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Santa Fe’s Monthly










of and for the Arts • August 2011

thinking contempoR contempoR Ra aR Ry y

native aRt

ENT PENING EV O L A U N N A 7PM U S T 13 , 5 – G U A , Y A D S AT U R


Tr ail 53 Old Sant a Fe Plaza Upstair s on the Mexico Sant a Fe, New 505.982 .8478 com shiprock sant afe.

5 Letters 20

Universe of artist Darren Vigil Gray


Art Forum: Jim Wagner


Studio Visits: Jamie Cross and Eliza Naranjo Morse


Food for Thought: The Mitsitam Café Cookbook


One Bottle: The 2008 Graff Family Vineyards Mourvèdre, by Joshua Baer

35 Dining Guide: Corn Maiden at the Hyatt Regency Tamaya Resort & Spa, Andiamo!, and Slurp 39 Art Openings 40 Out & About 48 Previews: Diego Romero and Santiago Romero at the Robert Nichols Gallery; Jeanette Pasin Sloan at LewAllen Downtown; Land Use/Misuse at the Gerald Peters Gallery; Rose Bean Simpson at Chiaroscuro; and SOFA WEST at the Santa Fe Convention Center 53

Person of Interest: Maurice Burns, by Jon Carver


National Spotlight: The Art of Ceremony at the Heard Museum, Phoenix

57 Feature: Rethinking Contemporary Native Art, by Kathryn M Davis 61

Critical Reflections: Daniel Brice at Chiaroscuro; Suzanne Bocanegra and Pae White at SITE Santa Fe; Decadence at EVOKE Contemporary; G. Wahl at McClarry Modern; Southern California: Painting Per Se at David Richard Contemporary; and Thoroughly Modern Mabel at La Posada Hotel

75 Green Planet: James Kleinert, Emmy award-winning filmmaker, photograph by Jennifer Esperanza 77

Architectural Details: Coyote, NM, photograph by Guy Cross

78 Writings: “Prayer for Words,” by N. Scott Momaday


The late Fritz Scholder was one-quarter Luiseño—a Native American tribe in California. He was also one-quarter French, one-quarter German, and one-quarter English. Scholder’s work never resembled traditional Native American art, nor did it refer to his Luiseño heritage. Rather, Scholder saw himself as a postmodern artist. He discouraged his students at the Institute of American Indian Arts from producing works that alluded to their Native heritage. When he achieved success as a painter of Native Americans, he repeatedly denied that he was an “Indian artist.” However much Scholder resisted this title, his work reflected an acute awareness of the tensions and issues faced by modern Native American artists. Disgusted by what he referred to as “tourist-pleasing paintings that looked more like Italians dressed up in feathers...”—Scholder presented the modern Native Ameican in a manner that shocked, provoked, and forever changed Native American art. His 1969 painting, Indian with Beer Can, shattered romantic ideals and sparked a fierce controversy that continues to this day. Fritz Scholder: Indian/Not Indian (Prestel, $49.95) is an examination of a unique artist who forced the art world to face the identity crisis that is still present in Native American art—and to ask the questions, “What is Indian art?” and “Who is an Indian artist?”

GUY TILLIM : AVENUE PATRICE LUMUMBA 2 3 july– 4 sep temb er 201 1

apartment building, avenue bagamoyo, beira, mozambique, , Archival pigment ink on cotton rag paper,  x  inches, Collection Lannan Foundation

In many African cities, there are streets, avenues Artist Reception Saturday 30 July 5:30 –7:30 pm Lannan Gallery

and squares named after Patrice Lumumba, one of the first elected African leaders of modern times,

Artist slide lecture & discussion FREE Sunday 31 July 4:00 pm

winning the Congo election after independence

Lensic Theater with Adam Hochschild, author of King Leopold’s Ghost:

from Belgium in . Today his image as a nation-

A Story of Greed,Terror, and Heroism in Colonial Africa.

alist visionary necessarily remains unmolested by the accusations of abuse of power that became synonymous with later African heads of state. — guy tillim

FOUNDATION GALLERY 309 Read Street, Santa Fe, NM Tel. 505.986.8160 ext. 102 GALLERY HOURS: Saturdays and Sundays, noon – 5:00 pm ( weekends only ) For more information:



VOLUME XVIII, NUMBER XI WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 & 2006 Top-5 Best Consumer Tabloids P U B L I S h e R / C R e AT I V e D I R e C T O R Guy Cross PUBLISheR / FOOD eDITOR Judith Cross ART DIReCTOR Chris Myers COPy eDITOR edGar sCully PROOFReADeRS JaMes rodewald KenJi Barrett S TA F F P h O T O G R A P h e R S dana waldon anne staveley lydia Gonzales PReVIeW/CALeNDAR eDITOR elizaBeth harBall WeBMeISTeR

Jason rodriGuez CONTRIBUTORS

diane arM rMitaG ita e, Joshua Baer, Brian Blount, davis BriMBerG er , Melody suMner erG ner Carnahan, Jon Carver, Kathryn M davis, Jennifer esperanza, Marina lapalMa, anne little, iris MClister, n. sCott ott MoMaday, riChard toBin, phillip viGil, JiM waG aGner, & susan wider COVeR

photoGraph of phillip viGil By B david BraM Courtesy: shiproCK santa fe


edie dillMan: 505-577-4207 yvonne Montoya: 505-310-2200 vinCe foster: 505-690-1010 the MaGazine: 505-424-7641 DISTRIBUTION

JiMMyy Montoya: 470-0258 (MoBile) THE magazine is published 10x a year by THE magazine Inc., 1208-A Mercantile Rd., Santa Fe, NM 87507. Corporate address: 44 Bishop Lamy Road, Lamy, NM 87540. Phone: (505) 424-7641. Fax: (505) 424-7642, E-mail: Website: All materials are copyright 2010 by THE magazine. All rights are reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. All submissions must be accompanied by a SASE envelope. THE magazine is not respon sible for the loss of any unsolicited materials. THE magazine is not responsible or liable for any misspellings, incorrect dates, or incorrect information in its captions, calendar, or other listings. The opinions expressed within the fair confines of THE magazine do not necessarily represent the views or policies of THE magazine, its owners, or any of its, employees, members, interns, volunteers, agents, or distribution venues. Bylined articles and editorials represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel, and are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity or quality of objects and/or services advertised. As well, 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.

| august 2011

Blue Rain Gallery, 130 Lincoln Avenue, Suite C—presents A Celebration of Native Art. Pottery sale, lottery, and opening reception on Friday, August 19, from 5 to 7 pm. Preview from 8:45 am to 9:45 am. Sale starts at 10 am. Above: works by Tammy Garcia.

TO THE EDITOR: About the painting The Recording, by Neo Rauch, on the “Art Forum” page in the July issue of THE, I agree with all of the interpretations but would like to add that I think this is a memory (recording) of the selfinflicted abortion of an embryo—indeed, is about the “unfinished business of the creative process” read graphically. The man with the blue trousers is positioned between the legs of the mature woman, assuming that she has another leg. The blue trousers leave the impression that they are semi-hanging off his body. It is all too clear. Whether the young girl was gang-raped or simply had sex with the men, the result is the same; she is pregnant and trying to expel the fetus, or is certainly contemplating it. Her position is that of birthing, the expression that of pushing. The X of what seems a shoulder-bag strap is untied, undone (her undoing?), to create the shape of memory forceps. The bag itself might be read as a toilet. The bow in the blue-trousered man’s hand is an instrument for killing. We are not shown the man’s right hand. Does it hold an arrow? Apparently, she eventually went to a hospital, the architecture of which resembles an owl-like face, a nighttime bird of prey. There are numerous monster faces imbedded in this painting, multiple sets of eyes in the well of the (mud/tar) unconscious. The head of the man hanging onto the arm of the woman becomes a calf-like beast with a yellow nose. The sidewalk is a lake from which a monster–man in a white hat reaches for the foot of the same man. The trees seem “hauntingly alive” because they are. (Squint your eyes and allow the flip to happen.) The tree in the upper right has full face and branches for hair. On the left, finger/ hand-like shapes form the pine branches. There is a woman’s face in the same man’s crotch folds, and a man is with her. The prominent lute without a neck and strings appears as a healthy sperm shape and fertilized egg combined—the shoulder strap continues its tail. He is a musician, one who entertains. The size and color of this shape make it one of many centers of interest, and the sperm/egg a major player in this drama. One implied (white clothes) doctor is washing his hands, the other is cleaning up with a scraper (and women understand scraper) on the hospital table. The man in the distance looking on has his own face on his sleeve (a Rauch self-portrait, note the hairline). You can almost hear the three monsters in the bushes above the sperm shape laughing. Judging by the look on the mature woman’s face, she remembers well what the rape and subsequent aborting attempt felt like. To self-abort might have been her only choice forty or fifty years ago. Perhaps she relives that moment over and over, and this is the depiction of that. A bit of justice prevails, as she has collared two of the men; the third culprit is likely the man at the table, carrying the lute/sperm on his back (guilt?). I don’t see the yellow in front of his mouth as flames. It is more likely that what comes out of his mouth is yellow (cowardly): he never admitted his connection; after all, his back is turned to both women. Are the two men whose hands she holds the mature woman’s real-life male children whom she confuses with her memory rapists, and punishes the children eternally for the sins of their sex? Or was

her attempt unsuccessful, and are the two men the real-life sons of her rapists, whom she punishes eternally for the sins of their fathers? And because Rauch includes his own self-portrait in this drama, does the artist have a more personal relationship to this painting? The laid fire looks burned out; there is smoke at the bottom, with blackened logs and bits of orange-like embers. I think this is a reference to the smoldering anger/fire, and the video-like memory that lives long after a traumatic event. It could be just a good place to put a monster, except that it is a cleansing item. The flying white dove of the prominent collar on the mature woman adds a note of peace presumably—it also gives the slang reference to “collared” that I just used to describe the scene. It is important to note that the woman herself is stepping into the abyss of the unconscious; her memories are her personal hell. No one pushes her, she does it with purpose, and intends to drag the men/children with her. True, a scene like this can be likened to the development of an artist’s creative process, which is a mine field of serious fallings into the unconscious; and each time, if we emerge at all, we are different (hopefully), and face a new landscape with (hopefully) fewer monsters and rapists. If we can learn anything from an artist’s execution, Rauch still has monsters in his landscape. The genius of this painting is not the monsters, not just the decoding; it is the many philosophical issues and parallels that we can take from this painting. Rauch has applied advertising makeup (imbeds) to a legitimate expression of disturbed emotion and psychological pain. It is interesting that in 2008 this artist doubts that we the audience can “get it,” and plants imbedded monsters throughout the painting, cheapening his creative expression, making his intentions suspect, and causing me yawn and move on. Does Rauch think that our subconscious responds to monsters? I would guess so. I applaud his willingness to depict such a risky scene, to go into the mind of a woman and depict how he thinks she feels. If this painting is about an abortion, the painting is not so much about anger, it is more about killing and cleansing—a timely subject. Didn’t Planned Parenthood lose its federal funding recently? My question is: Can carefully construed and intellectually constructed images and implications such as this—albeit social comment—be legitimate art making? — nne little, avid ConsuMer of the arts, via eMail —a TO THE EDITOR: One day, way back when I was in junior college, my painting/ filmmaking professor came to class all excited about a bumper sticker he had seen on his way to work. He said it was the funniest thing he had ever read. It was just a short phrase—“ESCHEW (to shun or avoid) OBFUSCATION” (to make so confused or opaque as to be difficult to perceive or understand). Not getting the guffaws or smirks he expected, the professor had to break it down for us poor, innocent art students. It made a big impression on me anyway, and I have never forgotten it. After reading several of Mr. Alex Ross’s reviews in your fine publication, I must assume that he too is familiar with this ironic maxim. Only trouble is, he doesn’t seem to get the joke. —MiChael darMody, farMinGton, nM, via eMail

tHE magazine | 5


LewAllenGalleries a u gus t exhibition s



Opening Friday, JULY 1


- 5 to 7 PM


beyond color field thru sept. 11, 2011 at the railyard

JohnKiley inclination thru sept. 11, 2011 at the railyard

AUGUST 5 to SEPTEMBER 10, 2011

Opening Friday August 5th 5 - 7 PM



bending light august 5-september 5, 2011 downtown Artists’ Reception: Friday, August 5, 5:30-7:30pm

Pueblo I 2010 fiber, acrylic paint gold leaf 53” x 22”


653 Canyon Road Santa Fe, NM 87501 505.983.2745 www.bellasartes

Clear & Present works in glass by 12 artists aug. 5-28, 2011 downtown Artists’ Reception: Friday, August 5, 5:30-7:30pm RailyaRd: 1613 Paseo de Peralta (505) 988.3250 downtown: 125 West Palace Avenue (505) 988.8997




Tel 505.989.8688 / 554 South Guadalupe, Santa Fe, NM 87501 / FOUR/THREE X, 2002, COPPER, 78 X 78 X 4 INCHES

NASSER&Co primitive art

Exhibiting at the Eldorado Hotel and Spa 309 W. San Francisco, Santa Fe, NM 87501 August 11th to 16th 2011 by appointment only call 609.577.7742 NASSER&Co gallery - 34 East 67th Street, New York, NY 10065. Ph: 212.288.0043


A Patterned Language


19th–20th Century Democratic Republic of Congo



Indian Market at the Collectors corner 143 Lincoln at Marcy

Fritz Scholder (1937-2005)

Earl Biss (1947-1998)


The Hopi Canteen Collection

TC Cannon (1948-1978)

Kevin Red Star (1943- )

Opening Friday, August 12, 5-7 pm.

STEVE ELMORE INDIAN ART • 839 Paseo de Peralta • 505-995-9677 •

Artist Reception: Thursday, August 18th in Santa Fe from 5–8 pm


Deer Dancer Series, mixed media and oil on panel, 36"h x 46"w


Pueblo Sisters, acrylic on canvas, 22"h x 26"w

Blue Rain Gallery | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 | 505.954.9902 | Blue Rain Contemporary | 4164 N Marshall Way, Scottsdale, AZ 85251 | 480.874.8110

Wendy Red Star (Crow Nation), “Indian Summer“ (Four Seasons Series), C-print

Observe/ Recognize


Organized in collaboration with Legends Santa Fe and the Berlin Gallery at the Heard Museum Shops, this exhibition reveals new frontiers in the contemporary American Indian art field. The show offers a unique perspective of vibrant works from established and emerging Native artists using diverse mediums. Featuring the work of NATALIE M. BALL (Modoc/Klamath), JULIE BUFFALOHEAD (Ponca Nation of Oklahoma), JEFFREY GIBSON (Mississippi Band of Choctaw/Cherokee) in collaboration with CROW’S SHADOW PRESS, DAVID HANNAN (Metis), JACOB MEDERS (Mechoopda Maidu), WENDY RED STAR (Crow Nation), DUANE SLICK (Meshwaki), TIFFINEY YAZZIE (Navajo) and STEVEN YAZZIE (Navajo/Laguna Pueblo).

August 18 - September 15, 2011 at LegendS SAntA Fe Opening Reception: thursday, August 18, 5 to 8 p.m. Legends Santa Fe 125 Lincoln Ave., Santa Fe, NM 87501 505.983.5639 Monday-Saturday, 10 a.m. to 5 p.m.

Heard Museum /Berlin Gallery 2301 N. Central Ave., Phoenix, AZ 85004 602.346.8250

Carl Jung - World Egg

Clinton Adams an anonymous artist, late 20th c. Stuart Arends Thomas Barrow William Betts Christopher Brown James Casebere August 19 - October 1 Constance DeJong Teo González celebrating our 20th anniversary Frederick Hammersley Jeff Kellar David Levinthal Wes Mills Robert & Shana ParkeHarrison Scott Peterman Johnnie Winona Ross Lorna Simpson Lisa Solomon Jennifer Vasher Richard Tom Waldron Levy Gallery Albuquerque • www.LevyGaller

2011 Invit at i onal E x h i b i t i on

Natural Beauty August 13 - December 4, 2011 Opening Reception: Friday, August 12, 5 - 7 pm

Julia Barello | Susan Beiner Suzi Davidoff | Ana Maria Hernando Related Programs Ceramics Workshop with Susan Beiner, August 13 & 14, $85 Luncheon and Poetry Reading by Ana Maria Hernando, August 13, $15 Bitter Lake Drawing Workshop with Suzi Davidoff, October 22 & 23, $50 Registration and information: (575) 624-6744 x10 or visit Image: Ana Maria Hernando, El Corazón Inocente (The Innocent Heart) (detail), 2010, color lithograph with collage, Courtesy Shark’s Ink, Lyons, CO.


