The magazine Feb 2016

Page 1

Santa Fe’s Monthly









of and for the Arts • Feb./March 2016

Photo Credit: Kate Russell Photography

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


For artist Carol Anthony, life and work blend into a creative path of beauty that is rooted in nature and simplicity. In Carol Anthony: Paintings, Prints & Constructions, 1975-2015 (Radius Books, $65) more than a hundred pages are devoted to images of her oil crayon paintings that exude her poetic and romantic sensibilities. The book details the artist’s history through personal and professional ephemera and a comprehensive chronology that traces her development from childhood artist to sculptor, illustrator, and painter, examining the influence of her treasured relationships with her commercial artist father and now-deceased twin sister and fellow artist Elaine, as well as her dogs, music, and solitary lifestyle. Museum curator Laura Addison contributes a narrative essay which discusses Anthony’s work from the early figurative linen maché sculptures she began making at the Rhode Island School of Design to the landscape and still life paintings imbedded in supports such as a window casing or a cookie sheet to provide a three-dimensional quality, as well as her recent works. In 1991, Carol Anthony moved to Santa Fe, but continued to show nationally, distinguishing herself as a painter of simple, elegant subjects, such as a pear or a heart, imbuing them with an emotional resonance that elevates them beyond the quotidian. These works illustrate the artist’s ability to appreciate the richness of her surroundings, including the handcrafted home, studio, and cloister that she built with friends on her rural property. Anthony has had numerous shows, given generously back to the community, and as Ali MacGraw says in her foreword to the book, Anthony maintains a “flawless vision of what matters.”

03 10 14 17 19 21 23 27 38 34 36 39 40 43

letters universe of:

artist Sandra Filippucci Departure by Geoffrey Laurence studio visits: Paul Bloch and Elodie Holmes ancient city appetite: The Shed by Joshua Baer one bottle: The 2005 J. Lassalle Champagne Brut “Cuvée Spéciale” by Joshua Baer dining guide: Chocolate Maven and Gabriel’s art forum:

art openings out & about previews:

Garo Antreasian at Gerald Peters Gallery and Shakespeare’s First Foilio at the Museum of New Mexico

flashback: 2007

international spotlight: Making Africa: A Continent of Contemporary Design at the Guggenheim Museum Bilbao feature:

Ousmane Sembène:The Father of African Cinema by Diane Armitage Bill Jacobson at James Kelly Contemporary; Border Crossing at David Richard Gallery; Carol Anthony at McLarry Fine Art; Jody Sunshine at Freeform Art Space; Mary Mito: Collages at Gebert Contemporary; Nicolai Panayotov: Sans Frontiéres at Catenary Art Gallery; and Portraiture Now: Staging the Self and El Retrato Nuevomexicano Ahora: New Mexican Portraiture Now at the National Hispanic Cultural Center (Alb.) 51 green planet: Blue Marbles Project, photograph by Jennifer Esperanza 61 architectural details: Late Winter Snow: Spur Ranch Road, Lamy, NM. Photograph by Guy Cross 54 writings: “Because You Are Female” by Anne Valley-Fox critical reflections:


In Pursuit of Cultural Freedom

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

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







Teju Cole, writer, art historian, photographer and photography critic of The New York Times Magazine, is the author of the novels Every Day is for the Thief and Open City. He is at work on Radio Lagos, a nonfictional narrative on the contemporary Nigerian city.

Winona LaDuke is an Anishinaabekwe (Ojibwe) enrolled member of the Mississippi Band of Anishinaabeg. She is an indigenous rights activist, environmentalist, economist and writer, known for her work on sustainable development and tribal land claims and preservation.

Tickets on sale now

Tickets on sale now





Nadeem Aslam is a British-Pakistani novelist whose works include Maps for Lost Lovers, The Wasted Vigil and The Blind Man’s Garden, a tale of two brothers whose lives are upended by war post 9/11.


Tickets on sale Saturday 6 February

Gabrielle Walker is an expert on climate change and the energy industry. She is the author of Antarctica: An Intimate Portrait of a Mysterious Continent and co-author of the best selling The Hot Topic: What We Can Do About Global Warming. Tickets on sale Saturday 6 February

ALL EVENTS AT THE LENSIC PERFORMING ARTS CENTER or call 505.988.1234 $6 general / $3 students / seniors with ID

Video and audio recordings of Lannan events are available at:


magazine VOLUME XXIV NUMBER VII WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 and 2006 Top-5 Best Consumer Tabloids Publisher/Creative Director Guy Cross Publisher/Food Editor Judith Cross Managing Editor Lauren Tresp Art Director Chris Myers Copy Editor Edgar Scully Proofreaders James Rodewald Kenji Barrett Staff Photographers Dana Waldon Audrey Derell Calendar Editor B Milder Preview Editor Jackie M. Social Media Laura Shields Webmeister Jason Rodriguez Contributors Diane Armitage, Joshua Baer, Ester Barkai, Davis K. Brimberg, Jon Carver, Jennifer Esperanza, Marina La Palma, Geoffrey Laurence, Penelope Nicolopolis, Lisa de St. Croix, Richard Tobin, Anne Valley-Fox, and

Susan Wider Cover

Sandra Filippucci, Whore They Said,

mixed media on paper,

Richard Levy Gallery—514 Central Avenue SW, Albuquerque—presents Aten Reign by James Turrell, based on a site-specific installation exhibited at the Guggenheim Museum, New York City. As well, Urban Landscapes, a selection of hyper-realistic works by Richard Estes will be on view. Reception: Saturday, February 6 from 6 to 8 pm. Show runs to February 26.

TO THE EDITOR: There is a lot of talk these days about “who we are” as Americans; phrases in regards to who we are or who we are not are tossed around like litter on the beltways and airwaves of both Main Streets and Wall Streets of the USA. As 2015 draws to a close, who we are as Americans is a nation of homicidal police who have killed over a thousand citizens this year, women and children among them. A nation that has more of our own incarcerated than anywhere else in the world, and, most recently, a nation whose elected officials have rushed to propose that we turn our back on Syrian refugees—all of whom are fleeing untold violence and oppression wrought by the self-proclaimed Islamic State—due to misplaced fear resulting from the French and Belgian terrorist attacks on Paris. Who we are as Americans is a far cry from who Martin Luther King jr. was when he pointed out in his final speech that the question is not “what will happen to us if we stop to help those in need?” but “if we do not stop to help, what will happen to those in need?”It is imperative that we Americans breathe life back into our dormant hearts and breathe fire back into our ailing spirits, and stop the genocide of our Black youth by police, and offer the Syrian, Central American, and other refugees sanctuary.

—Erin Currier, via email


Advertising Sales THE magazine: 505-424-7641 Lindy Madley: 505-577-6310 Ariel Johnson: 505-920-1024 Distribution Jimmy Montoya: 470-0258 (mobile)

THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: Web address: All materials copyright 2016 by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable, for any misspellings, incorrect information in its captions, calendar, or other listings. Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel. All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised. THE magazine is not responsible for any claims made by its advertisers for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.



While I feel somewhat flattered (flattened?) to be placed into the foreground of what must be an overflowing or rather overflorid diorama of critical repasts), I must take umbrage with the rather reductionist “Critical Reflection” offered by Jon Carver (Warlord of Ars?). It wouldn’t be so bad of a jab if I weren’t a nearing fifty artist/writer with nothing much to show for my work but a few good friends. You’ll notice the gallery where my work was shown was not on Canyon Road, and not in the Railyard district. In fact, Nisa Touchon Gallery is the only gallery I can find that will show my work since the other gallery I was in almost burned down. So bringing down this veiled harangue and ire on my head in what is obviously meant for someone showing in New York is, to be kind, just a touch rich, and more so, daft. If “Warlord of Ars” wants to see the psychic underpinnings of my work, he may direct his browser to my long-running, and absolutely free neo-absurdist philopoesophical blog JELLYBEAN WEIRDO WITH ELECTRIC SNAKE FANG. As to the overtly off-key and self-satisfied pigeonholing of my work as modernist graffito cartoons—wow! Great job. You got in the door of the building, but you didn’t take the time to query the concierge on the layout (sigh). If Carver had done even the smallest iota of

research on my work, he might have figured out that some of the work in the show was meant as a kind of homage to Cecil Touchon—a work of friendship for a person who has helped me with my struggling art career for years. Many of the works were made out of gifts of his specially prepared papers. Some of the works do have a cursory European influence, but not in the figure of Matisse, but in the rather darker and problematical figure of Gauguin, or rather in his colorful tropical palette; but all was done tongue-in-cheek—one title being Gauguin in Appalachia?. And the joke there is in App, as in application. These are paintings of digital collages made out of Gauguin paintings. Some of the other pieces were made by palimpsesting layers of historical hand-writing in a digital file, for instance seventeenthcentury Armenian handwriting laid on top of eighteenth-century Dutch handwriting. Everything shown in the show came out of a direct engagement with a long tradition of many and various graphologies, so that my own found contours are blended into something that is subjective and objective all at once, and it is the all at once which may be the most important, as I am also one of a very few practitioners of what might be called “the informatic grotesque.” I could go on, but I won’t. I’ll end this here, and just say: there’s nothing inherently wrong with much of what Warlord says, but he didn’t need anything of my work to say it. So for Warlord Carver, I can only say, thanks, but no thanks—your “reflections” are not criticism, but something closer to an abject and loathsome disinterest leveled at an honest and genuinely interested artist who actually did his homework, not copy it, like Jon Carver, Warlord of Ars did, from Jerry Saltz.

—Lanny Quarles, via email TO THE EDITOR: Thank you for the review of my exhibition at Art Box in your December/January issue. I highly respect Richard Tobin and deeply appreciate his commentary. Strong work emerges from strong insightful critiques. Cheerleader fluff driven by mercantile concerns is pointless, unhelpful and a waste of time. —Timothy Nero, via email TO THE EDITOR: I loved your two-page article on Leonor Fini in your last issue. Fini has been a longtime favorite of mine—an artist who has never gotten the recognition that she deserves. Her imagery is evocative, like Fini herself. Plus, what a great cover. —Thomas Rudin, via email

THE magazine | 5




Januar y

CHARLOTTE JACKSON FINE ART Pictured: Charles Arnoldi, Gimmie (detail), 2010, Acrylic, 65 x 53 inches



Februar y



| 554 South Guadalupe St, Santa Fe, NM 87501 505.989.8688 |

Above, from left, Dawn’s Early Light I, oil on canvas, 24” x 20”, and Dawn’s Early Light II, oil on canvas, 24” x 24”; both from Mark White’s new Shoreline series.

Mark White Fine Art

414 Canyon Road, Santa Fe, NM, 87501 | Call 505.982.2073 or visit |Open every day!

Carol anthony New Works

Graphicanos Contemporary Latino Prints from the Serie Project

Oscar Magallanes, Flores para Juarez

Carlos Pineda, Aztec Warrior

“A Captured Grace” • 16.75" x 13.75" • Oil Crayon

Las Cruces Museum of Art

M Clarry f i n e a r t

225 Canyon Road • Santa Fe, NM • 505.988.1161

Friday, February 5 - Saturday, April 2, 2016 Las Cruces Museum of Art 491 N Main Str • Las Cruces, NM 575.541.2137 • Gallery hours: Tues-Fri 10-4:30, Sat 9-4:30

This exhibition has been organized by the Fort Wayne Museum of Art.








Sandra Filippucci works in an almost obsessive manner with a particular


thought she was a witch). How did she do all that she did

I am often asked why Joan. I don’t really know. Perhaps

in a one-year career? At her trial, her responses were

because she is an inexhaustible subject with many faces,

Christ-like in their wisdom and humility. She had no legal

many identities. Perhaps it is because she was fearless.

representation. Over a hundred lawyers were present

Not mad, insane, dotty, or touched, but fearless. Perhaps

and not one was assigned to her.

subject in the mediums of encaustic,

because her brilliant answers to crafty lawyers still take

oils, mixed media, drawings, found

her mission would be at age seventeen (save France from

objects, plaster boxes, and bronzes.

Brie we might have just had Cheddar). Joan’s astonishing

Her work is about process—rough and aggressive surfaces that construct

my breath away. Joan’s “voices” revealed to her what the English who were devouring her country so instead of common sense and guts drew her rapidly into history. Within a few years, she evolved from a pious, unlettered country girl to a visionary soldier. She was called a whore when she offered peace (Joan always offered peace first), a

a narrative about peace, vulnerability,

witch when she predicted outcomes, was burned when

and determination. For the past two

when her unjust death was revealed as an illegal attempt

years, Filippucci has concentrated

the natural goodness and valor of the human race,” wrote

her efforts on a series of paintings

she became too “dangerous,” and was designated a saint by corrupt church officials to silence her. “She embodied Winston Churchill. The author Mary Gordon wrote that Joan of Arc had a “genius of personality,” and you can

and sculptures using 3-D technology

see that in Luc Besson’s 1999 film The Messenger: The

to express her unique interpretation

of Joan’s harsh world and Joan herself: highly emotional,

of the life of Joan of Arc, who is as

for others. She was in constant motion. Six hundred and

relevant now as she was in the past.

