THE magazine June 2015

Page 1

Santa Fe’s Monthly









of and for the Arts • June 2015

A celebration for the opening of the

Wheelwright Museum’s Center for the Study of Southwestern Jewelry

Orlando Dugi Thursday, June 4th 5 – 7pm

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

CONTENTS We know the late works of Beethoven and operas of Verdi, and without question, the groundbreaking work done by Monet and Matisse as they neared the end of their long creative lives. Cy Twombly was seventy-five when he began the works in Cy Twombly, Late 2003-2011(Thames and Hudson, $65). The large-scale paintings, with their bold use of color, exude a creative vitality that surged through the canvases until the final months of his life. Twombly’s reliance on gesture to communicate is present in full force. The motifs he had long addressed are still apparent, with flowers, boats, and script now present in densely painted compositions, or in some cases more fluidly rendered with thin, layered washes dripping down the canvases. Writing and drawing were an integral part of Twombly’s process. The late works include the poetry of Rainer Maria Rilke or haiku by Basho intermingled among the peony forms in the series Blooming, A Scattering of Blossoms and Other Things (2007). Ships return as a theme present in the late works until 2009, an influence from his home in Gaeta, Italy, with its window looking out to the Ionian sea, as well as his boyhood love for summers by the ocean in Massachusetts, where the boats, not cars, interested him. Twombly noted, “I’ve found when you get old you must return to certain things in the beginning or things you have a sentiment for or something. Because your life closes up in so many ways or doesn’t become as flexible or exciting or whatever you want to call it. You tend to be nostalgic. And I think about my boats. It’s more complicated than that, but also it’s going out and also there’s a lot of references to crossing over.” The final works are brilliant green panels of orange, yellow, and red acrylics applied in endless loops. The last paintings, completed two months before Twombly’s death, as he suffered from lung cancer and heart disease, utilize a similar color palette, but the loops and gestures are intensely loose, random, and agitated. Author Nela Pavlouskova sees them as a final tribute to his attention to gesture, in this case “leaving the impression of something on the verge of disappearing.”

03 LeTTers 14 universe oF: Artist Richard Kurtz 18 arT ForuM: Mailer for a show by Enrique Martínez Celaya at L|A Louver, Venice, California 21 sTuDio visiTs: Rush Cole and Sheryl Zacharia 23 anCienT CiTy appeTiTe: El TapatioTaqueria by Joshua Baer 25 one BoTTLe: The 2005 Château de Fargues Lur Saluces Sauternes by Joshua Baer 27 DininG GuiDe: Santacafé and Santa Fe Bite 31 arT openinGs 32 ouT & aBouT 38 previeWs: Katherine Lee at Tai Modern and Review Santa Fe 41 FLashBaCK: RC Gorman and Elizabeth Taylor, Taos, NM

43 naTionaL spoTLiGhT: Yoko Ono: One Woman Show, 1960-1971 at the Museum of Modern Art 45 FeaTure: Ricardo Mazal’s Bhutan Abstractions by Jon Carver 49 CriTiCaL reFLeCTions: Gary Bibb at Nisa Touchon Fine Art, Georgia O’Keeffe: Line, Color, Composition at the Georgia O’Keeffe Museum, Goldfinch Variations at Peters Projects, Kansas at Phil Space, Margaret Bourke-White at Monroe Gallery of Photography, Mery Collet at Warehouse 1-10 (Magdalena, NM), New Landscapes, New Vistas: Women Artists of New Mexico at Matthews Gallery, and Utilities at Radical Abacus 59 Green pLaneT: Naomi Klein: Author, Social Activist, and Filmmaker, photograph by Jennifer Esperanza 61 arChiTeCTuraL DeTaiLs: Wooden Shutters, photograph by Guy Cross 62 WriTinGs: “The soul of Chihuahua” by John Macker








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magazine VOLUME XXII NUMBER X WINNER 1994 Best Consumer Tabloid

SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 and 2006 Top-5 Best Consumer Tabloids puBLisher/CreaTive DireCTor GUY CROSS puBLisher/FooD eDiTor JUDITH CROSS arT DireCTor CHRIS MYERS Copy eDiTor




ouT & aBouT phoToGrapher AUDREY DERELL CaLenDar eDiTor B MILDER WeBMeisTer




New drawings by Friedrich Geier on view at A Sea Gallery, 407 South Guadalupe Street, Santa Fe.

TO THE EDITOR: I’m afraid I have a complaint to lodge against THE magazine. I subscribe and receive my copy in the mail. Every month, without fail, your magazine pulls me away from all of my more responsible activities. I swear to myself I won’t open its plastic container when I pick it up at the post office, at least not until I’ve exercised and finished the day’s chores. But no matter my repeated resolutions to do otherwise, I do open that container and lift out your magazine, its fine aromas of newsprint and ink overtaking my senses. And I open that inevitably lovely front cover only to be consumed by beautiful photos and compelling text, all leading me to Joshua Baer’s intoxicating One Bottle page and I am, once again, lost in your pages. Couldn’t you produce a less enticing publication just once? —JEANE WEIGEL, TRUCHAS, VIA EMAIL TO THE EDITOR: Thank you for the cogent review in your February/ March issue of Tales from a Dark Room by Richard Baron. It was well informed, personal, and free of art speak. I agreed with his viewpoint that it is not the camera or methodology that produces a transcendent photograph—it is the person behind the lens. —EVALYN BEMIS, VIA EMAIL

aDverTisinG saLes

THE MAGAZINE: 505-424-7641 LINDY MADLEY: 505-577-6310 CoLoraDo aDverTisinG saLes JOAQUIN SALAZAR: 970-394-0047 DisTriBuTion JIMMY MONTOYA: 470-0258 (MOBILE) THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: themagazinesf@ Web address: All materials copyright 2015 by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable, for any misspellings, incorrect information in its captions, calendar, or other listings. Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel. All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised. THE magazine is not responsible for any claims made by its advertisers for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.



TO THE EDITOR: Thanks for the well-written review on Noel Hudson’s art by Lauren Tresp and her insightful thoughts on the town of Truth or Consequences. A wonderful read. —NOEL WINKLER, VIA EMAIL TO THE EDITOR: It is rare that I find myself writing to an editor but in this case I feel compelled to do so after being made aware of the highly unprofessional review written by Ms. Hannah Hoel on Ms. Eileen Braziel’s Gallery [Eileen Braziel Art Advisors]. It is one thing to not like an installation, everyone is entitled to their opinion, but her writing came across as vindictive and as someone with an ax to grind. I took the time to look up Ms. Hoel’s credentials as an art critic, and she basically has

none. She is not from any major art market, New York City, Los Angeles, Miami, etc., but is simply a recent college grad working for a small-town publication. Her inexperience is obvious and her actions affect these artists in a negative manner, something she does not seem to care about. Worse yet is that THE magazine allowed this trash piece to be published, and frankly it devalues THE’s credibility as well. That is part of the problem with Santa Fe—it likes to think it is a major art market in the league of New York City and Los Angeles. It isn’t. I have had the pleasure of working with Ms. Braziel on three of the previous highly regarded TIME projects. I have never come across someone so hard-working, dedicated, and one who is innovative and thinks so out of the box. She is not peddling the same ole, same ole art you see in Santa Fe. She adds a fresh option. Ms. Braziel developed and curated the TIME project in partnership with Navajo artists working alongside non-Native artists to create unique land-based art installations. Is Ms. Hoel doing anything this innovative and community based? I think not. Ms. Braziel was also able to procure the world famous artist Ai Wei Wei [sic] [Ai Weiwei] to collaborate with Navajo artists for the most recent TIME installation, which is significant and generated great public relations for New Mexico. Does Ms. Hoel have these types of connections or the ability to pull something like this off on an international scale? I think not. The TIME projects all have received wonderful accolades by Planet Magazine, The Huffington Post, and The New York Times, just to name a few (by real art critics). Many of these artists are included in her current installation and deserve to be seen and appreciated. —JULIEN MCROBERTS, NEW YORK CITY, VIA EMAIL TO THE EDITOR: Never send your idiot writers to my gallery again. Hannah Hoel walked in with a serious attitude, didn’t “look” at the work, and literally took five minutes prancing around. Perhaps she had something in mind before she walked in? She never highlighted in her article that this was a teaser exhibit. You think that she would have emphasized that the future projects were what this exhibit was all about? No. —EILEEN BRAZIEL, SANTA FE, VIA EMAIL

The magazine | 5

Scott Swezy, Burning Sky, Soft pastel, 40” x 58”


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

Rumi Vesselinova, Burnt Forest #2, Archival print, 10” x 9”




ART Santa Fe won 4th place in USA Today’s “Top 10 Best Art Fairs in the USA”! 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 9 , 5 : 0 0 - 8 : 0 0 P. M . FRIDAY, SATURDAY, SUNDAY | JULY 10, 11, 12 | 11-6 PM | $10 AT THE DOOR | 505.988.8883 | WWW.ARTSANTAFE.COM

George Kovenchuk, 2002, Paris, Mixed Media, 11 x 9 inches; IB Clark Gallery, Pennsylvania

Opening Night Gala, lead sponsor Art & Antiques

SATURDAY, JULY 11, 6:30 P.M. | $10 New Mexico History Museum

ART Santa Fe Presents

KEYNOTE SPEAKER Founding President of the Lucas Museum of Narrative Art, Chicago, Illinois

DON BACIGALUPI “Building the 21st Century Museum: Crystal Bridges and Beyond.”


EXPERIENCE one of the oldest re-emerging art forms in history. Mark White, Sup?, acrylic on panel, 12 x 9 inches

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Karen Frey (CA) Girl On The Beach (detail)

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A STONE’S THROW New work by Leopoldo Cuspinera Madrigal and Tim Rowan

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Opening Reception May 29th, 2015 from 5–7pm RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 875 01 505.820.3300 | WILLIAMSIEGAL.COM

Dan Christensen (1942-2007)

Prominent New York School Color Abstractionist Atmospherics mAy 15 - June 21.2015

MONROE GALLERY of photography

The Road to Civil Rights From Selma To Ferguson

Rashaad Davis, 23, backs away as St. Louis County police officers approach him with guns drawn and eventually arrest him, Ferguson, Missouri, August 11, 2014 ©Whitney Curtis

Opening reception Friday, July 3, 5-7 pm Exhibition continues through September 27 open daily 112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e:

Untitled, 1969, acrylic on canvas, 101½" x 75"

Easy Over, 1988, acrylic on canvas, 51¼" x 45¼"

LewAllenGalleries Railyard Arts District 1613 Paseo de Peralta Santa Fe, NM 87501 (505) 988.3250




Melinda Tidwell Studio #33

5 Days 2 Weekends 68 Artists 44 Studios Artists Reception Friday June 19 5:30-7:30PM at the Santa Fe University of Art and Design Preview Gallery and Studios Open June 20-21 10AM-5PM Studios Open June 27-28 10AM-5PM

Blue Rain Gallery’s 2nd Invitational Glass Show June 5 – 27, 2015 Artists’ Reception: Friday, June 5th, 5 – 7 pm in Santa Fe

Curated by Preston Singletary Participating artists include Tobias Mohl, Michael Cozza, Sasha Tepper-Stewart, Ben Cobb, Ben Edols and Kathy Ellio , Dan Friday, Erich Woll, Sean Albert, Joe BenVenuto, Laura Beth Konopinski, Armelle Bouchet O’Neill, and Janusz Pozniak.

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




H R ICHA HIS RD WO KUR RK, FOR TZ I ITS MAL S AN E STRE MOT UNT HE NGT ION RAIN SEQ A HS IN L D UEN ED P EPTH COL CES AINT PATT , DI OR, SEEM ER, ERN STIN COM THE S OF ING CTIV POS OF D LY U IMAG ORIG E IC ITIO N ISPA E INAL CON N, A S AN ONO RATE ITY N D TE NEC GRA D DR KIND TRA X T P TS. B ED HY, AWIN DITI OF V I D AND R O I OUG G SH EAS SUA NS, LOC L A I HT T PRAC NE F COL ND ALLY ORT O LAG T B , NA G I U CES, ETH ILDS H. E. KU TION E A R N U R I T D P D ALLY N HI Z’S W STYL ENS , S A A N ORK E R E MY L S D T T A I EFT N H H R E T A A H T CR ERN A HO AND S BE I am right E A E -han N T ST A ION ded. with TE A SHO Yet, my l A eft h I’ll o WN LLY. UNI ften and som ethin felt l begin R QUE A I ike d N g is s C a dra H D rawi uppo my l w A i C ng w ng in eft h RDK sed t OLL ith m and the d o loo I hol U y lef my o k, I’m ark. ECT R d t the t By le wn v TZ.C hand able hrea ED isual tting . At to ex d of do so fi langu g O rst, d plore o of Ariad M age. with r t m h a wing e ou THE y ow ne. T My out OF


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The magazine | 15

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moment-to-moment choices, this image reached my gut. It stirred empathy, not only for the artist portrayed contemplating his work, but for all artists, and perhaps most especially for the challenged artist in me. When a work can reach in and give me a nudge toward wisdom, I’m grateful. —CAROL COATES, ARTIST, SANTA FE

We see creation and destruction—an image teeming

At first glance, I thought, odd. The images puzzled me and

with energy and emotional conflict. Fire is one

provoked thoughts about the solitary task of developing

It is Friday afternoon in the studio. An artist is sitting in

of the most powerful psychological symbols. It

and executing meaningful work; about the aesthetic choices

front of a large painting. He has been struggling with the

represents purification, change, alchemy, the sun,

made and being considered by this artist. I saw the white

big canvas for weeks. He wants to say that this was the

passion, aggression, and even war. Here, an empty

marks as (possibly) a sign of the artist’s resignation to

place where he made a stand—this is the significance

road leads to a burning, hazy sky. Are we seeing a

failure, as an act of creative vandalism. I thought of my own

of the painting. A long time ago, when the artist was

path of new beginnings or the entrance to a disaster

work at that scale, remembering how, while some pieces

sixteen years old, he had to make a decision about his

zone? Similarly, the foreground shows a Tree of

were strong and enduring, others were instantly imposing

future. His parents didn’t recognize his artistic talent.

Life ablaze, as if purifying itself. Two white lines are

monuments to mistakes and limitations. While the painted

They wanted him to choose something a bit safer. In the

splashed on the scene like graffiti. It seems the artist

image in the photo appeals to me in its symbolism, and

painting he is showing his anger and fury with the tree

shown here cannot decide if he wants to create or

I enjoy the irony of the text on the painting—This is where I

in flames. The bird represents the angry parents, seeing

destroy his own piece. The large bird represents a

made my stand—my inner critic would have been delighted

their son wanting to become a crazy artist. They see

messenger about to land on the artist. Perhaps the

to see the entire initial gesso layer reappear. The acts of

their home (nest) being destroyed by the flames. The

bird’s presence will help clarify the artist’s feelings.

creating and destroying are both acts of courage. Did he

fence is restricting the artist from reaching his potential.

