 to 9pm at Zane Bennett Contemporary Arts, 435 South Guadalupe Street. Image-makers show work to curators, art directors, publishers, editors, and gallery directors. Above photograph by Doug Menuez.

dana waldon


rinChen lhaMo


liz napieralsKi INTeRN


diane arM rMitaG ita e, Joshua Baer, Jon Carver, Judy ChiCa CaG Ca aGo, Kathryn M davis, Munson hunt, rinChen lhaMo, alex ross, MiriaM saG aGan Gan, liza statton, and riChard toBin COVeR

Chinese Symbol for “Good Fortune”



I want to compliment Jennifer Esperanza on the extraordinary

I get to Northern New Mexico a couple of times a year to

photograph of Barack Obama on the cover of the April, 2008

visit friends and go exploring, and with each visit I seek out

issue. Esperanza is doing great work.

the latest issue of THE magazine. I wanted to say how much I thoroughly enjoy Joshua Baer’s “One Bottle” column.

—Herb Lotz, Santa Fe

Not only for the general commentary—which is always right on target—but for how Baer brings a fresh look at talking about wine. One of my favorite columns, which


I’ve saved and shared with friends, is the November,

Giving Shelter at 516 Arts in Albuquerque was created to bring

2005 article about the 2000 Allegrini Palazzo Della Torre.

greater awareness, educational outreach, and financial support

So many wine reviews tell me nothing—“fruit forward,

to The Cradle Project. The fifty artists included in the exhibit

notes of this and that, nice finish, blah, blah, blah”), but

were asked to examine what shelter means in both literal and

Baer’s descriptions bring the wine alive (“the bouquet is

figurative ways. Their visions, local and global, personal and

untamed, like the smell of a wild animal”). Thank you Joshua

universal, contributed to an investigation of what offers safe

Baer for doing this and bringing such wit and energy to

shelter, refuge and sacred space in our time.

what is too often a stuffy and dry field.

Although we welcomed work that was for sale (to benefit The Cradle Project), that was not a necessary ADVeRTISING SALeS

rose darland: 505-577-8728 (MoBile) sheri Mann: 505-989-1214 or 501-2948 (MoBile) reBeCCa o’day: 505-699-1915 (MoBile) sarah ellis: 505-424-7641 the MaGazine a azine : 505-424-7641 DISTRIBUTION

JiMMyy Montoya: 470-0258 (MoBile) THE magazine is published by THE magazine Inc. 1208-A Mercantile Road, Santa Fe, NM 87507. Corporate address: 44 Bishop Lamy Road, Lamy, NM 87540.Phone (505) 424-7641. Fax: (505) 424-7642, Website: All material copyright 2008 by THE magazine. All rights are reserved by THE magazine. Reproduction of contents within are prohibited without written permission from THE magazine. All submissions must be accompnied by a self-addressed, stamped envelope. THE magazine is in no way responsible for the loss of any unsolicited materials. THE magazine is not responsible or liable for any misspellings, incorrect dates, or incorrect information in its captions, calendar, or other listings. The opinions expressed within the fair confines of THE magazine do not necessarily represent the views or policies of THE magazine, its owners, or any of its agents, staff, employees, members, interns, volunteers, or distribution venues. Bylined articles and editorials represent the views of their authors. Letters to the editor are welcome. All letters may be edited for style and libel, and are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the autheticity or quality of objects and/or services advertised. As well, THE magazine is not responsible for any claims made by its advertisers; for copyright infringement by its advertisers; and is not responsible or liable for any mistakes in any advertisement.

—Jeffrey M. Glebocki, Tucson, AZ

requirement. For instance, Jane Mahon’s masterful painting, Jazz, was not for sale. The painting of Mahon’s mare was shown not because it had a specific connection to the West (there are no signifiers to


the landscape in the image), but because it depicts “horsepower,”

I have watched THE magazine from its early days in the 90s

and stands as an example of how the horse has given humankind

as a very hip and out there black-and-white publication. As a

its sheltering service, and literally carried us, throughout history. As

graphic designer and owner of an advertising agency for many years, I

the work in Giving Shelter testified, there are endless ways to think

just wanted to let you know that the May issue was really spectacular.

about what gives us a safe haven. Robert Kelly, Margaret Fitzgerald,

The choice of type fonts and faces, the layout, and ad placement is well

and J. Mehaffey each make work consistent in its ability to transport

thought out; the content is good reading. And now with mega-color you

the viewer to an abstract space conceived from oil on canvas.

guys rock!

Mehaffey’s painting, Secret Garden, is an example of a figurative expression of refuge and it provided, along with other pieces, an

—Douglas Houston, Santa Fe

opportunity to think about sacred space in the exhibition. It is unfortunate that the writer of your review did not take a little time to discuss the show with myself, the gallery

THE magazine regrets publishing incorrect information in the

director, or any of the artists. Perhaps a bit of research would

Universe of Sheilah Wilson article in the May issue. Regarding

have opened his mind to a greater definition of “shelter,” and a

her show opening June 19th at the Center for Contemporary

more informed review.

Arts, Wilson says she is “Working on a project that will break down some of the expectations of what we think art should

—Deborah Gavel, curator for Giving Shelter @ 516 ARTS

look like.”

© Nate Mumford

Photography Image Presentations Monday and Tuesday Nights at 8:30 PM June 16 through August 5, 2008

Santa Fe Prep School Auditorium Camino Cruz Blanca Open to the public, free of charge schedule subject to change 505-983-1400 ext. 11

© Raul Touzon

© Raul Touzon

© Ryan Heffernan


Underneath the Overpass 2008 Mixed Media



A new book on the work of Joan Watts, published by Radius Books, with an essay by Lilly Wei and a foreword by Louis Grachos, will be available at the opening of this exhibition. Contact the gallery for more information or to order signed copies.


Art. Mostly by nature.

A tropical hard wood. Exotic and Inspiring. Burnt in a forest fire. Reclaimed and shaped into a Contemporary Form with minimal human interference. Consoles, Coffee Tables, Slab Dinning Tables, Desks, Benches and More.


Corner of Galisteo and Water St. Santa Fe 505 982 7000 5/13/08 2:18 PM Page 1

THE mag 2008:Layout

Kevin Tolman: Improvisational Journeys June 13 - 30 Artist Reception: June 13 5 - 7pm


72 x 72”

mixed media on canvas

KARAN RUHLEN GALLERY 225 Canyon Road Santa Fe, NM 505.820.0807 • •


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For folks who like a life surrounded by art and beauty.

SEQUOIA Corner of Galisteo and Water St. Santa Fe 505 982 7000

Chuck Close Recent Prints June 6 through July 2, 2008 OPENING RECEPTION June 6, 5-7pm The Shearburn Gallery deals Contemporary paintings, sculpture, prints, and works on paper by such notable artists as Donald Baechler, Louise Bourgeois, Chuck Close, Jim Dine, Helen Frankenthaler, Ellsworth Kelly, Robert Motherwell, Robert Rauschenberg, Fred Sandback, Sean Scully, Kiki Smith and Bernar Venet.

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A N D R E W S M I T H G A L L E RY, M a s t e r p i e c e s

o f

P h o t o g r a p h y


JOAN MYERS Brimstone

June 27 - September 10, 2008 Reception for the Artist: June 27, 2008 5 - 7 p.m.

at the 122 Grant Ave. gallery

Joan Myers, Hverarond Geothermal Field, Iceland (Italian Nuns), 2007 Š Joan Myers

David H. Arrington Collection of Ansel Adams Photographs Through September 10, 2008 at the 122 Grant Ave. gallery

Santa Fe photographer Joan Myers has been focusing on fire. Brimstone contains stunning new photographs of geothermal sites in Yellowstone, Iceland and Pompeii. Myers began her project in Yellowstone National Park, a premier geothermal location on the planet. Next she visited the ancient city of Pompeii, the world's best known archeological example of the destructive power of volcanoes. Then she traveled to Iceland where the mid-ocean ridge of the Atlantic Ocean creates a "hot zone" of volcanic and seismic activity. Myers's accomplished use of subtle colors and her appreciation of the abstract quality of these scenes imbue her digitally printed photographs with visual power and documentary information.

C o n c u r r e n t Exhibitions

Jack Spencer Recent Work: Gestures and This Land Through July 5, 2008 at the 203 W. San Francisco St. gallery

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Constance DeJong

RonEhrlich IN OTHER WORDS June 6-29.2008


Opening Reception: Friday, June 6, 5:30-7:30 PM

June 13 - August 8

Artist Reception: Friday, June 13th: 6:00 - 8:00

Richard Levy Gallery Albuquerque 505.766.9888

Sparrow, 2007, oil, mixed media on panel, 84" x 84"

HiroshiYamano NAGARE June 21-July 16.2008 Opening Reception: Saturday, June 21, 2:00-4:00 PM

From East to West, Nagare #58, 2008, blown and sculpted glass with silver leaf engraving and electroplating; cut and polished, 15½"h x 11"w x 8½"d


129 West Palace Avenue Santa Fe, NM 87501 tel 505.988.8997




TANGENTS Signe Stuart June 20 - July 16, 2008 Opening Reception: Friday June 20, 5-7 pm R AI LYAR D DI S T R I CT 5 4 0 SO U T H G UA DALUP E ST R EET S AN TA FE, N M 87501 5 0 5 .8 2 0 . 3 3 0 0 WWW.WI LLI AMS I EG A L.CO M I N FO @ WI LLI AMSIE GAL .C OM

Iris Vazquez

finds supreme beauty in the curves of the female body.

Her paintings and sculptures do not portray women as svelte and glamorous supermodels. Instead, they are extravagantly rounded figuresâ&#x20AC;&#x201D;opulent women with ample thighs, wide hips, and voluptuous behindsâ&#x20AC;&#x201D;reminiscent of the polish and excess of Spanish Spanish colonial baroque paintings.

photoGraph By B

dana waldon



have preconceived notions as to what beauty is, failing to

Every artist would love to be continuously selling their

Being both a sculptor and a painter, I relish color and texture.

understand the many faces and characteristics of beauty.

work, including me, but if that means painting or sculpting

Working with water-based clay and using deep and often

Much of my work portrays large women of all colors, and

something just to make a sale, that’s not a good thing. An

heavy pigments brings a texture and rawness to the work that

to be able to capture their beauty on canvas or in bronze

artist does us all a disservice when we cannot see the passion

I create. I love rawness, sensuality, and the feeling of aliveness

is a triumph.

in their work.

my work are a part of this sensuality. Their volume and deep



color give them their own presence. Flesh is sensual, and a lot

I try not to become too concerned about what everybody

I love simplicity and refinement, and absolutely despise clutter,

of flesh is even more sensual.

is doing; instead I focus on what it is I need to convey. Art

although one would not know it by looking at my studio.

associated with color and texture. The voluptuous women in

trends are fickle—what is in today is out tomorrow. I paint

I am a foodie—I love good food, good wine, and interesting,


and sculpt that which comes from within me, that which

fun friends. I am lucky to have a husband who cooks and calls

Since my work is not what one would consider mainstream,

needs to be let out. I have always gone against the current in

himself “the paella king of Santa Fe.” I crave books and never

some may view the subject matter as being repulsive or

my life, as well as in my art. If an idea is in my thoughts and

get enough of them. Toss a couple of animals into my studio

ugly—that would be a tragedy. In our society, we tend to

keeps screaming, it’s a message that needs to be expressed.

environment, and I am one happy artist. D

JUNE 2008



| 21

MONROE GALLERY of photography

ARMED WITH A CAMERA Photographs by Eddie Adams Exhibition continues through June 29

th Annual Annual Annua nnual P hot hotoAuction oAuctio Auction uction C e n t e r f or C o n t e m p or a ry A rt s

Untouchable Children, India, 1978


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

Donald Woodman New Photographs: T H E SEL L I N G O F T H E W ES T June 6 – August 2, 2008 OPENING RECEPTION:

Saturday, June 21th, from 5–7 p.m. with live cuban salsa music

Exhibition catalogue available with an essay by Lucy Lippard.



435 SOUTH GUADALUPE, SANTA FE, NM 87501 TF: 866 802-5223 T: 505 982-8111 F: 505 982-8160 Monday–Saturday 9:30–5:30 and Sunday noon–4

SOLD, 2005. Archival pigmented print, 33.2 x 40 inches.



I think of the concept of genius as a lucid insanity—an unknown dimension into the free space of creativity, and as we idealize the age of childhood, a moment of purity, or a place in between innocence and lunacy. Genius is basically the ability of converting the flow of emotions into one’s vision without expectations.

—donald woodMan Woodman’s photographs will be shown at Zane Bennett Contemporary (The Selling of the West) June 6 to August 2, 2008; at the Palace of the Governors (Through the Lens), January, 2009; at the Art Gallery of Calgary (The Rodeo and the West), July 10 to September 12, 2009; and at The Butler Art Institute, Fall, 2009.



B e lo w By


donald woodMan

dana waldon

Like any other sub-culture, the art world has its trends and trendsetters. However, what’s this year’s avant-garde will be next year’s has-been. It’s easy for an artist to fall into the The test is to document a situation, carefully plot it, cast it, rehearse it, and illustrate it. Art can be derived from this process. All people should strive for inner consistency.

—ted larsen Larsen is represented by Eight Modern in Santa Fe. An exhibition of constructed objects— Built—will be open on June 13 at Eight Modern. He will also be showing work at the Grace Museum, Abilene, Texas, from September 12 to December 1, and at the Pan American Art Projects, Dallas, Texas, from October 3 through November 4.

JUNE 2008

trends that excite, especially in the hyper-aware, globally connected culture of today. An artist can be the darling of the art world one day and its bastard the next. Inner consistency is the foundation of a strong ego and is the only safety net to protect one against the roller coaster of acclaim and failure.

—Clayton porter Porter will have an exhibition of his work at the Center for Contemporary Arts, December 2008. To contact the artist:




Flo Perkins, Earthquake Ware /Sake Cup, 2000, Glass,




The Lofts at




1, SUITE 107A



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JUNE 2008



| 27


w o N a n i t Can ! ! ! n Ope 132 West Water Street Santa Fe, NM 87501 505.983.1615




The Bride Frightened at Seeing Life Opened, (1943) B By

frida Kahlo

It was Frida Kahlo that gave the Blue House—where she and Diego Rivera lived in Coyoacan, Mexico—its unique personality. Each day, Kahlo met with the staff to discuss the day-to-day business of running the kitchen. The stove in the kitchen was decorated in white, blue, and yellow tiles, and the entwined names of Frida and Diego were spelled out in tiny earthenware jugs on the rear wall. Above the stove hung earthenware pots from Oaxaca, copper kettles from Santa Clara, glasses, cups, and pitchers from Guadalajara and Guanajuato. One day after unpacking fruits and vegetables from the Melchor Ocampo market, Kahlo exclaimed to a friend, “Look at this watermelon. It’s an amazing fruit. On the outside, it’s a wonderful green color, but on the inside, there’s this strong and elegant red and white. The pitaya is bright red, like a pomegranate sprinkled with black dots. Then there’s the pitahaya, which is fuchsia on the outside and a whitish-gray pulp flecked with little black spots that are its seeds inside. This is a wonder! Fruits are like flowers: they speak to us in a provocative language and teach us things that are hidden.” In the 1943 painting, The Bride Frightened at Seeing Life Opened, the freshness of the watermelon, the seedy core of the papaya, and the owl’s staring eyes speak to the openness and liveliness of Kahlo’s spirit. D JUNE 2008




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One BOttle:

The Lucien Albrecht Crémant D’ Alsace Brut Rosé by Joshua Baer

The day will come when you will make a list, get into your car, drive to the

Bordeaux, Burgundy, or the Loire, you call your sparkling wine, respectively,

store, and find a riot waiting for you in the parking lot. There will be food in

Crémant D’ Alsace, Crémant De Bordeaux, Crémant de Bourgogne, or Crémant

the store. The problem will be the limited amount of the food. The people

De Loire.

in the parking lot will be rioting because they have money but no food. The

Compared to vintage or non-vintage Champagnes, Crémants tend

police in riot gear will be keeping the people in the parking lot from going

to be understated. In terms of bouquet, bead, attack, and finish, Crémants

into the store and spending their money. The people who run the store will

often attempt less and accomplish more than their Champagne counterparts.

be inside, wondering what to do. One thing they will know with absolute

Crémants also cost less than Champagnes. A good non-vintage Champagne

certainty is that the food inside the store is worth more than the money in

like the Piper-Heidsieck Champagne “Cuvée Brut” costs $48 a bottle. A good

the parking lot. Maybe they will ration the food. Maybe they will raise their

non-vintage Crémant like the Paul Chollet Crémant De Bourgogne Blanc costs

prices. Maybe they will hold an auction. Or maybe they will eat some of the

$18 a bottle.

food and save the rest for themselves and their friends. This is what happens when a country devalues its currency. It happened

Some of the best Crémants are the Crémants D’ Alsace. In the wine world, Alsace is the region where austerity, generosity, and subtlety

to the German Reischmark in 1923, when food prices doubled every forty-

converge. When wine people think of Alsatian wines, they think of

eight hours. It happened to the Hungarian pengo in 1945, when prices

Zind-Humbrecht’s classic Reislings or Meyer-Fonné’s phenomenal Pinot

doubled every fifteen hours. It happened to the Chilean escudo in 1974, to

Gris. They don’t think about Pinot Noir because the Pinot Noir grape

the Argentine austral in 1989, and to the Zimbabwean dollar in 2006. The

is associated with red Burgundy, and rightly so. Pinot Noir dies and

reason the American dollar is losing its value in 2008 is because there

goes to heaven in Burgundy. But there are two other regions in France

are now, officially, too many dollars in the world: one hundred trillion

where great wines are made with Pinot Noir. One of those regions is

at last count, and climbing. The curious part of this phenomenon is where we are in the cycle. Since the establishment of the Federal Reserve Bank in 1913,

Champagne. The other is Alsace. Which brings us to the Lucien Albrecht Crémant D’ Alsace Brut Rosé. In the glass, Albrecht’s Brut Rosé is a transparent copper.

the dollar has lost ninety-six percent of its purchasing power. Since

The bead manages to be delicate without becoming fussy. The

2001, when President Bush took office, the dollar has lost thirty-

bouquet is fresh, immediate, and kind. The attack is a surprise.

eight percent of its purchasing power—sixty-one percent if you

When I first tasted this wine, I wanted to go back to Liquor Barn

factor in the prices of gasoline and diesel. And yet, our once

and buy every bottle they had. If you like red Burgundy, you will

almighty dollar can still get the job done. We can still make a

want to own cases of this wine. It is one hundred percent Pinot

list, drive to the store, park, go in, get a cart, and buy more

Noir. The shy aggression of the Pinot Noir grape is evident in

food than we can eat. Times may be tough, but compared to

every sip. The finish is like the bouquet. It underwhelms you,

what’s coming, these are good times. After the riots start, we

but that makes you wonder if the sip you just took was really

will look back on these days as the good old days. 2008 will be

as good as it tasted. This makes you take another sip, which

remembered as one of the twilight years when you could still

confirms your first impressions: You are drinking a seriously

buy food with money. Just think, we’ll say to each other. We

great sparkling wine that costs $19 a bottle.

were alive during the golden age of groceries.