Mon-Sat: 9 am - 5 pm | Sun & holidays: 1 - 5 pm Closed Thanksgiving, Christmas, and New Year’s Free Admission | Donations Welcome


Liquid Light Glass Studio and Gallery

Glass Demos • Hours: Monday - Saturday 10am-5pm Liquid Light Glass • 926 Baca Street #3 • 505-820-2222 Santa Fe, NM 87505 •






attributes the spontaneous nature of his paintings to the influence of his Jicarilla and Kiowa Apache ancestors. His landscapes of the Jicarilla Apache homelands near Abiquiu portray them as a source of vibrant energy. About his work critic Lucy Lippard wrote, “For all his profound bonds to nature, Apache culture, and to the northern New Mexico landscape, Vigil Gray has found his true place in the act of painting, in brushstrokes informed by dreams and visions that transcend the personal and the local.” An exhibition of Vigil Gray’s landscapes, portraits, and abstract figurative work—Creative Process—will be on view at Gerald Peters Gallery, with an opening reception on Friday, August 19, from 5 to 7 pm. Dreams and Visions Lately my dreams have been rather apocalyptic, but I blame this on the TV. I still get up in the morning and get a hint of where my astral body has been during the night. Sometimes it’s scary, and other times I get a good feeling. Dreamtime is always sacred stuff and I hang onto the dream that the sacred hoop of humanity will mend itself someday in the future. I believe that artists and creative thinkers will conjure up the medicine necessary to counteract all that ails society.

Mixing a Modernist Vision with Ancient Myths A day doesn’t go by without my thinking of what could have been if the artist T.C. Cannon did not leave this world in 1978. His mastery of his art form continues to give me inspiration and courage. Through Cannon’s vision, I somehow get to that place that allows me to filter through all that is cultural, without having to sacrifice my own personal vision. There are too many old myths to comprehend, so I prefer to make new ones. Most days I feel like the artist who painted the caves at Altamira, other days I’m just the guy from the rez trying to fit in. Through all the chaos of life, I arrive at an image and realize that it’s the here and now that matters most of all. If I look back at art history, I like the fact that many of the modernist painters threw away their handbooks and looked to indigenous cultures for inspiration. I think it’s this continual borrowing that keeps everything modernist. There is no doubt that T.C. would have gone totally abstract in his renderings. What a guy!

My Muse Being inclined to keeping dust off surfaces of my home could just as well be my muse, but it is not. At times, my wife thinks that the vacuum cleaner is more inspiring to me than getting anything done in my studio. What she doesn’t know is that I use this time to shut out the world, procrastinate, and focus. After many years of painting, I still approach each painting without preconceptions. When the frenzy sensation bubbles up and rises to the surface, there is no other way for me to go but to surrender and investigate consciousness. Painting is a spontaneous act and accidents are always welcome. My inspiration comes from a number of places—life is too short to not be inspired by love of family, the color of the sky, the intensity of dreams, or the simple beauty of a child’s smile. I look forward to each day because it is real.

The Place of Music in My Life Music is a force in my household, just as it was growing up on an Apache reservation in northern New Mexico. My parents were both instrumental in bringing music into my life. My mother has a voice trained for opera (I can still hear her beautiful soprano voice). Apache women sopranos are hard to come by. My father, on the other hand, was a cowboy turned tribal leader, who played guitar in a western band. I remember how he sang and played a George Jones tune. That was not exactly rock and roll, but music was my first love! I am constantly listening to music, even in sleep. I’ve been playing in musical groups since the age of ten, and I am looking forward to playing in my blues band in August.

The New Work My current way of working has elements of freeing up and letting go. I am moving more into an abstract realm. The act of painting has always excited me, as there is a supernatural force that comes into play. You are either tuned in to its frequency or not. An artist has to be prepared. The new work symbolizes a coming-out of sorts for me. I think it is good for an artist to step away from the usual exhibition formula in order to discover himself in new ways. As a friend said of my work recently, “There is a gravitational element happening now, especially in the landscapes.” All I know is that in my work I want to feel like I have commented on my present situation honestly. D

Artists I Admire & Why I admire any artist who dares to be humble and honest.


Photograph by Anne Staveley | august 2011

THE magazine | 21

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clusiau designs Your source for interior and exterior custom sewing Specializing in slipcovers, cushions, pillows, bancos, curtains, and bedding We carry stock fabrics, custom fabrics, and a large collection of fabric sample books 901 West San Mateo Suite W 505-466-2712


1012 MARQUEZ PLACE | BUILDING 1, SUITE 107A | 505.995.9800



Grand OpeninG

august 13 5 pM – 7 PM Featuring Over 25 artists

The 39th Annual

Girls Inc. Arts & Crafts Show Saturday, August 6 9am - 6pm Sunday, August 7 9am - 5pm on the historic Santa Fe Plaza

Free Admission + Kid’s Creation Station + More than 200 Artists ! FAnTASTIC RAFFle PRIzeS ! green going ! we’re Your Help water d free y! & nee le for n tt o b n compa w o r r te u a W yo bring sy of Good e court

rising Moon Gallery and art Center across from Bodes abiquiu, nM 87510 505-685-4271

girls inc. of santa fe: inspiring all girls to be strong, smart, and boldsm empowering girls. enricHing tHe communitY.

Proceeds from artists’ ParticiPation benefit Girls inc. of santa fe, a 501(c)(3) non-Profit orGanization 505.982.2042

clusiau designs Your source for interior and exterior custom sewing Specializing in slipcovers, cushions, pillows, bancos, curtains, and bedding We carry stock fabrics, custom fabrics, and a large collection of fabric sample books 901 West San Mateo Suite W 505-466-2712

Dignified Design... Down to Earth Value

WILLIAM AGNEW Architect Santa Fe New Mexico USA 505 577 1778 s e e w h a t ’s h a p p e n i n g . . .

D r. G . R u s s e l l ( R u s t y ) K i r k l a n d i s p r o u d t o a n n o u n c e t h e r e l o c a t i o n o f h i s d e n t a l p r a c t i c e t o 2 9 0 5 R o d e o P a r k D r i v e E , i n S a n t a Fe A p p o i n t m e n t s f o r e s t a b l i s h e d a n d n e w p a t i e n t s c a n b e m a d e s t a r t i n g A u g u s t 1 5 th by calling 982-2578 and by visiting


THE magazine asked three members of our local art community, and a clinical psychologist, to share their take on this 1993 painting by Jim Wagner. They were shown only the image— they were not told the name of the artist or the title of the painting. Their responses follow. The European impact on Native American culture and religion is shown in this painting. In this work, we see how traditional Indian life changed due to the presence of Anglos. Adobe houses and the people’s Native American features suggest these are Pueblo Indians. Their dress resembles early-nineteenth-century Anglo style. The man’s hair is cut short and he wears a cowboy hat, while the two women’s heads are covered. Hair, in the Indian tradition, is often thought to contain one’s spirit. Thus, we see the attempt to alter the subjects’ perception of the spirit. The church in the distance and the crosses on the featured woman’s blouse and skirt further underscore Anglo influence. Such symbols signify religious conversion to Christian ideology. The couple appears concerned. Are they worried about the future of their culture and way of life? Their mouths are sealed. They are not voicing these issues. From the viewpoint of a psychologist, the mute figures are striking. The chickens on the ground are disengaged. These animals do not share the burden of the human subjects shown in the painting. A fierce sky hovers over the otherwise peaceful scene. Is the sky about to disclose what the people are not expressing?

—Davis K. Brimberg, PH.D., Clinical Psychologist, Santa Fe This painting is mournful and poignant—a snapshot of loss in the midst of life. The couple walks towards us, away from a distant church, across a sumptuous yellow field speckled with fourteen lively hens pecking for food. The sky crackles with light and energy, but your eye is drawn to the couple, who seem stoic and sad. Another woman is turned away from us, in a frozen, screaming stillness. The central figure’s dress has fourteen magpies floating in a haunted night sky above a dark landscape dotted with small black crosses that echo the cross atop the distant church, as do the crosses on the woman’s blouse. A great deal of the emotional power of this painting is probably lost in translation. In this photo of the painting, you see some of the strong, gestural movement of paint on canvas,

Jim Wagner, Resentments, acrylic on canvas, 48” x 48”, 1993. Courtesy: Parks Gallery, Taos

but the feelings that tactile textures and the touch of the human hand can evoke are not there. I believe that if you were standing in front of the actual painting, the contrast between the beauty of the paint and the raw emotion of the subject would rip your soul from its moorings and you would feel heartache and mystery until you forgot… and moved on to the next painting.

breathe () on the birth side of the unfinished cathedral () leaves turn to birds turn to stars () the dressed stone smells of soap and money () nearby a white duck watches from a rock () down the way children pay to ride () in circles () in spirals () with blinking lights () the caracara bird () lives () in a cage () its left wing snapped () the goat () with its horns () on the man-made earth pictured somewhere in the oldest drawings () crows are free to come and go () she () has () the () face () of () God () everything reminds him of something else () all the water is missing () () there is no water in the river () the chickens don’t notice () unfamiliar as they with the sky () a square tile on the death side of the cathedral depicts this enigmatic image () something approaches from the far hill an artist’s creative process—we all return to the muck and the womb of the Mother.

This painting is an inspiring patriotic regional image. It recalls a turn-of-the-century portrait and brings to mind Grant Wood’s American Gothic. If American Gothic is an iconic painting of Midwest rural life, this is Southwest Gothic, with a modern cast. The woman has her hand on her abdomen in a recognizable with-child stance. Both the man and the woman look into the distance—the future—with sober apprehension. The white glow surrounding the couple and church tower is a reference to the faith of the entire region, and is the same kind of depiction used in images of saints. The birds are significant: pure white chickens, blue jays, and birds native to North America on her skirt with Christian crosses. Blue jays are known for intelligence and close family bonds. Generally, birds are universal symbols of the soul—they represent an American family’s spirit of survival and all that sustains them: their chickens (food and wealth), their future family, and their faith—a simple yet solid model, the foundation of who we are. But wait. Is this also the Southwestern Indian version of Atahensic, the Iroquois sky goddess who fell to the earth at the time of creation? Was Atahensic a modern Madonna? According to myth, Atahensic was carried down to the land by the wings of birds. After her fall from the sky, she gave birth to twin boys, and she is associated with feminine endeavors, which include family bonding and strong faith. Hmmmm.

—Melody Sumner Carnahan, wordsmith, Burning Books

—Anne Little, Avid Consumer of the Arts, Santa Fe

—Brian Blount, Artist, Santa Fe

26 | THE magazine


2011 |

danielquatphotography Joseph, Robin and Rebeka Duda © 2011 Daniel Quat

creative photography for creative people

portraits 505-982-7474


RICHARD BENSON, Paris Rooftops, 1980

ARCHAEOLOGY and the shape of time

EDWARD RANNEY, Palpa Valley, Peru, 2004

An exhibition and limited-edition book featuring the photographs of Richard Benson and Edward Ranney

Opening reception on Friday, August 26th from 5 to 8 pm at 307 Camino Alire in Santa Fe – (505) 984-9919 / The exhibition will run from August 26th to September 27th, 2011 with open gallery hours Wednesday through Saturday,11am to 5pm for the first two weeks and by appointment only after September 10


Critic Carol Becker wrote, “Artists have become quite comfortable in their role as disenfranchised & infantilized beings, left on the periphery, tangential in society.” Two artists respond to Becker’s statement. I do feel on the periphery! I do feel tangential in society! I know I help define society by my actions, and I often think, “Eliza, you are not doing enough to make life healthier around here!” If we all felt 100% secure in our place in society, wouldn’t each of us be variations of Ghandi? It’s important to contribute to a stronger whole, but I keep my art practice as a sanctuary from that obligation. In working through the lawless territory of art, it seems the most honest way for me to travel.

—Eliza Naranjo Morse Morse spent one year at the IAIA in 2002, graduating from Skidmore College in 2003. She will be in a group show at Axle Contemporary in September. Contact:

Art always portrays society and culture. You can understand the mind set of a time period by looking at the art that was produced. Perhaps this quote is more indicative of the times we are living in than specifically about artists. I think we might all be a little too comfortable. I do think Becker makes an important point— it seems as though artists and art itself are losing ground in certain ways. Art is being pushed out of schools and the art world is becoming more and more exclusive. It can be difficult to find your place in society as an artist, but it has been that way for a long time. However, I don’t believe that we are headed into a future of powerless artists. There is no shortage of artists with something to say and people who still hear them.

—Jamie Cross Cross received her BFA in May from the IAIA, with a focus on sculpture. Contact:

Photographs by Anne Staveley

| august 2011

THE magazine |29


The Mitsitam Café Cookbook Salmon is a staple for Native American tribes on the North Pacific Coast. When the salmon return to the rivers in the summer, the first catch is treated with great respect—it is carefully prepared and served to each member of the community. The bones of the fish are returned to the river at the end of the meal. It is believed that expressing thanks to the first salmon ensures that many more will follow. The Mitsitam Café, at the Smithsonian National Museum of Natural History, is one of the nation’s most beloved museum cafeterias. The word “mitsitam” means “let’s eat” in the Piscataway and Delaware languages. The café serves a wide range of authentic Native foods, incorporating indigenous ingredients, and most are prepared using traditional techniques. Food writers rave about the Mitsitam’s five stations—each serving cuisine from one of five Native cultural regions: South America, Mesoamerica, the Northern Woodlands, the Great Plains, and the Northwest Coast. The Mitsitam Café Cookbook (Fulcrum Books, $22.95) is a collection of the café’s most popular recipes. Compiled by Executive Chef Richard Hetzler, the book includes ninety Native-inspired dishes, such as chestnut pudding, juniper-cured salmon sandwiches, and the celebrated fry bread that brings patrons to the Mitsitam again and again. Because the Mitsitam Café is associated with the Smithsonian, this cookbook is also educational—accompanying each recipe is a historical explanation, describing the tribes and traditions associated with the recipe. This more-than-a-cookbook brings well-deserved attention to the rich culinary traditions of various Native tribes, re-introducing Native American food to the American table. D

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THE magazine | 31

Santacafé, a luxury you can afford

lunch - monday thru saturday sunday brunch dinner nightly

231 washington avenue - reservations 505 984 1788 gift certificates, menus & special events online www.santacafé.com

Taste the New Southwest Chef Charles Dale’s modern rustic cuisine introduces a Contemporary American fare that is regionally inspired by Northern New Mexico and infused with local and organically sourced ingredients.