Sigmund Freud wrote extensively on the life and

just scrape and re-prime these small areas, or is this the

The time has come for him to make a stand. To tell his

death instincts. He called these opposing drives Eros

beginning of a total return to white? I love the provocation,

parents, “This is my destiny.” The road is a symbol of the

and Thanatos, respectively. This work represents

the photo’s color and composition, the movement, and the

way to freedom. He is ready to take it. And he is trying to

such emotional turmoil.

way that the reds, whites, and grays play off one another.

make sense of the two white “things” in front of the tree.


Perhaps because my own work explores the power of


magazine magazine 18 | The 20 | The

Jun Me a y 2015 2015



N EW WO R K BY K AT HE RI NE L E E J U N E 5 - J U LY 5 R ECE P T I O N F R I DAY, J U N E 5 , 5 -7 P M


1601 Paseo de Peralta

Santa Fe NM

Coffin 1, Coffins for My Family (detail)

ALI BAUDOIN Paintings > Sculptures

On view through July 11 at The South Broadway Cultural Center > 1025 Broadway Boulevard SE, Albuquerque Artist seeks National Representation by Qualified Professional > > 505.688.9643 Serious Inquires Only On view through July 11 at The South Broadway Cultural Center > 1025 Broadway Boulevard SE, Albuquerque Artist seeks National Representation by Qualified Professional > > 505.688.9643 Serious Inquires Only


ERICH FROMM WROTE, “CREATIVITY REQUIRES THE COURAGE TO LET GO OF CERTAINTIES.” TWO ARTISTS RESPOND. Agreed. I am never more uncertain of even the smallest detail in my creative process than when I initially decide to paint a new artwork, tackle a writing project, or begin a photo shoot. Aside from determining a rough direction to head, and then gathering the necessary materials, I rarely take time for preliminary sketches or color studies. I love the immediacy and the sense of venturing into the unknown. Even preparing a simple meal sometimes turns into a wondrously unscripted experiment, edible or not. Results seem to be directly connected to how drifty I am during the actual legwork; the less grounded, the more satisfying the outcome. Is it any wonder that my life-long addiction to “making stuff” is my greatest treasure?

—RUSH COLE Cole is currently working on the set of the Longmire TV series, gearing up for Rodeo de Santa Fe 2015 (June 24 to June 27), and entering juried national exhibits. (“No rest for the wicked,” as me Irish grannie always declared.)



Most things in life are uncertain and sometimes unsettling. On the other hand, my creative life—which began at a very early age and included writing songs, painting, performance, and now my clay work—requires freedom. Creativity in any form is a joyful release, and artmaking is a process that should not be feared or attempted with too much hesitation. The subconscious should open up and enhance what is conscious. You can always begin again, and you do… it is a constant exercise in improving and elaborating one’s efforts. My imagination is what has made my life rich, and it has also in a way been a safety net for the difficulties of my emotional and personal life. There is no one more important to judge my work than myself, so why not work without restraint? My goal is that I continue to grow and improve, and that is the most gratifying thing. My work is somewhat planned, as I do a lot of simple sketching of ideas, but is then transformed with spontaneity. Those unexpected surprises are often what make my best work. Color, line, and form must flow from an uncharted space in my heart and mind, and that uncertainty can be thrilling, all the more when you achieve success. Why be afraid of uncertainties? After all, you can do it again and again.

—SHERYL ZACHARIA Zacharia will be one of three artists in the exhibition Unconventional Con‘form’ity: 3 Contemporary Ceramic Approaches to the Vessel Form at Tansey Contemporary, 652 Canyon Road, Santa Fe. Reception: Friday, June 5 from 5 to 7 pm.

2015 2015

JJuunn e e

magazine| 21 21 The Themagazine




anCienT CiTy appeTiTe BY JOSHUA


eL TapaTio TaCos y TorTas 1640 Hopewell Street, Santa Fe Mondays through Saturdays, 8:00 am – 6:00 pm 505-501-3421 El Tapatio is a lonchera, or food truck, that serves great Mexican tacos. The best

tacos de lengua are the best I’ve had. As soon as I leave the lonchera, the

times to go are either before eleven-thirty in the morning or after one-thirty

craving to turn around, go back, and get another order begins.

in the afternoon. As you get closer to noon, the truck gets busy with takeout

Tacos de Cachete (four to an order, with the same sides and sauces

orders. I recommend that you not get takeout from El Tapatio. The tacos are

that come with the tacos de lengua); $8.00. Cachete means “cheek”—

just as good, but if you eat them someplace else you’ll miss the experience

in this case, beef cheek. When I invite people to lunch at El Tapatio, and

of sitting at the tables under the Russian olive trees and watching the ongoing

they hesitate about eating beef tongue, I recommend the tacos de cachete

pageant of car and foot traffic that passes through the intersection of Sixth

or tacos de adovada ($8). My wife orders the adovada. It’s delicious, but

and Hopewell.

it’s not in the same league of authenticity as the lengua or the cachete.

These are the tacos you don’t want to miss:

If I wasn’t addicted to El Tapatio’s lengua, I’d be addicted to their cachete.

Tacos de Lengua (four to an order, with grilled onions, a grilled jalapeño,

The cachete’s texture is more complex than the texture of the lengua,

a lime wedge, and two kinds of sauce); $8. I order tacos de lengua every time

but its flavor is less distinct.

I go to El Tapatio. To be at the truck, smell the lengua on the grill, and not order

Miguel Ángel Torres Galván and his wife, Evelia Segura, who own the

it would be my idea of hell. Each taco is made with one small, soft corn tortilla.

lonchera and cook all the food, are good people. I can’t thank them enough

I top the lengua with the grilled onions, a squeeze of lime, and a healthy dollop

for making El Tapatio one of the happiest parts of my life.

of both sauces. The tacos are too large to eat in one bite but small enough

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

to eat in two. Lengua means “tongue”—in this case, beef tongue. El Tapatio’s JUNE


The magazine | 23

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o ne B oTTLe

The 2005 ChÂTeau


FarGues Lur saLuCes sauTernes



One of the interesting things about life is that life comes to an

In the glass, the 2005 Château de Fargues is a glimpse of gold.

end. Depending on how lucky you are, life starts and lasts for

You can look at the gold, and looking right at it will give you a sense

a while, but then it stops, and the end is final, regardless of

of weightlessness, but you can also see through the gold, and seeing

how lucky you are. We do what we can to prolong life. Art,

through it will give you a sense of being both inside and outside its

love, medicine, and religion are here to help. Music helps a lot.

beauty. From the outside, the gold appears to be lovely. Inside, the gold

And pets. But sooner or later, either by accident or by design,

is alive.

we come face to face with the limited-time offer we accepted at birth, and life goes on without us.

Château de Fargues’ bouquet is precise, and its precision is exciting. On the palate, the bouquet’s precision reasserts itself through

Another interesting thing about life is the way it really does go

a spectrum of flavors. Each flavor is a marvel—caramelized peaches,

on without us. We die, but life lives forever. A fraction of the world’s

Meyer lemon ice, pineapple tart—but to say that Château de Fargues

bacteria and viruses die with us, in a kind of anonymous parasitic empathy, but the rest of the world goes on living. That’s what makes life so confounding. As individuals, we live mortal lives, but the life that passes through us is immortal. Now, you can argue that there was no life before

“tastes like” any or all of its flavors is to misunderstand the gift of Sauternes. A great Sauternes—and the 2005 Château de Fargues is nothing less—is simultaneously multiple and singular. People who love Château de Fargues drink it for its multi-faceted bouquet and hallucinogenic flavors, but we

the Big Bang, that nothing existed before the universe

celebrate this wine for its finish. A good wine will always

took the mother of all deep breaths and gave birth

leave you with a good finish, but some good finishes last

to existence. The problem with that argument is the way

longer than others. With Château de Fargues, especially

the human mind works. Our lives begin and end, but our

the 2005 vintage, the finish lasts long enough to remind

minds are blessed—or cursed, if you think that way—

you of how lucky you are to live in a world where the

with the ability to imagine what happens before a

middle of your life lasts longer than its beginning or end—

beginning and after an end. If the Big Bang started all this,

long enough, one would hope, to reflect on the beginning

what started the Big Bang? If nothing created existence,

and embrace the end.

what created nothing? And, if “God” is your answer, what kind of god creates nothing? Death is not what you would call a popular topic,

The key to enjoying the 2005 Château de Fargues is to disassociate yourself from the common misconception that







at least not among the living. If there is an afterlife—

sweet, but just because a wine is sweet does not

a zone where disembodied spirits speak the lingua franca

mean you have to drink it with sweet foods. Sauternes

of the dead—then conversations about how, when,

work beautifully with duck confit, grilled flank steak,

where, and why you died must be popular. Among the

lobster club sandwiches, or seared foie gras. Like all

living, the common approach to death is, “Not now. Yes,

dramatic wines, Sauternes perform well in the company

I know it’s inevitable. Did you have to remind me? Can’t

of bacon.

you see I’m busy?”

If you want to do what the French do—not always

Our willful neglect of all that death has to offer takes

a sound strategy, though in this case an inspired one—

myriad forms. One of those forms is eating and drinking.

get a Wonder Roast chicken at Kaune’s, take it home,

Like sex, drugs, rock and roll, and litigation after fifty, the

cut it up, put the pieces on a hot platter with some salsa

art of eating and drinking is what keeps us alive. Consider

verde and mango-habanero chutney, and eat the Wonder

the alternative. If you stop eating and drinking, your life

Roast as slowly as your appetite will allow, with an open

might last a month, but the end of that month will be

bottle of the 2005 Château de Fargues on the table. You

haunted by your starved body’s transition from life to

will remember the meal, maybe for the rest of your life.

death. Not only does eating and drinking keep us alive,

As the chicken and the Château de Fargues disappear, do

it keeps us in the food and wine bubble. We may not be

yourself a favor and reflect on the timeless adage, “It’s not

able to survive our mortality but at least we can enjoy it

how you start. It’s how you finish.”

while it lasts. Which brings us to the 2005 Château de Fargues Lur Saluces Sauternes. JUNE


One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. All content is ©2015 by Send e-mail to

The magazine | 25


Under the Stars on the Patio at


231 Washington Avenue Reservations: 984-1788

$ K e y



up to $14







very eXpensive


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. PHOTOGRAPHS BY

$34 plus

eaT ouT oFTen


...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. $$$ Cuisine: French. aTMosphere: An inn in the French countryside. house speCiaLTies: Chicken, Seared Pork Tenderloin, and the Black Mussels are perfect. CoMMenTs: Generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. anDiaMo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ 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. C oMMenTs : Great pizza. anasaZi resTauranT Inn of the Anasazi 113 Washington Ave. 988-3236. Breakfast/Lunch/Dinner. Full bar. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American. aTMosphere: A classy room. house speCiaLTies : For dinner, start with the Heirloom Beet Salad. Follow with the Achiote Grilled Atlantic Salmon. CoMMenTs: Attentive service. arroyo viono 218 Camino La Tierra. 983-2100. Dinner (Tuesday-Saturday) Full bar. Major credit cards. $$$$ Cuisine: Progressive American. aTMosphere: Warm and welcoming. house speCiaLTies: The Charcuterie Plate, the Grapefruit and Almond Salad, the Prosciutto Wrapped Norwegian Cod, and the N.M. Rack of Lamb—all perfect. CoMMenTs: Menu changes depending on what is fresh in the market. Superb service. Top-notch wines in the restaurant and wine shop. BanG BiTe 502 Old Santa Fe Trail & Paseo de Peralta. 469-2345 Breakfast/Lunch Parking lot, take-out, and catering. Major credit cards Cuisine: American.Fresh, local & tasty. aTMosphere: Orange food truck in parking lot. house speCiaLTies: Burger and fries and daily specials. Lotta bang for the buck. BouChe 451 W. Alameda St 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare. aTMosphere: Intimate with an open kitchen. house speCiaLTies: Start with

the Charcuterie Plank. The Bistro Steak and the organic Roast Chicken are winners. CoMMenTs: Chef Charles Dale is a pro. CaFÉ Fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch/Dinner ( Sun.) Wine/Beer soon in 2015 Cash/major credit cards. $$ C uisine : We call it contemporary comfort food. a TMosphere : Casual. h ouse speCiaLTies : For breakfast, both the Huevos Motulenos and the Eldorado Omelette are winners. For lunch, we love the One for David Fried Fish Sandwich. C oMMenTs : Chris Galvin CaFÉ pasQuaL’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. aTMosphere: Adorned with Mexican streamers and Indian posters. house speCiaLTies: Hotcakes got a nod from Gourmet The Huevos Motuleños is a Yucatán breakfast—one you’ll never forget. CheZ MaMou 217 E. Palace Ave. 216-1845. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Artisanal French Bakery & Café. aTMosphere: Casual. house speCiaLTies : Start with the Prosciutto Melon Salad. For your main, try the Paillard de Poulet: lightly breaded chicken with lemon and garlic sauce, or the Roasted Salmon with white dill. C o M M e n T s : Pastas are right on the mark. ChopsTiX 238 N. Guadalupe St. 982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ aTMosphere: Casual. Cuisine: Chinese, Japanese, and Korean. house speCiaLTies: Lemon Chicken, Korean barbequed beef, and Kung Pau Chicken. CoMMenTs: Friendly owners. CounTer CuLTure 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. aTMosphere: Informal. house speCiaLTies: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. CoMMenTs: Good selection of beers and wine. CoWGirL haLL oF FaMe 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: Good old American. fare. aTMosphere: Patio shaded by big cottonwoods. Great bar. h ouse speCiaLTies : The smoked brisket

and ribs are the best. Super buffalo burgers. CoMMenTs: Lot of beers. CoyoTe CaFÉ 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. aTMosphere Bustling. house speCiaLTies: Main the grilled Maine Lobster Tails or the 24-ounce “Cowboy Cut” steak. CoMMenTs: Great bar and good wines. Dr. FieLD GooDs KiTChen 2860 Cerrillos Rd. 471-0043. Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: New Mexican Fusion. aTMosphere: Casual and friendly. house speCiaLTies: Faves: the Charred Caesar Salad, Carne Adovada Egg Roll, Fish Tostada,, and Steak Frite. CoMMenTs: You leave feeling good. DoWnToWn suBsCripTion 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. aTMosphere: A large room where you can sit, read periodicals, and schmooze.. house speCiaLTies: Espresso, cappuccino, and lattes. eL FarÓL 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish aTMosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-to-cheek dancing. house speCiaLTies: Tapas. CoMMenTs: Murals by Alfred Morang. eL MesÓn 213 Washington Ave. 983-6756. Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Spanish. aTMosphere: Spain could be just around the corner. Music nightly. house speCiaLTies: Tapas reign supreme, with classics like Manchego Cheese marinated olive oil. eLoisa 228 E. Palace Ave. 982-0883. Lunch/Dinner Full bar. Major credit cards. $$$ Cuisine: Nuevo New Mexico. aTMosphere: Open and inviting. house speCiaLTies: Start with a Small Plate. Try the Maize Budino: white and green corn, black quinoa, and red amaranth, or the Squash Tamalli: acorn squash, red chile pork, goat cheese, and masa. Large Plates: we love the Potato-Wrapped Scallops and the Salmon Painted Desert: grilled salmon, salmon mousse tamal, calabacitas,

and cilantro-lime sauce. CoMMenTs: A great bar with many specialty cocktails and a good wine list. Chef John Sedlar’s menu is inspired by his grandmother Eloisa. Sedlar’s presentation of food is impeccable. Fire & hops 222 S. Guadalupe St. 954-1635 Dinner - 7 days. Lunch: Sat. and Sun. Beer/Wine. Patio. Visa & Mastercard. $$$ Cuisine: Susatainable local food. a TMosphere : Casual and friendly. house speCiaLTies: The Green Papaya Salad and the Braised Pork Belly. Fave large plates: the Cubano Sandwich and the Crispy Duck Confit. C oMMenTs : Nice selection of beers on tap or bottles. GeorGia 225 Johnson St. 989-4367. Patio. Dinner - Full bar. Major credit cards. $$$$ Cuisine: Clean and contemporary. aTMosphere: Friendly and casual. house speCiaLTies: Start with the Charcuterie Plate or the Texas Quail. Entrée: Try the Pan-Roasted Salmom—it is absolutely delicious. CoMMenTs: Good wine list, a sharp and knowledgeable wait-staff, and a bar menu that you will love. GeroniMo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: We call it French/Asian fusion. aTMosphere: Elegant and stylish. house speCiaLTies: Start with the superb foie gras. Entrée we love is the classic Peppery Elk Tenderloin. CoMMenTs: Wonderful desserts. harry’s roaDhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. aTMosphere: Down home house speCiaLTies : For breakfast go for the Scrambled Eggs with Smoked Salmon, Cream Cheese. Lunch: the Buffalo Burger. Dinner: the Hanger Steak. C oMMenTs : Friendly. iL piaTTo iTaLian FarMhouse KiTChen 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. a TMosphere: Bustling. h ouse speCiaLTies: Our faves: the Arugula and Tomato Salad, the Lemon Rosemary Chicken, and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. CoMMenTs: Nice wine list. Farm to table. iZanaMi 3451Hyde Park Rd. 428-6390. Lunch/Dinner