Nobody knows when the riots will start. Nobody knows

Given our good fortune, celebration is in order. June is a

when the American dollar will be forced into retirement and

hot month. Nothing tastes better on a warm June evening than

a leaner, meaner, more ambitious currency will move into the

a glass of cold Champagne. Unfortunately, good Champagne

corner office and take over as C.E.O. of the world’s currencies.

has gotten expensive. The French still make boatloads of it but

That’s the problem with the future. You can see it coming but

they insist on pricing their Champagne in Euros. The French

you can’t know when it will arrive. In the meantime, while we

are clever that way. What with the dollar losing the lion’s share

wait for the future, we have the wisdom of the past to keep

of its purchasing power, the bottle of vintage Champagne that

us entertained. History has taught us, again and again, that

cost $80 in 2006 costs $120 today. Fortunately, the French

anything we take for granted will disappear. D

make a less expensive alternative to their Champagne. They call it Crémant. Crémant is the French word for “creaming.” A more idiomatic translation would be “creamy.” The preferred pronunciation is Cray-mawn. In France, if you make a sparkling wine in the province of Champagne, you call your sparkling wine Champagne. But if you make a sparkling wine in Alsace, JUNE 2008

One Bottle is dedicated to the appreciation of good wine and good times, one bottle at a time. The name One Bottle, and the contents of this column, are © 2008 by onebottle. com. If you need help finding a wine or building a cellar, write to Joshua Baer at



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A Never Ending Quest for What is Delicious Located in Pojoaque on Highway 84/285 North, Next to the Poeh Museum 15 minutes from Santa Fe, 20 minutes from Los Alamos For Reservations Call 505-455-5065

Enrique Guerrero Executive Chef


Chef Martin Rios at

Geronimo Lunch and Dinner 624 Canyon Road Reservations: 982-1500




up to $14









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

$34 plus


...a guide to the very best restaurants in santa fe and surrounding areas... 315 315 Old Santa Fe Trail. 986-9190. Lunch/Dinner Beer/wine. Smoke-free inside. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: Three intimate rooms—reminiscent of a small inn in the French countryside. Patio dining. House specialties: Earthy French onion soup made with a duck stock; squash blossom beignets; smooth and rich foie gras terrine with poached cranberries; crispy duck; and one of the most flavorful steaks in town. Comments: Super wine bar. Amavi Restaurant 221 Shelby St. 988-2355. Dinner Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Mediterranean. Atmosphere: Intimate and attractive. House specialties: Menu changes depending on what is fresh at the market. We like the tiger shrimp with garlic, shallots, smoked pimenton, and sherry and the pan-roasted ribeye chop. Recommendations: The bouillabaisse is a must—not to be missed. Comments: The new bar is wonderful. Chef/owner David Sellers is spreading his kitchen wings in the right direction. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3030. Breakfast/Lunch/Dinner Smoke-free. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American/Southwest. Atmosphere: Subdued room with elegant table settings that make you forget you’re in a hotel restaurant. House Specialties: For starters, order the grilled Mexican prawns with heirloom tomato and avocado salad or the crispy mustard-crusted veal sweetbreads. For your entrée, try the Alaskan Halibut with asparagus corn risotto in a spicy saffron-shellfish broth or the grilled Colorado pepper-crusted rack of lamb. Recommendations: You can rely on the sommelier to pair your food with wine, by the glass or bottle. Comments: The pre-opera menu is perfect for Santa Fe’s busy tourist season. Andiamo! 322 Garfield St. 995-9595. Dinner Beer/wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Cozy interior with Tuscan yellows and reds. House specialties: The chicken Parmesan; baked risotto with mushroom ragout; and any fish special. Comments: Consistently good food and a sharp wait staff makes Andiamo! one of the places in Santa Fe to eat Italian. Baleen Santa Fe At the Inn of Loretto 211 Old Santa Fe Trail 984-7915. Breakfast, lunch, dinner Smoke-free. Valet parking at entrance. Major credit cards. $$$$ Cuisine: Inspired local cuisine. Atmosphere: From the remarkable artwork throughout the inside dining area (several Picasso’s), beautiful table settings and comfortable chairs, to the lovely patio with an outdoor fireplace, Baleen is an eye-opening experience. Specialties: The

briny Kumamoto oysters and a frisée salad with “Squaw Candy”—a delicious rendition of Pacific Northwest smoked salmon. If the Tahitian vanilla-poached Alaskan halibut with forbidden black rice and mango salsa, or the Harris Ranch New York “Steak and Potatoes,” are available, go for it. Recommendations: The American cheese tasting plate or the hot chocolate, Spanish style, are great endings.

Cuisine: Multi-ethnic. Atmosphere: The café is adorned with lots of Mexican streamers, Indian maiden posters, and rustic wooden furniture. House specialties: Hot cakes get a nod from Gourmet magazine. Huevos motuleños, a Yucatán breakfast, is one you’ll never forget. For lunch, try the grilled chicken breast sandwich with Manchego cheese. Comments: Always a line outside.

Bobcat Bite Restaurant Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Smoking. Cash. $$ Cuisine: American. Atmosphere: This is the real deal—a neon bobcat sign sits above a small, low-slung building. Inside are five tables and nine seats at a counter made out of real logs. House specialties: The enormous inch-and-a-half thick green chile cheeseburger is sensational. The 13-ounce rib eye steak is juicy and flavorful. Comments: No desserts.

Café San Estevan 428 Agua Fria at Montezuma St. 995-1996. Breakfast/Lunch/Dinner Beer/wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: New Mexican Atmosphere: Old adobe, rustic wooden tables. House specialties: Enchiladas de la Casa de Estevan, Anna’s poblano chile, watercress salad with poached egg and bacon, and probably the best flan you’ll ever have. Comments: Chef Estevan García has taken New Mexican foods and refined them with French influences.

The Blue Heron Restaurant at The Inn at Sunrise Springs 242 Los Pinos Rd. (La Cienega) 428-7613. Breakfast/Lunch/Dinner/Sunday Brunch Smoke-free. Patio and Dining Room Major credit cards.  $$$ Cuisine: Regionally inspired organic. Atmosphere: Zen-like setting with fireplaces and Japanese-style sitting in upstairs dining room. The beautiful grounds features a meditation pool. House specialities: Black and white sesame-crusted tuna with mCrab and roasted corn flan; ceviche; fresh salmon; tuna and scallops cured in lime, chilis and cilantro; pan seared wild salmon; and duck confit and wild boar sausage. Comments: Live jazz on Friday and Saturday nights. Bumble Bee’s Baja Grill 301 Jefferson St. 820-2862. Breakfast Daily Lunch/Dinner. Patio and drive-up window. Major credit cards. $$ Cuisine: Mexican Atmosphere: Casual, friendly and bright with handy drive-up for those on the go. House specialties: Soft corn Baja-style fish tacos, featuring mahi mahi; steak burrito grande; and rotisserie chickens. Homemade salsa (bowls of it at the salsa bar) and chips are super. Comments: Chef Chris Galvin (Andiamo!, Coyote Café, and Escalera) is at the helm. The tortilla stew is the best! Cafe Cafe Italian Grill 500 Sandoval St. 466-1391 Lunch/Dinner Beer/wine. Smoke-free. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, start with the classic Caesar salad; the tasty speciality pizzas; the baked lunch cannelloni; or the grilled eggplant sandwich. At dinner, we loved the perfectly grilled swordfish salmorglio; the fresh linguini and clams; and the herb breaded veal cutlet. Comments: Very friendly waitstaff— personable and all smiles. Café Pasqual’s 121 Don Gaspar. 983-9340. Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Smoke-free. Major credit cards. $$$

The Compound 653 Canyon Road.  982-4353. Lunch/Dinner Full bar. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Contemporary American . Atmosphere: 150-year-old adobe with pale, polished plaster and white table linens. House specialties: Jumbo crab and lobster salad. The chicken schnitzel is flawless. Recommendations: The Bellini or prickly Pear Margarita served at the square bar are yummy. Comments: Chef/owner Mark Kiffin didn’t win the James Beard Foundation’s “Best Chef of the Southwest” award for goofing off in the kitchen. Copa de Oro Agora Center at Eldorado. 466-8668. Lunch/Dinner/Sunday Brunch. Take-out menu. Full bar. Smoke-free. Major credit cards. $$ Cuisine: International. Atmosphere: Casual. House specialties: For starters, try the sweet potato miso soup with green chile. Entrees include the turkey mole w/roasted garlic mashed potatoes; Moroccan lamb stew with Israeli cous cous; palliard of chicken with potato and fennel gratin; sautéed shrimp with fresh tarragon, pernod, and a touch of cream; and the grilled pork tenderloin with bbq sauce. For dessert, go for the fresh lavander crème brulee. Comments: Worth the short ten-minute drive from downtown Santa Fe. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Wine/Beer. Smoke-free. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Breakfast: burritos and frittata. Lunch: sandwiches and salads. Dinner: flash-fried calamari; grilled salmon with leek and pernod cream sauce; and a delicious hanger steak. Comments: Boutique wine list . Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565 Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio Major credit cards. $

Cuisine: All American. Atmosphere: Popular patio shaded with big cottonwoods. Cozy bar. House specialties: Very “Atkins-friendly.” The smoked brisket and ribs are fantastic. Dynamite buffalo burgers; potato salad (with skins); a knockout Texas onion loaf; and strawberry shortcake. Comments: Beers, beers, and more beers—from Bud to the fancy stuff. Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Nouville Southwestern. Atmosphere: Fun. House specialties: Start with the Hudson Vallery Foie Gras Brulee. For your main course, try the Syrah braised beef short risbs; the grilled Maine lobster tails; or Eric’s Southwestern Rotisserie—rock hen, basted butternut squash, Shelby’s sharp chedder greeen chile “mac and cheese” roasted chicken glace. Dessert favorite is the Bernadines coconut pumpkin pie. Comments: Eric DiStefano is the new co-owner and executive chef. The Cantina opens April, 2008. Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Smoke-free. Patio. Cash. $ Cuisine: American coffeehouse and newsstand. Atmosphere: Café society. Over 1,600 magazine titles to buy or peruse. Big room with small tables and a nice patio outside where you can sit and schmooze. House specialties: Espresso, cappuccino, lattes, and pastries. Comments: As easy as it gets. El Farol 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: The Westernstyle bar with wood plank floors, thick adobe walls, and a postage-stamp-size dance floor for cheek-to-cheek dancing. Wall murals by Alfred Morang. Intimate dining rooms. House specialties: Tapas; fresh garlic soup; and paella. Comments: Live music and flamenco weekly. El Mesón 213 Washington Ave. 983-6756. Lunch/Dinner Beer/wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly: Spanish guitar, jazz, and even a wild Tango night. House specialties: Tapas reign supreme, with classics like Manchego cheese marinated in extra virgin olive oil; sautéed spinach with garlic and golden raisins; and flash-fried baby calamari with two sauces. The grilled 14-ounce rib eye steak with chimichurri is outstanding. Paellas are worth the 30-minute wait. Comments: Chef/owner David Huertas has brought authentic Spanish cuisine to the high desert of New Mexico. Geronimo 724 Canyon Rd. 982-1500. Dinner

Full bar. Smoke-free dining room. Patio. Major credit cards. $$$$ Cuisine: Contemporary American meets the great Southwest. Atmosphere: Twohundred-year-old building with fireplaces, a portal, and a lovely garden room. House specialties: Start with either the roasted golden beet salad or the sublime coriander cured semi boneless quail, served with seared foie gras, harissa French toast, and Pedro Jiminez roasted grapes. Entrées that we love include the sauteed Atlantic salmom; the perfectly grilled Amish-raised pork shop; the Alaskan Halibut with roasted red and yellow peppers, baby fennel, garlic-olive tapendade, saffron risotto, and chorizo; and the New York strip, served with a gratin of crushed golden potato, carrot confit, pearl onions, and sauce Bordelaise. Comments: Chef Martin Rios is at the helm in the kitchen. Service is impeccable, and the desserts are sublime. Il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Smoke-free. Major credit cards. $ Cuisine: Italian Atmosphere: A bustling interior with cozy bar. House specialties: Grilled hanger steak with three cheeses, pancetta and onions; lemon and rosemary grilled chicken, pumpkin ravioli w/ brown sage butter. Comments: Nice wine list and reasonable prices. Jinja 510 North Guadalupe St. 982-4321. Lunch/Dinner Full Bar. Smoke-free. Major credit cards. $ Cuisine: Pan-Asian. Atmosphere: Dark wood booths and a Gauguin-like painting in the dining room deliver romance and nostalgia. House specialties: The drinks at the too-much-fun Jinja Bar will just blow you away. The dink menu reads like something out of the 1950s: Mai-Tai, Singapore Sling, Zombie, Kava Bowl, and Volcano drinks. Comments: Great savory soups. Joseph’s Table 108-A South Taos Plaza. 505-751-4512 Lunch/Dinner Full bar Visa & Mastercard. $$$ Cuisine: Modern American / New Mexicoinspired. Atmosphere: Casual. House specialties: Vodka Cured Wild Salmon on Corn Blinis with Canadian Caviar and Pan Seared Foie Gras with Sun Dried Cherry Chutney. Comments: Chef Joseph Wrede is brilliant. Butterfly Bar opens at 5:30 pm. Kohnami Restaurant 313 S. Guadalupe. 984-2002. Lunch/Dinner Beer/Wine/Sake. Smoke-free. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; ramen; sea weed salad; soft shell crab; dragon roll; chicken katsu; noodle dishes; and the Bento box specials. Comments: Good selection of sake and beers. For dessert, opt for the wonderful tempura ice cream—ginger, red bean, green tea, or vanilla. continued on page 35

J U N E 2 0 0 8



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Second Street Brewery BREW PUB - RESTAURANT



Louis Moskow, chef-owner of   Restaurant & Wine Bar, is passionate about ingredients. Even in food-savvy Santa Fe, his dedication is unusual. Heâ&#x20AC;&#x2122;s not afraid to shoot for the moon. And the wine selection is one of the best in a city thick with cookie-cutter lists.


FARMERâ&#x20AC;&#x2122;S MARKET


Every Friday, 11:30am-2:00pm and Saturday, 10:00am-2:00pm


Copa De Oro International Cuisine

7 WORLD CLASS BEERS ON TAP Open Seven Days a Week 1814 Second street On the Railroad Tracks 982-3030


the Agora Center at Eldorado


New Menu New Management

Soft Shell Crab Poâ&#x20AC;&#x2122; Boy Housemade Pea & Spring Onion Ravioli BBQ Babyback Ribs Pasta Primavera Grilled Vegetable Panini AND MUCH MORE...

Lunch: Wednesday - Saturday 11am on... Dinner: Tuesday - Saturday 5 to close Sunday Brunch: 10 am to 4 pm LUNCH Monday - Saturday 11:30 - 2:30 DINNER

Monday -Thursday 5:30 -9:30 Friday- Saturday 5:30 -10:00 Sunday 5:30 -9:30



BAR MENU 11:30 - Close 530 S. GUADALUPE STREET 4"/5"'& /.t  




Lunch, dinner, and service with a smile at

Cafe Cafe Italian Grill 500 Sandoval Street, Santa Fe. 466-1391

lA mAnchA RestA est uRAnt & B AR at The Galisteo Inn, Galisteo. 466-3663 Dinner/Sunday Brunch Full bar. Smoke-free. Patio. Major credit cards. $$$ Cuisine: American, with a touch of the Southwest. Atmosphere: Hacienda with a glorious patio and ancient Cottonwood trees. house specialties: Heirloom tomato salad. sweet corn soup, Columbia River salmon with Habanero glaze, and the seared diver scallops with chantrelles and “Manoomin” wild rice. Recommendations: The Cajesta flan is perhaps the best we’ve ever had (no kidding). Comments: Chef Kim Muller, formerly at The Compound, has gained a great venue to stretch her cooking wings and soar. tAti Ati On c AFé lAmy stA Lamy Train Station. Lamy. 466-1904 Breakfast/ Lunch/Sunday Brunch Major credit cards. $$ Cuisine: American. Atmosphere: 1950’s dining car. house specialties: Fantastic green chile stew; crab cakes with jasmine rice, omlettes, and salads. The French toast served during the Sunday brunch is super. Comments: It can be a longs wait for your food, but it is well worth it.

lOs mAy AyA yA s 409 W. Water St. 986-9930. Dinner Full bar. Non-smoking. Patio. Major credit cards. $$ Cuisine: New and Old Mexican. Atmosphere: Intimate, borders on sultry on some evenings. house specialties: Ceviche; turbo fish marinated in fresh lemon and orange juice; guacamole freso, and “Taste of Santa Fe” award-winning Chile en Nogada. Comments: Flamenco every Saturday. mARiA’s new mexicAn Kitchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $ Cuisine: New Mexican. Atmosphere: Rough wooden floors, hand-carved chairs and tables, and kiva fireplaces set the historical tone. house specialties: Freshly-made tortillas and green chile stew. Pork spareribs in a red chile sauce are a fifty-year-old tradition. Flan with burnt-sugar caramel sauce is the perfect ending. Comments: Margaritas, Maria’s is the place. mu du nOOdles 1494 Cerrillos Rd. 983-1411. Dinner Beer/wine. Smoke-free. Major credit cards. $$ Cuisine: Noodle House Atmosphere: Casual and friendly. house specialties: Try the salmon dumplings—steamed and drizzled with oyster sauce; the Pad Thai; or the Malaysian Laksa—wild rice noodles in a red coconut curry sauce with baby bok choy. museum hill cAFé 710 Camino Lejo–820-1776. Lunch/Sunday Brunch Major credit cards. $$ Cuisine: All-American. Atmosphere:

JUNE 2008

Cafeteria-style. house specialties: A wonderful and hearty soup selection, righteous salads, and sandwiches. We also liked the chicken enchiladas. Comments: Healthy, fresh food. O’KeeFFe cAFé 217 Johnson St. 946-1065. Lunch/Dinner Beer/wine. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwest with a French flair. Atmosphere: The walls are dressed with photos of Ms. O’Keeffe herself. house specialties: A silky smooth foie gras served with orange muscat is an inviting appetizer. For your main, try the Northern New Mexico organic poquitero rack of lamb with black olive tapenade. Comments: Very nice wine selection. A G h Ouse ó eAtin Highway 84/285 Pojoaque. 455-5065 Lunch/Dinner Full bar. Patio Major credit cards. $$$ Cuisine: Mexican, Native American, Spanish, French, and New Mexican. Atmosphere: Cozy and friendly. house specialties: Pueblo style Guacamole with two salsas; Pomegranate BBQ duck taquitos with sweet potato fries; pork sandwich pibil style; and the aged rib-eye steak.