Story of Joan of Arc. This film is the best overall depiction hot-tempered, and one who wept frequently—mostly two years later, Joan is still a shape-shifter and I’m just

ORDEAL BY FIRE—AN EXERCISE IN BRUTALITY Joan’s simple shift burned off first, revealing her naked, frail body covered with sores and bruises from being shackled. Burning is the worst possible death, it is intended to humiliate and eradicate any possible relics. This insane punishment is not from the dim past. It still goes on. In February 2015, ISIS burned to death fortyfive people in al-Baghdadi, Iraq. You know the pain of even a small burn, right?

A PROTOTYPE FOR THE FEMINIST MOVEMENT Joan of Arc has been my primary subject for many years—and my current methodology is a hybrid one that involves both new media and the traditional techniques of drawing and painting. I developed my Joan using 3-D modeling software based upon what is known about her. But here’s the interesting part: it’s because of Joan that I taught myself to create her as my Perpetual Muse using technology that I never thought I could learn. When I moved to Santa Fe seven years ago, Joan disappeared, or so I thought.

trying to keep up.

Actually, she never really left because I started the


Durham, who saw my earlier work on Joan of Arc,

I met Joan twenty-seven years ago in a church in Les

encouraged me to start a dialogue with Joan again. So

Genettes, France. Normandy mists were mingling with

I had a strong, inspiring woman—Durham—

the human race has ever produced.”

the scent of late November roses, so when I wandered

encourage me to continue my work on another

into this small church I was in a lyrical, receptive mood

strong, inspiring woman. And Joan returned,

Filippucci has lectured and has had

because I was also pregnant with my son. I’d heard of

stamping her little metal feet. She deepens with

this girl from Normandy, but thought she was a distant

time. Joan of Arc symbolizes individual and

group and solo exhibitions at the

saint whose accomplishments were exaggerated.

independent thinking, and she influenced the

Something, however, about the attention given her in

coming of the women’s suffrage movement in the

this obscure church made me look more closely. This

1920s because she fought for the greater good of

was not typical religious statuary. There was a resolve

her country rather than her own interests. Joan still

in the faces, a presence. Nothing sappy. I decided then

exhorts us to find the courage we didn’t think we

University, Morrison Gallery, the

and there to get acquainted. Joan of Arc was indeed

had. She rose up against abuse. She would not take

real. She rode warhorses, wore full body armor, carried

no for an answer. And Joan of Arc still roars to us

Maryland Institute—­­­­and in Santa Fe,

a sword, a banner, and as she herself said, she “knew

down through the ages: Stand up for yourself! Pay attention! Don’t ever give up!

Linda Durham, Turner Carroll, and

nothing of these things.” But that did not stop her. She cried often, yelled at seasoned generals, even yanking

Mark Twain eulogized Joan in print as “by far the most extraordinary person

Museum of American Illustration, Colgate



the Owings Dewey Gallery—and recently contributed work for the Santa Fe Artists’ Medical Fund at Santa Fe’s Blue Rain Gallery.

an arrow out of her shoulder (wounded three times, she kept leaping back into action; hence the enemy

series Euphorbia, which was about cactus armor. Linda

Photograph by Dana Waldon




THE magazine | 11

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the london academy of music and dramatic art, one of the finest training conservatories in the world. Actors of all levels, readers, students, and general public are welcome. Tickets are limited!


Romeo & Juliet: Clues on Creating Character Tuesday • February 16 • 5 p.m. • Scottish Rite Temple

Sonnets: Finding Meaning in the Text

Thursday • February 18 • 1:30 p.m. • New Mexico History Museum

Master Class: Shakespeare’s First Folio

Friday • February 19 • 5 p.m. • Museum of International Folk Art For detailed information and to buy tickets:

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Also, don’t miss the ducdame ensemble from New York in

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February 17 • 7:30 p.m. • Adobe Rose Theater • Santa Fe tickets:

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dames of thrones: the women of shakespeare ’s histories

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recently died? The menorah’s presence implies she may be

we see a lonesome woman in transition. Where will she go

lighting further fuels our sense of intimacy with this young

Jewish. While Chanukah is traditionally celebrated by Jews of

next? Who will she become?

(vintage) female subject. She mournfully holds a white flower,

all ages, it is most often associated with childhood and family

—Davis K. Brimberg, Ph.D., Clinical Psychologist

as if in prayer. Did someone pass away? White flowers often

(in addition to symbolizing divine light). Psychologically, the

symbolize grief and mourning. Indeed, a somber emotional

fact that she is barefooted is particularly striking. Indeed,

The girl sits gazing at the flower her father had given her. She

tone pervades this entire monochromatic work. Perhaps she

she is metaphorically finding her footing as she goes through

remembers his words, “whatever happens you will always be

is in the process of moving her home. The box, the suitcase,

upheaval. Lastly, the exalted man behind her may be Moses

my Rose.” Sadness sweeps over her knowing that the life they

and the turned-over artwork all suggest she is packing her

with the two figures representing the “children of Israel.”

had shared was over. They can take only one small suitcase

belongings. Yet, is this her childhood home or her adult

His distinguished appearance with an ecstatic expression

each. A few smaller masterpieces were taken off the walls in a

dwelling? Was it her parents or other family members who

starkly contrasts with her humble, solemn manner. Overall,

hurry, and the precious menorah and silver cup that had been in their family for generations were thrown into a box, in hopes of hiding them from pilferers. But the large Michelangelo could not be hidden. The dying man in the painting reminds Rose of her father—his faith always uplifting him. She was not so sure of his God, who rained so much suffering down on them. For her, the whole world exists in that flower, the budding of promise, the intoxicating scent of attraction, the offering of pollen and nectar, the magnificence of full bloom, the glorious drifting of petals from the fading rose, and then, finally, a memory of all that had been. For her, the sublime creative force of nature was God. This other manmade God who made impossible rules, who separated mankind, and who brought about persecution was not one to love. It was that one, still, quiet moment, absorbing the beauty of the rose in her hand, that she believed in.

—Lisa de St. Croix, Metaphysical Artist This superbly painted narrative brings an overwhelming feeling of nostalgia to me. As I was once a young woman—a student of art far from home, entering the world of art, cautiously and carefully experimenting with my desire to express emotional intelligence and complexity, into a self satisfying formation and style. In this painting, a young woman sits alone with her suitcase, representing segregated home, family, friends, and security. Behind her suitcase are paintings that face a wall representing, perhaps, her first attempts at honing her craft? A cardboard box, full of objects, resides in the foreground; this represents her personal heritage which will eventually reflect itself within her art making. Behind the woman is a large, dramatically composed painting, which comments on the rich heritage and art history that she is required to contemplate within her learning experiences. Finally, there is the lamp beside her that floods the scene with soft illumination. She sits casually and barefoot on a small chair, holding a white rose in her hands that symbolizes the unparalleled, perfect beauty of Nature. This painting is a stunning expression of what it is like to enter the art world as a woman. It is about learning one’s craft within the confines of mostly patriarchal institutions; it is about willingly exposing oneself to judgment, about going out into the world to make a living from acquired skills—a daunting task for a woman as an artist. It reminds me that the rose, contemplated, keeps the heart centered.”

—Penelope Nicolopolis, Santa Fe

14 | THE magazine






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The complete circle of meaning and counterpoint exists between the material and myself. A finished sculpture is a complete story, the viewer’s involvement an epilogue to it.

—Paul Bloch In 2015, Bloch’s sculptures were shown at Bryant Street Gallery, Palo Alto, California, and in a group exhibition at Heather Gaudio Fine Art, New Canaan, Connecticut. In 2016, his work will be on view at the Santa Fe Community College.

As an artist, I want to communicate with an audience through my work. This does not mean, however, that the art itself is devoid of meaning in the absence of viewers. Throughout the creative process a series of dialogues take place, first between the artist and their medium, and later among viewers interpreting the work. To begin the creative process I have to understand how the components of glass work together. In a sense I have to speak the language of my medium; many people call this honing their craft. We create stories in our art, consciously and unconsciously. When I express myself through a work of art, it has meaning because it comes from my personal experiences, and that meaning is further developed by the viewer. The story told through a piece of art is ongoing. It doesn’t start once an audience sees it, but their perspective adds to the narrative, and helps shape it over time.

—Elodie Holmes Go to to see work by Holmes.



THE magazine | 17

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Ancient City Appetite by Joshua


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the price of everything and the value of nothing. If crowds bother you, order

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Enchilada and Taco. Listed on the lunch and dinner menus as “#11.” One blue corn enchilada filled with ground beef, Cheddar cheese, and onion; FEBRUARY/MARCH


Photograph by Joshua Baer. Ancient City Appetite recommends places to eat, in and out of Santa Fe. Send your favorites to

THE magazine | 19

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O ne B ottle

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B aer .

After all the jacks are in their boxes

Squires, and Jimmy James and the Blue Flames. In May of 1966, during

And the clowns have all gone to bed

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You can hear happiness staggering on down the street

named Linda Keith noticed Hendrix. At the time, Linda Keith was

Footprints dressed in red

Keith Richards’s girlfriend. After recommending Hendrix to The Rolling

And the wind whispers, Mary

Stones’ manager Andrew Loog Oldham, who was not impressed, Keith

[All lyrics are to “The Wind Cries Mary” by Jimi Hendrix.

introduced Jimi to Chas Chandler, who had just left The Animals with

©1967 Jimi Hendrix.]

the idea of launching a second career as a manager and producer. Chandler was impressed. On September 24, 1966, he brought Hendrix to London

James Marshall “Jimi” Hendrix was born on November 27, 1942, in

and signed him to a recording contract. On September 30, 1966, Chandler

Seattle, Washington. According to Jimi’s father, James “Al” Hendrix, his

took Hendrix to the London Polytechnic at Regent Street, where Cream

son’s first guitar was a broom. “I used to have Jimmy clean up the

was scheduled to perform. Before Cream took the stage, Chandler

bedroom all the time while I was gone, and when I would come home

introduced Hendrix to Eric Clapton.

I would find a lot of broom straws around the foot of the bed. I’d

“He asked if he could play a couple of numbers,” Clapton recalled.

say to him, ‘Well didn’t you sweep up the floor?’ and he’d say, ‘Oh

“I said, ‘Of course,’ but I had a funny feeling about him.” Halfway through

yeah,’ he did. But I’d find out later that he used to be sitting at the

Cream’s set, Hendrix walked onstage and performed Howlin’ Wolf’s

end of the bed there and strumming the broom like he was playing

“Killing Floor.” According to Clapton, “He played just about every style

a guitar.”

you could think of, and not in a flashy way. I mean he did a few of his

In 1956, Jimi found a one-string ukulele in a trash pile. He taught himself to play the one-string by ear, singing along to Elvis Presley’s “Hound Dog.” In 1957, Al bought an acoustic guitar for five dollars and gave it to Jimi. In 1958, after hearing Jimi’s versions of B. B. King’s, Robert Johnson’s, Muddy Waters’s, and Howlin’ Wolf’s guitar licks, Al went to Myer’s Music

tricks, like playing with his teeth and behind his back, but it wasn’t in an upstaging sense at all, and that was it. He walked off, and my life was never the same again.” Which brings us to the 2005 J. Lassalle Champagne Brut “Cuvée Spéciale.” In the glass, the 2005 Lassalle Cuvée Spéciale is a dance of

on First Street in Seattle, bought a white Supro Ozark,

light and shadow. Some aspects of the bouquet are aggressive,

and gave it to Jimi. In 1959, Jimi joined a band called the

others are passive, almost to the point of becoming shy.

Rocking Kings. After the Supro Ozark was stolen, Al

On the palate, the Lassalle reinvents itself as a story. In

bought a Red Silvertone Danelectro and gave it to Jimi.

the beginning, the story sounds simple enough, the way a nursery rhyme can sound simple, but in no time at all

A broom is drearily sweeping

the simplicity reinvents itself as a wheel, not so much

Up the broken pieces of yesterday’s life

a wheel on fire as a wheel inside a wheel. The finish is

Somewhere a queen is weeping

pure delight. Its only flaw is the way it turns itself into

Somewhere a king has no wife

ether before you have time to embrace it.

And the wind, it cries, Mary

In London, Hendrix fell in love with a writer named Kathy Etchingham. They moved into an apartment, ate,

In May of 1961, Hendrix enlisted in the Army. After completing basic training at Fort

Ord, California,

drank, got high, made love, fought, made up, and lived the lives of a genius and his heart’s desire.

he was assigned to the 101st Airborne Division and

“We’d had a row over food,” Kathy recalled, years

stationed at Fort Campbell, Kentucky. In a letter to

later. “Jimi didn’t like lumpy mashed potatoes. There

his father from Fort Campbell, Hendrix begged Al to

were thrown plates and I ran off. When I came back the

send him the Silvertone Danelectro. “I really need it

next day, he’d written that song about me. Mary’s my

now,” he wrote. In November of 1961, Billy Cox, a

middle name, and the one he would use when he wanted

fellow serviceman, walked past an army club and heard

to annoy me. It’s incredibly flattering.”

the sound of an electric guitar. Cox later described Hendrix’s style as “a combination of John Lee Hooker

Will the wind ever remember

and Beethoven.”

The names it has blown in the past

In 1962, Hendrix was honorably discharged

And with its crutch, its old age, and its wisdom

from the Army. During the next four years, he

It whispers no, this will be the last

backed up Wilson Pickett, Slim Harpo, Sam Cooke,

And the wind cries, Mary

Jackie Wilson, the Isley Brothers, Little Richard, Joey Dee and the Starliters, Curtis Knight and the FEBRUARY/MARCH


One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. Write to Joshua Baer at

THE magazine | 21


Pe r f e c t B r e ak f as ts

C H O C O L AT E M AV E N 821 West San Mateo Road


$ K E Y



up to $14









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

$34 plus


Photos: Guy Cross

...a guide to the very best restaurants in santa fe, albuquerque, taos, and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: Generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence.

Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian posters. House specialties: Hotcakes got a nod from Gourmet The Huevos Motuleños is a breakfast that you will really love. Comments: they’ve been doing it right here for over thirty-five years.

Andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin are our choices. C omments : Great pizza.

Chez Mamou 217 E. Palace Ave. 216-1845. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Artisanal French Bakery & Café. Atmosphere: Casual. House specialties: Start with the Prosciutto Melon Salad. For your main, try the Paillard de Poulet: lightly breaded chicken with lemon and garlic sauce, or the Roasted Salmon with white dill. Comments: Pasta dishes rule.

Arroyo Vino 218 Camino La Tierra. 983-2100. Dinner (Tuesday-Saturday) Full bar. Major credit cards. $$$$ Cuisine: Progressive American. Atmosphere: Warm and welcoming. House specialties: The Charcuterie Plate, the Grapefruit and Almond Salad, the Prosciutto Wrapped Norwegian Cod, and the N.M. Rack of Lamb. Comments:. Superior wines in the restaurant and wine shop.

Chocolate Maven 821 W. San Mateo Rd. 984-1980 Breakfast/Lunch/Sunday Brunch Major credit cards Cuisine: American—fresh, local, and tasty. Atmosphere: Real casual. House specialties: Pastries, Croissants, Pies, and Cakes. Eggs Benedict, Nicoise Tuna Salad, and the tasty Brie and Chicken Wrap. Comments: A great lunch spot.

Beestro 101 W. Marcy St. 629-8786 Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: Casual. House specialties: Chef-made Panini, salads, sanwiches, Soups, coffee drinks. Comments: Take-out or dine-in.

Chopstix 238 N. Guadalupe St.  982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, and Kung Pau Chicken. Comments: Friendly owners.

Bouche 451 W. Alameda St 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: The Bistro Steak and the organic Roast Chicken are winners. Comments: Chef Charles Dale is a pro. C afé F ina

624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch/Dinner ( Sun.) Wine/Beer soon in 2015 Cash/major credit cards. $$ C uisine : We call it contemporary comfort food. A tmosphere : Casual. H ouse specialties : For breakfast, both the Huevos Motulenos and the Eldorado Omelette are winners. For lunch, try their soup. We love the One for David Fried Fish Sandwich.

Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and the perfect Grilled Salmon are our favorites. Dinners are terrific. Comments: Nice selection of beer and wine. Very casual, friendly, and very reasonable prices. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: Good old American. fare. Atmosphere: Patio shaded by big cottonwoods. Great bar. H ouse specialties : The smoked brisket and ribs are the best. Super buffalo burgers. Comments: Huge selection of beers.

Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: Main the grilled Maine Lobster Tails or the 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines. Dr. Field Goods Kitchen 2860 Cerrillos Rd. 471-0043. Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: New Mexican Fusion. Atmosphere: Casual and friendly. House specialties: Faves: the Charred Caesar Salad, Carne Adovada Egg Roll, Fish Tostada,, and Steak Frite. Comments: You leave feeling good. Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room where you can sit, read periodicals, and schmooze.. House specialties: Espresso, cappuccino, and lattes. El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish Atmosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-to-cheek dancing. House specialties: Tapas. Comments: Murals by Alfred Morang. El Mesón 213 Washington Ave. 983-6756. Dinner Full bar. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme here as well as vegetarian dishes. Comments: Music nightly. Fire & Hops 222 S. Guadalupe St. 954-1635 Dinner - 7 days. Lunch: Sat. and Sun. Beer/Wine. Patio. Visa & Mastercard. $$$ Cuisine: Sustainable local food. A tmosphere : Casual and friendly. House specialties: The Green Papaya Salad and the Braised Pork Belly. Fave large plates: the Cubano Sandwich and the Crispy Duck Confit. C omments : Nice selection of beers on tap or bottles. Gabriel’s 4 Banana Ln. 455-7000 Lunch/Dinner/Brunch Full Bar Major credit cards. $$$

Cuisine: Mexican and Southwestern. Atmosphere: Real casual. House specialties: Fresh guacamole made at your table, handmade corn tortillas, Chile Relleno, Burrito de Carnitas, Carne Adovada. and the Cowboy Steak .Comments: Amazing maragaritas. Georgia 225 Johnson St. 989-4367. Patio. Dinner - Full bar. Major credit cards. $$$$ C u i s i n e : Clean and contemporary. A t m o s p h e r e : Friendly and casual. H o u s e s p e c i a lt i e s : Start with the Charcuterie Plate or the Texas Quail. Entrée: Try the Pan-Roasted Salmom—it is absolutely delicious. C o m m e n t s : Good wine list, a sharp and knowledgeable wait-staff, and a bar menu that you will love. G eronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: We call it French/Asian fusion. Atmosphere: Elegant and stylish. H ouse specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass and the classic peppery Elk tenderloin. C omments : Wonderful desserts and top-notch service. Harry’s R oadhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. A tmosphere: Down home House specialties: For breakfast go for the Scrambled Eggs with Smoked Salmon, Cream Cheese. For lunch: the out-of-this-world Buffalo Burger. Dinner: the Hanger Steak. C omments : Friendly folks. Il Piatto Italian Farmhouse Kitchen 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. A tmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad, the Lemon Rosemary Chicken, and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to table. Izanami 3451Hyde Park Rd. 428-6390. Lunch/Dinner Sake/Wine/Beer Major credit cards. $$$ C uisine : Japanese-inspired small plates. A tmosphere : A sense of quietude. House specialties:. The Nasu Dengaku, eggplant and the Pork Belly with Ginger BBQ Glaze. Comments: A lovely dining room and a great selection of Sake.

Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ C uisine : African and Caribbean inspired. A tmosphere : Real casual. H ouse specialties : Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers. C omments : Soups reign supreme. Joseph’s Culinary Pub 428 Montezuma Ave. 982-1272 Dinner. Beer/Wine Major credit cards. $$$ Cuisine: Innovative. Atmosphere: Intimate. H ouse specialties : Start with the Butter Lettuce Wrapped Pulled Pork Cheeks. For your main, try the Crispy Duck, Salt Cured Confit Style. Comments: The bar menu features Polenta Fries and the New Mexican Burger. Many really wonderful desserts to choose from. Great service is the standard here. Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Easygoing. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: Love the Sake. La Plancha de Eldorado 7 Caliente Rd., La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner. Beer/Wine. Major credit cards. $$ Cuisine: An Authentic Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Tamales. Comments: Sunday brunch rules. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Casual House specialties: Start with the Tomato Salad. Entrées we love are the Braised Lamb Shank with couscous. Comments: Wonderful breakfasts and a really beautiful courtyard Loyal Hound 730 St. Michael’s Drive. 471-0440 Lunch/Dinner. Beer/Wine. Patio. Major credit cards. $$ Cuisine: Comfort food. A tmosphere: Unpretentious. H ouse specialties: Shrimp and Grits, Beer Battered Fish and Chips, Braised Bison Short Rib Nachos, and Southern Fried Chicken. C omments : The homemade salsas is delicious. Nice selection of beer, wine, and aperitifs. Teriffic desserts and a very fiendly wait staff.

continued on page 25 february/march


THE magazine | 23

FROG’S LEAP DAY DINNER 3 Course Prix Fixe ◆ Monday, February 29, 7:00pm $95/ person ◆ Reservations recommended (505) 986-9190

APPETIZER Salmon & Scallop Escabeche scallion blinis & saffron crème fraîche 2013 Chardonnay, Napa Valley

e ENTRÉE Winter Spice Lamb Ravioli heirloom white beans & cabbage 2013 Merlot, Rutherford, Napa Valley or Beef Wellington fois gras & mushroom duxelle 2013 Cabernet, Rutherford, Napa Valley

e DESSERT Cowgirl Creamery, Devils Gulch challah pain perdue & pepper jam 2013 Zinfandel, Napa Valley Dinner Served Nightly ◆ 315 Old Santa Fe Trail ◆





Masa Sushi 927 W. Alameda St. 982-3334. Lunch/Dinner Sake/Beer Major credit cards. $$ C uisine : Japanese. A tmosphere : Low-key. H ouse specialties : For lunch or dinner: Start with the Miso soup and/or the Seaweed Salad. The spicy Salmon Roll is marvelous, as are the Ojo Caliente and the Caterpiller rolls. The Tuna Sashimi is delicious. C omments : Highly recommended. Midtown Bistro 910 W. San Mateo, Suite A. 820-3121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Beautiful open room. H o u s e s p e c i a lt i e s : For lunch: the Pacific Blue Crab Cakes or the Baby Arugula Salad or the Chicken or Pork Taquitos. Dinner: Seared Pork Tenderloin or the Alaskan Halibut. C o m m e n t s : Marvelous soups. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic. New York Deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. Nexus 4730 Pan American Fwy East. Ste. D. Alb. 505 242-4100 Breakfast/Lunch/Dinner Major credit cards. Patio. Cuisine: Southern-New Mexican. Atmosphere: Brew-pub dive. House specialties: Lots of suds and growlers, not to mention the amazing Southern Fried Chicken Recomendations: Collard Greens, Mac n’ Cheese with green chile, Gumbo and Southern Fried Fish n’ Chips. Comments: Fair prices.

Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American. Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs, and Burgers. Haystack fries rule. Recommendations: Excellent wine list. S an F rancisco S t . B ar & G rill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ C uisine: Good bar food. Atmosphere: Casual, with art on the walls. House specialties: Lunch: the San Francisco St. hamburger or the grilled Salmon filet with black olive tapeade and arugula on a ciabatta roll. Dinner: the flavorful twelve-ounce New York Strip steak, with chipotle herb butter, or the Idaho Ruby Red Trout with pineapple salsa. Comments: Visit their sister restaurant at Devargas Center. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Southwest Contemporary. Atmosphere: Minimal, subdued, and elegant House specialties: Their world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Pan-seared Salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Happy hour special from 4-6 pm. Great deals: Half-price appetizers. “Well” cocktails only $5. Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmeal-crusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet.

Oasis Cafeé 7 Caliente Rd.-A3. Eldorado. 467- 8982. Lunch/Dinner Major credit cards. $$ Cuisine: American and Greek. Atmosphere: Casual and friendly. House specialties: Gyros, Falafel, and the the best Cubano we’ve ever had. Comments: Friendly waitstaff.

Santa Fe Bite 311 Old Santa Fe Trail. 982-0544 Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Lunch: the juicy 10 oz. chuck and sirloin Hamburger or the Patty Melt. Dinner: the Ribeye Steak is a winner. The Fish and Chips rivals all others in Santa Fe. C omments : Try any of the burgers on rye toast instead of a bun. Their motto” “Love Life. Eat good.” We agree.

Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: Breakfast: go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. All of the burritos are great. Patty Melt is super. Comments: Green Chilie is perfect.

Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800. LuLunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. Atmosphere: Contemporary. House specialties: Tuna Steak, ChickenFried Chicken with mashed potates and bacon bits, and the New York Strip with a yummy Mushroom-Peppercorn Sauce. Desserts are on the mark. Comments: Nice wine selection.



Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. H ouse specialties : Hot daily specials, gourmet sandwiches, Get the Baby-Back Ribs when available. Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Pub grub. Atmosphere: Real casual. House specialties: We enjoy the Beer-steamed Mussels, the Calamari, and the Fish and Chips. Comments: Good selection of beers. Shake Foundation 631 Cerrillos Rd. 988-8992. Lunch/Early Dinner - 11am-6pm Major credit cards. $$ Cuisine: All American Burger Joint. Atmosphere: Casual with outdoor table dining. House specialties: Green Chile Cheeseburger, the Classic Burger, and Shoestring Fries. Amazing shakes made with Taos Cow ice cream. Comments: Sirloin and brisket blend for the burgers. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff. Sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner. Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. Atmosphere: Large open room. House specialties: The Mediterranean Breakfast—Quinoa with Dates, Apricots, and Honey. Lunch: the Indonesian Vegetable Curry on Rice; C omments : Wine and Craft beers on tap. Terra at Four Seasons Encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties:. For dinner: start with the sublime Beet and Goat Cheese Salad. Follow with the PanSeared Scallops with Foie Gras or the Double Cut Pork Chop. Comments: Chef Andrew Cooper brings seasonal ingredients to the table. Excellent wine list. The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive.  505-583-2233. Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ C uisine : Southwest and American. A tmosphere : Casual, calm, and

friendly. H ouse specialties : At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, and foillow with the Trout with a Toa ste Piñon Glaze. C omments : Nice wine bar. The Compound 653 Canyon Rd.  982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American Contemporary. Atmosphere: 150-year-old adobe. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef and owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award. The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: American Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch, the Prime Rib French Dip or the Lemon Salmon Beurre Blanc. Dinner: go for the Lavender HoneyGlazed Baby Back Rib, or the Prime Rib Enchilada Comments: Super bar. The Ranch House 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: Barbecue and Grill. Atmosphere: Family and very kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: The best BBQ ribs. The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican.Atmosphere: A local institution located just off the Plaza. House specialties: If you order the red or green chile cheese enchiladas. Comments Always busy., you will never be disappointed. The Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to table-to mouth. Atmosphere: Casual. House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox or the Teahouse Oatmeal. All of the salads are marvelous.. Many, many sandwiches and Panini to choose from. A variety of teas from around the world available, or to take home make The Teahouse the best source for teas in the great Southwest. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$ C uisine : Traditional New Mexican. A tmosphere : Easygoing and casual. H ouse specialties :

Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese or the daily specials. C omments : The real deal. Tune-Up Café 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, New Mexican. A tmosphere : Down home. H ouse specialties : Breakfast:We like the Buttermilk Pancakes. Lunch: Great specials C omments : Easy on your wallet. Vanessie


Santa Fe

434 W. San Francisco St. 982-9966 Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American. Atmosphere: Piano bar and oversize everything, thanks to architect Ron Robles. H ouse specialties : New York steak and the Australian rock lobster tail. C omments : Great appetizers. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: Light, bright and cheerful. House specialties : Organic salads. We love all of the salads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: Seating on the patio. When in Albuquerque, visit their sister restaurant: 1828 Central Ave. SW. Verde 851 W. San Mateo Rd.. 820-9205. Gourmet Cold-Pressed Juice blends Major credit cards. $$ Cuisine: Just Jjuices. Atmosphere: Light, bright, and cheerful. House specialties: Eastern Roots: a blend of fresh carrot and apple juice with ginger and turmeric juice, spinach, kale, and parsley. Zacatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. H ouse specialties : Try the Chicken Tinga Taco with Chicken and Chorizo or the Pork Ribs. And more then 65 brands of Tequila for your drinking pleasure. Zia Diner 326 S. Guadalupe St. 988-7008. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine American A tmosphere : Real casual. House specialties: The perfect Chile Rellenos and Eggs is our breakfast choice. Lunch: the Southwestern Chicken Salad, the Fish and Chips, and any of the Burgers C o m m e n t s : A variety of delightful pasteries and sweets are available for take-out.

