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 | shiprocksantafe.com
C O N T E N T S
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
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:
READINGS & CONVERSATIONS
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.
with AMITAVA KUMAR
with MILILANI TRASK
WEDNESDAY 3 FEBRUARY AT 7PM
WEDNESDAY 24 FEBRUARY AT 7PM
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 with PHIL KLAY
WEDNESDAY 30 MARCH AT 7PM
with CHRIS WILLIAMS
Nadeem Aslam is a British-Pakistani novelist whose works include Maps for Lost Lovers, The Wasted Vigil and The Blind Manâ€™s Garden, a tale of two brothers whose lives are upended by war post 9/11.
WEDNESDAY 23 MARCH AT 7PM
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 ticketssantafe.org 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
TO THE EDITOR:
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: email@example.com. Web address: themagazineonline.com. 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
PINK CRUSH A Group
CHARLOTTE JACKSON FINE ART Pictured: Charles Arnoldi, Gimmie (detail), 2010, Acrylic, 65 x 53 inches
| 554 South Guadalupe St, Santa Fe, NM 87501 505.989.8688 | www.charlottejackson.com
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 www.markwhitefineart.com |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 firstname.lastname@example.org
Friday, February 5 - Saturday, April 2, 2016 Las Cruces Museum of Art 491 N Main Str • Las Cruces, NM 575.541.2137 • www.las-cruces.org/museums Gallery hours: Tues-Fri 10-4:30, Sat 9-4:30
This exhibition has been organized by the Fort Wayne Museum of Art.
WORKS ON PAPER JANUARY 29 – MARCH 19
OPENING RECEPTION FRIDAY, JANUARY 29, 5-7 PM
JAMES KELLY | CONTEMPORARY 1611 PASEO DE PERALTA | SANTA FE | JAMESKELLY.COM SUSAN ROTHENBERG UNTITLED, 2002, OIL ON PAPER, 22 × 30 INCHES
STUART ARENDS JACK BALAS LARRY BELL JAMES DRAKE DION JOHNSON BLAZE LAMPER RICHARD LONG PAMELA MARKOYA TOM MILLER WES MILLS NIC NICOSIA SUSAN ROTHENBERG JIM SHAW STEFAN THIEL ALESSANDRO TWOMBLY SUSAN YORK
Sandra Filippucci works in an almost obsessive manner with a particular
THE MANY FACES OF JOAN
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
JOAN’S MISSION, MY MISSION
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 www.sandrafilippucci.com
THE magazine | 11
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c o m m u n i t y
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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!
U U U
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:
Dr. Chris Morgan
Also, don’t miss the ducdame ensemble from New York in
5 Calle Medico, Suite D
February 17 • 7:30 p.m. • Adobe Rose Theater • Santa Fe tickets: www.InternationalShakespeare.center/ducdame
Santa Fe, New Mexico 505.988.4119 www.santafenmdentist.com
dames of thrones: the women of shakespeare ’s histories
And see your favorite local actors and directors in
speak the speech: directors’ cuts
February 21 • 1:00 p.m. • St. Francis Auditorium • free www
THE MAGAZINE ASKED A CLINICAL PSYCHOLOGIST AND TWO PEOPLE WHO LOVE ART FOR THEIR TAKE ON THIS 2015 OIL- ON- CANVAS PAINTING—DEPARTURE—BY GEOFFREY LAURENCE. THEY WERE SHOWN ONLY THE IMAGE AND WERE GIVEN NO OTHER INFORMATION. A private, quiet moment is caught before our eyes. Spot
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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ANISH KAPOOR SAID, “THE WORK ITSELF HAS A COMPLETE CIRCLE OF MEANING AND COUNTERPOINT. AND WITHOUT YOUR INVOLVEMENT AS A VIEWER, THERE IS NO STORY.” A SCULPTOR AND A GLASS ARTIST RESPOND TO THIS STATEMENT.
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. paulbloch.com
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 liquidlightglass.com to see work by Holmes.
THE magazine | 17
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chile, you already know how good this stew is. $5 a cup; $8 a bowl.
enchilada and earthy flavor of the red chile complement the ribeye. This dish
The Shedburger. This understated green chile cheeseburger comes
tastes better when ordered at the bar. $24.
with the Shed’s pico de gallo: raw green chile, chopped jalapeño, tomato,
Desserts: Hot Fudge Sundae; $4.75. Mocha Cake; $4.75. Zabaglione; $4.75.
and onion. Order one rare with American cheese, lettuce, tomato, and
Cynics will tell you The Shed is crowded, full of tourists, and overpriced.
mayonnaise. While there are better entrées on the Shed’s lunch and dinner
According to Oscar Wilde, the definition of a cynic is a person who knows
menus (see below), the Shedburger is in the running for best to-go green
the price of everything and the value of nothing. If crowds bother you, order
chile cheeseburger in Santa Fe. It tastes better ten minutes after it comes out
everything to go, or wait until 2:15. February and March are the best months
of the kitchen, especially if you order it rare. Listed on the menu as “#2.” $9.
to visit this classic Santa Fe restaurant.
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 email@example.com.