Old hOuse at the Eldorado Hotel 309 W. San Francisco St. 988-4455. Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American meets Southwestern. Atmosphere: Clubby and comfortable. house specialties: Pan seared Alaskan halibut with Yukon gold potato and lobster cake and pepper-tomato jam; and the grilled veal chop. For dessert, the warm liquid center chocolate cake with crème anglaise. OsteRiA d’Assisi 58 S. Federal Place. 986-5858. Lunch/Dinner Beer/Wine. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: Very Italian. Atmosphere: Casual, friendly, and perfectly unpretentious. house specialties: A super selection of antipasti; a perfectly prepared Scaloppine al Vino Bianco e Capperi (veal sautéed in white wine with lemon and capers). Comments: Housemade pastas, breads, and microbrewery beers. Old hOuse at the Eldorado Hotel 309 W. San Francisco St. 988-4455. Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American meets Southwestern. Atmosphere: Clubby and comfortable. house specialties: Pan seared Alaskan halibut with Yukon gold potato and lobster cake and pepper-tomato jam; and the grilled veal chop. For dessert, the warm liquid center chocolate cake with crème anglaise.

PAtsy A ’s new yORK PizzA 3470 Zafarano Rd. 424-7390 Lunch/Dinner Smoke-free. $$ Cuisine: Italian. Atmosphere: Casual. Celebrity photos on the walls. house specialties: A variety of excellent pizzas—from the New York basic to the classic Sicilian.Teriffic pastas—we love the chicken Alfredo and righteous salads and sandwiches. Comments: If you love real Italian pizza and New York cheesecake, then Patsy’s is your kind of place. Pd BeAn

2411 Cerrillos Rd. 473-9092. Breakfast/Lunch Smoke-free. $ Cuisine: American. Atmosphere: Coffee-house casual. house specialties: Smothered breakfast burrito, an array of sandwiches (our favorite is the “To Die for Tuna Salad”), wraps, and fresh salads. Comments: Wonderful Texas chili and a fantastic cafe latte. Wi-fi in the cafe and take-out is available. RAilyAR ily d R estA ilyAR est uRAnt & s AlOOn 530 S. Guadalupe St. 989-3300. Lunch: Monday-Saturday Dinner daily Bar Menu daily Smoke-free. Major credit cards. $$ Cuisine: American Classics Revisited. Atmosphere: Open, spacious, and bustling. house specialties: Appetizers include southern fried buttermilk chicken strips with Creole remoulade dipping sauce. The steaks and chops grab your attention with choices of compound butters that melt on top of the meat.. Other recommendations: Most flavorful burgers in town. Comments: Generous pour at the bar. RiO chAmA steAKhOuse 414 Old Santa Fe Trail. 955-0765. Sunday Brunch/Lunch/Dinner/Bar menu. Full Bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: American Steakhouse/New Mexican. Atmosphere: Pueblo-style adobe with vigas and plank floors. house specialities: USDA Prime steaks and prime rib. Haystack fries and corn bread with honey butter are yummy sides. The tuna at lunch is superb. Other recommendations: The bar menu features a great fondue and mini hamburgers. For dessert: the chocolate pot. RistRA 548 Agua Fria St.. 982-8608. Dinner/Bar Menu Full Bar. Smoke-free. Patio Major credit cards. $$$ Cuisine: Southwestern with French flair. Atmosphere: Elegant new bar with an extensive bar menu, sophisticated and comfortable dining rooms, a charming outdoor specialties: Black Mediterranean mussels in aromatic chipotle and mint broth; ahi tuna tartare; squash blossom tempura; pistachio crusted Alaskan halibut; and achiote grilled Elk tenderloin. Comments: Extensive wine list, Wine Spectator Award of Excellence, 2006. sAn FRAnciscO st. BAR & GRill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: American as apple pie. AllAtmosphere: Casual with art on the walls. house specialties: At lunch, do try the San Francisco St. hamburger

on a sourdough bun; the grilled salmon filet with black olive tapenade and arugula on a ciabatta roll; or the grilled yellowfin tuna nicoise salad with baby red potatoes. At dinner, we like the tender and flavorful twelve-ounce New York Strip steak, served with chipotle herb butter, or the Idaho Ruby Red Trout served with grilled pineapple salsa. Comments: Visit their sister restaurant at Devargas Center.

the teAhOuse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner Fireplace. 7 days. 8:30 am-7 pm. Major credit cards. $$ Cuisine: Easygoing and friendly. Atmosphere: Casual café. house specialties: Lovely sandwiches, salads and an absolutely amazing selection of over 150 organic teas. Comments: Best Chai selection in the Southwest

sAn miquel RestA est uRAnte Advertise 802 Canyon Rd. 989-1949. Breakfast/Lunch/Dinner in THE Beer/Wine. Patio. magazine Major credit cards. $$$ Cuisine: New Mexican. Atmosphere: Rose Darland Casual. house specialties: For starters, 577-8728 the Guacamole Fresco prepared tableside is a winner, as is the Mann shrimp cocktail. For Sheri your main course, try the chicken breast smothered in mole, the chili rellenos, 989-1214 or the Tacos de Carnitas. Comments: THE magazine Attentive service and a fun patio. Sit, drink, eat, and watch the tourists on 424-7641 Canyon Road.

tiA sOPhiA’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch No alcohol. Smoking/non-smoking. Major credit cards. $ Cuisine: New Mexican. Atmosphere: The “real deal.” Old wooden booths or tables. house specialties: Green chile stew (known to cure the common cold). Enormous breakfast burritos stuffed with bacon, potatoes, chile, and cheese. Comments: Famous for their world-class margaritas.

sAntA nt cAFé ntA 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwestern. Atmosphere: Minimal, subdued, and elegant. house specialties: For starters, the crispy calamari with lime dipping sauce will never disappoint. Favorite dinner entrées include: the perfectly cooked grilled rack of lamb; pan-seared salmon with olive oil crushed new potatoes and creamed sorrell; miso marinated halibut with lemongrass. Comments: If available, you must order the tempura shrimp. Appetizers at cocktail hour is a lot of fun. sAveu A R 204 Montezuma St. 989-4200. Breakfast/Lunch No alcohol. Smoke-free. Patio. Visa/MasterCard. $ Cuisine: French/American. Atmosphere: Cafeteria-style service for salad bar and soups. Deli case with meats and desserts. Sit down at small tables in very casual rooms, elbow to elbow. Bustling with locals every day. house specialties: Excellent salad bar and sandwiches. secOnd stReet BReweRy R Ry 1814 Second Street. 982-3030. Lunch/Dinner Beer/wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and very friendly. house specialties: The beers brewed on the premise are outstanding, especially when paired with beersteamed mussels; beer-battered calamari; burgers; perfectly crunchy fish and chips; spicey green chile stew or the truly great grilled bratwurst. Comments: A kid-friendly place. the shed 1131/2 E. Palace Ave. 982-9030. Lunch/Dinner Beer/wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: The Shed—a local institution; some say a local habit)—is housed in an adobe hacienda just a heartbeat from the Plaza. house specialties: We suggest the stacked red or green chile cheese enchiladas with blue corn tortillas are the real deal. The posole is a knockout! Comments: Check out their sister restaurant, La Choza, for the same classic New Mexican food. shOhKO cAFé 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Smoke-free. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar as well as table dining. house specialties: Softshell crab tempura; hamachi kama; sesame seafood salad, and Kobe beef with Japanese salsa. Comments: Chat with the knowledgeable and friendly sushi chefs. steAKsmith At A e l G AnchO Old Las Vegas Highway. 988-3333. Dinner Full bar. Smoke-free dining room. Major credit cards $$ Cuisine: American. Atmosphere: Family restaurant with full bar and lounge. house specialties: Aged steaks and lobster. Great pepper steak with Dijon cream sauce. Comments: They know steak here. Good pour at the bar.

tRAtt RA ORiA n OstRAni 304 Johnson Street. 983-3800. Dinner Wine/Beer. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Northern Italian. Atmosphere: A renovated 1857 adobe with a great bar. house specialties: To start, order the Trio of soups. The crépes with salt cod puree and shrimp reduction are delicious. For your main course ,try the veal scaloppine with Tuscan vegetable ragu and orzo; the grilled hanger steak with fried potatoes. Comments: Wonderful selection of wines. The bar has been raised for Italian food. Menu changes seasonally. tRee hOuse cAFé & PAstRy R s hOP Ry at Plants of the Southwest 3095 Agua Fria St. 474-5543. Breakfast and lunch Closed Monday Smoke-free. Garden tables Major credit cards. $$ Cuisine: Using only organic ingredients. Atmosphere: Light, bright, and cozy. house Specialties: Ultra-fresh Farmer’s Market salad; soup and sandwich of the day; quiche, tart, and the wonderful vegetable quesadilla. Recommendations: We suggest the delicious tortilla soup—crunchy, warm and cozy; the mile-high quiche has a flaky whole wheat crust. The cakes, cupcakes, brownies, scones, muffins can’t be beat.Comments: Great wait staff. tuliPs 222 N. Guadalupe St. 989-7340 Dinner Wine/Beer. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Whimsical gourmet. Atmosphere: Intimate. Two small rooms with beautiful art on the walls. house specialties: Lobster springrolls, organic chicken liver pate, and marinated venison tenderloin. Comments: For dessert, without hesitation, go for the award-winning airy Grand Marnier infused chocolate mousse “tulip.” vAnessie OF sAntA nt F e ntA 434 W. San Francisco St. 982-9966. Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American. Atmosphere: Piano bar and oversize everything, thanks to architect Ron Robles. house specialties: New York steak and Australian rock lobster tail. Comments: Great appetizers, generous drinks. Ask about the daily specials. whOle BOdy cAFe 333 Cordova Rd. 986-0362. Breakfast/Lunch Major credit cards. $ Cuisine: Mostly organic. Atmosphere: Cafe casual. house specialties: Tasty burritos, smoothies, juices, coffees, and teas. Raw food, sandwiches, and salads at lunch. ziA dineR 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: As American as Mom’s apple pie. Atmosphere: Down home and casual. house specialties: The best eat loaf served with real mashed potatoes and gravy; a variety of of hamburgers; and a totally smashing chickenfried chicken. Comments: Everyone loves the hot-fudge sundae with bittersweet fudge sauce. The Zia also offers a variety of wonderful pasteries.



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June 06 â&#x20AC;&#x201C; 23, 2008


Opening Reception:

Friday, June 06 at 5pm






AndRew smith GAlleRy R , 203 W. San Ry Francisco St., Santa Fe. 984-1234. Recent Work: This Land, Gestures, Portraits: photographs by Jack Spencer. 5-7 pm.

R OF new mexicO, llc, Rs dAily PAinteRs 7 Avenida Vista Grande #254, Santa Fe. 466-3624. Daily Painters of New Mexico’s First Annual Salon Show: small works by DPNM artists and the winners of the first art competition. 6-9 pm.

uRsA s , 550 S. Guadalupe, Santa Fe. sA 983-5444. Bounce: sculpture and paintings by Gregory Lomayesva. 5-7 pm.

delO el ney newKiRK RK Fine ARt R , 669 Canyon Rd., Santa Fe. 992-2882. Reflected Remembrance: abstract landscapes by Cary Henrie. 5-7 pm.


GOve O RnOR’s GAlleRy R , NM State Capitol Ry Building, 4th floor, Santa Fe. 827-3000. Album Amicorum: Gems of Friendship: exhibition of marbled and decorated paper inspired by the album amicorum, a precursor to the modern autograph book. 4-6 pm.

centeR FOR cOntemPORARy PORARy ARts PORARy R , 1050 Old Pecos Trail, Santa Fe. 982-1338. Forest: installation by Debbie Long. 5-7 pm. RiFtt GAlleRy R , 2249 Highway 68, Ry Rinconada. 505-579-9179. Sympathetic Resonance: Isabella Gonzales and Betsy Williams will address twelve chosen themes on 10” x 10” spaces on the wall. 3-6 pm. wildeR niGhtinGAle Fine ARt R , 119-A Kit Carson Rd., Taos. 505-758-3255. New Work: paintings by Frank Sampson and clay sculpture by Caroline Douglas. 5-7 pm. wOOdwORK dw eRs Rs & FRiends GAlleRy Rs R , Ry 8380 Cerrillos Rd. Suite 404, Santa Fe. 424-9117. Art Show & Birthday Celebration: carved, eclectic, and rustic furniture, as well as paintings, photography, and other home accessories. 2-7 pm.

jOyce O ROBins GAlleRy R , 210 Galisteo St., Ry Santa Fe. 989-8795. Pulse and Rhythm: new paintings by Tamar Kander. 5-7 pm. lAnd/An ARt R site, 419 Granite NW, Alb. 505-242-1501. Woodwork: drawings by Erika Osborne. 5:30-8 pm. lewAllen cOntemPORARy PORAR , 129 W. PORARy Palace Ave., Santa Fe. 988-8997. In Other Words: paintings by Ron Ehrlich. 5:30-7:30 pm.


art openings may


colorful ceramic work. Leroy Archuleta: contemporary steel mirrors. 5-8 pm. mAt A Rix x Fine ARt R , 3812 Central Ave. SE, Suite 100-B, Alb. 505-268-8952. Landscape Explorations: paintings by Collins Redman and work in terra cotta by Sara D’Alessandro. 5-8 pm.



10 Years In Print: selections from Chuck Close’s oeuvre over the last ten years. 5-7 pm.


mORO GAlleRy R , 806 Mountain Rd. NW, Ry Alb. 505-242-6272. Summer Wining and Patio Dining: oil paintings by Sarah Hartshorne. 5-9 pm.

the BAnque, 219 Central Ave NW, Alb. 505-699-4613. The Cradle Project: artists from around the globe participated to make five hundred unique cradles out of scrap and recycled materials. 12-5 pm.

new GROunds unds PRint wORKsh ORKshOP & GAlleRy R , 3812 Central Ave. SE, Suite Ry 100-B, Alb. 505-268-8952. Lyric Elements: monotypes by Jessica Weybright. 5-8 pm.

dwiGht hAc A Kett PROjects, 2879 All Trades Rd., Santa Fe. 474-4043. Silent Diagrams-Reading #6, #14, #10, #9: four sculptures by Barry Le Va. 3-5 pm.

shiPROcK sAntA ntA Fe, 53 Old Santa Fe Trail, Santa Fe. 982-8478. Fresh: the melon form in Pueblo pottery. 6-8 pm.

hARw AR OOd museum OF ARt, UNM, 238 Ledoux St., Taos. 505-758-9826. The Discover Series I: Focus: lectures include “Larry Bell, Selections: Modern & Contemporary Abstractions” and “On Paper: New Mexico Photography.” 3-5 pm.

SATuRDAY, JuNE 8 jAne sAue AueR GAlleRy R , 652 Canyon Rd., Ry Santa Fe. 995-8513. Parrotesque: glass work by Noel Hart. 3-5 pm.

TuESDAY, JuNE 10 jOnsOn GAlleRy R , University of New Ry Mexico, 1909 Las Lomas NE, Alb. 505-277-4967. Chicago Moderns: Raymond Jonson and Friends, 1910-1923: Jonson and his contemporaries’ early experiments completed in Chicago. Show runs to Aug. 22. No reception.


tOuchinG stOne, 539 Old Santa Fe Trail, Santa Fe. 988-8072. Mu: oil on Japanese paper by John Guernsey. 5-7 pm. ventA ent nA A Fine ARt R , 400 Canyon Rd., Santa Fe. 983-8815. Solo Show: paintings by Tom Noble. 5-7 pm.

mARiGOld ld ARts R , 424 Canyon Rd., Santa Fe. 982-4142. Into The West: watercolors by Robert Highsmith. 5-8 pm.

wAxl AxlA xlAndeR R GAlleRy R Ry And sculPtuRe GARden, 622 Canyon Rd., Santa Fe. 984-2202. Art That Moves: patined engravings on copper and aluminum. Landscapes: work by Mark White. 5-7 pm.

mARiPOsA sA GAlleRy sA R , Nob Hill, 3500 Central Ry Ave. SE, Alb. 505-268-6828. Lisa Smith:

williAm sheARB he uRn GAlleRy R , 29 W. Ry San Francisco St., Santa Fe. 989-8020.

jOhnsOns OF mAdRid GAlleRies OF Fine & FiBeR ARt, 843 Hwy 14 in Madrid. 505-471-1054. Group Show: art and fiber art by Mel and Diana Johnson and 150 gallery artists in all media. 3-5 pm. new mexicO museum OF ARt R , 107 W. Palace Ave., Santa Fe. 476-5072. Flux: Reflections on Contemporary Glass: a look at the history of glass art and its function in present-day art. 6-9 pm.

FRIDAY, JuNE 6 Blue RAin GAlleRy R , 130 Lincoln Ave., Ry Santa Fe. 954-9902. New Works: paintings by Randall LaGro and Deborah Rael-Buckley. 5-7 pm.

Ad cOllective, 1234 Siler Rd., Santa Fe. 699-9320. Carbon: new paintings and video installations by Shelley HortonTrippe. 6-9 pm. BO GAlleRy BOx R , 1611-A Paseo de Peralta, Ry Santa Fe. 989-4897. Joanne Lefrak: botanical scratch drawings on Plexiglas. Timothy Nero: ink drawings on paper. 5-7 pm.

cAnyO ny n ROAd cOntemPORARy nyO PORARy ARt PORARy R , 403 Canyon Rd., Santa Fe. 983-0433. The Lost Art of Fresco Recaptured: painting made with thick plaster lime, then broken into many pieces, by Steve Bogdanoff. 5-7 pm. chiAROscuRO, 429 Camino del Monte Sol, Santa Fe. 992-0711. Trio: sculpture and painting by Nora Naranjo-Morse, Rose Simpson, and Eliza Naranjo-Morse. Light Sculpture: neon light sculptures by Pasha Rafat. 5-7 pm.

chAlKK FARm GAlleRy R , 729 Canyon Ry Rd., Santa Fe. 983-7125. The Creation: textural oil paintings by Georgeana Ireland. 5-8 pm.

516 AR ARts, 516 Central Ave. SW, Alb. 505-242-1445. Trappings: Stories of Women, Power and Clothing: what women wear to make them feel powerful. 6-8 pm.

chARlO l tte jAc lO A Ks K On Fine ARt R , 200 W. Marcy St., Ste. 101, Santa Fe. 988-8688. Solo Show: reductionist paintings by Joan Watts. 5-7 pm.

GAlleRie cORAz ORA On, 703 Canyon Rd., Santa Fe. 983-3703. The Place Where The Soul Lives: recent mixed-media works by Lisa Chun. 5-7 pm.

cORRAles BOsque GAlleRy R , 4685 Ry Corrales Rd., Corrales. 505-898-7203. Art2: the gallery features seventeen guest artists in their annual summer show. 5-8 pm.

jAne sAue AueR GAlleRy R , 652 Canyon Ry Rd., Santa Fe. 995-8513. Latchezar Boyadjiev: Glass Sculpture: new cast glass sculpture by Latchezar Boyadjiev. 5-7 pm.

