Page 1

Santa Fe’s Monthly









of and for the Arts • June 2013






505.982 .8478 | SHIPROCKSANTAF E .COM







universe of


art forum:

The Deer Twins,


by Amanda Banker... for thought:

Beluga Gold Line











2004 Piper-Heidsieck Champagne


Brut, by Joshua Baer... dining guide:

Santacafé, Saveur,


and Passion Pie Cafe... openings...






& about...

Air, Land, Seed at

516 Arts; Gayle Crites and John Geldersma at Chiaroscuro; and Words with Friends at Gerald


Peters Gallery... spotlight:





Retrospective at the Museum of Fine Arts, Houston and the Solomon R. Guggenheim Museum, New York City... Bengt


studio visits:







The Rubber Lady, circa 1980 reflections:



1963 at

Monroe Gallery of Photography; AGAIN at the Lannan Foundation; Bebe




Bengt Erikson at Collected Works Bookstore & Coffeehouse; Ellen Babcock at 333 Montezuma Arts; Marco Petrus at LewAllen Galleries; Private



at SCA Contemporary Art (Alb.); Peter Sarkisian at the New Mexico Museum of Art; Rock, Paper, Scissors at 333 Montezuma Arts... green



Pavandeep Kaur

Khalsa, photograph by Jennifer Esperanza... details:

53 architectural

Auto Graveyard, Las

Vegas, NM, photograph by Guy Cross...

54 writings: “Reading

Chekhov” by Henry Shukman...


Fifty or so years from now, the Facebook generation’s grandchildren won’t have to dig deep to find out what life was like in the 2010s. A cursory search on the Internet (or whatever it is they might have at that point) will reveal photographs of their grandmother’s wedding shower, their grandfather’s college graduation photos, or even their greatuncle passed out drunk at a party. At a near constant rate, we are logging a photographic record of our lives. For grandparents of decades past, a photograph was a physical, not a digital, thing, so the moment it captured somehow seems more valuable. Though many were treasured, these photographs could also be misplaced, without any record of who or what they were meant to memorialize. Found Photography (Thames & Hudson, $15.95) is a treasure trove of lostthen-found photographs, windows into forgotten lives and pastimes. Here, through a grainy, blackand-white filter, we see a line of scrubby children drinking happily from snow-white cups, and an elephant being lifted into a boat. A mustachioed man performs gymnastics for a small crowd of too-serious spectators, and a soldier walks calmly away from a small explosion. There’s no explanation provided about the photographs; it is up to the viewer to guess, or create, the story behind them, making each page more intriguing than the last.

20 APRIL – 16 JUNE 2013 AGAIN: Repetition, Obsession and Meditation in the Lannan Collection Again features artworks where repetition, obsession or meditation, are key elements to the artist’s process, sometimes obvious in the resulting artwork, sometimes not. Whether what compels each is expressed as a life-long obsession with a subject, such as the bird for Jean-Luc Mylayne, or a repetitive action, as seen in prints by Sol LeWitt and Agnes Martin, or a meditative practice that results in an object like Susan York’s hand-polished solid graphite sculptures, the artists in this exhibition repeat themes, motions, motifs and materials again and again, over and over.

Lannan Gallery 309 Read Street Tel. 505.954.5149 Gallery Hours: Saturdays and Sundays noon to 5pm (weekends only or by appointment)

Renate Aller Stuart Arends Uta Barth Chuck Close Olafur Eliasson Lawrence Fodor

Martha Hughes Cassandra C. Jones Sol LeWitt David Marshall Agnes Martin Pard Morrison

Jean-Luc Mylayne Jorge Pardo Buzz Spector Roger Walker Susan York

Image: Olafur Eliasson, The Lighthouse Series, 1999, Twenty color photographs, 9½ x 14¼ inches each, Collection Lannan Foundation.



WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 & 2006 Top-5 Best Consumer Tabloids P u b l i s h e r / C r e a t i v e D i r ecto r Guy Cross P u b l i s h e r / F ood E d i to r Judith Cross A r t D i r ecto r Chris Myers C op y E d i to r Edgar Scully P r oofRe a de r S James Rodewald Kenji Barrett st a ff p h oto g r a p h e r s Dana Waldon Anne Staveley Lydia Gonzales P r e v i e w / C a l end a r ed i to r Elizabeth Harball WEBMEISTER

Jason Rodriguez soc i a l med i a

Laura Shields

C ont r i b u to r s

Victoria Amoré, Diane Armitage, Joshua Baer, Amanda Banker, Davis Brimberg, Jon Carver, Caryn Crimmel, Jennifer Esperanza, Honey Harris, Hannah Hoel, Louisi Leray, Jackie M., David Mapes, Iris McLister, Richard Tobin, Lauren Tresp, and Susan Wider C oV E R

Extruded Video Engine, 2007 by Peter Sarkisian Courtesy New Mexico Museum of Art. See page 41.

The Peñasco Theatre Collective will be kicking off its summer season on Saturday, June 1st with a dinner cabaret, Over Your Head, on Saturday, June 1. This benefit event features a banquet, aerial artists from Wise Fool, circus acrobatics, and music from Nacha Mendez, all to help fund the rest of the theatre’s season. Following this kickoff performance, an international lineup is scheduled to perform each weekend for fourteen consecutive weeks. Details: 575-587-2726 and TO THE EDITOR:

I am writing to tell you that I am knocked out by the magnificent review that Hannah Hoel wrote about my show at Eight Modern in the June issue. It is extremely well written and so detailed. Wow! I especially love her descriptive phrases, such as “wax embalming” and “bountiful, textured, and somewhat glamorous surface.” I could go on and on. Hoel’s last three sentences are so moving that I couldn’t help but cry. I don’t know if anyone has had that reaction to her writing before but for me it touched something very deep. And I am compelled say that it is an excellent, excellent review. I have sent it to a few friends and they all agree. —Nancy Youdelman, via email TO THE EDITOR:

A D Ve r t i s i n g S a l es

THE magazine: 505-424-7641 Lindy Madley: 505-577-4471 D i st r i b u t i on

Jimmy Montoya: 470-0258 (mobile) THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: Web address: All materials copyright 2013 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.

j u ne


The Cumulous Skies review of the show at the Community Gallery is great. Thank you, Jon Carver for the writing and THE magazine for publishing the piece. The political relationship and metaphor works well (and as an attention grabber, perfect), the references are specific, the writing articulate (as always, Jon Carver), and the artists mentioned should all be very pleased. After all, the Cumulous Skies exhibition is only as good as the artist’s work— and it is all great work. My only complaint—my name is misspelled, no less than three times. Which is pretty much bullshit, being that every press release and every piece of written information about this exhibition has my name clearly written as Lawrence Fodor. Amazing—especially since the folks at THE magazine have known me for fifteen years or so.

more revealing about the viewer than the artist. —Bette Yozell, Santa Fe, via email TO THE EDITOR:

Without saying, we all want praise for our work, but Lauren Tresp’s review in the May issue of my show at David Richard Gallery went further than acknowledgement for me. Tresp really understood the work and took her discussion from the technical and physical into the emergence of a painting. I love the line “Instead Ideal is something more akin to a conductor, orchestrating the formal elements of her medium until they have fulfilled their purpose.” I recently saw the show Inventing Abstraction 1915-1945 at MOMA, which was so moving as it traced the developmental path of abstraction, which came into being almost out of thin air, exploring hunches—each new invention influencing the next until there was a catalogue of language. Thank you, Lauren Tresp for your perceptions. I cherish your words, as they rang bells and set me on a new path of reflection. —Phillis Ideal, Santa Fe, via email TO THE EDITOR:


I have been a loyal and ardent collector of Bill Kaderly’s work since 1996, when I purchased the first piece he ever exhibited, a curvilinear nude, in Ojai, California. Thus, it was a great pleasure to read Richard Polsky’s fine and beautifully composed article about the man and his work in THE magazine’s May issue. Not only did I appreciate how ably you described his many styles and creations, but more importantly, I value how you saw beyond the art and saw the man. Mr. Kaderly has worked quietly and alone through the years, finding joy in the work he so loves to do. A part of him is in every piece—for him it has never been about “the money,” but about the energy that went out from within to create his pieces. Thank you Mr. Polsky, for seeing that in Bill Kaderly. And thank you for your beautiful story. —Judith Crillo, Reno, NV, via email

Thanks for using my Woman as Garnish painting for the May “Art Forum” page. It is always fascinating to hear impressions from observers of one’s work. It is often

LETTERS: email to or mail to: 320 Aztec Street, Santa Fe, NM 87501

—Lawrence Fodor, Santa Fe, via email FROM THE EDITOR: Our apologies to Lawrence Fodor. This is a mistake that will not be made again. –Guy Cross

THE magazine | 5




JULY 11-14, 2013

O P E N I N G N I G H T G A L A / T H U R S D A Y , J U L Y 1 1 , 5 : 0 0 - 8 : 0 0 P. M . FRIDAY, SATURDAY, SUNDAY / JULY 12, 13, 14 / 11-6 PM/ $10 AT THE DOOR / 505.988.8883 / WWW.ARTSANTAFE.COM 1ST ROW: Hiroki Godo, Spectrum Gallery, Japan; Stephen Knapp, Setford & Bridges, New York; Martin Spei, New Mexico; Gail Morris, Bonner David Galleries, Arizona 2ND ROW: Alain Amiand, 31 Galerie, France; Kenji Tsutsumi, Watanabe Fine Art, Japan; Katsu Ishida, Systema Gallery, Kathmandu, Nepal and Japan 3RD ROW: Doris K. Hembrough, Hembrough Gallery, Wisconsin; Koyanagi Shozo, GALLERY Edel, Japan; George C. Longfish, Zane Bennett Contemporary Art, New Mexico



SATURDAY, JULY 13, 6:30 P.M. New Mexico History Museum / $15 ART Santa Fe Presents


ROBERT WITTMAN acclaimed art detective & best selling author of

“Priceless – How I Went Undercover to Rescue The World’s Stolen Treasures” The Wall Street Journal called him “a living legend.” The Times of London dubbed him “The most famous art detective in the world.”


Downtown gallery JuNe 7-JuLy 7. 2013

Sammy Peters Internal Narrative

Alex Katz june 7 - july 26

gallery reception: saturday, june 29, 6-8 pm

railyarD gallery JuNe 14-JuLy 14.2013

Jane Manus Linear Language

Project Room: Isa Leshko • Elderly Animals

Richard Levy Gallery • Albuquerque • • 505.766.9888

MONROE GALLERY of photography

1963 Dan Christensen Orbs

Ernst Haas: Martin Luther King, Birmingham Jail, 1963

Exhibition continues through June 30

LewAllenGalleries RailyaRd : 1613 Paseo de Peralta (505) 988.3250 downtown: 125 West Palace Avenue (505) 988.8997

An afternoon at a lunch counter. A thousand arms linked at the elbows. A firing line of water hoses. A pack of German Shepherds. A letter from a Birmingham jail. A devastating explosion. The Dodgers win the World Series. Beatlemania begins. John F. Kennedy is assassinated. A world that would never be the same. 112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e:


June 14 through July 19 OPENING RECEPTION:

Friday, June 14, 5–7 pm

Image: Molly Bradbury. Derive, 2012, video


Mimmo Paladino CA ST PA P E R P R I N T S Photo Credit: Joe Justad

May 31 through June 21 OPE NI N G RE C E P T I O N:

Friday, May 31 from 5 – 7 pm

Robert Dean Stockwell June 28 through July 19 OPENING RECEPTION:

Friday, June 28, 5–7 pm

435 South Guadalupe Street, Santa Fe, NM 87501 505 982-8111


Monday–Saturday 10–5 or by appointment


Railyard Arts District Walk last Friday of every month




•Modeling the Figure •Organic Structures •Screenprinted Surfaces •Wheel Thrown Pottery •Animal Sculptures •Extruding Functional Forms •And more...

505.984.1122 John Delaney — Golden Eagle Nomads


Svjetlana Tepavcevic — Means of Reproduction

photo-eye GALLERY Artist Reception Wednesday, June 5th, 2013 5-7 pm, Artist Talk 6 pm Exhibition continues through July 13th, 2013 376 Garcia Street, Santa Fe, NM 87501 505.988.5152 x202

Andrea Senutovitch is essentially an assemblage artist. She seeks materials that contain what she calls “haunted objects,” as they possess “soul.” Taking disparate items such as clocks, baling wire, wheels, combs, skulls, typewriter keys, handbags, bottles, birdcages, and models of sailing vessels, to name but a few, Senutovitch creates collages that are amazing and dramatic. Her work is magical, mysterious, and beautiful, yet disturbing at times. Senutovitch says, “There is a secret language spoken when the objects are assembled in particular ways that retell the archeology of their travels.”