FULL NEW BAR MENU NIGHTLY & UNTIL 11PM THURSDAY – SATURDAY 8 PLATES FOR $8 EACH • 5 PLATES FOR $35 Crispy Duck Spring Rolls with Peashoots & Sweet Chill Garlic Sauce Lump Crab Salad with Lemon Basil Aioli & Tempura Onion Rings Seared Grouper with Pineapple Sambal & Fire Roasted Shishito Peppers Petite Hanger Steak with Arugula, Pomme Frites & Green Peppercorn Sauce Crispy Calamari with Fresh Basil & Peppernata Sauce Tempura Brocolini & Wilted Spinach with Toasted Sesame & Soy Honey Reduction Assorted House-Made Charcuterie Plate Assorted Cheese Plate with Fig Paste & Pine Nuts

NOW SERVING CRAFTED COCKTAILS LIVE JAZZ ON THURSDAYS 315 Old Santa Fe Trail • Reservations 505.986.9190 •


198 State Road 592, Santa Fe

one bottle

One Bottle:

The 2008 Graff Family Vineyards Mourvèdre by Joshua Baer Long before it became part of a line in a song, oblivion was a kingdom. If you did

was introduced to Catalonia by the Phoenicians in 500 b.c. When you are

unspeakable things to other people, you went to Hell. If you did unspeakable

a grape, and Mediterraneans have been making wine out of you since the Age

things to yourself, you went to the Kingdom of Oblivion. You could escape

of Pericles, you take it as an insult when a fashion pimp proclaims you as the

from Hell. It meant traveling through Purgatory, which was no picnic, but it

Next Big Grape.

could be done. There was no escape from oblivion. Even if you managed to

Mourvèdre was introduced to California during the 1860s. It did not catch

escape from the kingdom, oblivion escaped with you. It lived inside of you,

on. California wines are all about love at first sip. Wines made with Mourvèdre

the way a virus lives in your blood. No matter how much you changed or

are an acquired taste. The process of acquiring a taste for Mourvèdre can take

how many amends you made, oblivion remained your master and you

years, sometimes even generations. If your parents had a thing for Domaine

remained its slave.

Tempier’s Bandols or for Vieux Télégraphe’s Châteuneuf-du-Papes, this might

I got introduced to oblivion by my mother, and by Bob Dylan. My mother had a love-hate relationship with life. She loved her life but hated the tricks that life kept playing on her. Her big problem was that she remembered

be the time to start your relationship with Mourvèdre. Or you might want to buy two cases now and put one aside for your grandchildren. In the glass, the 2008 Graff Family Vineyards Mourvèdre is as black as the

everything. She was charming, and she had the kind of split-second comic

Ace of Spades. If you hold up your glass to a candle you will catch a glimpse

timing that charming people often have, but when she looked you in the

of a dense purple core outlined with crimson. The bouquet is a study in

eye—and she was always looking me in the eye, especially when she

animism. It is difficult to inhale the aroma of this wine and deny that the

wanted to know whether or not I was lying—you could see that she

wine is alive. On the palate, the attack is more gentle and less intense

was at war with her memories, and that her memories were winning. After I learned to avoid making eye contact with my mother,

than you expected it to be, but after a few sips those roles reverse. At that point, you begin to understand why generations of wine makers

I started listening to Bob Dylan. The moment I heard his voice, Bob

have resorted to Mourvèdre to keep their wines from tasting thin.

Dylan reintroduced me to oblivion. And there was nothing polite or

The finish is like that moment when you drive through a tunnel and

diplomatic about the way he did it. An artist might take the time

realize that you are no longer on earth. You are inside it. And then

to sugarcoat oblivion but a genius never would. He just opened

you see the light at the end of the tunnel, drive into the light, and

his mouth and let his lyrics do the rest. This is the third stanza and the chorus from Too Much of Nothing, which Bob Dylan wrote in 1967:

you are back on earth. You can buy the 2008 Graff Family Vineyards Mourvèdre from the winery (, from Wally’s Wines in Los Angeles, from Garnet Wines in New York

Too much of nothing

City, or from Grapes of Norwalk in Norwalk, Connecticut.

Can turn a man into a liar

Expect to pay between $20 and $25 a bottle. Give this wine

It can cause one man to sleep on nails

some time. If you have a cool, dark place in your basement, buy

And another man to eat fire

a case and hide it from yourself. In five years, you will be in for

Ev’rybody’s doin’ somethin’

a pleasant surprise.

I heard it in a dream

I return to oblivion whenever I get the chance. Or maybe

But when there’s too much of nothing

I should say, I return to my life whenever the Kingdom of

It just makes a fella mean

Oblivion grants me a leave of absence. My relationship with

Say hello to Valerie Say hello to Vivian Send them all my salary On the waters of oblivion The first time I heard that, I thought, Holy shit. If oblivion is failure, God protect me from success. Which brings us to the 2008 Graff Family Vineyards Mourvèdre. Mourvèdre (pronounced “Moor VAY Druh”) is an adaptable grape. It thrives in high heat but it also thrives in a cool, marine climate. In the wine world, there are experts who will tell you that Mourvèdre is the Next Big Grape. Those experts are fashion pimps, which is to say that they want to sell you the Next Big Fad. Mourvèdre, known colloquially as Monastrell in Spain, Rossola Nera in Italy, and Balzac in France,

| august 2011

oblivion is a lot like my relationship with wine. I remember some things and forget others, but this is not a process I control. Wine is like a favor I have been granted, a pair of old, familiar eyes in a sea of blank faces. There are wines you drink with friends, there are wines you drink with enemies, and then there are the wines you drink with the people who could go either way. By virtue of its specificity, the 2008 Graff Family Vineyards Mourvèdre falls into the final category. The more ambiguous the company, the more specific the wine should be. D One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. The name “One Bottle” and the contents of this column are ©2011 by For back issues, go to You can write to Joshua Baer at

THE magazine | 33


The Corn Maiden at the Hyatt Regency Tamaya Resort & Spa On Saturday, Sunday, Tuesday, and Thursday mornings, attend a traditional bread buffet, with bread baked in the Hurana ovens. Time-honored Native American dancing during the Saturday buffet. Reservations: 505-771-6037 1300 Tuyuna Trail, Santa Ana Pueblo




up to $14







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



$34 plus


...a guide to the very best restaurants in santa fe and surrounding areas... 311 Cafe on the Trail 311 Old Santa Fe Trail. 984-8500. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$

Cuisine: International. Atmosphere: Casual. House specialties: For breakfast, have La Fruits Rouges Crepe (mixed berries and whipped cream) or the Stuffed and Toasted French Croissant. For lunch, choose from any of the homemade quiches or wonderful salads. Tempting dinner entrees include the Grilled Flat Iron steak and the Seared Duck Breast and Glazed Turnips Comments: Authentic French bistro fare. 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Smoke-free inside. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: Reminiscent of an inn in the French counyside. House specialties: Steak Frites, seared Pork Tenderloin, and the Black Mussels are winners Comments: A beautiful new bar with a “can’t miss” bar menu. Winnder of Wine Specator’s Award of Excellence. Amavi Restaurant 221 Shelby St. 988-2355. Lunch/ Dinner/Sunday Brunch Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Mediterranean. Atmosphere: Elegant. House specialties: The tapas appetizer thrills and the pollo al mattone, marinated for two days and served with pancetta, capers, and house preserved lemon, may be the best chicken dish you’ve ever had. Also try the tiger shrimp. Comments: Farm to table. Chef Megan Tucker is doing it right. Andiamo! 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Good wines, great pizzas, and a sharp waitstaff. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236. Breakfast/Lunch/Dinner Smoke-free. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American cuisine. Atmosphere: A casual, yet elegant room evoking the feeling of an Anasazi cliff dwelling. House specialties: We suggest blue corn crusted salmon with citrus jalapeno sauce, and the nine spice beef tenderloin. Comments: Attentive service. Aztec Cafe & Restaurant 317 Aztec St. 820-0025. Lunch/Sunday Brunch/Dinner: Friday/Saturday Smoke-free. Major credit cards. $$

Cuisine: Organic comfort food. Atmosphere: Casual and friendly. House specialties: For our breakfast, we love the Smothered Vegetarian Breakfast Burrito and the Organic Egg Sandwich. Lunch favorites include the “real deal” Philly Cheesesteak Sandwich and the super-fresh Garden Salad. Don’t miss the Fresh Fruit Smoothies and the delicious Housemade Ice Cream. Comments: Chef de Cuisine, Aidan Maloney knows his stuff. Bobcat Bite Restaurant Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Smoking. Cash. $$ Cuisine: American. Atmosphere: This is the real deal—a neon bobcat sign sits above a small, low-slung building. Inside are five tables and nine seats at a counter made out of real logs. House specialties: The enormous inch-and-a-half thick green chile cheeseburger is sensational. The 13-ounce rib-eye steak is juicy and flavorful. Body Café 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual. House specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Asian Curry for lunch or the Avocado and Cheese Wrap. Comments: Soups and salads are marvelous, as is the Carrot Juice Alchemy. Cafe Cafe Italian Grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad; the tasty specialty pizzas or the grilled eggplant sandwich. For dinner, we loved the perfectly grilled swordfish salmorglio and the herb-breaded veal cutlet. Comments: Very friendly waitstaff. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Smoke-free. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: The café is adorned with lots of Mexican streamers, Indian maiden posters, and rustic wooden furniture. House specialties: Hotcakes get a nod from Gourmet magazine. Huevos motuleños, a Yucatán breakfast, is one you’ll never forget. For lunch, try the grilled chicken breast sandwich with Manchego cheese. The Compound 653 Canyon Rd.  982-4353. Lunch/Dinner Full bar. Smoke-free. Patio. Major credit cards. $$$$ Cuisine: Contemporary American. Atmosphere: 150-year-old adobe with pale, polished plaster walls and white linens on the tables. House specialties: Jumbo crab and lobster salad. The chicken schnitzel is flawless. Desserts are absolutely perfect. Comments: Seasonal menu. Chef/

owner Mark Kiffin didn’t win the James Beard Foundation’s “Best Chef of the Southwest” award for goofing off in the kitchen. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Smoke-free. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Breakfast: burritos and frittata. Lunch: sandwiches and salads. Dinner: flash-fried calamari; grilled salmon with leek and Pernod cream sauce, and a delicious hanger steak. Comments: Boutique wine list. Corn Maiden at the Hyatt Regency Tamaya 1300 Tuyuna Trail, a the Santa Ana Pueblo. 505-771-6037 Breakfast/Lunch/Dinner Full bar. Patio Major credit cards. $$$ Cuisine: Regional influences along with hints of global flavors. Atmosphere: Elegant. House specialties: Spitfire Grilled Meat, Fish, and Poultry, Green Chile Escargot, and the perfect Buffalo Ribeye. Comments: Fabulous views. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: All-American. Atmosphere: Popular patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are fantastic. Dynamite buffalo burgers and a knockout strawberry shortcake. Comments: Lots of beers. Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: For your main course, go for the grilled Maine lobster tails or the Southwestern Rotisserie, or the grilled 24-ounce “Cowboy Cut” steak. Comments: Good wine list. Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Smoke-free. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room with small tables inside and a nice patio outside where you can sit, read periodicals, and schmooze. Over 1,600 magazine titles to peruse. House specialties: Espresso, cappuccino, and lattes. El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Smoking. Patio. Major credit cards. $$$ Cuisine: Spanish. Atmosphere: Wood plank floors, thick adobe walls, and a postage-stamp-size dance floor for cheekto-cheek dancing. House specialties: Tapas. Comments: Murals by Alfred Morang.

El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego cheese marinated in extra virgin olive oil; sautéed spinach with garlic and golden raisins. Go. Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Smoke-free dining room. Patio. Major credit cards. $$$$ Cuisine: French–Asian fusion fare. Atmosphere: Kiva fireplaces, a portal, and a lovely garden room. House specialties: Start with the superb foie gras. Entrées we love include the green miso sea bass, served with black truffle scallions; and the classic peppery Elk tenderloin. Comments: Tasting menus are available. Il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Smoke-free. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Our faves: the arugula and tomato salad, the grilled hanger steak, the lemon rosemary chicken, and the pork chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Try the Enoteca Menu, available from 2-5 on weekdays. Prix fixe seven nights a week. Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Smoke-free. Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Basic cafe-style. House specialties: We love the tasty Jerk chicken sandwich. Try the curried chicken salad wrap; or the marvelous phillo stuffed with spinach, black olives, feta cheese, roasted red peppers and chickpeas served over organic greens. Comments: Obo was the executive chef at the Zia Diner. Josh’s Barbecue 3486 Zafarano Dr., Suite A. 474-6466. Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: Barbecue. Atmosphere: Casual, House specialties: Delicious woodsmoked meats, cooked low and very slow are king here. Recommendations: We love the tender red-chile, honey-glazed ribs, the tender brisket, the barbecue chicken wings, the smoked chicken tacquitos, and the spicy queso. Comments: Seasonal BBQ sauces. Josh’s was written up in America’s Best BBQs. Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Smoke-free. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; soft

shell crab; dragon roll; chicken katsu; noodle dishes; and Bento box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake. It is clear, smooth, and very dry. Comments: We love the new noodle menu. La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Hiway 285 / Vista Grande Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Smoke-free Major credit cards. $$ Cuisine: Salvadorian Grill. Atmosphere: a casual open space. House specialties: Loroco omelet and anything with the panfried plantains. Try the Salvadorian tamales and the poblano del dia. Everything is fresh. Recommendations: The Sunday brunch terrific. Comments: Chef Juan Carols and family work hard to please. Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual and friendly. House specialties: Start with the Pho Tai Hoi, a vegetarian soup loaded with veggies, fresh herbs, and spices. For your entree, we suggest the Noung—it will definately rock your taste buds. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Smoke-free. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: A gorgeous enclosed courtyard with skylights and hand-painted windows exudes Old World charm. House specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad with baked New Mexico goat cheese. For your entrée try the Braised Lamb Shank, served with a spring gremolata, roasted piñon couscous, and fresh vegetables. Comments: Seasonal menus Mangiamo Pronto! 228 Old Santa Fe Trail. 984-2002. Lunch/Dinner Beer/Wine/Sake. Smoke-free. Visa & Mastercard. $$ C uisine : Italian. A tmosphere : Casual. H ouse specialties : Great pizzas—we suggest the Pesto pizza, with roasted chicken, basil pesto, red bell peppers, caramelized onions and mozzarella cheese. C omments : For dessert, choose from the pasteries, cookies, pies, cakes, and gelato. M aria ’ s N ew M exican K itchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: Freshly made tortillas, green chile stew, and pork spareribs. Comments: Perfect margaritas.

continued on page 37

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THE magazine | 35

New Sister Restaurant to Ristra Offering Cuisines from the Regions Surrounding the Mediterranean Mediterranean Tapas • Salads • Entrees Dinner from 5:30 pm • Wine Bar • Patio Dining 505.992.2897 • 428 Agua Fria • TR ADIT IO NAL JAPAN E S E RA M E N H O U S E

shibumi R







Lunch: 11 11:30 :30 am – 2: 2:30 30 pm Monday – Friday Dinner: Dinne r: 5:30 5:30 – 10 pm Monday – Saturday Kaisekii / Izakaya Dinner: Last Thursday of the Month Kaisek 26 Chapell Chapellee Street, Street, Santa Fe, Fe, NM 87501 505.428.0 50 5.428.0077 077 ■ sh shib ibumi umiramen ramen.c .com om Fragrance Free

Parking Available

BREAKFAST - LUNCH - DINNER International cuisine with southwestern accent, serving wine and beers. Fixed price dinner menu every day $20 Happy hour on the patio from 3 to 5pm Free parking at Garrett’s Desert Inn Open very day from 7am to 9pm Ideally located at 311 Old Santa Fe Trail Reservations at 505-984-8500


Chicken Marsala w/ fingerling potatoes, porcini mushrooms, and sauteed spinach at

Andiamo! 322 Garfield Street • Reservations: 995-9595 Max’s 401½ Guadalupe St. 984-9104. Dinner Beer/Wine. Non-smoking. Major credit cards. $$ Cuisine: Contemporary. Atmosphere: Intimate and caring. House specialties: Specializing in “sous vide,” a method that maintains the integrity of the ingredients. Start with the Baby Beet Salad. For your main, try the Pan Seared Day Boat Scallop or the Sous Vide Chilean Sea Bass. For dessert, we love the Dark Chocolate Globe. Comments: Chef Mark Connell is making magic. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: Noodle house. Atmosphere: Casual and friendly. House specialties: Salmon dumplings with oyster sauce, and Malaysian Laksa. Museum Hill Cafe Museum Hill, off Camino Lejo. 984-8900. Breakfast/Dinner Beer/Wine to come. Smoke-free. Major credit cards. $$ Cuisine: American, Mediterranean and Mexican. Atmosphere: Casual and friendly. House specialties: The Thai Beef Salad is right on the mark. Try the Smoked Duck Flautas—they’re amazing. Comments: Menu changes depending on what is fresh in the market. Nostrani Ristorante 304 Johnson St. 983-3800. Dinner Beer/Wine. Smoke-free/Fragrance-free Major credit cards. $$$$ Cuisine: Regional dishes from Northern Italy. Atmosphere: A renovated adobe with a great bar. House specialties: Menu changes by season. Great dishes may include: Shrimp and Calamari Fritti with Rice Croquettes, Potato Gnocchi with Basil Cream, and Veal Scaloppiini with Sauteed Potatoes Comments: European wine list. Frommer’s rates Nostrani as one of the “Top 500 Restaurants in the World.” Note: Fragrance-free. O’Keeffe Café 217 Johnson St. 946-1065. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwest with a French flair. Atmosphere: The walls are dressed with photos of O’Keeffe. House specialties: Try the Northern New Mexico organic poquitero rack of lamb with black olive tapenade. Pizza Centro Santa Fe Design Center. 988-8825. Agora Center, Eldorado. 466-3161 Cash or check. No credit cards. $$ Cuisine: Real New York-style pizza. Atmosphere: Counter service and a few tables. House specialties: Try the Central Park and the Times Square thin-crust pizza.