Wind Series, images on handmade rice and mulberry papers by Korean photographer Jungjin Lee will be on view at Bellas Artes, 653 Canyon Road. Opening reception on Friday, June 27, from 5 to 7 pm. On Monday, June 30, at 6 pm, Lee will talk about her work at the Santa Fe Art Institute, 1600 St. Michael’s Drive. Lee’s work will be on display at SF SFAI from August 3 to August 23.

continued on page 40

JUNE 2008





WHO SAID THIS: “All through modern times it seems to be expected of the artist that he be a martyr, first as a failure, then as a success. One doesn’t know which heaven or which hell is preferable. One has no choice.” A: Lise Sarfati B: Henry Miller C: Larry Clark D: Alex Katz E: Rachel Whiteread

THE DEAL: $500 full-page ads in the July issue for artists without gallery representation in

New Mexico. Deadline: June 15. 505-424-7641


Photos: Dana Waldon, Jennifer Esperanza, Rebecca Hammer, & Clix

Karan Ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-0807. Improvisational Journeys: acrylic and mixed-media paintings by Kevin Tolman. 5-7 pm. Klaudia Marr Gallery, 668 Canyon Rd., Santa Fe. 988-2100. Society of Women: new paintings by Andrea Kalinowski. 5-7 pm.

and sound installation by Sidney Davis. 5-7 pm. Windsor Betts Art Brokerage House, 1136 Grant Ave., Santa Fe. 820-11234. Dialogues in Paint: recent paintings by Michael Wright. 5-7 pm.

Saturday, June 14 Meyer East Gallery, 225 Canyon Rd., Santa Fe. 983-1657. Modern Alchemy: patina paintings by Nathan Bennett. 5-7 pm. Richard Levy Gallery, 514 Central Ave. SW, Alb. 505-766-9888. Scale: new works by Constance DeJong. 6-8 pm. Selby Fleetwood Gallery, 600 Canyon Rd., Santa Fe. 992-8877. Ebb & Flow: landscapes and still life paintings by Sandra Pratt. 5-7 pm.

Fenix Gallery, 208-A Ranchitos Rd., Taos. 505-758-9120. Solo Exhibition: new paintings by Valerie Nielsen. Earl Stroh: etchings and lithographs. 4-6 pm. Parks Gallery, 127 Bent St., Taos. 505-751-0343. Con La Tinta de Mi Sangre: new bultos by Arthur Lopez. 4-6 pm.

Thursday, June 19

seven-o-seven contemporary, 707 Canyon Rd., Santa Fe. 983-3707. Talking Heads: group invitational show, curated by David Solomon. 5-8:30 pm.

Center for Contemporary Arts, Spector Ripps Project Space, 1050 Old Pecos Trail, Santa Fe. 982-1338. Forever Magic: work by Sheilah Wilson. 5-7 pm.

Shack Obscura @ Klaudia Marr Gallery, 668 Canyon Rd., Santa Fe. 988-2100. Lingering Lush: animation

Coleman Gallery, 4115 Silver SE, Alb. 505-232-0224. Exclusive Estate Sale for the Works of Robert P. Hooton: sales of

original works. 11 am-5 pm.

Saturday, June 21

Gebert Contemporary at the Railyard, 544 S. Guadalupe, Santa Fe. 992-1100. Emerging Connections: interactive installations, data visualization works, and photography by Mariano Sardón. 5-7 pm.

Lannan Foundation, 313 Read St., Santa Fe. 986-8160. 3 Columns: graphite sculpture by Susan York. 3-5 pm. Nedra Matteucci Galleries, 1075 Paseo de

Peralta, Santa Fe. 982-4631. Dan Ostermiller: new bronze sculptures. 2-4 pm. Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. The Selling of the West: photos by Donald Woodman. 5-7 pm.

James Kelly Contemporary, 1601 Paseo de Peralta, Santa Fe. 989-1601. Some Things: work by Roy McMakin. 5-7 pm.

Friday, June 20 Deloney Newkirk Fine Art, 634 Canyon Rd., Santa Fe. 992-2850. Light and Silence: new paintings by Eric G. Thompson. 5-7 pm. Goldleaf Gallery, 627 W. Alameda, Santa Fe. 988-5005. Two-Person Show: photographs by Jay Ritter and sculpture by Bryan Johnson-French. 5:30-7:30 pm. Hahn Ross Gallery, 409 Canyon Rd., Santa Fe. 984-8434. Serial Boxes: curated by Tom Ross, the show features twelve New Mexico artists, each creating a box, in which inside are a series of images. 5-7 pm. Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. Modern Landscapes: paintings by Gregory Frank Harris. 5-7 pm. Meyer East Gallery, 225 Canyon Rd., Santa Fe. 983-1657. New Works: paintings by Michael Workman. 5-7 pm. MoRo Gallery, 806 Mountain Rd. NW, Alb. 505-242-6272. Renaissance Man: paintings by Peter Manchester. 5-9 pm. New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Organic Forms From Nature: agave paintings by Ann Hosfeld and abstract metal sculpture by Susan Latham. 5-7 pm. New Mexico Museum of Art, 107 W. Palace Ave., Santa Fe. 476-5072. Tuff Stuff: work that challenges normal conceptions of beauty. 5:30-7:30 pm. Patricia Carlisle Fine Art, 554 Canyon Rd., Santa Fe. 820-0596. Adam Shaw: new works. 5-7 pm. William Siegal Gallery, 540 S. Guadalupe, Santa Fe. 820-3300. Hungry Ghost: new work by Colette Hosmer. Tangents: work by Signe Stuart. 5-7 pm.

Trio—an exhibition of sculpture and painting by Nora Naranjo-Morse, Rose Simpson, and Eliza Naranjo-Morse will be on view at Chiaroscuro, 429 Camino del Monte Sol. Above image: Rose Simpson. Opening reception on Friday, June 13, from 5 to 7 pm.

Mu—spontaneous oil paintings on Japanese paper by John Guernsey will be on view at Touching Stone, 539 Old Santa Fe Trail, Santa Fe. Opening reception on Friday, June 6, from 5 to 7 pm.


beats and new and found video footage. Saturday, May 31, 8 pm. Audio Buddha: melodic ambient music by classically trained musicians. Saturday, June 14, 8 pm. $4 members/$8 non-members. ntA Fe Fine ARts R cOlleGe OF sAntA GAlleRy R , 1600 St. Michael’s Dr., Santa Ry Fe. 473-6508. Exploring Music Therapy: Creative Dimensions in Health Care: music therapist Joseph Moreno presents a three-day workshop on practical applications of music in psychodrama and group therapy processes. Friday -Sunday, June 6-8. Call for details.

museum OF indiAn ARts R And cultuRe, Museum Hill, 710 Camino Lejo. Santa Fe. Playing, Remembering, Making: Art in Native Women’s Lives: An exhibition and panel discussion on Monday, June 9, noon-4:30 pm. Free. Details: 476-1271 or 505-954-7272. lAs As veGAs GA studiO tOuR, 127 Bridge GAs Street, Las Vegas. Meet the Artists of San Miguel County at open studios and galleries. Saturday and Sunday, June 1415, 10 am-5 pm. Details: lasvegasnm. org/calendar/2008/06june.htm museum

GARci AR A stReet BOOKs OOK , 376 Garcia St., Santa Fe. 986-0151. Booksigning for Joan Watts: Watts has made her home in Santa Fe for over twenty years. Radius Books, Santa Fe’s newest publisher, is releasing a major monograph that explores the entire arc of Watts’ forty-year painting career. Saturday, June 7, 3-5 pm.

OF new mexicO, PAlAce GOveRnORs, on the Plaza, Santa Fe. 476-5094. Voices from the Past 2008: lecture series to commemorate the Cuarto Centenario of the Plaza de Santa Fe. Monday evenings through July 11. $10 per lecture or $60 series subscription for all twelve lectures. Details: 476-5094 or

Old Pecos Trail, Santa Fe. 982-1338. Codices: Heliotown: installation by Thomas Ashcraft. 5-7 pm.

heROes And icOns, a nine-day festival of the arts, opens with a block-party reception on Friday, June 20, 5-8 pm on Delgado St., Santa Fe. Participating

new mexicO museum OF ARt R , 107 W. Palace Ave., Santa Fe. 955-0701. Art by Design 2008: Santa Fe, The City Different: juried flower show. Friday-Sunday, June

POP GAlleRy R sAntA Ry ntA Fe, 133 W. Water St., Santa Fe. 820-0788. Snap! Krackle! POP!: work by Bradford Brenner, Lynden St. Victor, and Amy Nelder, with a silent auction to benefit Assistance Dogs of the West. 5-7 pm.

galleries are InArt Gallery, Thomas Moseley Fine Arts, Galerie Esteban, and Pippin Meikle Fine Art. Details:

13-15. Open during museum hours.

OF the

Zane Bennett Contemporary, 435 South Guadalupe, presents a show of large-format photographs—The Selling of the West—by —by Donald Woodman. Show opens on Friday, June 6, with a reception on Saturday, June 21, from 5 to 7 pm.

SuNDAY, JuNE 22 site sAntA ntA Fe, 1606 Paseo de Peralta, ntA Santa Fe. 989-1199. Lucky Number Seven, SITE Santa Fe’s 2008 Biennial. Individual tickets for the opening weekend events can be purchased by calling SITE Santa Fe at 505-989-1199 x 20, or visiting Public opening 12-5 pm.

FRIDAY, JuNE 27 AndRew smith GAlleRy R , 203 W. San Ry Francisco St., Santa Fe. 984-1234. Brimstone: color photographs by Joan Myers. 5:30-7:30 pm. ARtist RtistA tistAs As de sAntA ntA Fe GAlleRy R , 228-B Ry Old Santa Fe Trail at Alameda, Santa Fe. 438-3775. Polarities: abstract paintings by Marianne Hornbuckle. 5-7 pm. ARts R PAce PA 116, 116 Central Ave. SW, Suite 201, Alb. 505-245-4200. A Line and Then: mixed-media works and prints by Rod Replogle. 5:30-7:30 pm. BellA ellAs As ARtes R , 653 Canyon Rd., Santa Fe. 983-2745. Wind Series: Korean photographer Jungjin Lee. 5-7 pm. GeBeRt R Rt cOntemPORARy PORAR , 558 Canyon PORARy Rd., Santa Fe. 992-1991. Photographs from Pompeii and New Fresco Paintings: work by Marcia Myers. 5-7 pm.

GeRAld ld PeteRs Rs GAlleRy Rs R , 1011 Paseo de Ry Peralta, Santa Fe. 954-5700. From Woods and Shores: work by Tony Angell and Ewoud de Groot. 5-7 pm. jAne sAue AueR GAlleRy R , 652 Canyon Rd., Ry Santa Fe. 995-8513. Span: new work in Murrini Glass by Giles Bettiso. 5-7 pm. meyeR eAst Ast GAlleRy R , 225 Canyon Rd., Ry Santa Fe. 983-1657. Performer in an Absurd Circus: one-person show by Vachagan Narazyan. 5-7 pm.

museum OF inteRnAti A OnAl Ati l FOlK K ARt R , 706 Camino Lejo, Santa Fe. 476-1200. A Chair for all Reasons: an exploration of the universal experience of sitting. 1-4 pm.

PhOtO-eye GAlleRy R , 376 Garcia St., Ry Santa Fe. 988-5152. Domestic Vacations: surreal images by Julie Blackmon that depict contemporary domestic life. Reception and book signing. 5-7 pm.


winteROwd ROwd Fine ARt ROwd R , 701 Canyon Rd., Santa Fe. 992-8878. Relation to Nature: watercolors by Sarah Bienvenu. 5-7 pm.

SATuRDAY, JuNE 28 centeR FOR cOntemPORARy PORARy ARts PORARy R , 1050

A the At


PAlette cOntemPORARy PORARy ARt PORARy R And cRAFt, 7400 Montgomery NE, Suite 22, Alb. 505-855-7777. Sky(lines) and Shadows: a View from Here: new art glass by Wendy Hannam. 5-8 pm.

ventA ent nA A Fine ARt R , 400 Canyon Rd., Santa Fe. 983-8815. Solo Show: work by John Axton. 5-7 pm.

jOhn GAw A meem AuditORium

new mexicO museum OF ARt, 107 W. Palace Ave., Santa Fe. The Crystal Ball: Friends of Contemporary Art Biennial Gala. Live and silent

centeR FOR cOntemPORARy PORARy ARts PORARy R , 1050 Old Pecos Trail, Santa Fe. 982-1338. 7th Annual Photo Auction: live and silent auctions. June 7, 6:30-11:30 pm. Third Annual InterArts Movement Explorations Workshop with visiting dancer and choreographer Leslie Satin. Threeweek workshop meets July 22, 24, 29, & 31, and Aug 5 & 7 from 5:30 to 7:30 pm at Charisma Dance Studio and culminates in a performance at the Railyard Performance Center on August 8 and 9. Call Lacey Adams at CCA for more info. Supermarket: Australia’s Dan Monceaux and Emma Sterling combine electronic music Con La Tinta de Mi Sangre (With the Paint of My Blood)—an exhibition of new bultos by Arthur Lopez—opens at Parks Gallery in Taos. Reception on Saturday, June 14, from 4 to 6 pm. continued on page 42

JUNE 2008






auctions, dinner, and fortune-telling. Friday, June 6, 6-9:30 pm. $125. 982-6366 x112. PedeRnAl studiO tOuR, Pedernal. First Annual Pedernal Studio: more than twenty-four traditional and contemporary artists from Northern New Mexico will participate in this self-guided tour along NM Highway 96 to six clusters of artists between Coyote and Youngsville, Sat-Sun., June 21 and 22. Map and details: 575-638-5012 and 575-638-0306 or sAntA nt Fe ARt institute, 1600 St. ntA Michael’s Dr., Tipton Hall, Santa Fe. 424-5050. Transportation of Place: lecture with Andrea Robbins and Mex Becher. Monday, June 2, 6 pm. $5 general public, $2.50 students/seniors/ SFAI members. Workshop: June 3-6, 10 am-4 pm. Details: sAntA ntA Fe FARmeRs mARKet, 1120 ntA Paseo de Peralta, Santa Fe. 988-4226. Books at the Market: reading with Naomi Duguid, author of Beyond the Great Wall: Recipes and Travels in the Other China on June 7. Mark Winne, author of Closing the Food Gap: Resetting the Table in the Land of Plenty, Friday, June 27, 9 am-noon. Free. shidOni, 1508 Bishop’s Lodge Rd., Santa Fe. 988-8001. Bronze Pours: visitors have the opportunity to watch molten bronze being poured into huge ceramic shell molds every Saturday. Call for times.

site sAntA nt ntA Fe, 1606 Paseo de Peralta, Santa Fe. 989-1199. Biennial Opening Weekend Events: Friday, June 20: Preview Reception, 7:30-9:30 pm, $250. Post Party, featuring Dengue Fever, 10 pm, $25. Saturday, June 21: Members Opening, 2-4 pm. Lucky Number Seven Summit with Biennial Artists, 5 pm at the National Dance Institute, 1140 Alto St. Tickets $5-$10. JSunday, June 22: Public Opening, 12-5 pm. Free admission. Individual tickets for Biennial Opening Weekend Events can be purchased by calling SITE Santa Fe at 505-989-1199 x 20, or visiting st. FRAncis AuditORium, New Mexico Museum of Art, 107 W. Palace Ave., Santa Fe. 476-5059. “It’s Not the End of the World: What the Ancient Maya Really Said About 2012”: lecture with Mark Van Stone, Ph.D. Friday, May 30, 6:30-7:30 pm. Free. “Larry Bell”: a lecture on the interplay between light and space Sunday, June 8, 2 pm. $5 donation. st. jOhn’s cOlleGe ARt GAlleRy R , Ry 1160 Camino Cruz Blanca, Santa Fe. 984-6104. Bread Loaf Lecture Series: Poet Billy Collins will be speaking on Friday, June 13, at 7 pm on the Meem Library Placita of St. John’s College as part of the Bread Loaf Lecture Series, held each summer on the campus of St. John’s. Call for details.

The Jonson Gallery—1909 Las Lomas NE, Albuquerque (on the main campus of University of New Mexico)—presents Chicago Moderns: Raymond Jonson and Friends, Friends 1910-1923. Above image: The Yes Machine by Carl Hoeckner. No reception. Exhibition runs June 10 to August 22.

the tRuchAs ARt exPeRience, 505-689-2443. On Sunday, June 8, 10 am-5 pm, nine galleries and studios will be open to the public: Bill Lloyd Studio, Ghost Pony Gallery, Cydney Taylor Gallery, Claudia and Pierre Gallery, Cortina Fine Art, and Judith Hert Studio. Details: windchime chAmPAGne GAlleRy R , 518 Ry Central Ave. SW, Alb. 505-244-4060. New Mexico: An Art Extravaganza:

painting and photography by eight artists. Through May 31. zAne Bennett cOntemPORARy PORARy ARt PORARy R , 435 S. Guadalupe St., Santa Fe. 982-8111. Portfolio Viewing: 100 contemporary photographers share their work as part of Review Santa Fe, the country’s only juried photography portfolio review event. Friday, June 6, 6-9 pm.

MuSIC st. jOhn’s cOlleGe, 1160 Camino Cruz Blanca, Santa Fe. 984-6104. Music on the Hill: free summer concert series each Wednesday, from June 11-July 23. Schedule: concerts.shtml 1228 PARKw ARKwA wAy Ay ARt sPAce, 1228 Parkway Dr., Unit F, Santa Fe. 603-1259. Bob D: singer-songwriter. Saturday, June 14, 7:30-9:30 pm.

Santa Fe, and others. Friday June 6Saturday, June 28. Details: 438-9180 or lensic P eRFORminG A Rts c enteR , 211 W. San Francisco St., Santa Fe. 988-1234. The School of Aspen Santa Fe Ballet Spring Recital: more one hundred fifty dance students, ages 3-18, will participate in this year’s program. Friday, May 30, 7 pm. Wishful Drinking: a sobering look at the life of famed Star Wars princess, Carrie Fisher. June 18-21, 8 pm, June 22, 2 pm and 8 pm. $25-$50.

CALL FOR ARTISTS cORRAles BOsque GAlleRy R , jurying Ry for new members on Sunday, June 15. Visit the gallery in person or their website, or call one of the contacts below, or email for application and membership information. Details: 505-898-3746 or 505-898-2728.

PERFORMING ARTS mOvinG PeOPle dAnce, Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe. 988-1234. Santa Fe Dance Festival: features Bill T. Jones/Arnie Zane Dance Company, Ballet Austin, Moving People Dance

ARte de descARtes viii, 8th Annual Juried Recycled-art Show. Entries must be received by Friday, August 8. All entries to be made from 90% recycled materials. For prospectus: or please call 575-751-9862.

Brimstone, an exhibit of color photographs by Joan Myers will be on display at the Andrew Smith Gallery, 203 West San Francisco Street. Opening reception on Saturday, June 27, from 5 to 7 pm.