I have two important mentors—Laura Stanziola and Cornelia Parker. I observe Laura exploring darkness and light; she is endlessly questioning reality, duality, and the mystery of existence. Laura is somewhat reclusive—I feel safe in her world. I can drown in our conversations when we speak of the wormholes of creativity, the ultimate nothingness. She is fascinated by the process of birth and disintegration, the gradual letting go of life and form and how it morphs into something else, a presence equally real, but with the soul being carried forth into a visual anthology of chatter. Cornelia Parker’s work is much the same to me. It is about making something out of nothingness. It is about loss and subtraction from breath. Her pieces made from burned wood, hanging in a grid, take my breath away. There is something about seeing the residual corpse of what was once a building turned into black embers of form and knowing that the voices they carry in each subtlety of crackle will really never go away.

There are many new pieces being made in my head. I am working on a series of masks and crowns. On the outside they are assemblages of beauty. However, the insides of the pieces are a different matter. If the outside of my work is beautiful, then there is a darker side to its inner world. I express that darkness in words that are hidden somewhere on the inside surface, be it whether rolled as a scroll or written in another language. Only the viewer can see the message, or not. Once the mask or crown is put on, the secret is hidden. The piece looks beautiful, but the presence is loaded. It becomes a fog world, distorted, hazy, a bit out of focus. Using words feels incriminating to me, it adds an uncomfortable honesty. My writing can’t help but expose the personal within, of a woman affected by a life of depression, of the stubbornness and trust in overcoming it on a daily basis, of clinging to beauty as an aphrodisiac, and defining what it means to me, which is then open to interpretation and so on. It is both an intimidating and unknown place to find oneself when creating if one is ultimately shy and private. I keep the door half open, the mask ajar. Hopefully the work will speak for itself.

SOMETHING OUT OF NOTHINGNESS A thought holds the weight of consciousness and question. Questioning nothingnes gives it form. One big circle of confusion. My pieces begin with a thought, the thought turns to form, the form molds in my hand and is placed, drawn, distorted, made beautiful, and is birthed. My art has been the perfect disguise for me, each piece a mask. The mask distracts one from really getting to know me; I’m guarded that way—too sensitive for my own good. It makes me want to scream aloud. I choose to shout out in the form of creativity, be it in writing, the form of sculpture, collage, in photographs, or with video.

ART AS A SAFE PLACE I have yet to find a safe place. There are always intruders. At home it’s the mail or the phone, which I hate answering, or the dog barking next door. My ultimate studio would be a box floating in the air, soundproofed with tiny vents along the top rim for breathing and maybe the sound of music coming in through the walls. My view would be a color, maybe blue, and there would be a single chair to sit on, preferably an antique. Just a moment of suspension, of aloneness is my dream. Art to me is an escape, a reflection, a private conversation made public. The minute it’s birthed it becomes vulnerable.


photograph by j u ne


Victoria AmorĂŠ THE magazine | 13


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Spirituality runs throughout this work. Different traditions and scholars teach us that the deer leads us into spiritual awakenings. Both literally and metaphorically, the deer is a guide in the wilderness. One example is Sir Gawain being lured into the woods by a deer in the legend of King Arthur. Here we see the legs of a deer where we expect

THE magazine asked a clinical psychologist and three people who love art to share their take on this painting, The Deer Twins, by Amanda Banker. They were shown only the image— they were not told the title, medium, or name of the artist.

to see arms and hands. We are witnessing her spiritual transformation; she may represent the artist’s own divine awakening. The deer next to her has the build of a man

Oh my God…. Under this skin, this cloak that clothing

the doe to the woman, but would she eat the deer?

and a man’s hand, yet this seemingly man-like deer does

provides, are we all part animal? Is there some bond

Can we assume she is a vegan? The horizon line of

not have antlers. Thus, the creature is part doe, part man.

I hold with my animal nature? When the doe comes

trees in the mist adds a dreamlike quality. Perhaps this

Another mixing of genders appears in the deer’s shirt.

to feed every morning, do I project myself onto it—

is someone’s dream, or the artist’s interpretation of

We see a traditional French fisherman’s style brought into

do I see myself in the eyes of the animal or believe I

someone else’s connection to nature, which he/she

mainstream fashion by Coco Chanel, covering what would

have communicated with it? As “art,” this image does

doesn’t understand or cannot penetrate deeply.

be a woman’s bust line. Curiously, the woman gazes out

not evoke an aesthetic response in me. I would have

—Jackie M., Artist/Educator, Santa Fe

directly at the viewer while the man-like deer is slightly

walked by it or left the gallery where it hangs, but

turned. Wildlife, especially prey animals, almost never stare

since I was asked to write about it, I’m offering my

What strikes me most about this painting is the subject

directly at humans for an extended time. In this position,

impressions, and “Oh my God” was the first thing that

matter. After spending too much time trying to figure

the deer reveals his true wild nature. Flowers and prairie

came to mind. The face of the woman draws me to

out what it is, I am reminded of Picasso’s quote,

dogs symbolize abundance. A large tree emerges from

her, as it seems I have met her. I don’t always feel this

“People who try to explain art are usually barking

the window of what seems like these lovers’ home.

way about faces in paintings, so it intrigues me. It isn’t

up the wrong tree.” That said, I am drawn into this

The residence is enmeshed with growth from the earth

my face. It isn’t my story and this isn’t a universal image

painting by the colors and balance of objects. There is

itself. Psychologists often interpret images of houses as

that we all can relate to or read something personal

something about the woman’s eyes that suggests that

being representations of the unconscious. Fertility and love

into. The tree grows out of the house, the wood

she is in on something that we don’t know. Perhaps

are certainly on this couple’s minds. Likewise, the flora and

of the old structure returning to its original form.

there is an ironic wisdom in her eyes. This painting is

fauna echo their optimism and spiritual birth. The artist sees

The wood can’t return to its origins any more than

very pleasing to the eye, yet I still find myself wanting

the earth as deriving from a single seed—people, animals,

the girl can find her animal nature through fields of

to understand the meaning. The tree growing in

and vegetation are all entwined.

flowers and feeling one with the deer that come to

the house and the sunflowers in the yard are both

—Davis Brimberg, Ph.D., Clinical Psychologist, Santa Fe

graze in her garden. “I won’t eat your garden,” says

comforting on some level, but the image of the woman and her companion is somewhat unsettling. I want to know more. —Honey Harris, host of “The Big Show,” 98.1 FM KABC Although there are no zombies in this piece, if I were to give it a title I would call it Post Apocalyptic American Gothic. There are obvious signs of extreme weather disturbance in the background and genetic mutations in the figures. The figures seem perfectly content with their state of affairs, indicating an insidious onset. I mean, let’s face it, if you woke up one morning to find that your husband suddenly had a deer body or worse yet, your right hand was now a hoof, you would not have a smile on your face, now would you? No, you would not. So perhaps they were born this way and half or more of their first grade class had barnyard appendages. A pig leg here, a horse head there, etc. So I feel this is a warning from the artist about the consequences of being bad stewards of the environment. After spending time with this artwork I feel guilty enough to pledge right now to do a much better job of recycling and to take shorter showers. —Caryn Crimmel, Teen Idol, Emeritus, Santa Fe

16 | THE magazine

j u ne



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j u ne


THE magazine | 19

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One Bottle:

T he 2004 P iper -H eidsieck C hampagne B rut by Joshua


He offers to buy you dinner. You say no. The third time he offers, you say yes.

He pays for everything. He does it without effort, and never asks

At dinner, he asks all the right questions. “Is she your full-time or

if you’re having a good time, which is such a relief. Money flows out of

part-time best friend?” “When do you feel most like yourself?” “Did you

him the way water flows over Niagara Falls. He never tells you what

grow up in a big family?” “When was the first time you did something cruel?”

kind of business he’s in, and you never ask. You decide his job is to

This is at a corner table in a noisy bistro downtown, a crowded room where the plates are large, the portions are tiny, and both of the servers are men with jet-black hair. “Is that a deep-seated longing or just something you crave?” “Of course

be rich for a living. He buys you a watch. He buys you some time. You both know this can’t last, that the way you feel about each other, the way nothing has to be explained, is a gift as imaginary as it is real.

you are. Everybody is. But how often do we get to take those kinds of risks?”

He buys you another watch. You both know the extra time is the

“You don’t recover from anything that painful. If you’re lucky, you adjust, and

kiss of death but you move into it anyway, you measure its rooms, you

I was very lucky, but you never recover. Life won’t let you.”

decorate them with your hopes and dreams, you eat and sleep inside

He never says a word about your eyes or your skin. His eyes are a deep brown, with copper flecks. His gaze is intense,

their light. “Much as I wish things were different, they’re not.” “You

but one of the things you like about him is the way he never stares. He

can have anything you want, as long as you’re willing to face the

watches. He’s all about paying attention. But there’s nothing in the way

consequences.” “I’ve come to the conclusion that there are no

he looks at you that says, “You’re mine.” Is the will to move you there?

guarantees, and that people who make them are liars.” “The day

Absolutely. He knows better than to try to hide that. But it’s not about

will come when you’ll meet a guy your age, a guy who sees in

his needs. It’s about what you want. “Were you and your father close?” He orders lots of wines. A Champagne. A crazy Rhône that throws off aromas that remind you of anything but wine. Then a second Champagne, the remarkable one. He drinks Champagne the way he does everything, like he was put on this planet to do

you what I see in you, but who has the decency to offer you his whole life, not just a percentage. At that point, I’ll go quietly, no matter how much it kills me. Before your June wedding. I’ll be gone so fast, you’ll wonder if I was ever here in the first place.” He buys you one last watch. Each morning, while

it. You try to keep up. The wines are amazing, but when he

you’re in the shower, with the water touching every part

asks you what you like about them, words fail you. It’s not

of you, you wonder which one you’ll wear. Later, when

like you knew anything about wine to begin with, but you like

the time comes, you just look at the watches and know.

these wines so much, especially the second Champagne, it seems like a mistake to say nothing. He lets it go by. He never dwells on your shortcomings. Which brings us to the 2004 Piper-Heidsieck Champagne Brut. In the glass, the color walks the tightrope

It’s not a choice. It’s a decision that makes itself. He says all the right things, but he also says some of the wrong things. It’s almost like he throws them in as ringers, to see if you’re paying attention. “Time is like that. It pretends to be dependable.”

between the obvious and the obscure. The bouquet is

“Time makes you think you can count on it, that it

careful and taut—until it unleashes its raw nature. On the

will always be there for you. It lets you get addicted

palate, the Piper is pure precision. Each bubble has its

to the way it expands and contracts. But the minute

own flavor. The finish is as refined as the second half of

you give in and start depending on it, time turns on

the bouquet is raw. Régis Camus is a legend. He lives at

you. It teaches you the hardest lesson, the bitter

or near the top of the list of winemakers characterized

truth no one can swallow. Nothing lasts. Not even

by their attention to detail—but I don’t know how he

time.” “Time’s just another form of wishful thinking.

made this Champagne. Unlike its older, more aristocratic

You assume that, when the time comes, you’ll take

brother, the 2002 Piper Rare, this is not a party

a deep breath and let go, with a smile on your face

Champagne. It’s a bottle for two, a celebration of what it

and a song in your heart, but nothing could be further

means to fall in love with another person’s life.

from the truth. I hate to say it, but in this world, you

The days go by. He never insists. He lets you do

don’t let go of life. Life lets go of you.”

all the insisting. He never talks about his wife. He talks about his daughter and his son, all grown up now, sinking their teeth into the apple, three and six years younger than you’ll be on your next birthday, thank God. j u ne


One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. The name “One Bottle” and the contents of this column are ©2013 by For back issues, go to Send comments or questions to

THE magazine | 21

dining guide

World-famous Calamari

Santacafé 231 Washington Avenue, Santa Fe Reservations: 505-984-1788




up to $14









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

$34 plus


Photo: Douglas Merriam

...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. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: A beautiful new bar with generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. Watch for special dinners and wine pairings. 317 Aztec 317 Aztec St. 820-0150 Breakfast/ Lunch. Patio. Major credit cards. $$ Cuisine: Café and Juice Bar. Atmosphere: Casual. House specialties: Breakfast: Eggs Benedict and the Hummus Bagel, are winners. Lunch: we love all of the salads and the Chilean Beef Emanadas. Comments: Juice bar and perfect smoothies. Andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Good wines, great pizza. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236. Breakfast/Lunch/Dinner. Full bar. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American w/ a Southwestern twist. Atmosphere: A classy room. House specialties: For lunch, we suggest the Ahi Tuna Tacos or the Fried Ruby Trout. For dinner, start with the Heirloom Beet Salad. Follow with the flavorful Achiote Grilled Atlantic Salmon or the Free Range Northern New Mexico Lamb Roast. Dessert fave is the the Chef’s Selection of Artisanal Cheeses. Comments: Terrific cocktails from mixologist James Reis. Attentive service, and a creative chef (Juan Bochenski) assure that you will have a superb dining experience. Bobcat Bite 418 Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Patio. Cash. $$ Cuisine: As American as good old apple pie. Atmosphere: A lowslung building with eight seats at the counter and four tables. House specialties: The inch-and-a-half thick green chile cheeseburger is perect. The secret? A decades-old, well-seasoned cast-iron grill. Go.