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Comments: A taste of the Big Apple. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light, colorful, and friendly. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. The Brisket Taquito appetizer rules. Try the green chile stew. Rasa Juice Bar/Ayurveda 815 Early St. 989-1288 Major credit cards. $$ Cuisine: Organic juice bar. Atmosphere: Calm. House specialties: Smoothies, juices, teas, chai, cocoa, coffee, and espresso, all made with organic ingredients. If juice is your thing, our favorite is the Shringara (love and passion), made with beet, apple, pear and ginger. Comments:  Add to this mix vintage clothing, handmade jewelry, Ayurvedic herbs and treatments. Rasa is an expansion of Spandarama Yoga Studio. Real Food Nation Old Las Vegas Hwy/Hwy 285. 466-3886. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: Farm to table with an on-site organic garden. Atmosphere: Cheery, light, and downright healthy. House specialties: A salad sampler might include the red quinoa, roasted beets), and potato with dill. Muffins and croissants are baked in-house. Recommendations: An inspired breakfast menu. Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Sunday Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American classic steakhouse. Atmosphere: Gorgeous Pueblo-style adobe with vigas and plank floors. House specialities: USDA prime steaks and prime rib. Haystack fries and cornbread with honey butter. Recommendations: For dessert, we suggest that you choose the chocolate pot. Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Southwestern with French flair. Atmosphere: Elegant bar with a nice bar menu, sophisticated and comfortable dining rooms. House specialties: Mediterranean mussels in chipotle and mint broth is superb, as is the ahi tuna tartare. Comments: Ristra won the Wine Spectator Award of Excellence in 2006. San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar.

Major credit cards. $$ Cuisine: As American as apple pie. Atmosphere: Casual with art on the walls. House specialties: At lunch, do try the San Francisco Street hamburger on a sourdough bun or the grilled yellowfin tuna nicoise salad with baby red potatoes. At dinner, we like the tender and flavorful twelve-ounce New York Strip steak, or the Idaho Ruby Red Trout served with grilled pineapple salsa. Comments: Visit their sister restaurant at the DeVargas Center. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwestern. Atmosphere: Minimal, subdued, and elegant. House specialties: For starters, the calamari with lime dipping sauce never disappoints. Our favorite entrées include the perfectly cooked grilled rack of lamb and the pan-seared salmon with olive oil crushed new potatoes and creamed sorrel. Comments: TAppetizers at the bar during cocktail hour rule. Santa Fe Bar & Grill 187 Paseo de Peralta. 982.3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Start with the cornmealcrusted calamari. For your main course, try the Santa Fe Rotisserie chicken, the Rosemary and Garlic Baby Back Ribs, or the Prawns à la Puebla. Comments: Chef Carlos Rivas is doing a yeoman’s job in the kitchen. Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Smoke-free. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily chef specials, gourmet and buildyour-own sandwiches, wonderful soups, and an excellent salad bar). Comments: Breakfasts, organic coffees, and super desserts. Family-run.

Atmosphere: Casual and friendly. House specialties: The beers here are truely outstanding, especially when paired with beer-steamed mussels or the beer-battered calamari, burgers, fish and chips, or the truly great grilled bratwurst. Comments: Fun bar and great service.

Mary—a Bloody Mary. For lunch in the Dragon Room, we love the Gypsy Stew with cornbread and the Pink Adobe Club. For dinner, rder the Steak Dunigan, smothered with green chile and sauteed mushrooms or the Fried Shrimp Louisianne. Comments: Great pour at the bar.

Shibumi 26 Chapelle St.At Johnson St. 428-0077. Lunch/Dinner Smoke-free/Fragrance-free Cash only. $$. Parking available Beer/wine/sake Cuisine: Japanese noodle house. Atmosphere: Tranquil and elegant. Table and counter service. House specialties: Start with the Gyoza—a spicy pork pot sticker or the Otsumami Zensai (small plates of delicious chilled appetizers), or select from four hearty soups. Shibumi offers sake by the glass or bottle, beer, and champagne. Comments: Zen-like setting.

The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: A local institution just off the Plaza. House specialties: You an’t go wrong ordering the stacked red or green chile cheese enchiladas. Comments: Try their sister restaurant, La Choza. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch No alcohol. Smoking/non-smoking. Major credit cards. $ Cuisine: New Mexican. Atmosphere: This restaurant is absolutely a Santa Fe tradition. House specialties: Green chile stew and the huge breakfast burrito stuffed with bacon, potatoes, chile, and cheese. Comments: The real deal.

Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Smoke-free. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell crab tempura; sushi, and bento boxes. Steaksmith at El Gancho

Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Smoke-free dining room. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant with full bar and lounge. House specialties: Aged steaks; lobster. Try the pepper steak with Dijon cream sauce. Comments: They know steak here. Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork. Atmosphere: Casual. House specialties: We love the Salmon Benedict with poached eggs, the quiche, the gourmet cheese sandwich, and the Teahouse Mix salad. Terra at Encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: Contemporary. Atmosphere: Elegant, with great views from the dining room and the bar. House specialties: Enjoy cocktails with appetizers in the cozy ambience of the bar. At lunch, our faves are the Wild Mushroom Quesadilla and the Encantado Burger, with perfect Pomme Frites. For dinner, start with the Risotto with Shaved Truffles. For your main, order the Harris Ranch Beef Tenderloin served with foie gras butter, or the Fish of the Day. Comments: The service is excellent, Chef Charles Dale certainly knows what “attention to detail” means. The Pink Adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: Start with the Creole

Tree House Pastry Shop and Cafe 1600 Lena St. 474-5543. Breakfast/Lunch Tuesday-Sunday Smoke-free. Major credit cards. $$$ Cuisine: Only organic ingredients used. Atmosphere: Light, bright, and cozy. House specialties: You cannot go wrong ordering the fresh Farmer’s Market salad, the soup and sandwich, or the quiche. Tune-Up Café 1115 Hickox St.. 983-7060. Breakfast/Lunch/Dinner Major credit cards. $$ Cuisine: American, Cuban, Salvadorean, Mexican, and, yes, New Mexican. Atmosphere: Down home, baby. House specialties: Breakfast faves are the scrumptious Buttermilk Pancakes and the Tune-Up Breakfast. Comments: The El Salvadoran Pupusas are the best this side of El Salvasor. Guaranteed Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: We call the food here: farmto-table-to-fork. Atmosphere: Light, bright and cheerful. House specialties: All of the salads are knockouts— fresh as can be. We love the Nutty Pear-fessor salad—it rocks! Comments: fresh, fresh, fresh. Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: All-American. Atmosphere: Down home. House specialties: Huevos Rancheros or the chile rellenos and eggs are cannot miss breafast choices. For lunch or dinner, we love the meat loaf, chicken-fried chicken, and the fish and chips. Comments: Generous drinks.The hot fudge sundaes are always perfect and lots of dessert goodies for take-out.

Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers are outstanding when paired with beer-steamed mussels, calamari, burgers, and fish and chips, Second Street Brewery at the Railyard 1607 Paseo de Peralta. 989-3278. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery.

SLURP: “Eat, Drink, Go at Santa Fe’s Only Airstream Eatery.” Two locations: Galisteo and West Manhattan. Opening: August 13-14 at the Children’s Museum. Daily Menu: Twitter@SLURPSantafe. 603-1800.

THE magazine | 37

Michael Cook, Venetian Manzano, 2009, Oil on canvas, 72” x 48”

Michael cook Venetian The paintings challenge how we see by layering vertical hard-edged stripes over very subtle figurative abstractions. The vertical stripes function much like Venetian blinds on a window, to partially obfuscate and shield the view, both in a physical and illusory way by causing a multitude of optical effects that change based upon the viewer’s position and distance relative to each painting. Thus, forcing the viewer to look between the Venetian blinds and focus on the imagery below, to go beyond the optical effects of the blinds, making our minds and memories do the work to fill in the missing information and to provide a complete view.

Michael schultheis Spherical Triangles of Menelaus Trained in mathematics and economics, but with a passion for abstract painting, Schultheis conflates geometric forms and their corresponding theorems with a painterly, gestural style of art making that reveals his complex pentimento process—layering and scraping paint to reveal underlying geometric shapes and equations. At a glance, these abstractions resemble an underwater seascape or some star-filled astral expanse. However, upon closer inspection, one sees the vestiges of equations and symbols that more resembles the marking and erasing of a chalkboard during an engineering exercise.

Toots Zynsky, Riscoperta Mizimah, 2011, Filet-de-verre (Fused and thermo formed color glass threads), 11 1/2 x 10 7/8 x 10 3/8”

Opening Reception: Friday, August 5, 2011 - 5 - 7 P.M.

New mixed media sculptures and glass vessels in which the artists uniquely combine the Swedish method of layering colors of glass with battuto, the Muranese technique of deeply cutting into the glass. Their newest collection is comprised of mixed media sculptures that resemble sea faring vessels carrying cargo. The new metal and wood boats are a metaphor for life’s journey and the cargo, comprised of blown and deeply cut vessels, represents the people we meet throughout that journey and the possessions and artifacts we hold dear and accumulate along the way.

Michael Schultheis, Gold Sphaerica 05, 2011, Acrylic on canvas, 24” x 24”

August 3 - 28, 2011

Journey In A Life Boat

Philip Baldwin & Monica Guggisberg, Bateau Roues Bleues, 2011, Blown glass vessels with cold worked surfaces, 41” x 7” x 9”

baldwin & guggisberg

TOOTS ZYNSKY A fusion of Impressionistic painting and sculpting of sensuous folds to create undulating forms of color and light that reveal the interior and exterior of the resulting glass pieces from any view. Zynsky’s sculptures are comprised of hair-like strands of glass (heat-formed filet de verre) arranged as two-dimensional paintings in the round, which are then heat fused and sculpted by hand in a kiln-formed process to reveal magnificent sculptures that resemble torch flames, flower petals and coral formations from the ocean. 130 Lincoln Avenue, Suite D, Santa Fe, NM 87501 | p (505) 983-9555 | f (505) 983-1284




THURSDAY, AUGUST 4 HistOriC KimO art gallEry, 423 Central Ave. NW, Alb. 505-768-3522. Faces and Places: group show. 6-8 pm.

FRIDAY, AUGUST 5 alan BarnEs finE art, 402 Old Santa Fe Trail, Santa Fe. 989-3599. Impressions of Europe: paintings by Matthew Alexander. 5-8:30 pm. artsPa P CE 111, 202 E. Palace Ave., Santa Fe. Pa 699-0058. First Friday Santa Fe: group show. 6-9 pm. BrigHt rain gallEry, 205½ San Felipe NW, Alb. 505-843-9176. Women and Wine: works by Tracy Carrera. 5-8:30 pm. COuntErr CulturE Café, 930 Baca St., Santa Fe. 995-1105. The Journey: photography by Myriam Negre. 8 am-8 pm. david riCHard COntEmPOrary, 130-D Lincoln Ave., Santa Fe. 983-9555. Venetian: paintings by Michael Cook. Spherical Triangles of Menelaus: paintings by Michael Schultheis. Journey in a Lifeboat: new glass works by Philip Baldwin and Lifeboat Monica Guggisberg. New Work: glass work by Toots Zynsky. 5-7 pm. dOWntOWn suBsCriPtiOn, 376 Garcia St., Santa Fe. 983-3085. New Work: paintings by Randy Getty. 5-6 pm. Eggman and Walrus art EmPOrium, 130 W. Palace Ave., Santa Fe. 660-0048. I Love You to Death: installation by Cannupa Hanska Luger Death with Jared Trujillo. 5:30-9 pm.

nEW COnCEPt gallEry, 610 Canyon Rd., Santa Fe. 795-7570. More is More: works by Aaron Karp, Luci Maki, and Tim Prythero. 5-7 pm. PalEttE COntEmPOrary, 7400 Montgomery Blvd. NE, Alb. 505-855-7777. Classic California: works by Wayne Thiebaud and Robert Bechtle. 5-8 pm. Patina gallEry, 131 W. Palace Ave., Santa Fe. 986-3432. Reverence for Rust: found-object assemblages by Polly Whitcomb. 4-7:30 pm. PEytOn WrigHt gallEry, 237 E. Palace Ave., Santa Fe. 989-9888. Modern Synchromism: paintings by Stanton Macdonald-Wright. 5-8 pm. PHOtO-EyE PHO

gallEry, 376-A Garcia St., Santa Fe. 988-5159. Dreaming in Reverse/Soñando Hacia Atrás: photographs by Tom Chambers. 5-7 pm. Atrás

turnErr CarrO arr ll gallEry, 725 Canyon Rd., Santa Fe. 986-9800. New Work: new paintings by Hung Liu. 5-7 pm. viv vO COntEmPOrary, 725 Canyon Rd., Santa Fe. 982-1320. Earthly Delights: new work by Russell Thurston and Creatio ex Nihilo: new work by Ann Laser. 5-7 pm. WEyriCH gallEry ry/t /tHE rarE visiOn art galEriE, 2935-D Louisiana Blvd. NE, Alb. 505883-7410. Interiority: ceramic works by Betsy Williams. 5-8:30 pm. zaPlin-l lamBErt gallEry, 651 Canyon Rd., Santa Fe. 982-6100. Unique Impressions–Taos Monotypes: Early Artists of Santa Fe Fe: group show. 5-7 pm.


gHOst POny gallEry, 1634 State Rd. 76, Truchas. 689-1704. Wide Open Places: new paintings by Trish Booth and Leonardo Pieterse. 4-7 pm.

WEDNESDAY, AUGUST 10 JOH OHn ruddy tExtilE & EtHnOgraPHiC art, 129 W. San Francisco St., Santa Fe. 989-9903. Antique and ethnographic textiles. 3-7 pm. taylOr a. dalE finE triBal art, 129 W. San Francisco St., Santa Fe. 670-3488. 25th Annual Exhibition of Antique African, Oceanic and American Indian Art Art. 3-7 pm.

FRIDAY, AUGUST 12 addisOn rOWE gallEry, 220 E. Marcy St., Santa Fe. 982-1533. Arizona Recollections: paintings by Mary Robertson. 5-7 pm.

riO grandE tHEatrE gallEriEs, 211 N. Main St., Las Cruces. 575-523-6403. Conceptual art by Marilyn Sahs. 5-7 pm.

JOH OHnsOns Of madrid gallEry, 2843 Hwy. 14, Madrid. 505-471-1054. Group show of artists, including photography by Michael Gallagher. 3-5 pm.

alExandra stEvEns finE art gallEy, 820 Canyon Rd., Santa Fe. 988-1311. Live, Laugh, and Love: oil paintings by E. Melinda Morrison. 5-7 pm. Love

santa fE Clay, 545 Camino de la Familia, Santa Fe. 984-1122. Ceramics by Steven Heinemann and Tom Phardel. 5-7 pm.

mEtallO gallEry, State Hwy. 14 N, Madrid. 505-471-2457. Architecture of Transformation: metal works by Cassidy Watt. 4-8 pm.

a sEa in tHE dEsErt gallEry, 407 S. Guadalupe St., Santa Fe. 988-4920. Opening Celebration– Testing the Water IIII: group show. 5-7:30 pm.

strangEr faC a tOry, 109 Carlisle Blvd. NE, Alb. 505-508-3049. Wretched Ties: multi-media works by Brandon Dunlap; figurative works by Paul Pavlovich. 6-9 pm.