42 | THE


JUNE 2008

Rod Replogle

A Line & Then

June 27 – August 8 OPENING RECEPTION Friday, June 27 5:30–7:30pm

Repeating glyph

artspace116 116artspace

ink and acr ylic on paper

17.5" x 12"

Downtown Abq in the Century Theatres Block Mon-Fri 9–5 @ 116 Central Ave SW · Suite 201 Albuquerque, NM 87102 Tel 505·245·4200 Exhibition preview on web at

Friday, June 20 5:30-7:30 pm

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Expressive Landscapes in Water-Media on Clayboard


SITE Santa Fe’s Seventh International Biennial: Lucky Number Seven June 22 to October 26 SITE Santa Fe, 1606 Paseo de Peralta, Santa Fe. 989-1199 Public opening reception: Sunday, June 22, 12 to 5 pm. sitesantafe.or sitesantafe.orgg for a list of events Twenty-five artists from sixteen countries will create eighteen projects for SITE’s 2008 Biennial. Lance Fung, the curator, invited nineteen international partner art organizations to help him and the curatorial team to create this project, which has several singular attributes: 1) only emerging artists will be participating (ranging in age from their twenties through their sixties), 2) all are new commissions, 3) all are temporary works of art. The artworks will be created on-site, presumably informed by the specific locale and the surrounding environs. Much of the show will occur prior to the opening, on the ground in Santa Fe, and prior to that in virtual space—as ideas, proposals, and thoughts are transmitted around the world. Fung’s concept undermines the notion of art as commodity insofar as the works will not be for sale, nor will they travel elsewhere. They will, in fact, cease to exist at the close of the exhibition, with much of the materials to be recycled back into the community. Lance Fung, curator of SITE Santa Fe’s Seventh International Biennial

Susan York: 3 Columns June 21 to August 3 Lannan Foundation, 309 Read Street, Santa Fe. 986-8160 ext. 102 Opening reception: Saturday, June 21, 3 to 5 pm. 3 Columns, a site-sensitive installation of solid graphite sculptures by Susan York, is a study in the repetition of identical forms and their relationship to space and gravity. Two six-foot high graphite forms will hang in the corners of the gallery and one stacked fourteen-foot hanging column will float a few inches above the floor, placed slightly off-center. The graphite surfaces of these austere and contemplative objects are richly modulated and highly polished and altogether induce a formal and perceptual experience for the viewer. Additional drawings and sculpture by York, including Tilted Column (2008) are also included in the show. York’s previous installations include a series of site-specific immersive works consisting of rooms completely covered in polished graphite with graphite forms placed on the floor. Her ongoing studies of the distillation of multiple forms and their relationship to space echo fourteenth century theologian William of Ockham’s edict: “entities should not be multiplied unnecessarily.” York’s installations never fail to create a numinous state of quiet and resonant beauty. Susan York, Installation view

Tamar Kander: Pulse and Rhythm June 6 to June 30 Joyce Robins Gallery, 201 Galisteo Street, Santa Fe. 989-8795 Opening reception, Friday, June 6, 5 to 7 pm. Tamar Kander says that since moving to a home on a lake, “water is now a part of my daily experience, creeping into my work, helping the flow and clarifying my vision.” One effect is that for this, her second solo exhibition at Joyce Robins Gallery, Kander’s paintings have synthesized reality and her imagination in a way that explores the ebb and flow of life. Kander provokes that flow with a variety of materials that at first glance would seem to resist manipulation. Initially, she builds up her canvases using everything from powdered gesso, cold wax, dry-wall compound, cement, acrylic binders, and marble dust, and then uses industrial implements to apply, scrape, and texture the surfaces. She also incises and etches the surfaces, and marks them with inks, graphite, and oil sticks. For one of the works in this show, Indirect Route, she has collaged maps that she herself used in traveling across the country—an example of the personal items that Kander will sometimes subtly incorporate into her work. Tamar Kander: The Language of Colour, mixed media, 2008 continued on page 48

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PREVIEWS Thomas Ashcraft: Codices: Heliotown June 21 to August 24 Center for Contemporary Arts, 1050 Old Pecos Trail, Santa Fe. 982-1338 Opening reception: Saturday, June 28, 5 to 7 pm. Inveterate experimenter, artist, and extrapolator Thomas Ashcraft installs a vast and complex system of ponds, gardens, electrical labs, and public thinking chambers for a summer exhibition in the brand new six-thousand-square-foot Muñoz Waxman Gallery. Ashcraft will also exhibit Codices: Heliotown, a compilation of a series of reports and ongoing investigations into a multitude of subjects including sculptural extrapolations from the possibility of microbial life in outer space; studies into comets and fireballs; futuristic money analogs and parallel currency prototypes; a method of hyper-extending the nervous system for enhancing artistic sensitivity; and the aesthetics of micro-monumentalism. This is a long-awaited revisit to the agile Ashcraft mind—that unique, slippery vehicle that marries logic and reason with a fabulist sensibility, lavishly layered with incidental wit.

Thomas Ashcraft, Ashcraft’s Space Mapping Room, 2008

The Cradle Project June 7 to June 28 Downtown Lofts Building, 219 Central Avenue NW (Sunrise Bank), Albuquerque. 505-554-2086 Opening reception: Saturday, June 7, 12 to 5 pm. Following a trip that photographer Naomi Natale made to sub-Saharan Africa four years ago, she became inspired to help the orphaned Kenyan children that she met and befriended there, and thus created The Cradle Project. This will be an exhibition of about one thousand cradles made by artists from around the world, all amassed in one large space to convey the overwhelming magnitude of the sadness provoked by recollecting the large numbers of orphaned children who have been forgotten by the world. Natale has said that the empty cradle is meant to signify the lost potential of these vast numbers of children without mothers. All the exhibited cradles will be auctioned off, the proceeds to be donated to one of the Cradle Project’s partner organizations that work to feed, shelter, and educate orphaned children in Africa. Many of the cradles present a sense of loss or despair, the aura of tragedy that marks wasted, unappreciated human lives. In some cases, by using discarded trash to fashion the cradles, the artists have used them as metaphors for healing and rebirth. Please visit www. to learn more about this venture—so important for both the receivers and the givers. Stephanie Lerma, Infinite Potential,, wire, copper tubing, yucca waste, latex, and wax, 40” x 32” x 10”, 2007

Colette Hosmer: The Hungry Ghost Signe Stuart: Tangents June 20 to July 16 William Siegal Gallery, 540 South Guadalupe Street, Santa Fe. 820-3300 Opening reception: Friday, June 20, 5 to 7 pm. Food has been an ongoing theme in Colette Hosmer’s thirty-year career. This exhibition showcases cow, elk, fish, duck, and pig drawing on the artist’s experiences during lengthy residencies in China—a country where custom still observes the feeding of hungry ghosts. This practice of generosity (and veneration felt toward ancestors, according to some traditions) is one that, ideally, cultivates the recollection, awareness, and appreciation of food as a source of our sustenance as social beings. Hosmer’s work often depicts the whole animal. Her organic subjects are life-cast and then recreated in a new medium: porcelain, cast iron, marble, and granite. Signe Stuart’s new works include abstract paintings in sumi ink and acrylic on mulberry paper. She sews, stretches, collages, tears, and punctures her medium, and such manipulations—dialogues between material, tool, process, and idea—yield patterned and perforated surfaces reminiscent of parched earth or stars in the Milky Way.

Colette Hosmer, Pig Cone, glazed porcelain, 16”h x 8” diameter, 2008

48 | THE


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Untitled, 2005 colored pencil on paper B By

taKehito KoGanezawa

Takehito Koganezawa’s surreal drawings combine collage, colored pencil, and graphite to create multi-interpretive images with recognizable elements and abstract shapes. He refers to drawing as his “musclework,” though he often uses “brainwork” (video) as a medium. Important to Koganezawa is the void that can be found when meaning is removed from an object. Koganezawa says, “I really want to see nothingness in an exact way.” His drawings will be featured at Christopher Grimes Gallery—916 Colorado Avenue, Santa Monica, California—through July 5. D JUNE 2008





DANA WALDON THE magazineâ&#x20AC;&#x2122;s photographer

artists nudes travel events still life children editorial portraits corporate landscapes architecture ...and more...



Lucky Number Seven—the 2008 SITE Santa Fe Biennial—will consist of site-specific works by twenty-five artists from seventeen countries installed in SITE’s exhibition space and around Santa Fe. The parameters of the exhibition—curated by Lance Fung—is that all of the artists are emerging artists, all will be making new commissions, all the work will be site-specific, and all of the works will be temporary. Included in the Biennial are three artists from New Mexico: Rose B. Simpson, Eliza Naranjo-Morse, and Nora Naranjo-Morse. The exhibition is scheduled to run from June 22 to October 26, 2008. THE magazine met with Lance Fung in January to talk about the exhibition, and Fung’s take on the art world.

Photograph by Robert Barry

The magazine: What are the three major centers for contemporary art today? And do you see that changing in the next decade? Lance Fung: New York City, London, and Beijing are the three most important centers. London is a magnet for people all around the world—whether in the Middle East, India, or Asia. I think it will change because London, although powerful and very wealthy, is still pretty tiny. It is an important scene with auctions and the collectors, but the quantity of galleries in London is nothing when compared to New York City. I think that the power and lure of Beijing will diminish, which could reduce the allure of Beijing. There’s a huge buzz about Beijing right now, but ninety percent of the art collectors haven’t been to Beijing—they just know it’s important. TM: What are the ingredients that go into making a city a real art center? LF: Artists. Artists first, and then their art—which means a sense of community. TM: Let’s talk about you for a moment. y you’re based in New york? y LF: Yes. TM: What kind of a place do you live in? A loft, an apartment, a brownstone? LF: I live in a loft in SoHo that was previously occupied by Barbara Rose and Frank Stella. I bought it, gutted it, and have been renovating it for decades. It’s a really unique space because most lofts in New York only have window access on the two short ends, but my building sits in the middle of three blocks, so I have exposure all the way around, and on two sides are courtyards. TM: What kind of art would we find in your loft? LF: Walk up my stairwell and you’d see a Sol Lewitt. My front door is Lawrence Weiner. There’s a Robert Barry in my library, a Gordon Matta-Clark in my entryway, a wonderful Nam June Paik in my dining room, and a favorite painting done by my father. TM: What is the difference between putting together a show at a gallery and mounting a show as an independent curator? LF: There’s a huge difference in the process of curating a show for a gallery versus curating for an institution. First of all, I don’t think a gallery show is really curated, because what’s the object of a gallery show? To sell something. So how can one curate an exhibition without any kind of influence and make a show based purely on an aesthetic and a philosophic and intellectual approach when you have to worry about selling the work? When I see exhibitions curated for continued on page 52

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I am an interactive curator — guided, encouraged, informed, and led by the artists galleries, I look at them with a grain of salt. I wonder: did they get the best work from each artist or did they get the easiest work? Or the most available work? Or the work that might derive the greatest profit? So, a well-curated show at a gallery is rare. Of course, many galleries are upping the ante, and some of the bigger galleries—Gagosian and Pace, for example—do have properly curated shows, although they still have an agenda—which is, sales. TM: Was that true when you were the director at Holly Solomon Gallery, in New York? LF: The nice thing at Holly’s was, I took the position of curating one show a year that was not commercially based. It was a great training ground for me, because Holly allowed me to just play in her space, explore different ideas, and have no burden of money. It was more liberating than curating for a museum because we didn’t care if we got a big review. We weren’t selling tickets or catalogues or T-shirts or pencils or baseball caps. After I left Holly I opened my exhibition space and did really interesting shows that were not based on sales. It was like being Mother Hubbard, because people couldn’t figure out how I stayed in business because there was so little to be purchased. TM: How did you stay in business? LF: I had enough money, and by developing a great sense of community and a support structure, which ultimately became the foundation for Lucky Number Seven at SITE. TM: How big is the world of independent curators? LF: I don’t know, because it has been really recently that I’ve called myself a curator. I first started calling myself that only under the umbrella of SITE Santa Fe because Laura Heon kept saying, “I can’t just call you someone who’s doing a show.” TM: What two or three curators of your generation excite you the most? LF: Ferran Barrenblit, director and curator of Centre d’Art Santa Mònica, in Barcelona. He not only curates interesting shows, but he is visionary in how he’s approaching his institution. TM: What’s his approach? LF: A lot of his programs are about complicity. I think we also share many views. For instance, he has a curatorial team like any other institution, but his curatorial team is rotating. Nobody is fixed, so there is always fresh energy and approaches. Even when you’re rotated out, you’re still part of the fold. He understands the value of developing a sense of community and allowing the people who work with you and under you to grow so that they can go out into the world and achieve and come back and bring more. Then there’s Alexie Glass, from Gertrude Contemporary Art Spaces in Melbourne, who not only has an exhibition space, but also has an incredible artist residency program and a curatorial residency program. Melbourne has a wonderful history of many artist-run spaces. Then there’s a young curator named Colin Chinnery, whose actual curatorial work has yet to be seen. He’s one of the main curators at the Ullens Center for Contemporary Art in Beijing, which has just opened. We will now get to judge his work as a curator in the shows that he does, but his approach, outlook, and assessment of the Chinese contemporary art scene are so right on the mark— both for a local and for a foreigner, which typically have diverging opinions. TM: The late Walter Hopps was known in the art world as a “gonzo museum curator—elusive, unpredictable, and outlandish.” It has been said about Hopps that “No one idea controlled him.” Does that relate to you? LF: That’s flattering—I love being related to art-historical icons like Hopps. I think part of what you just said is my philosophy. I’m not driven by a space, a budget, or materials—so part of that quote relates to me in the sense that there’s not one linear approach. Other people have said elements of me remind them of Harold Szeemann, which, believe me, is not coming from me—that would be such an overblown statement. I am a curator who wants to allow the staff and the artists to really shine, which is what Harry Szeemann did—he put you in a situation and let you do the work. And I think that Lucky Number Seven is my “ripping off of” (or learning from) Harry, whom I met long ago when I worked for Holly Solomon. I’m also one of the few curators whose main audience is the general

public, and not the art world. Yet my shows meet the same standards that any other curator would have for the art public. Curating for a general audience is a different approach, but I think you come to the same answers. So I don’t know where I fit yet, because I’m just wrapping my brain around the fact that I’m calling myself a curator.

TM: I read and looked at the Snow Show catalogue. In it you wrote that the project represented a “process of exploration that flows from collaboration.” You seem to like to collaborate with artists, yet you seem not to need to know really what they’re doing. You seem to be doing a similar thing with the SITE biennial, and by doing this you are leaving a lot to chance, or to luck. LF: Yes, I think that’s how I’ve presented myself. It’s a way for people to get a glimpse into a unique way of curating, because as we know, the traditional approach to curating is selecting an artist, selecting the work, shipping it, installing it, and creating your show. I know exactly what I’m doing. Every sentence and every thought is premeditated. I am an interactive curator—a collaborative curator—guided, encouraged, informed, and led by the artists. Each artist in this biennial knows they were invited here for a reason. And they all ask me what that reason is. TM: And you tell them? LF: They were brought here because they’re great artists, and because they can take on the challenge, work with other artists, and because they will be inspired. And now that process with each artist has begun. TM: In China, the number 8 is the lucky number—not the number 7. LF: I know. I wanted to change the show title to Lucky Number Eight, because eight is my lucky number—it’s a good number for Asians. But it happened to be the seventh biennial at SITE. The one thing I didn’t want to do was to put an inappropriate, misleading, or arbitrary intellectual overlay as a title. Everybody has a nice, big, fancy title. Usually it starts with the title, then the curatorial statement, and typically almost any work of art can fall under the name of any other biennial. I bothered with different titles and this and that because we needed a name, but I felt that I was very lucky to be doing the seventh biennial. It was as simple and naïve as that. So Lucky Number Seven isn’t about luck, as in the sense of a roll of the dice. The title is self-referential, referring back to SITE Santa Fe’s seventh biennial. It’s a simple, catchy title, really much more about luck in the sense of the good fortune I believe Lucky Number Seven will leave. The legacy of the show won’t be monumental works of art that move out into the art world or the art market, because the projects are intrinsically ephemeral or temporary. TM: What is the legacy? LF: The legacy is about welcoming people to this community of contemporary art in Santa Fe and outside of Santa Fe, and increasing the educational aspect. I think the “good fortune” is about re-engaging and re-inspiring the art world. TM: Every job has perks. What are the perks of being a curator? LF: I guess it’s always how you look at it, right? Some people say the amount of travel I do and where I get to go is a perk. But it’s not a perk because of the sheer amount of travel that I do. It’s not fun packing your clothes and having your clothes not arrive, it’s not fun rushing from an airport when you’ve flown twenty-four-hours to go to Australia and then go straight to studio visits. So I don’t see travel as a perk. That also means I no longer derive pleasure from travel for the holidays. My holiday wish, which typically involves travel, is just to be at home. People think going to fancy restaurants is a perk. Can’t stand it! Too much salt, don’t have what I want to eat, and I have to dress up and engage in conversations that might be tiring. I know it’s a perk to many, but not to me anymore. We certainly know that salary is not a perk for a curator. The main perk of being a curator is not even the art, but rather the people that you exchange with. All of the collectors and board members that I’ve met in Santa Fe are phenomenal people in what they do, a n d we have common interests and amazing conversations—they’re down-to-earth people. The staff at SITE is phenomenal because they really believe in this project—we have a common goal. Of course, access to artists is great. So perks are really about the people.


TM: Is there a project you’ve conceived of that you really think is wonderful, that either was rejected or never happened? LF: I’m working on two projects—one that was surprisingly approved by the government of China to be the first exhibition in the history of China allowing public art. It is slated to take place during the Olympic Games in Beijing in July and August, and throughout the city of Beijing. I’ve been working on this for maybe a year longer than Lucky Number Seven, and the amount of access and support I have is something that no one could ever believe. The thing I can’t believe is there’s absolutely no funding for the project. People thought it would be easy get support from the Chinese government. It’s been the opposite and so I will most likely have to cancel that show. The other project that I’m really excited about has been postponed two times, and hopefully this third time is a charm. This is an exhibition that will take place in Bali in 2009, or most assuredly in 2010. It’ll be an exhibition that explores environmental issues as its theme. Artists will be working—unlike the Snow Show Show—on a one-on-one level, and unlike Lucky Number Seven, in a group format. In this case, artists will work with scientists, marine biologists, environmentalists, and conservationists on a support level—which is more like the traditional collaboration—in developing eighteen site-specific projects dealing with the environment. The one way to engage the viewers and to allow them to have a cathartic experience—and to move away from the familiar white cube, which I never curated in anyway—and also to get as close to nature as one can, is to dump them in water and have the viewer see the show via snorkeling or scuba diving. As you view, you are at one with nature.

what I need to know for what I do. So, Jerry Saltz? He was always a gentleman, always supportive, and nice. He frequently came to my gallery. TM: Matthew Barney. Talk about the person or the art. LF: His work is really challenging and visually beautiful. I’ve always responded to it viscerally. But I have not given the work the time it deserves. I say that with full regret, because I know everyone else understands it and relates to it, but it’s a miss for me because I’ve not had any time with it. TM: Damien hirst. LF: I think he would be really perfect for my underwater show.