Body Café 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual. House specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Avocado and Cheese Wrap. Comments: Teriffic soups and salads. Bouche 451 W. Alameda Street 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: Standouts starters are the “Les Halles” onion soup and the Charcuterie Plank. You will love the tender Bistro Steak in a pool of caramelized shallot sauce, the organic Roast Chicken for two with garlic spinach, and the Escargots a la Bourguignonne. Comments: Menu changes seasonally. Chef Charles Dale and staff are consummate pros. Cafe Cafe Italian Grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad, the tasty specialty pizzas, or the grilled Eggplant sandwich. For dinner, try the perfectly grilled Swordfish. Café Fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch. Patio Cash/major credit cards. $ Cuisine: Contemporary comfort food. Atmosphere: Casual and bright. House specialties: Ricotta pancakes with fresh berries, the chicken enchiladas; and the green-chile Cheese burger. Comments: Organic and housemade products are delicious. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian maiden posters. House specialties: Hotcakes got a nod from Gourmet magazine. Huevos motuleños—a Yucatán breakfast—is one you’ll never forget. For lunch, try the Grilled Chicken Sandwich. 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, Kung Pau

Chicken, and Broccoli and Beef. Comments: Friendly owners. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. Comments: Good selection of beers and wine.

El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego Cheese marinated in extra virgin olive oil. Go, you will love it.

Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: Good old American. fare. Atmosphere: Patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are fantastic. Super buffalo burgers. Comments: Huge selection of beers.

Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: French/Asian fusion. Atmosphere: Elegant and stylish. House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass served with black truffle scallions, and the classic peppery Elk tenderloin.

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: For your main course, go for the grilled Maine Lobster Tails or the grilled 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines.

Il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad; the Lemon Rosemary Chicken; and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to Table, all the way.

Doc Martin’s Restaurant 125 Paseo del Pueblo Norte. 575- 758-2233. Lunch/Dinner/WeekendBrunch Full bar. Major credit cards. $$$ Cuisine: Regional New American. Atmosphere: Friendly—down home. House specialties: For lunch try Doc’s Chile Relleno Platter or the Northern New Mexico Lamb Chops. Dinner faves are the Pan Seared Whole Boneless Trout and the Green Chile Smothered Chicken Burrito. Comments: Great bar, wonderful desserts, and a kid’s menu.

Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers, Comments: Chef Obo wins awards for his fabulous soups.

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 with with a nice patio outside where you can sit, read periodicals, and schmooze. Tons of magazine to peruse. 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-tocheek dancing. House specialties: Tapas, Tapas, Tapas. Comments: Murals by Alfred Morang.

Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake. It is smooth and dry. La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian tamales. Comments: Nice Sunday brunch.

Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: The Pho Tai Hoi: vegetarian soup loaded with veggies. Comments: Friendly waitstaff and reasonable prices. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Enclosed courtyard. House specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad. For your entrée, try the Braised Lamb Shank with couscous, and vegetables. M aria ’ s N ew M exican K itchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner (Thursday-Sunday) Beer/wine. Patio. Major credit cards. $$ Cuisine: American/New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: Freshly made Tortillas and Green Chile Stew. Comments: Perfect margaritas. Midtown Bistro 910 W. San Mateo, Suite A. 820-3121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Large open room. House specialties: For lunch, start with the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrées we love are the Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop. Comments: Good dessert selection. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic products. New York Deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. Comments: Deli platters to go. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$

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THE magazine | 23

full Bar/lounge area specialty cocktails summer patio Wine dinners private rooms available

award-Winning Wine list extensive selection of Wines by the Glass Two Happy Hours: 3–6 pm and 9 pm on...

Join our e-newsletter at for specials, promotions & wine dinner updates.

Join us on the patio for seasonally-inspired cuisine Mention or bring THE magazine’s ad and receive an appetizer “on the house.” 3462 zafarano drive • 505.471.6800 • •


shibumi R AMEN



Dinner: 5:30 –10 pm Monday – Saturday 26 Chapelle Street, Santa Fe, NM 87501 505.428.0077 ■ Fragrance Free

Parking Available

Sun-Thur, 5:00 -9:00 pm u Fri - SaT, 5:00 - 9:30 pm 315 Old SanTa Fe Trail u SanTa Fe, nm u www.315 SanTaFe.cOm reServaTiOnS recOmmended: (505) 986.9190

Photos ©Kate Russell

classic french Bistro

dining guide

delicious Double Cut Pork Chop. Comments: Chef Andrew Cooper partners with local farmers to bring fresh seasonal ingredients to the table. A fine wine list and top-notch service. The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive.  505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: Local flavors. Atmosphere: Casual, calm, and friendly. House specialties: At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, foillow with the Trout with a Toasted Piñon Glaze. Comments: Nice wine bar.

204 Montezuma Street, Santa Fe • 989-4200

Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile. Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American, all the way. Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs and Burgers. Haystack fries rule Recommendations: Nice wine list. Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Patio. Major credit cards. $$$ Cuisine: Southwestern with a French flair. Atmosphere: Contemporary. House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Nice wine list. Rose’s Cafe 5700 University W. Blvd SE, #130, Alb. 505-433-5772 Breakfast/Lunch. Patio. Major credit cards. $ Cuisine: A taste of the Yucatán with a Southwest twist. House specialties: We love the Huevos Muteleños: corn tortillas w/ refried black beans, eggs topped with Muteleños sauce, cotya cheese, and fresh avocado. Lunch: the Yucatán Pork Tacos. Comments: Kid’s menu and super-friendly folks. San Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ Cuisine: Japanese Sushi and Tapas. Atmosphere: Large room with a Sushi bar. House specialties: Sushi, Vegetable Sashimi and Sushi Platters, and a variety of Japanese Tapas. Comments: Savvy sushi chef. San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: All-American. Atmosphere: Casual. House specialties: The San Francisco Street Burger or the Grilled Yellowfin Tuna Nicoise Salad. Comments: Sister restaurant in the DeVargas Center. Comments: Reasonable prices. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Southwest Contemporary. Atmosphere: Minimal, subdued, and elegant House specialties: The world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Panseared Salmon with olive oil crushed

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new potatoes and creamed sorrel. Comments: Happy hour special from 4-6 pm. Half-price appetizers. “Well” cocktails and House Margaritas only $5. Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmealcrusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet. Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. Atmosphere: Contemporary and hip. House specialties: Start with the Seared Ahi Tuna. For your main, we suggest the Chicken Fried Chicken, with mashed potates and bacon bits, the flavorful Ceviche, or the Beer Battered Fish and Chips. All desserts are right on the mark. Comments: Wines from around the world. Quality beers. Two happy hours: 3-6 pm and 9 pm on. Generous portions/reasonable prices. Mention THE magazine and receive an appetizer on the house. Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily specials, gourmet sandwiches, wonderful soups, and an excellent salad bar. Comments: Organic coffees and super desserts. Do not pass on the Baby-Back Ribs. Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Real casual. House specialties: Beers are outstanding, when paired with the Beer-steamed Mussels, Calamari, Burgers, or Fish and Chips. Comments: Sister restaurant in the Railyard District. Shibumi 26 Chapelle St. 428-0077. Dinner Fragrance-free Cash only. $$. Parking available Beer/wine/sake Cuisine: Japanese noodle house. Atmosphere: Tranquil and elegant. House specialties: Start with the Gyoza—a spicy pork pot sticker—or the Otsumami Zensai or select from four hearty soups. Shibumi offers sake by the glass or bottle, as well as Japanese beers, and champagne. Comments: Zen-like.

Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff, Station 430 S. Guadalupe. 988-2470 Breakfast/Lunch Patio Major credit cards. $ Cuisine: Light fare and fine coffees and teas. Atmosphere: Friendly and casual. House specialties: For breakfast, get the Ham and Cheese Croissant. Lunch fave is the Prosciutto, Mozzarella, and Tomato sandwich. Comments: Special espresso drinks. at El Gancho Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant House specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce. Comments: They know steak here.


Sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner. Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. Atmosphere: Large open room. House specialties: In the am, try the Mediterranean Breakfast— Quinoa with Dates, Apricots, and Honey. Lunch favorites is the Indonesian Vegetable Curry on Rice; Comments: For your dinner , we suggest the Prix Fixe Small Plate: soup, salad, and an entrée for $19. Wines and Craft beers on tap. Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to tableto mouth. Atmosphere: Casual. House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox. A variety of teas from around the world available, or to take home. 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 breakfast, we love the Blue Corn Bueberry Pancakes and the Santa Fe Style Chilaquiles. For dinner, start with the sublime Beet and Goat Cheese Salad. Follow with the Pan-Seared Scallops with Foie Gras or the

The Compound 653 Canyon Rd.  982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: Contemporary. Atmosphere: 150-year-old adobe. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef/owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award. The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: Modern Italian Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch: the Prime Rib French Dip. Dinner: go for the Scottish Salmon poached in white wine, or the Steak au Poivre. The Pink Adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club. For dinner, Steak Dunigan or the Fried Shrimp Louisianne. Comments: Cocktails hour in the Dragon Room is a must! The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: A local institution located just off the Plaza. House specialties: Order the red or green chile cheese enchiladas. Comments Always busy. The Ranch House 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: BBQ and Grill. Atmosphere: Family and very kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: The best ribs. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$

Casual. Atmosphere: House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese. Comments: Tia Sophia is the real deal tomme: a restaurant

229 Galisteo St. 820-2253 Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Innovative Contemporary. Atmosphere: Casual and friendly. House specialties: Start with the Carmelized Leek Tart. Entrée: We love the Brick Chicken and the Pan Seared Yellowtail. Comments: Super desserts—get the Panna Cotta! Tune-Up Café 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home. House specialties: For breakfast, order the Buttermilk Pancakes or the Tune-Up Breakfast. Comments: Real friendly. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: Light and cheerful. House specialties: All organic salads. Love the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: When in Albuquerque, visit their their sister restaurant at 1828 Central Ave., SW. Vivre 304 Johnson St. 983-3800 Dinner. Beer/Wine. Fragrance-free. Major credit cards. $$ Cuisine: Inspired French food. Atmosphere: Intimate. House specialties: we suggest you start with the sublime Fennel Soup with Pernod and Mussels. For your main, try the Whole Roasted Trout with Sautéed Green Beans, or the Roasted Chicken with Thyme Jus and Potatoes. Comments: An extensive wine list. Zacatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Slow Cooked Pork Ribs. Also offered are over sixty-five brands of Tequila. Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: All-American Atmosphere: Down home. House specialties: The Chile Rellenos and Eggs is our breakfast choice. At lunch, we love the burgers, the Southwestern Chicken Salad and the crispy Fish and Chips. Comments: The bar is place to be at cocktail hour. Fun crowd.

Cuisine: Traditional New Mexican.

On the Road w/ THE magazine @ The Passion Pie Cafe

Great Pies & More 408 Main Street

Truth or Consequences


THE magazine | 25

PAUL REED A Career Exploring Color and Visual Perception


June 21 - July 27, 2013

Artist Reception: Friday, June 28, 5:00 - 7:00 PM

DAVID RICHARD GALLERY RAILYARD ARTS DISTRICT 544 South Guadalupe Street, Santa Fe, NM 87501 | p (505) 983-9555 Paul Reed, Barcelona IV, 1969, Acrylic on canvas, 58” x 71”

Steven Alexander, Poet, 2013, Acrylic on canvas, 72” x 60”


J une A rt openings FRIDAY, MAY 31

Eight Modern, 231 Delgado St., Santa Fe. 9950231. Asa Nisa Masa: work by Fay Ku. 5-7 pm. William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. Sutras: work by Polly Barton and Alison Keogh. 5-7 pm. SATURDAY, JUNE 1

Couse/Sharp Historic Site, 146 Kit Carson Rd., Taos. 575-751-0369. Couse/Sharp Historic Site Studio and Garden Open House. 5-7 pm. Greg Moon Art, 109-A Kit Carson Rd., Taos. 575-770-4463. Free Art Ain’t Cheap: studio works bythe street artist known as Scripture. 5-7 pm. MONDAY, JUNE 3

Santa Fe Art Institute, 1600 St. Michael’s Dr., Santa Fe. 424-5050. Cavities and Clumps—The Psychology and Physicality of Contested Space: exhibit and lecture by sculptor Martha Russo. 6 pm.