THE magazine | 25

DRProjects: Pop Up Photography Exhibition Photographs from #EmergeSantaFe Instameet In collaboration with @SimplySantaFeNM and benefit for Strangers Collective Opening Reception: Friday, February 5 from 5:00 - 7:00 PM On view through February 13, 2016

Caitlin E. Jenkins @caitlinephoto, 2016, Sharp Edges and Soft Light detail: Chris Collins - Emanate (Drum), 2015, Found object and copper leaf sculpture, 35” x 23” x 23”

Amy Tischler @amytischler, 2016, Reach, detail: Matthew Kluber - Friday I’m In Love, 2015, Alkyd on aluminum, custom software, Computer, digital projection, 44” x 96”

PAUL HUXLEY Recent Paintings After the Venice Biennale MICHELE BUBACCO Serenade MONTE COLEMAN Heads and Hands DR PROJECTS: JACK SLENTZ, CHRIS COLLINS, TIM COX Industrial Strength DR PROJECTS: ERIK GELLERT All Square Exhibitions run through February 20, 2016 Jack R. Slentz, Dog Leg, (pair) and Dog Leg, (wall), 2008, Aluminum sign material, 12” x 12” x 12” DAVID RICHARD GALLERY

1570 Pacheco Street, A1, Santa Fe, NM 87505 505-983-9555 | DavidRichardSFe DavidRichardGallery



516 ARTS, 115 Gold Ave. SW, Alb. 505242-1445. Color Sphere: site-specific mural by PA System, the culminating piece of 516 ARTS’ season-long series, Habitat— Exploring Climate Change Through the Arts. Dedication at Tricklock Performance Laboratory, 110 Gold Ave. SW, Alb. 3-5 pm. Ellsworth Gallery, 215 E. Palace Ave., Santa Fe. 989-7900. Life Lines: new works by Maxwell Bennett, Enzo Marra, and Karl Skaret. 5-7 pm. FRIDAY, FEBRUARY 5

B ranigan Cultural Center, 501 N. Main St., Las Cruces. 575-541-2154. Reflections—African American Life from the Myrna Colley-Lee Collection: a story of community and place through the selection of paintings, photographs, textiles, and works on paper from the collection of the renowned costume designer and arts patron. For the Love of Art Month Member Exhibit: photographs, fractal art, paintings, sculpture, and more, reflecting the diverse membership of ArtForms Artists Association of New Mexico. 5-7 pm. Downtown Subscription, 376 Garcia St., Santa Fe. 983-3085 Nature Traversals: subconscious depiction of nature though contemplative states of wandering and wondering. Paintings by Michael Long. 4-6 pm.

Las Cruces Museum of Art, 491 N. Main St., Las Cruces. 575-541-2137. Graphicanos—Contemporary Latino Prints from the Serie Project: serigraph prints by Latino artists, exploring cultural issues of the Latino community throughout the country. 5-7 pm.

The ART.i.factory, 930 Baca St., Santa Fe. 982-5000. Objects of Intrigue: works by Emily Romero, Cathy Lopez Miller, and curator Janet Stein Romero. 4-7 pm.

505-382-9824. (un): video art installation and performance by Erin Fussell on clearing oneself from feeling stuck. Closing reception and performance: 5-7 pm.



New Mexico Museum of Art, 107 W. Palace Ave., Santa Fe. 476-5072. Stage, Setting, Mood—Theatricality in the Visual Arts: works examining the formal means artists employ to impart a sense of drama and setting in their compositions. 5:30-7:30 pm.

Edition One Gallery, 1036 Canyon Rd., Santa Fe. 570-5385. HEART: group contemporary photography exhibition on the universal subject of love, with individual interpretations. 5-8 pm.

Exhibit/208, 208 Broadway SE, Alb. 505450-6884. Betwixt and Between: mixed-media works by Lucy Maki. 5-8 pm.

Turner Carroll Gallery, 725 Canyon Rd., Santa Fe. 986-9800. Albuquerque Academy Juried Student Art Exhibition: works by rising artists from Albuquerque Academy. 5-7 pm.

Exhibit/208, 208 Broadway SE, Alb. 505450-6884. Heaven and Earth: group show of landscape-based mixed-media works. 5-8 pm.

Weyrich Gallery, 2935-D Louisiana Blvd., Alb. 505-883-7410. Fusion of Form and Color: color woodblock prints and paintings by Angie Coleman. Functional and sculptural ceramics by Jarrett West. 5-8:30 pm.


Phil Space, 1410 Second St., Santa Fe. 9837945. Christopher Lantz: abstract paintings by Lantz. 5-7 pm. Tansey Contemporary, 652 Canyon Rd., Santa Fe. 995-8513. White: new mixed-media works by Thomas Roth. 5-7 pm.


Tansey Contemporary, 652 Canyon Rd., Santa Fe. 995-8513. Frank Buffalo Hyde: new works that draw upon popular culture imagery to present alternate perspectives on contemporary Native experience. 5-7 pm. Winterowd Fine Art, 701 Canyon Rd., Santa Fe. 992-8878. Mathematica: Tom Kirby’s newest series of 64 paintings on panel that incorporate some of the great diagrams and formulas from the history of mathematics. 5-7 pm. FRIDAY, MARCH 18


516 ARTS, 516 Central Ave. SW, Alb. 505242-1445. At Home in the World: first exhibition of the gallery’s 10th anniversary year, exploring belonging and place. 6-8 pm. Richard Levy Gallery, 514 Central Ave. SW, Alb. 505-766-9888. Urban Landscapes: hyperrealist paintings by Richard Estes. Aten Reign: James Turrell’s print based on the site-specific installation at the Guggenheim Museum in 2013. 6-8 pm.

IAIA Museum of Contemporary Native Arts, 108 Cathedral Pk., Santa Fe. 4242300. Forward—Eliza Naranjo Morse: works by Morse of the Santa Clara Pueblo. 5-7 pm. FRIDAY, FEBRUARY 26

John Sommers Gallery, Art Building #84, Room 202, 1 University of New Mexico, Alb.

City of Mud, 1114-A Hickox St., Santa Fe. 9541705. UnderSee—Subliminal and Sublime: group The Meow Wolf Art Complex and the House Of Eternal Return installation opens on Friday, March 18 at 1352 Rufina Circle, Santa Fe. 135 artists have created 70 different individual immersive spaces, a 300-person music venue, an interactive cave system, an arcade with 14 games, and more. Public opening: 2 pm to 2 am. Photograph: Kate Russell. Tickets:

continued on page 30 february/march


THE magazine | 27

WHO WROTE THIS? “ You are a timeless being in the midst of change.” Eckart Tolle or Deepak Chopra or Werner Erhard or Joan Halifax Roshie


For artists without gallery representation in New Mexico. Full-page B&W ads: $750. COLOR: $1,000.

Reserve space in the April Issue byTuesday, March 15.

505-424-7641 or email:

The Big Show with Honey Harris and THE magazine Thursday, February 11 10:30 am

98.1 FM KBAC

OUT & ABOUT photographs by Mr. Clix Audrey Derell


Fidashow featuring aquatic and subconscious art. Sculpture, paintings, décor, and artifacts in an immersive installation. 5-8 pm.

6780. Reading and discussion by lovers of the works of James Joyce. Led by Adam Harvey, creator of the acclaimed one-man show, Don’t Panic—It’s Only Finnegans Wake. Enthusiasts with all levels of knowledge welcome. Free. Saturdays, 10 am-12:30 pm.


ViVO Contemporary, 725 Canyon Rd., Santa Fe. 982-1320. Giving Voice To Image 4: visual artists collaborate with award-winning New Mexico poets, giving poetic voice to artistic image. 5-7 pm.

Kindred Spirits Animal Sanctuary, 3749A Hwy. 14, Santa Fe. 471-5366. Valentine’s Day Party: for the love of senior animals. Sat., Feb. 13, 1-4 pm. Tour at 1:30 pm.


Lannan Foundation, Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe. 988-7050. Teju Cole with Amitava Kumar— Readings and Conversations: Wed., Feb. 3, 7 pm. Gabrielle Walker with Chris Williams—In Pursuit of Cultural Freedom: Wed.,s Mar. 23, 7 pm. Tickets and more events:

ART HOUSE, Thoma Foundation, 231 Delgado St., Santa Fe. 995-0231. Luminous Flux 2.0: technological artworks spanning over fifty years of the digital art genre and including computer, light-based, and electronic artworks from pioneering experimenters and contemporary innovators. Aureole I: Tom Joyce’s massive forged stainless steel sculpture that stands over six feet high and six feet wide. Through Spring, 2016. ARTsmart’s February Fundraising, Santa Fe. 992-2787. 19th annual gala and events to ensure that schoolchildren have the opportunity to explore, experience, and engage in the visual arts. Sat., Feb. 27 and Sun., Feb. 28. David Richard Gallery, 1570-A1 Pacheco St., Santa Fe. 983-9555. #EMERGESantaFe: images created during an Instameet in January. Part of the exhibition’s proceeds will benefit contributing artists as well as Strangers Collective, a local alliance of emerging artists. Pop-up exhibition: Fri., Feb. 5 and Sat., Feb. 6. Heads and Hands: new ceramic sculptures by Monte Coleman. Through Sat., Feb. 20. Georgia O’Keeffe Museum, 217 Johnson St., Santa Fe. 946-1000. Carbon: cast graphite sculpture and large minimalist drawings by Susan York. Through April, 2016. Guild Cinema, 3405 Central Ave. NE, Alb. 505-255-1848. Silver Ochre: Who Are US 2016: 21st century America through the eyes and ears of two perpetually traveling artists. With a series of “moving stills” by ACVilla and Thollem’s live score, the performance highlights influences from the diversity of sights and sounds of this hyper-multi-cultural country. Thurs., March 31, 7 pm. Door: $8/$5 for seniors and students. Harwood Museum of Art, 238 Ledoux St., Taos. 575-758-9826. Art of Wine: art auction and wine tasting to benefit the museum. Fri., Jan. 29, 4-6:30 pm. Tickets: harwoodmuseum. org/artofwine IAIA Museum of Contemporary Native Arts, 108 Cathedral Pk., Santa Fe. 4242300. Akunnittinni—A Kinngait Family Portrait: artworks that provide a personal and cultural history of three generations of Inuit women— grandmother, mother, and daughter: Pitseolak Ashoona, Napachie Pootoogook, and Annie Pootoogook. Through Fri., Apr. 1. More exhibitions: JoyceGroup Santa Fe, Santa Fe Public Library, 145 Washington Ave., Santa Fe. 955-

30 | THE magazine

Heart: group show of 8” x 8” contemporary photographs for Valentine’s Day at Edition One Gallery, 1036 Canyon Road, Santa Fe through Sunday, March 6. Reception: Wednesday, February 10 from 5 to 8 pm. Photo: Eddie Caraeff. The Monotypes: Reflections of a Painter: landscapes by Forrest Moses at LewAllen Galleries, 1613 Paseo de Peralta, Santa Fe. Reception: Friday, January 29 from 5:30 to 7:30 pm.