TM: y your ideas for shows—where do they come from? LF: I think I’m similar to almost any other creative person. My ideas come from life. The most inane thing can spark something. The Snow Show came from hearing about those kitschy snow castles, and then it was elevated into an interesting discourse about art and architecture. However, the core values of my exhibitions come from my mom and my dad and being raised in my particular family unit with my brother. It’s always about community, about sharing, about social responsibility, about giving back, and about education. So I’m half social worker working in the art world, and I’m half art person doing social work. TM: Want to do some one-liners on art people? I’ll just throw a name out and you toss back a one-liner on them. LF: I’ll try. TM: Let’s start with eli Broad. LF: Nice guy. Always supportive whenever I would see him at different big events. He remembers me via the Snow Show. TM: Dave hickey. LF: Eccentric. Very supportive of the biennial. His biennial influenced Lucky Number Seven a great deal. The most frequent comment I’ve heard from Santa Fe people was that Dave Hickey’s biennial was memorable because experientially when they walked into the space they practically forgot they were in SITE Santa Fe. TM: Jerry Saltz. LF: I don’t know—I’ve lost touch with so many people. I have to preface this, too—I’ve become an ascetic. It’s not my older nature, but it’s becoming more who I am. Not a hermit, but much less out there than I was in the old days when I was all over the place. I look like a super-social person, which I am, but really I’m just gravitating to the areas of JUNE 2008

Photograph: www.

TM: Do you have any mottos in life that you go by? LF: No, I have no motto. But I had a really lovely compliment from Nick Mangan, one of the artists in the Biennial from Australia. He said over lunch, when we were all exhausted and I was sick, “You are the most upbeat, optimistic person I’ve ever met. Nothing gets you down.” I don’t have a motto, but hopefully that’s sort of the way I live. TM: My first impression of you was, “Lance Fung—Fun, Fun, Fun!” LF: I have been saying that throughout this biennial. Now, this is not a motto, but maybe it’s become one for me: “There are no problems.” I really don’t see anything as a problem, ever. D

Interview by Guy Cross, co-publisher of THE magazine.



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Harnessing Wild Electricities From Outer Space for

Energy, Information, Sensation



Experiments in a New Cultural Form

Thomas Ashcraft Electroreceptor

PUBLIC EXPERIMENT 1 : Monday Night June 23, 2008 11 pm - 1:30 am At the CCA Attempt to Receive Wild Radio Emissions From Jupiter’s “C” Region ( Left Hand Polarity )


PUBLIC EXPERIMENT 2 : Tuesday Night June 24, 2008 11 pm - 1:30 am At the CCA Free Attempt to Receive Wild Radio Emissions From Jupiter’s “B” Region ( Right Hand Polarity )

Using modified radio telescopes as energy receivers we will attempt to harness the live Jovian radio bursts that beam out periodically from Jupiter and Io and convert them into palpable micro-electricity and potentially trippable sound .

Central nervous system friendly. IMPORTANT CAUTION If you plan to attend please know that there is a moderate risk of minimal, weak or even total non-reception. We will do our best.


And on exhibit:


June 21 - August 24, 2008


~ Munoz Waxman Gallery

Reception June 28 5 - 7

Center for Contemporary Arts 1050 Old Pecos Trail

Santa Fe


Person of

INTEREST JIM DeNeVAN makes freehand drawings in sand. At low tide, he searches the shore for a wave-tossed stick. After finding a good stick, Denevan draws, often working up to seven hours and walking as many as thirty miles. From the ground, the drawn environment is experienced as a place—a place to explore and a place to be. From above, his marks are seen as isolated phenomena, much like clouds, rivers, or buildings. Soon after the drawing is completed, water moves over and through it, leaving nothing behind. In 2005, Denevan had his museum debut at the Yerba Buena Center for the Arts in San Francisco, and in the summer of 2007 Denevan had an exhibition at PS1/MOMA A in New York City. As well as making art, Denevan is an accomplished chef and founder of “Outstanding in the Field,” a worldwide moveable feast—an open-air investigation into the quality and meaning of place. “Outstanding in the Field” grew out of Denevan’s “farmer dinners,” which took place during the mid-1990s at the tiny Gabriella Café in Santa Cruz where he invited local farmers to preside over special meals featuring their just-picked harvest. The first “Outstanding in the Field” farm dinner took place at Mariquita Farm in Corralitos, California in September, 1999. Since then, Denevan has hosted seventy-five similar events. For more information or to attend an OITF dinner, go to: D

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Midwest, Oil on Linen, 42" × 48"

JUNE 2O — JULY 7, 2008 Opening Reception: Friday, June 20, 5 to 7 pm

Hunter Kirkland Contemporary 200 –B Canyon Road, Santa Fe, NM 87501 phone 505.984.2111 fax 505.984.8111


Tribal Forms T RA I R BT A L

401 W. San Fransisco St. Santa Fe, NM 87501 (On the corner of Guadalupe and W. San Fransisco ) (505)983-4149 May & June hours: 10-5 Thursday thru Saturday

An excellent collection of 150 + antique tribal objects showing exceptional form. Simplicity of design turns these antiques into modernist sculptures

Exhibition runs May 15-July 12



Marsden Hartley at the O’Keeffe—Another Man in a Woman’s Museum A similar understanding soon began to inform critical writing about homosexual artists like Marsden Hartley. I have been interested in Hartley’s work since the early 1980s when I read an article in ArtForum by John Perreault about the painting Abelard the Drowned, Master of the ‘Phantom.’ Perreault’s essay was a revelation, as it took into account Hartley’s sexual orientation in his reading of the picture, allowing me to see Hartley’s art in a whole new way. In order to understand what a surprise Perreault’s article was, imagine the climate then—issues of gender, race, or sexual orientation had not yet been integrated into the art discourse. In the catalogue for the Hartley show, curator Heather Hole comments, “The connection between body and landscape is very much present in Hartley’s later New Mexico work.” The same could certainly be said for O’Keeffe. In her case, the landscape takes on the contours of the female body, something that is evident in her work but rarely commented upon in the Museum’s publications. Nevertheless, the largely female audience that is drawn to the Museum seems to recognize the connection between their own gendered body experiences and O’Keeffe’s imagery. The Hartley exhibition explores his responses to the New Mexico landscape, when he traveled here in 1918 and later when he returned to Europe and used his memories of the New Mexico landscape to explore themes of loss, desolation, and grief. The first part of the show deals with the pastels that Hartley created during the eighteen months when he lived in New Mexico. His hope was to create an authentic American art, a notion very popular in the Stieglitz circle of which Hartley was an early member. At the press preview, Barbara Buhler Lynes, curator of the O’Keeffe Museum, suggested that O’Keeffe was the only one of this circle to succeed in creating such an art. To illustrate Don’t get me wrong; I love Georgia O’Keeffe’s art and appreciate the Georgia O’Keeffe

Lyne’s contention, it might have been illuminating to juxtapose some of O’Keeffe’s and Hartley’s

Museum, especially in light of the fact that it is one of the few museums in the world dedicated

landscapes, instead of hanging them in separate galleries—and not only to test her thesis. There

to the work of a woman artist. I also admire Marsden Hartley’s work, and thought that

might have been other lessons to be learned through such juxtapositions—for instance, something

Marsden Hartley and the West was a wonderful show. However, I find it distressing that in the

about the differences between male and female perspectives in art, a distinction that seems to

ten years that the Museum has been open, so many of their exhibitions have focused on or

often elude even the most sophisticated of viewers. For if O’Keeffe’s mountains suggest breasts,

included predominantly male artists.

a Hartley painting like New Mexico Recollection #13 presents trees as symbolic phallic forms.

I understand that it’s part of the Museum’s mission to position O’Keeffe in the Modernist

This leads to a discussion of some other omissions. For example, unlike most of the artists

tradition, and it is certainly important to place women artists in art history, rather than

who were chosen for the show on Women of the Stieglitz Circle, there are numerous women artists

viewing them as part of a sub-category. But it seems that in its zeal to valorize O’Keeffe in the

of O’Keeffe’s generation whose work can stand up to hers. Showing them together would create

Modernist canon, the Museum has ignored or minimized other traditions that could help to

another important context in which to see and evaluate O’Keeffe’s particular contributions.

broaden the understanding of her work.

There have also been many artists who have painted and photographed the New Mexico

To me, O’Keeffe’s work represents a pivotal moment in the history of women’s long

landscape. Why not explore the differences between their visions and O’Keeffe’s, not in separate

struggle for aesthetic freedom and equity. For centuries, women who wished to be artists

galleries but side by side? Generally, the Museum seems to refrain from directly comparing any

were denied training. The most they could hope for was that if their fathers were artists they

work with O’Keeffe’s. Another example, the Flowers of Distinction exhibition, which presented

would be taught in their ateliers. Even then, women weren’t allowed to study the nude. This

O’Keeffe’s flowers in relation to Andy Warhol’s. There was a painting by each artist that appeared

virtually excluded them from the realm of high art, which required both life-drawing skills

to be the same flower; how interesting it would have been had they hung next to each other. But

and an understanding of anatomy. If they were able to overcome these obstacles, they still

again, each artist’s work was shown in different galleries.

had to work within a male-centered iconography, trying as best they could to insert their

Finally, even though the original mission of the O’Keeffe Museum involved placing O’Keeffe’s

own perspective into historic or allegorical subjects. Only with the advent of abstraction

work in a Modernist context, who’s to say it cannot and should not be broadened? At this point,

did women have any real chance because—for the first time—they could forge their own

there has been universal recognition that Feminism has had a profound impact on contemporary


art. Now it has to seep into the Museum on Johnson Street. One of the most important

Georgia O’Keeffe was a pioneer in translating a female sense of self into visual imagery.

implications of the Feminist challenge to art history is that it made clear the limits of Modernism.

Unfortunately, her early paintings were met with extremely simplistic critical responses. Male

Particularly vexing is the Modernist insistence upon a linear view of art history, a white male

critics wrote about her work as if had sprung not from her brush and brain, but directly from

lineage into which a few women and artists of color are placed. It is long overdue for this limited

her womb. Understandably, this type of interpretation incensed O’Keeffe as it demeaned

narrative to be replaced with a vision that is more diverse and representative, especially at a

her artistic power. As a result, she was unable to realize that in the 1970s the Feminist art

museum dedicated to a woman who supported the National Woman’s Party, one of the most

movement brought with it an entirely new understanding of the many ways in which gender

radical Feminist groups in American history. D

can inflect iconography, one that did not carry with it the taint of inferiority with which women’s art had always been branded.

JUNE 2008

Judy Chicago is an artist, author, and educator whose work has had a worldwide influence.



| 57

Barry LeVa

Silent Diagrams

– Reading #6 , #14 , #10, #9 (4 separate sculptures )

Dwight Hackett projects 7 June through 26 July, 2OO8 Opening reception Saturday, 7 June, 3 – 5 pm 2879 All Trades Road Santa Fe New Mexico 875O7 5O5 . 474 . 4O43 FA X . 4118 www.


Oscar Wilde said,

“Life imitates art far more than art imitates life.” On this page are five examples of life and art. Which is life, which is art?

You decide.






JUNE 2008



| 59

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516 ArTS 516 cenTrA r l A venue Sw, rA w, Albuquerque w

you might say that the impulse to collage and re-assemble objects is a symptom of

an intelligence that recognizes and cherishes the fact that the vocabularies with which we read and understand the visual world are capable of being infinitely deconstructed and re-composed; that reconfiguring the bits and pieces of disparate phenomena is a way of celebrating their ephemeralness. Alchemy represents the collaged work of thirteen artists from all around the country and packs in a wallop of wonderful work, dizzying in its different assemblage styles and profuse talent. Curator Suzanne Sbarge chose the title of this show with the governing idea that the very process of collaging different elements enacts a collective transformation of individual parts that have been first collected and then brought together to effect some kind of magical assimilation. Sbarge stipulated that all the work be handcrafted, the products of traditional techniques without recourse to digital techniques. Thus, the viewer is keenly aware of the gathering of materials that is behind the assemblages, as in Ann Dunbar’s meticulous, color-themed groupings of various objects, each grouping presented somewhat like a Cabinet of Curiosity. Though rather than being repositories of archeological relics and geological artifacts, these highly organized collections of homely oddities include—as in the green-themed That Doggie in the Window—old-fashioned plastic hair curlers, playing cards, buttons, spools of thread, and those little round paper discs that used to sit on the caps of milk bottles. An all-red composition entitled Good Luck Fortune resembles a highly fanciful, whacky pinball machine. Santa Fe artist Andrea Volkoff-Senutovitch’s Reliquary Ship is a child-sized sailing vessel coated in sheet music, its sails crafted of X-ray sheets. The artist, a collector of antiques and exotic objects, has described herself as a storyteller, and this ship on wheels looks fit to launch the made-up adventures of Baron Munchausen. Larry Stokes’s lapidary landscapes are visionary dream worlds that are transcendent versions of the one we already know; the geographies might be made up, but they are definitely convincing. Red Roofs, a paper collage, is both strange and profoundly familiar to the eye in the way a Jorge Luis Borges story might sound to the ears. Miriam Wosk’s mostly huge pieces are richly obsessive, proliferating abundances of beads, rhinestones, exotic wallpapers, maps, old anatomical charts, and sequins (to name a few of the elements) that have all been fashioned with an astonishing degree of meticulous and painstaking precision. Once you enter one of these surreal tableaux, as in Big Red, a paper collage with crystals attached to a natural history chart, you’re in for a long, absorbing ride. Holly Roberts continues to attach her black-and-white photo fragments to painted, abstract landscapes, and this show’s baffling and oddly humorous pieces feature snake cut-outs. In the upstairs gallery, an outstanding show of drawings entitled Snap Crackle Pow! features the work of bright, young talents, all from Albuquerque and Santa Fe. Curator Kathryn M. Davis originally conceived of this show as an exploration of the practice of drawing among boys, a bonding activity that is at least in part a natural outgrowth of growing up with cartoons, pop art, and comic books. Then, as she writes in her essay that is included in the catalogue for this show, Davis wondered if Allen Ginsberg’s concept of the “boy gang” as a social grouping that effectively promotes the art-making activities of its members had perhaps become a little outdated. So Davis’s original intention was expanded to include the drawings of two women, which in itself reflects the changing times: girls are enamored of graphic arts and they conceive of superheroes in their own image, and they draw too. Luke Dorman drew To the Land Wandering, a six-foot-by-ten-foot, site-specific installation, directly onto the wall of the gallery. He has drawn himself as Cain leading a band of fellow wanderers off to settle a new city where, for better or worse, they will establish themselves in a place where their needs and desires will finally be realized, or not. Evidence of these desires are banana peels, a crushed soda can, bones, a hypodermic needle, coins, an empty booze bottle, grapes, sexy babes, and babies. The artist has said that he and his friends grew up drawing the forbidden objects of their desires (girls and power fantasies) and this mural depicts the grownup version of these ongoing desires, both physical and otherwise. One character in this motley procession has a crow’s head (traditionally, a symbol of murderous intent) and there’s a palm frond by the wayside, a symbol of immortality. Maureen Burdock’s contributions are all pieces from The F Word Art: Five Feminist Fables for the 21st Century, part of a graphic novel series. While stylistically these works resemble the work of R. Crumb, Burdock’s sensibility is considerably more enlightened and sophisticated: her super-heroine’s exploits speak of both humor and a capacity and will to exercise goodness in the world at large.

Rinchen lhAmO Clayton Porter, untitled, graphite on paper, 22” x 21”, 2008

JUNE 2008






mArgeAux: perlucere 1611-A pASeo

In Perlucere,


bAron wolmAn: The rolling STone coverS

Andrew SmiTh gAllery 122 grA r nT T A venue , S AnTA F e

Rolling Stone magazine,

it has been claimed, helped define a generation. But in so many decisive senses, including the wholesale capitulation to the feeding frenzy of globalization and thuggish narcissism, we can now confidently claim that it was the generation that failed. Don’t get me wrong. I love to see photographs of Jimi Hendrix and James Taylor. Unfortunately I was witness to the mass exodus from the socalled counter-culture back in the late seventies and early eighties. From Hawaii to San Francisco, from Boulder to New York, I watched an entire generation turn themselves into preposterous marionettes in a widening circle of imperial carnage, many of them leaving their scruples in the gutter as they rushed to support Reaganomics, the Patriot Act and, finally, the war in Iraq (Rolling Stone itself regularly sandwiches military recruitment ads in between its “cutting-edge” anti-war reporting.) Of course, none of this is the fault of Baron Wolman, former photographer for Rolling Stone. Wolman’s photographs from 1967 to 1970 radiate a warmth and authenticity that is all but lost in the clown-like celebrities we’re stuck with now. Baron Wolman was Rolling Stone magazine’s first chief photographer, documenting the three-year-long “Summer of Love” and the musicians that made it so lovely. Working mainly in black and white, Wolman’s now famous images recall a time when people still believed musicians and artists, as celebrities, were socially valid entities. Lacking the modern era’s slick, cosmetic, cyborg sex appeal, the compelling and accomplished musicians of the late sixties come alive with all of their vulnerabilities and sensitivities candidly bared for the world to see. This is a time when Janis Joplin—with no make-up and without even brushing her hair—could look positively reflective and scholarly beside today’s disturbingly hallucinatory Fergie. And James Taylor, despite the forlorn gridlock of his country rock, comes off looking more grunge than Kurt Cobain. They were all that without even trying. Dylan doesn’t look like he’s trying to be Dylan, much in the same way Margaret Thatcher wasn’t a Thatcherite, or Karl Marx a Marxist. Looking strictly at the work, it is evident that Baron Wolman possessed the rare ability to capture the human gesture at the core of those bold visions and radical dreams that now lie like roadkill on the Interstate of our newer and crankier world. Even so, the photos would have radiated more energy had they been separated from Rolling Stone, that purveyor of slop for what Hunter Thompson would have referred to as “A Generation of Swine.”

box gAllery perA er lTA , S AnTA F e

Margeaux’s current show of photographic work, two separate but related series investigate methods of layering information, degrees of translucency, the effects of scale, and series metaphors m etaphors of absence and presence, fragility and strength. In her exquisite Apparition series, the artist layers a printed image on paper of a model in vvarious arious poses behind an image of two dark metal chairs printed on Mylar. These photographs are not large, but the formal elements juxtaposed with the cerebral ones convey a potent sense of not gravitas—at once alluring and disquieting. We are being drawn into the magnetic world of time’s inexhaustible seductions. We are transported away in cycles of wondrous experiences, then brought back to where we stood, forever changed. It is as if the model represents the intangibility within everything as she delicately balances on the threshold of the known and the unknown. Her poses and the deliquescent quality of the clothing she wears—ultra-thin silk organza, for example—serve to underscore the essential fragility of all material things. And the artist is suggesting that by surrendering to the level of insubstantiality, the nature of being redefines itself, finds another source of power that combines poetry and the solidity of fact. But in Margeaux’s work, even the factualness of objects takes on a veneer of mystery. Nothing is quite what it seems, appearances deceive, are both concrete and extravagantly esoteric. In the large prints on glass of old apothecary jars, the titles have names like Cloves, Arrowroot, Coriander Seed, and Cyanide—all of them taken from the labels attached to the jars with their classic shapes and glass stoppers. Because the artist plays with size and prints her images on a huge scale, the jars feel almost human, and indeed, they have a vaguely human shape. Looking at these works, we could be in an inner sanctum of alchemical vessels telepathically discussing the fate of the world. In all this work, it is fascinating to contemplate the exactness of Margeaux’s artistic processes coupled with the specific way the jars are presented as images—not hung on the wall, but tipped against it with the bottom edges resting on steel shelves. Although the resolution of the jars is perfectly clear, they are also translucent and are further dematerialized by the shadows they cast on the wall. Image becomes object and yet threatens to disappear. I particularly liked the work Poison. At first, the viewer doesn’t really notice the white substance at the bottom of the jar because of the interplay of transparency and shadow, yet after one reads the label and finds the word POISON, there it is—chunks of a white powdery stuff. There is a quick chilling jolt as the image lends itself to another layer of consideration. And who knows, really, whether Margeaux’s hauntingly beautiful apparitions are, in the end, for us or against us?

