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Santa Fe’s Monthly









of and for the Arts • October 2007

GET on


Taking the High Road to Taos and Back by

Zane Fischer


SITE Santa Fe presents

October 13, 2007– January 20, 2008

Free Public Opening Friday, October 12, 5–7 pm

Followed by The Disappeared Collaborative Project’s Opening Event LAUREL REUTER AND LAWRENCE WESCHLER: A CONVERSATION Friday, October 12, 2007, 7 pm

Lensic Theater, 211 W. San Francisco Street, Santa Fe, 505.988.1234 / $10 general admission/$5 students, seniors, and DCP members

Art & Culture NICOLÁS GUAGNINI ARTIST LECTURE Tuesday, October 16, 2007, 6 pm

SITE Santa Fe, 1606 Paseo de Peralta, Santa Fe 505.989.1199 / Admission: $10 adults; $5 students, seniors, and DCP members Participating artist, filmmaker, and writer whose father was disappeared when he was a boy, Guagnini will discuss his work, 30,000 (1998-2005), the large scale sculpture installed in front of SITE.

For a complete schedule of The Disappeared Collaborative Project events please visit

Photo: Luis Camnitzer, From the Uruguayan Torture Series/De Le serie de la tortura uruguaya, 1983 suite of 35 four-color etchings, 29 1/2 x 22 inches each.

1606 PASEO DE PERALTA SANTA FE, NEW MEXICO 87501 505.989.1199 Los Desaparecidos is organized by the North Dakota Museum of Art with funding from the Otto Bremer Foundation, The Andy Warhol Foundation and the Lannan Foundation. The Santa Fe presentation of the exhibition is generously supported by the Lannan Foundation with additional support from Zane Bennett Family Foundation, and Nancy Ziegler Nodelman. This exhibition and programs are made possible through the generous support of the Board of Directors and from the following major contributors: The Brown Foundation, Inc., of Houston; The Burnett Foundation; City of Santa Fe Arts Commission and the 1% Lodgers’ Tax; The Frost Foundation; McCune Charitable Foundation; New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endowment for the Arts; Thaw Charitable Trust; and an anonymous donor.

5 5



Universe of artist Keith Johnston


Studio Visits: Sue Porter and Woody Gwynn


Food for Thought: Big Sky Country, by Gary Niblett


One Bottle: The 2004 Château Saint Martin de la Garrigue Cuvée Tradition, by Joshua Baer


Dining Guide: La Mancha at the Galisteo Inn and Kohnami


Eats: The Shakerato


Openings & Receptions


Out & About


Previews: Design Week Santa Fe at various venues; For the Table at Santa Fe Clay; Lost & Found 2 at Patina Gallery; The Disappeared Collaborative Project at nine venues; and Vladimir Kush at the Chalk Farm Gallery


Feature: Get on the Bus – The High Road to Taos and Back, by Zane Fischer


National Spotlight: Artisans and Kings: Selected Treasures from the Louvre at the Denver Art Museum


Critical Reflections: Reflections: Alisa Sydel at at Two Two Graces Graces Gallery; Botanicals at Santa Fe Clay; Burt Glinn at William Siegal Gallery; Excavating Eygpt at the New Mexico Museum of Art; Ghost in the Machine at 516 Arts (Alb.); Group Sculpture Show at James Kelly Contemporary; Harmony Hammond at dwight hackett Projects; John Nava at Klaudia Marr Gallery; John Wenger at Donkey Gallery (Alb.); Kathleen Kinkopf at Joyce Robins Gallery; Rick Stevens at Hunter Kirkland Contemporary; Rufus Wainwright and Sean Lennon at Paolo Soleri; Star Liana York at Manitou Galleries; and Tom Waldron at William Siegal Gallery


Architectural Details: Bird on Cross Near Peñasco, photograph by Guy Cross


Writings: “Mama,” by Jacey Blue Campbell. Photo: L. Andrew

For many years, Walker Evans had been content to have his work categorized as documentary photography. Evans later qualified the term “documentary” as requiring a more subtle reading of the word so his photographs would not be confused with a police report or an accident record. In 1938, Thomas Mabry wrote to Lincoln Kirstein asking him to write an essay distinguishing Evans’ work from that of other photographers, both “documentary” and “lyric.” Evans connected the two words: lyric, which suggests personal emotions, with documentary, signifying the objective recording of fact—the linking of the two words created “Lyric Documentary.” Walker Evans: Lyric Photography (Steidl. Distributed by D.A.P., $60) presents photographs made by Evans for the Farm Security Administration in chronological order. These photographs are key illustrations of Evans’ extraordinary ability to transform the mundane into all-encompassing lyricism. The photographs are accompanied by essays by Allan Trachtenberg and Heinz Liesbrock.


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


dana waldon


rinChen lhaMo


liz napieralsKi


MiChael aBate BateMar MarC arCo Co, l. andrew, Jan e. adlM dlMann Mann, diane arM rMitaG ita e, Joshua Baer, JaC a ey Blue CaM aMpBell, Jon Carver, stanley darland, Kathryn M davis , zane FisC is her, anthony hassett, riinChen lhaM haMo, Gary neBlett, alex ross, and riChard toBin COVER

photoGraph: Guy Cross

A solo exhibition of reductive paintings, based on the grid, by Winston Roeth will be on view at Charlotte Jackson Fine Arts, 200 West Marcy Street, Santa Fe, through November 2. Opening reception on Friday, October 12, from 5 to 7 pm.

TO THE EDITOR: A good example of a critic really missing the point is Anthony Hassett’s review of Matthew Horowitz’s show. Art that satirizes well-accepted, societal icons, such as cell phones, I-pods, and oh yes, weapons placed on the high altar of the military-industrial complex, causes me to take stock of my accepted beliefs and values. Challenging people to examine beliefs and personal blind spots has always been a valid artistic communication. My wife and I found the Matthew Horowitz and Amy McKenzie show to be an excellent and compelling presentation. I look forward to both of these artists’ careers and future shows. It feels to us as if there is a thinly veiled shadow of some personal grudge for all to see in Anthony Hassett’s review. and Joan West, Santa Fe —T —Truel


rose darland: 505-577-8728 (MoBile) sheri Mann: 505-989-1214 or 501-2948 (MoBile) sarah ellis: 505-424-7641 the MaGazine: 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, E-mail:THEmag1@aol. com. Website: All material copyright 2007 by THE R of magazine. All rights are reserved by THE magazine. Reproduction 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. advertisements from advertisers beTHE magazine accepts lieved 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; f copyright infringement by its advertisers; and is not responsible or liable for for any mistakes in any advertisement.

TO THE EDITOR: Although there were a few points about the art that were valid, I was disturbed to read Jan Adlmann’s review of the Sergio Bustamante show at the Meyer-Munson Gallery. It was not so much the negative comments about the art that disturbed me—after all, a critic is entitled to an opinion, be it positive or negative. Instead, it was Adlmann’s seemingly unprovoked attack on the gallery itself that was troubling. I have to wonder what his agenda was, what his problem with Meyer-Munson was (or is). And more importantly, why did the editors at THE magazine allow Adlmann a venue to vent himself in such a hideous and nasty manner? I am a painter, and I have been reviewed, both positively and negatively. I appreciate honesty from any critic, but this “review” read like a small-minded personal attack, not criticism at all. I do hope this is something that THE magazine will not allow to happen again. —Abby Ballas, Austin, Texas


TO THE EDITOR: We are writing in regards to the September review by Jan Adlmann. It is rather sad and suspect that Mr. Adlmann never disclosed to you that he was a former employee of the former owners of the gallery when he chose to review a show at the same gallery. His review is a direct conflict of interest. It does not follow your mission “To report and to review the arts with intelligence, objectivity, honesty, and integrity.” He was morally obligated to disclose this information to you. He has duped you and your readership. It is bizarre and inconsistent that he was seeking to work with the same gallery that represented the same artist he scathed in his review. Mr. Adlmann has come to the gallery on multiple occasions to “offer his services,” to assist on several shows. We have no issue with receiving a negative review. W would just prefer it coming from someone who We doesn’t have a personal agenda or vendetta. It does not hold to the standards for which THE magazine is known. The writer’s objectivity in this review is lost, making the criticism invalid. —Dirk Meyer and Kent Whipple, Meyer-Munson Gallery, Santa Fe

TO THE EDITOR: I wanted to write to tell you how much I enjoy the writing of Kathryn M Davis. Her writing is at once concise, lyrical, and insightful. It’s obvious that she has a superlative background in art history. You are lucky to have her on staff. —Sandy Green, Co-director, Glenn Green Galleries, Tesuque The October 2007 issue is dedicated to the lives of Jim Arth and Jim Kraft, both “straight shooters” and both generous of spirit. They will be missed by all those whose lives they touched. THE


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THOMSON Sculptor Designer Blacksmith-Artist




Garden River Stele #1 Hand-forged steel and bronze sculpture installation



Oshara Village Plaza until 2008


Art Born of the Need to Tell

Marcelo Brodsky, The Undershirt/La Camisita, c. 1979

Arte que Nace por la Necesidad de Contar

9 Institutions


7 Exhibitions


53 Artists


14 Films


12 Lectures


5 Artist’s workshops

Talleres por artistas

El Proyecto Colaborativo Los Desaparecidos The Disappeared Collaborative Project October 2007 – January 2008 For a complete schedule of events, please visit Evento Inagural Opening Event LAUREL REUTER AND LAWRENCE WESCHLER: A CONVERSATION

Friday, October 12, 2007, 7 pm

Viernes, 12 de octubre del 2007, 7 pm

Lensic Theater, 211 W. San Francisco Street, Santa Fe, 505.988.1234 / $10 general admission/$5 students, seniors, and DCP members

Center for Contemporary Arts

Lannan Foundation

Center for Contemporary Arts Cinematheque

National Hispanic Cultural Center, Albuquerque

College of Santa Fe/Documentary Studies Program

Santa Fe Art Institute

College of Santa Fe/ Marion Center for Photographic Arts

SITE Santa Fe

Institute of American Indian Arts Museum


OCTOBER 12 - NOVEMBER 2, 2007 O P E N I N G R E C E P T I O N : F R I D A Y , O C T O B E R 1 2 , 5 : 0 0 - 7 : 0 0 P. M .

CHARLOTTE JACKSON FINE ART 2 0 0 W. M A R C Y S T R E E T, S U I T E 1 0 1 , S A N TA F E , N M 8 7 5 0 1


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9MXX[cQQZcU`T presents

the tiger lillies Center for Contemporary Arts | Santa Fe presents

Wednesday • October 31, 2007 • 7:30 pm James A. Little Theater, NM School for the Deaf, 1060 Cerrillos Road, Santa Fe $25 at the door or in advance at CCA Box Office 982.1338

Gregory Hoel Big Blue Mixed Media on Paper 141⁄2 x 21

100 Works of Art

The Gallery at Webster Enterprises

541⁄2 Lincoln Avenue • Upstairs on the Plaza • 505.660.0771

Gregory Hoel & Kitty Miller

Artists’ Opening Reception

Friday, October 5 5-7:30 pm

Saturday, Sunday, October 6, 7 (2-5 pm)

Harriet Johns

“Incan Sun” High fired porcelain enamel on steel, 3" x 3" © H. Johns

Michael Wilding “Venus of Nefta” Limestone 23.5”x 20” x 10” © M. Wilding

136 Tesuque Village Road / Tesuque, New Mexico / (Hwy 285 North, Exit 168)

(505) 820-0008


Abstract Expressionist Sandpaintings • Mixed Media Work Reception: Friday, October 5 6-9 pm • Exhibit: Through December

Art Is...OK & Company Gallery 3301 Menaul NE, Suite 28 • (at American Square) Albuquerque • 505-883-7368 •

Here’s to...

New Concept Gallery 610 Canyon Road • Santa Fe

Grand Opening Reception

October 19 from 5 to 7 p.m.

It's a Celebration! For our friends, neighbors, and most welcome visitors Two Grand Openings!


After 15 years at 610 Canyon Road we have moved directly across the street to 613, formerly Celebrations Restaurant. An already most charming and vintage location is now an airy, open and flowing gallery. We couldn’t be more proud!

Steven Boone Presents

“New Vistas”

A Premier Exhibition of New Paintings


Oil On Linen

Spanish Sojourn

48” x 60”

Oil On Linen

Moment of Glory

30” x 24”

Opening reception for the Artist and the Gallery Friday October 5th, 2007 — 5:00 to 8:00p.m.


613 Canyon Road Santa Fe, New Mexico 87501 Open Daily 10am to 6pm 505-820-2666 877-820-2666 Fax: 505-820-1666 Website: • E-Mail:


Keith Johnston’s early paintings were made in the figurative tradition, tradition, but in 2000 he decided to return to drawing. His current works arrangements of

spare, tonal

and dark areas, with

subtle marks, made directly on wood panel in encaustic, which is often scraped and reapplied—he does not make preliminary sketches. Not only does Johnston paint, he

also freelance art director and photo

stylist for clients such


Pottery Barn, Fortunoff, Bloomingdale’s, Calvin Klein Linens, and Ralph Lauren Home. He says that his

benefits from

the commercial work because, “Photo shoots require collaboration. One learns to create a composition quickly and assuredly.” Johnston has exhibited in solo and group shows in New York City and Atlanta,


as Santa Fe. New paintings— paintings—Paradox Paradox—will Paradox—will be on view as part of a two--person show show at LewAllen Contemporaryfrom October 5 through October 28. Opening reception on Friday, October 5, from 5:30 to 7:30 pm. photoGraph By B stanley darland

DRAWING I adore drawing. I want to see the markings of the artist’s hand—the process of spontaneity and the economy where subtlety, pitch, line, or blocking can with the slightest of movement completely alter the work. I aspire to convey a kind of energy that this intensity will transmit to the viewer. Artists that are admired for their highly polished technical pictures keep me at a distance with their extreme proficiency and self-importance, because the hand—essentially the soul—appears to have been lost. This is the opposite of what I want to do. DARK AND LIGHT/BOLD AND SUBTLE I work in black and white. Dark and light allow me to be consumed with shape, the placement of the positive and—just as important—the complete awareness of the negative. GESTURE AND STRUCTURE The dialogue between gesture and structure is about tangibly conveying and transmitting energy to the viewer. The kick for me is that with the slightest movement I can completely alter a work—the mood, the dance, and the pleasure. FINE ART AND COMMERCAL ART I work on many photo shoots doing art direction and styling. This has helped develop my eye to form compositions both quickly and creatively in a decisive manner. This I apply to my artwork—there are no preliminary sketches. The work is conceived and composed directly on the wood panel. ▲




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THE, 10-07:THE, 04/05 1/4


9:03 PM

Page 1

MONROE GALLERY The Institute of American Indian Art’s

of photography

Primitive Edge Student Gallery



Exhibition continues through November 18

...end of WHAT trail?

Truman Capote, Holcomb, Kansas, 1964

October 1 - November 1, 2007

Exhibition celebrates the publication of Steve Schapiro’s Heroes

Free opening reception Monday, October 1st 5:00pm on the IAIA campus 83 Avan Nu Po Road Santa Fe, NM 87508


(Mapquest suggested)

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

Photograph © copyright Karl Duncan “Contemporary Minataree” 2006

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1, SUITE 107A


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I try to wear those rubber pants of “Mighty Isis” daily: a single mom, a chef, a gardener, and most importantly, an artist. There is always a small tick, or vision, pushing at the back of my head. It is constant, sometimes a low rumble, other times a large burning—a delightful torment of mind and soul. Demolition happens when the push comes. Then the energy becomes a shine that cannot be denied. Almost everything and everybody in my life understands and makes way—almost stepping back to watch—granting me my time. Friends watch, we talk. Pets watch, don’t interrupt. Children are quiet and wait. Somehow, even the restaurant where I work knows, and does not call me. Mighty Isis is realized.

—sue porter Porter is both an artist and a teacher. To see her work, email

photoGraph By By Guy Cross

Demolishment is as much a tool for an artist as a scalpel is for a surgeon.