Santa Fe. 983-3085. Recent Landscapes and Botanicals: paintings by Key Sanders. 4-6 pm.

Fauna: taxidermy by Valency Genis. Done Gone: illustrations by Tim Lee. 6-9 pm.

Exhibit/208, 208 Broadway SE, Alb. 505-4506994. New Paintings: by Russell Hamilton. 5-8 pm.

Ellsworth Gallery, 215 E. Palace Ave., Santa Fe. 989-­ 7900. A Night of Surprises: grand opening event. 5-10 pm.

Touching Stone Gallery, 539 Old Santa Fe Trail, Santa Fe. 988-8072. Quintessence: work by Tadashi Ito and Sheila Keefe. 5-7 pm.

Factory on 5th Art Space, 1715 5th St., Alb. 505-977-9643. Shared Space: work by Pat Conway and Eleanor Trabaudo. 6-8 pm.

Weyrich Gallery, 2935-D Louisiana Blvd. NE, Alb. 505-883-7410. The Unique and Unusual: ceramics by Judith Duff, mixed-media paintings by Susan Zimmerman. 5-8:30 pm.

Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Earth Song: works by Jenny Reeves Johnson and Margaret Schumacher. Words with Friends: work by Patricia Beggins, Erika Guillory Page, and Annie Vought. 5-7 pm.

Framing Concepts Gallery, 5809 Juan Tabo Blvd. NE, Alb. 505-294-3246. 2 Answers to Art: paintings by Lyle Brown and Dianna Shomaker. 5-8 pm. IHM Retreat Center Campus, 50 Mt. Carmel Rd., Santa Fe. 984-8353. Review Santa Fe: photography group show. 6-8 pm.

The Matthews Gallery, 669 Canyon Rd., Santa Fe. 541-844-6683. Variations: collage and mixed-media work by Kate Rivers. 5-7 pm.


Legends Santa Fe, 125 Lincoln Ave., Santa Fe. 983-5639. Inside the Studio: demonstrations by Nocona Burgess, Nicholas Herrera and Frank Buffalo Hyde. 10 am-1 pm.

Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Projections in New Media: new-media group show. 5-7 pm. SATURDAY, JUNE 15


Legends Santa Fe, 125 Lincoln Ave., Santa Fe. 983-5639. Inside the Studio: demonstrations by Nocona Burgess, Nicholas Herrera, and Frank Buffalo Hyde. 5-7 pm.


Manitou Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Works by Roger Hayden Johnson and Hib Sabin. 5-7:30 pm.

Charlotte Jackson Fine Art, 554 S. Guadalupe St., Santa Fe. 989-8688. Friends and Family: group show. 5-7 pm.

Mariposa Gallery, 3500 Central Ave. SE, Alb. 505-268-6828. Ceramics by Lisa Smith and Wesley Anderegg. Paintings by Joie Villeneuve. 5-8 pm.

Chiaroscuro Contemporary Art, 702½ Canyon Rd., Santa Fe. 992-0711. Bark: mixedmedia work by Gayle Crites. Variations: wood sculptures by John Geldersma. 5-7 pm.

Palette Contemporary Art and Craft, 7400 Montgomery Blvd. NE, Alb. 505-8557777. Enigma: stoneware clay works by Andrew Van Assche. 5-8 pm.

Downtown Subscription, 376 Garcia St.,

Stranger Factory, 109 Carlisle Blvd. NE, Alb. 505-508-3049. Ride: work by Bob Dob.

Leich Lathrop Gallery, 323 Romero St. NW, Suite 1, Alb. 505-243-3059. The Rubber Tomahawk Show: work by Chuck Lathrop. 3-5 pm.

LaFountain Studio, 3920 Buffalo Grass Rd. #4, Santa Fe. 603-9087. The Journey Begins: new sculptures by Bruce LaFountain. 4-9 pm. 


Plaza Galeria #8, 66-70 E. San Francisco St., Santa Fe. 474-0385. Bountiful Color: acrylic paintings by Emily Van Cleve. 2-4 pm.

A Gallery Santa Fe, 154 W. Marcy St. #14, Santa Fe. 603-7744. 3rd Annual RISD Show: group show. 5-7 pm.


David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Projected: digital and video artwork by Max Almy & Teri Yarbrow, Matthew Kluber and Susan Herdman. 5-7 pm. El Museo Cultural de Santa Fe, 555 Camino de la Familia, Santa Fe. 992-0591. Currents 2013—Santa Fe International New Media Festival. 6 pm-midnight.

City of Santa Fe Arts Commission Community Gallery, 201 W. Marcy St., Santa Fe. 955-6705. Viva Flora!: group show. 5-7 pm. GF Contemporary, 707 Canyon Rd., Santa Fe. 983-3707. Glance at the Sun: group show. 5-7 pm. Hunter Kirkland Contemporary, 200B Canyon Rd., Santa Fe. 984-2111. New Paintings: works by Rick Stevens. 5-7 pm.

Currents: The Santa Fe International New Media Festival opens on Friday, June 14, at El Museo Cultural de Santa Fe, 555 Camino de la Familia. Reception: 6 pm to midnight. Image: Miwa Matreyek. Photo: Scott Groller.

continued on page 30 j u ne


THE magazine | 27


For artists without gallery representation in New Mexico. Full-page B&W ads for $600. Color $900. Reserve space for the July issue by Wednesday, June 12. 505-424-7641 or email:


“I write to indict mankind.� 1. Jeanette Walls 2. William Gass 3. Rachel Maddow 4. Max Brooks

OUT AND ABOUT photographs by Mr. Clix Lisa Law Dana Waldon

Honey Harris interviews THE magazine: Thursday, June 6, 10:30 am - 98.1 FM KBAC Special Guest: Joshua Baer — “One Bottle” columnist

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Nüart Gallery, 670 Canyon Rd., Santa Fe. 988-3888. Undertow: paintings by John Tarahteeff. 5-7 pm. Palette Contemporary Art and Craft, 7400 Montgomery Blvd. NE, Alb. 505-8557777. Enigma: stoneware clay works by Andrew Van Assche. 5-8 pm. Silver Sun Gallery, 656 Canyon Rd., Santa Fe. 983-8743. New Earth Paintings, Kaleidoscope Prints: work by Gail Bueno. 5-7 pm. Studio Vaillancourt, 821 Canyon Rd., Santa Fe. 231-8961. A Painter’s Peru: paintings by Sandy Vaillancourt. Photographs by Jeff Della Penna. 5:30-7:30 pm. SATURDAY, JUNE 22

Nedra M atteucci G alleries, 1075 Paseo de Peralta, Santa Fe. 982-4631. Works from My Wishlist: paintings by Curt Walters. 2-4 pm. FRIDAY, JUNE 28

David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Paul Reed:  A Career Exploring Color and Visual Perception: works by Paul Reed.  Slave to Love: works by Steven Alexander. 5-7 pm. GVG Contemporary, 202 Canyon Rd., Santa Fe. 982-1494. Southwest Abstraction: group show. 5-7 pm. Manitou Galleries, 123 W. Palace Ave., Santa Fe. 9860440. Spring into Summer: group show. 5-7:30 pm.

Right: Santa Fe Studio Tour on Friday, June 28 from 5:30 to 7:30 pm. Saturday, June 29 from 10 am to 6 pm. Sunday, June 30 from noon to 5 pm. Image: Kevin Box. Below: Friends and Family, a group exhibition at Charlotte Jackson Fine Art, 554 South Guadalupe Street. Reception: Friday, June 7 from 5 to 7 pm. Image: Lawrence Fodor. Bottom Right: Work by Alex Katz on view through July 26 at Richard Levy Gallery, 514 Central Avenue SW, Albuquerque. Reception: Friday, June 28 from 6 to 8 pm.

Marigold Arts, 424 Canyon Rd., Santa Fe. 982-4142. Monuments and Rivers—New Watercolors: work by Robert Highsmith. 5-7 pm. Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-3432. Ecstasy of Gold: jewelry by Judith Kaufman and Lilly Fitzgerald. 5-7 pm. TAI Gallery, 1601 Paseo de Peralta, Santa Fe. 984-1387. Sculptures by Nagakura Kenichi. 4-7 pm. Taylor A. Dale Fine Tribal Art, 129 W. San Francisco St., Santa Fe. 670-3488. Australian Aboriginal Art: bark paintings by the Elders, Hermannsburg landscape paintings, and traditional antique Aboriginal artifacts. 5-7 pm.    Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Projections in New Media: work by Derek Larson, Inhye Lee, and Molly Bradbury. 5-7 pm.


516 Arts, 516 Central Ave. SW, Alb. 505242-1445. ISEA 2012 Air, Land, Seed: group show of works by contemporary Native American artists. 6-8 pm. Byzantine Project at Byzantium Lofts, 1348 Pacheco St., #105, Santa Fe. 982-3305. Reacts + Facets 2013: digital drawings by Jonathan Morse. 2-6 pm. Richard Levy Gallery, 514 Central Ave. SW, Alb.
505-766-9888. Prints by Alex Katz. Elderly Animals: photographs by Isa Leshko. 6-8 pm. SPECIAL INTEREST

Abiquiu Inn, 21120 U.S. 84, Abiquiu. 6854378. Abiquiu Lecture Series: lecture by photographer Walter W. Nelson. Thurs., June 6, 7 pm.


Axle Contemporary at the Santa Fe Railyard, 740 Cerrillos Rd., Santa Fe. 670-7612. The Renga Project: year-long collaborative project with 49 New Mexico poets and fifty-two artists. Through June 2014.

Quartet. Thurs., June 20, 12 pm. Peñasco Theatre Collective, 15046 State Hwy. 75, Peñasco. 575-587-2726. Over Your Head: aerial banquet and benefit. Sat., June 1.

Community Gallery, 201 W. Marcy St., Santa Fe. Understanding the Artist—Gallery Consignment Agreement: Peter Ive talks on how artists and gallery owners can best deal with gallery consignment agreements. Tues., June 25, 6-8 pm.

Vanessie R estaurant, 427 W. Water St., Santa Fe. 982-9966. Performance by Cantos de Taos Quartet. Thurs., June 20, 6 pm.

Creative Santa Fe at DeVargas Park, S. Guadalupe St. and W. Alameda St., Santa Fe. 989-9934. FantaSe Community Festival: opening ceremony of re-invigorated DeVargas Park. Sat., June 15, 4-11 pm.

516 A rts , 516 Central Ave. SW, Alb. 505-242-1445. Digital Latin America: seeking proposals for high caliber, innovative, and interactive digitalmedia works. Deadline: Fri., Sept. 27.

Encaustic Art Institute, 18 County Rd. 55-A, Cerrillos. 424-6487. Wax with Dimension: works by EAI members nationwide. Sat., June 8 to Sun., June 9.  EAI Member Show: work by over fifty encaustic artists. Sat., June 22 to Sun., June 23.

Pastel S ociety of N ew M exico, P.O. Box 3571, Alb. 575-895-5457. 22 nd Annual Pastel Painting Exhibition. Deadline: Thurs., Aug. 15.

Four Seasons Resort Rancho Encantado, 198 State Rd. 592, Santa Fe. 946-5839. Farmers Symposium Luncheon: speakers, local food, and wine. Wed., June 5, 11:30 am-2 pm. Georgia O’Keeffe Museum, 217 Johnson St., Santa Fe. 946-1000. Georgia O’Keeffe in New Mexico—Architecture, Katsinam, and the Land. Through Sun., Sept. 8.


Parallel Studios, various locations in Santa Fe. 670-6473. Currents 2013: Santa Fe International New Media Festival. Fri., June 14 to Sun., June 30. Santa Fe Studio Tour, various locations in Santa Fe. 428-0749. 2013 Santa Fe Studio Tour: free, self-guided tour of thirty-seven Santa Fe art studios. Fri., June 28, 5:30-7:30 pm; Sat., June 29, 10 am-6 pm; Sun. June 30, oon–5 pm.

Silver City Museum Annex, 302 W. Broadway, Silver City. 575-538-5921. Adobe and Stone Restoration Public Meeting: lecture on historic adobe restoration. Sat., June 1, 10 am-12 pm. UNM Bookstore, 2301 Central Ave., Alb. At noon on Sat., June 8 author RJ Mirabal will speak about and sign copies of his new book The Tower of II Serrohe. PERFORMING ARTS

Shiprock Santa Fe Gallery, 53 Old Santa Fe Trail, Santa Fe. 982-8478. From the Mesas—Arts of the Hopi Pueblos. Through Wed., Sept. 11.