Pyramid gallEry at tHE EnCaustiC art institut nstitutE, 18 Country Rd. 55-A, Cerrillos. 505424-6487. Mining the Unconscious III: group show of art inspired by Carl Jung’s Red Book. 1-6 pm.

axlE COntEmPOrary at Eight Modern, 231 Delgado St., Santa Fe. 670-5854. I am Animal, Vegetable, Mineral Mineral: group show. 5-8 pm.

tOuCHing stOnE, 539 Old Santa Fe Trail, Santa Fe. 988-8072. Quintessence: ceramics by Tadashi Ido. 5-7 pm.


gallEry, 1611-A Paseo de Peralta, Santa Fe. 989-4897. Holes, Walls, and Slabs: new works by Tom Miller. 5-7 pm. Slabs


gErald PEtErs gallEry, 1011 Paseo de Peralta, Santa Fe. 954-5700. Land Use/Misuse–The Celebration and Exploitation of the American Landscape: group show. Solo show: paintings by Landscape G. Russell Case. 5-7 pm. inPOst artsPa PaCE Pa aCE at the Outpost Performance Space, 210 Yale Blvd. SE, Alb. 505-268-0044. Jazz Images from the New Mexico Jazz Festival 2006-2010: photographs by Jim Gale. 5-8 pm. 2006-2010 lEWallEn gallEriEs dOWntOWn, 125 W. Palace Ave., Santa Fe. 988-8997. Bending Light: paintings by Jeanette Pasin Sloan and Steve Smulka. Clear and Present: glass works group show. 5:30-7:30 pm. manitOu gallEriEs, 123 W. Palace Ave., Santa Fe. 986-0440. Bronze sculptures by Star Liana York. Paintings by B.C. Nowlin. 5-7:30 pm. mariPOsa gallEry, 3500 Central Ave. SE, Alb. 505-268-6828. A Common Thread: group show. The Usual Suspects Suspects: sculptures and watercolors by Wesley Anderegg. 5-8 pm. mEyErr East gallEry, 225 Canyon Rd., Santa Fe. 983-1657. Paintings by Melinda Hall. 5-7 pm. mEyEr gallEry, 225 Canyon Rd., Santa Fe. Oil paintings by Robert Daughters. 5-7 pm. I Love You To Death: Death new work by Cannupa Hanska Luger—with Jared Trujillo—at Eggman & Walrus Art Emporium, 30 West Palace Avenue, 2nd floor. Reception: Friday, August 5, 5:30 to 9 pm.

| august 2011

continued on page 42

tHE magazine | 39


“I am at war with the obvious.”

1. Herb Ritts 2. Harry Benson 3. William Eggleston 4. Robert Stivers 5. Danny Lyons

HERE’S THE GREAT DEAL! $500 B&W full-page ads ($900 for color) in the September issue for artists without gallery representation in New Mexico. Reservations by Monday, August 15. 505-424-7641

OUT & ABOUT Photos: Mr. Clix, Dana Waldon,

Lisa Law, and Jennifer Esperazana

THE magazine’s MOVING SALE Saturday & Sunday August 13-14. 9 am-3 pm 1208-A Mercantile Road (off Rufina St.) Teema couch, 6 Larry Swann fabricated chairs, a hutch, ceiling fans, industrial light table, hanging lights, tables, 2 work stations, filing cabinets, California shelving system, misc computer and office stuff, artist’s catalogs ($4). Books ($1-$25), art & photo magazines ($1), photographs, art, and more.


On August 9, James Luna presents a multi-media exhibition from his project—Half Indian/Half Mexican And We Become Them—at the Museum of Contemporary Native Arts, 108 Cathedral Place, Santa Fe. Reception: 5-7 pm.

EigHt mOdErn, 231 Delgado St., Santa Fe. 995-0231. Outside the Realm: mixed-media sculptures and reliefs by Nancy Youdelman. 5-7 pm. EnCOrE gallEry at the Taos Community Auditorium, 145 Paseo del Pueblo Norte, Taos. 575-758-2052. A Retrospective: work by Paul Pascarella. 5 pm. ExHiBit/208 it it/208 , 208 Broadway Blvd. SE, Alb. 505-450-6884. August Group Show: first anniversary show. 5-8 pm. gEBErt COntEmPOrary, 558 Canyon Rd., Santa Fe. 992-1100. Paintings by Francisco Castro Leñero. 5-7 pm. gvg COntEmPOrary, 202 Canyon Rd., Santa Fe. 982-1494. Structured Fluidity: paintings, furniture, and lighting by Ernst Gruler. 5-7 pm. HuntErr KirKland COntEmPOrary, 200-B Canyon Rd., Santa Fe. 984-2111. Color and Contours: sculpture by Eric Boyer and paintings Contours by Charlotte Foust. 5-7 pm.

nEW mExiCO musEum Of art, 107 W. Palace Ave., Santa Fe. 476-5041. New Native Photography 2011: juried show. 5:30-7:30 pm. nüart gallEry, 670 Canyon Rd., Santa Fe. 988-3888. Archeologica Antica: paintings by Erik Gonzales. 5-7 pm. rOsWEll musEum and art CEntEr, 100 W. 11th St., Roswell. 575-624-6744. Natural Beauty: group show. 5-7 pm. silvEr sun gallEry, 656 Canyon Rd., Santa Fe. 983-8743. Beauty and the Beads: jewelry by Patricia Innes. 4-7 pm.

CHiarOsCurO COntEmPOrary art, 702½ Canyon Rd., Santa Fe. 992-0711. Thesis: ceramics, mixed-media sculptures, and 2-D tiles by Rose Bean Simpson. 5-7 pm. rising mOOn gallEry ry & art CEntEr, Abiquiu (on the main road across from Bode’s), 505685-4271. Grand Opening: eclectic works by local artists. 5-7 pm. sHErWOO r rWOO ds gallEry, 1005 Paseo de Peralta, Santa Fe. 988-1776. 2nd Annual Joint Show with Brant Mackley Gallery Gallery: Native American art objects. 6-9 pm.


staBlEs art gallEry, 133 Paseo del Pueblo Norte, Taos. 575-587-1076. De la Otra Banda: work by Nick Beason and Alberto Castagna. 5-8 pm.

sEtOn gallEry, 133 Seton Village Rd., Santa Fe. 995-1860. Seton Gallery and Archives Grand Opening. 1-4 pm. Opening

stEvE ElmOrE indian art, 839 Paseo de Peralta, Suite M, Santa Fe. 995-9677. The Hopi Canteen Collection: historic Hopi canteens, many by Hopi Collection potter Nampeyo. 5-7 pm.



BluE rain gallEry, 130 Lincoln Ave., Santa Fe. 954-9902. Celebration of Contemporary Native Art: group show. 5-8 pm. Art

marK suBlEttE mEdiCinE man gallEry, 602-A Canyon Rd., Santa Fe. 820-7451. Maria Martinez and Family’s 13th Annual Show and Sale. 3-5 pm.

203 finE art, 203 Ledoux St., Taos. 575751-1262. In Taos Once Again: works by Fritz Scholder. 5-7 pm.

CasE trading POst musEum sHOP at the Wheelwright Museum, 704 Camino Lejo, Santa Fe. 982-4636. Solo Show: jewelry by Denise Wallace. 2-4 pm.

mEyErr East gallEry, 225 Canyon Rd., Santa Fe. 983-1657. New Works: paintings by Robert LaDuke. 5-7 pm.

altErmann gallEriEs, 345 Camino del Monte Sol, Santa Fe. 983-1590. Altermann Galleries Art Auction. 12 pm. Auction

lEgEnds santa fE, 125 Lincoln Ave., Santa Fe. 983-5639. Observe/Recognize: works by contemporary Native artists. 5-8 pm.

musEum Of COntEmPOrary nativE arts 108 Cathedral Place, Santa Fe. 983-8900. Counting Coup: group show. Rock and Roll Photo Coup: Coup works by James Luna. Last Supper: works by C. Maxx Stevens. Opulence: group show. 5-7 pm. POEH musEum, 78 Cities of Gold Rd., Santa Fe. 455-5041. Hozho Nahastlii: American Indian art by Ryan Benally and Fritz. J. Casuse. 5-8 pm. rOBErt niCHOls gallEry, 419 Canyon Rd., Santa Fe. 982-2145. Coyote: new works by Diego Romero and his son Santiago Romero. 1-7 pm. stEvE ElmOrE indian art, 839 Paseo de Peralta, Suite M, Santa Fe. 995-9677. Dirt and Blood: collaborative works of acrylic stencils on clay between Santa Clara potter Susan Folwell and Apache artist Doug Miles. New Nork: ceramics by Santa Clara potter Jody Folwell. 5-7 pm.

FRIDAY, AUGUST 19 222 sHElBy B strEEt gallEry, 222 Shelby St., By Santa Fe. 982-8889. Trade: new paintings/mixedmedia work work by Jeffrey Gibson ( Choctaw and Cherokee). 5-7 pm. BluE r ain g allEry, 130 Lincoln Ave., Santa Fe. 954-9902. Annual Pottery Sale and Lottery: preview at 8 -9:45 am.; sale at 10 Lottery am. Celebration of Contemporary Native Art: paintings by Tony Abeyta, glass sculpture by Preston Singletary, and jewelry by Larry Vasquez. 5-8 pm. Eggman and Walrus art EmPOrium, 130 W. Palace Ave., Santa Fe. 660-0048. I Love You to Death: installation and performance by Cannupa Death Hanska Luger and Jared Trujillo. 6-9 pm. gErald PEtErs gallEry, 1011 Paseo de Peralta, Santa Fe. 954-5700. Creative Process: paintings by Darren Vigil Gray. 5-7 pm. gf COntEmPOrary, 707 Canyon Rd., Santa Fe. 983-3707. Graffiti Grill: paintings by CJ Wells. 5-7 pm. KarEn ruHlEn gallEry, 225 Canyon Rd., Santa Fe. 820-0807. New Mexico Influence—Color and Nature: exhibition of work by gallery artists. Nature 5-7 pm. marK suBlEttE mEdiCinE man gallEry, 602-A Canyon Rd., Santa Fe. 820-7451. New Works: works by Navajo artist Shonto Begay. 1-4 pm.

Santa Fe Indian Market on Saturday and Sunday, August 20 and 21, on the Santa Fe Plaza. Info:

42 | tHE magazine

mClarry mOdErn, 225 Canyon Rd., Santa Fe. 983-8589. New Paintings: new work by Poteet Victory. 5-7 pm.


2011 |


August 26 through September 23, 2011 Friday, August 26th, 5–7 pm


Number 0, 2006. Number 1, 2006. Number 9, 2006. Serigraphs on aluminum, 10 5/8 x 7 7/8 inches



435 South Guadalupe Street, Santa Fe, NM 87501 505 982-8111 Mon–Sat 10–5, Sun 12–4, or by appointment Railyard Arts District Walk last Friday of every month

TaosArtCalendar:August2011 See more at




Ongoing Exhibits

Encore Gallery Exhibits

Literary Events

through august 07 The Art of Order, installation by Natalie Carlton, Siena Sanderson, and Community Collaborators august 12 – september 22 The Art of Paul Pascarella, recent paintings

august 04 Summer Writers Series, John Nichols and Bill Davis, revisit If Mountains Die, Harwood Museum of Art august 11 Summer Writers Series, Layli Long Sodier and Orlando White, Harwood Museum of Art august 18 Summer Writers Series, Stan Crawford and Katherine Leiner, Harwood Museum of Art august 26 Summer Writers Series, Barbara Rockman and Ann Valley-Fox, Harwood Museum of Art

Agnes Martin painting installation Ken Price altar installation through september 05 For Roman: Drawings by Paul Sarkisian The Art of Cady Wells, 1933-53 Nod Nod Wink Wink: Conceptual Art in NM Ongoing Events

Children’s Art Classes, Saturdays Museum Store Trunk Shows, Saturdays Yoga in Agnes Martin Gallery, Wednesdays Selected Events

august 09 – 12 Puppets: Art Exploration with Cristina Masoliver Workshop august 12 Cady Wells lecture with Lois Rudnick august 20 Salon des Arts selected musicians from Music from Angel Fire, demonstrations and lectures august 26 Mediterranea Live from La Scala Ballet august 28 On Art: From Minimalism to Conceptualism lecture with Jeremy McDonnell


Stables Gallery

august 27 – september 10 arte de descartes XI, 90% recycled art show Ongoing Events

Film Series, Sunday afternoon, Monday and Tuesday evenings Events

august 04 Verdi’s Don Carlo Live from the Met in HD Encore august 06 The Princess and the Pea from Missoula Children’s Theatre august 07 Young Artist Concert Taos School of Music august 27 and 31 Taos Concert Music form Angel Fire Chamber Music Festival



Used Book Sale at SOMOS office, first Saturdays of the month, 10am-1pm Monday-Friday SOCIETY OF THE MUSE OF THE SOUTHWEST 575.758.0081


37th Annual Taos Fall Arts Festival september 23 – october 02 Two comprehensive exhibitions: Taos Select and Taos Open, Taos Convention Center open 10am – 5pm,


mEyErr East gallEry, 225 Canyon Rd., Santa Fe. 983-1657. New Works: paintings by Brian T. Kershisnik. 5-7 pm. Patina gallEry, 131 W. Palace Ave., Santa Fe. 986-3432. Rock the House: jewelry by Peter Schmid and Todd Reed. 4 pm. rOBE OBErt niCHOls gallEry, 419 Canyon Rd., Santa Fe. 982-2145. Indian Market Artists: work by Diego Romero, Santiago Romero, Alan E. Lasiloo, and Glen Nipshank. 11 am-7 pm.

photographs by Edward Ranney and Richard Benson. 5-8 pm. gllOBal artE BElla lla COntEmPOrary art, Don Gaspar and E. Alameda, Santa Fe. 474-5846. Embroidered Nature Nature: works by Eliza M. Schmid. 5-8 pm. silv ilvEr sun gallEry, 656 Canyon Rd., Santa Fe. 983-8743. Oils and acrylics by Dianne Dumas. 4-7 pm.

20, 11 am–4 pm. Glass blowing demonstrations with Preston Singletary. Fri., Aug 19 and Sat., Aug. 20, 11 am-3 pm. Info: Cany anyOn rOad’s first finE art gallEry, 200 Canyon Rd., Santa Fe. 988-1002. Travelogue: works by Pedro Surroca. Through Mon., Aug. 15. Info: CEEntEr fOr COntEmPOrary arts, 1050 Pecos Trail, Santa Fe. 982-1338. Kaleidospoke: bicyclethemed group show. Through Sun., Sept. 4. Info:

zan anE BEnnEtt COntEmPOrary art, 435 S. Guadalupe St., Santa Fe. 982-8111. Jewelry by Yazzie Johnson and Gail Bird. 5-7 pm.

viv vO COntEmPOrary, 725 Canyon Rd., Santa Fe. 982-1320. That Which is Luminous: works by Barbara Gagel. The Bits and Pieces: mixed-media works by Patricia Pearce. 5-7 pm.



CH HarlOttE JaCKsOn finE art, 554 S. Guadalupe St., Santa Fe. 989-8688. Sculpture and Drawings: work by Constance DeJong. Through Drawings Wed., Aug. 31. Info:

santa fE COmmunity mmunity COllEgE, 6401 Richards Ave., Santa Fe. 428-1501. Hell and Heaven: group show. 5-7 pm.