Sake/Wine/Beer Major credit cards. $$$ C uisine : Japanese-inspired small plates. a TMosphere : A sense of quietude. h ouse speCiaLTies :. We loved the Nasu Dengaku, eggplant and miso sauce, and the Pork Belly with Ginger BBQ Glaze. C oMMenTs : Innovative. JaLapeno’s Barrio CaFe 2411 Cerillos Road 983-8431 Breakfast/Lunch/Dinner Major credit cards. $$$ Food truck parked in front Cuisine: Call it New Mexican/ Mexican. a TMosphere: Food truck with seating in the building. h ouse speCiaLTies : The Chicharon Burritom and the Stuffed carnitas quesadilla are faves. CoMMenTs: Pricey, JaMBo CaFe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ C uisine : African and Caribbean inspired. a TMosphere : Casual. h ouse speCiaLTies : Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers. C oMMenTs : Truely fabulous soups. Joseph’s CuLinary puB 428 Montezuma Ave. 982-1272 Dinner. Beer/Wine Major credit cards. $$$ Cuisine: Innovative. aTMosphere: Intimate. h ouse speCiaLTies : Start with the Butter Lettuce Wrapped Pulled Pork Cheeks. For your main, try the Crispy Duck, Salt Cured Confit Style. C oMMenTs : The bar menu features Polenta Fries and the New Mexican Burger. Ask about the daily specials. Wonderful desserts abound and great service. KohnaMi resTauranT 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. aTMosphere: Casual. house speCiaLTies: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. CoMMenTs: Love the Sake. La pLanCha De eLDoraDo 7 Caliente Rd., La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: An Authentic Salvadoran Grill. aTMosphere: Casual. house speCiaLTies : The Loroco Omelet, Pan-fried Plantains, and Salvadorian Tamales. C oMMenTs : The Sunday brunch is a real winrer—not to be missed.

continued on page 29 June


The magazine | 27

apricot chutney & madras curry sauce

House-Smoked Trout Rillettes with Grilled Flat Bread $17 pickled red onion, caper berries, spicy greens & local radish


Housemade Charcuterie with Pickles & Mustard $16 duck rillettes, country paté, bresaola & mortadella

eNtrÉes Local Pork Schnitzel with Whole Grain Mustard Sauce $25 mashed potatoes & caramelized brussel sprouts

a Steak Frites $31

10 oz. New York strip served with au poivre, bernaise or herb butte

Potato & Horseradish-Crusted Salmon $30 braised fennel, leeks & swiss chard


To thank you 1lb. Salt Spring Mussels with Club Fries $30


Santa Fe for amazing years, & Black Garlic Sau Roasted Colorado Chicken20 with Exotic Mushroom creamy cheese polenta & winter we’re offering vegetables white wine, garlic, lemon & herbs

1/2 price by the Wine a bottle

Braised Veal Osso Bucco with Madeira Wine & Rosemary $3 wild rice blend & turnip purée Gluten Free

e x e c u t i v e c h e F, louis Moskow

Reservations: (505) 986-9190

315 Old Santa Fe Trail

every tuesday night u

All bottles on the wine list

Discover romance in the land of enchantment at Santa Fe’s oldest restaurant and cantina SPANISH CUISINE AND UNIQUE WINE SELECTIONS FAMOUS TAPAS • TRADITIONAL PAELLA LUNCH, DINNER AND HAPPY HOUR SPECIALS DAILY • SEASONAL PATIO DINING AND DELUXE BANQUET FACILITES 808 Canyon Road Santa Fe,NM 87501 (505) 983-9912

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




BURGERS GALORE AT SANTA FE BITE | 311 OLD SANTA FE TRAIL | 982-0544 Lan’s vieTnaMese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. aTMosphere: Casual. house speCiaLTies: The Vegetarian Pumpkin Soup is amazing. Fave entree is the BoTai Dam: Beef tenderloin w/ garlic, shallots, and lemongrass. CoMMenTs: Friendly. La pLaZueLa on The pLaZa 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. aTMosphere: Casual house speCiaLTies: Start with the Tomato Salad. Entrée: Braised Lamb Shank with couscous. CoMMenTs: Beautiful courtyard for dining. Masa sushi 927 W. Alameda St. 982-3334. Lunch/Dinner Sake/Beer Major credit cards. $$ C uisine : Japanese. a TMosphere : Low-key. h ouse speCiaLTies : For lunch or dinner: Start with the Miso soup and/or the Seaweed Salad. The spicy Salmon Roll is marvelous, as are the Ojo Caliente and the Caterpiller rolls. The Tuna Sashimi is delicious. C oMMenTs : Highly recommended. MiDToWn BisTro 910 W. San Mateo, 820-3121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ C uisine : American fare with a Southwestern twist. a TMosphere : Beautiful open room. h ouse speCiaLTies : For lunch: the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrée: Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop. C oMMenTs : Nice desserts. Mu Du nooDLes 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. aTMosphere: Casual. house speCiaLTies: Vietnamese Spring Rolls and Green Thai Curry, CoMMenTs: Organic. neW yorK DeLi Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. aTMosphere: Large open space. house speCiaLTies: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. neXus 4730 Pan American Frway. Albuquerque. 505 242-4100 Breakfast/Lunch/Dinner Major credit cards. $$ Patio. Cuisine: Southern-New Mexican. aTMosphere: Brew-pub dive. house speCiaLTies: Lots of suds and growlers, not to mention the amazing Southern Fried Chicken reCoMenDaTions: Collard Greens, Mac n’ Cheese with green chile, Gumbo and Southern Fried Fish n’ Chips. CoMMenTs: Fair prices.



pLaZa CaFÉ souThsiDe 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. aTMosphere: Bright and light. house speCiaLTies: Breakfast: go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. All of the burritos are great. Patty Melt is super. CoMMenTs: Green Chilie is perfect.

sanTa Fe CapiToL GriLL 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. aTMosphere: Contemporary. house speCiaLTies: Tuna Steak, ChickenFried Chicken with mashed potates and bacon bits, and the New York Strip with a yummy Mushroom-Peppercorn Sauce. Desserts are on the mark. CoMMenTs: Nice wine selection.

rio ChaMa sTeaKhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American. aTMosphere: Easygoing. house speCiaLiTies: Steaks, Prime Ribs, and Burgers. Haystack fries rule. reCoMMenDaTions: Excellent wine list.

saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. aTMosphere: Casual. Buffet-style service for salad bar and soups. h ouse speCiaLTies : Hot daily specials, gourmet sandwiches, Get the Baby-Back Ribs when available.

s an F ranCisCo s T . B ar & G riLL 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ C uisine: Good bar food. aTMosphere: Casual, with art on the walls. house speCiaLTies: Lunch: the San Francisco St. hamburger or the grilled Salmon filet with black olive tapeade and arugula on a ciabatta roll. Dinner: the flavorful twelve-ounce New York Strip steak, with chipotle herb butter, or the Idaho Ruby Red Trout with pineapple salsa. CoMMenTs: Visit their sister restaurant at Devargas Center. sanTaCaFÉ 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: souThWesT Contemporary. aTMosphere: Minimal, subdued, and elegant. house speCiaLTies: Their world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Pan-seared Salmon with olive oil crushed new potatoes and creamed sorrel. CoMMenTs: Happy hour specials from 4 to 6 pm. Great deals: Half-price appetizers. “Well” cocktails only $5. sanTa Fe Bar & GriLL 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. aTMosphere: Casual and friendly. house speCiaLTies: Cornmeal-crusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. CoMMenTs: Easy on the wallet. sanTa Fe BiTe 311 Old Santa Fe Trail. 982-0544 Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: American and New Mexican. aTMosphere: Casual and friendly. house speCiaLTies: Lunch: the juicy 10 oz. chuck and sirloin Hamburger or the Patty Melt. Dinner: the Ribeye Steak is a winner. The Fish and Chips rivals all others in Santa Fe. C oMMenTs : Try any of the burgers on rye toast instead of a bun. Their motto: “Love life. Eat good.” We agree.

seConD sTreeT BreWery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Pub grub. aTMosphere: Real casual. house speCiaLTies: We enjoy the Beer-steamed Mussels, the Calamari, and the Fish and Chips. CoMMenTs: Good selection of beers. shaKe FounDaTion 631 Cerrillos Rd. 988-8992. Lunch/Early Dinner - 11am-6pm Major credit cards. $$ Cuisine: All American Burger Joint. aTMosphere: Casual with outdoor table dining. house speCiaLTies: Green Chile Cheeseburger, the Classic Burger, and Shoestring Fries. Amazing shakes made with Taos Cow ice cream. CoMMenTs: Sirloin and brisket blend for the burgers. shohKo CaFÉ 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. aTMosphere: Sushi bar, table dining. house speCiaLTies: Softshell Crab Tempura, Sushi, and Bento Boxes. CoMMenTs: Friendly waitstaff. sWeeTWaTer 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner. Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. aTMosphere: Large open room. house speCiaLTies: The Mediterranean Breakfast—Quinoa with Dates, Apricots, and Honey. Lunch: the Indonesian Vegetable Curry on Rice; C oMMenTs : Wine and Craft beers on tap. Terra aT Four seasons enCanTaDo 198 State Rd. 592, Tesuque. 9889955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American with Southwest influences. aTMosphere: Elegant house speCiaLTies:. Start with the Beet and Goat Cheese Salad. Follow with the Pan-Seared Scallops or the

Double Cut Pork Chop. CoMMenTs: Chef Andrew Cooper brings seasonal ingredients to the table. Excellent wine list. The arTesian resTauranT aT oJo CaLienTe resorT & spa 50 Los Baños Dr. 505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ C uisine : Southwest and American. a TMosphere : Casual, calm, and friendly. h ouse speCiaLTies : At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, and foillow with the Trout with a Toa ste Piñon Glaze. C oMMenTs : Nice wine bar.

Tia sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$ Cuisine: Traditional New Mexican. aTMosphere: Easygoing and casual. house speCiaLTies: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese or the daily specials. C oMMenTs : The real deal. Tune-up CaFÉ 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, New Mexican. a TMosphere : Down home. house s p e C i a LT i e s : Breakfast:We like the Buttermilk Pancakes. Lunch: Great specials C o M M e n T s : Easy on your wallet.

The CoMpounD 653 Canyon Rd. 982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American Contemporary. aTMosphere: 150-year-old adobe. h ouse speCiaLTies : Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. C oMMenTs : Chef and owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award.

434 W. San Francisco St. 982-9966 Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American. aTMosphere: Piano bar and oversize everything, thanks to architect Ron Robles. house speCiaLTies: New York steak and the Australian rock lobster tail. CoMMenTs: Great appetizers.

The paLaCe resTauranT & saLoon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ C uisine : American a TMosphere : Victorian style merges with the Spanish Colonial aesthetic. h ouse s peCiaLTies : For lunch, the Prime Rib French Dip or the Lemon Salmon Beurre Blanc. Dinner: go for the Lavender Honey-Glazed Baby Back Rib, or the Prime Rib Enchilada C oMMenTs : Super bar.

vinaiGreTTe 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: American. aTMosphere: Light, bright and cheerful. house speCiaLTies: Organic salads. We love all of the salads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. CoMMenTs: Seating on the patio. When in Albuquerque, visit their sister restaurant: 1828 Central Ave., SW in Albuquerque.

The ranCh house 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: Barbecue and Grill. aTMosphere: Family and very kid-friendly. house speCiaLTies: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. CoMMenTs: The best BBQ ribs.

verDe 851 W. San Mateo Rd.. 820-9205. Major credit cards. $$ Cuisine: A variety of gourmet ColdPressed Juice blends. aTMosphere: Light, bright, and cheerful. house speCiaLTies: Eastern Roots: a blend of fresh carrot and apple juice with ginger and turmeric juice, spinach, kale, and parsley.

The sheD 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican.aTMosphere: A local institution located just off the Plaza. h ouse speCiaLTies : If you order the perfect red or green chile cheese enchiladas. C oMMenT s They are always busy. Go— you will never be disappointed. The Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to table-to mouth. aTMosphere: Casual. house speCiaLTies : For breakfast, get the Steamed Eggs or the Bagel and Lox.. All of the salads are marvelous.. Many, many sandwiches and Panini to choose from. CoMMenTs A variety of teas from around the world make The Teahouse the best source for teas in the great Southwest.



sanTa Fe

ZaCaTeCas 3423 Central Ave., Alb. 255-8226. Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. aTMosphere: Casual and friendly. h ouse speCiaLTies : Try the Chicken Tinga Taco with Chicken and Chorizo or the Pork Ribs. Sixty-five brands of Tequila for your drinking pleasure. Zia Diner 326 S. Guadalupe St. 988-7008. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine American a TMosphere : Real casual. house speCiaLTies: The perfect Chile Rellenos and Eggs is our breakfast choice. Lunch: Our favorite is the Southwestern Chicken Salad, the Fish and Chips, and any of the Burgers C o M M e n T s : A variety of delightful pasteries and sweets are available for take-out.