Cathedral B asilica of S t . F rancis of Assisi, 131 Cathedral Pl., Santa Fe. 9825619. Performance by Cantos de Taos

Silver City Clay Festival at the Workshops of Carneros, 405 N. Bullard St., Silver City. 575-538-5560. Call for clay vendors for three-day juried fair, Fri., Aug 2 to Sun., Aug. 4. Deadline: Sat., June 1.\m

Top: Recent Landscapes and Botanicals by Key Sanders at Downtown Subscription, 376 Garcia Street. Reception: Friday, June 7 from 4 to 6 pm. Bottom: Six Words on view at ViVO Contemporary, 725 Canyon Road, Santa Fe, through July 1. Image: Jane Rosemont.

Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. Luminous Grace: paintings by Jennifer J.L. Jones. Through Sun., June 9. IHM Retreat CENTER campus, 50 Mt. Carmel Rd., Santa Fe. 984-8353. Review Santa Fe: photo exhibits, seminars, portfolio reviews. Fri., June 7 to Sun., June 9. Mark Sublette Medicine Man Gallery, 602-A Canyon Rd., Santa Fe. 820-7451. Squash Blossom Necklaces—A Resurgence of Style: Navajo and Zuni necklaces circa 1900-1960. Sat., June 1 to Wed., July 3. M useum of I nternational F olk A rt, 706 Camino Lejo, Santa Fe. 476-1200. Savor the Flavor: New Mexico food vendors, tastings, cooking demonstrations, and more. Sun., June 2, 10 am–5 pm. Owings Gallery, 120 E. Marcy St., Santa Fe. 982-6244. By Descent—The Brown Collection: furniture commissioned by the Brown family in 1929. Through Sat., June 22. Pablita Velarde Museum of Indian Women in the Arts, 213 Cathedral Pl. Santa Fe. 988-8900. A Straight Line Curved: work by Helen Hardin. Sat., June 1 to Mon., Sept. 30.

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THE magazine | 31


Air, Land, Seed: group show 516 Arts, 516 Central Avenue SW, Albuquerque. 505-242-1445 June 29 to September 21 Reception: Saturday, June 29, 6-8 pm Print Blitz June 29, 9 am at Downtown Growers’ Market: Parade of Flags at 11 am

passage, instead of accepting congratulatory gifts, he would

deeply felt written passages. Sometimes, the words are

give valuable items to his guests. This month, 516 Arts in

letters to her daughters, and other times expressions of

Albuquerque will hold the Print Blitz and Parade of Flags,

Page’s own pain form the foundation of her work. Page’s

combining the traditions of flags and give-aways. Artists

Word Weavings are on display at Gerald Peters this month,

John Hitchcock, Emily Arthur, Marwin Begaye, and Ryan

along with similarly word-based works of hand-cut paper

O’Malley will create a ten-by-thirty-foot banner to lead a

by Annie Vought and “encaustic explorations of water as

parade of flags, created with the assistance of the public, at

metaphor” by Patricia Beggins.

“We stole countries with the cunning use of flags,” British

the Downtown Growers’ Market. Many of these flags will

Left: Erika Guillory Page, (Detail) EMPI, oil stick on paper, 12” x 12” 2013

comedian Eddie Izzard once joked. Flags are symbolic

be ceremoniously distributed. The Parade of Flags is a part

of conquest, and during the sixteenth century, European

of 516 Arts’ Air, Land, Seed project, a group show of Native

explorers sailed under the banners of the royalty that

American artists addressing issues of exile and control from

financed them, planting them in the lands they “discovered.”

an indigenous perspective.

Native Americans, in contrast, used traditional clothing and art to distinguish themselves from other communities.

Bottom Left: Emily Arthur, Water Moccasin (with Shot), etching and Chine- collé on BFK paper, 15” x 20”, 2011

Although scholars have debunked the idea that Native Americans did not understand the concept of private property, the indigenous idea of land ownership was, at the very least, quite different from that of European settlers. More natural to many American tribes was the tradition of “give-aways.” When a person was honored by his community at a wedding, naming ceremony, or other rite of

Words with Friends: work by Patricia Beggins, Erika Guillory Page, and Annie Vought June 14 to July 20 Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700 Reception: Friday, June 14, 5-7 pm Life transitions can morph a person’s future from a predictable narrative into an abyss of uncertainty. At such times, people often find solace in journaling—in writing down worries, fears, and hopes; a life story

This month, things get elemental at Chiaroscuro. The thin, tribal-seeming wood sculptures of artist John Geldersma will be on view, towering over the viewer like giant embellished barracuda teeth or the accessories to an elaborate Vodou ritual. Although he now makes his home in Santa Fe, Geldersma grew up in Louisiana. Like the Big Easy, the artist seems to have gracefully absorbed an amalgamation of cultures, ancient and modern, to produce works that harken back to our most primal

that is trailing off into the unknown can be pinned

selves. His totemic “spirit poles,” which have become

down with words. Erika Guillory Page’s journey as an

his signature in recent years, are carved from found tree

artist began as such. Page’s career as an emergency

branches, and appear to grow from the ground and strain

room nurse ended after getting married and giving

for the sky. Artist Gayle Crites has similarly incorporated

birth to two daughters. She writes: “In a sense, I felt

a range of cultures into her work, but the combination

that despite the importance of each of those roles, I

is more material than aesthetic. For her collages, Crites

had become invisible. I wanted to find my own voice,

uses traditional, handmade paper created by people from

to express my emotions and relate to those who

across the globe. She uses Japanese paper for its strength,

may feel the same. Writing all the words helps me

woven camel hair from Iraq for its “transparent veil of

make connections.” Then, her grandmother died—a

neutrality,” as well as Hawaiian barkcloth and Mexican

woman she referred to as “her rock”—and Page was

bamboo paper. The final product, like Geldersma’s spirit

moved to create her first painting, a work entitled

poles, contains a sense of the tribal, but tension lies just

the day she went home. Since then, Page has melded

beneath the surface—the coming together of global

her need for words with her love of painting, creating

cultures is rarely without its tangles, after all.

what she calls Word Weavings—bright, oil-stick panels, each stroke layered thickly upon indistinguishable yet

32 | THE magazine

Bark: compositions and installation by Gayle Crites Spirit Poles: wood sculpture by John Geldersma June 7 to July 7 Chiaroscuro, 702½ and 708 Canyon Road, Santa Fe. 992-0711 Reception: Friday, June 7, 5-7 pm

Bottom Right: John Geldersma, (Detail) Spirit Poles (grouping), burned and painted aspen, various sizes, 2013

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500+ full-color images in 260+ pages 4000+ artists indexed to their galleries Gallery, Studio & Museum profiles Detailed street-by-street maps Informative articles Dining & lodging resources Glossaries of art terms

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Polly Barton and Alison Keogh

Polly Barton, "Threads of Rain" (detail), 2013 16.75 x 19.25 inches silk, metallic thread, pigment and soy

May 31 – July 6

Opening Reception May 31, 5 –7 pm

Alison Keogh, "Sutra #4" (detail), 2013 25 x 37 inches, sumi ink on kozo paper.

Photo: Robert Mang


n at i o n a l s p o t l i g h t

Skyspace I, 1974 by James

Light is a fickle, ephemeral thing, but James Turrell seeks to be its master. Rather than skylights, the venerated, white-bearded artist creates “Skyspaces”— architectural works that manipulate both natural and artificial light, becoming openings to the ceiling of the earth. “I want to create an atmosphere that can be consciously plumbed with seeing,” Turrell has said, “like the wordless thought that comes from looking in a fire.” Private collectors will pay up to two million dollars for a Turrell, and his monumental Roden Crater project—a massive, multi-chamber observatory built within a natural volcanic crater near Flagstaff, Arizona—has been in the process of being completed since its inception in 1979. This summer may come to be known as the “Summer of j u ne


Turrell Turrell” as simultaneous exhibitions at the Museum of Fine Arts, Houston and the Solomon R. Guggenheim Museum of New York will feature works from throughout the artist’s career. Seven separate installations will be on view at the MFAH, and several will be open to the public for the first time. Not to be missed is the installation at the Guggenheim, where, in his first New York exhibition in three decades, Turrell will transform Frank Lloyd Wright’s iconic rotunda into a Skyspace of metamorphosing light entitled Aten Reign. On view June 9 to September 22 at the Museum of Fine Arts, Houston, 1001 Bissonnet, Houston, Texas; June 21 to September 25 at the Solomon R. Guggenheim Museum, 1071 Fifth Avenue, New York City. THE magazine | 35





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Studio visits

The artist Joanne Delphine wrote, “The eye must be fed tranquil imagery, just as the body must be fed nutritious food.” A photographer and a tapestry artist talk of how a sense of calmness permeates their work. One of the pleasures of tapestry weaving is the extreme slowness of the process. It encourages me to ponder the tiniest moves, no matter if the image is simple or complex. That effort becomes a luxury. I had the opportunity a couple of years ago to visit my home village in Finland after an absence of seventeen years. The visit was like Proust’s madeleines. I was there for a few hours, but the subconscious dam broke open. Now I have to reach back in my memory. It’s all there.

—Bengt Erikson Erikson’s exhibition—Tapestries—will be on view at the Collected Works Bookstore & Coffeehouse through mid-June. See review on page 44.

Neutrality as expression, and expression as meditation. When I am feeling in balance and neutral, I am fed by a flow of creativity. Tranquility is the in-between place of dreams, which is a subject that I am forever interested in. Resting in the altered state of dreams is that other dimension where things are worked out.

—Deanne Richards Richards’ last show—Figure in Space—was on view at the Santa Fe Community College, in May 2013.

photographs by

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Anne Staveley

THE magazine | 37

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THE magazine | 39

Critical Reflection

Peter Sarkisian: Video Works 1994-2011

New Mexico Museum of Art 107 West Palace Avenue, Santa Fe

“The medium is the message.”

is the message. However, what these

perfectly executed works lack is a different

—Marshall McLuhan, from his book Understanding Media: The Extensions of Man. In this work, McLuhan proposes that a medium itself, not the content it carries, should be the focus of study. He said that a medium affects the

kind of dynamism—the drama and ambiguity

society in which it plays a role not only by the content delivered over the medium, but also by the characteristics of the medium itself.

that come with an intense exploration of physical and psychological space that

I’ll begin this review by discussing

was found in a work like Manifold, where Sarkisian hinted at the imperfect nature of

an arresting and vividly remembered video

a small man who appeared to be crawling

the space outside in an effort at a faux

perfection and gave the viewer a doorway

sculpture by Peter Sarkisian that was not

back and forth and up and down the pages

escape. The dense shadows around the

into a splendid rush of emotion.

presented in this mini-retrospective of the

of a normal-sized dictionary, selectively

bodies and the dark smudges that appear

—Diane Armitage

artist’s work at the New Mexico Museum

scratching out words or definitions and

on their skin complete a scene that

of Art. The piece I’m referring to is Manifold

adding his own often humorous ones

could be right out of Dante’s Inferno—

(2003) and it was included in a group show of

to those in the book: CHECH SPELLING.

two lovers with their illicit passion gone

video art, Embodied, also at the Museum of


awry are condemned to suffer a hellish

Art, in 2005. At over ten-feet high, Manifold

The dictionary is real but the diminutive

intimacy with no relief.

consisted of two pyramids—one upright, the

man in the blue shirt is only a projection

other pyramid inverted and perched on its tip

and so is his scrawled text. This piece,

on the tip of the one below. How Sarkisian’s

Book I, is related to Ink Blot, where another

video projections were realized as an integral

tiny man worms his way out of an overturned

part of each pyramid’s surface I don’t know,

inkbottle, a real object, and then makes his

but nude figures cascaded down the sides of

way across a white surface, leaving a trail of

the top pyramid and seemed to be funneled

black stains behind him.

through its tip and then shoot down the sides

In all of the work in this exhibition,

of the pyramid below. Manifold was thrilling

there is a good-natured tension between

to watch in the endless loop of falling bodies,

the actual space of the sculptural elements

and the work suggested some sacrificial

and the virtual space of the artist’s trompe

rite of passage or a narrative whose theme

l’oeil digital effects—a man in a business

emphasized a distilled futility in a perpetual

suit floats face down in a giant latte cup;

agonizing movement. Manifold exemplified a

a nude woman bathes in what looks like a

brilliant fusion of moving images with three-

large bowl of milk; a very small projection

dimensional forms and an impeccable use

of old black-and-white movie clips seems

of digital technology. The piece took your

to be playing on the seat of a stuffed

breath away and it remains as one of the

armchair and under the clear round base

most scintillating and dynamic sculptural

of a wine glass. In all, there is a seamless

objects I’ve ever seen.

fit of video projections, large and small,

Sarkisian’s present exhibition comprises

with their host containers, and there is

seventeen sculptures with video projections,

no doubt that the artist is a master of

and while all the work is extravagantly

illusionary spaces and the technological

ingenious in its making, the individual pieces

expertise required to achieve his series of

rest on a fulcrum of extreme cleverness

sleek entertainments.