— oody Gwyn —w Gwyn is represented in Santa Fe by Gerald Peters Gallery, and in San Francisco by Modernism Inc. He will be having a one-man show in April 2008, at David Findlay Jr. Fine Art, New York City.

photoGraph By B dana waldon




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Big Sky Country By By

Gary niBlett

(Courtesy: nedra MatteuCCi Galleries, santa Fe) In 1866, Charles Goodnight purchased a government wagon and had it completely rebuilt in seasoned bois d’arc, the toughest wood available. The distinguishing feature was the sloping box—fitted to the width of the wagon with shelves and drawers for holding food and utensils. To the cowboys, “chuck” was food, so the box was called a chuck box and the wagon became known as a chuck wagon. During long trail drives, the chuck wagon was the headquarters of every cattle outfit on the range. The cowboys didn’t just eat their meals there; it was their social center and recreational spot—a gathering place for exchanging tall tales, listening to music, or recounting the experiences of the day. It was common for the “Cookie” who ran the wagon to be second only to the trail boss on a cattle drive. When Cookie finished cooking, he pronounced the food ready by yelling, “Chuck away, come an’ get it!” There were definite rules of behavior around the chuck. For example, riders approaching the campsite always stayed downwind from the chuck wagon so that they didn’t cause dust to blow into the food. No horse could be tied to the chuck wagon wheel or hobbled too close to camp, and cowboys never crowded around the cook’s fire. When it came to eating, no cowboy would help himself to food or touch a cooking instrument without Cookie’s permission. The cowboys never used the cook’s worktable as a dining table; they sat on the ground and used their laps instead. When dishing out a helping of food from a pot, they placed the lid where it wouldn’t touch the dirt. It was against the rules for a cowboy to take the last piece of anything, unless he was sure the rest of the group was through eating. If a man got up during a meal to refill his cup with coffee and someone yelled, “Man at the pot,” he was supposed to fill all the cups held out to him, as well as his own. Other names for Cookie, depending on the mood of the cowhands and their distance from him, were bean wrangler, dough puncher, pot wrassler, bean master, biscuit shooter, dough belly, and belly cheater. But to his face, he was always Cookie. Chuck wagon food included black-eyed peas, beans, corn, cabbage, fried steak, short ribs, stews spiced with chiles, garlic, and onion, and the occasional catfish or shrimp caught from the rivers or lakes. Sourdough breads, quick biscuits, skillet corn bread, two-crust pies made with apples, and cowboy coffee were served with meals. ▲




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One bOttle: The 2004 Château Saint martin de la Garrigue Cuvée Tradition by Joshua Baer

October makes me think of Halloween, my favorite holiday. Halloween makes

By the time Jesus was born, the Roman army had conquered most of the

me think of Phil Levine, the California poet who used to ask his audiences, “Why

Celtic tribes. For the next four centuries, the Romans celebrated a festival called

be yourself when you can be somebody interesting?”

Feralia in late October. Feralia was the Roman Memorial Day. It commemorated

Phil Levine started asking that question during the early 1970s, a few years

the passing of the dead. The Romans also used Feralia as an excuse to celebrate

after “Just be yourself” made its way to the top of the list of the most annoying

Pomona, the goddess of orchards and trees. Apples were sacred to Pomona,

clichés of all time. Like long hair and marijuana, “Just be yourself” started with

which is why we bob for apples on Halloween.

the beatniks, was adopted by the hippies, got passed on to the Gestalt therapists

By 400 a.d., the Roman Empire had become Christian. By 800 a.d.,

(who recognized it as the mother of all motherly advice), and ended up in the

Christians all over Europe and the British Isles celebrated November first as

suburbs, where clichés go to die.

All Saints’ Day, a festival dedicated to the entire community of Christian saints

Being yourself is overrated. It builds a wall around your soul. This is why

and martyrs. October thirty-first became All Hallows’ Eve, and was celebrated

people who insist on being themselves take themselves so seriously. They

with bonfires and parades. (“Hallow” comes from the Old English halgion, “to

sacrifice their senses of humor on the altars of their own identities. This

make holy,” or “to honor as holy.”) Christians who marched in the All Hallows’

makes it impossible for them to pretend. When you stop pretending, you

Eve parades dressed up as saints and martyrs as a way of offering thanks and

stop playing. When you stop playing, you stop laughing. When you stop

praise to their dead heroes. Even then, imitation was understood to be the sincerest form of flattery.

laughing, you stop living. When you dress up for Halloween, you don’t disguise yourself. You know who you are. So does everyone else. By putting on a costume and a mask, you give your soul the chance to speak

Which brings us to the 2004 Château Saint Martin de la Garrigue Cuvée Tradition. In the glass, the 2004 Cuvée Tradition is dark and mysterious,

through the disguise. It’s like what happens when a man dresses

like a night with no moon. You can use your eyes to fathom the

up as a woman or a woman dresses up as a man. It’s what comes

deep red color of this wine, but your instincts will tell you more

through that counts.

about that color than your eyes. The bouquet takes you in

Wine is both the official and unofficial beverage of

several directions. It seems faint and almost tame at first, but

Halloween. Hard liquor dismantles your inhibitions. Beer

then it hits you: This is the aroma of Syrah, the grape of passion.

assures you that you haven’t had that much to drink. But

Syrah doesn’t know the meaning of tame. On the palette, the

wine rearranges your emotions. It turns fear into confidence,

Cuvée Tradition continues to play tricks on your senses. It leads

complacency into alarm, and apprehension into pleasure.

you, then it misleads you. It makes you feel like being confused is

When you drink wine on Halloween, you wear the ultimate

somehow more of a treat than being sure. Many wines attempt

costume. You appear to be yourself, but as the evening unfolds,

this delicate maneuver. Very few accomplish it. It takes a wine

you become somebody else.

of courage, a shameless wine, to make you comfortable with

So what’s the best wine to drink on Halloween? Many people

your own confusion. The finish is like the final moments of a

say Champagne. I can’t argue with the fact that Champagne is

dream. You know you’re about to wake up, but each moment

always an appropriate drink, especially when it comes to popping

lasts a little longer than you expect it to last. When you finally

the bubble of one’s own identity, but Champagne is associated

open your eyes, you’re forced to consider the possibility that

with celebration, and Halloween is not so much a celebration as

you might still be dreaming. Halloween has been around for thirty-five hundred years.

it is Opening Day of the season of celebration. The original Halloween was the Celtic festival of

That’s longer than the Roman Empire, the Catholic Church, the

Samhain (pronounced “sow-en”). Between 1500 b.c. and

United States of America, and the Bush presidency, combined.

the birth of Christ, Celtic tribes in what are now Ireland,

When a tradition lasts as long as Halloween has lasted, it makes

England, and France, celebrated October thirty-first as

you wonder. What is it about putting on a costume and a mask?

New Year’s Eve and November first as New Year’s Day.

Could there be more to pretending than meets the eye?

The Celts believed there was a break between the end of the old year and the beginning of the new one. During that break, the souls of dead animals and dead people returned to earth and came into contact with the souls of the living. This created a certain amount of mayhem, but the Celts were on good terms with mayhem. During Samhain, they built bonfires and made sacrifices to show respect for their

Phil Levine put it this way: “Before the night ends my life will change.” ▲ 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 © 2007 by If you need help finding a wine or building a cellar, write to Joshua Baer at

dead guests. They also wore costumes, usually made out of animals’ heads and skins.




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Seared Diver Scallops with Chanterellés, Bacon, and Manoomin Wild Rice is the signature entrée at

La mancha at The Galisteo inn

Reservations: 466-3663 $ kEy




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. $$$ Cuisine: French. Atmosphere: Three intimate rooms—reminiscent of a small inn in the French countryside. Patio dining. House specialties: Earthy French onion soup made with a duck stock; squash blossom beignets; smooth and rich foie gras terrine with poached cranberries; crispy duck; and one of the most flavorful steaks in town. Comments: Super wine bar. amavi restaurant 221 Shelby St. 988-2355. Dinner Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Mediterranean. Atmosphere: Intimate and attractive. House specialties: Menu changes depending on what is fresh at the market. We like the tiger shrimp with garlic, shallots, smoked pimenton, and sherry and the pan-roasted ribeye chop. Recommendations: The bouillabaisse is a must—not to be missed. Comments: The new bar is wonderful. Chef/owner David Sellers is spreading his kitchen wings in the right direction. anasaZ nasa i restaurant Inn of the Anasazi 113 Washington Ave. 988-3030. Breakfast/Lunch/Dinner Smoke-free. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American/Southwest. Atmosphere: Subdued room with elegant table settings that make you forget you’re in a hotel restaurant. House Specialties: For starters, order the grilled Mexican prawns with heirloom tomato and avocado salad or the crispy mustard-crusted veal sweetbreads. For your entrée, try the Alaskan Halibut with asparagus corn risotto in a spicy saffron-shellfish broth or the grilled Colorado pepper-crusted rack of lamb. Recommendations: You Y can rely on the sommelier to pair your food with wine, by the glass or bottle. Comments: The pre-opera menu is perfect for Santa Fe’s busy tourist season. andiamO! 322 Garfield St. 995-9595. Dinner Beer/wine. Smoke-free. Patio. Major credit cards. $$ 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,” P are available, go for it. Recommendations: The American cheese tasting plate or the hot chocolate, Spanish style, are great endings. blueberry 3005 S. St. Francis Drive. 989-4050. Breakfast/Lunch (Dinner to-go) Smoke-free. Major credit cards. $$ Cuisine: American: Atmosphere: Light and bright café with good energy emanating from the wait staff and kitchen. Specialties: Eggs Benedict, organic multi-grain pancakes, southern fried chicken with waffles, chicken in a pot, and sandwiches to die for. Recommendations: The buffalo chicken sandwich is incredible and the burgers are Niman Ranch beef. Comments: Portions are beyond generous. bObcat bite restaurant Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Smoking. Cash. $$ 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 of real logs. House specialties: The enormous inch-and-a-half thick green chile cheeseburger cheeseburger is sensational. The 13-ounce rib eye steak is juicy and flavorful. Comments: No desserts. the blue herO er n 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. $$$ Cuisine: Organic and local. Atmosphere: Zenlike setting with fireplaces and Japanese-style sitting in upstairs dining room. The beautiful grounds features a meditation pool. House specialities: Black and white sesame-crusted tuna with mango and lie, star anise-crusted duck breast with crispy polena, peaches and basil, calamari with lime-ginger dipping sauce, and lemongrass crème brulee, Comments: Live jazz on Friday and Saturday nights Book one of their charming casitas and have a romantic vacation with your sweetheart. bumble bee’s baja Grill 301 Jefferson St. 820-2862. Breakfast Daily Lunch/Dinner. Patio and drive-up window. Major credit cards. $$ 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 a 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! caFé Pasqual’s 121 Don Gaspar. 983-9340. Breakfast/Lunch/Dinner/Sunday Brunch

Beer/Wine. Smoke-free. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: The café is adorned with lots of Mexican streamers, Indian maiden posters, and rustic wooden furniture. House specialties: Hot cakes get a nod from Gourmet magazine. Huevos motuleños, a Yucatán breakfast, is one you’ll never forget. For lunch, try the grilled chicken breast sandwich with Manchego cheese. Comments: Always a line outside. caFé san estevan 428 Agua Fria at Montezuma St. 995-1996. Breakfast/Lunch/Dinner Beer/wine. Smoke-free. Patio. Major credit cards. $$ 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. clO l ud cliFF bakery & artsPace P Pace 1805 Second St. 983-6254. Breakfast/Lunch/Brunch/Bakery Beer/wine. Smoke-free. Patio. Major credit cards. $ Cuisine: American meets the Southwest. Atmosphere: Open room with long bar facing an open grill, a community table, and a bakery with heady aromas. House specialties: R Roasted vegetable goat cheese sandwich; blue corn chile rellenos; soups; salads; and stuffed croissants. For Sunday brunch, try the smoked salmon sandwich. Comments: W Watchwords at Cloud Cliff are “Art, Politics, and Community.” the cOmPOund 653 Canyon Road. 982-4353. Lunch/Dinner Full bar. Smoke-free. Patio. Major credit cards. $$$ Cuisine: A Contemporary American Atmosphere; Serene, 150-year-old adobe with pale, polished plaster and white table linens. House specialties: Jumbo crab and lobster salad. The chicken schnitzel is flawless. Recommendations: The Bellini or prickly Pear Margarita served at the square bar are yummy. Comments: Chef/owner Mark Kiffin didn’t win the James Beard Foundation’s “Best Chef of the Southwest” award for goofing off in the kitchen. cOPa OP de OrO r Agora Center at Eldorado. 466-8668. Dinner Full bar. Smoke-free. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: Bright right colors are inviting. House specialties: Duck carnitas tostadas; guacamole with S jicama and E tortilla and freshly made corn chips andG the AN H BIGareCtasty cactus soup starters. t. dinner, sFor 1 er marinated ctob try the Margarita strip steak of O as lime pt in ncegrilled lemon and juice ,and tequila, o C & s r u o to order or the San Carlos u, Hmesquite Menover fisherman’s stew brimming with fish, shrimp, and mussels in a fire-roasted tomato and cactus broth. Comments: Written up in Gourmet magazine.

cOunter culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Wine/Beer. Smoke-free. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Breakfast: burritos and frittata. Lunch: sandwiches and salads. Dinner: flash-fried calamari; grilled salmon with leek and pernod cream sauce; and a delicious hanger steak. Comments: Boutique wine list . cOw OwG wGirl hall OF Fame 319 S. Guadalupe St. 982-2565 Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio Major credit cards. $ Cuisine: All American. Atmosphere: Popular P patio shaded with big cottonwoods. Cozy bar. House specialties: Very V “Atkins-friendly.” The smoked brisket and ribs are fantastic. Dynamite buffalo burgers; potato salad (with skins); a knockout Texas onion loaf; and strawberry shortcake. Comments: Beers, beers, and more beers—from Bud to the fancy stuff. s cOy OyO yOte caFé 132 W. Water St. 983-1615. Dinner Dinner Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: Southwestern. Atmosphere: A bright, contemporary space. Saddle up a barstool covered in real cowhide. House specialties: Brazilian daiquiri or Chile-tini to go with Coyote’s famous red chile onion rings. Do not deny yourself—get the chipotle shrimp on buttermilk corn cakes for an appetizer. Entrée of choice is the 22-ounce, bone-in, aged prime-rib cowboy steak—hefty enough to satisfy most armchair buckaroos. Comments: A restaurant r legend. dave’s nOt here 1115 Hickox St. 983-7060. Lunch/Dinner Beer/wine. Smoke-free. Cash. $ Cuisine: American with New Mexican flavor. Atmosphere: One simple room with open kitchen. Friendly. Shared tables. House specialties: Thick chile cheeseburgers with french fries and knockout knockout housemade chile rellenos have kept the Santa Feans coming back for years. Large portions and low prices. Comments: Knockout burgers. dOwnt O O Own 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 A easy as it gets. el FarO arOl 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; T 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. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly: Spanish guitar, jazz, and even aa wild Tango night. House specialties: Tapas T reign supreme, with classics like Manchego cheese marinated in extra virgin olive oil; sautéed spinach with garlic and golden raisins; and flash-fried baby calamari with two sauces. The grilled 14-ounce rib eye steak with chimichurri is outstanding. Paellas are worth the 30minute wait. Comments: Chef/owner David Huertas has brought authentic Spanish cuisine to the high desert of New Mexico. GerO er nimO 724 Canyon Rd. 982-1500. Dinner Full bar. Smoke-free dining room. Patio. Major credit cards. $$$$ Cuisine: Contemporary American/ Southwestern Atmosphere: Two-hundredT year-old building with fireplaces, a portal, and a garden room. House specialties: Eric DiStefano masters a complex union of herbs, spices, and fresh ingredients in creating his awe-inspiring meals. Entrées include the seared “Sea Salad” —butter roasted sea bass w/ brined English cucumbers, mesquite grilled Colorado lamb chops, and the peppery elk tenderloin. Other recommendations: A dinner, choose from three of the At Chef’s Tasting Menus—paired with wines for each course. Comments: The wait service is professional and the desserts are totally extravagant. 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: Extremely reasonable prices. jinja 510 North Guadalupe St. 982-4321. Lunch/Dinner Full Bar. Smoke-free. Major credit cards. $ Cuisine: Pan-Asian. P Atmosphere: Rich, R deep colors, dark wood booths, a stunning bar, and a Gauguin-like painting in the dining room deliver romance and nostalgia. House specialties: If you remember Trader Vic’s, the drinks at the too- much-fun Jinja Bar will blow you away. It reads like something out of the 1950s: Mai-Tai, Singapore Sling, Zombie, Kava Bowl, and Volcano drinks. Comments: Great savory soups and wok bowls. continued on page 29




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TR ATTORIA NOSTR ANI Offering Seasonal Northern Italian Cuisine and a Comprehensive European Wine List

Santa Fe’s Sole Recipient Gourmet Magazine’s Top 50 Restaurants NEW AUTUMN MENU 3o4 Johnson Street in Downtown Santa Fe Monday - Saturday 5:3o - 1o pm Reservations 983.38oo or Ample Parking Available


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. Atmosphere: 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.

From the Miso Soup to the Sushi to the Tempura Ice Cream, we love

Kohnami 313 South Guadalupe Street. 984-2002 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 V 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.

lOs mayas 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 every Saturday.