The magazine | 29






Meridel Rubenstein, Summer Seasonal, 2009 - 2011, 54” x 40”

Rakuko Naito, RN1468-64, 1964, Acrylic and metallic acrylic on linen, 68” x 68”





JUNE 26 - AUGUST 9, 2015

JUNE 26 - AUGUST 9, 2015



Stephen Westfall, Reclining Harlequin, 2015, Acrylic on canvas, 78x66”

Gabriel J. Shuldiner, Could.Have.Been//, 2015, Mixed media, 33.2 x 25 x 3.5”

STEPHEN WESTFALL The Railyard Arts District


544 South Guadalupe Street, Santa Fe, NM 87501


(505) 983-9555 |




aXLe C onTeMporary, The Railyard, Santa Fe. Not This, Not That: mobile and online exhibition of works struggling to describe the indescribable. 5-7 pm. Online at

s hiproCK s anTa F e , 53 Old Santa Fe Tr., 2nd Fl., Santa Fe. 982-8478. Orlando Dugi: Dugi couture designs and an interactive fashion show by Dugi, in honor of the opening of the Wheelwright Museum’s Center for the Study of Southwestern Jewelry. 5-7 pm.

JaMes KeLLy ConTeMporary, 1611 Paseo de Peralta, Santa Fe. 989-1601. Miles & Miles: new works by Stuart Arends. 5-7 pm. phoTo-eye

GaLLery, 541 S. Guadalupe St., Santa Fe. 988-5152. Emergent Behavior: vivid images of constructed installations by Thomas Jackson. Home by Nightfall: powerful, blackand-white photographs by Angela BaconKidwell. 5-7 pm. WheeLhouse arT, 418 Montezuma Ave., Santa Fe. 919-9553. Revealing Natures: paintings by Sheila Miles and Jane Shoenfeld. 6-8 pm. Zane BenneTT ConTeMporary arT, 435 S. Guadalupe St., Santa Fe. 982-8111. Creating Shape Shape: sculptures by Karen Yank. 5-7 pm.


BLue rain GaLLery, 130-C Lincoln Ave., Santa Fe. 954-9902. Invitational Glass Show: 2nd annual glass show, curated by Preston Singletary. 5-7 pm.

n eW C onCepT G aLLery , 610 Canyon Rd., Santa Fe. 795-7570. Force of Nature: paintings by Jane Cook that express Nature’s spirit and subtle light. 5-7 pm. p aTina G aLLery , 131 W. Palace Ave., Santa Fe. 986-3432. The Language of Color: bold, chromatic jewelry by collaborating artists Steven Ford and David Forlano. 5-7 pm. s anTa F e C Lay , 545 Camino de la Familia, Santa Fe. 984-1122. Sharbani Das Gupta & Brian Molanphy: Molanphy ceramic works by Gupta and Molanphy. 5-7 pm.

Java Joe’s, 1248 Siler Rd., Santa Fe. Abstract Landscapes Landscapes: paintings by Nicholas Montenegro. 5-7 pm.

s orreL s Ky , 125 W. Palace Ave., Santa Fe. 501-6555. Unbridled Souls—Portrait of the American Horse: Horse western paintings by Carrie Fell. Artist demonstration: 5-7:30 pm.

Karan ruhLen GaLLery, 225 Canyon Rd., Santa Fe. 820-0807. Recent Works— Abstractions of Color and Line: Line colorful steel sculptures by Bret Price. Abstract paintings by Kevin Tolman. 5-7 pm.

Tai M oDern , 1601 Paseo de Peralta, Santa Fe. 984-1387. Maps, Doors and Coffins—Locating Absence Absence: new works by Katherine Lee. 5-7 pm.

Tansey ConTeMporary, 652 Canyon Rd., Santa Fe. 995-8513. Unconventional Con‘form’ity Con‘form’ity—3 Contemporary Ceramic Approaches to the Vessel Form Form: group show. 5-7 pm. W eyriCh G aLLery , 2935-D Louisiana Blvd. NE, Alb., 505-883-7410. Echoes of Nature Nature: abstract calligraphy and mixedmedia paintings by Patty Hammarstedt. Ceramics by Jack Troy, Rob Barnard, Lucien Koonce, Susan Kotulak, and Kevin Crowe. 5-8:30 pm. SATURDAY, JUNE 6

516 arTs arTs, 516 Central Ave. SW, Alb. 505242-1445. Fraction of a Second: multi-site exhibition of photographs by established and emerging artists. Reception at UNM Art Museum: Fri., June 5, 6-8 pm. Members preview: 5-6 pm. 516 reception: Sat., June 6, 6-8 pm. Curator talk: 5 pm. Oil-on-panel paintings by Robert Anderson on view at Mark White Fine Art, 414 Canyon Road, Santa Fe.

continued on page 34 June


The magazine | 31

WHO WROTE THIS? WHO WROTE THIS? “Everyone thinks of changing “Everyone thinks of changing the the world, butone no thinks one thinks world, but no of of changing himself.” changing himself.” Margaret or Warren Buffet Margaret MeadMead or Warren Buffet Leo Tolstoy or Lebron Leo Tolstoy or Lebron JamesJames


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Taos arTisT CoLLeCTive, 106-A Paseo del Pueblo Norte, Taos. 575-751-7122. Photographers’ Recollections of Cuba Cuba: photographs by Marcus Best and Jeremy G. Landau. 4-7 pm. FRIDAY, JUNE 12

Free ForM arT spaCe, 1619 C de Baca Ln., Santa Fe. 505-753-7713. Ground Work: recent works inspired by the natural world by Linda Fillhardt and Maryellen Stewart. 5-8 pm. MariGoLD arTs, 424 Canyon Rd., Santa Fe. 982-4142. Disappearing Act: watercolors of endangered species by Ruth Tatter. 5-7 pm. nÜarT GaLLery, 670 Canyon Rd., Santa Fe. 988-3888. Land’s End: narrative paintings John Tarahteeff. 5-7 pm. Turner CarroLL GaLLery, 725 Canyon Rd., Santa Fe. 986-9800. Glow—Excerpts from Beauty Reigns Reigns: works by Jamie Bruson, Rex Ray, and Fausto Fernandez. 5-7 pm. Zane BenneTT ConTeMporary arT, 435 S. Guadalupe St., Santa Fe. 982-8111. Future Parks Parks: interactive video and new-media works highlighting creative, participatory play for children of all ages. 5-7 pm.





phiL spaCe, 1410 2nd St., Santa Fe. 983-7945. At Last Last: retrospective celebrating forty years of Cissie Ludlow’s photographic works. 5-8 pm. FRIDAY, JUNE 19

riCharD Levy GaLLery, 514 Central Ave. SW, Alb. 505-766-9888. Exposure: photographs by Gordon Parks and Rania Matar. 6-8 pm.



Top: Abstractions of Color and Line—recent sculptures by Bret Price and recent paintings by Kevin Tolman at Karan Ruhlen Gallery, 225 Canyon Road, Santa Fe. Reception: Friday, June 5 from 5 to 7 pm. Image: More Than Enough by Bret Price.


Bottom: Acrylic oil-stick and collage works by Paul Pascarella on view at Nüart Gallery, 670 Canyon Road, Santa Fe. K

sorreL sKy, 125 W. Palace Ave., Santa Fe. 501-6555. Cody Sanderson: Navajo jewelry by Sanderson. 5-7 pm. FRIDAY, JUNE 26

CiTy oF sanTa Fe arTs CoMMission’s CoMMuniTy GaLLery, 201 W. Marcy St., Santa Fe. 955-6705. 30 Under 30: works by 30 emerging artists in New Mexico. 5-7 pm. DaviD riCharD GaLLery, 544 S. Guadalupe St., Santa Fe. 983-9555. Jewel Curtain: new paintings that explore the interaction of color and negative space in the two-dimensional picture plane by New York–based artist Stephen Westfall. postapocalyptic BLACK™: Gabriel J. Shuldiner uses found objects in his BLACK™ explorations of object-making and painting. 5-7 pm. DuranGo arTs CenTer, 802 E. 2nd Ave., Durango, CO. 970-259-2606. Reprise: photographs by nine local artists, expanding on the conversation begun with last year’s show, 970. 5-7 pm. GeraLD peTers GaLLery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Life and Shadow: Shadow camera-less photographs by Robert Buelteman. 5-7 pm. hunTer KirKLanD ConTeMporary, 200-B Canyon Rd., Santa Fe. 984-2111. Interwoven Life: Life oil paintings by Rick Stevens. 5-7 pm. continued on page 36

34 | The magazine





“Unconventional Con’form’ity” 3 Contemporary Ceramic Approaches to the Vessel Form 3 Contemporary Ceramic Approaches to the Vessel Form

Lara Scobie, Avital Sheffer, Sheryl Zacharia Lara Scobie, Avital Sheffer, Sheryl Zacharia

Aboveleftleft Above OMPHALIA OMPHALIA IVIV 1/4"x 14 x 141/2" 1/2"x 7x 1/2" 7 1/2" AvitalSheffer Sheffer~ ~21211/4" Avital Aboveright right Above LARGE LARGETILTED TILTEDVESSEL VESSEL#1#1 Lara ~ 181/2" 1/2"x 10 x 101/2" 1/2"x 4" x 4" LaraScobie Scobie~ 18 Below Belowleftleft MAGIC MAGICSKY SKY ~ 20" Sheryl Zacharia x 24"x 7" x 7" Sheryl Zacharia ~ 20"x 24"

Group GroupExhibition, Exhibition,Main MainGallery Gallery June June55––30, 30,2015 2015 Join us for the opening, Friday, June 5th, Join us for the opening, Friday, June 5th, 5-7 pm at 652 Canyon Road 5-7 pm at 652 Canyon Road


siLver sun GaLLery, 656 Canyon Rd., Santa Fe. 983-8743. Finding Color in the Land: paintings by Lee MacLeod based on plein air sketches. 5-7 pm. WiLLiaM sieGaL GaLLery, 540 S. Guadalupe St., Santa Fe. 820-3300. Vokoun—Linear Functions: new works by John Vokoun. 5-7 pm. SATURDAY, JUNE 27

arT shaCK, 2833 State Hwy. 14, Madrid. 505660-2923. Nubes Viajeras (Roaming Clouds): Mexican realist paintings by Jade Leyva and Armando Adrian López. 4-7 pm.

activities, musicians, art, and fine crafts. Sun., June 7, 9:30 am-3:30 pm. CurrenTs inTernaTionaL neW MeDia FesTivaL, Santa Fe. Fri., June 12 through Sun., June 28. Full schedule and venue info: CurrenTs, Santa Fe. New (+ Old) Media— Restoration, Preservation, Archiving and Access Access: invitational working meeting, special public symposium, and screening as part of the festival. Thurs., June 25 through Sat., June 27. Details:


arT house, ThoMa FounDaTion, 231 Delgado St., Santa Fe. 995-0231. Luminous Flux: innovative computer, digital, interactive, video, and electroluminescent art. Ongoing: Thurs.-Sat., 10 am-5 pm. arTsCraWL, Alb. Citywide, self-guided arts tour: Fri., June 5, 5-8 pm. Artful Saturday along Route 66: Sat., June 20. Create your own tour: CCa CineMaTheQue LoBBy GaLLery, 1050 Old Pecos Tr., Santa Fe. 982-1338. Mending the World through a Dream: installation of painting and video by Derek Chan. Through Sun., July 5. ChiarosCuro ConTeMporary arT, 558 Canyon Rd., Santa Fe. 992-0711. John Garrett— New Works: mixed-media wall sculptures and a site-specific installation. Through Sat., June 20. CorraLes soCieTy oF arTisTs, La Entrada Park, Corrales. Art in the Park: children’s

CurrenTs WorKshops, Santa Fe. Thinking and Writing About New Media Art—Art and Technology in Collaboration Collaboration: Wed., June 10, Sat., and Sun., June 13-14. Projection Mapping for Everyone: Sat., June 20, 1-3 pm. Controlling VJ Software with Ableton Live Live: Sat., June 20, 3:30-5 pm. Info and registration: DaviD riCharD GaLLery, 544 S. Guadalupe St. Santa Fe. 983-9555. Eden Turned on its Side: Photosynthesis, Part II: II the second presentation by Meridel Rubenstein that focuses on intersections of nature and culture in relationship to ecological and social imbalance. Through Sun., June 21. DaviD riCharD GaLLery, 544 S. Guadalupe St. Santa Fe. 983-9555. Op Infinitum—The Responsive Eye Fifty Years After American Op Art 60s second presentation in a four-part In The 60s: series that critically reviews and reconsiders The Eye Responsive Eye—the seminal Op Art exhibition organized by William C. Seitz at the Museum of Modern Art in 1965. Through Mon., July 6. enCausTiC arT insTiTuTe, 632 Agua Fria St.,

Santa Fe. 989-3283. Over one hundred fifty encaustic works in a new gallery location. In June, works by Elle MacLaren are featured. Open Wed. through Sun., 11 am-5 pm. GeorGia o’KeeFFe MuseuM, 217 Johnson St., Santa Fe. 946-1000. Line, Color, Composition: works showcasing O’Keeffe’s process, from conceptualization to the finished canvas. Through Sun., Sep. 13. Education & Public Programs in June include: Breakfast with O’Keeffe, O’Keeffe Walks in the American West, Research Center Conversation, Conversation and Opera Makes Sense, among others. Details: GeraLD peTers GaLLery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Albert Paley: solo exhibition of decorative art by the Rochester-based artist. Through Sat., June 13. hiLLsiDe GaLLery, 86-B Old Las Vegas Hwy., Santa Fe. 982-9944. Open-Air Market: painters, jewelry-makers, potters, woodworkers, fabric artists, sculptors, craftspeople, and authors gather to showcase and sell. Fri., June 26, 10 am-4 pm. huLse/WarMan GaLLery, 222 Paseo del Pubelo Norte, Taos. 575-751-7702. Ronald Davis—Unwrapped Davis—Unwrapped: works by Davis from the 1960s, including an unseen resin painting from 1969.

insTiTuTe oF aMeriCan inDian arTs, 83-A Van Nu Po Rd., Santa Fe. 424-2300. Currents International Media Festival: Festival screening of student films: 2:30 and 4:15 pm. Screening of works from electronic arts and experimental video pioneers, Steina and Woody Vasulka, and others: 3 and 5 pm. Sat. and Sun., June 13-14. Johnson sTreeT eXperienCe, Johnson St., Santa Fe. Events at restaurants, galleries, and museums along the historic street. Sat., June 6, noon-4 pm. Las CruCes MuseuM oF arT, 491 N. Main St., Las Cruces. 575-541-2137. Portrait Painting Workshop with Michael Poncé: Poncé multiday workshop focused on painting from life. Sat., May 30 and Sat., June 6, 9-11 am. Here & Now: Now works by artists living and working near Las Cruces. Through Sat., July 25. Here & Now Panel Discussion: Discussion Fri., June 5, 5:30 pm. as revoLuTion FesTivaL, The Lotus & Mine Shaft Tavern Amphitheatre, 2846 Hwy. 14, Madrid. Music, yoga, meditation, and art. Join others working to create positive change through love and peace. Fri., June 5 through Sun., June 7. Schedule: Love

MuseuM oF inTernaTionaL FoLK arT, 706 Camino Lejo, Santa Fe. 476-1200. The Red

That Colored the World: more than one hundred thirty objects that explore the history of cochineal and the seductive nature of the color red. Through Sun., Sep. 13.

revieW sanTa Fe phoTo FesTivaL, Santa Fe. Fifteenth annual festival of international photography. Artist portfolios. Keynote by Lucy Lippard and more. Thurs., June 11 through Sun., June 14. Details:

nÜarT GaLLery, 670 Canyon Rd., Santa Fe. 988-3888. Layers: chromatic, geometric works by Antonio Puri. Through Sun., May 31.

sanTa Fe pLein air FesTivaL, Santa Fe. Exhibitions and outdoor painting sessions throughout downtown. Sat., June 6 through Fri., June 12. Info:

phoTosuMMer 2015, Alb. and Santa Fe. Exhibitions and public programs in Albuquerque and Santa Fe focusing on contemporary photography. Fri., June 12 through Sun., June 14. Participating venues and schedule: 516arts. org/photosummer

sanTa Fe sCreenWriTers WorKshop, Mangiamo Pronto!, 228 Old Santa Fe Tr., Santa Fe. The Successful Screenwriter—The Art and Business of Writing for Film and Television Television: 6-9 pm, Tuesdays, June 2-23.

reD DoT GaLLery, 820 Canyon Rd., Santa Fe. 820-7338. NMSU Faculty & Graduate Students Exhibition: book art, ceramics, drawings, woodworking, jewelry, paintings, photographs, and sculptures by faculty and graduate students. Through Fri., June 19.

sanTa Fe sTuDio arT Tour, Santa Fe. Self-guided arts tour featuring seventy-six artists and forty-eight studios. Fri., June 19 through Sun., June 28. Map and schedule: sChooL For aDvanCeD researCh, James A. Little Theatre, 1060 Cerrillos Rd., Santa Fe.