333 mOntEzuma annEx, 333 Montezuma Ave., Santa Fe. 982-8889. I See Men as Trees, Walking: works by Lucas Reiner. Through Mon., Sept. 12. Info:

CO OusE fOundatiOn, 146 Kit Carson Rd., Taos. 575-776-2885. Open House: Tour the historic studios of E.I. Couse and J.H. Sharp. Sat., Aug. 6, 5-7 pm. Info:

addis ddisOn rOWE finE art, 229 E. Marcy St., Santa Fe. 982-1533. Suspended Movement—The Female Form in Clay Clay: sculptures by Michael Young. Through Fri., Aug. 26. Info:

dEEstiny allisOn finE art, 7 Caliente Rd., Suite A-1, Eldorado. 930-4821. Art in the 21st Century Century: salon discussions. Art is a Crime: presented by Donald Rubenstein on Thurs, Aug. 4, 6 pm. Follow-up discussion on Thurs., Aug. 18, 6 pm. To reserve space: 428-0024.

FRIDAY, AUGUST 25 COrral rralEs BOsquE gallEry, 4685 Corrales Rd., Corrales. 505-898-7203. Bosque Journey: anniversary show. 5-8 pm. dElgad lgadO strEEt gallEriEs, Delgado St., Santa Fe. 990-2133. Discover Delgado Street Fourth Friday Gallery Walk: Walk with Pippin Meikle Fine Art, Randall Hasson Gallery, INART, Ordover Gallery, and Art of Russia. 5-7 pm. fisHE HEr r PrEss gallEry, 307 Camino Alire, Santa Fe. 984-9919. Archaeology and the Shape of Time:

allBuquErquE film fEstival at various locations in downtown Alb. 505-814-1333. Third Annual Albuquerque Film Festival Festival. Thurs., Aug. 18Sun., Aug. 21. Info: Blu luE rain gallEry, 130 Lincoln Ave., Santa Fe. 954-9902. Bronze patina demonstrations with Bronzesmith Foundry. Fri., Aug 19 and Sat., Aug.

Primitiv rimitivE art frOm nassEr and CO. gall allEry ry of New York City at the Eldorado Hotel and Spa, 309 W. San Francisco St., Santa Fe. By appointment only: 609-577-7742. Thurs., Aug. 11 through Tues., Aug. 16. Info:

El zaguan gallEry at the Historic Santa Fe Foundation, 545 Canyon Rd, Santa Fe. 9832567. New Works in Oil on Canvas: paintings by William Nelson McLane. Through Sun., Aug. 14. Info: gf COntEmPOrary, 707 Canyon Rd., Santa Fe. 983-3707. Magic Mirror: new paintings by Paul Shapiro. Exhibit runs through Thurs., Aug. 11. girls inC. Of santa fE on the Santa Fe Plaza and N. Lincoln Ave., Santa Fe. 982-2042. 39th Annual Girls Inc. Arts and Crafts Show Show. Sat., Aug. 6, 9 am-6 pm; Sun., Aug. 7, 9 am-5 pm. Info: grrEat sOutHWEstErn antiquEs sHOW at Expo New Mexico, 300 San Pedro Dr. NE, Alb. 505-255-4054. Thirteenth Annual Great Southwestern Antiques Show Show. Fri., Aug. 5 through Sun., Aug. 7. Har arWOOd musEum, 238 Ledoux St., Taos. 575758-9826. Under the Skin of New Mexico: The Art of Cady Wells, 1933-53. Nod Nod Wink Wink: Conceptual Art in New Mexico and Its Influences. Through Mon., Sept. 5. Info: Hunt untEr r KirKland COntEmPOrary, 200-B Canyon Rd., Santa Fe. 984-2111. Sculpture and mixed-media collage by Ted Gall and Michael Madzo. Through Sun., Aug. 7. Info: indian PuEBlO Cultural CEntEr, 2401 12th St. NW, Alb. 505-212-7052. Clay and Sculptural Forms Collaborative Workshop Workshop: with Kathleen

On Friday, August 19, at 8 pm., Dancing Earth performs at the James A. Little Theater—1060 Cerrillos Road. Info:

44 | tHE magazine


2011 |


ALAGalleries ARTSAtDISTRICT Lincoln Avenue ďŹ rst friday artwalk monthly ~ 5 - 7pm

Pippin Contemporary aleta pippin | perpetual motion

Evoke Contemporary louisa mcelwain | oil of joy

Allan Houser allan houser | works in stone

Niman Fine Art arlo namingha

Windsor Betts fritz scholder (1937 - 2005)

Legends Santa Fe sarah sense + steven yazzie

One Artist Road Fine Art featuring dee sanchez

Blue Rain Gallery tony abeyta | abstracts

David Richard Contemporary michael cook



Wall of Jemez Pueblo. Mon., Aug. 29 through Sat., Sept. 10. Info: institutE Of amEriCan indian arts at La Fonda, 100 E. San Francisco St., Santa Fe. 4245704. 2011 IAIA Benefit Auction. Wed., Aug. 17, 5 pm. Info: Jam amEs KElly lly COntEmPOrary, 1601 Paseo de Peralta, Santa Fe. 989-1601. Los Vaqueros: works by John Sonsini. Through Sat., Aug. 6. Info: Jan anE sauEr gallEry, 652 Canyon Rd., Santa Fe. Sense and Sensuality: porcelain works by Irina Zaytceva. Through Tues., Aug. 9. Info: lannan fOundatiOn gallEry, 309 Read St., Santa Fe. 986-8160. Avenue Patrice Lumumba: works by Guy Tillim. Through Sun., Sept. 4. Info: lOs ranCHOs agri-naturE CEntEr, 4920 Rio Grande Blvd., Los Ranchos. 505-897-9651. Retrospective of paintings by Carmine DeVivi. Mon., Aug. 15 through Fri., Sept. 30. mOnrOE gallEry Of PHOtOgraPHy, 112 Don Gaspar Ave., Santa Fe. 992-0800. History’s Big Picture: group show of classic photojournalism. Picture Through Sun., Sept. 25. Info: mOnrOE gallEry Of PHOtOgraPHy, 112 Don Gaspar, Santa Fe. 992-0800. Photojournalism-—

A Conversation Conversation: former LIFE magazine editors Richard Stolley and Hal Wingo discuss photojournalism. Fri., Aug. 5, 5-7 pm. Info: musEum Of COntEmPOrary nativE arts, 108 Cathedral Place, Santa Fe. 983-8900. In Session: discussion with James Luna and Patsy Phillips. Sat., Aug. 20, 2:30-3:30 pm. Info: nEW mExiCO musEum Of art, 107 W. Palace Ave., Santa Fe. 476-5072. Lecture by Sarah Greenough on her book My Faraway One: The Letters of Georgia O’Keeffe and Alfred Stieglitz Stieglitz. Wed., Aug. 3, 6 pm. Info: riCHard lEvy gallEry, 514 Central Ave. SW., Alb. 20 in 2011: group show. 505-766-9888. Fri., Aug. 19 through Sat., Oct. 1. Closing recption on Oct. 1. Info: riEKE studiOs, 416 Alta Vista St., Santa Fe. 988-5229. Muse: works by Gail Rieke. Fri., Aug. 5-Sun., Aug. 7, 10:30 am-7:30 pm. Info: santa fE art institutE, 1600 St. Michael’s Dr., Santa Fe. 424-5050. Workshops, lectures, and exhibitions throughout August. Info: santa Santa Series. Series Aug.

fE Clay, 545 Camino de la Familia, Fe. 984-1122. Summer Slide Lecture Wed., Aug. 3; Wed., Aug. 10; Wed., 17; 7 pm. Info:

santa fE indian marKEt on the Santa Fe Plaza, Santa Fe. 983-5220. Santa Fe Indian Market 2011. Sat., Aug. 20 and Sun., Aug. 21. Info: sCa s a COntEmPOrary art and artlaB studiOs, 524 Haines St. NW, Alb. 505-228-3749. In and Out of Whack Whack: works by Deb Karpman and Kimberly Hennessy. Lip Around a Stream of Air: works by Joe Barron and Danielle Miller. Through Fri., Aug. 26. Info: sHiPrOCK santa fE, 53 Old Santa Fe Trail, Santa Fe. 982-8478. “Thunderbird Jewelry of Santo Domingo Pueblo”: lecture by Roddy Moore. Sat., Aug. 20, 1 pm. Info: silvEr sun gallEry, 656 Canyon Rd., Santa Fe. 983-8743. Silver Sun Celebrates Turquoise: roundtable discussions. Fri., Aug. 5, 4-6 pm. Indian Market Celebration at the Silver Sun Sun. Fri. Aug. 19, 5-8 pm. Info: s fa WEst at the Santa Fe Convention sOfa Center, 201 W. Marcy St., Santa Fe. 312-5977632. SOFA WEST: Santa Fe 2011 and the Intuit Show of Folk and Outsider Art Art. Thurs., Aug. 4-Sun., Aug. 7. Info: st. JOHn’s COllEgE, 1160 Camino Cruz Blanca, Santa Fe. 984-6000. Dean’s Lecture and Concert Series. Info: Series tai gallEry, 1601-B Paseo de Peralta, Santa Fe. 984-1387. Hayakawa Lineage: bamboo art by the Hayakawa family. Through Wed., Aug. 10. Info: taO aOs art musEum, 227 Paseo del Pueblo Norte. 575-758-2690. A Russian Night in Taos: 7th Annual Gala Fundraiser. Sat., Aug. 27, 6 pm. Info: taylOr a. dalE finE triBal art, 129 W. San Francisco St., Santa Fe. 670-3488. Form, Function, and Design Design: collection of antique African, Oceanic, and American Indian objects. Through Sat., Aug. 6. Info: tErEsa nEPtunE studiO O/gallEry, 728 Canyon Rd., Santa Fe. 982-0016. Sevillanas Jam— Flamenco and Photography Fridays Fridays. Fri., Aug. 26, 6-7:30 pm. Info: tOast O Of taO aOs arts and WinE fEstival in and around Taos. 575-758-5007. 2011 Toast of Taos Arts and Wine Festival Festival. Thurs., Aug. 18-Sun., Aug. 21. Info: WarEHOusE 21, 1614 Paseo de Peralta, Santa Fe. 989-4423. Red Nation Film Festival. Thurs., Aug. 18, 11 am-9 pm. Info: WHitEHaWK a aWK antiquE sHOWs at the Santa Fe Convention Center, 201 W. Marcy St., Santa Fe. 992-8929. 28th Annual Antique Ethnographic Art Show. Thurs., Aug. 11-Sat., Aug. 13. 33rd Annual Show Indian Art Show Show. Sun., Aug. 14-Tues., Aug. 16. Info: WHitE sands intErnatiOnal film fEstival at various locations in Las Cruces. 575-522-1232. 2011 White Sands International Film Festival Festival. Thurs., Aug. 25-Sun., Aug. 28. Info: William siEgal gallEry, 540 S. Guadalupe St., Santa Fe. 820-3300. A Patterned Language: mixed-media works by Judy Tuwaletstiwa. Through Tues., Aug. 23. Info:

PERFORMING ARTS alBuquErquE tHEatr HE E guild, PO Box 26395, Alb. Various performances throughout August. Info: El Palacio magazinE at the Palace of the Governors, 105 W. Palace Ave., Santa Fe. 476-5200. Party with El Palacio Palacio: author Pam Houston at the New Mexico History Museum auditorium. 5 pm. Bluegrass band Breaking Blue, and poet Carlos Contreras. 6:30 pm. Info: Jam amEs a. littlE tHEat HE Er, 1060 Cerrillos Rd., Santa Fe. 476-6429. Our Bodies of Elements: dance performance by Dancing Earth. Tues., Aug. 9, 8 pm. Info: musEum Of COntEmPOrary nativE arts, 108 Cathedral Place, Santa Fe. 983-8900. Vestige Vagabond: art performance. Sat., Aug. 20, 12-1 pm; Vagabond Sun., Aug. 21, 11 am-12 pm. Info: musiC frO fr m angEl firE at Robertson and Sons Violin Shop, 3201 Carlisle Blvd. NE, Alb. 888-377-3300. Danzas Españolas—An Evening with Ida Kavafian and Friends: painted-violin auction and reception. Sun., Friends Aug. 14, 5 pm. Info: musiC frO fr m angEl firE in Angel Fire, Taos, Raton, and Las Vegas. 888-377-3300. Music from Angel Fire—28th Season: international chamber music festival. Fri., Aug. 19-Sun., Sept. 4. Info: natiOnal nal HisPani P Pani C Cultural CEntEr, 1704 4th St. SW, Alb. 505-246-2261. Night Over Taos: play by Maxwell Anderson. Thurs., Aug. 18, 8 pm. riO grandE tHEatr HE E, 211 N. Main St., Las Cruces. 575-523-6403. Concerts and theatre performances throughout August. Info: santa fE COnCErt assOCiatiOn at the Scottish Rite Masonic Center, 463 Paseo de Peralta, Santa Fe. 984-8759. A Festival of Song at the Scottish Rite Center: bass-baritone Daniel Okulitch and pianistCenter composers Lowell Liebermann, Glen Roven, and Ricky Ian Gordon. Tues., Aug. 2, 6 pm. Bassbaritone Eric Owens and pianist Joseph Illick. Sun., Aug. 7, 4 pm. Info: taO aOs mOuntain musiC fEstival, at the Taos Ski Valley, Taos. 866-515-6166. Taos Mountain Music Festival: two-day outdoor festival. Sat., Aug. 20 and Festival Sun., Aug. 21. Info: tHE lOdgE at santa fE, 750 N. St. Francis Dr., Santa Fe. 988-1234. Po’pay Speaks: performance by Robert Mirabel. Tues., Aug. 16 through Sun., Sept. 4. Info:

CALL FOR ARTISTS 516 arts, 516 Central Ave. SW, Alb. 505-2421445. ISEA2012 Albuquerque—Machine Wilderness: exhibition and call for proposals. Deadline: Sat., Oct. 15. Info: tHE dOña ana arts COunCil, 211 N. Downtown Mall, Las Cruces. 575-523-6403. Second Annual Color Las Cruces Plein Air Competition and Community Arts Festival Festival. Deadline: Sept. 9-Sept. 11. Info: santa fE arts COmmissiOn, 200 Lincoln Ave., Santa Fe. 955-6707. 8th Annual Art-OnLoan Exhibition Exhibition. Deadline: Fri., Aug. 26. Info:

Paintings, drawings, and lithographs by Fritz Scholder at 203 Fine Art, 203 Ledoux Street, Taos. Reception: Saturday, August 13, 5 to 7 pm.