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.

maria’s new mexican kitchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $ R 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.

la boca 72 W. Marcy St. 982-3433. Lunch/Dinner Wine/beer. Smoke-free. Major credit cards. $$$$ Cuisine: Spanish/Mediterranean. Atmosphere: Small, busy taverna. House specialties: Over O twenty-five tapas to choose from. The grilled eggplant with Manchego cheese, saffron honey, and capers is a marvel of taste and textures. Comments: Go for the tapas and take along some eating buddies so you can sample many different ones. Mentioned recently in the New York Times travel section. la mancha restaurant & bar at The Galisteo Inn, Galisteo. 466-3663 Dinner/Sunday Brunch Full bar. Smoke-free. Patio. P Major credit cards. $$$ 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. lamy statiOn caFé Lamy Train Station. Lamy. 466-1904 Breakfast/ Lunch Major credit cards. $$ Cuisine: American. Atmosphere: 1950’s dining car. House specialties: Fantastic green chile stew; crab cakes with jasmine rice, omlettes, and salads. Comments: It can be a long wait for your food, but it is well worth it. le mOyne O ’s landinG 402 N. Guadalupe. 820-2268 Lunch and dinner Beer/wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: Cajun/Creole. Atmosphere: Casual. Specialties: Duck and addouille and turtle and porcini gumbo and the blackened shrimp atop coconut and black pepper grits.


mu du nOOdles 1494 Cerrillos Rd. 983-1411. Dinner Beer/wine. Smoke-free. Major credit cards. $$ Cuisine: Noodle House Atmosphere: Casual and friendly. House specialties: Try the salmon dumplings—steamed and drizzled with oyster sauce; the Pad Thai; or the Malaysian Laksa— wild rice noodles in a red coconut curry sauce with baby bok choy. Comments: Daily specials are excellent. museum hill caFé 710 Camino Lejo–Museum Hill. 820-1776. Lunch/Sunday Brunch Major credit cards. $$ Cuisine: American. Atmosphere: CafeteriaMuseum/Cafe-style. House specialties: A wonderful and hearty soup selection, righteous salads, and sandwiches. We also liked the chicken enchiladas. Comments: Healthy, fresh food. O’k keeFFe caFe 217 Johnson St. 946-1065. Lunch/Dinner Beer/wine. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwest with a French flair. Atmosphere: The walls are dressed with photos of Ms. O’Keeffe herself. House specialties: A silky smooth foie gras served with orange muscat is an inviting appetizer. For your main, try the Northern New Mexico organic poquitero rack of lamb with black olive tapenade. Comments: Nice wine selection. Osteria d’assisi 58 S. Federal Place. 986-5858. Lunch/Dinner Beer/Wine. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: 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 micro-brewery 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 P 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. Comments: Very V professional service. Pd bean

2411 Cerrillos Rd. 473-9092. Breakfast/Lunch Smoke-free $ Cuisine: American. Atmosphere: Coffeehouse 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 W Texas chili and a fantastic cafe latte. Wi-fi in the cafe and take-out is available. railyard restaurant & salOO alOOn 530 S. Guadalupe St. 989-3300. Lunch: Monday-Saturday Dinner daily Bar Menu daily Smoke-free. Major credit cards. $$ Cuisine: American Classics Revisited. Atmosphere: Open, spacious, and bustling. House specialties: Appetizers include southern fried buttermilk chicken strips with Creole remoulade dipping sauce, and BLT salad. The steaks and chops grab your attention with choices of compound butters that melt on top of the meat. Try the rib-eye with blue cheese and port butter or the blackened pecan-crusted ruby trout. Other recommendations: Catfish Po’Boy at lunch and the lemon meringue pie. Comments: Generous pour at the bar. riO chama steakhOuse 414 Old Santa Fe Trail. 955-0765. Sunday Brunch/Lunch/Dinner/Bar menu. Full Bar. Smoke-free dining rooms. Major credit cards. $$$ 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. Comments: Dessert, Try 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 patio.House specialties: Black Mediterranean mussels in aromatic chipotle and mint broth; ahi tuna tartare; squash blossom tempura; pistachio crusted Alaskan

san miquel restaurante 802 Canyon Rd. 989-1949. Breakfast/Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$$ Cuisine: New Mexican. Atmosphere: Casual. House specialties: For starters, the Guacamole Fresco prepared tableside is a winner, as is the shrimp cocktail. For your main course, try the chicken breast smothered in mole, the chili rellenos, or the Tacos de Carnitas. Comments: Attentive A service and a fun patio. Sit, drink, eat, and watch the tourists on Canyon Road. Breakfast served to 5 pm. santacaFé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$$ 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 the bar at cocktail hour is a lot of fun. saveur 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. Comments: Fast and easy. secOnd street brewery 1814 Second Street. 982-3030. Lunch/Dinner Beer/wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and very friendly. House specialties: The beers brewed on the premise are outstanding, especially when paired with beer-steamed mussels; beer-battered calamari; burgers; perfect fish and chips; spicey green chile stew or the truly great grilled bratwurst. Comments: A kid-friendly place. the shed 1131/2 E. Palace Ave. 982-9030. Lunch/Dinner Lunch/Dinner Beer/wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: The Shed—a local institution; some say a local habit)—is housed in a seventeenthcentury adobe hacienda just a heartbeat from the Plaza. House specialties: Stacked red or green chile cheese enchiladas with blue corn tortillas are the real deal. The posole is a knockout! Comments: Avoid A long lines, go to sister restaurant, La Choza, for the same classic New Mexican food. shOhkO hk caFé hkO 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 sushi chefs.

s teaksmith at e l G anchO Old Las Vegas Highway. 988-3333. Dinner Full bar. Smoke-free dining room. Major credit cards $$ Cuisine: American. Atmosphere: Family restaurant with full bar and lounge. House specialties: Aged steaks and lobster. Great pepper steak with Dijon cream sauce. Comments: They sure know steak here. t he t eahOuse 821 Canyon Rd. 992-0972. Breakfast/Light Fare to 7 p.m. Patio. Major credit cards. $ Cuisine: Contemporary with a French flair. Atmosphere: Casual cafe. House specialties: Lovely salads and an absolutely amazing selection of teas by the cup or in bulk. Comments: A bit of old Europe on Canyon Road. t ia s OPhia ’ s 210 W. San Francisco St. 983-9880. Breakfast/Lunch No alcohol. Smoking/non-smoking. Major credit cards. $ Cuisine: New Mexican. Atmosphere: The “real deal.” Old wooden booths or tables. House specialties: Green chile stew (known to cure the common cold). Enormous breakfast burritos stuffed with bacon, potatoes, chile, and cheese. Comments: Famous for their world-class margaritas. Only authentic Northern New Mexican food here. t rattOria n Ostrani 304 Johnson Street. 983-3800. Dinner Wine/Beer. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Northern Italian. Atmosphere: A renovated 1857 adobe with a great bar. House specialties: To T 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 potatoe. Comments: The kitchen is as good as they come. Wonderful selection of wines. The bar has been raised for Italian food in Santa Fe. t ree h Ouse c aFé & P astry s hOP at Plants of the Southwest 3095 Agua Fria St. 474-5543. Breakfast and lunch Closed Monday Smoke-free. Garden tables Major credit cards. $$ Cuisine: Using only organic ingredients. Atmosphere: Light, bright, and cozy. House Specialties: Ultra-fresh Farmer’s Market salad; soup and sandwich of the day; quiche, tart, and the wonderful vegetable quesadilla. Recommendations: We W suggest the delicious tortilla soup—crunchy, warm and cozy; the mile-high quiche has a flaky whole wheat crust. The cakes, cupcakes, brownies, scones, muffins—actually all of the baked goods just can’t be beat. Comments: Written up in the current Gourmet magazine. Great wait staff. v anessie OF s anta F e 434 W. San Francisco St. 982-9966. Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American. Atmosphere: Grand 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, and any daily specials. w hOle b Ody c aFe 333 Cordova Rd. 986-0362. Breakfast/Lunch Major credit cards. $ Cuisine: Mostly organic. Atmosphere: Cafe casual. House specialties: Tasty T breakfast burritos, seasonal fruit plates, smoothies, juices, coffees, and teas to start your day. Raw food, sandwiches, and salads at lunch. Z ia d iner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: As American as apple pie. Atmosphere: Down home and casual. House specialties: Meat loaf served with real mashed potatoes and gravy; a variety of of hamburgers; and a totally smashing, perfect chicken-fried chicken. Comments: Comfort food. For dessert, you must try the hot-fudge sundae with bittersweet fudge sauce.



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tHE SHAkE t k rA r to in itA t ly for A vACA v tion And fEEling jEt-lA l ggEd? forgEt tHE t CAppuCCino AftE ft r tHE ftE t noon Hour. WHy? BECAuSE in itA t ly milk iS tH t ougHt to BE A BrEAkfAS kf t food And only touriStS kfAS t ordEr milk AftE tS ft r noon. inStEA ftE t d, go for tHE tEA t mArvE rv louS BlEndEd drink tHA rvE t t iS tHE t CHoiCE of loCAlS— t tHE v ry rEfrESHing vE ing

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Costeñita Carlos Estrada-Vega Wax, oil, lime, oleopasto, & pigments on wood, 47” x 47”

R A I LYA R D D I S T R I C T 540 SOUT H G U A D A L U P E ST R E E T S A N TA FE, NM 87501 505 .820 .3300 WW W. W I L L I A M S I E G A L . C O M I N F O@WILLIAMSIEGAL.COM


october October

FRIDAY, OCTOBER 5 adieb khadOure Fine art, 610 Canyon Rd., Santa Fe. 820-2666. New Vistas: landscape paintings by Steven Boone. Grand Re-Opening of the Gallery. 5-8 pm. art is… Ok k & cOmPany P Pany , 3301 Menaul NE, Alb. 505-883-7368. Mystic Earth: mixed-media work by John Boomer. 6-9 pm. bOx Gallery, 1611-A Paseo de Peralta,

Santa Fe. 989-4897. Kali Dreams: paintings by Valerie Nielsen. Working Patterns: works by Michael Freitas Wood. 5-7 pm. darnell Fine art, 640 Canyon Rd., Santa Fe. 984-0804. Interconnected: paintings by Rachel Darnell. 5-7 pm. delOney newkirk Fine art, 634 Canyon Rd., Santa Fe. 992-2882. A Romantic Ideal: figurative paintings by JuLee Simmons. 5-7 pm. delOney newkirk Fine art, 669 Canyon Rd., Santa Fe. 992-2882. Peace and Serenity: figurative paintings by Dan Schultz. 5-7 pm.

Alb. 505-268-0044. Solo Exhibition: assemblage by Marilyn Stablein. 57:30 pm. karan ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-0807. Surface Matters: works by two painters and two sculptors. 5-7 pm. klaudia marr Gallery, 668 Canyon Rd., Santa Fe. 988-2100. 14th Annual Realism Invitational: more than fifty artists. 5-7 pm. lewallen cOntemPOrary, 129 W. Palace Ave., Santa Fe. 988-8997. Paradox: paintings by Margaret Fitzgerald and Keith Johnston. Memory Gardens: paintings by Michael Roque Collins. 5:30-7:30 pm.





matrix Fine art, 3812 Central Ave. SE, Suite 100-B, Alb. 505-268-8952. Masquerade: Venetian masks by Judith Rauchfuss. Paintings by Maximilliano Pruneda. 5-8:30 pm. mill atelier Gallery, 530 Canyon Rd., Santa Fe. 898-9213. Celebrating the Fruits of Creativity: showcase of work by art students. 5-7 pm. new GrOunds Print wOrkshOP & Gallery, 3812 Central Ave. SE, Suite 100-B, Alb. 505-268-8952. Seasons: monotypes by Gerald Fitz-Gerald. 5-8:30 pm.


PiPPin meikle Fine art, 236 Delgado St., Santa Fe. 992-0400. Solo Exhibition: paintings by Aleta Pippin. 5-7 pm.

Vertigo: paintings by Cheryl Dietz. 6-9 pm.

rb ravens Gallery, 221 Paseo del Pueblo Norte, Taos. 505-758-1446. Collages & Bones: paintings by Robert Dean Stockwell. 5-7 pm.


sumner & dene, 517 Central NW, Alb. 505-842-1400. One-Person Show: Patti P Fox. Gardens of New Mexico: works by fourteen artists. 5-9 pm.

santa Fe cOmmunity cOlleGe, visual arts Gallery, rOOm 701, 6401 richards ave., santa Fe. 4281501. Curious Gravity: A Dialogue of Marks and Form: Munson Hunt and Stacey Neff. Curated by Larry Fodor. 5-7 pm.

the teahOuse, 821 Canyon Rd., Santa Fe, 992-0972. Landscapes and Portraits of Asia and Beyond: work w by Alma Dankoff. 4-7 pm.


nv art creatiOns, 118 Old Santa Fe Trail, Santa Fe. 820-0998. Functional Art Designs: reverse painting on glass, sconces, and floor lamps. 5-7 pm.

turner carrO arrOll Gallery, 725 Canyon Rd., Santa Fe. 986-9800. Soliloquies: paintings by Igor Melnikov. 5-7:30 pm.

manitOu Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Opening Reception: landscapes by Robert Striffolino. Sculpture by Liz Wolf. 57:30 pm.

art is...Ok k & cOmPany P Pany Gallery & sculPture PlaZa, 3301 Menaul NE, Suite 28, Alb. 505-883-7386. High Hopes, Low Tide: oil/photo collages by Christine Wentz. 6-9 pm.

Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-1879. Lost & Found 2: Missing in Plain Sight: group show, curated by Kathryn M Davis. 5-7 pm.

wOrks On PaPer er Gallery, 229-A Johnson St., Santa Fe. 989-1189. LINES SHAPES SHADOWS: works by Louise Brunewald. 5:30-7:30 pm.

mariPOsa sa Gallery, 3500 Central Ave. SE, Alb. Group Show: mixedmedia work by Jaci Fischer, pastels by Fred Yost, and jewelry by Erin Dengler. 5-8 pm.

Patricia carlisle Fine art, 554 Canyon Rd., Santa Fe. 820-0596. Elements of Design: sculptural and functional forms by Derek Hopp. 5-7 pm.

c Gallery, 708 Canyon Rd., Santa Fe. 986-1221. undercurrents: encaustic paintings by Gay Patterson. Light Sculptures: handcrafted lighting by Catellani & Smith 5-7 pm.

SATuRDAY, OCTOBER 6 [ac]2 G allery , 301 Mountain Rd. NE, Alb. 505-842-8016.

Farrell FischOFF Gallery, Suite # 29, 1807 Second St., Santa Fe. 995-0620. Emergence: The Becoming Visible: works by Fionna Buck. 5-8 pm.

c harlOtte j acksOn F ine a rt , 200 W. Marcy St., Suite 101, Santa Fe. 989-8688. Solo Exhibition: reductivist works by Winston Roeth. 5-7 pm. d elOney n ewkirk F ine a rt , 669 Canyon Rd., Santa Fe. 992-2882. New Sculpture: work by Frank Morbillo. 5-7 pm.

the Gallery at webster enterPrises, 54 ½ Lincoln Ave. Upstairs. Santa Fe. 660-0771. 100 Works of Art: by husband and wife Gregory Hoel and Kitty Miller. 5-7:30 pm.

F ire d raGOn c OlOr , 2754 Agua Fria St. #2, Santa Fe. Art x Architects: art, graphics, and video by practitioners in the field of architecture. 5-7 pm.

Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Four & Twenty Photographs: photographs by Craig Varjabedian. Empire: works by Bale Creek Allen. Making Landfall: prints by Landfall Press. The Presence in Absence: paintings by Carol Anthony. Solo Exhibition: ceramics by Kellogg Johnson. 5-7 pm.

GOldleaF G allery, 627 W. Alameda, Santa Fe. 988-5005. Retreat: group show, with special guest artist Mark Spencer. 5:30-7:30 pm. i nstitute OF a merican i ndian a rts m useum , 108 Cathedral Pl., Santa Fe. 983-8900. The Disappeared: multi-venue exhibition concerning individuals who have vanished in South and Central America. War Paint: military experience of Native veterans. Lockhart River Art Gang:

hunter kirkland cOntemPOrary, 200-B Canyon Rd., Santa Fe. 9842111. Evolving Structure: oil and pastel paintings by Rick Stevens. 5-7 pm. inPOst artsPace P Pace at OutPOst PerFOrmance sPace P , 210 Yale SE,

Australian aboriginal art. 5-7 pm. New Work, a series of paintings by Igor Melnikov, explores the notion of the “individual man in the loneliness of life.” The exhibition will be on view at Turner Carroll Gallery, 725 Canyon Road, through October 23. Opening reception on Friday, October 5, from 5 to 7:30 pm. c o n t i n u e d o n p a g e 3 6




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WHO SAID THIS? “The whole world, as we experience it visually, comes to us through the mystic realm of color.” 1. RICHARD ARTSCHWAGER 2. HANS HOFFMANN 3. FRANCIS PICABIA 4. OSCAR BLUEMNER

THE DEAL: $500 full-page ads in the November issue for artists without gallery representation in New Mexico. Deadline: Oct. 15. 505-424-7641

OUT & ABOUT Photo: Clix and Jennifer Esperanza


jane sauer Gallery, 652 Canyon Rd., Santa Fe. 995-5813. Solo Exhibition: sculptural fabric vessels by Kay Khan. 5-7 pm. jOnsOn Gallery, University of New Mexico, 1909 Las Lomas NE, Alb. 505-277-4967. Mass: paintings by Alan Paine Radebaugh. 5-7 pm. nüart Gallery, 670 Canyon Rd., Santa Fe. 988-3888. Existo: paintings by Rob Douglas. 5-7 pm. site santa Fe, 1606 Paseo de Peralta, Santa Fe. 989-1199. Los Desaparecidos/ The Disappeared: traveling, multivenue exhibition on the theme of individuals who disappeared under repressive political regimes in Latin America. 5-7 pm. Zane bennett Gallery, 826 Canyon Rd., Santa Fe. 982-8111. Dis-tension: sculptures by Dunham Aurelius. AfroGothic: paintings from the eighties by Paul Shapiro. 5-7 pm.