Meow Wolf’s House of Eternal Return, 1352 Rufina Cir., Santa Fe. 395-6369. Grand opening of the new arts complex. VIP Gala: Thurs., Mar. 17, 5-11 pm. Opening weekend: Fri., Mar. 18 through Sun., Mar. 20. Tickets and membership: Misión Museum, Plaza de Española, 706 E. Bond St., Española. 505-747-8535. Meeting at the Parting Place: Thollem McDonas solo piano concert to benefit the Mesa Prieta Petroglyph Project. Sun., Feb. 28, 7:30-9 pm. Door: $10/$5 for seniors, students, and artists. Museum of Indian Arts and Culture, IAIA Museum of Contemporary Native Arts, New Mexico Museum of Art, Santa Fe. Multi-venue, year-long celebration of Lloyd Kiva New’s contributions to contemporary Native culture. Museum of Indian Arts and Culture’s career retrospective A New Century—The Life and Legacy of Cherokee Artist and Educator Lloyd “Kiva” New opening Sun., Feb. 14. IAIA Museum of Contemporary Native Arts’ Lloyd Kiva New—Art, Design, and Influence opening on Thurs., Feb. 18. More events:, museum, Museum of International Folk Art, 706 Camino Lejo, Santa Fe. 476-1200. Flamenco—From Spain to New Mexico: more than 150 objects including items used by renowned artists including Encarnación López y Júlvez “La Argentinita,” José Greco, Vicente Romero, and María Benítez. Through Sep. 2016. Museum of Nature and Science, 411 N. Main St., Las Cruces. 575-522-3120. Dinosaur Train!: children ages 3 to 5 learn about paleontology, ancient environments, and trains on the third Thursday of every month. Thurs., Feb. 18, 9 am. More events and exhibitions: New Mexico History Museum, 113 Lincoln Ave., Santa Fe. 476-5200. The Book’s the Thing—Shakespeare from Stage to Page: Palace Press printers Tom Leech and James Bourland present a multi-part interactive exhibition. Through Sun., Feb. 28. Peters Projects, 1011 Paseo de Peralta, Santa Fe. 9545800. Present Tense: paintings by Kenton Nelson, Kent Monkman, and Ray Turner. Through Sat.., Mar. 12.



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Scheinbaum & Russek, 369 Montezuma Ave., Ste. 345, Santa Fe. 988-5116. Georgia O’Keeffe—Through the Lens: works by Eliot Porter, Todd Webb, and Myron Wood, who were invited by O’Keeffe to photograph her. Through Sat., Mar. 5. SITElab, SITE Santa Fe, 1606 Paseo de Peralta, Santa Fe. 989-1199. FACES—Santa Fe: portraits of friends and friends’ friends by Ben Haggard. Through Sat., Feb. 13. Special Collections Library, Botts Hall, 423 Central Ave. NE, Alb. Complete Space Buff’s Bucket List: book release and talk by the author, Loretta Hall. Sat., Jan. 30. TRUTH, New Mexico. The southern New Mexico–made speculative thriller comes to DVD. Tues., Feb. 2. Netflix, Redbox, and elsewhere. William R. Talbot Fine Art, 129 W. San Francisco St., Santa Fe. 982-1559. William R. Talbot Fine Art Celebrates 30th Year in Santa Fe: antique maps, nineteenth-century Americana, and more. Through Fri., Feb. 12.

and 6, 7:30 pm. in the NHCC’s Albuquerque Journal Theatre. Tickets and more events: Popejoy Hall, 203 Cornell Dr., Alb. 505344-1779. Ailey II: the second company of Alvin Ailey American Dance Theater combines the country’s best young dance talent with today’s outstanding choreographers. Sat., Feb. 20, 8 pm. Raisin’ Cane—A Harlem Renaissance Odyssey: a glimpse into the thoughts and words that became the voice of a new generation, an explosion in the artistic expression of African-American culture in Harlem. Fri., Feb. 26, 8 pm. Tickets and more performances: Taos Chamber Music Group, Harwood Museum of Art, 238 Ledoux St., Taos. 575-7589826. Into the Light: multimedia collaboration with sound and light artist Sasha vom Dorp inspires a program of music informed by light. Sat. and Sun., Mar. 19 and 20, 5 pm. Tickets: The Mine Shaft Tavern, 2846 Hwy. 14, Madrid. 505-474-0344. Cactus Slim and the GoatHeads: Tues., Feb. 2, 16, and 23, 7 pm. More music events: CALL FOR ARTISTS


National Hispanic Cultural Center, 1701 4th St. SW, Alb. 505-724-4771. Carnaval 2016—Ticket to Paradise: festive and colorful evening of music, dance, and theatre with Frank and Pilar Leto. Fri. and Sat., Feb. 5

32 | THE magazine

3045 Variations on The Feast of Venus: an ongoing project by contemporary artist Inga Krymskaya, involving adaptations and reinventions of the Flemish Baroque painting by Rubens. Any material and medium welcome. Submit by Fri., Feb. 26:

Fresh Santa Fe, 2855-A Cooks Rd., Santa Fe. 270-2654. Call for artists for 2016 to develop and showcase their work and ideas in the 2,000 square-foot space. Contact Gregory Waits by phone or

New works by Frank Buffalo Hyde will be on view at Tansey Contemporary, 652 Canyon Road, Santa Fe. Hyde draws upon imagery from popular culture to present alternate perspectives on contemporary Native experience. Reception: Friday, March 4 from 5 to 7 pm. Image: Drone Wars.

Santa Fe Independent Film Festival, Santa Fe. Submit your feature-length and short films online by Mon., Aug. 1.

Branigan Cultural Center, 501 North Main Street in Las Cruces is exhibiting Reflections: African American Life from the Myrna Colley-Lee Collection. On view February 5 through April 2. Reception: Friday, February 5 from 5 to 7 pm. Photograph: Mississippi #2 by Randy Hayes Rodney. www.





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First Folio! The Book That Gave Us Shakespeare New Mexico Museum of Art 107 West Palace Avenue, Santa Fe. 476-5072 Reception: Friday, February 5 from 5:30 to7:30 pm In commemoration of the four hundredth anniversary of Shakespeare’s death, the Folger Shakespeare Library in Washington, D.C., in partnership with the Cincinnati Museum Center and the American Library Association, is loaning selected sites in all fifty states the 1623 folio

Bottom of page: Garo Antreasian, Game Board, acrylic on wood, 36½” x 36”, 2015

edition of thirty-six of the Bard’s plays, accompanied by a multi-panel exhibition and digital

Below: Title Page with Droeshout Engraving of Shakespeare. Shakespeare First Folio, 1623.

content that document his cultural impact. The New Mexico Museum of Art is the sole venue

Folger Shakespeare Library.

to show the work in New Mexico, and it offers an array of public programs in conjunction with the exhibition. John Heminge and Henry Condell, Shakespeare’s friends and colleagues in the King’s Men, assembled the collection seven years after his passing. The works were grouped by comedies, histories, and tragedies, with an authenticated portrait of the playwright included in the volume containing eighteen plays that had never been published before. The folio, a large book of printed sheets folded in half to create two double-sided leaves when on display, will be open to the famous “to be, or not to be” soliloquy of Hamlet. Only two hundred and twenty-three of the original seven hundred and fifty copies of the First Folio exist today, and the Folger owns eighty-two of them. The volumes vary slightly as the works were being proofed at the time of the printing. The New Mexico Museum of Art offers complementary exhibitions on theatricality in the visual arts and the art and evolution of the guitar, while the Palace Press provides opportunities to learn about bookmaking in Shakespeare’s day. The International Shakespeare Center is sponsoring and working with its founding members and numerous arts organizations to present a month packed with events from a performance of The Winter’s Tale to a play imagining Shakespeare in Mark Twain’s America to talks comparing different versions of Hamlet to comic book Shakespeare. The programs include directors’ cuts of their favorite ten-minute scenes from Shakespeare’s plays, pop-up youth performances, recitations of the Bard’s sonnets, writing workshops, a look at women and Shakespeare, orchestral music inspired by the plays, master classes, family workshops, and numerous talks, including Why Read Shakespeare? Details:

Garo Antreasian: Systemic Abstraction Gerald Peters Gallery 1005 Paseo de Peralta, Santa Fe. 954-5700 Reception: Saturday, February 6, 2-4 pm Following a path of abstraction, Garo Antreasion, now ninety-three, presents new work that reflects his interest in the decorative traditions of ancient Mediterranean, African, and Middle Eastern cultures and patterns found in ornamental design. Antreasian simplifies and reduces these forms to create paintings and wood constructions that incorporate his long-standing attraction to architectonic structures and interlocking patterns. The forms intertwine, resembling tiled façades. There is boldness in the design and an added integrity in the interplay of color in the formal relationships he depicts. The exhibition accompanies the release of Garo Z. Antreasian: Reflections on Life and Art, a book that traces his artistic development and many creative accomplishments. With work in over sixty museum collections, including the Museum of Modern Art and the Metropolitan Museum of Art, and his seminal involvement in lithographic history as a master printer and technical director for the Tamarind Workshop in Los Angeles, as well as a year as co-director with Clinton Adams after the relocation of Tamarind Institute to the University of New Mexico’s campus in Albuquerque, and teaching in the department of art and art history at UNM, Antreasian has a substantive legacy. His draftsmanship is superb. Whether producing lithographic prints, paintings, or constructions, his fascination with and transformation of decorative elements to geometrically evolved abstract designs has been a hallmark of his work throughout his long career.

34 | THE magazine




36 | THE magazine



LARISA ILIEVA Samarkand, Acrylic and China ink

NIKOLAI PANAYOTOVSeven-headed Rider, Acrylic

SCOTT SWEZY Black Mist, Pastel

RUMI VESSELINOVA Edge, Archival pigment print


616 1/2 Canyon Road, Santa Fe, NM, 87501 (505) 982 2700 i n f o @ c a t e n a r y a r t g a l l e r y. c o m w w w. c a t e n a r y a r t g a l l e r y. c o m

“Quietly sweeps you away with the subtlety and grace … One would be hard pressed to find a more resonant, beautiful and thought-provoking maye (gift) at the 2015 Sundance Film Festival.” — Neil Kendricks, The Independent

Best of 2015 lists

New York Magazine Christian Science Monitor Movie City News




The Lensic


$100 w/ VIP pre-film reception $20 priority seating $15 reserved seating Proceeds benefit Center for Contemporary Arts

#Sembene @SembeneFilm @ccasantafe




Making Africa: A Continent of Contemporary Design Pierre-Christophe Gam, The Kingdom of Taali M, Screenshot, 2013. © Pierre-Christophe Gam Curator of the 2015 Venice Biennale Okwui Enwezor is quoted in the opening statement of the Guggenheim Museum Bilbao’s exhibition Making Africa: A Continent of Contemporary Design: “To think about a future is to think about one’s own possibilities in the world. And I have oftentimes said that the future belongs to Africa, because it seems to have already happened everywhere else.” Over one hundred and twenty artists and designers provide an array of work that demonstrates Africa’s vitality and diversity, as well as the colonial, urban, and culturally related influences being developed on a continent of fifty-four distinct nations. These artists and designers are resolutrelyare focused resolutely on the twentyfirst century, where design is deeply integrated into political, economic, social, cultural, and technological change. The work on view presents a diverse range of practices including object and furniture design, graphic arts, illustration, fashion, architecture, urban planning, craft, film, and photography. The exhibition is the result of two years of meetings held in cities throughout Africa that prompted a discussion of what is African design and generated the twentytwo recordings included in the Prologue, a section of february/march


the exhibition addressing Western preconceptions of Africa. The second part, I and We, features Western styling reinterpreted in a distinctively African way, promoting design as a tool for communication about Africa as part of a greater global mix via YouTube, social networks, and cell phone culture. Space and Object demonstrates how the environment influences individuals in their creative output through the work of artists whose work revolves around the city and its living spaces, uses of technology, materials, and the systems that shape personal environments. Origin and Future explores notions of time from precolonial and colonial pasts, as well as the recent past into the future. It traces the influence of colonial arts like the textile industry that used Indonesian batik techniques introduced by Dutch settlers, but developed patterns and color combinations that are prized for their uniquely African aesthetic. A catalogue showcases the artwork and covers the show ’s development process through essays by and interviews with the creative thinkers who shaped the exhibition on view through February 21 at Guggenheim Museum Bilbao, Avenida Abandoibarra 2, Bilbao, Spain. THE magazine | 39


Diane Armitage









Film history can agree on one thing if

people to rise above subsistence living.

talismanic image of the old and the new

nothing else—that there was no modern

Black Girl expresses an even more pointed

African consciousness, not yet seamlessly

African cinema, made by Africans, before

philosophical critique of socio-economic

merged, not at all resolved.