46 | tHE magazine


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Santa Fe Art Institute - August

Environmental Scientist, Dr. T Allan Comp “Art, Science and Recovery: a Santa Fe River Exploration” Lecture: Fri 8/26, 6pm Tipton Hall. $10 general | $5 students/

iscover d delg ado

Canyon Road’s Hidden Treasure

seniors/educators. Workshop in collaboration with the Santa Fe Watershed Association and the Rail Yard Stewards: Sat 8/27, 9am-5pm. Tour of Santa Fe River/Watershed areas: Sun 8/28, 9am-noon SFAI, $200 includes lunch, transportation to River/Watershed sites (sliding scale fees available). Exhibition: T. Allan Comp & Greg Sholette 8/12 – 9/16, MF 9am-5pm SFAI, Free

4th Friday G allery walk August 26 5-7 pm

Writing for Artists: Think! Express! Create! A workshop with Critic & Curator Robert Atkins. Wed 8/3 6-8pm, Sat 8/6 1- 4pm Mon 8/8 6-8pm, Wed 8/10 6-8pm, Sat 8/13 1- 4pm, SFAI Fee for the five session workshop: $200 (sliding scale fees available) Choreographer & Dancer Rulan Tangen Artist Talk, Fri 8/12 6pm, Tipton Hall, $10 general | $5 students/seniors/educators Artists & Writers in Residence August Open Studio Thursday 8/25, 5:30pm SFAI, Free WWW.SFAI.ORG, 505- 424 5050, INFO@SFAI.ORG, SANTA FE ART INSTITUTE, 1600 ST.MICHAELS DRIVE, SANTA FE NM 87505 | THE SANTA FE ART INSTITUTE EXPLORES THE INTERCONNECTIONS OF COMTEMPORARY ART AND SOCIETY THROUGH ARTIST AND WRITER RESIDENCIES, PUBLIC LECTURES AND WORKSHOPS, EXHIBITIONS, & EDUCATIONAL OUTREACH









d e l g a d o s t r e e t g a l l e r i e s . c o m


a proud partner with the Santa Fe Symphony Orchestra & Chorus 2011-12 Season

visit our new downtown location: 217 west water street santa fe, new mexico 87501 505.983.1012


Coyote: Diego Romero and Santiago Romero August 18 through August 24 Robert Nichols Gallery, 419 Canyon Road, Santa Fe. 982-2145 Reception: Thursday, August 18, 1 to 7 pm, and Friday, August 19, 11 am to 7 pm. In Cochiti lore, the coyote is a trickster and cheat, notorious for antagonizing others with its follies. In one legend, the coyote is responsible for carelessly spilling Our Mother’s Jar of Stars into the sky before they could be put in order. This month, Robert Nichols Gallery will exhibit a father and son show, themed on the roguish coyote. Diego Romero, known for his anachronistic and oftentimes humorous pottery, will exhibit works illustrating the coyote’s various escapades. Romero’s coyotes are painted in the style of ancient Mimbres pottery, with geometric figures and diamond-shaped eyes. However, these coyotes misbehave in a modern world—they destroy truck engines, drink booze, and party under the moon with dancing hounds. Recently, Romero’s son, Santiago, began producing a series of coyote sculptures. These small, playful works will be exhibited alongside Diego Romero’s pottery. Santiago, who is in his early twenties, grew up surrounded by his father’s work, and later studied with Roxanne Swentzell, known for her expressive sculptures. Like Swentzell and his father, Santiago does not strictly adhere to traditional methods; he incorporates graffiti techniques into the decoration of his sculptures. Both Diego and Santiago Romero’s coyotes slyly walk the edge of Native American art, pilfering from the provisions of tradition and innovation. Like all good

Diego Romero (Cochiti), Coyote & Dog, ceramic bowl, 10” diameter, 2011

tricksters, however, they always seem to come out on top.

Santiago Romero (Cochiti), Coyote #2, ceramic sculpture, 10” high, 2011

Rose Bean Simpson: Thesis August 13 to September 10. Chiaroscuro Gallery, 702 Canyon Road, Santa Fe. 992-0711 Reception: Saturday, August 13, 5 to 7 pm. Daughter of Native American sculptor Roxanne Swentzell and contemporary artist Patrick Simpson, Rose Bean Simpson explores her multi-cultural identity through writing, music, dance, and visual art. In a panel discussion at SITE Santa Fe’s 2008 Biennial, Simpson expressed frustration at the commonly held perception that there is a separation between indigenous and contemporary arts. Consumer expectations, she stated, have placed Indian artists into a box, squelching their ability to evolve. Simpson constantly defies these expectations, fearlessly exploring the potentialities of different artistic mediums to express her personal truths. She studied at the University of New Mexico and the Institute of American Indian Arts, and recently completed an MFA in Ceramics at the Rhode Island School of Design. Thesis is a presentation of nearly twenty works Simpson created while pursuing her MFA. These ceramic, mixed-media, and two-dimensional works—both figurative and abstract—strive to unify the concepts of “art” and “life.” Thesis promises to bring into question any preconceived notions regarding Native American art, reminding the viewer that no matter the ancestry of the artist, art is primarily the expression of creativity and experience.

3rd Annual SOFA WEST: Santa Fe 2011–The Intuit Show of Folk and Outsider Art August 4 through August 7 Santa Fe Convention Center, 201 West Marcy St., Santa Fe. 1-800-563-7632 Opening Night Preview ($50): Wednesday, August 3, 5 to 9 pm. Vacant coffee tables and blank walls rejoice: SOFA—the Sculpture Objects and Functional Art show—is returning to Santa Fe for its third year. Focused on bringing attention to the oft-snubbed functional arts and decor, SOFA WEST is Santa Fe’s premier opportunity to peruse contemporary decorative art. Approximately twenty-five galleries will exhibit works both functional and conceptual, including ceramics, textiles, art jewelry, and glasswork. SOFA WEST is proud to host several new international galleries in 2011, including Flow Gallery of London, England and Maria Elena Kravetz Gallery of Cordoba, Argentina. Three Santa Fe galleries are also participating: David Richard Contemporary, Jane Sauer Gallery, and TAI Gallery. This year, an exciting new venue is joining SOFA WEST—The Intuit Show of Folk and Outsider Art, which features raw, emotional works created by untaught artists that fall outside the mainstream art market—such as art brut, non-traditional folk art, self-taught art, and visionary art. Both events will be accompanied by a lecture series. Henry Darger, Ribbon Tailed Angel Winged Gasonian, watercolor and graphite on paper, 14” x 17”, nd. Courtesy: Judy A. Saslow Gallery, Chicago

David Pearson, Blue Moon, bronze, 24” high, 2008

Rose Bean Simpson, The Answer that Ended Creation, ceramic. 6” x 8” x 20”, 2011

48 | THE magazine

| august 2011

Abstract Show T O N Y A B E Y TA

August 5–13, 2011 in Santa Fe Artist Reception: Friday, August 5th from 5–7 pm

The Climb, oil on canvas 74"h x 68"w

Blue Rain Gallery | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 | 505.954.9902 | Blue Rain Contemporary | 4164 N Marshall Way, Scottsdale, AZ 85251 | 480.874.8110


Land Use/Misuse: The Celebration and Exploitation of the American Landscape August 5 through October 1 Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700 Reception: Friday, August 5, 5 to 7 pm. Why do Americans paint landscapes? In the colonial era, America’s scenery was depicted for practical purposes. Pictures of farms and cities enticed Europeans to venture to the New World. Colonists included landscapes in the backgrounds of their portraits in order to establish America as a part of their identity. In the early 1800s, the subject transformed when the American landscape became associated with Manifest Destiny. The vast plains, craggy mountains, and roaring rivers of the American West symbolized limitless opportunity and the hope of future prosperity. The artists who captured these landscapes also captured the idealistic belief in progress; the Hudson River School is especially noted for its almost religious devotion to the landscape. However, it wasn’t long until artists realized that the celebrated Western landscape was being exhausted of its resources. In 1856, George

Michael Scott, Old Growth Forest, oil on linen, 76” x 91”, 1992

Inness painted The Lackawanna Valley. This painting of a

Steve Smulka, Sentinel, oil on linen, 50” x 60”, 2011

railroad is noted for the field of gravestone-like stumps in the foreground, and is often seen as an early commentary on the price of westward development. Land Use/Misuse reflects on the evolution of the American landscape as a manifestation of American attitudes, focusing on the relationship between the land and the artist. This collection begs an important question: What is the future of the American andscape? This exhibition is principally comprised of contemporary paintings and photographs, and features works by Michael Scott, Chuck Forsman, Karen Kitchel, William Clift, Eric Aho, and John Alexander, among many others.

Bending Light: Jeanette Pasin Sloan & Steve Smulka August 5 through September 5 LewAllen Galleries, 125 West Palace Avenue, Santa Fe. 988-8997 Reception: Friday, August 5, 5:30 to 7:30 pm. Jeanette Pasin Sloan brings still life painting to the edge of abstraction with her meticulous renderings of reflection and distortion. Evoking Op Art’s investigations into the dynamics of vision, her images of polished domestic objects reflecting the geometric patterns of decorator fabrics address the continuing resonance of Modernist aesthetics through their precision of design and composition. Her distinctive artworks in oils, gouache, and watercolor, are included in such significant public collections as the Metropolitan Museum of Art, the Art Institute of Chicago, and the National Gallery of Art, among numerous others. Steve Smulka has garnered international recognition for his novel approach toward contemporary realism. Extending the focus of the still life genre to annex elements of landscape painting, his work blurs the divide between traditional artistic categories. Further distinguished by his signature motif—the subtle modulations of light passing through oversized bottles, jars, and decanters—Smulka’s art has been collected by the Aldrich Contemporary Art Museum, the Oakland Art Museum, and the Scottsdale Museum of Art, among many others.

50 | THE magazine

| august 2011




maurice burns by jon carver


ridden the extraterrestrial craft

College of Art in London and the name of Kitaj comes up. Burns points out that Whistler

over the bounding waves of a glitch

always saw his own talent for realistic depiction as a kind of hindrance, a burdensome gift

beat. You’ve visited with the Eggman

that stood between him and true expression.

and come away inflated. You tugged on the Cannupa at the appropriate moment. Axle is on

The left panel of the diptych was originally all white, he explains. And when he

a roll and the Museum of Contemporary Arts induces visions. You’re intrigued by the Rex

says that, I can see how this minimalist juxtaposition of light and dark determines the light

Ray show coming up at Turner Carroll. Yet the galleries seem listless. Skotia’s come and

at work in the painting. But at this point in his process, he has worked across the two of

gone, Canyon Road’s stayed too much the same. The Railyard galleries are architecturally

them, applying rich blues and blacks on the white ground to bring Monk into a space, not

sexy and aesthetically vacuous, and as afraid to make bold statements as a freshman at

quite architectural yet, that contains the aforementioned horn section (kicking in) and a

senior prom. As rich as Santa Fe is in terms of artistic activity, your visual art appetite

weird bright blob of flattened cubist piano player—a hand, some stripes of keyboard, a

remains only half sated.

head that appears to be deflated like the toy balloon heads in the opening scenes of Rene

Your cup is half full, and that’s a good thing, but haven’t you always fancied yourself

Clair’s Dadaist film Entr’acte. The whole is crisscrossed with laser light show lines of color

as more the runneth-over type? Why not impose yourself upon artists in their studios and

that plot the golden mean ratios of the two vertical rectangular canvases and the larger

get the stuff uncut at the source, before the market (what market?) dilutes the content and

horizontal rectangle they comprise

authenticity. Now you’re thinking. And isn’t that the way it’s headed? As the top-heavy fine art market closes its doors to all but the unproductive uber-rich, as its primacy as the center of the visual culture collapses, multi-centers will of necessity and opportunity install themselves. A margin will be born of the global bounceback. As the value of the local and the homegrown increases, Art may revert to art again, and the prophets and the artists, always the first to dive into the next new riptide, will ultimately be better for it. So I went to see figurative painter Maurice Burns at his studio loft, off Airport Road, where he paints and resides. He’s at work on a diptych in dark blues and blacks with occasional outbursts of color that read like the horn section kicking in against a low growling groove. One of the large canvases is almost fully occupied with a larger-than-life head, a

The artist’s palette

portrait from the neck up of one Thelonious Monk, great jazz pianist and composer, in profile. Burns is laughing and calling it “a black velvet technique” as he’s working light paint over what he informs me was originally an all-black panel. Despite his humility, his approach

Another painting holds a Hockney-esque rendering of Jimi Hendrix along a stretch

here of fast and loose brushwork scumbled over the dark ground has a remarkable ease

of canvas painted part western highway and part Raymond Saunders sketchbook page.

and vigor that perfectly sketches the volume and light of his subject’s face.

It might be the best of the number of large compositions that hang in the loft, because who

Naturally this leads to a discussion of folks like Rembrandt and Velázquez; even the name John Singer Sargent gets bandied about with terms like “painterly facility” and such. Burns is a natural-born naturalist. We talk about his influences during his time at the Royal

doesn’t love Hendrix? And the balance of random imagery surrounding him is perfectly enigmatic. Excuse me, while I kiss the sky. Burns speaks fondly of the late Arlene LewAllen who put him in a number of shows and sold one of his pieces to Gene Hackman. Oddly enough, Burns isn’t currently represented in Santa Fe. This is strange because he’s an extremely talented painter with a long and successful career, including impressive degrees and multiple prestigious residencies. Is it because he’s of African American ancestry? Is it because he likes to paint pictures that, in his words, “honor black musicians?” Is it because it’s easier to look at the meaningless black and white stripes of some exhausted minimalist abstraction than see African faces in an oil painting, even at this late date? Despite a president who identifies as African American, this country still has a long way to go before becoming post-racial. And the Santa Fe art scene has a long way to go in terms of comfortably presenting work with actual content. In the meantime, contact Maurice Burns at D Jon Carver is a visual artist, art writer, eduCator, and Curator. sinCe 1999, he has lived off-the-Grid at the BaCK a aCK of a Box Canyon in laMy, new MexiCo.

| august 2011

tHE magazine | 53 View of Burns’ studio


Historic, Classic, and Innovative Native American Pottery

august 18–24 InDIan MaRKet aRtIsts: Diego Romero (Booth 509 SF), Alan E. Lasiloo (Booth 331 FR-N) and Glen Nipshank (Booth 328 FR-S)

COYOtes anD MasKs: Introducing Santiago Romero + LegaCY WORK: Nathan Begaye (1959–2010) 419 Canyon Road, santa fe, nM 87501 | 505.982.2145 |


Ceremonial Cave by

Delmar Boni (San Carlos Apache)

Oil on Canvas, 24” x 36”, 1984. Collection of Lynne and Albion Fenderson The Ga’an are mythical figures in the Apache tradition, believed to be the tribe’s spiritual ancestors. The Ga’an also serve as protectors against evil—such as enemy tribes and diseases. In traditional Apache ceremonies, they are represented by Crown Dancers, named for their elaborate wooden headdresses, which can be up to three feet high and are created by the dancers themselves. Five male dancers participate, four to represent the four sacred directions—North, South, East, and West—and the fifth representing a messenger or clown. The dancers paint their bodies with black-and-white designs signifying lightning, mountains, animals, and the evil spirits they hope to ward off. They are often present during coming-of-age ceremonies for young women. Apache leader and artist Delmar Boni depicts the Ga’an dancers in his 1984 painting Ceremonial Cave. This and many other works by Native Americans illustrating their tribes’ traditional ceremonies will be on view at the Heard Museum—2301 North Central Avenue, Phoenix—through September 5. The exhibition—The Art of Ceremony: American Indian Painting of the 20th Century—is largely comprised of works by Southwestern and Plains Native artists, but also includes art from other North American regions, including pieces by Nicolás Reanda Quieju, a Guatemalan Tzutujil Maya artist. Whether depicting richly detailed single figures or a complex gathering, artists from different regions have made works that convey the power and beauty of ceremonies that are central to their lives. This exhibition offers insight into Native artists’ visions of ceremonial life within their individual communities. D

| august 2011

THE magazine | 55


F eature

thinking by Kathryn M Davis


naTIVE art

Left: James Luna, From the performance End of the Frail. 1991. Photo: Richard Lou. Right: James Earl Fraser, End of the Trail, plaster, 1915 (restored 1958).


the United States

way was cleared for ennobling once-threatening “savages.”

the end of the line—not a century ago, and certainly not

codified Manifest

Thus, the cult of the Noble Savage emerged and was


Destiny, in the

magnified through the lens of the literary and visual arts.