476-6300. “Can We Reshape Humanity’s Deep Future?”: Nick Bostrom discusses possibilities and risks of artificial intelligence, human enhancement, and other emerging technologies. Sun., June 7, 2 pm. Tickets:


spanish CoLoniaL arTs soCieTy, 750 Camino Lejo, Santa Fe. 982-2226. Tradición, Devoción y la Vida Vida: eighty years of black-and-white photography in New Mexico and Mexico. Opening Fri., June 12. souTh BroaDWay CuLTuraL CenTer, 1025 B’way Blvd SE, Alb. 505-848-1320. Vantage Points Points: group show with stainless steel sculptures and paintings by Ali Baudoin and other. Through July 11. WiLLiaM sieGaL GaLLery, 540 S. Guadalupe St., Santa Fe. 820-3300. Retablos—A New Voice: Voice new works by Victor Huaman Gutierrez. Fri., June 26 through Tues., July 28. PERFORMANCE

BLooMsDay eLevenTy-one, Warehouse 21, 1614 Paseo de Peralta, Santa Fe. Celebrate the one hundred eleventh anniversary of Bloomsday, western literature’s most fêted fictional holiday, with readings, music, and food. Tues., June 16, 7-9 pm. neW MeXiCo sChooL For The arTs, 275 E. Alameda St., Santa Fe. 123: ensemble performance created and performed by local dance artists Micaela Gardner, Adam McKinney, Sarah Ashkin, Brittany Delany, Spencer Toll, Miles Tokunow, Ehren Natay, and Sophia Rog. Fri. and Sat., June 5 and 6, 8pm, and Sun., June 7, 2 pm. Tickets: rio GranDe CenTer For spiriTuaL LivinG, 4374 Alexander Blvd. NE, Alb. 505-2249405. Randy Granger: original, spiritually tinged music by the Native American musician. Sat., May 30, 7 pm. Tickets: TheaTer GroTTesCo, Santa Fe Playhouse,



142 E. De Vargas St., Santa Fe. 474-8400. The Moment of YES! YES!: theatrical event about communication and creating common culture. Performances through Sun., June 7. Schedule and tickets:

CiTy oF sanTa Fe arTs CoMMission’s CoMMuniTy GaLLery, 201 W. Marcy St., Santa Fe. 955-6705. Call for theme ideas for 2016 exhibitions. Priority is given to proposals submitted by June. Proposal forms and details: enCausTiC arT insTiTuTe, 632 Agua Fria St., Santa Fe. 989-3282. 5th Annual National Juried Encaustic/Wax Exhibition: Exhibition apply by Mon., Aug. 3. Details: insTiTuTe oF aMeriCan inDian arTs, 83-A Van Nu Po Rd., Santa Fe. 424-2300. Sundance Institute and IAIA Native Writers Workshop Workshop: five-day intensive summer writing workshop to support six emerging Native storytellers in film and television. Apply by Fri., May 29: programs/native-program Images from left to right across spread: Force of Nature Nature—new paintings by Jane Cook at New Concept Gallery, 610 Canyon Road, Santa Fe. Reception: Friday, June 5 from 5 to 7 pm. Exposure Exposure—an exhibition of photographs by Gordon Parks and Rania Matar on view at Richard Levy Gallery through Friday, July 24. Opening reception: Friday, June 19 from 6 to 8 pm. Image: Yasmine by Rania Matar. Works in ceramic by Sharbani Das Gupta and Brian Molanphy on display at Santa Fe Clay, 545 Camino de la Familia, Santa Fe. Reception: Friday, June 5 from 5 to 7 pm. Image: Drifters by Das Gupta. IV After Dark IV—a national juried show celebrating darkness—opens with a reception on Saturday, June 6 from 5 to 7 pm at Greg Moon Art, 109-A Kit Carson Road. Show runs through Saturday, June 27. Image: Calacas by Janelle Pietrzak.

JuLy CaLanDer LisTinGs All listings for the July calendar are due no later then Thursday, June 18. Email: Or mail to 320 Aztec Street, Santa Fe NM 878501

The magazine | 31


Katherine Lee—Maps, Doors and Coffins: Locating Absence Tai Modern 160-B Paseo de Peralta, Santa Fe. 984-1387 Friday, June 5 through Sunday, July 5, 2015 Reception: Friday, June 5, 5 to 7 pm The exquisitely painted oils of Katherine Lee are the maps in this exhibition. With images of grass or empty highways at night, familiar yet solitary, and indicative of an uninhabited space, these works take on deeper meaning when paired with the hand-crafted coffins and wooden doors Lee constructed. The coffins—explored artistically in many cultures but not often by Americans, who prefer to avoid reminders of death—were made by Lee for five family members. Simply painted in black and embellished with skulls and flowers, quiet, not morbid, the coffins sit next to her wood doors, which might be the entrances or exits to offices from the past. There is obviously a story here that belongs to the artist, but it can take on personal meanings for viewers. Although working in a relatively new medium, Lee is as adept at the craft of fine woodworking as painting. That is a simple fact, but not the focus of this series of works. As telegraphed by the exhibition title, the paintings, monotypes, and doors have words on them that seem to disappear into their compositions. The stillness within these stark spaces serves as a reference to absence, and perhaps loss. What is occurring in the artist’s interior landscape is hinted at, not described, but who among us cannot resonate with the grass, the doors, or the coffins that fill these poignant places? The exhibition promises to be one that leaves a haunting residue. Perhaps the maps tell us where to go, or maybe just record the comings and goings that relationships are inevitably about in all our lives. Katherine Lee, Maps, Doors and Coffins: Locating Absence, studio installation, 2015

Review Santa Fe: International Photography Festival Drury Plaza Hotel (festival headquarters) 828 Paseo de Peralta, Santa Fe. 984-8353 Thursday through Sunday, June 11-14 Schedule of events: If you are interested in seeing a range of work by photographers from around the world, there is an opportunity this June that is not to be missed. Santa Fe–based CENTER, a not-for-profit organization dedicated to providing opportunities for photographers to advance their careers, presents a weekend of viewing work, meeting artists, and discovering photography from noted practitioners to emerging talents. The fifteenth annual portfolio review on Friday, June 12, offers the public a chance to see bodies of work and meet the artists whose images will be reviewed by more than forty professionals in the field, including curators, editors, publishers, and gallerists associated with The New Yorker, MSNBC, the Museum of Contemporary Photography, the Library of Congress, and other organizations. The work of eleven international winners of various awards is on exhibition at the Center for Contemporary Arts through September 13. In addition, Lucy Lippard offers a keynote address on Thursday evening. A dinner on Saturday night will honor the esteemed curator Anne Wilkes Tucker upon her retirement from the Houston Museum of Fine Arts after twenty years devoted to advancing the field. Twelve artists per day will speak hourly about their projects at the Drury Plaza Hotel on Friday and Saturday from 11 am to 5 pm. The Santa Fe University of Art and Design will host two exhibitions, the Center Alumni & Member Exhibition and the Student Showcase, from June 1 through July 31. From photojournalism and documentary to fine-art photography, the diverse range of the photo projects on view during the weekend events and exhibitions can’t help but expand your awareness of current explorations in the ever-expanding medium of photography. Event view.

38 | The magazine






ART LOVERS featuring galleries and artists across New Mexico Available FREE at art venues throughout the state

To order your copy visit or call 800.258.0929





The magazine |41

2015 SUMMER WORKSHOPS Esther Shimazu Alessandro Gallo Cristina C贸rdova Farraday Newsome Victoria Christen Kensuke Yamada Sunshine Cobb Sam Chung Christina West Tom Jaszczak



In the Railyard, 545 Camino de la Familia, Santa Fe 5 0 5 . 9 8 4 . 11 2 2 | w w w . s a n t a f e c l a y . c o m


Yoko Ono: One Woman Show, 1960-1971 YOKO ONO, TOUCH POEM #5, HAIR, INK ON PAPER, 9 7/8” × 13 7/16”, CIRCA 1960. © YOKO ONO 2014 For the general public, the name Yoko Ono brings up John Lennon, the Bed-In,

an interactive participatory work that features a canvas on the floor requiring

Give Peace a Chance, and her relationship issues with the rest of the Beatles more

the audience to complete the work by walking on it. Grapefruit (1964), an early

than it does her own art. On the cutting edge of conceptual, performance, and text-

text-based piece that introduced her work to the world and is still in print, is

as-art, Ono, during the period documented in the MoMA exhibition, introduced

a book of instructions with poetic or quirky references. In Tuna Fish Sandwich

idea- and action-based art, also explored by the Fluxus group with

Piece, Ono directs the reader to “Imagine one thousand suns in the sky at the

which her name is associated. In 1971, she announced an unofficial

same time. Let them shine for one hour. Then, let them gradually melt into the




sky. Make one tuna fish sandwich and eat.” Or, in the chapter titled “Music”



there is Laugh Piece, which advises, “Keep laughing a week.” Good advice

A sign at the entrance instructed viewers to track the insects’ movements

in these somber times. Yoko Ono: One Woman Show, 1960-1971 is on view at

across the city of New York. The current “official” show surveys a decade

the Museum of Modern Art, 11 West 53rd Street, New York City from May

of work prior to her relationship with Lennon and includes one hundred twenty-

17 to September 7, 2015. An illustrated catalogue of the show is available

five of her early objects, works on paper, installations, performances, audio

with essays that discuss the artist’s evolution and the cultural context of

recordings, films, and archival materials. Painting to Be Stepped On (1960-1961) is

the works.





show said

at to

MoMA have



contained flies


no the

The magazine | 43



As if in a dream Magritte might have had a half century ago, a high school student in Mexico City is assigned by his aging art teacher to sculpt life-size plasticine representations of three elements of human sensory anatomy—an ear, an eye, and a mouth. He is given two weeks to complete the project and told that it is to be his final exam. At the end of the first week he presents himself at the Maestro’s office and announces that he has already completed the eye and the mouth, both of which he presents to his teacher. The maestro is impressed. The sculpted mouth speaks clearly of the young student’s skill, his understanding of how lips curl, while the eye stares up at the teacher from the desk with an unblinking conviction, clearly expressing the student’s promise as an artist. Perhaps unconsciously, because of his love of music, the ear is the piece into which the student puts his best effort, carefully observing his own ear in the mirror and working late at night to translate every curve and concavity with accuracy and correct proportion. At the end of the two weeks the student is ready to present to his teacher the most perfect ear. “I have my ear today, Maestro.” “But you already presented your ear last week.” ““No, last week I brought in my mouth and my eye, remember?” “No, you brought in your ear. I’ve seen enough of your ear already. Is this a joke? What are you trying to pull?” And with that the teacher, jealous of the most perfect ear, suddenly seizes it, crushes its calibrated curves in his fist, and lets fall onto the desktop a lifeless lump of senselessness. Heart pounding, the student stares—the ear he alone had brought from nothing into being, the most perfect ear is now nothing again—and in a moment of inspired defiance the student grabs the negation, raises his arm and sends the un-ear, like a rock, crashing through the glass of the window, behind this person he will never call Maestro again. The sound of the shattering glass still ringing, he turns and runs out of the school building, tears rising in the spring sunshine of Mexico City.

continued on page 46 June


The magazine | 45



Toca Galeria looking out at the scene below, I had alternate

solidity that lends dignity to decent work, and allows

in the springtime sun,

flashes of carnevale in the Piazza San Marco, a mestizo

excellent work to soar. Frida Kahlo rode the streetcar

more so than in recent memory, perhaps. The violence

Portlandia, and the Pearl Street Mall, in Boulder. There was a

here as a student, and often supped across the street at

is down and the city feels safe. Robbery and kidnapping

taste of the indigenous surrealism that surfaces in Alejandro

her favorite broth shop. Like something out of a Gabriel

remain a concern in the border towns to the north, and

Jodorowsky’s crowd scenes, or the spellbinding paintings

García Márquez novel, a red awning spans the entrance

in the southern villages. Corruption at the highest levels of

of Remedios Varo as a trumpet player on a unicycle circled

to a legendary hole in the wall that has for over a

government remains rife, but people are no longer scared

the square.

century served the most amazing soup you will ever

to walk the streets in Mexico’s largest urban center. Uber

Long-time Santa Fe resident Ricardo Mazal was

taste in this life or any afterward. Entering the entrance

has stopped the tide of taxicab shakedowns that were so

born here. He was the child in the dream Magritte might

hall of the Estación Indianilla you encounter five larger-

prevalent ten years or so ago, and young lovers are kissing

have had, though it could have easily been Vincent van

than-life video stills of close-up fragments of Bhutanese

on park benches, as always. So despite Mexico’s hardships,

Gogh’s, or Gogol’s, or even dreamt by mad scientist

prayer flags blowing in the wind against a pale grey

or perhaps because of them, the city seems to be

Marc Stelarc. Ricardo Mazal the righteously defiant art

sky. Unique in the world, the flags take the form of

undergoing a cultural renaissance, a resurrection of sorts.

student is today a very successful painter, photographer,

white rectangles with prayers printed and drawn upon

On weekend evenings, which in Mexico means at least

and video installation artist with major exhibitions of

them, and streamers of red, yellow, and blue sewn in

Thursdays through Sundays, in the neighborhood known as

new works from his Butan Abstracto series going up in

horizontal bands so that their ends extend freely. When

Roma, the streets are alive with people moving in and out of the

venues worldwide, including the former tram station

lifted by the breeze, they dance and twirl independent

many art galleries and posh shops, panaderías and street markets

that is now one of Mexico City’s prime contemporary

of the main flag, creating the ephemeral arabesques and

to the interwoven sounds of music in all denominations. They

museos. He also has a piece in the Venice Biennale this

serpentine forms that inspire Mazal’s newest series.

eat at sidewalk cafes surrounded by some of the best Baroque

year. Art was the only subject he excelled at in school.