SATuRDAY, OCTOBER 13 cOleman Gallery, 4115 Silver SE, Alb. 505-232-0224. Hidden Pictures: group show. 4-6 pm. c OntemPOrary t Oday F ine a rt , 62 St. Francis Plaza, Ranchos de Taos. 832-247-8736. Monthly Open House: works by William Panzer. 6-8 pm.

dwiGht hackett PrOjects, 2879 All Trades Rd., Santa Fe. 474-4043. Birds: group show. 3-5 pm.

Gallery katZenellenbOGen, 308-310 Main St., Truth or Consequences. 505977-3734. Time Fades Away: Altars, Shrines, and Graves: group show. 1-3 pm and 6-9 pm. landFall F Press Gallery, 1589 San Mateo Lane, Santa Fe. 982-6625. Solo Exhibition: works by James Holmes. 3-5 pm. POP Gallery santa Fe, 133 W. Water St., Santa Fe. 820-0788. Double-Dare You: group exhibit. 5-7 pm Encaustic paitings—undercurrents—by Gay Patterson on view at C Gallery, 208 Canyon Road.Reception: Friday, October 12, from 5 to 7 pm.

FRIDAY, OCTOBER 19 artistas de santa Fe Gallery, 228-B Old Santa Fe Trail, Santa Fe. 438-3775. Fear No Color: abstract panels by Sandra Duran Wilson. 5-7 pm. artsPace P 116, 116 Central Ave. SW, Suite 201, Alb. 505-245-4200. Dirt & Photosynthesis: work w by JB Bryan. 5-8 pm. dean hOwell studiOs, 805 Early St., Bldg. B, Santa Fe. 466-2838. Dean Howell Primal: show of works by Howell. 5-8 pm. hahn rOss Gallery, 409 Canyon Rd., Santa Fe. 984-8434. As the Seasons Pass: work by Lynne Loshbaugh. 5-7:30 pm.


art center, 1114 7th St. NW, Alb. 505-242-6367. Balancing Act: paintings by Sharon Schwartzmann. 5-8:30 pm james kelly cOntemPOrary, 1601 Paseo de Peralta, Santa Fe. 989-1601. Oli Shivonen: Paintings:geometricabstractions by the late modernist. 5-7 pm. linda durham cOntemPOrary art, 1101 Paseo de Peralta, Santa Fe. 4666600. I Stole Stealth (Coyote Taught Me): work by Erika Wanenmacher. 5-7 pm. manitOu Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Oil Paintings: landscapes by Jurgen Wilms. 5-7:30 pm. maxwell studiOs, 815 Early St. Plaza, Santa Fe. 920-0415. Open Studio: knitted and woven garments by Katherine Maxwell. 3-7 pm. new cOncePtt Gallery, 610 Canyon Rd., Santa Fe. Grand Opening Reception: galley artist. 5-7 pm. santa Fe clay, 1615 Paseo de Peralta, Santa Fe. 984-1122. For the Table: back by popular demand. Collaborative Vessels: work by JeanPierre Larocque, Tony Marsh and SunKoo Yuh. 5-7 pm. underGrOund Gallery OF cOntemPOrary art, 100 W. Marcy St., Santa Fe. Solo Show: paintings by Melissa Melero. 5-8:30 pm.

New paintings on plywood and sculptural works—The Space in Between—by Munson Hunt will be on view at Galleri Urbane, 212 San Antonio Street, Marfa, Texas, on October 5, 6, and 7, during Chinati Open House Weekend.

ursa, 550 S. Guadalupe, Santa Fe. 983-5444. 35 degrees 41’ 01” N~105 degrees 56’ 49” W: installations and photography by Stuart Allen. 5-7 pm.

FRIDAY, OCTOBER 26 anahita internatiOnal nal PhOtOGraPhy, 616-B Canyon Rd., Santa Fe. 2317216. Jean-Pascal Imsand: exhibition of Swiss photographer’s work. 5-7 pm.

the artist PrO rOject Oject, independent artist exhibition and sale, seeks artists for second annual show in Chicago opening Apr. 24, 2008, concurrent with Art Chicago. Deadline: Nov. 22. Application:

d elOney n ewkirk F ine a rt, 669 Canyon Rd., Santa Fe. 992-2882. East Meets West: impasto landscapes by Wen Ze Chen. 5-7 pm.

artists wanted: Fifty artists between the ages of 19-29. $50 stipend. The MIND Institute, UNM. Queries:

v entana Fine art , 400 Canyon Rd., Santa Fe. 983-8815. Solo Exhibition: show honoring Albert Handell. 5-7 pm.

call FOr artists: City of Santa Fe Arts Commission seeks to commission an artist or team of artists to design, fabricate, and install a site-specific artwork for the main exterior of the South Side Library. Budget: $45,000. Deadline Oct. 1 Contact 505-9556707 oR RFP at

Gebert c OntemPOrary at the r ailyard, 544 S. Guadalupe, Santa Fe. 992-1100. Xavier Mascaro: monumental sculpture, paintings, and drawings. 5-7 pm. matrix F ine a rt, 3812 Central Ave. SE, Suite 100-A, Alb. 505268-8952. Turning Point: painting by Susan Reid and glass by Suzanne B. Stern. 5-8:30 pm. v erve F ine a rt, 219 E. Marcy St., Santa Fe. 982-5009. Three-Person Show: work by Jeffrey Becom, Brigitte Carnochan, and Huntington Witherill. 5-7 pm.

call FOr artists: documentarian seeks historic artwork on the Pueblo Revolt, Spanish conquistadores and colonists, including portraits. 9821334 or call FOr artists: Santa Fe Art Institute seeks local artists for workshops. Johanna Kohout: 4245050 or call FOr entries: 20th Annual Willard Van Dyke Grant for emerging New Mexico photographers. Deadline: Nov. 17. Details:

CALL FOR SuBMISSIONS accePtinG submissiOns of works by early Modernists and Western artists for Santa Fe Art Auction. Event to be held Saturday, Nov. 10.

juried exhibitiOn: Indian Pueblo Cultural Center, 2401 12th St., Alb. 505-724-3539. Where’s My Jet Pack? Exhibition about the future, open to all enrolled or cultural members, aged 14 and over, of Native communities.

continued on page 38

36 | THE



Becki Banet Lucas @ Ghost Ranch • Abiquiu • October 6–7 •10 am – 5 pm

Bloodlines.....a site-specific installation at the base of the breathtaking red rock cliffs of Georgia O’Keeffe’s back yard. Banet-Lucas uses her alchemical copper textile expression to trace the lineage that literally connects humans with the earth. Be There, It Matters! Details: 505.983.1143

Juried Online Exhibition: Upstream People Gallery, 5607 Howard St., Omaha, NE. Apply by Oct. 8. www. Santa Fe Art World: accepting artist submissions in all mediums. Info: 505913-0372 or

Special Interest 14th Annual Abiquiú Studio Tour, along Hwy. 84 in Abiquiú. Seventythree artists exhibiting their work. Oct. 6-7, 10-5 pm. Details: 505-6854454 or 685-4024. Art in the Park Event, Cathedral Park, Santa Fe 424-1878. Sept. 29-30, Oct. 6-7, 10-5 pm. Art Show and Sale, 37 Cuesta Rd., Santa Fe. 466-8303. Paintings by Stephen Poling and Ramona Mitchell. Oct. 20-21. 11-5 pm. Center for Contemporary Arts Cinematheque, 1050 Old Pecos Trail,

Chromed, Customized: inspired by the lowrider aesthetic. Through Oct. 21. Center for Contemporary Arts, 1050 Old Pecos Trail, Santa Fe. 982-1338. Vox Performa: Regie Cabico and Jimmy Santiago Baca read poetry on Thursday, Oct. 11, 7 pm. Writing Workshop for Youth with Jimmy Santiago Baca, Thursday, Oct. 11, 4:30–6 pm. Theatrical Slam-etry Telling for Youth with Regie Cabico, Wednesday, Oct. 10, 4:30–6:30 pm. Call for details. C ollege of S anta F e F orum , 1600 St. Michael’s Dr., Santa Fe. 4736282. Tony Lagouranis: Lessons from Abu Ghraib: free lecture. Thursday, Oct. 4, 7 pm. Steps Toward Peace in Iraq: free lecture by Juan Cole. Friday, Oct. 26, 7 pm. C ornerstones C ommunity P artnerships , celebrating twentyone years of service at the chapel of La Sagrada Familia, at the base of Black Mesa between the pueblos of Santa Clara and San Ildefonso. Saturday, Oct. 6. 505-438-3835. C orrales B osque G allery , 4685 Corrales Rd., Corrales. 505898-7203. A Room with a View:

Santa Fe. 982-1338. Dialog 360: Sabra Moore & Leland Chapin on Making Community. Oct. 11, 6 pm.

celebrating gallery’s thirteenth anniversary. Through Nov. 6.

Center for Contemporary Arts Warehouse Gallery, 1050 Old Pecos Trail, Santa Fe. 982-1338. Chopped,

D ean H owell S tudios , 805 Early St., Bldg. B, Santa Fe. 4662838. Fear in Daily life & Art on

Constructed Canvases—an exhibition of new canvases by Joyce Melander-Dayton—will be on view at Aaron Payne Fine Art, 213 East Marcy Street, through October 27.

Wednesday, Oct. 24, 7-9 pm. Call for details. Delgado Street Galleries at Canyon Road, ongoing fourth-Friday exhibitions through October. 216-5328 for dates. 5-7 pm. Design Week, Santa Fe Indian School on Cerrillos Rd., Santa Fe. 9891644. Local and global think tank, exhibition and expo. Oct. 11-17. El Museo Cultural de Santa Fe, 1615B Paseo de Peralta, Santa Fe. 992-0591. Antiquarian Book Fair: Oct 5-6. $10 for two-day pass, $6 for Saturday only. Ex. Ex.: Excerpt Exhibition, new work created outside normal concerns of financial and social acceptability. 805 Early St., Bldg. B, Santa Fe. Oct. 5-16, noon-6 pm. Farrell Fischoff Gallery, Suite 29, 1807 Second St., Santa Fe. 995-0620. Barbara Erdman Works Paper, 1959-

New wood, stone, and marble sculptures by Michael Wilding will be on view at Glenn Green Galleries, 136 Tesuque Village Road, Tesuque. Ongoing.

Present: curated by MaLin WilsonPowell. Through Oct. 1. Galisteo Studio Tour: 20th Annual Tour, Oct. 20-21, 10-5 pm. 466-2118 or Georgia O’Keeffe Museum, 217 Johnson St., Santa Fe. 946-1000. Georgia O’Keeffe and the Women of the Stieglitz Circle: works by pioneering women modernists. Through Jan. 13, 2008. Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., Santa Fe. 9461017. Teachers’ In-Service Workshops: on the theme of Rudolfo Anaya’s Bless Me Ultima. Venues and dates vary. Jonson Gallery, University of New Mexico, 1909 Las Lomas NE, Alb. 505-277-4967. Artist Talk: Alan Paine Radebaugh. Tuesday, Oct. 23, 5:30 pm. Joyce Robins Gallery, 210 Galisteo St., Santa Fe. 989-8795. A Distant

Land: oil paintings by Brad Aldridge. No reception. Oct. 5-19. Maxwell Museum of Anthropology, 1 University of New Mexico, Alb. 505-277-5963. North by Southwest: Bering Sea Communities, Collaborations, and Collection: 75thanniversary commemorative exhibit. Through May 2008. National Hispanic Cultural Center, 1701 Fourth St. NW, Alb. 505-246-2261. Maya Textile Art: Collections of the Centro de Textiles del Mundo Maya. Runs through Jan. 13, 2008. New Grounds Print Workshop & Gallery, 3812 Central Ave. SE, Suite 100-B, Alb. 505-268-8952. Fall Classes: photogravure, etching, etc. Dates and times into November. New Mexico Museum of Art, 107 W. Palace Ave., Santa Fe. 476-5072. Excavating Egypt: Great Discoveries from the Petrie Museum of Egyptian


collection of the Museum of Modern Art, will speak on Eco-Modernism: The Green Revolution in Furniture Design on Friday, Oct. 12, 4 pm. Danko’s talk will be followed by a Design Week Block Party. wriGht’s indian art, 1100 San Mateo NE, Alb. 505-2660120. Centennial Anniversary: Albuquerque’s oldest trading post. Oct. 13-14, 9-5 pm.

MuSIC & PERFORMING ARTS 4 th a nnual d estinatiOn s ierra c Ounty: regional art and culture fair, Truth or Consequences. Oct. 12-14. Arts & crafts, music, dance, and performance. www. 516 arts, 516 Central Ave. SW, Alb. 505-242-1445. Maratini: a twelvehour improvisation workshop with Ecotone Physical Theatre. Oct. 26, Noon-Midnight.

Zane Bennett Contemporary Art, 826 Canyon Road, presents Dis-tension, featuring bronze sculptures by Dunham Aurelius. Reception on Friday, October 12, from 5 to 7 pm.

Archaeology: Through Jan. 6, 2008. Palette cOntemPOrary art and craFt, 7400 Montgomery NE, Suite 22, Alb. 505-855-7777. One-Person Show: new paintings by Pam Conrad. Through Nov. 1. PecOs arts OrGaniZatiOn, Celebrate Pecos Studio Tour and Business Showcase. Sept. 29-30, 10-5 pm. 6709965 or Primitive




Campus, 83 Avan Nu Po Rd., Santa Fe. …end of WHAT trail?: juried exhibit by over a dozen artists deconstructs a wild west myth. Through Nov. 1. santa Fe art institute, 1600 St. Michael’s Dr., Tipton Hall, Santa Fe. 424-5050. Lecture: Barbara Hammer. Oct 1, 6 pm. Screening: PBS Art: 21’s Protest. Oct. 8, 6 pm. Lecture: Dyanna Taylor. Oct. 15, 6 pm. Reading: Fernando Garavito.


Oct. 22. Poetry: JuNTA: Innovation & the Latino Voice. Oct. 26, 6 pm. tijeras OPen-air arts market, 488 E. Hwy 66, Tijeras. Saturdays and Sundays, 10-5 pm. Through October. Free. university OF new mexicO art museum, UNM Center for the Arts, Alb. 505-277-7312. Honoring Aphra Behn: in celebration of the annual Aphra Behn Society Conference. Works from eighteenth-century Europe. Through Nov. 11. u niversity OF n ew m exicO a rt m useum , UNM Center for the Arts, Alb. 505-277-7312. Concerning the Mystical in Art: paintings by Jesse Reichek. Gallery talk: Oct. 2, 5:30 pm. victOria ria Price art & desiGn, 1512 Pacheco St., Bldg. B, Suite 102, Santa Fe. 982-8632. Lecture: “Green” furniture designer Peter Danko, whose furniture is in the permanent

center FOr cOntemPOrary arts mOvinG imaGe lab, 1050 Old Pecos Trail, Santa Fe. 982-1338. Vox Performa: poetry by Regie Cabico and Jimmy Santiago Baca. Oct. 11, 7 pm.

Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe. 984-8759. Yamato: the drummers of Japan. Oct. 11. Great Performance Series: violinist Chee-Yun with the International Sejong Soloists. Oct. 18. Colorado Symphony Orchestra: performs Mendelssohn and Tchaikovsky. Oct. 22. All at 7:30 pm. university OF new mexicO, Continuing Ed. Auditorium. 928282-0688. Places of Peace & Power: slide show of sacred sites by Martin Gray. Thursday, Oct. 4, 7 pm. $15.

Tech School of Art, 2802 18 th St., Lubbock, TX. 806-742-1947. Y Que? Queer Art Made in Texas: curated by Harmony Hammond. Oct. 5-Nov. 17. l emmOns c OntemPOrary , 11 Harrison St., ground floor, New York, NY. 212-337-0025. Quiescence: encaustic paintings by Raphaelle Geothals. Through Oct. 11. t arFest 2007, 5801 Wilshire Blvd., at the La Brea Tar Pits, Los Angeles. 310-482-3461. Public festival of new art, film, and music on the Miracle Mile. Oct. 4-7.