Ousmane Sembène (1923-2007). The

imbalances in a supposedly post-colonial

Jason Silverman, a Santa Fe filmmaker

movement for Africa to take charge of its

world where colonialism as an attitude is

and highly regarded curator of the movie

own image representation through filmic

still very much alive. Black Girl has a tragic

program at the Center for Contemporary

storytelling began in 1963, when Sembène

ending for the character of the young

Arts in Santa Fe, collaborated with the

made his first movie: Borom Sarret (The

woman Diouana who is caught between

African-born scholar Samba Gadjigo—a

Cart Driver), a black-and-white fictional

the hope of escaping poverty in Senegal

professor of French, African Studies,

narrative lasting less than a half hour. It

and the reality of being exploited in her

and Film at Mount Holyoke College in

was a simple tale of an impoverished

new job as a maid in France. Yet, Sembène

Massachusetts. Gadjigo, a Senegalese like

horse-drawn cart driver who comes up

ends his movie on a note of portentous

Sembène, was galvanized as a teenager by

against the realities of urban African life

ambiguity in the guise of a young boy who

the political books of Sembène, who came

and is essentially defeated by it, in as much

picks up a wooden African mask that once

to prominence as a writer before he began

as the cart driver’s horse is no equal to

belonged to Diouana. It had been brought

making films. As the documentary about

the horsepower of modern vehicles. In

back to her family in Senegal by her former

him points out, Sembène initially wanted

1966, a scant three years after Sembène’s

employer after she committed suicide. As

nothing more than to get away from Senegal

modest beginning as a filmmaker, he would

the movie ends, the boy holds the mask

and “to be French.” However, as a young

achieve international acclaim with his

to his face and follows the nervous man all

man who was able to move to Marseilles

second movie, La Noire de… (Black Girl).

the way to the boat that will take him back

to work, he quickly saw through the veils

This film emphasizes the gap between a

to France. The boy lowers the mask only

of colonialism that continued to shroud the

post–World War II European affluence

when the boat begins to leave, exposing his

imperiled heart of the African continent—a

and the prevalent struggles of third world

beautiful impassive face. Here we see the

land that had no positive self-identification


with what it meant to be a twentieth-

African leader after another. The filmmaker

fails. She would leave him because she

Sembene! as a documentary is vivid

century African. As Sembène said, “I began

becomes a political rebel whose movies

felt defeated by Sembène the artist;

in its crystallization of the life of one of

to write to give voice to the voiceless.”

were banned for a period of time. This

Moore felt his obsession with making

world cinema’s great modern writers and

Working with hundreds of hours of

documentary that chronicles the events in

movies was like having a second wife

directors, and it is equally vivid, and often

archival footage of Sembène’s journey and

Sembène’s life as a writer and a director

who was always there between them.

harrowing, in its selected episodes of Africa

coming of age as a political thinker, followed

is also a crash course in modern African

The documentary then segues into the

realizing its potential in the twentieth century.

by his evolution as the first modern

history, and as the movie makes clear in a

final phase of Sembène’s life after Moore

Gadjigo and Silverman, along with their

African filmmaker, Gadjigo and Silverman

voiceover line, “The dream of a new Africa

leaves him: his trip to America at Gadjigo’s

editor Ricardo Acosta and a host of other

sort through Sembène’s legacy, literally

had become a nightmare.”

persistent invitation, his reception in

collaborators, have created a memorable


America as a superstar of international

portrait of an artist coming of age, both

the director’s films are rescued from his

Sembène was charismatic, articulate,

cinema, and the bold undertaking of his

politically and aesthetically, at a time when an

decaying home in Dakar after his death.

outspoken, stubborn, and courageous,

last movie, Moolaadé, a critique of female

entirely new chapter of African history was

The documentary proceeds as an episodic

and he was the perfect archetype for his

genital mutilation and its barbaric hold on

waiting to be written, not only in words but

narrative about a brilliant storyteller and the

generation. He was also a consummate

certain parts of African society. Moolaadé

in moving images. This documentary makes

awakening of a post-colonial world in all its

artist who embodied all that was necessary

is a powerful commentary not only on a

clear in its own riveting yet unencumbered

good, bad, ugly, and confusing moments.

to be an inspiration for African artists who

cultural practice that continues to horrify

style that Sembène did indeed act as if there



would come after him. But even as he is

the world, it’s also a potent signifier of

was no other artist who came before him—

liberation from its colonial past, but this is

depicted as a gifted creative presence,

Sembène’s determination to realize an

but his self-centrism was really the destiny of

eventually followed by dismay, and he then

he is also portrayed as an imperfect man

artistic vision at all costs, no matter how

a continent in the making.

begins his trilogy of films—Emitai (1971),

who had an uneven relationship with his

controversial, and at a time when he was

Xala (1975), and Ceddo (1977)—that

son Alain, a child from an earlier marriage,

eighty-two years old and blind. Moolaadé

symbolize the promise of independence

and we watch as his second marriage to

would be his last film, completed in 2005,

followed by the rampant corruption of one

the American scholar, Carrie Moore,

two years before his death.

and figuratively, as old rusty canisters of








This page: Ousmane Sembène, the director (right) on the set of Emitai, 1971 Left page: Ousmane Sembène, La Noire de… (Black Girl), movie still, 1966

THE magazine | 41



Mata Ortíz 1995 – 2015

LIGHTNING SPEAK: Solo and Collaborative Work of

RAVEN CHACON 22nd AnnuAl Juried GrAduAte exhibition

What Is There That We Cannot See?






The University of New Mexico Art Museum is at 203 Cornell Dr. NE, Albuquerque, NM 87106. It is in the Center for the Arts on the UNM campus, north of the University Bookstore. Paid parking available in the Visitor Parking-Structure at Redondo Dr. and Stanford. Free evening and weekend parking in A lot.

Tuesday–Friday: 10–4 | Saturdays 10–8 Closed on Sundays, Mondays, and major holidays FOR MORE INFO Please visit: or call 505.277.4001.

Edmundo López, Collection of James H. and Patricia B. Gilbert • Raven Chacon, While Contemplating Their Fate in the Stars, the Twins Surround the Enemy, 2003, Sound Installation • Marcie Brewer, Popcorn, 2015, Video, 1 Minute, 17 Seconds • Mike Disfarmer ( American, 1884 – 1959), Untitled ( Troy Hensley, Thoughtful Young Woman), c. 1940, Gelatin silver contact print, 9 7/8 X 7 7/8 inches, Gift of Stephen J. Nicholas, MD, University of New Mexico Art Museum, Albuquerque, 2014.26.21


Bill Jacobson: Lines in My Eyes

James Kelly Contemporary 1611 Paseo de Peralta, Santa Fe

BILL JACOBSON’S TRAJECTORY FROM HIS SIGNATURE OUT- OF-FOCUS photographic images, begun in the late 1980s, to his new angular photo geometries on

we’re not sure what, because everything behind the baggy jeans and large white rectangle is out

view at James Kelly Contemporary has been a beautiful evolution. The earlier black-and-

of focus. In #240, the white rectangle is back and appears to be standing on its own in the middle

white portraits have a haunting sense of life evaporating, where facial features blur and even

of an unpaved path leading toward (out-of-focus) distant dark woods.

disappear, and where hair appears amorphous. The images in Lines in My Eyes, however,

The five examples in the exhibition from Lines in My Eyes demonstrate Jacobson’s success

present square edges and hard angles. These pieces appear, at first, to be in sharp contrast to

at finding in the real world what he previously had been creating in the studio with Place (Series).

Jacobson’s earlier work. On closer inspection, perhaps not.

Lines in My Eyes #194 has all the angles, graded colors, and shadows of the Place (Series) images

The exhibition is divided nearly equally between works from Jacobson’s two most recent

but this is a real doorway and not a cardstock creation. And what of the white rectangle we

series (2010-2013). There are seven photographs from his Place (Series) and five from Lines in

glimpse through the doorframe? Is it the giant slab of cardstock from that path into the dark

My Eyes. In Place (Series) #1034 the overall effect is unsteadying. Jacobson has placed four large

woods? Lines in My Eyes #2418 again incorporates white rectangles and diffuse shadows. This

pieces of cardstock—white, black, grey, and orange—on a darker grey floor and they are leaning

time Jacobson has found his geometry behind the scenes in an art museum. Large, white,

against a white wall. At a distance, the image is a study of line, right angles, and shadow. Up

rectangular panels block our view into the alcove, but we do see a landscape painting, lying on

close, you would swear the cards are superimposed on the surface and not photographed at all.

the floor face up, between us and the panels, and we see plenty of Jacobson’s lines and angles

The image is framed under glass; there is no way to feel for ridges, even if you dared to touch,

throughout the image. Lines in My Eyes #260 is a coming together of angles and curves as

which you wouldn’t. Similarly, Place (Series) #1216 and Place (Series) #658 beg you to touch, to

Jacobson photographs the details in a space where three wooden frames nearly meet. One is

figure out how Jacobson has created this depth. Only the subtlest of shadows along the wall or

oval, one rectangular, the third intricately curved and carved in curlicues.

between the colored cards tells your brain that all has been photographed. Place (Series) #1023

A particularly striking image, for its multiple layers of messages, is Place (Series) #1227. A nude

offers a different dilemma. The lower-right-hand edge of the dark taupe card is peeling up off

male figure stands in side profile to the viewer on that same grey floor, and in front of that same white

the surface and away from its rusty-brown neighbor. This is, of course, impossible. The shadow

wall that is present throughout much of Place (Series). Between the man and the wall is another white

is again part of the photographic image. And this is where Jacobson’s earlier out-of-focus focus

rectangle, propped against the wall, casting stronger shadows than the man. He studies his trim self

stands in keen contrast to his new presentation of ultra-focus. These Place (Series) contributions

in the rectangle as though it were a mirror. We are nearly persuaded that he believes this. Spending

feature white backgrounds, are framed in white, and hang on white walls. This helps Jacobson’s

time with Jacobson’s images is a bit like being caught between a minimalist still-life painting and the

bright blocks of color leap at the viewer. The soft shadows of these four Place (Series) pieces do

abstraction of lines, shapes, and colors, all captured through his mind and camera.

link Jacobson back to his out-of-focus past, but Place (Series) #840 and Place (Series) #240 do so

—Susan Wider

even more directly. In #840 Jacobson has photographed a large sheet of white cardstock held up by a person whose head and torso are hidden, with only the legs showing, much like a sandwich board advertisement. The effect is of an empty white space in the middle of a photograph of



Bill Jacobson, Place (Series) #1216, pigment print on Epson Ultrasmooth paper mounted to museum board, 30” x 38”, 2013

THE magazine | 43

Portraiture Now: Staging the Self El Retrato Nuevomexicano Ahora: New Mexican Portraiture Now

National Hispanic Cultural Center 1701 Fourth Street SW, Albuquerque

THOUGH SHAKESPEARE WROTE A LINE ABOUT THE WORLD BEING A STAGE and people being merely players, the idea that we really are all actors is typically postmodern. And it is the

Gandert’s use of light and dark wonderfully frames the subject with her own shadow as she displays a

framing idea or aesthetic for Portraiture Now: Staging the Self, currently on view at the National Hispanic

portrait of Our Lady of Guadalupe on her back. This photograph is essentially a double portrait, one real

Cultural Center in Albuquerque. Staging the Self was organized by the Smithsonian’s National Portrait

and one imagined.

Gallery, and contains art produced by Hispanic artists working in the twenty-first century. A video plays

I was hesitant when, as a college student, I first learned about the theory that I was an actor in my

in the exhibition space, introducing us to the artists as they speak about themselves and their work. It

own life. I did not play the role of student, I thought. I was one. I was not playing at being someone’s

struck me, that what connected all their experiences was their use of art as a means for self-exploration.

daughter. I was one. The interesting thing about playing a role is that it implies choice. You can change

In the video, Michael Vasquez from Florida explains that he wanted to make aggressively painterly

roles, and by doing so, perhaps change society. Nonetheless, the uneducated me—the version of me

works. His choice for subject matter, the friends of his youth, lent itself to that approach. Vasquez’s This

before I went to college and learned about actors and schemas—still thinks it strange.

is Ours—AJ is a massive acrylic painting on canvas. From across the room the towering figure of AJ looks

Are you an actor playing roles, or are you who you say you are? And will saying or imagining that you

highly realistic, but up close you can see how it was put together in pieces, with gestural brushstrokes,

are someone different make it so? Artists focusing on exploring staging in the Portraiture Now exhibition

abstract shapes, splatters, and drips. The subjects of Vasquez’s paintings were members of a street gang

have depicted role playing with gender, class, and family, and by gluing bear hair in nostrils—but you’ll have

and he wonders if his choice of friends could be explained by his lack of a father figure. He now suspects

to go to the show to see that last one for yourself.

he might have seen them as stereotypical male adult role models, prideful and aggressive, characteristics the young artist associated with being a man. The role that a parent plays is a subject of much of the artwork. María Martínez-Cañas, born in

Finally, you can’t really leave the NHCC’s museum without thinking about the term Hispanic. It implies that all members share a role, or at least a stage. Yet artists identified as Hispanic do not necessarily share origins, nationalities, or culture. What they do share in these two exhibitions is a desire to

Cuba and raised in Puerto Rico, created her series of images Duplicity as Identity using a photograph of

document, imagine, and portray.

herself and one of her father. Martínez-Cañas arrived at this series by superimposing the photograph of

—Ester Barkai

her father’s face onto her own, and the juxtaposition of the portraits blurs “what is real and imagined.” The transitions from one to the other are often continuous and often subtle. Still, the seams are there if you want to try to find them. Rachel Mozman was raised in New York City by immigrant parents. Her photographs are staged as theatrical pieces in which her mother plays multiple roles. Her photograph Piscina (Pool) depicts her mother as a maid in full uniform and floating in a pool. Why, you wonder, has the maid character chosen to swim wearing all her clothes? We seem to be missing pieces of the narrative. Mozman’s photographs reminded me of stills from a play, the kind posted in front of a theater. Unless we see the entire play, we are left to fill in the gaps with our own versions of the story. None of the artists in Staging the Self are from New Mexico, a fact that did not go unnoticed by the National Hispanic Cultural Center in Albuquerque. This absence partly inspired the companion show organized by the NHCC, El Retrato Nuevomexicano Ahora/New Mexican Portraiture Now, which includes artists like photographer and documentarian Miguel Gandert, whose family has lived in northern New Mexico for generations, and whose work depicts the people and rituals of the region. His portrait Teresa Gutiérrez, Juárez, Mexico depicts a young woman with her face in profile and her back toward the camera.