minus depth of meaning. If Manifold

The work Dusted is one of the

seemed to hint at some human dilemma,

exceptions in this show in that it was

some underlying mystery at the heart of

multi-dimensional not only in its physical

humanity—a fundamental alienation from

presence but also in its congested

ourselves perhaps—the work on view in this

aura of psychological confinement, its

retrospective is marked by being little more

pathological sense of entrapment. A nude

than a series of conceptual one-liners, albeit

couple continually tries to shift sitting

made with a dedication to fastidiousness

positions—there is no room to stand—

craftsmanship. That said, Sarkisian’s show is

within a cube large enough to contain

a crowd-pleaser. At the opening there were

two bodies but too small to escape

a lot of children in attendance and they all

a claustrophobic imprisonment. The

appeared delighted by the artist’s sleights of

couple tries to maneuver itself within

hand—a pencil that seemed to float in space

the box and only an illusionistic hole

above a white surface, for example, or blue

projected on the top of the cube allows

paint endlessly dripping into a tin bucket, or

for an arm to reach out and investigate

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In this exhibition, the medium indeed

Peter Sarkisian, detail of Dusted, painted wood cube, video projection, audio, 29½” x 33” x 33”, 1998 Peter Sarkisian, Dusted, painted wood cube, video projection, audio, 29½” x 33” x 33”, 1998

THE magazine | 41

presented by Creative Santa Fe, a 501(c)(3) non-profit organization

Critical Reflection

AGAIN: Repetition, Obsession



Lannan Foundation 313 Read Street, Santa Fe

Heraclitus got it right, unless we got him wrong. A few extant Greek fragments transmit his

groupings of documentary-style, single-image

The repetitive device at work in such

process demonstrates the Heraclitean notion

auricular notion of change (rendered in equally

gelatin silver prints of industrial structures

architectural typology can be traced in turn

of continuity through change. The etchings

cryptic English) to say that you can’t step in

assembled in suites within a grid format under

to earlier serial art—recall Monet’s series

are different, yet both represent a single print

the same stream twice, what with its ever-

a common “type”. Recalling the Becher 1972

of haystacks and cathedral facades—and of

number (#10) and share its descriptive title:

changing flow. His point was not that everything

Typologies of Water Towers, Eliasson’s grid of

course to nature itself. In AGAIN, Jorge Pardo’s

Straight lines approximately one inch long, drawn

changes—hence, nothing repeats—but that

five rows of photographic color prints depicts

yellow-and-green monoprints of eucalyptus

at random, within a square using four directions of

change itself is not a foil against constancy, or

twenty lighthouses. The documentary stamp of

leaves explore a basic botany that resonates

line: 1) vertical; 2) horizontal; 3) diagonal, left to

permanence—change is, in fact, a condition

the nondescript structures is enriched by the

in the red-yellow-blue geometric shapes of

right; 4) diagonal, right to left and all combinations

for it. The metamorphosis of lepidoptera

distinct personalities that they assume within

Pard Morrison’s enamel-on-acrylic Mutation,

of those lines. The key to Lewitt’s obsessive tack

from caterpillars to butterflies is change; the

the grid. The juxtaposed variation in design,

in which the facets of Cubist constructions

can be found in his phrase “drawn at random,”

transition from moth to flame is not. With

surrounding landscape, and cultural context

unfold, like the flattened sides of milk cartons,

which allows each etching its unique visual

change understood as a force for continuity,

underscores their differences while it tacitly

to assume new identities.

pattern within a larger identity whose continuity

repetition is a fundamental expression of it.

asserts a common structural unity and shared

And obsession is the ongoing search for that

pensive tilt.

Sol Lewitt’s two etchings are variants

is assured by that very variation. Lewitt’s

of the tenth print of an edition of fifty whose

“straight lines” titles mimic the genetic markers that scientists use in DNA sequencing.

abiding truth which reveals itself through repetition. Once revealed,

Sol Lewitt’s genome mapping is

its import is engaged and absorbed in

matched by Agnes Martin’s method


of penciling horizontal and vertical

The philosopher’s insight could

fields, as seen in several lithographs

serve as the premise for AGAIN:

(12” x 12”) on vellum depicting her

Repetition, Obsession and Meditation

signature grid compositions. Arguably

(on view through June 16), the current

the most understated work in AGAIN,

group exhibition of works from the

Martin’s modest lithographs convey the

Lannan Collection that exemplify one

monumental tranquility of her typical

or more of these related themes as

six-foot and subsequent five-foot grid

“key elements to the artist’s process,

squares. And the subtle lyric quality in

sometimes quite obvious in the

Martin’s sober grids resonates in the

resulting art work, sometimes not.”

rigorous striations of Stuart Arends’

Repetition is rendered as pure iteration

Stanza dell’ Amore 24, whose pattern of

in Buzz Spector’s altered book Portrait

parallel vertical ridges and grooves belies

of Dorian Gray, (1989) and in Cassandra

the geometric probity of the piece with

C. Jones’ Track and Field prints; it is

its melodic feel of a Renaissance lute.

realized in the evolving progression of

The éminence grise of AGAIN is

Susan York’s solid graphite bars and of

Self-Portrait (1999) by Chuck Close.

Pard Morrison’s Mutation series.

Chosen to illustrate the theme of obsession

And any viewers familiar with the




repetitive process of an Agnes Martin

preoccupation with the portrait),

(on view here) and an Eva Hesse would

its photographic medium of the

concur that iteration underscores the

daguerreotype offers an unwitting riff

crossover nature of obsession and

on AGAIN’s themes. Daguerreotype,

meditation. AGAIN makes that case

involving a unique direct print on a

with an engaging clarity and without

silvered copper plate, is, almost by

distracting from the strength and

definition, an antonym for repetition.

appeal of the art itself.

Yet with its equally furtive image


that shifts from positive to negative,

on the bird motif leads Jean-Luc

depending on the viewing angle and

Mylayne to include one in each of his

color of the reflected surface, Close

chromogenic prints. Renate Aller’s ten-

has produced a self-portrait that

year record of atmospheric seascapes

appears to both vanish and reveal

photographed from a single, fixed

itself, affirming that the seeming

vantage point invites contemplation.

randomness of change is essential

Olafur Eliasson’s The Lighthouse Series is

to our enduring sense of continuity.

an homage to Bernd and Hilla Becher’s

Heraclitus got that right.

typologies dating from circa, 1959,

—Richard Tobin



Chuck Close, Self-Portrait, daguerreotype, 5½” x 4¼ ”, 1999 j u ne


THE magazine | 43

Bengt Erikson: Tapestries

Collected Works Bookstore & Coffeehouse 202 Galisteo Street, Santa Fe

We spend our lives, from birth to death, with our bodies The Nature of Order, Alexander’s series

is called “self-remembering” or essence.

fabric. Yet the process of weaving, like that

Weaving has been done in most cultures

on the art of building design) he discusses

I have for years continued to look at all

of food production, is a mystery to most of

for millennia and textiles have been found

how, among human-made objects, certain

kinds of art because of the occasional

us today. Textiles are taken for granted but

among Neolithic remains worldwide. In the

ancient carpets profoundly demonstrate

moment when a work takes me beyond

we could not live without them. Sometimes

late eighteenth century the process began to

what he calls the nature of living structure.

myself in an unexpected way. Erikson’s

it takes an artist to bring our awareness to

be mechanized; as this process accelerated it

They possess what Alexander identifies as


something so basic. In Collected Works

initiated the industrial revolution, ultimately

“intense living centers.” The slow process

exercise their enchantment in a subtle and

Bookstore & Coffehouse, the tapestries of

even providing the cognitive basis for the

of their making allows the weaver to “fuse

refined way, leaving nothing out and adding

Bengt Erikson almost recede into the walls,

precursor to the invention of the computer.

her own experience of self” with what he

only what belongs.

so reticent do they seem at first. Yet, as one

As the renowned textile scholar Elizabeth

calls the “No mind, or the One, or God.”

—Marina La Palma

draws closer to experience the particular

Wayland Barber explains in Women’s Work:

This is the apex of Alexander’s patient

frisson of textiles, the Shaker-like simplicity

the First 20,000 Years, “…textiles mark

exposition of how to find, in the practice

of Erikson’s designs meets the eye as boldly

special places, people and times and … cloth

of architecture, what in some traditions

as the late cut-outs of Henri Matisse.

can also be used as a

almost constantly swaddled in some kind of

Weaving, with linen, cotton, wool,

the world with my mind.

vehicle for recording

silk, or any available and malleable




material, is done on a loom—large or

history or mythology.”

small, vertical or horizontal, tied to a tree

Thus, weaving is deeply

or to the weaver’s toe—with two sets of

rooted in pre-literate

interlaced threads, those running parallel

epic and myth—from

to the length (called the warp) and those

Indra’s web to Homer’s

parallel to the width (called the weft).

Penelope, weaving by

The warp threads are set up under tension

day and undoing her

and the weft thread is passed back and forth

work by night during

across part or all of the warps, sometimes

the long wait for her

with additional threads tied in a dizzying

husband’s return. There is a sort

array of possible knottings. Tapestry is weft-faced weaving, in which all the warp


threads are hidden in the completed work,




unlike cloth weaving where both the

whether the severely

warp and the weft threads may be visible.

rectilinear Old Church,

In tapestry weaving the artisan interlaces

Finland or the more


each colored weft in its own small pattern

organic Mim’s Favorite

area to form the design. Kilims and Navajo

or Towards Taos. This

rugs are types of tapestry work. For most


of us the technique used makes little

reminiscent of certain

difference and it is how the work looks

domestic spaces whose

that matters.


Carpets and tapestries can be bold




sparseness only


and ornate or subtle and sensuous;




they may be meant to lie underfoot and

attention to detail and

provide comfort or hang on a wall and


make a statement. Navajo rugs are strong


abstract representations of forces of

But it is not luxurious

nature and ancient thought-ways enacted


in wool and color. In floral and highly


complex decorative schemes, ancient


cultural patterns are encoded in the

Erikson’s works but the

carpets of Central Asia. They can induce,

design philosophy of

at least in me, a most pleasant mind-state

Christopher Alexander.

comprehending the connectedness of

In The Luminous Ground

everything and the organic continuity of

(which is book four of


one to


resources. really








Bengt Erikson, Old Church, Finland, wool and cotton, 50” x 45”, 2012

Critical Reflection


Monroe Gallery of Photography 112 Don Gaspar Avenue, Santa Fe

The very time I thought I was lost/

dispute with my country.” In it, he warns the

My dungeon shook and my chains fell off

boy that though people know better than to

—African-American spiritual

behave out of fear and hate, they often “find it very difficult to act on what they know.… To

In the preface to his 1953 novel

act is to be committed and to be committed is to be in danger.” Fifty years after this letter was

Go Tell It on the Mountain, a poetic exploration

a podium, surrounded by listeners. Nearby,

initially convicted of the crime. For the most

written, it can still be said that the politicians

of race and religion in the United States, James

the picture Fire Hoses Aimed at Demonstrators,

part, the other half of the gallery space displays

who ostensibly represent us are afraid to be

Baldwin made an important, if paradoxical

Birmingham, 1963, depicts three people being

work that’s less politically and emotionally

committed to a strong position when it comes

proclamation: “I love America more than any

blasted with water from an unseen fireman

charged. A particularly lovely composition

to making decisions on issues like gun control

other country in this world, and, exactly for

during a protest in Alabama. The image is jarringly

shows Steve McQueen and his wife relaxing in

and same-sex marriage. There’s a potentially

this reason, I insist on the right to criticize her

visceral and utterly captivating. In President John

a hot tub, cigarettes and wine goblets in hand.

squirmy reaction from photography lovers who

perpetually.” More than half a century after the

F. Kennedy Visiting Berlin, 1963, we see a gaggle

The next photograph shows the be-sunglassed

walk into Monroe Gallery and expect foggy

thirty-one-year-old African-American writer

of admirers clamoring around the figure of the

actor sitting on a sofa, holding a pistol. Next

landscapes and nudes, and that’s one of the

released his book to a shifting American public,

president in a black car. JFK’s assassination would

to this is a four-paneled composition of Sean

reasons 1963 is such an admirably courageous

civil rights issues are still a vast and clumsy

take place just five months later, a knowledge

Connery, posing with a sly grin and a gun. An

little exhibition. More than a show, this grouping

national topic.

that, for the viewer, imbues the scene with

image of Elizabeth Taylor as Cleopatra and

of photographs is really a meditation on an era

Monroe Gallery’s current show of black-

an incredible poignancy. In a nearby photo, a

a handful of photos of athletes like Arnold

that isn’t completely in America’s rearview

and-white photographs is titled, simply enough,

barefoot Jackie Kennedy walks along the Palm

Palmer and Sandy Koufax round out this part of

mirror. In 2013, being an American and loving

1963, and covers that tumultuous year in

Beach shoreline with her little son.

the show. These shots are no doubt meant to

America can feel downright paradoxical, and

American history with empathy and remarkable

Undoubtedly, for most of us the show is

inject a little levity, but I thought the placement

though we can’t always make amends for the

beauty. While human-rights concerns were

a powerful history lesson. James Meredith, the

of images that either depict violence or else

wrongs committed by our nation in her past,

gaining visibility in many parts of the country,

first African-American to graduate from the

strongly suggest it, coupled with Hollywood-

the work in this show seems to quietly remind

changes must have felt imperceptible in many

infamously segregated University of Mississippi,

style showiness and triumphant moments in

us that through learning and remembering, we

others, and the exhibition does a great job of

is pictured surrounded by U.S. Marshals but his

sports history, made for an incompatible and

can pave the way for a kinder future.

visually encapsulating this disparity. Entering

face retains a calm poise. A sobering handful

somewhat unpalatable juxtaposition.