diAne ARmitAG mit mitAG e

AnthOny hAssett

Baron Wolman, Icons of Rock, Jimi Hendrix, San Francisco, 1968 Baron Wolman


Margeaux, Poison, archival ink on glass, 48” x 32”, 2008


SAnd nd · S ilk · S now


phoTo - eye g Allery 376 gArciA STreeTT, SAnTA Fe

From its inception, the photographic medium has focused on subject matter and depended on processes that collide the natural and the man-made. The oldest surviving permanent photographic image, View from the Window at Le Gras, taken by Nicéphore Niépce in 1826, depicts d epicts a landscape dominated by human settlement––a loft, barn, bake house, and an extended wing of his family’s estate obscure the surrounding Burgundian fifields. elds. Yet, in terming his process “Heliography” (sun-painting), the photograph’s inventor acknowledged what he felt to be nature’s impartial laws, rather than ssubjective ubjective human involvement, as the principal agency behind the art of photography. In the course of art’s existence, no other medium has blurred the already ambiguous boundaries of nature and culture to quite the same de ambiguous degree. In Sand · Silk · Snow, the synthesis of natural order with human involvement persists as a primary conceptual concern. However, perhaps more than

any perceived ecological exigency or theoretical interest, the most powerful affinity between the works of the three artists on display may be as simple as a shared aesthetic leitmotif that Niépce’s reflective medium could never have engendered: a consistent emphasis on the color white. Lending the show a visual consonance, yet strongly individuated in its use by the three artists, the largely unshadowed and pristine white expanses of the works on display challenge our expectations of a time-based medium in their evocations of spaces largely untouched by time’s vicissitudes––locations where potential subsumes present activity. In this vein, the four 28” x 36” unmanipulated chromogenic prints that

constitute Lisa M. Robinson’s exhibited winterscapes are pervaded by a hushed elegiacism. Culled from the artist’s Snowbound series, each of these works documents an environment in which manufactured and organic formations co-exist in a tenuous harmony situated amid a sea of stark snowdrift. Wound depicts a lone and leaf-bare tree whose bandaged trunk is the only site of the picture’s color––a stripe of ice blue and a wedge of beige drape the edges of the dressing’s loosest folds. In Sonata, color is once again used to emphasize Robinson’s recurrent theme of containment––two parallel and bright yellow ropes, which connect a series of black steel poles, mimic the slumps and swells of the setting’s undulant snow-carpeted hills flecked with recent footprints; here, as in each of her other images, the impulses and conditions compelling human presence in these surroundings remains abstruse. This ambiguity is highlighted both in the subject matter and title of Valhalla, an image of signposts whose green edges are absorbed in wind-tousled sheets of ice before the banks of a frenzied Lake Ontario. Named for the banquet hall that Norse mythology promises as an afterworld for its fallen heroes, the title (in this context) simultaneously valorizes and makes evident the insufficiency of human attempts at lasting signification; at once humble and monumental, the image indicates the fragility of human existence in a site of extreme climatic severity. Where Robinson’s intensely detailed images seem anticipatory––providing all the situational clues requisite to imagining the emergence of the underlying landscapes during an imminent spring thaw––Maria Louisa Morando’s beachscapes mimic the essentializing nature of remembrance. Although created as a reaction to 9/11, her pigment ink photographs present the obverse

Lisa M. Robinson, Wound, Chromogenic print, 28” x 36”

of the recent spate of photojournalistic activity impelled by the event; in her own words, “[the artist] no longer wanted ‘detail,’ the constant ‘clutter’ and ceaseless noise that surrounds us all.” Though Massimo Vitali’s overexposed beach scenes and Hiroshi Sugimoto’s tests of the minimalist limits of photographic composition are obvious points of reference, Morando’s images feel more forlorn than the festive, teeming vistas that characterize the former artist’s work; they eschew the latter’s interest in the evocation of geologic time and uncanny optical fidelity for an unapologetically dreamy nostalgia. In her series Maranatha (an Aramaic phrase translatable as “Come, O Lord”), straight-on shots of the sea border on abstractions pared to little more than horizontal striations of greige (sand), off-white (surf), aquamarine (sea), and a color that fuses the three (sky). In these images, the conscientious suppression of detail serves as a constructive limitation, as sensory depletion provokes other faculties to compensate in the reconstruction of recollected experience. In a suite of C-prints developed from images taken in Marina del Rey, CA, titled White, Series I, the Pacific is reduced to a scintillating blue-grey sliver that separates a blaze of sun-bleached sand from an equally glaring sky. Approximating the sensation of first opening one’s eyes after being lulled to sleep by the low ostinato of crashing waves, even the surrounding beachgoers register only as the vaguest silhouettes––each ––each element is carefully rendered to be as indistinct as dis distant memory. Occupying an even more indeterminate zone between representation and abstraction than that which Morando’s works inhabit, the compositions of Chaco Terada merge photographic and calligraphic methods to synthesize depictions of language and nature. In her series Shu, each of the artist’s photographs of flowers (ostensibly, the red lilies that impart both color and title to such works as Woman of Red Lily I through Woman of Red Lily VII) is printed on a sheet of transparent white silk that rests behind another diaphanous layer of the fabric acting as a support for calligraphic marks applied in sumi ink. Though accomplished in traditional calligraphy, Terada’s brushwork compounds individual elements of specific Chinese and Japanese characters to arrive at a form of gestural abstraction that recalls Motherwell no less than Zhang Shui. Often imbuing little more than a soft wash of underlying color to these images, the flora that the artist photographs prove less prominent than the literal materials of the works’ execution. We’ve come a long way since Niépce, but––if these works are any indication––discovering an initially hidden image slowly resolve itself in materials alien to its subject matter can still provide today’s artgoers with a sense of wonder that rivals that of heliography’s first admirers.

Alex ROss JUNE 2008





H I R S C H F I N E A RT Museum Quality Works on Paper For the New to Experienced Collector KENNETH ADAMS



























www.hir schfinear THEmay08v2:THEmay08


9:47 AM

Page 1

Santa Fe Art Institute Lectures and Workshops

Mitch Lyons Printing with Clay

Photographers and Social Historians Andrea Robbins & Max Becher

Keith Howard Printmaking

6/2 ‘Transportation of Place’ Lecture 6pm, Tipton Hall 6/3 - 6 Photography Workshop 10am - 4pm, SFAI

Carol Barton Pop-Up Structures 6/13 -14 Workshop 10am - 4pm, SFAI

6/30 - 7/4 Workshop 10am - 4pm, SFAI

7/7 - 11 Workshop 10am - 4pm, SFAI

Bernice Cross Printmaking 7/14 - 18 Workshop 10am - 4pm, SFAI

Luck of the Draw

Photo Documentarians Armando Espinosa & Craig Johnson

SFAI Residents SITE Biennial Artists Exhibition

7/21 Lecture 6pm, Tipton Hall

6/20 5:30pm, SFAI

7/22 - 25 Workshop 10am - 4pm SFAI

Michael McCabe Printmaking Workshop

Nancy Reyner Taming the Acrylic Beast

6/23 - 27 10am - 4pm, SFAI

7/21 - 25 Workshop 10am - 4pm SFAI

Photographer Jungjin Lee

Artists & Writers in Residence Open Studio 7/24 5:30pm, SFAI

6/30 ‘Wind Series’ Lecture, 6pm Tipton Hall




voiceS AgAinST



new concepT gAllery 610 cAnyon roA o d , S AnTA F e

“Loyalty to country always. Loyalty to government when it deserves it.” —Mark Twain

For almost eight long miserable years they’ve torturously abused power to line their pockets and destroy my country. They’ve

selfishly trashed her spirit, reputation, and currency for shortsighted private gain. In a just world the American people would try and convict them for treason. Naida Seibel’s The War Planners embodies them well. Carved in wood and painted, they stand half as tall as a person. Most hold either cocktails or

weapons w eapons in their bloodstained hands as they pathetically lie and send others off to kill and die. He’s the executive, so this is secret, now scram. paints a similar ssend-up end-up of the overweening idiocy of the oval office, this time laid down in luminous oil glazes by artist Stanley Darland. Both artists succeed, through mastery of craft, in revealing these “masters of war” for the weak little men they most truly are. In the Echo Chamber of Hard Men, Diane Rolnick accomplishes a similar sense of the willed and evil ignorance of the current administration as caricatures of

Dick, and George, and Donald seriously confer while sporting neckties decked out with images of American and Iraqi casualties. The three political cartoonists included here also pick up the theme of caricature. Jaime Chase’s book compilations Scary Clowns and Scary Clowns II “because they won’t go away” use scathing humor to underscore the serious stupidity of the war as do the pen-and-ink barbs of Pat Oliphant and Jonathan Richards. Rat Pack, a mixed-media sculpture by Kawana Edwards, goes even further to depict our worst leaders ever as decrepit skeletal rodents. Such humor is a welcome, if short-term relief for the sense of misery the invasion of Iraq has brought, and in all cases, one feels the artists are creating out of the necessity for maintaining at least a semblance of sanity, theirs and ours. The other half of the artists in this very successful, twenty-five person

group show strike a more elegiac chord. Instead of laughing to keep from crying they let the horror in, and let the tears fall where they will. I’ve got the Red, and White and Gone to Iraq Blues by local physician Jamie Gagen is a stunning collage of media images and subtle paint that does visually what some of Bob Dylan’s best anti-war songs do for your ears. The pathos extended here goes well beyond the simplicity of the artist’s means. Beauty here serves truth. Mateo Romero presents powerful paintings from his Fallujah Series based on cell phone photos of children from the scene of the war crimes committed there. Romero, like many New Mexicans, has family in Iraq, so the issues are personal. Connie Fernandeza, traditional colcha embroiderer, departs from tradition to give us the small but mighty Las Madres Dolorosas—Irak. In thick threads the sobs of these innocent women losing innocent children make themselves heard around the world. Congratulations to Ann Hosfeld and Dee Ann McIntyre of New Concept gallery for putting together a thoughtful, witty, and well-balanced objection to our national disaster—the unwarranted invasion of Iraq. A “new concept” is indeed what is needed and this show points towards an art that matters. Ten percent of the sales revenues are slated for Veterans for Peace, a local non-profit that helps homeless veterans. Art saves lives. Whether making salient points through humor or beauty, or sometimes both, Voices Against the War says that art for art’s sake has run its course and that the future belongs to those bold enough to make clear their views, artistically and otherwise. Haven’t we learned yet that when you stand for nothing you fall for anything? Isn’t that why the rest of Canyon Road is mostly meaningless schlock? Finally, in perhaps the strongest piece in a show of strong pieces, Marty Horowitz elegantly constructs a gold leaf and barbed wire echo of the Nazi swastika titled True Blue that makes obvious the all-too-chilling comparison. Just as the German people stood idly by as Hitler ransacked their reality, the American people are currently making the same mistake. If things don’t change significantly in November (can we really wait?) then my country’s tradition of government by and for the people is most definitely under mortal threat. If we aren’t willing at that point to suspend “business as usual” and stop this embarrassing charade through non-violent objection, then we the people and we the sheeple will deserve exactly the fascism we’r we’re gonna get.

jOn cARve ARveR Naida Seibel, The War Planners, ceramic, various sizes, 2008

JUNE 2008






AnThony hASSeTT: homeleSSne neSS b eginS T he T r Avel J ournAlS


home: pArkS gAllery 127 benTT STreeTT, TAoS

Anthony hassett has always

been a poet of down-and-out observations in life. Hassett and his companion, artist Erin Currier, have traveled to over forty countries in the last decade, witnessing extreme poverty in places like Bombay and Buenos Aires. While Currier collects trash and debris and makes art out of it, Hassett did the same for years, not with images, but with words, with poetry. Words were the idiom Hassett used to describe the horribly dysfunctional actions of mankind to its own. But for Hassett, words somehow failed to articulate his convictions and, so, using colored pens, Hassett scribbled and sketched in notebooks while he traveled, until the scribbles felt better than the words. Looking at this body of work is scary (and often obscene), because his drawings paint a terrifyingly direct view of the world we live in, exposing how human beings act as a species, and how they use and destroy each other—dog eats dog, man eats man, and life goes on. Hassett is not a trained draftsman, nor an art school graduate—his drawings are reminiscent of the kinds of scribbling made by bored (and angry) teenagers in high school. Although he was an artist of another medium for most of his life, Hassett was savvy enough to trust and follow his inner urge to take pen to page, showing that all artists must find a way to digest, and then manifest what they have ingested. Hassett has seen many of the ugly realities of this world, and refused to turn his head away. Instead, he has absorbed this visual evidence and done something about it. Hassett’s art is not sensational art, and although his drawings may be small in size, their content is powerful and honest—replete with sad, scary truths. And the message is as follows: The human race is in dire straits and is living on the edge of a very steep precipice.

munsOn hunt


yuliA pinkuSevich: new drAwingS 112-e cAmino

de lAS

While thumbing through

a recent edition of Art#!*&% magazine, I found myself becoming increasingly agitated. There seems to be a widespread timorousness in the art world these days, a need to express aggrandized ambitions, trivial confusions, and gutless mysteries. Granted, the gouging careerism that powers the considerations of many artists (and the mandarins who support them) can lead to the production of something interesting. For the most part, however, what we find ourselves left with is a tremendous amount of skill undermined by impoverished imaginations. I am not bewailing the breakdown of some past artistic authority. My problem is in the fact that eternal sameness presents itself as the eternally new. In the recognition of that fact there is most certainly a way out. From time to time one comes across an artist who refuses to be institutionalized by the assumptions of his or her mentors, by the transcendental nonsense of the art market, or by the very weird overly therapeutic psychology of practicing artists themselves. In the contemporary art world, work featuring (or even originating from) the darkness and desperation of current “American” realities is about as popular as toenail parings. But imagine if, during one of your happy artwalks you came across something with the power of Goya’s fitful creative explorations of violence, something that succeeded in capturing the denied and willfully resisted underpinnings of your own prosperity. Such is the power in the work of Wurlitzer recipient Yulia Pinkusevich. In this series of charcoal and beeswax images on paper, the artist imagines the full force of institutional domination, both mental and physical, right at the point where it meets the oblique acquiescence of the outside world. Fear has never been absent from the human experience, and city-building has always contended with the need for protection from danger. But this can be turned upside down to give us a glimpse of the dangers lurking in our midst, not only in urban institutional design, but also in the power structures that work as a lens for perceiving the world. In these works, we seem to be looking through and into a picturesque labyrinth, immersed ever deeper in claustrophobic ideas of captivity, incarceration, isolation, and a degenerative moral force masquerading as restoration, or some such utilitarian philosophy. Even so, the paradoxical substance of this work is that, on closer inspection, we realize each dark corridor possesses a door, or a structural alternative—a way out of what otherwise feels like confusion and despair.

AnthOny hAssett

Anthony Hassett, Letters, Memos, Speeches, and Reports, pen and ink, 8” x 6”, 2007

lokA ok plAciTAS, TAoS

Yulia Pinkusevich, Your Shadow, charcoal and beeswax on paper, 48” x 32”, 2008



The Four ourTeenTh A nnuA nnu l J uried g rA r duAT du e e xhibiTion univerSiTy oF new mexico ArT muSeum 1 univerSiTy plAce, Albuquerque

I have always looked forward to seeing the graduate shows at UNM, and I have reviewed a few of them for this magazine. The

overall quality of the work and the thinking behind it were generally impressive. It seemed that the students had prepared themselves well for the arduous ttask ask of assuming a place in the contemporary art world. And I never came away from a graduate exhibition feeling as dismayed aas I did this year. There is such an exciting climate in the art world right now. It’s a great time for artists to blur boundaries and push the limits of any given medium or

ccombination ombination of mediums, and for plunging into an abyss of possibilities so as to refute banality and the status quo, to expand meaning. But it seems like the students in Albuquerque are working in a vacuum that gives very little nod to the last couple of iconoclastic decades of global art production. Just because these students live in the desert is no reason for them to stick their heads in the sand. That’s the bad news. And it bothers me to write this because I am not in the habit, as Maya Angelou once said, of “dipping my pen in someone else’s

blood.” But I have to ask: Where was the risk taking? The exploration of media? The interrogation of history and current events? The show would have been more interesting if there even had been some art-celebrity look-alikes and wannabees. So. That grand slam is off my chest, but it doesn’t mean there weren’t some individual pieces in this show that caught my attention and held it, even if I kept wanting to make changes to some of the work that I did like. Case in point: I watched Justin Nighbert’s untitled video over and over, initially with a great deal of interest. It wasn’t time consuming to do this, actually,

as his video lasted only thirty-five seconds. Nighbert’s short burst of moving images was just that: a depth charge shot into a black body of water resulting in a mushroom cloud of first large, then small bubbles. The initial forms from the explosion looked like pale pink lotus blossoms before the small bubbles of air took over. But the shortness of the video made no sense to me after a while. Was it an investigation of pure phenomena? Was there some underlying anti-atomic theme? In my own mind I kept slowing down the video. What would it have been like to vary the playback speed? To combine real time duration with a frame-by-frame segment, say, or some other speed alterations? I think the work would have been more powerful if the artist had found ways to embrace variation. Then again I have to ask: Did I miss some underlying message in those all-too-brief thirty-five seconds? I was definitely intrigued with Stephen




Chlorion. The work is astounding for the technical expertise Wong brought to his rendering of a thread-waisted wasp many hundreds of times larger than life. Drawn as though stuck through the middle with an insect collector’s pin and suspended in the empty space of the white paper, this perfect facsimile gives not the faintest clue as to what the artist thinks or feels about it or anything else. Wong’s statement in the catalog says, “I am interested in the study of interspecies nonverbal communication, the nature of consciousness and the recording of form and movement.” This is interesting information to be sure, but you don’t get the slightest idea of any of this from the work itself other than Wong’s interest in “the recording of form.” May Goldman Chaltiel’s video projection Breathe suffers from some of the same quality of irreducibility. What you see is what you get. The artist presented a short loop of a swimmer, in

May Goldman Chaltiel, Breathe, video projection, 2007

unnaturally green water, moving first to the left, then to the right. This is another work that is neither out far nor in deep, and the image from Chaltiel’s piece that accompanies this review is misleading. I wish that her video had really been shown as a grid of images—a little technological and visual counterpoint to allay a sense of underlying pointlessness. Saving the best for last, I have nothing but praise for Jenny Kuiper’s two small panel paintings Pier and Lister. They are superb and possess an emotional complexity of great and startling depth. Kuiper created two beautifully painted and haunting visual equivalents of an essentially abstract state of mind. In one, an off-white pier juts out from the lower left corner and seems like a fist reaching into an immensity of fathomless blue. Only a single dark-green pole breaks the expanse of sky and water. That pole, and its faint curvy refraction on the surface of the water, is all the detail we are offered, yet it is enough. It is more than enough. The whole painting seems to hang on that refraction until the overall mood of the work takes you beyond it and one step closer to the bone. Kuiper succeeds in her visual distillation of something that is usually difficult to express without being maudlin or trite: The existential loneliness of those who feel and think too much. But Kuiper’s vision accepts the uncertainty that comes from knowing there is no place else worth exploring but the spaces that are further out and in; then she proceeds to map this terrain for her viewers.