Left: María Martínez-Cañas, Duplicity as Identity: 50%, archival pigment print on canvas, mounted on aluminum, 2008-9. Cricket Taplin Collection. © 2009 María Martínez-Cañas.

Right: Miguel Gandert, Teresa Gutiérrez, Juárez, Mexico, silver gelatin print on paper, 18” x 12”, 1992. Collection of the artist.


Carol Anthony: These Beautiful Moments

McLarry Fine Art 225 Canyon Road, Santa Fe

MY FIRST IM P RE S S IO N WA L KI N G I N TO MC L A R RY FI N E A RT WA S T H AT Carol Anthony is an artist who likes to draw. Most of the artworks in the show are executed

Looking around the exhibition, you get the idea that Anthony’s favorite things are pears.

in oil crayon, and they have an illustrative quality that feels both classic and contemporary. Her

Often the titles of her pear pictures reflect the year or time of day the artwork was creat-

techniques for creating the illusion of mass and three-dimensionality are consistent throughout.

ed: Pear at Night 2015; Pear, ‘08; Nightime Pear ‘15; Night Pear. These titles document the

Whether rendering an envelope or a cloud, a bed or a hamburger, each of her subjects is

moment of production. Looking at all of her pictures you get the sense that these moments

approached with the same “seriousness.” Though she revisits certain subjects often, her range

are important. These moments she documents are as much the subject of her work as are

of subject matter is broad in scope. She models everything with the traditional approach of

the things she depicts.

working with lights and darks. Her light source and color palette is similar no matter the scale,

Works like Pear at Night and Night Pear conjure up images of the artist drawing in the

and her subjects often fill the frame, sometimes even spilling off the sides, giving the impression

small hours of the night. If someone you knew looked at pears for hours on end, during the

that their volume is too grand to be contained by the format she has imposed upon them.

day and in the night, you might think it strange. But an artist has license to look. No, an artist

In an artwork titled Lob, a ball comes into the frame from above and looms in the dark. The top of the ball is cropped off the page, too massive to be caught in its entirety. Up close it

has to look. And it’s in these moments—looking at common objects for longer than is common—when an ordinary object like a pear becomes a Pear Poem.

is clearly the color green of a tennis ball, but from a distance it also looks like a picture of the

A moment, like an hour or a day, like any measure of time, is an abstract thing that can-

moon. Of course, the sphere of a ball can easily be taken, if pictured in the air, for a celestial

not be perceived with the physical senses. Unless you are looking at a timepiece, you can’t

object. But how is a pillow like the moon? The subject of Moon Pillow is a pillow. Rendered

see a minute fly by. Neither are you able to touch it. But if you are an artist you can try to

luminous against an ambiguous dark background, it could be situated either indoors or out. And

hold it somehow by recording what you sees. It seems this would be the purpose of titling a

in the right light, in Anthony’s light, the pillow is bright and white and full.

landscape A Beautiful Moment.

If comparing one thing to another is the stuff of poetry then Anthony’s artworks are

How can something as abstract as a measure of time be beautiful? What is a beautiful

poems. They are odes such as those that were written by Pablo Neruda and collected in his

moment? Perhaps it is that experience of having a “crazy, crazy love” for those things you see

book Odes to Common Things. Neruda wrote a poem about socks. Anthony drew a picture of

before you. In Anthony’s A Beautiful Moment those things are a tree, a field, and a cloud-filled

socks. Actually, she drew more than one. She made a series: Santa’s Tired Socks Hanging with

sky. In other of her artworks those things are socks, pears, a ball, or a pillow.

Care; Santa’s Sock Dec.’03; Tired Santa’s Anklet. Her artworks, like Neruda’s poems, reflect her

—Ester Barkai

affection for things encountered in ordinary life, and sometimes as well for the rituals found there, such as hanging red socks on a line in December.



Carol Anthony, Beach Road, oil crayon, 6” x 9”, nd

THE magazine | 45

Jody Sunshine: Tales of the Middle Class

Freeform Art Space 1619 C de Baca Lane, Santa Fe

IRAQ FOR OIL. AFGHANISTAN FOR OPIATES AND LITHIUM. FROM PURELY commercial perspectives the endless war on terror has been a hugely profitable success.

Black humor strengthens Sunshine’s all-over-the-place, laugh-out-loud, mixed-media

Weapons manufacturers, for example, must be as giddy as little girls baking cookies. The

artworks. Her hilarious toast and text-based images are mordantly barbed and a little burnt, just

oil fields of Iraq are now safely and primarily under the firm hand of the trustworthy

like I like it. Sunshine employs the rising medium—found bread—which, through the magic of her

Euro’merican fossil fuel industry. Our billionaires are having another Queen Isabella

art, she transforms into, yes, toast. In Pigmentation three comic-book silhouettes (kinda like Jesus

moment as they continue practices that smell a lot like old-school capitalist resource

of the Tortillas) sport three different colored jams spread upon their crunchy cheeks. The resultant

rape. Ask not what your country can do for you; ask what you can do for the global

informational chart of handsome breakfasty profiles sits under the caption, written on its frame in

military industrial complex.


Oh, so cynical. You don’t have to say things just because they’re true. You don’t have

Well, that proves it. Sunshine can science it up as well as any Republican candidate for

to rant and rave just because the planet is becoming bad for human habitation due to

President, Exxon Exec., or baseline bigot. Toast never lies. Tell The Donald that the science is

bad human habits. Just go with that prayer about accepting you can’t change shit and get

solid! My worry is that this sensitive, high-fiber info will, in the wrong hands, spawn more endless

lost in the soundtrack, right? No, better yet, here’s the solution. Load yourself and the

wars, religions, hate crimes, etc. as the people learn of their tasty, fruit-flavored differences. POOR

family up on sedatives (easier to come by since 9/11), get in your bunny suits, tweak your

OUTCOMES IN FACIAL PLASTIC SURGERY is the caption for the hilarious (four-slice) toast and

protuberant pink nipples, and take a wee umbrella (decorated with sparkles and ribbons)

mold (?) diagram titled Poor Outcome. Sunshine gives a nod to Warhol’s famous early nose-job

out into the gale force winds of the nearest next fucking tsunami.

illustration, and sculpts ridiculous examples of common cosmetic surgery mistakes, again under the

Sorry, winter weather can make me a little morose. I must need more OxyContin.

guise of her bitingly hot buttered pedagogy. Yum.

But, artwise there has been no better emblem for the exiting Year of the Sheep, or for

Jody Sunshine uses her work to expose hypocrisy and warn of dire consequences, just as all

signaling the coming mischievousness of the Monkey, than the mixed-media sculpture

the best satirists have done. She’s a much-needed jester, lest all of us fall into the error of despair.

Severe Weather by Jody Sunshine at Freeform Art Space, a demi-private salon where

But her jokes are serious and well worth heeding. Times are hard, cold, and grey for the vanishing

genuine-type art stuff actually goes on. Sunshine’s surreal soft-sculpture embodies the

U.S. sheep-bunny middle class, basically hunkering in the dark of a forced economic winter since

above described bunny family of pink pajamateers, ears aflounce with insouciance,

2008, while oligarchs, foul fossil fuelers, and warmongers gorge. And the weather unhinges.

painted faces sporting kite-high grins of idiotic optimism, as they venture outside the

All the technology and war in the world can never save us from our blind human idiocy. Only facing

protective warren, handholding, all hippity-hoppity-ing happily toward sure ecological

the truth can do that. Jody Sunshine’s wonderful sense of irony arrives like, well, a bright ray of

suffering and brutal deaths. Let’s listen in as they skip along: “Our technology will save us

(merciless) … sunshine.

from our technology,” they chant as they walk. “Climate science is still so uncertain,” says

—Jon Carver

Papa Bunny as the little ones tweak their nipples with incestuous consumerist wanting. His comment sends Mama Bunny and the kids on a sudden singsongy recital.

Left: Jody Sunshine, Pigmentation, mixed media on board, 7” x 15 ½”, 2015 Right: Jody Sunshine, Sever Weather, mixed-media sculpture, 2012

“Lord, grant me the serenity to be fracked by the fossil fuel industry, and the blind idiocy to steer clear of renewable energy systems, And the wisdom to fear the difference. Or whatever.” That Jody Sunshine can make this pretty darn ugly (by which I mean monstrously pretty) group sculpture giggle is a singular synaesthetic achievement. Sunshine sneaks up on her audience and the prey of her powerful lampoonery by downplaying her faux-naif art technique, which in the turns of postmodern logic demonstrates an extreme conceptual sophistication. Like Swift issuing pamphlets, or Goya’s Caprichos, like Daumier’s penstroke, or Steadman’s splatter, Sunshine’s work has an utterly competent but dashed-off craft-show quality that adds extra vim to her considerably whimsical wit. Ree Morton knew this strategy, and funk artists like Squeak Carnwath and Ed Kienholz linger in the background. Sunshine knows, like Candide and Oscar Wilde did, that a moving target is hardest to track.


Border Crossing

David Richard Gallery 1570 Pacheco Street, Santa Fe

IN BORDER CROSSING, WITH SEVEN ARTISTS EACH PRESENTING A SUBSTANTIAL body of work, there was indeed a lot to study. And happily, David Richard Gallery’s new and versatile

thousands of strands of spaghetti into single surfaces that were never entirely flat. On one level, the work

space managed to accommodate all the diversity of visions. There was painting by Michele Bubacco and

suggests the lines on topo maps gone awry, folding in on themselves in undulating waves and inclinations.

Paul Huxley; ceramic sculpture by Monte Coleman and Erik Gellert; mixed-media wall pieces by Chris

If Gellert’s pieces are the most obsessive-compulsive work in Border Crossing, the paintings and sculptures

Collins; and sculpture by Jack Slentz and Tim Cox, the latter also represented by a suite of paintings on

of Cox are the most inscrutable and spare. His small cast-aluminum pieces are based on industrial forms

aluminum. The entire exhibition cast a wide net over various materials, procedural methods, styles, and

like dumpsters, and in his paintings he refers to utilitarian objects life a forklift, circuit cincher, snow

intentions—from the sexy and robust pieces in steel and rubber by Slentz, to the hard-edged abstractions

blower, or trolley. Yet, to objects that are immensely prosaic by nature, Cox has given a deadpan but

by Huxley, to the mysterious scenarios that Bubacco painted with vigorous brushstrokes and accented

alluring shift of focus so that the original form becomes an enigmatic modernist cipher. If the work by Cox

with appropriated details from old master reproductions collaged onto the surface of the canvases.

has an impenetrable air, Collins’s wall pieces broadcast a bit of razzle-dazzle with their rugged fragments

In Bubacco’s paintings, the artist was motivated by a love of ambiguous pictorial spaces and the raw

of plywood textures accentuated with copper leaf. Collins essentially transformed discarded junk into

energy of strong painterly gestures rendered in a limited palette. He gravitates to black, white, gray, and

work that took on other connotations in the context of a pristine art gallery. Other works in clay in this

brown with occasional areas of coral and yellow. It’s as if Bubacco’s work was infused with the spirit of

show were the skulls and bowls of Coleman, who managed to make strong but humorous statements

Titian and Rembrandt, for example, reborn in the age of Postmodernism where, for an artist, or even a

on a very small scale.

viewer, nothing is certain and risk is everywhere, and there is no right way to understand an artist’s vision.

Dominating the main gallery, the paintings of Huxley played with geometry, color, and subtle spatial

In Still Life with Two Bottles and a Wrong Painting That Says Hallo, the genres of portraiture, still life, and

illusions. Each painting set out to investigate the implied architectonic relationships of ellipses, squares,

abstract painting ironically call to each other from the picture plane, as if each visual construct was part

circles, and rectangles as they precariously balanced on and next to each other, achieving various states of

of a theatrical work intent on breaking the fourth wall. The word theatrical applies to all of Bubacco’s

equilibrium on the picture plane. All the work in Border Crossing is emblematic of individual investigations

paintings, where emotions are deliberately forced and gestures are depicted broadly for increased

realized by personal gestures and decisions. In these diverse bodies of work, a flair for the theatrical

dramatic effect. This is particularly true of the moody work Il Rigore (Discipline) with its severely bent-

met techne and eros and divulged something about art in the twenty-first century, where art’s history is

backward female dancer dissolving into a vaporous cloud of gray paint. Drama of a different, more tongue-in-cheek variety is found in Slentz’s steel and rubber inner tube

something to be toyed with and explored anew.