NATIONAL LISTING chinati F OundatiOn, j udd F OundatiOn, Marfa, TX. Open House 2007. At various venues throughout the town that Donald Judd put on the art map. Oct. 6-7. Galleri u rbane, 212 E. San Antonio St., Marfa, TX. 432-729-4200. The Space in Between: new sculptures and paintings by Munson Hunt. Through Nov. 1. t he

l andmark

G allery, Texas

INTERNATIONAL LISTINGS middelheim museum, Middelheimlaan Antwerp, Belgium. The Dynamite Show: an eight-minute orgy of spectacular explosions by Koen K Theys. Paul McCarthy: Air Borne-Air Pressure. Through Oct. 28. www. santa Fe PhOtOGraPhic wOrkshOPs: Location Photography and Lighting with Joe McNally & Jerry Courvoisier. Milan,

GeOrGia O’keeFFe museum educatiOn annex, 123 Grant Ave., Santa Fe. 946-1017. Yoga and Poetry Workshop: Women’s W Leadership Program. Oct. 2, 7-9 pm. histOric el rey theater, 620-624 Central Ave. SW, Alb. 505-2422353. The Fabulous Thunderbirds: Doors open 6:30, Oct. 7. esPañ P Pañ Ola valley humane sOciety, 108 Hamm Pkwy., Española. 505753-8662. 15th Annual Howl-O-Ween Masquerade: fundraiser ball and live auction. Oct. 27, starts at 5:30 pm. Tickets: 989-8976 or www.

readinGs and discussiOns: with Roxanne Dunbar-Ortiz, author, Roots of Resistance: A History of Land Tenure in New Mexico. Various V sites and dates. Karen Villanueva: 505764-8323 or s anta F e c Oncert a ssOciatiOn ,

An exhibition of work by ten contemporary artists—Landfall Prints: Making Landfall— will open with a reception on Friday, October 12, from 5 to 7 pm at Gerald Peters Gallery, 1011 Paseo de Peralta. Artists include Allen Jones, Sol Lewitt, and Carol Mothner (above image).



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The Disappeared Collaborative Project October 3 to January 20, 2008 for a listing of venues and schedule of events. Seven art institutions in Santa Fe have collaborated to present a variety of exhibitions, lectures, readings, workshops, films, and panel discussions with artists, all commemorating the “disappearances”—that is to say, the tortures, kidnappings, and murders—of people who resisted the repressive military regimes that reigned in parts of Latin America over the last forty years. The central exhibition, touring North and South America for the next three years and organized by Laurel Reuter, chief curator of the North Dakota Museum of Art in Grand Forks, will be hosted by SITE Santa Fe. An elegy to those victims of state terrorism, the show will feature the work of twenty-seven artists from Argentina, Brazil, Chile, Uruguay, Venezuela, Colombia, and Guatemala. Some of these artists will also have solo shows at other venues, including Oscar Munoz at the Center for Contemporary Arts, Fernando Traverso at the College of Santa Fe, Juan Manuel Echavarria at the Santa Fe Art Institute, Antonio Frasconi at the Institute of American Indian Arts Museum, and Luis Gonzalez Palma at the Lannan Foundation. Along with these shows, the Center for Contemporary Arts Cinematheque and the National Hispanic Cultural Center in Albuquerque will present a series of films exploring loss, diasporas, and the repercussions of political oppression for Latin American filmmakers. The Lannan Foundation underwrote the entire tour of the exhibition featured at SITE, and also funded the publication of the outstanding bilingual catalogue that accompanies it.

Antonio Frasconi, The Disappeared, woodcut, 41½” x 29½”, 1988

For the Table October 19 to November 24 Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe. 984-1122 Opening reception: Friday, October 19, 5 to 7 pm. Responding to local popular demand, Santa Fe Clay will once again be hosting the annual national ceramic show that has traveled for the last three years to Baltimore, Portland, and Louisville under the auspices of the National Council on Education for the Ceramic Arts. Titled For the Table, the show will feature individual dinner settings and dining accoutrements, and will represent the work of over one hundred invited participants, all of them virtuoso practitioners of the art of ceramics. The local community has missed seeing this spectacular annual exhibit, and this year the entire gallery space will be converted into a giant dining table, all the better to accommodate the grand display of this imaginatively conceived dinnerware exhibition.

Michael Corney, Placesetting, porcelain, dimensions vary, nd.


Vladimir Kush: Metaphorical Journey October 12 Chalk Farm Gallery, 729 Canyon Road, Santa Fe. 983-7125 Opening reception: Friday, October 12, 6:30 to 8:30 pm. This rich exhibition of contemporary surrealist work will be a permanent installation at the Chalk Farm Gallery, with Vladimir Kush present for the opening reception. The show will include all of the artist’s limited edition giclée prints, as well as original drawings and paintings, and some sculptures. Kush has become world renowned for his intriguing, romantically lush imagery, some of it tinged with humor and whimsy, some of it with mysterious and haunting innuendo. Moving images and live music will be provided for the opening reception.

Vladimir Kush, Measure of Greatness, oil on canvas, 27” x 20”, 2006

Tom Miller, St. Christopher, acrylic on wood, 10” x 15”, 2007

Lost & Found 2: Missing in Plain Sight October 5 to November 18 Patina Gallery, 131 West Palace Avenue, Santa Fe. 986-3432 Opening reception: Friday, October 5, 5 to 7 pm. Patina Gallery presents their second community art exhibition, Lost & Found 2: Missing in Plain Sight, showing the work of ten local artists who collectively reflect the cultural diversity of the Santa Fe community. The show is curated by art historian Kathryn M. Davis, who invited Bob Haozous, Marie Romero-Cash, Meridel Rubenstein, Kim Russo, and May Stevens to participate in this exhibition. Each of these prominent artists was asked to invite a “found” artist to contribute a piece to the show. The works explore themes of identity and visibility in Northern New Mexico: Who are the ones with power here, and who are the anonymous ones who virtually disappear off the radar of an historic tradition that recognizes Anglo, Native American, and Hispanic as its three cultures? Where do such unrecognized people as workers without papers fit into our way of life? How accepted are non-heterosexual lifestyles? Work featured in this show will include sculpture, photography, and painting.


Design Week Santa Fe October 11 to October 17 Visit for a complete listing of venues and schedule of events. Opening event: Fashion show by Argentine designer Carola Bessaso at the Santa Fe Indian School, Thursday, October 11, 7 pm. Design Week Santa Fe began with the premise that though the act of designing aesthetic objects is deeply rooted in the human psyche, today it is clear that there is a limit to how much the earth can tolerate our methods for creating those objects. Event producer Naomi Woodspring writes, “This year’s event celebrates good, conscious design: sustainability is implicit. Beautiful and well-made things are part of our human heritage; not the huge piles of disposable plastic stuff we are currently producing.” The Santa Fe Indian School will host a weekend conference entitled Design Matters that will address the questions of why we want more stuff and who takes responsibility for our consumption and desire. Five keynote speakers and four panels will address the heart of the global design revolution. Other activities during the week include a panel discussion addressing issues of interior design, a furniture competition, and design awards. An exhibition at the Indian School will feature products, including Anasazi pots, Spanish Colonial santos, jewelry, furniture, books, and other examples of graphic design from New Mexico, both traditional and contemporary. Beauty, innovation, and effective solutions to specific problems were all considered in the curatorial decision making process.



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2:04:00 PM

Follow the Fiber Trail!



The Southwest Women’s Fiber Arts Collective connects fiber artists in Silver City and Grant County with opportunities to prosper.

The Common Thread is an elegant gallery located in historic downtown Silver City, featuring the fiber creations of 70 area artists. Info at (575) 538-5733 www.fiberarts







Other fiber art galleries in the area are: • Elemental Arts • Yada Yada Yarn • Yello on Yankie • Thunder Creek Quilt Company • Doc Campbell’s Post

Silver City Grant County Chamber of Commerce

Funded by Silver City Lodgers Tax



TAkING THE HIGH ROAd TO TAOS Between that boring, overrated windbag of a poet Robert Frost, with his romanticized dreck about the road less traveled by, and that embarrassing, family-sing-along classic about some Scottish loser taking the high road, gullible Americans have been convinced that some magical experience awaits out on the winding, two-lane blacktop of poorly maintained rural roads. As if in answer to such an illusion, for a couple weekends every September, something called the High Road Art Tour opens the doors of more than forty art galleries and studios along the backroads between Santa Fe and Taos. I’ve often traveled the route, and I’ve seen the signs— “ART GALLERY 150 FEET” and “CONTEMPORARY ART–OPEN!”—but who would actually stop, right? Just as the most efficient way to drive somewhere fast is to skip the blue highways and hop on one of the increasingly wide Interstate ribbons of speed, anchored by homogenized convenience outlets, isn’t the best place to find good art in a more populous and pre-anointed cultural center? No offense, but what could Truchas have that Santa Fe doesn’t? Are there people out on the fringes who make a living all year round by creating and selling contemporary artwork? Or are they just a bunch of chattering cave dwellers who figured out that hosting open studios was a good cover for their potgrowing operations? THE magazine publisher and editor, Guy Cross, and I had been wondering just that. So, one quiet weekday morning, we loaded up Cross’s car with expensive cameras, tiny notebooks, and other equipment appropriate to proper preparedness for such a voyage, and headed north.


First stop, Cundiyo. Taking some liberty with the heavily touristed route, we side-stepped the bulk of Chimayo and slid into the serpentine farming valley below Nambé Lake. Being two heterosexual males By zane FisCher spending the day together in a Subaru, we were too chickenshit to enter photoGraphs By Guy Cross any studio marked as an official part of the state-sanctioned “Fiber Arts Trail,” which left us only the Frank McGuire Gallery/Studio. As I approached the door, a young woman scurried out and exclaimed that they were closed. Judging from the smooth, predictable, Native American–style sculpture in the yard, we weren’t their target sucker, er, market anyway, and they weren’t our cutting-edge frontiersmen. Still, an anonymous and haunting Mexican-primitive portrait of a man in a hat, hanging exposed in the carport, gave us curious pause: maybe there are treasures to be found. Up the road, in Cordova, past the graffiti-lined concrete wall that depicts a stalactite-riddled cave populated with gorillas and superheroes exclaiming things like, “Our Mayhem,” and “Cordova Pride,” we coasted to a dusty halt in front of the Castillo Gallery, a classic storefront that claims to contain “contemporary fine art.” Inside, artist Paula Castillo has mounted a pristine, arrangement of her steel sculpture and paintings. The building is shrine-like in its stark use of space, and the work within it shivers with clarity. An unofficial residency program of friends and associates has, at the moment, filled the back rooms with work by Daniel Huntsinger: small portraits of furious, non-existent people and painterly, big-brushed fantasies. Okay, we’re impressed, but we’ve barely left town. Let’s see what lies ahead. continued on page 45




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Wandering the Coast • 30” x 30” • Oil on Canvas

Munson Hunt, Fang (Detail), 2001, Wood, graphite, oil, 31 x 66 x 22” Stacey Neff, Seascrit II, 2001, Glass, graphite, mixed media, 52 x 36 x 6”

208-A Ranchitos Road Taos, New Mexico 87571 505.758.9120


Curious Gravity a dialogue of marks and form

Larry Fodor, curator

October 11 to November 15, 2007 Reception for the artists Thursday, October 11, 5 to 7 p.m. Visual Arts Gallery Monday through Friday, 10 a.m. to 5 p.m. (505) 428-1501 • 6401 Richards Ave., Santa Fe, NM 87508 SFCC is an equal opportunity/equal access institution. Produced by SFCC’s Marketing and Public Relations Department. Sept. 2007


Stacey Neff

67" X 38"


HALF LIGHT (Tintern Abbey on the River Wye, Wales)

Munson Hunt



Truchas. Most Santa Feans expect to be run out of this town by ATV-riding borrachos with monkey wrenches, land-grant claims, and #1 buckshot in a 2¾ inch tactical load. Instead we’re greeted by Pierre Delattre, a jovial painter, noted author, and consummate theorist—by turns concise and rambling, but always insightful. I’m not into Delattre’s paintings, but, with a fellowship at the MacDowell Colony, a ten-page spread of his paintings and writings published in utne Reader, and street-cred as a shaggy painter/priest dude from the original San Miguel de Allende scene, if he wants to talk contemporary culture and what it means to get out of Dodge and get freaky with nothing but a cupboard of paint, a ratty armchair, and a view, I’ll shut up and listen. Plus, the dude has been probably pulling in way more than the average annual wage in Santa Fe by selling paintings, and vaguely blasphemous novels, from his roadside studio for the last several years. Despite Delattre’s quality hosting, once we learn he has no Tequila, we move along. Word on the High Road is that, being a poet as well as a painter, Alvaro Cardona-Hine never refuses to water a traveler. In one of those fortunate-unfortunate f scenarios of shifting fate, Alvaro isn’t around. Fortunately, his partner, Barbara McCauley, also an accomplished painter, is. She lets us into the gallery, yet another clean-line cathedral to art—an angular white room that serves as sufficient concert hall for the orchestral interplay between the work of the two painters, both extraordinary colorists. Outside the window, the high mountain summer blazes while inside a family with young children wanders in a kind of haze, following a thin, inky line through what might be a landscape, but might also be a nonrepresentational, minimalist ode to pigment and surface. Unfortunately, noon was barely a glint in my eye and it was too early to beg a drink. Fortunately, Barbara didn’t give a shit. She set us up with a platter of fine glasses and a bottle of smoldering Don Julio añejo. We still had a long day ahead of us and Guy wanted to be a responsible driver, so I took what would have been his third shot for myself. Who’s borracho now, ese?

Along the high RoAd people ARen’t just Acting like ARtists, Winding farther up the road, we sampled simple, contemporary craft in Ojo Sarco, fresh paintings hung against crumbling adobe walls in Vadito (where we also scored fresh chicken eggs), and a discombobulated sprawl of “post-industrial abstraction” at Studio Gallery in Chamisal. Across a couple acres of found-object sculpture, old panel trucks, a parachute-draped geodesic dome, and entire city scenes built atop the moving flatcars of miniature train sets, R.C. Naso and David Cudney have created a kind of trans-dimensional fish bowl of an art experience that squats between folk art, pop culture, and a fucked-up future-past that seemed to be missing only a filthy congress of cyborgs and muppets to Tequila. chatter on about the merits and misses of each work. That was quality Tequila. In the name of sustenance and sobriety, we plopped ourselves onto stools at the counter of the Sugar Nymphs Bistro in Peñasco. The artwork on the walls of the café was enough to make me wonder whether fork, knife, or spoon was the best tool for ripping out my own eyeballs, but the hamburger was like a hot, squirrelly tangle of afternoon sex in my mouth, and the regular schedule of circus acts, fire acrobatics, poetry slams, and shindigs in the adjacent Peñasco Theatre deftly asserted that there is more to life along the High Road than forties, chainsaws, and Netflix. After lunch, we wrapped ourselves in a deep green field on the side of the road and inhaled the crisp, meadowy oomph of life and art on the High Road. Some of the work we’d encountered had been predictably shaky—too free-form and lacking the focus that engagement with a fast and fluid, urban art dialogue can bring to one’s work—but much of it had been remarkably mature, utterly distilled, and more than worth considering alongside any urban anything. More than finding good, cohesive, contemporary work, however, we found a string of outposts where people weren’t just acting like artists, they were living like them, involved in their work and free from distraction. Our theory was borne out on the way home, when we stopped at Rift Gallery in Rinconada. On display was an elegant group exhibition of gallery artists, including articulate and meditative ceramics by Betsey Williams and swift, deliberate drawings executed by Michelle Goodman with sword-stroke perfection. But it was gallery owner and stone sculptor Mark Saxe who drove the point home. He had been teaching a stone carving workshop, but wandered into the gallery to find us inspecting various pieces. He quickly determined that we were from Santa Fe, that we were arts writers, names, even, that he knew. He smiled. He was gracious. But his grin wasn’t for us. It wasn’t for publicity or for what we might write about him. It was for the pile of stone that still awaited him and for the form he would coax from it, driving chips and dust up into the silky, bruised sky along the Rio Grande, far away from anything else and, if he felt like it, on into the night. Maybe there’s something to that road less traveled crap, after all. ▲

they’Re living like ARtists




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WomAn WitH it mirror itH B By


The Denver Art Museum—100 West 14th Avenue Parkway, Denver—is hosting Artisans and Kings: Selected Treasures from the Louvre, an exhibition featuring more than one hundred twenty-five paintings, sculptures, and decorative arts works from the reigns of Louis XIV, XV, and XVI. The show is on view from October 6, 2007 to January 6, 2008, and is presented in association with Louvre Atlanta, a collaboration between the High Museum of Art, Atlanta, and the Musée du Louvre, Paris.