The most successful moments in this exhibition

architecture in the Americas, or dine on the grand stone patios

The brick façade of the Estación Indianilla Centro

of successful moments comes through a five-screen,

of fine restaurants like Maison de Famille, which serves the

Culturarises imposingly. The interior is large, open,and

interactive video installation. Composed from tightly

freshest, most delicious salmon you’ll ever experience, and

grand, with massive metal girders recalling a more soot-

cropped shots of prayer flags blowing in the wind on

offer each other street-side samples of their latest mezcal,

filled era, and an amazing lattice-and-wood barrel-vault

an overcast afternoon, the colors are replete in the

which every hipster in la ciudad is now apparently hand-forging

ceiling. Refinished with soaring white walls, a wood

diffused light, and the movement as the flags flap and

in micro-batches. Sitting on the sill of a second floor window of the

floor, and theater lighting, the space has a massive

furl across scrim-like screens is hypnotic. Interactivity


takes the form of a tablet upon which you can write a

moment will be unique depending upon the random

act, intended or not, an element of decolonization

prayer or message that will be immediately uploaded

order and spontaneity of the messages. “Somos todos

and the construction of a way to understand culture

into the video image. The installation is accompanied

Ayotzinapa 43” appears and poignantly wings away.

phenomenologically through the principles of spiritual

by a soothing musical score created in collaboration

“Order vs. Chaos. Chaos wins” flies up and disappears.

abstraction established by longstanding traditions the

with Santa Fe composer Chris Jonas that includes

A moment later it is replaced by “Que viva el amor.”

world over (think Hopi, Arab, or Australian Aborigine

found sounds that Mazal gathered in Bhutan. The

One wealthy dealer who visited the show

for starters) and grasped by Mondrian, whose work

overall breeziness of the piece and the chance to send

critiqued the video piece for “too much freedom.”

the centuries-old Bhutanese prayer flag designs so

your prayers aloft is completely transformative. This

She wanted Mazal to edit the transmissions or exclude


may just be the best fictive wind to blow since the

certain messages. He took an all-or-nothing position.

The Bhutan Abstractions series continues Ricardo

Nike of Samothrace spread her synaesthetic wings.

“You include absolutely everyone,” he said, or you

Mazal’s exploration of impermanence and revives his

Over a year ago, when visiting a family friend

don’t do it at all.” The largest space in the museum is

themes of life, death, and transformation through the

employed by the Kingdom of Bhutan’s Gross National

given over to Mazal’s huge paintings, six of which run

musicality of color and painterly space. The dark portals

Happiness Project, Mazal chanced upon the Bhutanese

along the tram station wall with a colorful elegance

in the geometric pieces are haunting tunnels of tenebrism,

tradition of prayers given to the wind. During the run

that hovers at the fulcrum of intense movement and

memento mori images of nothingness without end. The

of the exhibition texts can be posted from anywhere

absolute stasis. In conversations with Mazal, one

implicit wish to save the world (Mexico City included)

through Mazal’s website: They

phrase stands out. “I am fascinated by abstraction,” he

that the prayer flags represent is perhaps the artist’s

will instantaneously appear within the installation in

says, “because I can hold the content without actually

unspoken content, the secrets the lips curl around, seen

Mexico City, and are added to the database for random

saying what it is.” Mazal’s ability to hone his abstract

by the eye in silken movement, but not heard, not spoken

reappearances. The brilliance of the installation is

work to the minimal elements of reference while

aloud, perhaps because there is no perfect ear to hear

that the piece is time-based but not time-bound. You

still holding a specific content has more to do with

it anymore.

can watch a little or a lot, but it will never exactly

multicultural postmodernity than it does with earlier

repeat. You can’t leave with that bad video installation

Euro-modernist ideals of non-objective abstraction.

feeling, should I have watched the whole thing and how

He is advancing Euro-platonic notions of “pure”

long was it really anyway, because the whole thing

abstraction by returning them to the indigenous

will take place over the entire exhibition and every

roots from which they were stolen. There is in this

Jon Carver is an artist, educator, and art writer. He believes that United States legalization of marijuana at this point could save many lives by undermining the flow of money to the Mexican cartels. Marijuana remains the cartels (and the world’s) largest cash crop.




The magazine | 47


Digital, electroluminescent and geometric art

Luminous Flux, the inaugural exhibition at Art House, presents innovations in computer, digital, interactive, video and electroluminescent art from the Carl & Marilynn Thoma Art Foundation collection. Significant works by: Jim Campbell Rafael Lozano-Hemmer Manfred Mohr Jason Salavon Leo Villareal and others

Hours: Thursday – Saturday 10 a.m. – 5 p.m. 231 Delgado Street Santa Fe, NM 87501 505.995.0231

$30,000 to JON IPPOLITO

$15,000 to JOANNE MCNEIL

Congratulations to our inaugural Digital Arts Writing Awards recipients for their significant contributions to new dialogues and scholarship in the digital arts. Leo Villareal, Double Scramble, 2013


neW landscaPes: neW vistas—Women artists of neW meXico

mattheWs Gallery 669 canyon road, santa fe

“ W E ’ R E J U S T G O I N G T O C A L L T H I S T H E G I R L - P O W E R S H O W, ” says gallery owner Linda Matthews. And powerful it is. Curator

included are not presented in chronological order, nor are

is nearly overpowered by its whitewashed, decorative frame.

Lawrence Matthews has assembled nearly forty creations

they necessarily grouped by artist. This makes the viewing

Other Mandelman collages in the show include White, Pink, and

of pottery, works on paper, and paintings that represent art

even more instructive. For example, Beatrice Mandelman’s Still

Black Forms, which surely is Matisse-inspired with its bold black,

made by women in New Mexico, beginning with its early

Life, with its pretty pink vase and glass marble grapes, shares a

red, and yellow shapes on a blue background.

pueblo roots and continuing right into today’s studios. The list

corner with the angular, yet surprisingly soft flowers and fruits

What Mandelman does with torn paper in her collages is

of names reads like a who’s who of oil painters, mixed-media

of contemporary artist Annie O’Brien Gonzales’s Spring Table,

echoed in Doris Cross’s Untitled (Nude), in which Cross appears

artists, and pueblo and contemporary potters, from Nampeyo

making it easy to compare and contrast these artists’ style

to have painted her subject’s jolly, flirtatious figure and then

to Beatrice Mandelman to Dorothy Brett. Experiencing the

and technique. To enhance the contrast, one of Mandelman’s

torn through the brown paper (grocery bag? butcher paper?)

show feels like a mini art-history lesson. Wisely, the works

collages, White, Beige. Red, hangs on a nearby wall, where it

as if articulating the limbs. Cross is a delightful surprise and will likely be a new discovery for many viewers, but not readers of THE. In her Untitled (Portrait) in ink, the figure’s eyes bore right through the viewer and, for me, the leaf motif around her head suggests a regal Statue of Liberty. In Llano Ridge, Janet Lippincott applies oil paint in a way that also suggests torn paper because she leaves ragged brushstrokes between the geometric shapes of the mesas. Nearby is Beulah Stevenson’s Place of the Drums, NM which also presents cliff sides and narrow canyons with an abstract touch, using vivid oranges and yellows. There are also less familiar works by the two Dorothys, Brett and Morang. Brett’s Moon Ray is a tall, thin painting, just like the milky splash of moonlight it depicts. The trees on the mountainside descend like stair steps, as does the roofline of the pueblo in the foreground. Morang’s Summer Storm is a polite watercolor in which New Mexico’s dirty-green trees have been reimagined in wonderful blues; and it is an example of her earlier figurative work before she evolved toward abstraction. The work of potters Helen Cordero, Margaret Tafoya, Blue Corn and others contrasts wildly with Heidi Loewen’s Back to Egypt, a smoke-fired porcelain sculpture with twentytwo-karat gold leaf interior. But in some sense the golds and burgundies of all these potters are similar across styles and decades. Even more direct pueblo influence is evident in Petroglyph by Agnes Sims, a contemporary of potter Maria Martinez. Sims studied pueblo petroglyphs and they became sources of inspiration for her paintings and sculpture. They are again evident in Dance Rattles, a watercolor full of movement— and even sound—that is suggested by the way Sims portrays the swirling and shaking of the rattles. It’s like hearing her brushstrokes. What unites these women is an overarching theme of independence, yet constraint. “For all the social freedom these women found in the Southwest,” says gallery owner Lawrence Matthews, “it was still a struggle.” On the way to the gallery’s back room where many of the contemporary works hang, there is a room lined with paintings by male artists, some of whom were known to have discouraged several of these women. But in the case of Janet Lippincott, according to the gallery website, she described her mentor, Alfred Morang— at one time married to Dorothy Morang—as “one of the few people who encouraged me in my abstract expressionism.”

—susan WiDer Doris Cross, Untitled (Nude), mixed media on paper, 12” x 9”, 1938



The magazine | 49


GeorGia o’Keeffe: line, color, comPosition

GeorGia o’Keeffe museum 217 Johnson street, santa fe

THIS SHOW HONORS ITS NAMESAKE, WHO IS OVER-RECOGNIZED BUT not easily understood. What is the appeal of O’Keeffe’s

The painting alone, with its gorgeous and idiosyncratic

occur throughout the exhibition greatly enriching our

work, beyond its iconic beauty? For me it has always

coloration, would not allow the viewer the same insight.

understanding of O’Keeffe’s singularity. She could look

been its multivalent appeal to coherence of form

O’Keeffe painted skyscrapers and slices of sky in

at something and see it as a finished artwork. And while

and composition along with bold and individualistic

street views of Manhattan. Among my favorite of her

she often drew from actual places or objects, whether

use of color. In terms of looking at modern painting,

works, these depict a very different environment from

a landscape or a found cow’s pelvis, she also sometimes

I most value that edge between abstraction and

most of her work, which shows wide-open spaces. But

altered the original if it suited her purposes, as in On the

representation, and that is where O’Keeffe primarily

the viewed-from-below angle, her open way of looking,

River, where she not only reversed the image left to right

cultivated her practice.

and ability to directly transform her vision into an artwork

but also used an unthinkable shade of pink for the rocky mass that dominates the composition.

From the late teens of the twentieth century, O’Keeffe

operates in the cityscapes as well. She particularly relished

stated with authority how and what she saw when she

the challenge of painting New York City when everyone

Good fortune for viewers of O’Keeffe’s work is her

looked at her environment. The Museum does viewers

said it had “already been done.” She became interested

connection with a great photographer who happened to be

a tremendous service in its thoughtful placement of her

in abstraction early in her career through her own artistic

in love with her. We thus have an adult lifespan record of her

pen, pencil, or charcoal studies on paper next to paintings

concerns rather than via any outside influence. As she said

self-presentation. Even in youth she seemed sure of herself

on canvas of the same view, where color is so powerful

in 1977, abstraction was “the most definite form for an

and her talents, and unwilling to submit to conventions,

that in responding to it, it’s easy to miss the way she

intangible theory … that I can only clarify in paint.” Her

whether social or aesthetic. In an early close-up by Stieglitz

grasped the form of the thing she was looking at. Whether

method doesn’t depend on size: the interior contours of

she looks into the camera with a self-possessed, ironic gaze.

observing landscapes, buildings, a flower or a bone, she

a blossom yielded to her vision in the same way as the

The same amused wit is visible in photos from decades later

claimed the whole page or canvas as her arena from the

massive forms of slot canyons did.

out in the southwestern wilderness. The museum recently

start, expressing the entire composition in line. Seeing the

One gallery has several photographs of O’Keeffe with

added more prints of O’Keeffe by other photographers

pen sketch Untitled Abstraction, from 1959, next to the oil

friends at Glen Canyon in the mid-1960s. Todd Webb’s

to its substantial collection. An accomplished painter

painting Tan Orange Yellow Lavender, from 1960, gives us

photograph shows her leaning back against some rocks,

during the 1920s, O’Keeffe produced a remarkable body

access to O’Keeffe’s immediate process in terms of line

sketching. Nearby are sketches she made of the area and

of work; then she continued to work for more than half

and composition, and then in the painting letting color

the painting White and Brown Cliffs, where she completes

a century beyond that. The milestones we note stretch

loose to the point that it becomes the title of the painting.

the idea in color. Such enlightening juxtapositions

over a lifetime. She was in her late twenties when she met Alfred Stieglitz and thirty-one when they married. And it was at the age of forty-one, in 1929, that she first visited New Mexico. Although spending considerable time in New Mexico through the 1930s and 1940s, O’Keeffe did not move permanently to Abiquiu until 1949, three years after Stieglitz’s death, when she was sixty-one. O’Keeffe’s oeuvre was astonishingly consistent both in terms of quality and of fundamental vision. O’Keeffe grew up in Wisconsin and Virginia, studied in Chicago, lived and worked in South Carolina, Texas, New York City, and rural New York—an American painter in her confidence and her love of the landscape. Eventually finding her power spot in Northern New Mexico, she took on multiple representations of the Cerro Pedernal—apparently in a similar spirit to Cezanne’s lovingly rendered iterations of Montagne Sainte-Victoire near his home in Provence. Born in 1887, Georgia O’Keeffe died in 1986, which means she lived for ninety-nine years. In her final years her eyesight was largely destroyed by macular degeneration. Yet her watercolors from the 1970s, when she was in her eighties, show a mastery of line and composition as seemingly spontaneous as a Zen master’s calligraphy, perfectly integrated with a profound joy in color.