—Diane Armitage

sculptures that, with one exception, hang on the wall and subvert easy interpretations. While some of his work suggests sexual bondage, as in Chastity Belt, Snow Chain, Manacle, Highway Man, and Brace, these pieces sidestep their transgressive allusions and take their place as examples of fascinating and unexpected structural negotiations. In this series, cold steel bands contrast well with the sensuous curves and circular

Left: Jack R. Slentz, Manacle, steel and rubber, 38” x 42” x 17½”, 2015 Right: Michele Bubacco, Still Life with Two Bottles and a Wrong Painting That Says Hallo, acrylic, paper, and spray paint on canvas, 73¾” x 55”, 2015

shapes that they constrain, and all the work is punctuated by old fashioned looking heavy-duty locks. Slentz’s work can be read in many ways but it possesses an inventive formal language all its own. Gellert made five freestanding ceramic sculptures, each one nominally square in shape. What distinguishes this work is the way it was fabricated—forms made from who knows how many small rolled coils of clay that have been carefully pressed together into thick slabs so the texture of the coils wasn’t obliterated but left to exist as the main element of the work. It’s as if the artist had molded



THE magazine | 47

Nicolai Panayotov: Sans Frontiéres

Catenary Art Gallery 616 1/2 Canyon Road, Santa Fe

THE CURVE THAT A HANGING CHAIN OR CABLE ASSUMES UNDER ITS OWN WEIGHT when supported only at two level points at its ends is known

ends by the sharp “pushpins” of technical virtuosity and keen

the static, permanent framing that prevails in museums. Close

as a catenary. The providers of such definitions hasten to tell

imagination, performs seemingly chaotic acrobatics while

to sixty years of age, Panayotov grew up and was trained as

us that, while it’s tempting to call them the same, a catenary is

suspended over a void, and is in fact as balanced as a catenary.

an artist in the communist society of Bulgaria. Some stunning

to be distinguished from a parabola. This concept from physics

While his work can evoke the modernism of Joan Miro and

large-scale mosaics (which I viewed in a catalogue at the

and geometry not only provides the name of the gallery

Pablo Picasso, Panayotov identifies with Jean-Michel Basquiat

gallery) commissioned for a cultural center in his homeland

displaying the works of Nicolai Panayotov, but also contains

and Keith Haring, who (were they alive) would be roughly his

testify to how successful he was. He has for many years lived

a basic but easily overlooked distinction: A parabola, the

contemporaries. His work shares the cartoonish verve and

in France, and today is truly an international artist, connecting

path of a projectile under the influence of gravity, is dynamic.

immediacy of their best work. Most of the pieces in this show

the two disparate cultures and maintaining a sense of public

A catenary, if its end points are on a horizontal parallel, is a

are unframed canvases, vertical in format, hanging like scrolls,

space in his work, partly via a “street art” aesthetic, which is in

poised form. Panayotov’s art, securely anchored at both

partly to honor the artist’s intention of “liberating” art from

fact quite global in its reach. Panayotov continues to be both French and Bulgarian. He and his wife opened an art center in an old school building in Sofia, Bulgaria, which includes the functions of a school and a gallery. In The Landing, one of the few horizontally oriented works, the splayed leaves of a palm tree also read as fingers and feathers; they are dynamic and hybrid. This hybridity is a hallmark of a contemporary street art that crosses many boundaries, notably those of nation, style, and genre. A number of smaller, recent works appear in this exhibit in black frames, and their whimsical playfulness, like that of the several larger pieces dominating the show—in which heads sprout from arms, leaves become claws, animals and humans are stitched together with machine parts and armor—can cause the viewer to take them somewhat lightly, like graffiti glimpsed on a city wall. But these pieces reward closer attention. In Derby Deux I and Derby Deux II generous areas of white space set off detailed sections that pull the viewer closer to note the finesse with which they are rendered. The Balance and Seven-Headed Rider, both reminiscent of Salvador Dalí, illustrate Panayotov’s ongoing quest for novelty, disjuncture, and surprise within a highly refined, almost classical, compositional space. Also included in this show is a collection of cones, rendered in paper bedecked with drawings in India ink and acrylic paint, of varied heights and titled collectively Local Iconic Diary. The conical shape had long ago already made its appearance in the artist’s previously mentioned mosaic works. Over several recent years Panayotov created stage sets for Richard Wagner’s epic opera cycle The Ring of the Nibelung for the Sofia National Opera and Ballet. Huge cones of fiberglass, some up to twenty-five feet high, were a major feature of the sets, functioning as various representational forms, including horses and the castle of Valhalla. The cones, a basic geometric form than can fulfill myriad functions in a design, are also extremely hybrid; for example, the artist references rockets in relation to the ubiquitous cones, and also associates them with Native American teepees. It certainly seems that Panayotov can claim, as did the Israeli poet, Yehuda Amichai, that his “escape route to childhood is always open.”

—Marina La Palma Nikolai Panayotov, The Balance, acrylic on canvas, 83” x 63”, 2008


Mary Mito: Collages

Gebert Contemporary 558 Canyon Road, Santa Fe

YOU CAN TELL A COFFEE-TABLE BOOK WHEN ITS COVER IS A GALLERY SHOW. At least in the case of the recent show at Gebert Contemporary

appropriation of this technique to a conjunction of disparate

striding Mary Magdalene from Niccolò dell’Arca’s Lamentation

entitled Mary Mito: Collages. Over sixty small black-and-white

images or objects rather than an aggregation of different

and the baptized neophyte from Piero della Francesca’s Baptism

untitled collages are framed behind glass and mounted on

materials. Mito’s collages are indeed collages, broadly speaking,

of Christ. But overall the series fails to convey the poetic insight

the wall one after another in unrelieved progression around

but the artist’s cut-and-paste conflation of black-and-white

that can harness these potent images and their iconic import to

the entire circuit of the gallery. Visitors who persisted would

photo reproductions of past and present art and illustration into

yield a compelling, new conceit.

eventually take note of the nearby folio-size publication Mary

a seamless composition are, more precisely, photomontages.

Only in rare instances does Mito get there: the collage

Mito: Collages, the source of the series on display. If the show’s

A photomontage has far more demands than simply formal or

evoking Abraham’s sacrifice of Isaac, the Potemkin head of

staccato arrangement of the collages made no concession to

visual effectiveness. Its spatial disharmony and inconsistencies in

a woman disgorging the opening lines of Obsession, the first

the viewer, it did suggest that the principal rationale for the

scale are the formal means to achieve a compelling new reality

poem in Baudelaire’s Fleurs du Mal. But at the risk of faint

display was to promote the upcoming release of the book.

from a disjunctive—even irrational—fusion of images displaced

praise, most of the compositions in Collages are better viewed

Its publication by Fresco Books had a release date of January

from their original context and meaning.

as essays in an artist’s collage journal from which eventually a

15 and can be ordered at (Hardcover, $100.

This is where Mito’s photomontage largely falls short. Mito

handful would serve for a strong, intimate show, and over time

“Temporarily out of stock… will deliver when available”) and

is an accomplished realist painter. The artist’s visual integration

accrue to support a book that could claim critical as well as

through a distribution deal with University of New Mexico

of diverse images into a single composition is seamless, but the

commercial success.

Press. Its website states that Fresco “was founded in response

effect rarely extends beyond visual appeal and a passing attraction

—Richard Tobin

to the need in the Santa Fe art community for beautifully

secured by good design sense and by recourse to iconic images

designed art books and catalogs that could be produced at

selected from powerful and proven art—e.g. the motifs of the

Mary Mito, Untitled, collage, 9” x 8½”, 2014

a cost that was affordable… A team of the finest managers, designers, printers, color experts, writers, and distributors have come together to produce extraordinary catalogs and books for artists and galleries.” Mary Mito: Collages is thus a product of what used to be commonly known as a vanity press in which the author/artist or gallery pays fees and other relevant costs to have a book published and distributed. If the term vanity press and the related category of “coffee-table book”—large, costly, lavishly illustrated, especially one produced only for casual viewing—originally had a dismissive connotation, they are far more acceptable now given the very different forces in today’s art market, with its symbiotic links to the world of hautecouture, high finance, celebrity, and commerce, making it often inaccessible to artists. Case in point, a (now annual) piece on the “Best Coffee Table Books of 2015” in the December 24 Daily Beast (founded by Tina Brown, former editor of Vanity Fair). But one drawback of desktop technology’s increasing small-batch access to art publication is the risk of going to print with work before maturation and full critical assessment. Mito’s collages were not well served by a perfunctory display whose focus seemed to be about the book, not the work itself—the critical point of the digression here on the book. That said, the aggregate effect of the unrelieved iteration of collages did underscore a limiting trait for most of the series—the overall tendency of the collages to simply attract, but not engage. And one cause of that limitation may have to do with the added challenge of photomontage over simply collage. Collage emerged as an art form when Picasso and Braque invented the technique during experiments with their new, Cubist formal idiom. The collage technique involved pasting fragments of materials such as newspaper and wallpaper into their compositions to underscore the capacity of the Cubist syntax to simulate the illusion of three dimensions in painting using only a non-illusive, two-dimensional equivalent—even if the equivalent form is actually material or plastic. This tactile core of Cubist collage gives way in later Dada and Surrealist february/march


THE magazine | 49

jennifer esperanza photography Santa Fe Scout Collection Handmade in Santa Fe, One-of-a-kind Purses from rescued Navajo weavings...embellished with sterling silver conchos, vintage horse tack, elk tips, fringe and stone. No two alike. For the Cowgirl in You.

1219 Cerrillos Road (next to The Raven)

Dana Waldon 505.660.6442 •

505 204 5729

new mexico



BLUE MARBLES PROJECT Sharing Random Acts of Blue Gratitude Around The World

c r e a t e d b y W a l l a c e J . N i c h o l s , P h . D . • A u t h o r o f B l u e M i n d “Blue Mind is a fascinating study of the emotional, behavioral, psychological and physical connections that keep humans so enchanted with water... you’ll read it once and then come back to it time and again...” —Washington Post Rock stars, presidents, kids, scientists, artists, explorers, eco-celebrities, teachers, business leaders... even the Dalai Lama and the pope have received blue marbles and gotten their Blue Mind on. So, the “rules” remain pure and simple. 1. The marble must be blue, preferably glass. 2. When you get one, give it away to someone as a token of gratitude. 3. Share your story with the world. photo by Jennifer


san francisco, ca

“Far above the world, Planet Earth is blue, and there’s nothing I can do.” —D avid B owie



THE magazine | 51


50 5-988-3505 Serving Santa Fe and the worldwide art community since 1997.

Professional fine art services for the protection, preservation and enjoyment of fine art and valued objects.

REPRINT! Printed Matter II

Curated by Tim Jag & FORGE

On the heels of the recent success of the Printed Matter Santa Fe show, this unique art showcase spotlighting the art of printing throughout the southwest is heading to Taos just in time for Valentine’s Day! Printed works and editions by local artists and printshops will be for sale including: silkscreen, linotype, letterpress, photo transfer, and other non-digital, hand-crafted graphics.

Fine Art STORAGE Custom Archival BOXING

This one-night-only event will feature live printing, fine art, posters, cards, t-shirts, mixed media, & more! Something for everyone! Prices can range from $3.00 to $1000+. Saturday, February 6th, 2016 6-8pm

Packing, Crating, SHIPPING


Collectors Viewing 5-6pm 1022 Reed St, Taos, NM CONTEMPORARY Call 505.316.0237 for info 555TAOS.COM

Digital PHOTO Documentation COLLECTION Care Specialists


L at e


Snow: Spur Ranch Road Lamy, New Mexico photograph by



Guy Cross THE magazine | 53


Because You Are Female by

Anne Valley-Fox

Because you are female and psyche is born from the body you can’t imagine how it would feel (and feeling cracks the seedpod containing the word) to live in the male body especially the years when a boy is rocketing into a man you can’t even name the arid or tropical causes of his arousal under cover of darkness or cloth athletic organ engorged at random while female excitement sparks in the mind a rosy idea flushing neural pathways spiraling down to the sanctum an odalisque spills from a pallet of silks thighs warm as bread from an oven tongue soft in its cave intuitive art the transposition of inner and outer she readies herself to translate the force of his nature and if her agenda is pleasure or procreation it’s all right how afterwards (even if later remorseful) they split apart like cells in the bloodstream streaming.

Anne Valley-Fox has published four poetry collections, most recently How Shadows Are Bundled (University of New Mexico Press). She wrote Your Mythic Journey with Sam Keen (Jeremy P. Tarcher/Putnam) and coedited, with Ann Lacy, five oral history collections culled from the New Mexico Federal Writers’ Project (Sunstone Press). Her new collection of poems, Outside/In will be published by Red Mountain Press in 2017. Please see

54 | THE magazine



Garo Antreasian FeBruary 6 – MarcH 12, 2016 oPenIng recePtIon & Book sIgnIng: saturday, FeBruary 6tH FroM 2PM - 4PM 1011 Paseo de Peralta, santa Fe

vIeW addItIonal Works at gPgallery.coM For InForMatIon contact evan FeldMan (505) 954-5738 or eFeldMan@gPgallery.coM gerald Peters gallery, santa Fe gaMe Board, 2015, acrylIc on Wood, 36 1/2 x 36 IncHes


tHe art oF systeMs BIology & nanoscIence

MarcH 18, 2016 – aPrIl 30, 2016 oPenIng recePtIons: FrIday, MarcH 18tH, 5-7PM saturday, MarcH 19tH, 5-7PM

Works oF art By: suzanne anker, adaM Belt, JulIa BuntaIne, erIc garduño, MIcHal gavIsH, BrIan kneP, lee MontgoMery, cHarles ross and t odd sIler WIll Be exHIBIted alongsIde MIcroscoPy IMages FroM unM and lanl scIentIsts.

In assocIatIon WItH: sPatIo teMPoral ModelIng center los al aMos natIonal l aBoratory unIversIt y oF neW MexIco

1011 Paseo de Peralta, santa Fe nM | 505.954.5800 | gPgallery.coM

IMage: adaM Belt - WIsH you Were Here


Holly Holm, acrylic and mixed media on panel, 48" h x 36" w

Blue Rain Gallery | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 | 505.954.9902 |

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