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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


The Andrew Smith Gallery is the leading gallery for classic 19th and 20th Century work of the American West including Ansel Adams, Edward S. Curtis, William Henry Jackson, Timothy O’Sullivan, Laura Gilpin, A. C. Vroman and F. J. Haynes. In addition the Andrew Smith Gallery features the work of Alfred Stieglitz, Edward Weston, Annie Leibovitz, Carleton Watkins, John K. Hillers, Joseph Sudek, Henri Cartier-Bresson, Arnold Newman, Jack Spencer, Paul Caponigro, Joan Myers, David Michael Kennedy, Alan Ross, Jody Forster, Victor Masayesva, Patrick Nagatani and many others.

Lee Friedlander, Albuquerque, NM, 1972 © Lee Friedlander

The Andrew Smith Gallery has been exhibiting Lee Friedlander’s photographs since 1988 with the his next exhibition scheduled for May 2008.

Visit us at both of our locations:

203 W. San Francisco St. Santa Fe, NM 87501 505-984-1234 • Hours: 10-5 Mon.-Sat.

122 Grant Ave. Santa Fe, NM 87501 505-986-3896 • Hours: 10-5 Tue.-Sat.

w w w. A n d r e w S m i t h G a l l e r y. c o m

October 19–November 30 Opening Reception: Fri·October 19 5–8pm (Downtown ArtsCrawl)

artspace116 JB Bryan DIRT & PHOTOSYNTHESIS

116 Central Ave SW, Second Floor Downtown Albuquerque in the Century Theatres Block 505·245·4200 Web preview at image: Nematode Lithosphere Exchange, 2007, ink & Chinese Watercolor, 42" x 64" (diptych)





in the

516 arts 516 central avenue sW, albuquerque

The late Jeremy Blake,

Johanna Domke, Isaac Julien, the late Ana Mendieta, Hiraki Sawa, and Eve Sussman are the video artists represented in the exhibition Ghosts in the Machine, and the work of these individuals is well served indeed by 516 Arts. The two-story gallery is intimate yet spacious, and versatile in its ability to handle multiple projections. I found myself wishing that 516 Arts could remain just a venue for the presentation of video—something this area sorely needs. Each video was given ample breathing room, and, with the exception of the Sawa piece, there were places where the viewer could sit and become fully absorbed in the work without, say, sitting on a cold concrete floor. I’m dwelling on this because how accommodating it is for a viewer to watch video is no minor detail in the mainstreaming of video as an art form; if you cannot get comfortable in the viewing space, paying attention is going to be compromised. However, seeing all the work was like being in a private palace of moving images and muffled sounds in which the viewer’s presence took on its own phantom quality and became part of a mood of mystery, indeterminacy, and uncertainty—all of which made for a compelling experience. The aim of this exhibit was not to bombard the viewer with the latest tweaking of zeroes and ones, but rather to engage a person in the drop zones of more traditional movie-like fare: psychological probing, mania, plot twists, the passage of time, the presentation of spectacle, the blurring of fact and fiction, magical thinking. Perhaps it was because the pieces chosen were relatively low-key and did not rely on the strategies of extreme video, that one felt integrated into the whole experience as opposed to being pushed and pulled around, or taken hostage as part of the spoils of ars electronica. As a result, there was a great deal of personal space for old-fashioned savoring, pondering, and exploring. Blake, a fashionable, thirty-something artist who committed suicide this summer, merged his love of painting and his attraction to paranoid and dysfunctional behavior in the video Winchester. The work takes its name from the Winchester mansion in San Jose, California, which served as the home and the maniacal construction of the rifle heiress Sarah Winchester, who died in 1922. Her guilt over the casualties that resulted from the use of Winchester guns caused her to keep on adding rooms to her house in a labyrinthine need to protect herself from the spirits of the dead—both animal and human—that she felt had come to haunt her. However, Blake’s romancing of the bizarre along with the beautiful caused him to veer from his original intention. There seem to be two videos that conceptually crisscross on the wall. In one there is the desire to mirror Sarah’s obsessive delusions, and in the other there is Blake’s love of animating colors and forms in a lyrical choreography. In the latter, it is as if we are seeing Helen Frankenthaler’s Isaac Julien, True North, video still, 2004 stain paintings on the move but, although stunning, they don’t add to the story of Sarah’s pathology. Blake’s sashays into pure beauty undermine the horror of a rambling, 160-room house that could never provide a sanctuary from the relentless arc of a hallucinated violence. Another effort at re-imagining is Sussman’s 89 Seconds at Alcázar, a sumptuous work that plays historical fact against historical fiction. Sussman attempts to recreate the moment when all the figures in Diego Velázquez’s painting Las Meninas, from 1656, came together in the tableau that Velázquez made as the center of his mysterious and provocative masterpiece. No one will ever know what Velázquez really intended in this ultimately inscrutable work that celebrates the creation of illusion within illusion. The only thing for certain is that a monumental canvas dominates the picture plane, and even the Spanish royal family took a back seat to artistic process. Sussman’s re-visioning of what was both real and imaginary in Las Meninas makes for a doubly brilliant reflection of unsettled hierarchies, intricate maneuverings, and shadowy intrigue. Trail, a magical and poetic black-and-white video by Sawa is a meditation on nostalgia and something else you can’t quite put your finger on—some elusive, whimsical dream whose private pathways are formed by smoke and mirrors. In Trail, animated camels and a few rogue elephants travel around kitchen sinks and across walls, windowsills, and doorframes. Sawa’s investigation into the uses of scale and the indeterminate nature of perception are perfectly matched by the ethereal shades of gray that dominate the ghostly movements of his strange circus. Julien’s video True North is a complex fusion of historical fact and contemporary deconstruction techniques. The artist’s focus is on the figure of Matthew Hensen—an African-American servant to the arctic explorer Robert Peary—as Hensen traverses a landscape of ice and snow. In reality, it was Hensen who first reached the North Pole, but it was Peary who got all the credit. In an interesting turn, Julien cast a beautiful statuesque black woman to play the part of Hensen. But it is only at the end of the video that it becomes clear that the he was a she who journeyed through the desolate terrain of Iceland—impossibly beautiful expanses of whiteness that serve as counterpoint to Julien’s expedition across the great racial divide.

diane armitaG rmita e OCTOBER 2007





botanical 1615 paseo


santa Fe clay peralta, santa Fe

Ceramicist Lindsay Feuer’s porcelain creations straddle the mystifying line where organic life forms

appear as neither plant nor animal but potentially one or the other, or both. Perhaps they reference life at the cellular level, where the distinction between animal and plant life is blurred. They could be gently swaying organisms beneath the currents of a deep sea,wild, weed-like, and delicate, or something viewed under a microscope. A sample of Feuer’s work, and an array of work by many other artists, including some that share her theme of hybridization, are included in Botanical. The show, a group invitational, offers viewers a broad range of ceramic art by more than forty artists. The work of lesser-known ceramicists such as Myung-Jin Kim, whose beautifully adorned jars stir up melancholy feelings reminiscent of the strange sadness of a De Chirico, stands alongside that of well-known artists such as Cynthia Consentino, who recently led one of Santa Fe Clay’s popular workshops. Botany is the biological science that deals with plant life and, rather than merely making the invitational about flora, several artists have f instance, may put you in mind of the upped the ante by making it about how we interact with flora, too. Feuer’s Hybrid “Bi-Flora” No. 9, for kind of organic matter not readily seen by the unaided eye but glimpsed instead through an oceanographer’s camera or a magnifying lens. Jill Allen’s wire and clay Plantos is an experimenter’s concoction that speaks of nature tamed, but to what purpose or end? Consentino, too, creates hybrid forms. Her earthenware sculptures, however, deal with another world entirely—that of fairy and folk tales where hapless children meet gruesome or ambiguous fates. One can easily imagine that a witch’s spell has transformed these little girls into flowers, suddenly, horribly, rooted to the ground, or metamorphosed them into something part human, part rabbit. But the association itself of girls with flowers could also be a reference to the gender roles women are placed into from an early age. Her Wallflowers seem trapped, as though they were thrown at the wall and just stuck there. Artists too numerous to name here have created decorative works along familiar lines, such as plates, jars, and bottles, but their functionality is largely secondary to their aesthetic qualities. Most would be called sculptures and not pots. It is difficult to view Karen Newgard’s Birds and Iris Jar without marveling at the woodcut-like appearance of its imagery, or Myung-Jin Kim’s Birdcage Jar without appreciating its surreal and lonely landscape and spare, though effective, use of color. Ceramics have traditionally been associated with pottery but shows like Botanical help us to see that clay mediums, in the hands of serious artists, are triumphs of form and function, to be appreciated for their beauty as well as for any other potential use.

michael abatemarcO


Lindsay Feuer, Hybrid “Bi-Flora” No.9, porcelain, 2” x 6½” x 7”

art therapy: annapurna sydell

tWo Graces Gallery ranchos plaza, taos

The Presidency of George W. Bush has been a terrible

disappointment for human hopes. The very air seems to resonate with social and economic horror. Iraq lies in smoking ruins. New Orleans exists in an ongoing state of semi-death, a grim tragedy of structural neglect and deprivation. Omissions, obscene distortions, and unvarnished deceptions are engaged in daily by mass media and corporations. In the meantime, the consumer orgy continues, with Americans salivating over the unending promise of a Ten Thousand Year Reich of uninterrupted shopping. It all goes back, of course, to Adam and Eve—a story which shows, among other things, that most men prefer a testosterone-fueled criminal syndicate outside of Eden, to a stable ménage à trois with their mate and pet snake, Satan. Whether it’s the first Man or the forty-third President of the U.S.A., the imagination of the male kingpin seems to falter before the obvious implications of his disastrous intractability. Annapurna Sydell’s new exhibition, at Two Graces Gallery in Taos, is a response to the sheer lack of selfknowledge revealed through the destructiveness of current systems of organized political power. Her work cut-and-paste magazine fragments mounted in altar-like display boxes and decorated with buttons, broken bits of jewelry, faded flowers, pharmaceuticals, and scraps of

lace—is a sparkling, acerbic, and idiosyncratic evocation of domestic hypocrisy, war, and the sheer banality of the obedient life. The sentinel of the Virgin Mary makes an appearance in many of the photo-collages as a kind of imposition of grace amid images of masturbation, food consumption, fetishized female bodies, and “normal” politicians gone crazily awry. Indeed, the theme of feminine grace is developed as a counterweight to the cornucopia of homicidal consumption portrayed in these graphically sensational pieces, registering adult enthusiasms as greed, opportunism, and crime. While generally merciless with politicians and American pieties, Sydell is more gentle and effulgent with the idea of an essential feminine quality, and this theme is broadened in a series of appropriated Madonnas that she tracked down in Juarez, and outfitted as rebukes to political and religious authoritarianism. Being anti-transcendentalist myself (I’d rather put a ruling class in a Supermax prison rather than wait for the Virgin Mary to sort it all out)— one still can’t help but be moved, fervently, by the idea of a gender-balanced world. Fans of slash-and-burn art with a take-no-prisoners credo will not be disappointed.

Annapurna Sydell, untitled, mixed media, 9¼” x 7” x 1½”, 2007

anthOny hassett



toM Waldron: neW W W orks

WilliaM sieGal Gallery 540 south Guadalupe street, santa Fe

Unlike his magisterial and glamorous

cut and welded, sensuous forms of the past, Tom Waldron’s eight new steel sculptures at the William Siegal Gallery are finely tuned, smaller, geometrical objects; architectural fantasies whose imperfect symmetries and less-finessed joinings of planes and angles speak of a handmade quality. Even though these fictitious forms give the viewer plenty of orientation, in some sense they are as malleable as sentences, and you’re still thrown back on yourself to tease out the pleasures of the indefinite meanings. In Stackhouse, a configuration reminiscent of an Art Deco building edifice, Waldron has stylishly played with subtle digressions in sweeping curves and planes that slyly hint at serious purpose. The seriousness is intentionally unconvincing, which is to say, there seems to be a lot of humor circulating around all of these sculptures. In Dropslot, Waldron’s use of planes and articulated space serves as a phrasing of an idea, or a connective tissue, in this case yielding a geometrical puzzle, possibly a model for a vertical pinball machine. As usual, the sculptor has given apt and unusually beguiling titles to his work. They are deft, two-syllable, half-fabricated words, visually descriptive in an oblique sort of way, but they also hint at and essentialize the abstract functions of these made-up forms. Splitrake, a regal, upright spacing of jaunty triangular shapes sliced by an intersecting, curved plane, is a fluent, lyrical abstraction that would translate impressively into an immense architectural edifice. The presence of the traces of soldering insinuates an organic, homemade process, in this case one of manipulating sheet metal in a manner that is consistent with its own inherent and literal properties. Over the years Waldron has always experimented with different approaches in exploring the fundamental properties of sheet metal—the weight of it, for instance, and the gravitational implications. He has conceived of welding as a way to attach and feel the different planes. In this body of work, for instance, Waldron has said that he has taken the opportunity to explore and utilize the strength of the weld—the implications of how much weight and mass might be anchored from a single point. But what does that mean, exactly, from the point of view of the person who is looking at the sculpture? In undertow, it seems that the sways and leans are not defying the law of gravity, but that the metal has simply been constructed in such a way as to allow the steel to relax into space in a way that invites you to view the sculpture as something that communicates its internal process to the viewer—the way it has been made or maybe the way it wants to be experienced. In this piece, unusual curving forms give the sculpture a lyrical character, one that is perceived through a cumulative series of interactions. The articulation of the flowing form through the solid Tom Waldron: Middlestop, steel, 12½” x 13½” x 5”, 2007 element of steel is satisfying, and there is the fun of a surprise when you look at it from the back. A sense of that same fun that can be had by again playing with digressions in planes—as Waldron seems to like to do—is especially present in a piece like Carapace, where you can almost imagine him thinking his way through a complicated problem of ideas. In this sculpture there is the incidental creation of compartmentalized space. Floodgate is as good an example as any of indicating what might happen when you shrink an architectural form to a model-sized expression of it. The streamlined, futuristic, no-nonsense initial impression is interrupted by the slight, intentional irregularities and the torch-cut edges. Middlestop is self-explanatory—a sculpture that collects itself into its center, to some extent letting gravity determine the structure of the piece. Finally, for those who have been drawn to Waldron’s work in the past, work that was informed by a sensibility that was keen on subdividing a space that was defined by its perimeter, these latest sculptures are especially intriguing as examples of what the sculptor can do when he decides to work outward, from the center. This time he has put aside stone and concrete and utilized the characteristics of steel even more than in the past, moving from a less articulated to a more articulated mode of expression. He cites David Smith and Anthony Caro as sculptors whose examples he has learned from. This current crop of steel assemblages was also apparently inspired by the big scrap pile that had accumulated in the artist’s studio in Corrales: small diameter steel, cut on the bias and neatly organized into different batches of form. According to Waldron, this resource became a way to rethink the process of welding and workmanship.

rinchen lhamO OCTOBER 2007





star liana york

Manitou Galleries 123 West palace avenue, santa Fe

Artists can be their own worst enemies. Take, for instance, the inadvertent aspersion that emerges from a recent statement

by Star Liana York. According to the sculptor, whose works in bronze have become sought-after representatives of contemporary Western art, “The dividing line between art and craft, no matter how well-fashioned, is that artwork reveals something authentic and compelling.” By raising this seemingly innocuous distinction, she invites us to inquire as to which side of the line her sculptures inhabits. As far as the issue of authenticity is concerned, her works appear to be the legitimate progeny of one tradition alone: the thriving tourist demand for decorative objects that prop up myopic fables of the “spirit of the Southwest.” Raised in Maryland, York has nonetheless become expert in the employment of Santa Fe’s iconic vernacular of Eurocentric erasure. Dismissing geographic and cultural particulars, her works coalesce a farrago of simpering Western clichés. Hopi katsinas? Check. Dancing horses? Herds. Navajo weavings, sinuous mountain lions, shoulder-perched hawks? Yes, yes, and yes. Autumn Harvest exemplifies e the problems inherent in such wholesale appropriation of traditional iconographies. Here, a Navajo woman proudly stretched stands cocooned in a Red Mesa blanket that one presumes she has woven. Her posture mirrors that of the Apollo Belvedere––the – ––the arm and self-conscious tilt of head await our commendation. Nonetheless, to share in the figure’s celebration would be to ignore York’s debasement of the weaving’s specific religio-cultural symbolism to the material of pure ornament and isolated conceit. Dispossessed of meaning, the blanket becomes little more than a commercially appropriated exoticism––reducing Native American identity to a matter of solely visual denomination. York’s representations of animal forms fare better. Though her sculptures of lolling felines are less about nuance than absolutes––their lines disturbed by overworked and scabrous surfaces––her equine bronzes signal her passion for the subject. Fat and fecund, York’s mares contrast tawny, richly patinated surfaces with dark, sickle-shaped tails that individuate them in a crowded field. Especially distinctive, Mares of the Ice Age is an unusual interpretation of Paleolithic cave paintings that retains the originals’ planar arrangement and energetic groupings. Nonetheless, one would be foolhardy to confuse the relative values of her work with those that have inspired it. Where the latter possessed a symbolic functionality that accounts for their usage over the course of millennia, her occasionally attractive imitations merely forge their forms. Despite their technical accomplishment, in their marked absence of much that is either “authentic” or “compelling,” her sculptures fail to meet the necessary conditions for art that she, herself, has established. Ultimately, York bears witness to the venerable adage that some things are better left unsaid.