diAne ARmitAG mit e mitAG JUNE 2008







FernAndo delgAdo: compoSiTionS

nAncy youdelmAn: ThreAdS oF memory 231 delgAdo

Jane Austen once wrote,

eighT modern STreeTT, SAnTA Fe

“Dress is at all times a frivolous distinction, and excessive solicitude about it often destroys its own aim.” Although truer words may never have been written, w ritten, the clothes we wear have always— whether consciously or unconsciously —been expressions off who we are and where we come from. Sculptor Nancy Youdelman understands Austen’s statement o only o nly too well, and her mixed-media assemblages of girl’s and women’s antique dresses and shoes onn view at Eight Modern tackle themes ranging from notions of identity and womanhood, to the o ttraditions raditions of craft media, to the displacement of the self. Threads of Memory refers directly to the physical and mental processes involved in the making of garments and memories. Youdelman’s dresses, which vary in size and form, are based on found dresses that she has scavenged from vintage stores or tag sales. Drawn to the now anonymous nature of these formerly personal, even fetishized, garments, Youdelman is enamored with the process of transformation and of injecting new meanings into cast-off attire. Her mode of recontextualization involves making dresses that are heavily encrusted with organic and inorganic materials including twigs, beeswax, antique photographs, beads, text, and coins. Youdelman’s resulting transformations blur the boundaries between refined beauty and grotesque excess that elicit feelings ranging from empathy to anxiety in viewers. Stripped of any signs of personal identity, and of the materials from which they were originally made, these disembodied, stylized dresses are signifiers of particular eras. Evocations of past and present mingle in various galleries where 1950s-style party dresses with puffy sleeves like Betty Potter (2007) contrast with the seemingly matronly, Victorian-inspired Fractured (2006). Little girls’ dresses are also interspersed throughout the show, and the combinations of dresses speak obliquely to notions of social conformity, female rites of passage, and to the aging process. Personal and fictionalized narratives are embedded in all of these works. Youdelman weaves elements of her own biography as well as stories culled from the Internet and elsewhere into her sculptures, which, despite their divergent forms, read as highly manipulated, figurative vessels filled with emotional memories. Youdelman’s approach to art-making is deeply informed by the visual and conceptual language of Feminist Art, or Woman-centered Art, initiated by Judy Chicago, Miriam Schapiro, and others in the late 1960s and early 1970s. Some of Youdelman’s strongest work, however, moves beyond her West Coast feminist coterie, and speaks to important predecessors such as Hannah Höch and Meret Oppenheim— two influential women artists involved with the Dadaist and Surrealist art movements, respectively. In works such as Album (2008) and Ellen’s Regret (2007), one finds echoes of Höch’s collage technique (she pioneered photomontage) and Oppenheim’s uncanny use of materials—art-making strategies that challenged the hypocrisy of media representation, gender inequality, and sexual exploitation. The most disquieting works in the show channel the visceral, emotional intensity of Höch and Oppenheim. Youdelman’s cast bronzes— bronzes—Bound (2008), a high-heeled shoe literally bound in chains of beads, and Vessel (2005), a child’s dress laden with heavy metal ornamentation—eschew sentimentality and nostalgia for the brutal truth that reality presents: the commodification of women’s identities begins at youth.

ArTSpA p ce 116 pA 116 cenTrA r l A venue Sw, rA w, SuiTe 201, Albuquerque w

Some of Fernando Delgado’s photographs seem to convey the Futurists’ intent to portray the motion of objects. Though few viewers will have the practical experience to guess it, some of the objects in this show are vintage ceramic flower arrangement forms of the 1940s and 1950s. By an intuitional and disciplined method of cropping and careful selection of camera angle, and a rigorous attention to spatial intervals, Delgado has succeeded beautifully in vivifying these abstracted forms. The show is presented in three categories: white, black, and color. Composition No.3 Peace, a creamy, white photograph, has a cleansed quality and captivating immediacy by virtue of its spare economy. Being without a conceptual context, the perceived form allows the shape and the texture to pop forth; the balance and rightness of “no waste” unexpectedly produce a faintly erotic feeling of generous expansiveness. The idea of a pair of futuristic breasts comes to mind. Composition No. K3, another white image, is more ambitious. The shadings and lines of the form exist in just the right atmosphere and combination to produce a musicality and complexity that, however abstract, still suggest a monumental architecture, among other things. Emphasis is a great virtue of abstraction, and in this photograph it asserts a feeling of glamorous unity and pleasant mystery. Homage, an example from the “black” category, is a grouping of four images—geometric, sculptural metal forms—two on two, each one separately outlined by a two inch frame. There are just enough irregularities in each of these to suggest human-hand tamperings, but they are first and foremost impersonal statements of sleek, futuristic artifacts meant to function as part of a machine. Nonetheless, they are cool and futuristic in an old-fashioned kind of way, if only because machine parts, fashioned from metal, suggest something almost quaint in the mind-made, virtual world. In the color category, La Gran Noticia suggests a feeling of nakedness. The monumental presence of a looming, portentous, flame red shape—looking somewhat like a gigantic stylized, rubber tooth— hangs over the barest sliver of a shadow. Both “tooth” and shadow are set against a background of graded, mustard yellow intensity, all to humorous, almost cartoonish effect.

Fernando Delgado was born in Cuba, studied in New York, and subsequently worked there as an art director for twenty-five years—in effect, twenty-five years of honing his compositional sense and applying that sophisticated visual instinct to others’ work. Apparently drawn to abstraction as a process of elimination and emphasis, he first began to create his own images—that is, the photographs in this exhibition—in 2004, and altogether they offer many satisfying instances of understanding abstract structures through elegant shadow and a subtle, discerning wit.

Rinchen lhAmO

lizA iz stA tAtt AttOn

Nancy Youdelman, Fracture, 46” x 31” x 4”, mixed-media relief, 2007

Fernando Delgado, Composition No. K3, archival pigmented ink print, 30”x 23”, 2006


peregrine honig: FAShiSm


dwighT hAckeTT proJ ro ecTS 2879 All TrA r A deS r oA o d , S AnTA F e

Throughout her career,

Peregrine Honig has been drawing diminutive, irresistible, perfectly crafted human and animal creatures in variously themed contexts. Whatever the poses or facial expressions—be they those on little boys or little girls, rabbits, bears, birds, or skinny-legged deer—the assured, infallible lines in her drawings deliver stylized, expressive bodies of infinite fragility and bold presence. This current series of watercolor-and-ink drawings are bigger than ever before, and while they are rendered with the same elegant, linear clarity, there is more opportunity to highlight the vital energy of these female sexual creatures in more painterly fashion; more space for the artist to experiment with her restless and playful language of mark-making, altogether thrilling and scathing in its collective sprawl and wit. The three largest works, rendered in lines both frail and clenched, and sometimes fragmentary, are drawings of young women who embody the poignant yearning of come-and-get-me; albeit somewhat zombified versions of warped self-display. These three exhibitionist depictions of alienated selfhood fairly rollick with splotchy, imposed markings of appropriated “otherhood.” In Chanel Masai, a dazed, bored vixen tilts her head and luscious rosebud lips just-so, hooks her finger in her thong strap (a familiar Peregrine touch), and has the Chanel logo, dripping blood, branded into her midriff. She wears two Masai neckpieces, one of which tightly inscribes her neck in a manner reminiscent of bondage imagery, while two sketchy cartoony airplanes carom from opposite directions, aiming bull’s eye, straight at her small, naked nipples. As an added fillip (what does it take, finally, to be that extra-special, stand-out, finalclincher, delectably one-of-a-kind, exotic item?), she is crowned by Shiva, nestled in her turban, and a delicate chain of hearts and gemstones dangles across one cheek, suspended from the dark glasses she wears. In Doily, Honig reprises the doily motif from earlier works by crowning this waif-like creature with a cut-out sculptural filigree of it. Here, this agent provocateur wears pearls and panties while an upside-down angel and a fanciful, upside-down Muhammad astride Buraq float across the foreground—white apparitions that echo themselves in the form of diminished, white splotches of abstract doves (?) or clouds (?) that waft in the foreground against a largely indecipherable background phantasmagoria of rainbows and doily flowers and zippity-do-da birds. Honig, always prone to teasing out maximum wit with virtuoso wordplay in her work, indulges this talent in the Widow series—a suite of nine much smaller watercolor and ink drawings. These are spare and succinct, slyly wicked, color-coded fashion sketches that are tailor-made to the specific tastes and styles of the consumer-widow as she considers her upcoming purchases for this winter’s cruise attire—War Bride, White Widow, Black Widow, Blue Widow, Pink Widow, Albino Widow, and so on. These have to be seen so that you can connect the dots yourself.

Rinchen lhAmO


SAnTA Fe inAugurA ugur l e xhibiTion 2008 ugurA williAm SheArburn gAllery 129 weST SAn FrA r nciSco S TreeT T , S AnTA F e

Tasty. Very tasty.

This is the kind of place you’re either told about because you’ve got a snootful of money and class, or you find it on your own—probably because you’ve got a snootful of money and class, or at the very least, refined and well-informed preferences in art. William Shearburn, a gallerist from St. Louis, opened his latest venue here upstairs in the former Gary Farmer space—decluttered and newly airy—in May for those who may be in the (secondary) market for something snazzy from the estate of Robert Motherwell, which Shearburn represents. A print specialist, Shearburn has shown at Art Basel/Miami Beach, the Los Angeles Art Show, ART Santa Fe, and Art Chicago, among other art-savvy fairs. According to his St. Louis web site, recent acquisitions for resale include savory works by Roy Lichtenstein, Bernar Venet, and Maya Lin. Suffice to say the man knows his chops, and visiting this gallery should be a must for any serious collector or student of art history. Not a single expressionist oil painting of snow-covered aspens was spied, nor were there any bronze sculptures of horses or bears in cute poses. Asked why he opened a gallery here Shearburn replied, “I believe that the visual arts scene is changing in Santa Fe and there is a place for the gallery here…. I want to be a part of that and I think my aesthetic is a nice fit. I have also been encouraged by a number of clients who live in Santa Fe to open here.” The inaugural exhibition included delectable works by Louise Bourgeois, John Chamberlain, Helen Frankenthaler, Teo González, and Robert Mangold. I drooled over a monotype by Polly Apfelbaum, Lover’s Leap 20. At nearly 50” square, it’s perfectly sofasized—just the kind of thing you want in your loft to show the cognoscenti that you, too, know your stuff. But seriously, I could live with the piece for a long time, watching flowers shift in and out of focus while the surface interplays with dimensionality. This gallery’s a keeper, and I wish them well in Santa Fe. While they may not tend toward more extreme and/or ephemeral versions of contemporary art, Shearburn’s has the feel of modernism at its best: thoughtful, erudite without being overly academic, nuanced yet bold, and just plain delicious to look at.

KAth AthRyn R m dAvis A

Peregrine Honig, Border Trend, watercolor and ink on paper, 30¼” x 23”, 2008

JUNE 2008

Polly Apfelbaum, Lover’s Leap 20, monotype, 47” x 47”, 2007






J OA N N E L E F R AK June 13 â&#x20AC;&#x201C; July 6, 2008 Opening Reception For Both Artists Friday June 13, 5-7pm

box g al ler y Iliau In Bloom / scratched Plexiglas and shadow

1611A Paseo de Peralta S a n t a F e , N M 8 7 5 0 1 5 0 5 - 9 8 9 - 4 8 9 7 Tuesday-Saturday 10-5 Summer Sundays 12-4

Untitled (detail) / ink on paper


deFining The weST: 200 yeArS oF AmericAn imAgery gerA er ld p eTerS g Allery 1011 pASeo de perA er lTA , S AnTA F e

The American West is an ambitious theme for an art museum, much less a commercial gallery. That is evident from the fact that Gerald Peters Gallery gave virtually all of its exhibition space to Defining the West: 200 Years of American Imagery. It should be said at the start that the show falls far short of any claims by its title to “define” what it is about the West that maintains its hold, however tenuous, on the American imagination. The imagery is limited to selections from the gallery’s own inventory of works dealing with the American West from the early nineteenth century to the present. And there is no published catalog to provide historical and cultural contexts requisite to any critical interpretation—which in fairness is not requisite for a commercial gallery. That said, few curators would fault the conception behind the show and its effective display throughout the gallery. The works—mostly paintings, some sculpture—are assigned to particular areas addressing key aspects of the West’s history, hype, and myth, and how we maintain them: themes of exploration, high-desert landscape, wildlife, art colonies, nature photography, and the living legacy of its Native peoples. But if the show does not advance any particular view of the West, its wide range of Western subjects and themes recorded by artists over time offers critical insight into the motives, aspirations, and underlying assumptions driving the settlement of the West by an expanding nation and its restless people. Perhaps what unifies the visitor’s experience of the show is a tension that its images unwittingly evoke between romance and reality, between history and myth. That tension is sustained by a profound sense of irony, which may in the end be comic relief to the tragic consequences of how the West was won. In this age of climate change and global warming almost any theme on the American West has to be marked by irony. The West’s timeless vistas increasingly recede before the beckoning call of the open road. Its fragile ecosystem depends upon the integrity of vast, at-risk natural treasures (read “resources”). Perhaps the one redeeming irony today is the imperative facing all of the West’s vying constituencies to embrace a long-term strategy that preserves its ecosystem. An early-nineteenth-century pencil-and-ink study by John Neagle portrays a stoic Pawnee Chief, Iskatupee. He wears a medallion bearing the image of President James Madison, who as Jefferson’s Secretary of State effected the Louisiana Purchase from France, doubling the size of the United States by extending it through the Western states as far as the Dakotas, Montana, Wyoming, and Colorado. Viewing the medallion, I was reminded of the account by the Roman historian Tacitus of a British chieftain’s judgment on Rome’s incursions westward under the guise of the Pax Romana: “Where they make a wasteland, they call it peace.” That’s irony.



cArloS quinTo kemm: in SeArch oF duende

exhibiTT / 208 208 dArTmou T Tmou Th ne, A lbuquerque

Carlos Quinto kemm k

is wholly sui generis in the sphere of contemporary art in New Mexico—no other artist springs to mind who approaches this hermetic artist’s hugely idiosyncratic, surreal vision. Over the last two decades or more, a number of Santa Fe dealers who really knew their stuff, who had a true “eye” for striking originality—among them Elaine Horwitch, Arlene LewAllen, and Larry Munson—have championed this artist’s gorgeous collages. Kemm’s imagery always demands the closest attention, indeed, at times a magnifying glass might come in handy, since his compositions teem with antic life, like a drop of water under a microscope. In his recent works, always exquisitely crafted, such as the collaged and painted Florinda’s Flowers, Kemm evokes several occult currents in the history of art-making. A first impression, at a distance, might lead one to think we are looking at a highly stylized and ornate Persian miniature, loaded with fantastical figures and strange incidents. Another tradition Kemm invokes, equally as recherché, is that of Renaissance pietra dure (cut and inlaid semi-precious stone mosaics). Like those florid works, Kemm’s surfaces have a hard, gem-like flash and dazzle. The viewer has to marvel at the intricate cutting and fragile assembling of these works— surely madly time-consuming affairs, where layer upon layer of latticed imagery is superimposed, to a near hallucinogenic degree. In Florinda’s Flowers, the shattered face of an apprehensive young girl (in fact, a reproduction from a work by the French Baroque artist Georges de la Tour) is folded into a bouquet in a handsome antique vase. Such creations have the effect of dreams within dreams, worlds within worlds, which adhere to their own, strange logic. Carlos Kemm is an oneiric master, in the tradition of Max Ernst, Dali, and Magritte. This exhibition brought to mind strange lines from Coleridge’s Kubla Khan; the observer might be well advised to “Weave a circle round him thrice, And close your eyes with holy dread, For he on honey-dew hath fed, and drunk the milk of Paradise.” It certainly looks like something mindaltering has been ingested, and it makes for some pretty powerful fantasies. Kemm suggests he is in search of duende, a difficult to define phrase in the world of Spanish arts, which connotes originality and emotion. Both of these prized qualities are rampant in his newest works.

jAn AdlmAnn

RichARd tOBin

John Neagle, Iskatupee, Pawnee Chief Chief, 6” x 4”, graphite pencil and ink, 1827

JUNE 2008

Carlos Quinto Kemm, Florinda’s Flowers, painted collage, 111/ 2” x 21¾”, 2008







“The Artist’s Dentist”

BRAEMARR Where the poodle lies down with the lamb

466-6708 A Great Grooming Shoppe at the Agora Shopping Center in Eldorado


(505) 820-1010


SUmmer U , Santa Fe By By JUNE 2008

Guy Cross THE





Take A Left At My Mailbox By By

MiriaM saGan

Cross Sierra Vista and enter the cul-de-sac Where the pavement ends Cross over and down into the acequia full of trash Where a sodden quilt lies in the middle of where Stream once moved sand In eddies. The homeless camp Disintegrates, only one mattress left And I’m lecturing my daughter Who steps back to photograph it “Don’t come here alone,” And she retorts: “I have since I was eight,” and then “It’s so peaceful here, but I hate the fence.” This is no arroyo, cut by rain But a remnant of man, an irrigation ditch Now watering detritus, the leftover, cast off, plastic bags, and worse. From here you can cut Up behind the Indian School Past the transformer I didn’t even know was there And come out where there once were tracks Now just the runners half buried in soil. It’s Baca Street! We’re back In the neighborhood where my daughter Immediately becomes lost “I don’t get straight streets,” she says. My money’s good here, I buy two cups of foamy chai And look in her face, turning from girl to woman And want to construct My map of the lost

This poem is from Miriam Sagan’s latest book of poetry, Map of the Lost (University of New Mexico Press, $22). The author of over twenty books, Sagan is an assistant professor in creative writing at Santa Fe Community College.

74 | THE


JUNE 2008

To the Illumined Man or Woman, a clod of dirt, a stone and Gold are all the same. – Bhagavad Gita

Gold is tried by fire, Brave Men by adversity. –Seneca Golden Age Golden Egg All that Glitters is not Gold! Good as Gold

Gold Card

Gold Mine

A host of Golden daffodils El Oro y amores eran malos de encubrir

Fort Knox

“There’s Gold in them thar hills” Golden Rod Gold Rush Fool’s Gold Silver Threads Among the Gold Golden Rule Golden Land

Gold Medal Golden Gloves

Heart of Gold Golden Years Golden Bough Pot of Gold Worth its weight in Gold Gold Standard

Golden Mean



Go for the Gold Linda Durham

Contemporary Art

1101 Paseo de Peralta Santa Fe, NM 87501 505.466.6600


THE magazine June 2008  

e n i z a g a S a n t a F e ’ s M o n t h l y o f a n d f o r t h e A r t s • J u n e 2 0 0 8 m 505.989.1199 Opening Wee...

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