—Marina La paLMa

Georgia O’Keeffe, Pelvis Series, Red with Yellow, oil on canvas, 361/8” x 481/8”, 1945. © Georgia O’Keeffe Museum



The magazine | 51

Gary A. Bibb: At the Threshold of Becoming

Nisa Touchon Fine Art 1925-C Rosina Street, Santa Fe

THERE IS A FASCINATING NEW ENTRY TO THE ROSTER OF GALLERIES IN SANTA FE. With its inaugural exhibition, At the Threshold of Becoming, Nisa

which Bibb sent out his own work to be installed in public

Collage, Assemblage and Construction. New to Santa Fe, but

Touchon Fine Art can be added to the list of galleries spreading

places internationally by fellow artists and then documented,

operating for nearly twenty years, the museum is an archive

outside of the usual Santa Fe circuits. In a sore-thumb-pink

and Fluxface in Space (2010-11,,

and gallery that organizes exhibitions both physically and online.

building on Rosina Street, this newcomer splits the gap between

in which an international group of artists submitted work to be

Impressively inclusive, the museum accepts donated work

two emerging districts, Baca Street and Siler Road. The gallery

launched into orbit onboard shuttles Discovery and Endeavor.

using a “specimen gathering” model, sampling a global

specializes in collage, assemblage art, and photography, and

These projects and initiatives are threaded by an ongoing

cross section of creators. The museum also actively fosters the

its roster currently includes Zach Collins, Gary A. Bibb, Lisa

interest in experimentation outside the traditional bounds of

collage arts by hosting workshops and selling cleverly selected

Hochstein, Hope Kroll, Dennis Parlante, Kareem Rizk, Joan

marketable, commodifiable art. The open-endedness of these

scraps in collage kits. Santa Fe is lucky to have received these

Schulze, Melinda Tidwell, Lanny Quarles, Paul Rousso, and

efforts is paralleled in Bibb’s compositions. It is a rewarding

two additions to the scene.

Jonathan Whitfill.

debut from Nisa Touchon, and well worth the trek to this new

—Lauren Tresp

The interior defied the sore-thumb exterior with the


tastefully minimal installation of Gary A. Bibb’s recent solo

While you’re there, be sure to wander upstairs. Sharing

show of mixed-media collages. Bibb, a midcareer artist living

the space with the gallery is the International Museum of

and working in Denver, creates painterly mixed-media works in unpredictable palettes that run the gamut from gloomy and menacing to lyrical and bright. The panels betray a wellhoned practice that includes foraging for found objects— paper, cardboard, wood, metal—in alleys and industrial sites, intervening in the afterlife of this human detritus, and the process of selecting, organizing, and reconciling these disparate materials. The process is evident, too, in Bibb’s aesthetic. The artist begins with a space of disorder and conflicting energies, and through a layering process brings his materials into compositions that seem frozen in the middle of unfolding. Each panel seems to vibrate as these opposing energies actively work out syntheses: vibrant colors quickly shift and limn expanses of darkness, heavy layering brings supple texture to divots and creases, collaged papers peek out and interrupt the otherwise abstract milieu with pattern or pop-culture signifiers. Never entirely at ease, each work feels like a question, not an answer. Bibb refers to himself as a Casualist, a highly personal and subjective approach to mark-making that is concerned with the alchemy of process, a process filtered through the multivalent, even mundane reality of daily experience. In 2011, Sharon L. Butler described the New Casualist abstract painting as “a studied, passive-aggressive incompleteness… a broader concern with multiple forms of imperfection: not merely what is unfinished but also the off-kilter, the overtly offhand, the not-quite-right.” ( This tendency toward “incompleteness” is evident in the body of work Bibb presents, as many works engage with similar formal questions. The most striking example throughout the exhibition is the reiteration of dominant horizontal and vertical lines engaging as a primary dynamic, in which the rest of the composition falls around this conflict to widely differing effects. Some of these dynamics become resolved into harmonies, others maintain dissonance. The strength of the exhibition is its multiplicity. Bibb has also been the creative and curatorial force behind several projects, often with leanings toward guerilla exhibitions or grass-roots inclusiveness using online exhibitions and a global network of artists. These include Remarque (2014,, in which international artists were sent digital works to complete and exhibit online, Public Art Project (2011-12,, in

Gary A. Bibb, Tepitaw, mixed media, 30” x 24”, 2011


the Goldfinch variations 1011 Paseo


Peters ProJects Peralta, santa fe

I WA S H E A D I N G O U T T O TA K E I N T H E G O L D F I N C H V A R I AT I O N S , at age thirty-two.

I said, replying to a friend’s inquiry. She paused, then asked

museum’s costume collection and the Bata Shoe Museum,

me to hum the first few bars. I whistled an adenoidal opening

also featured contemporary heels from a covey of high-end

No artist in the Peters Projects show attempted to equal

to James Cohn’s Goldfinch Variations for wind trio, Op. 61, and

designers and design houses and was sponsored by upscale

the trompe l’oeil clarity and simplicity of the original’s subject

then informed her that I actually meant the group show at

fashion retailer Nordstrom and by trendy W magazine. But

and rich handling. But many sought inventive ways to ply the

Peters Projects curated by painter Patrick McFarlin. McFarlin

happily, with Killer Heels the Brooklyn Museum has made

offshoots of the theme. Several played with the painting’s

was inspired by the seventeenth-century painting entitled

a solid case for art and material culture. And so, in its own,

composition or its components (finch, feedbox, chain, wall)

The Goldfinch, by Carel Fabritius, and by the Dutch painting’s

playful way, does The Goldfinch Variations at Peters Projects.

from straightforward renditions like Priscilla Hoback’s Yellow

role in the eponymous novel by Donna Tartt—“painting as

If painting had a state bird it would be the finch, or

Bird Take Two to John Holmen’s Morning Coffee with Finches.

protagonist” as he put it. Anchored

Some artists stylized their rendition

by McFarlin’s own engaging visual

after an art movement, e.g., John

“essays” on de distelvink (thistle

Tinker’s droll Goldfinch Moderne, a

finch), the exhibition comprises some

spot-on homage to both bird and

seventy small panels in diverse media

Brancusi; the trompe l’oeil look of

and styles by over fifty artists invited

Ruth Tatter’s Unfolding Story, and

to submit pieces expressing their

Roger Williams’s realist What are you

personal ruminations (“variations”)

looking at, dude?; surrealist devices

on the Delft painter’s masterpiece.

in David Kimball Anderson’s Moon,

The only condition involved their use

Jupiter, John Massee’s Verdad, James

of panels supplied in the same size (13

Holmes’s Goldfinch Birdhouse, Colette

¼” x 9”) as the original work. Beyond

Hosmer’s Snake with Goldfinch, and

that, as McFarlin wrote in his original

the Max-Ernst-meets-Magritte motif

artist invitation, “In terms of imagery,

of Patrick Kikut’s Las Vegas Blues With

anything goes. Does not have to be

Full Moon; Tom Applequist’s gestural

an interpretation of The Goldfinch or

Action Painting, Karen Bondarchuk’s

have a bird in it, etc. Or be narrative

à la Rauschenberg BOOM!; Neo-

in any way. Could be a nude goldfinch,

expressionist nods in Steve Davis’s

a gold leaf panel, a bird’s-eye view, a

Goldfinch I, a bit of Baselitz in Eugene

cuckoo-clock sculpture, anything.”

Newmann’s A Bird in Hand, and Carl

Save for the nude goldfinch, which no

Johansen’s cheeky The Perfidious Finch;

one attempted (à la Manet’s Olympia?),

where the Beuys is: Michael Motley’s

the sky was the limit (sorry).

Variant. are

There is a sense of poignancy

problematic. By setting a topic in

in some works that may or may

advance, one that each participating

not reflect a touching conceit in the

artist must address, a show risks

original, revolutionary panel by this

ending up with work that is less

sensitive, ahead-of-his-time student

authentic, resembling an ad campaign

of Rembrandt. Finches are famously

where any originality is not matched

tractable, yet highly restive in a cage.

by the same level of authenticity—

Fabritius’s goldfinch chained to its

and integrity, at times—given the

feedbox conveys anything but the

symbiosis of art world and art market.

liberated flight of, say, composer

Yet theme-driven projects can also


be enormously creative—in one

Ascending. In a semiotic sense, the

famous instance, the competition for

most poignant element of his image

the artist commission to figurate the

of the captive finch is precisely what

east (now the north) bronze doors

he left out: the birdcage.







of Florence’s Baptistery jump-started

Whatever the intent of the

the Italian Renaissance. But in these

seventeenth-century original in The

times we have to contend with factors like the pervasive

linnet, so named in English for the bird’s fondness for the

Hague’s Mauritshuis, in the variations on display at Peters

complicity of the art world with the fashion scene. There was

seeds of flax (linum in Latin), from which linen canvas is

Projects (through June 7), the light touch and playful tack

the recent exhibition at the Brooklyn Museum entitled Killer

made—hence le chardonneret or “thistle finch” in French

of the panels provide a visual treat for the eyes, a quirky

Heels: The Art of the High-Heeled Shoe, which, according to

and, less melodiously, de distelfink in Dutch. Perhaps Fabritius

kleine Nachtmusik for the mind.

its publicity, “looks at the high-heeled shoe’s rich and varied

intended his curious oil-on-panel Goldfinch of 1654 (also

—riCharD ToBin

history and its enduring place in our popular imagination.”

known as The Linnet)—as a study for a final version on linen

The one hundred sixty shoes, including pairs on loan from the

canvas, a plan cut short by his tragic death in the same year,



John Tinker, Goldfinch Moderne, mixed media, 13¼” x 9” x 43/ 8 ”, 2015

The magazine | 53

Kansas: The Paintings of Scott Anderson and David Leigh

Phil Space 1410 Second Street, Santa Fe

I WAS BORN IN KANSAS, THE ELDEST OF THREE, AND RAISED TO THE AGE OF fourteen in Missouri (pronounced Miz-er-uh), just across the

three-sixty sunsets, and the devious Koch bros could all grow

referential abstraction because it’s easier than the stickiness of

state line. My parents lived in Kansas City, MO, at the time of

so tall side by side. According to James Hart, the generous

explicit content, I suppose. Both are capable of constructing

my birth and by crossing over onto the Kansas side my mom

patron of Phil Space, both our boys spent some years during

visually compelling compositions and energizing picture planes.

could deliver without having to shave her genitals, and would

their meandering pasts in the state, and therefore in the state

Leigh has an elegant and expressive line, and Anderson can surely

be allowed to take any position she wanted during childbearing

of mind, that is Kansas. Were my expectations for Kansas, and

move paint around, but neither appears to have the guts to say

(just so you know.) And the wee me would be allowed to stay in

perhaps for Kansas, too high all along? As they say out on the

much of anything specific to the passing viewer.

the same room with her right away. In their infinite wisdom, the

plains when your combine throws a rod at harvest time: Gosh

sage minds of the Missouri legislature had determined that these

darn and shucks.

kindly practices were utterly barbaric.

Leigh’s work is in a cartoon abstract vein that lifts the formal energizing elements of animation, graffiti, and comic

Like Arshile Gorky, Scott Anderson seems to be “with”

books, and uses them to produce Modernist abstractions. Peter

When I saw the title Kansas for the Scott Anderson and

Picasso at the moment. And he also seems to be “with” Gorky quite

Saul and Chicago Imagism have already mined this vein. Pop-

David Leigh show up at Phil Space, I dreamt of some insight

a bit these days as well. Though in his drawings he is clearly “with”

surrealism in general does more with the same source material.

that could reconcile a lifetime of Dorothy and Toto jokes with

Matisse. Perhaps too much so. Gorky took more real painterly

Full of tubular forms and bulbous interpenetrations in futuristic

the abortion clinic bombings, an aesthetic perspective that

risks, Matisse constructed more open and generous spaces, and

staccatos, Leigh references Picabia and Duchamp’s obsession

would peer deeply into the flatland of my youth, offering some

Picasso was more genuine in his acts of discovery. Both Anderson

with the erotica of the machine, but he’s no Mark Pauline, if you

reflection of the “flyover-state” where innocent sunflowers,

and Leigh are narrative painters hiding behind academically non-

want to chart that particular urge as it passes through Tinguely’s Homage to NYC and goes into Po-Mo overdrive. There is a lot of rhythmic thrusting in Leigh’s images, and a kind of Disneyfied polymorphous phallocentrism. These have real potential, but the lack of specific imagery leaves it largely unrealized. Leigh’s abstract forms rapidly move between extremes of turbid priapism and moist meltdown. He benefits when his imagistic intentions become clearer, as in the drawing Cellar, Leigh’s best piece here by far. There is a Hans Bellmer quality to some of his echoing lines, and one longs for the same explicitness of expression. His Pop sources are richer than the four paintings on display, both in terms of humor and erotic expression. The only way to argue for Leigh’s postmodernity is to read them as satirical, as send ups, à la Rauschenberg or Lichtenstein, of Abstract Expressionism, and even then they remain only art about art, and worse, just another riff on an awfully old joke. Producing work absent any real signifiers (read: insignificant work) is the wet dream of Modernism. The idea of abstraction without referent (read: signifying nothing) is the apex of early twentieth-century theory; this is the unique contribution of a Euro-culture in existentialist crisis to the long history of global abstraction. Their supposed genius was to steal forms from indigenous traditions worldwide and render them “universal” by stripping them of all but the vaguest of meanings. Hence we get formalism, or pure abstraction, wherein purity of form takes precedence over content that is reduced to vagueness, or in Modernism’s highest expressions, is as absent as content can be. Philip Guston applied a cartoonist’s ethic to a fine-art painter’s problems with profound results at a time when the boundaries between high and low art still meant something. He opened the door to cartoon abstraction in the seventies with his realization that universality, not the Loosian Modernist version, but the real deal, doesn’t lie in symbol systems or painterly obscurantism, but in the human figure and simple clarity and directness of image. Start with a real clear image of me kicking your butts with my boot to spur you on to make the better work I know both you fellers are capable of. We’re not in Kansas anymore.