alex rOss

Star Liana York, Autumn Harvest, bronze, 28” x 20” x 18”

John nava: neW paintinGs

klaudia Marr Gallery 668 canyon road, santa Fe

Anadyomene, Kytheria, and Nuria are names that are more

familiar to us as Venus, Aphrodite, and the Virgin Mary. They are also titles of paintings by John Nava. However, these portraitspainted with a startling realism that one knows does their models justicedon’t immediately put us in mind of the archetypes associated with their titles. They seem too familiar for that, like people we know: cousins, sisters, daughters, friends. In the case of Anadyomene, the sensuality associated with her namesake, as well as with her famous depictions in art by the likes of Titian and Botticelli, is but one aspect of the humanity Nava captures in her youthful visage. Nava reveals so many subtle qualities in his portraits that one feels elated by their vitality and, yet, oddly saddened. Though he successfully captures nuanced gestures of self-consciousness and timidity, in Nuria the open palms suggest something very different than what we might see in the same gesture depicted in religious iconography. She seems fearful, but only slightly. Is she a virgin? Is she about to lose that virginity forever? The possibility seems confirmed by her beguiling expression. which lies somewhere between willingness and uncertainty. Hence the sadness I feel. It is about the unavoidable, but painful loss of innocence, and the shame of its takers. Kytheria and Anadyomene, the bikini-clad Venus portraits, though still youthful, have noticeably different expressions. Perhaps they are not as inexperienced. Each of Nava’s other portraits are painted with so much integrity to the range of their subjects’ expression that they have an immediacy that puts you in the moment

with them. You can imagine, for instance, that Chloe has just turned to answer your question, whatever it may be. Rachel With Pearl Earring is painted as though in honor of its subject, bestowing the familiar title from Vermeer as a gift reserved only for the truly deserving. This portrait is a Jacquard tapestry, a fitting medium for the subject and one Nava came to while working on a commission for Our Lady of the Angels cathedral in Los Angeles. Nava also presents a selection of life-sized tapestries in Shack Obscura, behind the main gallery at Klaudia Marr. This show, titled Political Fabric, shows more youthful portraits all bearing tee-shirts critical of the Bush/Cheney administration. Once again, seeing the vital immediacy and integrity of the young people depicted here instills both sorrow and hope for what might happen to them in the adult world. Unquestionably, they know what’s up. A selection of Nava’s seascapes is also on view. These show him to be equally accomplished in another genre of oil painting. But they do not seem entirely unrelated to the portraits. They stir up surprisingly similar feelings. Nava makes the seascapes real for us with such unexpected details as tire tracks in the sand. One feels a kind of expectancy when looking at them, as well as wonderment at what lies beyond the horizon of the sea’s changeable moods, and the melancholy born of desire to sail away into grey unknown where, like Nuria and Anadyomene, innocence and experience meet.

John Nava, Anadyomene, oil on canvas, 48” x 36”, 2007

michael abatemarcO



harMony haMMond

dWiGht hackett p roJ ro ects 2879 all trades road, santa Fe

“It’s not dark yet, but it’s getting’ there.” —Bob Dylan

Deep and dark as midnight on a dirt road before a new moon, large paintings by Harmony

Hammond appear. Her process seems essentially formal, filling rectangles with super-phat layers of dark oils, but to stand before, or inside, or to move around these monolithic monochromes is to experience an unusual expressivity in action. Dark red with the power of a thousand black suns, her supercharged skins arise. Hammond’s paintings follow multiple traditions simultaneously. Certain physical qualities of oil paints make them the far superior paint medium when it comes to creating the look of light on skin. During the Renaissance R and Baroque period this led to the equation of oils and flesh. Hammond updates a picture like, say, Titian’s Flaying of Marsyas, perhaps the most eloquent expression of this paint-equals-body concept, by translating it into minimalist and field painting vocabulary, stripping it of specific narrative, but keeping, creating, the ominous tide of feelings, menacing, grave, and corporeally sublime. Touch here on how time rends all flesh. To whom do you show your scars? Dark black as the stain of blood-mingled oil on the earth and deep as the fallen on all sides of Iraq, for all its abstraction, Hammond’s work is disquietingly real. Like all great art that registers profoundly its time, Hammond’s also goes beyond it (like Goya goes beyond his to expose global universals). Welt (black) and Welt (crimson) register not only the raw nerve of the current torturous moment. They tear away the daily surface chatter to lay bare a wounded, wounding culture, and expand to encompass a heart of darkness that seems to run under the culture, under the civilized trappings throughout the horrible half of human history. Hammond’s study is of the body, the flesh, as was said. The paintings mentioned above are painted on old canvas from the floor mats where the artist practices Aikido, a martial art in which she’s achieved, as in painting, all levels of mastery. The “welts” are the lines where the large canvases are seamed, now transformed by thick impasto. These are violent times; we are a culture hooked on that violence in more ways than you’ve thought up yet. While the physical act of applying oil paint in layers this thick is probably almost as intense as an Aikido workout, one has the feeling that Hammond is stepping aside, inside somehow, and letting this dark energy move through her as she remains unscathed. Dark blue as a note from the heart of a horn that darkens the Harmony Hammond, Dark Grid, oil on canvas, 72” x 90”, 2007 darkness and gives space a shape if only for a few seconds, like the great Miles Davis of Live Evil or like her AbEx predecessors Helen Frankenthaler and Marc Rothko, to whom she has often been compared, she transcends formalism, transforms it really, into an instrument for sounding intense depths of feeling and being. Like non-mimetic music, her works are resolutely abstract, utterly specific, yet can draw multiple pictures to the mind of whoever listens with their eyes. Passage is the biggest work here at 94-by-280 inches. The triptych format is associated with the late Gothic to Early Renaissance altarpiece, and Hammond’s multi-traditional, brand new paintings, regardless of format, always create a sacred space, suggesting ritual, quietude, and contemplation. We are brought to an awareness of our violent tendencies and herein given opportunity to ponder change. Echoes of the lives of the saints as painted by Juan Sánchez Cotán or Francisco de Zurbarán and somehow David’s Marat, are all here submerged with all those Isenheim-type crucifixes. Passage is a painting you see best by walking, walking up and down its twenty-three–plus feet, trying to get from this broken now to some sort of redemption, some break in the glistening shadow. In the last panel, left to right, there are slashes/wounds of brighter color. Here Passage looks like painting again. From the early, dark, minimal paint-sculpted ovoids of Huichol II and III, from funky 1975 recalling Eva Hesse, to Piquetitos, an homage to Frida Kahlo in which “little nips” of color wound the paintskin, to the huge rectangles of ’07, everything on the walls happens initially as a semi-sculptural relief/monochrome object, while Passage at the open end, with its brighter blues and reds and oranges, stands naked as a painting. In the universe this exhibition constructs there is all the pain and suffering of humanity, yet somewhere in the proximity a way out of the cave through the redemptive possibilities of art and awareness. Dark invisible is the color of the skin of the disappeared. The tones of the now unknowable flesh go beyond all seeing. From the plunge to the deep dark center of the collective soul back up to the soaring indigo star-spilled sky, Hammond’s work asks that we look at ourselves, our fears, and our effects in the limitless mirror of the void and, with this awareness as a center of balance, engage a higher human destiny.

jOn carver







Group sculpture shoW

JaMes kelly conteMporary 1601 paseo de peralta, santa Fe

mind over matter:

This group show is a subtle reprise of postmodern glosses and transgressions of the Modernist concept of “sculpture,” the show’s title. Viewed from a purely formalist perspective, the pieces might suggest a hodgepodge of aesthetic intents: the Minimalist dogma of Donald Judd’s plywood boxes and John McCracken’s high-gloss fiberglass-resin structure; the willful understatement of Richard Long’s driftwood stick and four-foot by eight-foot plywood sheet; Ken Price’s biomorphic ceramic; the crude modeling of Sherrie Levine’s toy dragons, Kiki Smith’s doll-like figurine, Fred Wilson’s ethnic caricatures; and Roni Horn’s plastic and aluminum text construct. While Tom Joyce’s forged-iron Berg XIII and Stacked, Michael Heizer’s teak Thailand assemblage, and Robert Wilson’s steel Pierre Curie Chair provide visual continuity with late-Modern abstraction, the artists in Sculpture can be viewed as a cross-section of postmodern currents from the mid-sixties to the present—art: 21 generation—all of which can arguably be traced to post-minimal offshoots of Minimalist Art (Judd, McCracken) and Pop (Price), and in particular Process-Earth Art (Heizer, Long, Joyce) and Conceptual art (Levine, Smith, Horn, Fred Wilson, Robert Wilson). The elephant that’s not in the room here is the sustained critical discourse in the art world from the 1970s and 1980s that provides the subtext for Sculpture. Postmodern art theory borrowed heavily from the deconstructive method of literary criticism, which maintained that the meaning of any text is problematic as it is simply a construct of language—signs and symbols whose diverse interpretations deny a privileged status to any single one, and usually reveal conflicting or false assumptions at odds with the meaning claimed for the work. Postmodern art theory employed a deconstructive method to attack the formalist tenets of Modernism. The battleground was the art object itself (the “text”). On the edge of a postmodern aesthetic, Minimalist artists like Donald Judd had undermined the autonomy of self-referential/reflexive nature of the art object by stressing the specific spatial context in which the literal object is viewed. Postmodern artists expanded this “site-specific” identity of the work to embrace its social context as well. Hence the meaning of a work is conditioned by time and space, and qualified by its dialogue with the viewer under varying conditions. For art theory, it was a way to move art beyond the constraints of formalist criteria to address social issues of the day, bringing marginalized groups (Third World, minorities, women, gays) into a “privileged” position in art’s discourse with society. For the artist, it was a way to expand and explore the very process of art making, and to document the process in the work itself. Many of the works in Sculpture do not engage the viewer in an aesthetic experience understood primarily or purely in formalist terms, i.e. by visual appeal, consequent narrative, or emotive allusion. Many of these pieces lack, even seem to resist, a significant role for visual appeal based on formal criteria. At first sight, only the geometric abstractions of Joyce’s biotectonic iron blocks, Heizer’s teak plinths, Horn’s aluminum text block, and McCracken’s deep blue, satin stele make any concession to a formal appeal to the eye. The rest of the pieces tend to leave the viewers to fend for themselves. If the show is to have more than art-historical interest, the works in it have to have aesthetic value for the viewer now. How do they engage the viewer in a meaningful art experience today? John Dewey’s Art as Experience offers a valuable insight. Dewey’s fundamental ideas about the nature of experience, and about art as experience, support postmodern theory’s expanded notion of what is “aesthetic”: Michael Heizer, Thailand, teak, 64½”x 47” x 30½”, 1977

“….an experience of thinking has its own aesthetic quality…. The material of the fine arts consists of qualities; that of experience having intellectual conclusion are signs or symbols having no intrinsic quality of their own, but standing for things that may in another experience be qualitatively experienced. The difference is enormous. It is one reason why the strictly intellectual art will never be popular as music is popular. Nevertheless, the experience itself has a satisfying emotional quality because it possesses internal integration and fulfillment reached through ordered and organized movement. This artistic structure may be immediately felt. In so far, it is aesthetic.”

Case in point: Richard Long’s plywood sheet depicts a black, interlaced band on Douglas Fir primed with mud from the River Avon. The interlaced band suggests a simple labyrinth or meander pattern. Informed by the reference to the river Avon, the sheet becomes a blueprint or document tracing the meanders or bends in the river’s course. The visual elements in the piece point to or signify an event that is qualitatively experienced in nature. Likewise, Tom Joyce’s rusted forged-iron construct evokes a massive terracotta mesa. The figurative pieces by Smith, Levine, and Fred Wilson subordinate formal qualities to R Horn’s Fur and Teeth block is a gloss on Kafka’s correspondence with explore cultural interpretations of myth and history. Roni his fiancée Felice Bauer. Viewers approaching the show with this expanded notion of sculpture will likely find with some works that the ideation quality But Sculpture suggests that the simple act of the viewer’s is too inchoate or fragmented to establish sufficient aesthetic quality. mental engagement with each work is the stuff of art as experience.

richard tObin






Interpreting the Human Form • Physician/ Photographer Dr. P Miller

Museum Quality Works on Paper For the New to Experienced Collector


































www.hir schfinear

Photograph Exhibition



John WenGer: paintinGs 1415 4 street th

donkey Gallery sW, albuquerque

Seven paintings hung in a simple room. No bull. Nothing fancy. Just art. That’s how it goes when you’re a formerly well-known artist who’s gone for simplification in his work, his life, and his career. It’s also what happens when you show in a gallery with ideological integrity whose space is essentially one regular-size room. Those are the basics of John Wenger’s first show of paintings in ten years, at the bare-bones place known as Donkey Gallery. At first it may not look like much, accustomed as we are to the infernally and eternally clean, well-lit white cube of a gallery. Not that there’s anything wrong with that. Well, okay, maybe there’s a lot wrong with the whole shebang surrounding commercial gallery spaces these days, but this is not the place to get into that. Suffice to say that Donkey Gallery doesn’t spend much money on exhibition prep—or anything else. In the Barelas neighborhood of Albuquerque there isn’t a ton of money to spend, and these guys seem danged proud of their DIY, by-the-bootstraps aesthetic. What happens when you’re the viewer in a situation like this is that you have to make a choice: either you look at the art because there’s nothing much to distract you, or you decide that you miss all the bells and whistles of a more conventional gallery and go somewhere else. I suspect that how you choose would have a lot to do with the art itself. With Wenger’s art, I’m pretty sure you’ll choose to look. It’s easy to see why he was tapped for an exhibition—this man works drawing into his painting in a way that other draftsman, such as the guys who run this gallery, can really appreciate. And he paints in a way that other painters dream of. I almost missed it, because I’m not a painter and I’m even worse at drawing. It took me a while to get, but these paintings wouldn’t leave my mind. I began thinking about them and have been thinking about them since I saw them a week or so ago. What caught me while I was there, and made me look twice, was the painting titled Arsenal. Arsenal has all the power of the late Los Angeles painter Carlos Almaraz’s Echo Park series, specifically the picture Sunset Crash from 1984. Like Almaraz, Wenger depicts explosive fire as an excuse to just paint the hell out of parts of his canvas. Against a green background, three figures lurk and jump about, apparently galvanized by the exploding building behind them. The building is orange; the fire spouting out its roof is just about every color of the rainbow, painted in thick, violent strokes that seem to light the canvas from behind. The obvious painterliness of the fire contrasts eerily with the normally flattened and restrained manner of most of the rest of the Wenger pieces in the show. Maybe he couldn’t hold himself back any longer. An intelligent painter, Wenger knows when and how to hold back and when to give the viewer enough to make her want more. Gobs more. The middle figure is a good metaphor for Wenger’s exhibition. Enigmatically presented as a simplified almost-stick figure, his whole head reflects the glow of the flames above him. Unlike the figures on either side of him, he is inactive, pondering… what? The consequences of his actions as he loots the burning building with his cohorts? The brutality of a catastrophe to which he is a helpless witness? Is there someone in the building who needs saving? What the heck is going on? I really can’t answer that, and somehow that’s the best answer of all. This is a painting, for chrissakes, not an essay on postmodern critical thinking. And I can’t help thinking that Wenger made the painting thinking that I would be thinking about what he was thinking I should think about the painting. All I truly know is that I could stare at Arsenal for as long as I could watch a bonfire, drawn to its primal energy, the communal security of its warmth, and its potential for uncontained ferocity.

kathryn m davis John Wenger, Arsenal, oil on rag paper, 4’ 5” x 3’ 5”, 2005





RICK STEVENS Evolving Structure Fionna Buck - Hyphen 2007 Hand-made paper 27 x 42 inches.