—Iris McLister

the space, one first sees photographs of Martin

of images memorialize the funeral of Medgar

In 1963, ten years after he spoke of

Luther King, Jr.—fitting enough, considering he

Evers, a pioneering and vocal advocate for

his conflicted relationship with America,

delivered his “I Have a Dream” speech in 1963.

African-American rights, who was shot and

James Baldwin penned a letter to his teenage

An image of this iconic moment shows King at

killed by a Ku Klux Klansman who wasn’t

nephew, elaborating on what he called “my

j u ne


Charles Moore, Fire Hoses Aimed at Demonstrators, Birmingham, 1963, gelatin silver print, 11” x 14”

THE magazine | 45

Rock, Paper, Scissors

333 Montezuma Arts 333 Montezuma Avenue, Santa Fe

Five female artists investigate the

Lee Bendolph’s quilts follow the tradition of Gee’s Bend, an African-American practice

“modernist tradition of assemblage” at

Absolutely figurative, Crane #3 is slender

meditative progressions in which she labors

of quilting that relied heavily on assembled

333 Montezuma’s newest show, Rock,

and demure, with blushes of color that

methodically, juxtaposing burnished cross-

scraps to sew unsymmetrical designs.

Paper, Scissors. In 1880-1, Degas integrated

playfully consider female domesticity. Is this

hatch patches over and over until the entire

All five women are New Mexico–based

muslin and ribbon into one of his bronzed

a woman vacuuming, gardening? Is it a vanity

forty-by-thirty-two-inch piece of paper holds

artists with practices that by exploring the

dancers. Mallarmé and Apollinaire explored

stand? The rickety craftsmanship questions

one large geometric form.

tactility of their materials emphasize the

semantic collages, and early Cubists like

female workmanship in what is often a male

Braque and Picasso adopted collage in their

playing field, leaving the faint impression

sheets to stitch assemblages with all the

paintings while exploring three-dimensional

that if Crane #3, so aptly titled, was built

flushed discoloration of the human body,

assemblages. Duchamp’s Bicycle Wheel was

by a male, it might be more concerned with

complete with threaded body hair and

originally made in 1913 and was followed

strength and stability. Here its precarious

Harmony Hammond-esque orifices. Mary

by the Surrealists’ co-opting of assemblaged

building scraps are balanced by that curiously



jutting apparatus, without which the whole

fur teacup and saucer (1936). The term

structure might crash to the floor like a


spinning, one-legged giraffe.

exemplified wasn’t

by coined



when Jean Dubuffet used it to refer to his

Crane #1 soars seventy-five inches up

own collages. Evidently, the artists in Rock,

with two stacked shanks of thin repurposed

Paper, Scissors—Ellen Babcock, Mary Lee

wood. It reaches skyward from a white

Bendolph, Kay Harvey, Rebekah Potter, and

wooden base, curved around like an ink

Lucrecia Troncoso—follow a hearty tradition

blob colored by pink and pale-green paint

of assembling found objects with the intent to

splashes. At the top of this crane is a floppy,

entice tangible (sur)realism from the viewer.

thin wooden wishbone that droops across

The modernist tradition of assemblage asks

the vertical beam like a convex urban

that new significance be discovered in the

electrical cord. The whole sculpture perches

quotidian. By displacing, repositioning, and

in space, as upright as a skyscraper and as

recombining the ordinary, the ordinary may

delicate as a twig. Again, its title references

become enchanting.

construction and those immense glorified

Ellen Babcock repurposes wood to

gadgets that move immoveable weight.

form tall, unbearably slender sculptures

Crane #1 is a meek, waiflike creature,

that stand life-size and wayward, and are

a distant cousin of Alexander Calder’s



standing mobiles, whose wiry ligaments

gallery. There are five of them, mostly white

promise dreamlike play. Crane #2 uses a log

with intermittent swathes of bright paint

midway up that’s painted white and reveals

across their lanky statures. Crane #3 (Broken

a singular floating eye sketched in pencil, this

Legged) poses a myriad of interpretations.

no doubt an homage to the paintings of Miró.

A slim piece of wood reaches the pinnacle

Babcock’s sculptures emote without facial

with a small, cocked, oval board marked

features. They tread lightly but their bodies

by a thick stripe of blue paint. Toward the

infringe upon space like Giacometti figures,

bottom, this lanky neck meets a two-by-

ever a shadow in the visitor’s midst.



four whose angled point touches the floor

Kay Harvey’s works on paper may be

like a ballerina’s big toe. Its pose is graceful

called collages, but they often leap from

despite awkward proportions and makeshift

the wall with curved pieces of draped

construction. Leaning up midway at the

paper. Harvey uses torn-up scraps from her

waist is a secured narrow triangle of white

previous monotypes and the thick, heavy

wooden scraps, presumably pulled from a

paper appears structural. About Ice Series 8

domestic interior, which meet the floor with

glistens like sandpaper, and its rough surfaces

a roughly rounded horizontal beam. The

hold together like debris from domestic

whole apparatus looks like a plow, while its

refurbishing that when pasted together

delicate white frame, brushed by remnants

approach assemblage. Even the unassuming

of washed purple paint, defies any utilitarian

drawings of Lucrecia Troncoso push the

purpose. Despite any previous structural uses

boundary of three-dimensionality but aren’t

of Babcock’s wood, the present assembly

assemblages or even collages. Prismacolor

of discards invites fresh perspective while

Parrot Green PS1006 looks like a bird’s-

visually evading the banality of its materials.

eye view of the ocean. Her drawings are





space between art and life.

—Hannah Hoel Installation view. Ellen Babcock (foreground), Crane #3 (Broken Legged), 2013, wood, paint, 74” x 25” x 54”, 2013

Critical Reflection

Marco Petrus: Bella Città

LewAllen Galleries at the Railyard 1613 Paseo De Peralta, Santa Fe

Painter Marco Petrus has built a twenty-year career painting architecture. Hailing from Milan, Italy, a

states. In Quelli che stanno 1, linear and spatial

created in paint, and contributes to a nagging

concepts viewers are asked to embrace in Bella

city rich in architectural history, he takes modern

arrangements consume the entire canvas,

impression of contrived artificiality.

Città are seemingly foreign to this place. Unlike

buildings as his subjects and immortalizes them

resulting in a pattern-like image that could


the modern architecture of Petrus’s paintings,

in oil on canvas. His debut solo exhibition in

easily be mistaken for geometric abstraction.

formality that characterizes Petrus’s pantheon

the architecture in Santa Fe is rooted to the

the United States, Marco Petrus: Bella Cittá,

Even the handling of light and shadow seems

of structures has the cumulative effect of

earth; buildings are inseparable from the land

at LewAllen Galleries, presents twenty-five

not to be dictated by the behavior of light in

presenting modern architectural form as

they grow upon. Surface textures exude the

paintings and one tapestry of buildings spanning

reality, but by the perfected composition of

something marvelous and awe-inspiring. These

work of the human hand. Asymmetry and

Europe, New York, and Shanghai. Each canvas

surfaces and calculated perspective. In the

perfected, painted versions of real, earthly

crooked lines are persistent indications of

is dedicated to one structure or structural

painted world of Bella Città, there is no such


history and the organic wear of time.

element. Each building is depicted in a close-up,

thing as atmospheric interference. Even the

monuments. This heightened approach toward

Depending on the viewer, many will

often filling the entire canvas and pressing out

skies are re-calculated in paint. Colors range

contemplation on abstract form asks for a lot of

find these paintings to be a breath of fresh,

on the edges of the composition. The relatively

from too-good-to-be-true blues to bizarre,

patience and effort on the part of its viewers—a

forward-thinking air in old, slow Santa Fe.

small canvas size (the majority of the paintings

rusty oranges and salmon pinks. These

sense of wonder cannot be forced. This results

These floating visions suggest that the great

are about thirty to forty inches) in relation to the

surprising color choices work to further

not in a dynamic provocation of dialogue,

modern structure is not only the province of

magnified scale of the buildings makes Petrus’s

pull these structures out of reality and into a

therefore, but in a sort of stoic appreciation

the metropolis. They suggest that the peaceful

paintings more in keeping with portraiture than

place where they can be contemplated only

bordering on boredom.

beauty of clean lines and clarity of geometrical

cityscape painting. Each one is a meditation on

as visual objects. A background of earthy-red

All this meditation on the idealized, the

form are universals of the modern world, not

the visual characteristics of its subject.

occasionally peeks out of each composition

industrial, and the modern seems to beg the

exclusive to the modern place. For my part, I

These portraits sublimate and distill

along edges and at linear junctions. This is

question: how does this body of work find life

prefer to take a stroll down Acequia Madre,

the architectural personality of each building

a constant reminder that these visions are

and value in Santa Fe, New Mexico? All of the

breathing in the air of days gone by, and

by smoothing over textures and eliminating







marveling at the sun-baked adobe radiating

distractions. Spaces that might have been brick

warmth long after sunset.

become flat expanses of white, gray, or rust.

—Lauren Tresp

Windows are blocked out rather than reflective; sometimes they are given over to squares of gray, and in other cases, as in Garbatella (2009), the windows are an unexpected shade of forest green. Any organic, human elements

Left: Marco Petrus, Quelli che stanno 1, oil on canvas, 15¾” x 19¾”, 2011 Bottom: Marco Petrus, Florin Court (London), oil on canvas, 31¾” x 39”, 2010

are eliminated entirely: there is no evidence of use, wear, or figures. By stripping away the elements of the natural, dynamic world, the essence of the building’s form is laid bare. This essential purity is made up of each structure’s fundamental shapes, geometrical arrangements, and the variations of light and shadow that make up its facade. Compositionally, oblique angles and the complete absence of discernible horizons cause each structure to variously float upward, or plunge down, hovering in mid-air. This deliberate omission of a connection to the earth creates a vision of placelessness. It is curious that, while each painting is titled after the real-world building it portrays, these places themselves are not given any visual currency. Rather, each building is decontextualized, and form above all else is intensified and accentuated. The strongest pieces in Bella Cittá are those that feature unique architectural forms with a singular, probing perspective, such as  Florin Court (London) (2010) and Quelli che stanno 1 (2011). These buildings are presented to viewers in their most idealized

j u ne


THE magazine | 47

Bebe Krimmer: Spatial Order

Chiaroscuro 702½ Canyon Road, Santa Fe

Let’s talk about nothing at all for a change. What’s nothingness got for qualities? None.

absent relatives with nothingness, but

mind out of the warm delusion of the

unfurled, to half-mast. And a butterfly

From whence does it thither hither, yon

memories and mementos are echoes of

Platonic cave and into (t)his unavoidably

flutters by vice versa–wise on the warm

swan, anon? Nowhere. Why would it?

somethingness, no? Silence is the golden

catholic void. He missed his nightly god (et

and barely wind. Or did it then? Who was

How could it? Where’d you put it? Not

oldie nothing forever and (n)ever spins.

tu, Nietzsche?), like Beckett his “Godot,”

there being the being and seeing the seeing

here. So is there then no nothing? Is that

Is there nothing in the spaces between

and geez, I miss Jeezy, he smote and wrote

in the nighttime, or the mind’s eye, the

right? Nothing never existed? It’s all full,

words, your exhaled breath, an empty

to himself. But riseth, oh great wall-eyed

stardust falling all around?

all the time, and there’s no nothing up in

cocoon, a popped balloon, the world

wanker-thinker, and rejoice, it’s not as bad

Recently, after years of gloriously

this casa del mundo at all? And every time

before the word was, and then was god?

as you thought, J.P., and it hardly goes on

amounting to nothing, scientific concepts

forever. In the beginning was the nothing,

that mad Vlad Nabokov advanced about

and it was good.