THE magazine | 19
a luxury you can afford
Bring Your Sweetheart in from the Cold!
happy hour special at the bar after work / apres ski 50% off our ‘classic’ appetizers calamari, dumplings & spring rolls selected wines by the glass, ‘well’ cocktails & our house margarita! monday thru friday from 4:00 to 6:00 pm
restaurant bar 231 washington avenue - reservations 505 984 1788 instant gift certificates, menus & special events online www.santacafé.com
Lunch • Dinner • Bar
Reservations 505.982.4353 653 Canyon Road compoundrestaurant.com
O ne B ottle
The 2005 J. Lassalle Champagne Brut “Cuvée Spéciale” by J oshua
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
a Jimmy James set at the Cheetah Club in New York, a young woman
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
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
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
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 firstname.lastname@example.org.
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.
EAT OUT OFTEN
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 (Fri.to 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 ◆ www.315santafe.com
CLOUD CLIFF BAKERY at the SANTA FE FARMERS MARKET EVERY SATURDAY
T H E F I S H T A C O S A T G A B R I E L’ S 5 MINUTES NORTH OF THE OPERA ON 285
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. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, New Mexican. A tmosphere : Down home. H ouse specialties : Breakfast:We like the Buttermilk Pancakes. Lunch: Great specials C omments : Easy on your wallet. Vanessie
434 W. San Francisco St. 982-9966 Dinner Full bar. Smoke-free. Major credit cards. $$$ 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”
DavidrichardGALLEry.com DAVID RICHARD GALLERY
1570 Pacheco Street, A1, Santa Fe, NM 87505 505-983-9555 | info@DavidRichardGallery.com DavidRichardSFe DavidRichardGallery
FEBRUARYMARCHARTOPENINGS FRIDAY, JANUARY 29
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.
WEDNESDAY, FEBRUARY 10
FRIDAY, MARCH 4
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.
FRIDAY, MARCH 11 FRIDAY, FEBRUARY 12
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.
SATURDAY, FEBRUARY 6
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
THURSDAY, FEBRUARY 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: www.meowwolf.com/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
THE REAL DEAL
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: email@example.com
The Big Show with Honey Harris and THE magazine Thursday, February 11 10:30 am
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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. joycegeek.com
FRIDAY, MARCH 25
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. kindredspiritsnm.org
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: lannan.org
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. thomafoundation.org 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. artsmartnm.org 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. davidrichardgallery.com 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. okeeffemuseum.org 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: iaia.org/museum 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: meowwolf.com/tickets 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: indianartsandculture.org, iaia.edu/ museum, nmartmuseum.org 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. internationalfolkart.org 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: las-cruces.org/museums 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. nmhistorymuseum.org 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. photographydealers.com 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. sitesantafe.org 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. nmsantos.com TRUTH, New Mexico. The southern New Mexico–made speculative thriller comes to DVD. Tues., Feb. 2. Netflix, Redbox, and elsewhere. whatisthetruthmovie.com 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. williamtalbot.com
and 6, 7:30 pm. in the NHCC’s Albuquerque Journal Theatre. Tickets and more events: nhccnm.org 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: popejoypresents.com 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: taoschambermusicgroup.org 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: themineshafttavern.com 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: firstname.lastname@example.org
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 email@example.com.
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. santafeindependentfilmfestival.com
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. las-cruces.org/museums
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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: http://www.internationalshakespeare.center/events/
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
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“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 RogerEbert.com
AT THE LENSIC JAN 29
Q&A W/ DIRECTORS SAMBA GADJIGO & JASON SILVERMAN
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I N T E R N AT I O N A L S P O T L I G H T
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
Ousmane Sembène AND THE BIRTH OF MODERN AFRICAN CINEMA by
“I WILL ACT A S IF THERE WAS NO ONE BEFORE ME.” –Ousmane Sembène
CREATED A MEMORABLE
PORTRAIT OF AN ARTIST
COMING OF AGE,
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
F E AT U R E
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
E XHIBITIO N S O P E N JA N UA RY 29 T HRO U G H M AY 14 , 2016
■ UNM ART MUSEUM
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?
REMNANTS: PHOTOGRAPHS from the
DISFARMER STUDIO OPENS MARCH 25
OPENING RECEPTIONS JANUARY 29 6–8 PM
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:
www.unmartmuseum.org 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
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
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
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.
all “caps”: CLEAR PIGMENTATION DIFFERENCES AMONG HUMAN POPULATIONS.
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
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.
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.
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 Amazon.com (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
Press. Its website states that Fresco “was founded in response
effect rarely extends beyond visual appeal and a passing attraction
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 â€˘ santafescoutcollection.com
505 204 5729
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. www.wallacejnichols.org/130/blue-marbles.html 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
ASTILLI FINE ART SERVICES www.astillifineartservices.com
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 Valentineâ€™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
A R C H I T E C T U R A L D E TA I L S
L at e
Snow: Spur Ranch Road Lamy, New Mexico photograph by
Guy Cross THE magazine | 53
Because You Are Female by
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 AnneValleyFox.com.
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 | www.blueraingallery.com
THE magazine is Santa Fe New Mexico's magazine of international art, photography, culture, and restaurant dining.