OCTOBER 5–22, 2007 Opening Reception: Friday, October 5th, 5 –7 pm

FLOATING AND DREAMING, 2007, 47" × 47", OIL ON LINEN Photo: Lynn Lown

Fionna Buck Emergence: The Becoming Visible New watercolors and paper assemblage

5 October - 5 November 2007 Artist reception: Friday, 5 October 5-8 PM

Farrell Fischoff Gallery

Farrell Fischoff Gallery 1807 Second Street #29

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

1807 Second #29 Mexico 87505 SantaStreet Fe, New Santa Fe, New Mexico 87505 Tel 505.995.0620 Tel 505.995.0620 Fax 505.955.8487 Fax 505.955.8487



ruFus us W ain WriGht and s ean l ennon , With ith a F ine F renzy

paolo solari aMphitheater santa Fe

in our multiplex, complicated world,

where the razor-thin border between order and chaos is the source of art, Rufus Wainwright—composer, vocalist, and performance artist nonpareil—is a true original who fearlessly explores this edge. On a stormy evening in early August, Wainwright, along with Sean Lennon and A Fine Frenzy, performed at the Paolo Solari Amphitheater, A mphitheater, Santa Fe’s dramatic outdoor stage. The concert was a part of Wainwright’s world tour to support his fifth album, Release tthe he Stars. A Fine Frenzy kicked off the show. Alison Sudol sang with a rare combination of clarity and ethereal possession that was a perfect prelude to Lennon and Wainwright. Her luminous voice, poetic lyrics, and piano artistry kindled a fire, foretelling a great future for this twenty-two-year-old musician from Los Angeles. Next up, Lennon’s voice unraveled threads to earlier times. Yet, his entire band was laminated to the moment, bringing me back to appreciate the here and now. Forty-five minutes into the set, the rain came. Tech crews rushed to pull tarps over equipment as the audience opened umbrellas and put on raingear. The mountains delivered an unsurpassed light show while people hung out with old friends and joked with new acquaintances, turning the interlude of drizzle into a party. When Wainwright and his band appeared, it was a visual and aural knockout. Stripes galore. Wainwright’s patterned “Captain America” suit looked like Vionnet had re-cut Armani. The band, in sparkles and satin, was Versace. During the first number the lights rained color like Las Vegas fountains, sculpting the dramatic architecture of the theater. The optical exuberance mysteriously blended with the complex and sumptuous orchestration of Release the Stars. The lights dimmed to a Jennifer Tipton– like white pool as Wainwright moved to the piano. The intoxicating pathos of Going to A Town—“ I’m so tired of America”—examined the current situation in this country through the feelings and senses, not with a critical mind. (Wainwright considers the song “a message from the collective subconscious of the world.”) Throughout the evening, his songs became personal confessionals—baring the emotions, revealing vulnerability, and turning masculine and feminine inside out. He used his voice as an instrument, weaving through original arrangements with a dynamic equilibrium that created form. No doubt about it, this unique artist is a pop showman with an umbilical to classical music. His rhythmic sense, chromatic nuance, and expressive depth parallel the romantic composers. Like them, he creates an experience that is felt in every cell. Yet his pianistic, orchestral, and operatic shimmerings fuse with fearless risktaking in his work, reminiscent of Chopin and Wagner. Humor and quirky bravado also abound. “I shed a tear between my legs.” No wonder the Met has commissioned him to write an opera. Wainwright wore lederhosen and knee socks for the second set. The arrangement and phrasing of A Foggy Day unexpectedly turned him into an avatar of Judy Garland. Oddly, lederhosen seemed appropriate apparel for this tribute to the popular diva from a young admirer. When he sang a Celtic lullaby that his mother, folk legend Kate McGarrigle, sang to him as a child, he delivered the most magical moment on the open stage. Wainwright and the band performed without mikes. The lush textures of his baritone and his ability to expose feelings of intimacy and establish personal space Rufus Wainwright on an expansive scale resonated through the vastness of the amphitheater out into the silence of the mountains. Emulating an operatic diva in the dressing room, he appeared in a white terrycloth bathrobe for the encore. Inviting Lennon to join him in a duet, they sang John Lennon’s Across the universe. As Lennon’s voice took flight and began to soar above Wainwright’s, Wainwright poked him in the elbow. What that poke meant, we’ll never know. But after it happened, their voices blended effortlessly. The final number was the romantic and dramatic climax of the evening. A chair was brought center stage. Wainwright sat down, pulled two rhinestone earrings from his bathrobe pocket and put them on. Then he pulled out a tube of lipstick. Finally he put on high, high heels and strutted to the back of the stage. His band did a dance number in tuxedos as a dresser took off Wainwright’s robe and helped him put on a tux jacket and a little brimmed hat. Suddenly a Judy Garland apparition appeared, gorgeous legs and all, belting out Come On, Get Happy as she danced around the stage. How many artists are willing to risk it all and truly reveal who they are with boundless humor and joy? Thank you, Jamie Lenfestey and Fan Man Productions for bringing us this joyous event. And thanks, too, to the great filmmaker Albert Maysles, who videoed the show for a documentary. The presence of cameras was bound to have amped up the performances.

susanna carlisle






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he o t th. s t a , g n oinh moh fun now g t e c c lov r eas mu Rightop” at t s e . “ h I juroom ost atings eral Fe t e... v g alm ain se nta n m a o p e s t I i king re ar in S yes s e ma thelerie heir l t ga ave h

Sammy, a two-year old foxhound mix, uses a paintbrush attached to his favorite rubber bone, to paint a canvas. Sammy “rules.” A Great Grooming Shoppe at the Agora Shopping Center in Eldorado



rick stevens: evolvinG structure

hunter kirkland conteMporary 200-b canyon road, santa Fe

Rick Stevens’s abstractly decorative compositions

of form and color are dedicated to expressing visions of intangible sensations that seem to be based on an essential rhythm of nature. He paints and draws with a language of intuitive expression that is supported by a lovely, romantic spatial organization, one that encourages the viewer to discover receding planes of space through shifting and overlapping rectangles. All of the works in this show express the artist’s well-honed ability to abstract his observations of the visible, natural world into beautifully organized patterns. In Gateway, there is a flood of many layered, yellow tones that renders an effect of dazzling brilliance, with pigments that are thin enough to allow the viewer to see the threads of the canvas underneath. Stevens stretches his linens on panels, all the better to force the nubby woven texture of the cloth to come through. The surface plane is shot through with the artist’s signature fugitive, bright bonbon colors such as pink rouge, splashes of emerald green, and blue—all encased in small mosaic-like, stylized rectilinear geometric patterns that resolve the structural tension with pleasing contrast. These Klimt-like mosaics, found in all of Stevens’s work, imbue both the oil paintings and the pastel drawings with an ease and lightness, as well as lending to them a mysterious atmospheric depth. The pastel drawings Divine Convergence and Directional Deflection are both compositions that are at once perfectly calibrated and artfully askance, intimating a kind of figuration that evokes a deep mystical meaning that stimulates the imagination. That is, they are figurative to the extent that they are representations of space, intimate landscapes of the psyche, each with a portal to an inner sanctum. The viewer has a sense that Stevens’s sumptuous colors represent a logic that is just as unrelenting as the logic of his forms; they help the viewer recognize the relief and tension of each plane, an incomparable sense of pattern and searching mood. unspeakable Grace, rendered both as an oil painting and a pastel drawing, has a windowpane formation that inflects the picture plane with a truly exuberant creative energy. The entire surface is raked with small, shimmering, kaleidoscopic circles and squares—rendered with a generous palette of tangerine oranges and lime greens and tender lilacs—but it is also bisected both vertically and laterally, into upper and lower portions that beckon inward, to spatial ambiences of Utopian-bright lapis. Stevens’s constantly shifting representations of space and substance—from the impressionistically fluid to the abstract and geometrically static—all showcase the virtuosity with which the artist employs luminous color to create ideal realms of pure joy and sensuous dynamism.

rinchen lhamO Rick Stevens, Floating and Dreaming, oil on linen, 47” x 47”, 2007


burt Glinn: FiFty

years oF


“I think that what you’ve got to do is discover the essential truth of the situation, and have a point of view about it.” —Burt Glinn

The above quote cuts to the chase

of what a great photographer must do to be unique—have a point of view about the truth of the situation, and, as photographer Harry Benson said, “If you want to get the picture, go in the opposite direction and stay away from the pack of photographers.” Burt Glinn made his mark in photography with a series of spectacular photo essays on the South Seas, Japan, Russia, Mexico, and California, published as single issues of Holiday magazine. He also photographed the Sinai War, the invasion of Lebanon, and other social and political issues, working for LIFE magazine before becoming a freelancer. In 1951, Glinn became an associate member of Magnum, one of the first Americans to be part of the photo agency. Glinn, alert at eighty-two years, has been a making photographs with the verve of an adventurer and the eye of a poet. Look at his documentary work. His beautifully-printed black-and-white photographs of Fidel Castro’s 1959 triumphal march into Havana are full of the revolutionary fervor and idealistic anticipation that characterized that moment in Cuba’s history. His color photograph of F. Kennedy with his wife Ethel, as seen R Robert in a car’s rear view mirror, shows a vantage point overlooked by the pack of photographers that followed the Kennedys everywhere they went. Want poetry and grace? Look no

WilliaM sieGal Gallery 540 south Guadalupe street, santa Fe further than the sublime gesture captured by Glinn of Leonard Bernstein conducting an orchestra. Or the photograph of a man reaching out to touch a stripper in a smoke-filled men’s club. Both images showcase Glinn’s ability to capture the moment in a gesture. It seems that, perhaps, for Glinn the photograph is not just a picture, but an event—an idea drawn from the existentialist philosophy of Jean-Paul Sartre, whose statement “there is no reality except in action” influenced many photographers, artists, and critics. Then there are Glinn’s photographs of movie stars, celebrities, and performers. Whether it is the 1959 romanticized “lonely boy” image of Sammy Davis Jr., glass in hand, leaning against a window against a faded cityscape, or a twenty-five-year-old Elizabeth Taylor looking sultry and sexy on the set of Suddenly Last Summer, Glinn is right there, once again, looking and finding the essential truth of the situation. Where Glinn’s work falls a bit flat is when he makes “art” photographs. Boat in the Reeds, for f example, made in 1961, reminds one of photographs by Minor White, and screams the message to all that Burt Glinn is not just a working photographer, but is an artist as well. The photograph is good, for sure, but is unfortunate to see it included in the context of this retrospective exhibition. Glinn’s real art resides in his impeccable eye, which has created many remarkable photographs and, quite frankly, the “art” photographs included in the show diminish this marvelous body of work by a master craftsman. Simple fact: every photographer (and writer) needs a good editor.

Guy crOss

Burt Glinn, Fidel Entering Havana, silver print, 15” x 22”, 1959




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Barbara Hammer 'Lover Other' Screening and Artist's Talk 10/1, 6pm Tipton Hall, $5 general, $2.50 student/senior/member

Artist's Workshop 10/2 – 10/5, SFAI, $400 / Scholarships available

SFAI Artists in Residence Open Studio 10/25, 5:30pm, SFAI Free admission, refreshments served

Siah Armajani, Fallujah Tower Ongoing through 10/22, Exhibition WWW.SFAI.ORG, (505) 424 5050, SANTA FE ART INSTITUTE, 1600 ST.MICHAEL'S DRIVE, SANTA FE, NM 87505 This series is partially funded by the City of Santa Fe Arts Commission and the 1% Lodger's Tax. It is made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs.

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“Tana leaves, tana leaves,” chanted the Mummy, in the first Hollywood talkie to capitalize on the world Egyptiana frenzy instigated by

Sir Howard Carter’s spectacular, never-to-be-equaled discovery of the tomb of Pharaoh Tut-ankh-amen, in 1922. A fiendish elixir of life-giving tana leaves might well have been transported to the Mummy’s lips in the “strap-handled amphora” inscribed for Tut-ankh-amen on view in the New Mexico Museum of Art’s fascinating show Excavating Egypt: Great Discoveries from the Petrie Museum of Egyptian Archaeology, constituting a liberal scattering of lovely debris from University College, in London. While the exhibited materials are far from pharaonic in heft, scale, or material richness—no twenty-ton obelisks, no bejeweled funerary masks, no vast stone sarcophagi, not even a real mummy, amazingly!—they are nevertheless highly instructive (the Petrie Museum is, first and foremost, a university teaching collection) for those who will take the time to read the handsome catalogue that accompanies the show, or at least to read the extensive wall texts and labels that amplify the sometimes numinous, eerie fragments on view. The “amphora” (a vessel to transport liquids) vibrates with that particular frisson engendered by just about anything extant bearing the magical name of Tut-ankh-amen. In fact, the cracked pot bears not only the boy-pharaoh’s cartouche— the lozenge-shaped inscription reserved for Egyptian royals—but also that of his equally glamorous wife, Ankh-es-eh namen. This object, and a sprinkling of other fragments evoking the highest pitch of ancient Egyptian art and architecture (the 18th and 19th dynasties), make a visit to this show really satisfying for any Egyptophile. Among these evocative remnants of antiquity are handsome scraps of sculpture representing the legendary heretic Pharaoh Ikh-naten and his beauteous bride, Nefer-titi, who tried—and failed—to overthrow the old gods and establish the first monotheist realm in history. It is a miracle that any such materials have come down to us, since everything associated with Ikh-naten and his shining capital city of Amarna was pulverized after his death. It is even speculated that his last descendent, Tut-ankh-amen, was himself pulverized—his head bashed in—by those who were determined to eradicate every vestige of the Amarna era. This exhibition, where provocative fragments do not exude riveting aesthetic appeal but are nonetheless instructive, is an homage to the father of archaeology, the adventurous Sir William Flinders Petrie (1853-1942), who not only spent most of his lifetime excavating in Egypt, but who is further credited with establishing the first scientific excavation techniques, as opposed to rampaging tomb-raiding. After Petrie, the preservation of context and accurate measurement became essential in any archaeological undertaking. (Petrie, the paradigmatic Egyptologist, was the prototype for the dashing explorer Indiana Jones.) Having lectured at length, up and down the Nile, at Luxor and the Valley of the Kings, this reviewer comes to the Excavating Egypt show with particular gratitude. Kudos to all involved!


jan e. adlmann Balustrade depicting the Royal Family, Egyptian, ca. 1352-1344 B.C.

kathleen kinkopF: tanGents



Artist kathleen k kinkopf successfully subverts

the signature style syndrome. Against the grain of the tendency towards the formulaic that dogs the production of most painters, she presents a show in which nearly every piece represents a unique impulse. There are a few pairings and triplings of pieces, but this is a show of mostly one-offs, explorations, and gaps, rather than a carefully built series, a word that is nothing more than code for painting the same painting twelve or fourteen times. So there’s a small herd of black, white, and grey horse paintings that recall ol’Joe Andoe, except Kinkopf’s are more active and proportioned properly. The herd surrounds Yakueda Dream, an homage to the Japanese art of flower arrangement, and a larger-than-head of a young Japanese woman facing the viewer directly. This portrait, and her sister, Heart Sutra, represent characters from the story in the revered text employed in the practice of calligraphy as a meditation. The sister in the second painting is surrounded by a purple scarf magically suspended around her neck like a ring around Saturn, representing calm and tranquility. Kinkopf’s renderings of silk in both pieces have a trompe l’oeil texture that has you examining the paint to make sure it isn’t collaged fabric. Each of these large and impressive heads has a meticulously painted realist face. Outside the face the painting and drawing is looser,

Joyce robins Gallery 201 Galisteo street, santa Fe more expressive and unfinished. Each also has mixed-media elements added atop the image and appended to the paint surface. Two ain’t a series (yet), but who cares when each piece has such authority. The other twelve or fourteen tangents in the show are equally rewarding. Casa del Cavallo is a large piece in which a distressed woman and a very sad horse both face and turn away from each other, arranged as they are on different spatial planes in front of the symmetrical front gate of a large estate. The formal decisions made here in the juxtaposition of light and shadow, blue grays and oranges, recalls the protoSurrealism of de Chirico and the Surrealism of Magritte. The painting has a haunting quality, an ambiguous narrative, great formal clarity, and most of all a beautifully swoonful mood of melancholy and lost love. Similarly, Red Sky at Night, a blue nude asleep, all curvy beneath a copper leafed archway, has a feel for the way in which formal elements can produce mood and atmosphere. Sleeping in the open air on a hot summer night, pregnant with desire, is always the way to go. And if you’re Kinkopf, continuing to buck the syndrome seems like a good option too.

jOn carver

Kathleen Kinkopf, Yakueda Dream, 72” x 56”, mixed media on canvas, 2007










wed., oct. 17, 7:30 pm a true jazz legend




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Bird on A CroSS nEAr pE単ASC 単 単ASC o photoGraph By B


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| 65


Mama By JaCey

Blue CaMpBell

Mama always said I should be a grape lay in that sun days long, lookin’ damn fine pray for that day when Mr. Right, he come, reach up, pluck me off that curling sexy vine meld his fingers around sweet skin; mine. Slight stroke, his hands, we get so hot, so warm his cheeks are a rush, my back catches fire his lips come to cool, taste nectar, no harm, his tongue croons Connick, his hunger, no tire no sleep, no slumber, only tasting, lingering. Plum stains his collar, rouge, vintage tease left in his mouth, his voice without reason, speaks coyly, boldly, “Another glass please.” Mama didn’t know nothin, I’m no peach.

photoGraph By B l. andrew Jacey Blue Campbell is a recent graduate of the University of New Mexico. She has been published in the Albuquerque Tribune, The Daily Lobo, and the Thistle Epistle, and has been involved in creative writing for the past nineteen years.



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Living a Double Life

THE magazine October 2007  

B U S Taking the High Road to Taos and Back m e n i z a g a by Zane Fischer of and for the Arts • October 2007 S a n t a F e ’ s M o n t h l...

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