I think I’ve found nothing—the space in

Or is there not an awful lot of not,

the vase, the hole at the center of the

as sure as rot, right now, laddy? And there

wheel—it’s actually something, usually air

being quite a spot of rottin’ not, must we


perfectly and precisely true through the

(eventually flowers or an axle). Does this

not be in shot of the long sought, long

confusion has zapolated your up top tater-

new views of today’s DNA. The DNA of

establish the inexistence of nothing, or

awaited (bait your breaths with traps

tots, Scotty-dawg, so now let’s find that

Bebe Krimmer’s highly crafted collages

au contraire, the positivity, sans sense, of

abated) nothing? Didn’t some big-bellied

damn scaredy-cat lion and Tin Man and


the absence absolutus, Brutus? I equate

sage say all this supposed, seamless,

pull back the curtain on this mofo. Let’s

Tomaselli’s resin works, Joseph Cornell’s

certain relative absences with nothingness,

samsara-somethingness was a grand illusion

get to the bottom of all this nothingness,

ordered and expansive universes, and

but air and flowers and axles are all far

anyhow, long before Jean-Paul Sartre

and whether it’s really real or not. At which

certain starry, starry night paintings by Vija

cries from nothing, no? I equate certain

tossed the wicked witch of the Western

point our heroes draw their swords and rip

Celmins. Krimmer’s art is of the Apollonian

aside the vast and wondrous veil of infinite

order, and intensely made. It is important

illusion only to discover Sir Kenneth Clark

to do impossible things. Flight Pattern

entertaining Descartes, who’s doing a

720T is as perfect in its beautifully broken

crossword puzzle. He does the crossword,

symmetry as any brilliant flash of life

therefore he is. One down, a seven-letter

through sunlight. The small paintings are

word for whatever isn’t anything.

more adventurous and free, less minimal-





Or you could work it the other way









maximalist. Her darker nocturnes of star

‘round and have Descartes and K. Clark, no,





Captain Kirk, rip back the veil to discover

whole Lepidoptera torn, tortured, water-

the Cowardly Lion and Dorothy embraced

boarded, and pinned to the wall, by way

in eternal cosmic union, while the Tin Man

of “specimen collection,” have an elegant,

does the crossword. Two across, do I think

somber quality, like a slow-played bassoon

therefore I am, or do I just think I think and

line fluttering away, or certain of Beckett’s

therefore I am ? Ah, if I only had a brain.

sad clowns, who leave with nothing to say.

Was that Kirk or the Tin Man? Draw a map

—Jon Carver

of nothing. Express nothing with your face. Make a movie out of nothing. Put nothing in your place. There’s nothing up my sleeve, except an endless stream of tiny magicians. Which, by way of example, in no way whatsoever brings us to Nabokov and his obsession with butterflies. So now at least there’s something in the empty fullness we’ve failed to create (if we’d succeeded we wouldn’t exist) and vice versa, because what better symbols of ephemerality than flutter-bys and versed vices, to paraphrase Mallarmé (or was it Lady Marmalade?). Their beautiful iridescence typically gives the Cheshire-Cat impression of leaving already without having arrived, which is something close to nothing at least, at last, one more repast. The lake is still, the breeze half past. A star drenched night on the dark water vast. Drop your sails,

Left: Bebe Krimmer, Flight Pattern 720T, acrylic and collage, 61” x 49” x 2½”, 2012 Bottom: detail from Flight Pattern 720T

Critical Reflection

Private Universes/Personal Spaces

SCA Contemporary Art 524 Haines Avenue NW, Albuquerque

Private Universes/Personal Spaces invites the viewer inside the personal spaces of six artists who

iTouch, from her iHair Series. iHear presents

wall, where photographic landscapes are

natural-fiber Washi tape are bold and shiny,

are linked by their common background in

amplified sounds—the wall text says it’s

at once covered and revealed. This is one

almost brazen in comparison to the other

photography; all six earned photography

a freight train, but I hear a heartbeat—

of the show’s four Nagatani Tape-estries

three dreamier canvases in the exhibition.

MFAs along their artistic paths. Their

transmitted upwards from an iPod through

meditations, which he has been creating with

On the opposite wall from the Washi

work for this exhibition includes actual

spun strands of Kelley’s hair to a speaker, and

masking tape and manipulated photography

tape painting, many of these same dazzling

photographs, masking tape canvases, the

Stereo iTouch invites the viewer/listener to

for more than thirty years. “The taping

colors shimmer from Scott Rankin’s ten

sound of human hair, and galaxies swirled

pluck, rub, tap—or whatever suits his or her

process is obsessive,” he says. “It is done

spectacular sky photos—all shot from the

from entomology pins.

fancy—more of these hair strands, also for

with precision and ardor. It’s about finding

ground—and representing his recent return

We begin in a light-tight tent with two

amplification through two gramophone-like

a zone of no thought. Time passes and only

to photography from video. The searing heat

installations, from Gillian Brown’s Works on

speakers. This is Kelley’s take on technology

my aching fingers and shoulders indicate

of the sun is somehow present in each photo,

Becoming series, that combine translucent

and life experience.

how long I have been continuously ‘painting’

just by virtue of their intense brightness.


with the tape.” In Uncertainty he uses the

“The sky is a place with many places within

Beginning of Language we hear a woman’s

invented galaxies onto black Celotex, using

tape to create an architectural, stone-like

it,” says Rankin. “It is always with you and yet

voice whispering Sanskrit vowels while light

her mother’s sewing pins, her father’s

structure whose rooms beckon us toward

far. It is always different and the same.” Carol

projects onto a small, wax-covered paper

map tacks, and entomology pins from her

an unknown, empty brightness. As he alters

Chase Bjerke’s four limnographs and three

book suspended in the throat of a fabric neck

aborted biology studies. Each little universe

the direction of the tape to create the

limnoprints from her Touch/Stones series

sculpture. The video image emerging from



stones, he causes the texture of each one to

bring us face to face with a certain power

the book’s centerfold morphs into graceful

mapping a path toward “home.” Some of the

emerge from the wall as though it had just

found in the simplicity of black and white.

birds that are visually amplified by the voice

pinheads are colored, and these tiny bits of

left the quarry, and the raised, overlapping

A basic seven-stone cairn becomes vibrant

as they fly outward and dissolve. It is very

color gleam from within each galaxy in much

tape edges are the mortar. The smoky,

when drawn with photographic developer—

hard to stop watching these syllables take

the same way as the muted tones emerge

muted tones often present in Tape-estries

using sponges, brushes, and pen—onto light-

flight. The element of sound continues with

from Patrick Nagatani’s Ama-no-hashidate

are entirely absent in Matsushima Dream.

sensitive paper exposed to room light. “I

Jyl Kelley’s two installations, iHear and Stereo

(Bridge to Heaven) triptych on the adjacent

Here the blues and burgundies of Japanese

made this mark,” says Bjerke. “I connect to

sculpture and projected video. In The







this image. It is my offering. I am here.” Nagatani is also the exhibition’s organizer, and his creative taste brings together these artists’ investigations of personal space that range from Bjerke’s focus on points of contact and connection in her stone representations to Brown’s depiction of how something comes out of nothing through her magical birds to Scott Rankin’s ability to help us lose ourselves in his skies. Says Nagatani, “I have been aware of these artists in terms of their working to create, address, and dwell in their own spaces and ‘private universes’ whether physically real or in their minds, but certainly from virtual and actual experiences in their lives.” Nagatani’s layout choices for the space are beautiful. Bjerke’s black-framed rocks and cairns and two of the Nagatani Tape-estries hang on the gallery’s red-orange prison-brick wall. Langwell’s black and silvery galaxies spin out from their solid white wall. And because we are inside Albuquerque’s old National Auto Parts building, there are two antique metal warehouse garage doors on rollers that feel like part of the art. (Watch for the gallery’s move to a new, larger space at 9th and Tijeras in March, 2014.)

—Susan Wider Patrick Nagatani, Uncertainty, lightjet print, masking tape, mixed media, 2012 j u ne


THE magazine | 49

jennifer esperanza photography

505 204 5729

new mexico


Pavandeep Kaur Khalsa


Human Trafficking Survivor & Advocate, Addictions Counselor, Kundalini Yoga Teacher

Pavandeep Kaur Khalsa teaches Kundalini Yoga at Yoga Santa Fe, in Santa Fe, New Mexico. In 2012 she founded The Isis Project. The Isis Project is devoted to helping women heal from the abuse of rape, domestic violence, incest and human trafficking. Pavandeep is in the process of writing her story, a book titled My Body, My Soul. This memoir l is about betrayal, sex slavery, and her own path to personal healing. It is her passion and her life’s work to help women in New Mexico and all over the globe to heal and become empowered. Rancho de Cielo is a recovery ranch that Pavandeep is creating on twenty acres of land in Northern New Mexico. Her mission at Rancho de Cielo is to promote wellness and recovery in the lives of human trafficking survivors. The work at this recovery ranch is based on a holistic recovery approach including daily yoga and meditation, learning about sustainable lifestyle, nature therapy, and alternative healing in conjunction with the clinical services that the women will be receiving outside of the ranch. If you would like to assist Pavandeep Kaur Khalsa with her good work please contact her.

“Survivors of sex slavery are the only ones that can free themselves. My mission is to provide the tools to accomplish that state of deep healing.”

Photographed by Jennifer Esperanza at the Santa Fe Canyon Preserve, Santa Fe, New Mexico, on May 12, 2013.

j u ne


THE magazine | 51

EAI Events for June Members Show: “Wax with Dimension”


Exhibit runs June 1st -16th. Presenting the 2D & 3D possibilities of encaustic art by EAI Members.


EAI Gallery open on weekends, noon - 5 June 22nd through July 14


Join us to view the largest selection of encaustic/wax art in the world.


Over 130 nationwide members works for sale and a permanent collection of over 100 artists.



The Encaustic Art Institute is located on the scenic Turquoise Trail, close to historic Cerrillos and Madrid, NM. Thanks to Los Alamos National Bank for their continued sponsorship. EAI is a registered 501c3 non-profit.

J I M WA G N E R J O N AT H A N W A R M D AY COMING T H E R A N C H O M I L AG R O C O L L E C T I O N 127 B E N T S T . T AO S , NM 575 . 758 . 3733 w w w. r a n c h o m i l a g r o c o l l e c t i o n . c o m

The Encaustic Art Institute 18 County Road 55A(General Goodwin Road), Cerrillos, NM 87010 (505) 424-6487

For more information, visit:


a r c h i t e c t u r a l d e ta i l s

Auto Graveyard, Las Vegas, NM photograph by j u ne


Guy Cross THE magazine | 53


R ea d ing C hekho v by

H e n r y S h u km a n

Not until he was inches away did he see how pale her lips were, as if sea-bleached, and how small and neat her teeth. She was reading Chekhov to him, the story about Anna and Gurov: the two as lost in the world, found in each other, as Adam and Eve hand in hand at the gate. And the cold Moscow street outside. There’s no time left for dishonesty, she said. To be better, we only need be who we are. Why is that so hard? Why? Her hair was everywhere catching the light. She couldn’t get through a paragraph without turning to him. Their skins bloomed and she was fine as a wishbone against him. She closed the book. It was silent in their world, until a rustle, a lisp, a quiet unsticking did away with any hope of an answer. “Reading Chekhov” is from Henry Shukman’s new volume of poetry, Archangel (Jonathan Cape). His poems are reflections on loss and mortality, on love in difficult circumstances, and on the familiar themes of childhood and family relationships. Shukman was Poet in Residence at the Wordsworth Trust and currently lives in New Mexico.

54 | THE magazine

j u ne


Words with friends PAt r i c i A B E G G i n s


E r i k A G u i l l o r y PA G E


AnniE VouGHt

Patricia Beggins, The Red Queen, oil, birdseed, oatmeal and salt on canvas, 48 x 72 inches. © 2013, courtesy Gerald Peters Gallery

Erika Guillory Page, SIR1, oil stick on paper, 9 x 19 1/2 inches. © 2013, courtesy Gerald Peters Gallery

Annie Vought, Struck By and Carried Away (detail), 2013, Hand cut paper, 31 x 21 inches. © 2013, courtesy Gerald Peters Gallery

June 14 - July 20, 2013 | opening reception With artists: June 14th, 5:00-7:00pm For more information please contact: Maria Hajic, or Evan Feldman, V i e w a d d i t i o n a l w o r k s at g p g a l l e r y. c o m


F i n d u s o n Fa c e b o o k + i n s ta g r a m

1011 PAsEo dE PErAltA, sAntA FE, nM 87501 | 505.954.5700

John Geldersma

Spirit Poles (grouping), 2013, Burned & painted aspen

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


June 7 - July 7, 2013

All Through...(detail), 2013, Brush & ink on bark, 44 x 62

Gayle Crites

THE magazine - June 2013 Issue  
THE magazine - June 2013 Issue  

THE magazine is Santa Fe New Mexico's magazine of international art, photography, culture, and restaurant dining.