—Jon Carver

David Leigh, Cellar, ink and colored pencil on paper, 12” x 9”, 2015


mery GodiGna collet: eXtra virGin Petrus oil

Warehouse 1-10 110 north main street, maGdalena

I paint the subject with the subject. —Mery Godigna Collet

THERE IS ONE WORD AROUND WHICH THE MATERIALS AND CONTENT of Mery Godigna Collet’s work revolves, and that word is

products central to modern life—from gas to plastic bottles to

stricken from the lexicon is a dream out of reach for nearly

petroleum. This is Collet’s subject and it is also her prime

lipstick. So there is that aspect of Collet’s critique. But there

everyone in the Western world, and particularly in urban

medium—she paints with crude oil mixed with pigment on

are her aesthetics to consider as well—her skillful handling of

centers, a single bike-to-work-week a year seems like the

layers of vinyl in a series of abstract pieces devoid of an overt

light, sweet crude as a painting medium which yields pictorial

most pitiful of feel-good Band-Aids. So the impact of Collet’s

political narrative. Although Collet’s paintings are extremely

results that make you want to study every square inch of her

work is like visualizing an endgame that is both seductive

political in nature—indeed this work is an intense visual

complex surfaces. Collet’s paintings often have the appearance

and scary as hell. These paintings are compelling aesthetic

indictment of the petroleum industry—a viewer would be

of thick slabs of glass, and this is due to the slick sheets of vinyl

objects; for example, it’s hard not to want to dip a foot into

forgiven for not knowing about the philosophical underpinnings

that hold the oil, the ethanol, and the pigments in their place on

her blue, hypothetical Caribbean lagoons—before they are

in these riveting pieces, unless they have read the explanatory

the reverse side, coupled with sinuous bands of cellulose fibers

completely engulfed by the waves of black oil that the artist

text on the wall. Looking at the work without reading about it,

attached to the top layer—it is from cellulose that ethanol is

has rendered around the edges, as in the series of smaller

one might jump to the conclusion that, in Collet’s mind, we are

usually derived.

canvases, Sweet Life (Azul).

on the verge of a major metaphysical shift and some possible

Perhaps Collet is just like the rest of us as we make

Besides the paintings at Warehouse 1-10, there is an

scenarios that might emerge are that humanity is in the grips of

our grand bargains with nature and society to cut back,

untitled video that is part of a small sculptural installation. A

the rapture, or a fire-and-brimstone purgative redemption, or

recycle, and reuse, praying all the while that fracking won’t

litany of black-and-white still images dissolve into each other:

on its way to hell by way of a cosmic conflagration.

destabilize our continent, that there will be no more oil

oil rigs, dinosaur skeletons, pipelines, oil barrels, plastic toys,

Petroleum is that viscous substance we can’t live

spills, that we won’t rape the Arctic or any other pristine

smokestacks, oil-covered birds, diapers—all these things take

without, and yet we find ourselves increasingly unable to live

wilderness in the search for oil and natural gas, and that

their place within a repeated, ghostly ring of fire that comes

with it, with the manifold aftereffects of its acquisition and its

electric cars will rapidly become as ubiquitous as the canvas

and goes as part of the video. There is something totally

various uses. In this show, the atmosphere in many of Collet’s

tote bags in which we haul our groceries. However, the

hypnotic about seeing signifiers of our daily life appear and then

paintings replicates a fiery furnace, perhaps at the gates of

deeper we study Collet’s work the more we are struck

disappear and then reappear in a continuous cycle that points

the last judgment—certainly an apocalyptic vision of grand

dumb by a kind of hopelessness. How do we extricate our

to our dystopia. Regarding her paintings, however, if a viewer

proportions, worthy of a medieval doomsdayer who feels no

petroleum-addicted selves from the endless feedback loop

knew nothing about Collet’s embedded levels of meaning and

rapture will ever materialize. On the other hand, Collet’s work

of consumption entangling and corrupting us? How many of

materials, would they still feel the heat?

is undeniably beautiful to look at, which leads to a psychological

us live a self-sustaining life with little or no evidence of fossil-

—Diane arMiTaGe

push and pull. You feel part of your psyche go up in clouds of

fuel dependence, and anyway, is such a life actually possible

smoke thick with guilt as you think about all the ways you are

any more? Certainly not for the majority of us. Living in

dependent on petroleum derivatives—this world of fossil-fuel

such a manner that the words “plastic” and “gas pump” are



Mery Godigna Collet, Pure Energy Diptych, crude oil, ethanol, pigment, and cellulose on layered vinyl mounted on canvas, 39¼” x 79” x 27/ 8”, 2012

The magazine | 55

Margaret Bourke-White: Pioneering Photographer

Monroe Gallery of Photography 112 Don Gaspar Avenue, Santa Fe

IMAGINE, IF YOU CAN, A WORLD IN WHICH PHOTOGRAPHS WERE A RARE FORM of artistic documentation whose workings few understood.

finally, on a late fall day in 1929, stock-market millions vanishing

its time), the first accredited female war photographer (in World

Imagine the United States in the first third of the twentieth

within hours, heartlessly slamming shut the doors to the anything-

War II), and the first Western photographer allowed into the Soviet

century, with illiteracy and poverty key defining characteristics of

goes twenties. (While you’re at it, imagine the unthinkable: Wall

Union to record the proletariat’s triumph of mega-industry over

the pitiable lives led by you and most everyone you knew. Images

Street investors with such an overwhelming sense of responsibility

the ease and comfort of privileged individuals.

had nearly the power and drama, then, that they did during the

that they jumped out of skyscrapers rather than face their own—

In that heyday of pioneering photographers whom Bourke-

Counter-Reformation in Europe, when the Catholic Church

and their clients’—financial ruin. Incomprehensible!) Meanwhile,

White epitomized, black-and-white photography equaled

fought back against dull Protestantism with paintings as theatrical

the Great Depression loomed in the drought-stricken plains of

photojournalism, which equaled truth with a capital T. This Truth

as opera sets, their shadowy depths filled with depictions of

America’s heartland. In the mind’s eye, these times could only have

was on a par with the same truth Americans revered in Norman

gruesome martyrdom—lit only at the moment of a would-be

existed in grayed-out shades of black and white. Color, it seems,

Rockwell’s “real-life” scenes lifted straight out of a Mayberry

saint’s transmutation from agonizingly human into gloriously divine.

had been forgotten.

without the laugh track, long before there was a Sheriff Taylor,

Radiant sculptural forms of gold and silver reflected not merely

Unlike now, when anybody with a cell phone can, and

Opie, Deputy Fife, or Aunt Bee. Or even television, for that matter.

the material wealth but the spiritual wealth of a religion that had

unfortunately does, take pictures of everything from their breakfast

When images were few and far between, they had a credibility that

dominated that part of the world for roughly a millennium. Bring

to their genitalia—and makes them available to an unwitting

is lost today in a thick overlay of irony and sheer disbelief. In the

yourself back now, from the seventeenth to the twentieth century

public—only a very few of those initiated into the science of

1930s, if it appeared in LIFE magazine, or the Saturday Evening Post,

and from Europe to the United States, populated by the shell-

the lens and the alchemy of the darkroom were able to make

or the newspaper, it was flat-out real. Viewers lacked the objectivity

shocked heroes of the Great War dancing with pretty little flappers,

photographs in the 1930s. Margaret Bourke-White was one of the

to read meaning into a photograph as social commentary, for

their bobbed hairdos gleaming, and the gangsters, with their molls,

few, and she led a charge of firsts: the first woman to photograph

example, any more than the illiterate could read the black marks

who kept the country’s beak wet during Prohibition; imagine,

for LIFE magazine (for you post-Millennials, sort of the Internet of

scratched into the white page. The always-excellent Monroe Gallery presented their exhibition of silver gelatin photographs by Margaret BourkeWhite as art, finding that, for her “as an artist,” photography served “as an instrument to examine social issues from a humanitarian perspective. She witnessed and documented some of the twentieth century’s most notable moments, including the liberation of German concentration camps by General Patton in 1945...” Bourke-White’s picture, “German civilians made to look at instruments of torture and execution at Buchenwald concentration camp, 1945,” is hardly an icon of objectivity. Nor should it be; some truths are beyond apprehension. Not to quibble with our dearly held ideals of photojournalism as an act of witnessing and documenting, but black-and-white imagery exists, among other reasons, when color cannot hold the entirety of its content. We demand this state of in-between-ness from art when what it depicts is too awful for mere reproduction. While today you can find images of gore online anytime you choose to search for them, that they are not generally reproduced ad infinitum speaks to our understanding of the power of imagery. What Warhol repeated in a nightmarish grid (Jackie’s grief-stricken face on Air Force One en route from Dallas), and Picasso abstracted in his Guernica, Bourke-White reflected in the faces of her “German civilians” at Buchenwald. Finally, when her country needed shoring up in 1936, during the height of the Depression, LIFE, a burgeoning publication that would become our society’s pocket mirror for at least a couple of decades, chose for its very first cover Bourke-White’s symbol of capitalism’s ultimate success. Her Fort Peck dam picture, all artdeco curves and fat-cat angles, describes more than the enormous potential for hydroelectric power: It is an image of America rediscovering her own righteous might, an America that, like the photographer “Maggie the Indestructible,” would liberate us from ourselves. There was the evidence, right in front of us in it-mustbe-true black and white.

—Kathryn M Davis Margaret Bourke-White, Fort Peck Dam, Fort Peck, MT, silver gelatin photograph, 14” x 11”, 1936


utilities 1226-d calle


radical aBacus comercio, santa fe

JOHN MCKISSICK’S BACKGROUND IN PHILOSOPHY BURNISHED HIS CURATORIAL debut, Utilities, at Radical Abacus, the project space amid

the whole contraption is awkward, inexplicable, clunky, and

warehouses in the endearingly coined LSD (Lower Siler

disruptive to traffic flows.

with the tagline, “Let’s do this.” Geary’s Daley, the fictional Home Depot dude on

District), a.k.a. Santa Fe’s Utility Closet. The title suggests

In contrast, Lara Nickel’s Siena Bricks are foreign, carefully

YouTube, wears glowing face paint, neon rubber gloves, a

a collection of incredibly handy objects as useful as forks

cordoned off, and very clean. Her stretched canvases, each

plaid shirt, apron, and baseball cap and gives viewers step-by-

and spoons. However, within the caveat of art, utility gets

measuring 12.25” x 2.75”, lying on the floor and arranged in

step directions on how to clean the cord. He provides safety

questioned or even completely suspended. Although most

a herringbone pattern, emulate the bricks found at Piazza del

tips along the way and ultimately preserves a highly utilitarian

pieces in the show use industrial materials or otherwise

Campo in Siena, Italy. They are the most recognizable objects

household object, under the vague assumption that the

mimic industry, the ten pieces by eight artists in this intimate

in Utilities and cite something incredibly utilitarian—medieval

unthinking, manic consumer would otherwise throw the dusty

group exhibition (Amy Albracht, Nicholas Chiarella, Sean Di

infrastructure. Unlike Carl Andre’s floor pieces, Siena Bricks

thing away. Daley is the soothing voice urging thriftiness over

Ianni, Benji Geary, Lara Nickel, SCUBA, Martha Tuttle, and

are for conceptual inspection only, their astute crispness

expenditure. Regarding the show’s conceptual framework,

Bea Varnedoe Verrillo) are, like most art, beyond utility. The

referencing minimalism as opposed to the soles of billions of

curator McKissick does note, our own “preferences are cabled

works invoke the irony of utilitarianism when trumped by

pedestrians and horseshoes.

approaches, sheathed in color-coded plastic and towed into the


Martha Tuttle’s Concomitance (1) and Concomitance (2)

seabed.” As if these objects by default signal a short attention

Sean Di Ianni’s piece, Wash Sand Ramp, is the only one

are wall pieces with cotton, silk, and other household items

span, for which the consumers desperately need a preventative

referencing Santa Fe, however indirectly via its list of materials

stretched across their cockeyed steel supports. Automotive

how-to. HOW 2 dailies with Daley: process as fetish feels

and obscure title. A two-foot-long white plaster, wheel-less

wire dangles, plastic melts like shriveled skin, and dusty plums

haphazard and derelict and, in true Meow Wolf style, curiously

vehicle with purple stripes holds an extracted chunk of floor

suggest ashen flesh. They push up against the wall, at odds


removed from a nearby, once-neglected bowling alley: George

with its rigidity and ready to exit on their own, blood and

Thankfully, this show looks nothing like a utility closet.

R.R. Martin and art collective Meow Wolf’s newest venture.

body indivisible. Her domestic and industrial materials merge

Despite its Meow Wolf–heavy cast, it’s by no means a Meow

As exhibition director and chief operating officer of Meow

viscerally and individuate from formal structures.

Wolf production. Indie warehouses in B-list cities are already

Wolf, Di Ianni is in charge of coordinating design, construction,

Benji Geary’s installation mocks the dwindling intelligence

the new artistic hotspots and transforming a junkyard into

and permitting for the former alley. LSD is home to the most

of consumer culture. HOW 2 dailies with Daley: process as fetish

a gallery is as logical as dusting off an extension cord. Don’t

significant renovation/innovation happening in Santa Fe, and the

is set up on a low plywood platform comically surrounded by

throw it away.

repurposed floor remnant beckons to our city’s growing pains

yellow safety fence. There’s an instructional YouTube video

—hannah hoeL

of continued relevancy.

about how to clean a dusty orange extension cord that plays

Wash Sand Ramp outshines notions of aesthetic glee with

on a clunky, black, Sony tablet propped on an upside-down five

cumbersome industry. The inactive grey hunk with linoleum

gallon bucket. In a Joseph Kosuth manner, Geary also displays

accents casually rides in its parodied readymade (modeled after

on the plywood the actual materials: orange cord, cleaning

a nondescript structure at the adjacent concrete plant). Indeed,

products, gloves, etc. On the wall above are projected adverts



Sean Di Ianni, Wash Sand Ramp, plaster, tint, polyethylene, bowling alley floor, 12” x 29” x 12”, 2015

The magazine | 57


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“It is a civilizational wake-up call. A powerful message— spoken in the language of fires, floods, droughts, and extinctions—telling us that we need an entirely new economic model and a new way of sharing this planet.” Naomi Klein, This Changes Everything: Capitalism vs. The Climate PHOTOGRAPHED IN MARIN, CA



The magazine | 59

Metamorphosis 48”x 48” Acrylic on canvas


Artist Reception - Friday, June 5, 5 to 7 p.m. 610 Canyon Road • 505-795-7570 •

The Works of D.Matlin

An Art Benefit for The Life Link

June 26, 27, 28, 2015

Sat Noon-8p | Sun Noon-4p | Friday 5-8p by invitation 3012 Monte Sereno Drive, Santa Fe |






The magazine |61


The soul of Chihuahua BY JOHN


the hard ground as quiet to the touch as starlight, if you put your ear to it you can hear a red-tail hawk soar, the cosmic maintenance of exodus memories the bones scattered with nimble indifference rearrange themselves back into words the souls of Chihuahua driving north, across ancient bridges over an eternity of dry river beds, suddenly remember after 400 years of passing by.

“The soul is fromBadlands Disassembled Badlands (Turkey Press, $17). soul of ofChihuahua” Chihuahua”by is John fromMacker Disassembled (Turkey Buzzard Press,Buzzard $17). Of Macker’s Of Macker’s author Jason Hardung book is aon meditation land notoffor the poetry, authorpoetry, Jason Hardung writes that thiswrites, book is“This “a meditation a land noton forathe faint heart. faint of heart. is not is present tellsThe the unforgiving truth. The unforgiving Macker is notMacker nostalgic, he nostalgic, is presenthe and he tells and the he truth. land comesland alivecomes with alive with beautiful Macker’sdescriptions, beautiful descriptions; hewho is a poet who is hypersensitive to his surroundings, Macker’s he is a poet is hypersensitive to his surroundings, and whatand it’s what it like to live in desolaton in century—a the 21st century—a ofand outlaws their beauty.” like toislive in desolation in the 21st world of world outlaws theirand beauty.”

62 | The magazine



“Imagine Abstraction”, mixed media on canvas, 68” x 115”


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Programme One F i r s t A n n i v e r s A ry e x h i b i t i o n s

in celebration of peters projects first anniversary, we are pleased

to introduce programme; ongoing exhibitions in the disciplines of

ceramics, design, installation, photography, and a featured gallery artist showing concurrently with our highlighted contemporary exhibitions.

conteMporAry hiGhliGhts chuck connelly: Westward bound John connell: earth-touching buddha

cerAMic Matt Merkel hess: Mrkl

desiGn contemporary Furniture

instAllAtion ryan Wolfe: branching systems

photoGrAphy sadaf rassoul cameron: half-timbered

FeAtUred GAllery Artist Matt Mcclune: spacial color studies 1 0 1 1 pA s e o d e p e r A ltA , s A n tA F e , n M 505 954 5800

June 12 – August 1, 2015



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