By the late nineteenth century in New Mexico, European-

nineteenth century, the West, with its seemingly boundless

Native people—at least in the mind’s eye of mainstream

schooled painters such as Joseph Henry Sharp and the Taos

frontiers, suggested a haven of opportunities where rugged

Euro-Americans—came to personify the exotic Other. This

School of Artists saw a viable prospect in presenting imagery

individualism could prevail. The problem, of course, was

stereotyping merely shifted one misconception to another:

to their East Coast patrons—including the Rockefellers and the

that people already inhabited said West. U.S. policy meant a

from heartless savage to valiant citizen of a lost Eden. As

railroad magnates who sought tourists to ride their trains—that

diaspora for many indigenous peoples, legions of whom had

early as 1857, John Mix Stanley depicted The Last of Their

was “Western” according to popular interpretations at the time.

already been forced from the East Coast into the Great

Race, with a Native family pushed to the final geographic

This often meant that local Taoseños got themselves up in Plains

Plains with the arrival of English settlers. There was one

limit, the Pacific Ocean. They huddle at the shoreline: What

Indian accoutrements, supplied by the artists, to pose in heroic

clear-cut yet tricky obstacle to preordained destiny as

is to become of them? By 1915, it was widely believed that

stances. Never mind that the Pueblo people didn’t generally wear

perceived in the District of Columbia: Plenty of Native

Indian people must assimilate or die out: End of the Trail,

beaded buckskin and feathers; the romanticized Noble Savage

American communities didn’t seem particularly willing to

sculpted by a well-meaning James Earle Fraser, remains

sold art. The railroad also offered its patrons the uniquely thrilling

disappear. After several decades, however, “the Indian

an iconic, and ironic, image in the minds of Americans,

opportunity to meet “real Indians” and buy their pottery, jewelry,

problem” looked as if it had been suitably dispatched, as

particularly indigenous Americans. Contemporary artist

baskets, and rugs, a mutual attraction that thrives today under the

exemplified by the capture in 1886 of Geronimo and his

James Luna’s and other Native artists’ subversions of the

portal of Santa Fe’s Palace of the Governors.

band of rebels. Once indigenous populations no longer

piece propose that the trail is not a dead-end one. It made a

When it became apparent early in the twentieth century that

endangered the nation-building ambitions of the U.S.A., the

critical fork, perhaps, but indigenous culture hardly reached

Indian culture had somehow survived, at least in the Southwest, continued on page 58

| august 2011

THE magazine | 57

it was accepted that an authentically “Native” aesthetic could be

as the Bauhaus and Der Blaue Reiter. Indisputably, the work

that we’re doing here, because we’re not an ethnographic or

identified and encouraged. Instructor Dorothy Dunn positioned

produced at IAIA during the late ’60s into the ’70s marked a

anthropological museum, we’re contemporary…. We’re the

the curriculum at her Studio School, which opened in 1932 at

turning point in the trail that Native artists had been led to believe

only venue in the world doing exhibitions that really push the

the Santa Fe Indian School, around a “flat style” of painting based

terminated decades ago. Not only did the trail continue, it became

boundaries of expectations. Visitors are challenged here; they

in part on pottery decorations and rock art. It is significant that

a wide boulevard with numerous and varied intersections.

come in expecting to see baskets, for example.”

she discovered Native art as specimens of cultural anthropology

After the IAIA renaissance pointed to an open-ended

The controversy about assigning tribal affiliation to artists’

at Chicago’s Field Museum in 1925; for her, indigeneity was

and vital indigeneity, succeeding generations continue to be

names has been on the table for at least a couple of decades.

inextricably linked to a fixed past. Dunn didn’t wish to burden her

instrumental in redefining “Native Art” on an international

Phillips feels that “it’s not necessary for Indians to identify as

students unnecessarily with such complicated European notions

level. Ceremonial, an installation of works by Indian artists

Indians. I think we’re beyond that. Artists want to be recognized

as modeling and chiaroscuro, perspective, even anatomy. Among

including Bob Haozous, Jaune Quick-to-See Smith, and Harry

for their art, and I totally appreciate that…. As a Native person,

her students were Allan Houser—perhaps the most recognized

Fonseca, among many others, was presented at the Venice

I know people by their tribes. It’s just something that we do.”

name in Native sculpture today, once he freed himself to make

Biennale in 1999—to what curator Nancy Marie Mithlo noted

This pertains to social identity, but these days it is more frequently

monumental, abstracted figures in stone and bronze—Harrison

was a reaction of profound indifference. Mithlo wrote that this

up to the individual artist to be identified by their “Indian-ness.”

Begay, Pablita Velarde, and Pop Chalee, names that command

“apparent indifference to Native arts suggests exhibition alone

This issue has been discussed at least since the ’80s by many

increasing respect in museums and private collections.

is insufficient. Meaningful appraisals that incorporate alternative

transitional artists. Tony Abeyta is one of those artists, and he

Dunn’s Studio closed in 1962, and the Institute of American

artistic worlds—what Robert Storr, curator of the 2007 Venice

has this to say:

Indian Arts was established. Faculty and students at the IAIA

Biennale, takes pains to reference as multiple ‘sites of art’—are

quickly moved past Dunn’s restrictions, welcoming the influence


“There are two Native American creative positions; one is rooted by tradition: Generally the culture dictates the subject

of everything from British Mods to rock ’n’ roll to Pop Art. In

As evidence of its commitment to creating a viable “site

and quite often the subject finds its inspiration from tribal subject

2000, Charleen Touchette curated an excellent retrospective, IAIA

of art,” the IAIA Museum recently changed its name to the

matter, utilitarian, and even ceremonial sources. The departure

Rocks the ’60s, to mark what has been called the “IA Renaissance,”

Museum of Contemporary Native Arts. The museum has been

that has been part of contemporary Native expression often

described by Touchette as “an explosion of creative genius.”

in existence for some forty years, but by 2008, notes MoCNA

references the culture but manifests in far more liberated

Peggy Guggenheim thought it a crucial enough moment in art

director Patsy Phillips, it was clear that “the public was confused

expressions. Contrary to many opinions, one is not better

that she visited the Institute in 1967, where she saw works by

regarding our mission and mandate. Part of the confusion was

than the other: We are who we were. Traditional art … often

painters including Fritz Scholder, T.C. Cannon, and Billy Soza.

attributed to the museum’s name.” People entering the galleries

follows very specific cultural policing, limiting what subjects

Guggenheim was reminded of the vibrancy she’d found in

were actually heard to ask, “Where’s the ‘Indian’ art?” MoCNA’s

can be painted or creatively explored. At times contemporary

the New York studios of Robert Rauschenberg, Jasper Johns,

decision to rebrand an historic institution in order to further its

Native art reacts against this. It’s interesting to me to see such

Ellsworth Kelly, and Agnes Martin in the ’50s. The IAIA artists

status as a destination for contemporary indigenous artists and

diverse departures in Indian art, much of which reacts against

considered themselves the avant-garde of Indian painting; they

their work has not only enhanced its reputation in the discourse

the marketplace and commercial venues, and often aligns with

were “determined to create a specifically Indian expression of

surrounding Native arts, but marked it as a significant player

street art and urban expressions. Generally you see this within a

modernism,” often comparing themselves to such earlier groups

internationally. Phillips asserts, “I think it’s really important work

younger group of artists.”

F eature

Among artists who have spent their careers making “diverse

X award-winning films by emerging, indigenous filmmakers.

contemporary culture, at least in terms of its graphical influences

departures” within more-or-less traditionally Native art, Bob

New-media venues abound in Santa Fe: one of the best of its

and the sensibilities of post-punk urbanity. Similarly, an even

Haozous stands out as transformative. Known for steel sculptures

kind can be found on the campus of IAIA. In November, the

younger artist, Phillip Vigil, seeks his identity as a contemporary

that “successfully wed Native … imagery with powerful form and

Institute premiered its fully articulating digital dome, which,

creative type who is also an indigenous person. He is self-taught,

a sharp, unequivocal wit aimed at contemporary American life,

according to dome director and instructor Ethan Bach, is like no

inspired to draw because of his love for the comic strip Calvin and

[Haozous confronts] ‘the white man in all of us’” (Lucy Lippard,

other in the world. Like a cross between an IMAX theater and

Hobbes by Bill Watterson. When Vigil discovered that Watterson

catalogue essay, IAIA Museum exhibition: “Bob Haozous—

a planetarium, the dome features surround sound and six film

had professed his muse to be the iconic Charles Schulz of

Indigenous Dialogue,” 2005). Charlene Teters, an installation

projectors. The dome can be raised all the way up to the ceiling,

Peanuts fame, Vigil read a biography on the latter. Says Vigil, it was

artist and activist who fought to end the practice of using Indian

tilt from zero to 90 degrees, or come down nearly to the floor.

Schulz’s “simplicity” that moved him. “He did so much with so

names and motifs as mascots for sports teams, draws from her

Imagine crawling under the curved screen for a full-immersion

little. That just amazes me.”

family and tribal identity to produce powerfully evocative and

digital-art experience, or standing solo on a ladder in front of the

Today’s Native artists, along with their collectors, are

wholly contemporary art. David Bradley uses gouache on canvas

dome: “It’s like experiencing the edge of the Grand Canyon,”

subverting old boundaries and expectations. Whether or not

to make intricately populated scenes of Indians, Anglos, tourists,

says Bach. With this kind of technology, look to IAIA’s graduates

artists choose to post their tribal affiliation beside their names

and celebrities—no one is safe—to poke fun at the notion of

for a refreshing view of indigeneity in art.

remains a delicate matter. As Hanska Luger puts it, “I don’t like

“Indian-ness” as a commodity. He has said that “to be an artist

Some young artists find that making work without being

the idea of anything being mandatory. It’s like Jews having to

from the Indian world carries with it certain responsibilities. We

relegated to tribal affiliation is complicated because their

wear the Star of David in World War Two. There’s an element

have an opportunity to promote Indian truths and at the same

indigenous identities are something they value individually

of ethnic labeling to it. Even the idea of the C.I.B. (Certificate

time help dispel the myths and stereotypes that are projected

and communally. Cannupa Hanska Luger showed his clay and

of Indian Blood) card is a scary slope; Native Americans have

upon us.” Diego Romero uses the distinctive form of Mimbres-

multimedia animal-human figures recently at Tower Gallery

taken on a kind of internalized racism.” Perhaps the day will soon

style bowls as a clay foundation for his heavily linear paintings

in Pojoaque; his work captures the urges of “a generation that

come, one young artist hopes, that he can “show work at the Los

of, say, Manet’s Olympia gone Native; like Bradley’s, Romero’s

tends to eschew abstraction in favor of more direct content…

Angeles County Museum of Art, not necessarily with the words

humor is bracing.

with anime-inspired, sophisticated quasi-cartoon stylings….”

‘such and such tribe’ next to my name.”

This August, the Southwestern Association for Indian Arts

(Jon Carver, THE magazine, July 2011). Hanska Luger and

(SWAIA) presents the ninetieth Santa Fe Indian Market, New

fellow clay and conceptual artist Rose Bean Simpson follow the

Mexico’s largest annual cultural event. The scope of traditional

thousands-of-years-old course of their Pueblo ancestors in that

Indian art has transformed itself across time. In addition to

they make earthen art; both, however, are profoundly a part of

Kathryn M Davis is an art historian, writer, editor, educator, and curator, specializing in contemporary American art and critical theory. Davis also teaches art history at the Santa Fe University of Art & Design.

the usual painting, sculpture, jewelry, and textiles at Market, literary and culinary arts are now featured. Significantly, for the last several years SWAIA has offered a cutting-edge attraction: the Native Film Festival, highlighted this year by a screening at the New Mexico History Museum of the 2011 Classification

| august 2011

Images clockwise from top left: Bob Haozous, Cultural Crossroads of the Americas, steel, 29’ x 25’, 1996; T.C. Cannon, Woman in the Window, woodblock print, paint, ink, pencil on paper, circa 1970; David Bradley, Pictures at an Exhibition, giclée on canvas, 15” x 42”, circa 2008 Cannupa Hanska Luger, Chimera, installation view at Tower Gallery, 2011; David Bradley, Sleeping Indian, acrylic on canvas, 48” x 60”, circa 2008; Rose Bean Simpson, Self-Portrait, ceramic and mixed media, 2004; Phillip Vigil, Untitled, pastel on paper, 2010; Harrison Begay, Yei Food Collectors and Initiators of Youngsters Who See Yei for the First Time, acrylic on board, 22” x 30”; and Billy Warsoldier Soza, Elka # Four, oil on canvas.

THE magazine | 59

H I R S C H F I N E A RT Museum Quality Works on Paper For the New to Experienced Collector

MONROE GALLERY of photography

Photojournalism A C O N V E R S AT I O N

History’s Big Picture





























©John Filo: Mary Vecchio grieving over slain student, Kent State, May 4, 1970



A very special evening of conversation between two of the preeminent names in American journalism, Richard Stolley and Hal Wingo. They will be discussing photojournalism – its past, its present, and its future in conjunction with the exhibition "History's Big Picture". Seating is limited and on a first-come basis


BY APPOINTMENT 505.988.1166


Time, Life, and People Editors Richard Stolley and Hal Wingo Discuss "History's Big Picture" Friday, August 5 • 5-7 pm

Celebrating Ten Years in Santa Fe Open Daily

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

fiduciary fəᶥdōōSHēˌerē

(n.) A person who acts for another with total trust, good faith, and honesty.



STEVEN HEINEMANN · TOM PHARDEL August 5 - September 17

Keith K. Anderson

Registered Investment Adviser

505.984.2563 2227 Calle Cacique Santa Fe, New Mexico 87505 New clients by referral only.

545 Camino de la Familia, Santa Fe, NM 87501 505.984.1122



225 Canyon Road • 505.983.8589





for the creative community print digital

505 982 0355

KEY SANDERS “Untitled” archival pigment print 13 x 19 inches

This Artist’s page sponsored by Santa Fe Capital Management, LLC A Fee Only Financial Planning & Investment Advisory Practice (Investments $500,000 and up) Sam DeLuca, CFP • 3600 Rodeo Lane, Santa Fe, nM 87507 • Phone 505-820-1177 • Fax 505-216-5242 •



Suzanne Bocanegra: I WrIte the SongS Pae WhIte: MaterIal MutterS Make the cellist pull down his pants & tell the cellist to not pull them up until 15 minutes have past. —Suzanne Bocanegra, from After I Write the Songs

Funny, yes,

but the context is complicated—as are all the underlying conditions of Suzanne Bocanegra’s installations. What you see and hear is what you see and hear, unless you read the artist’s statement for each piece, and then the way you experience the work becomes mind-prodding and strange— individual worlds with their elaborate strategies and intentions. However, it’s worth engaging with Bocanegra’s work, if only to envision the ideas behind its making. For example, in the original presentation of the piece After I Write the Songs, at the World Financial Center in New York in 2009, the public was invited to draw and write on old musical scores and then the altered sheet music was given to the members of the FLUX Quartet to play. That’s the “music” we hear at SITE Santa Fe. Considering that each musician was given a different score with a unique image or a bit of text on it—such as the sample above about the cellist taking off his pants—the result could have been an experience of aural chaos but, surprisingly, the sounds generated by this random procedure were, in a word, okay. Odd, but not earsplitting. Bocanegra has an intense relationship to sound, and whether a visitor to her work has the patience to parse out

1606 PaSeo a work’s underlying strata, it shouldn’t matter in the long run because the singing, or the string quartet, or the percussive movements of a ballerina’s shoes on an amplified stage provide more than enough mental grit to tease a curious mind. Plus, there are all the interesting visual elements. Bocanegra’s conceptual underpinnings are worth trying to understand—up to a point—or should I say, up to the point shoes in Little Dot; that piece is another matter. I got lost in the dots of color from a Seurat painting that the artist deconstructed and then used as choreography for a ballet dancer, and the dancer’s staccato footwork was recorded as it hit the stage. So you have the dancer and the dance and the sound of the choreography and, well, wait a minute. What about those original dots of color? And exactly what are we looking at in the gallery? Little Dot is an installation of fourteen different colored pairs of ballet shoes attached to the ends of metal poles with their laces hanging down. The poles are on a stage whose shape is loosely based on that of a young woman’s body—the woman in Seurat’s painting that initially captivated Bocanegra. And the sound you hear is from the dancer following a score based on the deconstruction of Seurat’s daubs of color. Bocanegra wrote, “I sat at a table in my studio studying a one-to-one reproduction of the painting with a magnifying glass, counting and sorting the dots and their position in the painting. This produced an eccentric chart of all the decisions


SIte Santa Fe Peralta, Santa Fe

Seurat made. I wondered if this chart could be performed. I decided to turn my chart into a musical score, in which dancers and their movements would become the musical instruments.” Those who are inspired by the complex and sometimes eccentric inspirations of artists will be rewarded for their efforts at finding out what all those haunted ballet shoes are doing impaled like severed heads in a ghostly landscape of signs. Perhaps the problem with the installation of Pae White’s tapestries is that the idea of too much of a good thing takes hold here and leads to the law of diminishing returns. As an exhibition of technique pushed to a limit, the work serves as a demonstration of tour de force digital and mechanical processes, but after the initial impact wears off, the work seems ponderous and without purpose—like so many characters in search of a plot. I attended White’s lecture in June and saw the tapestry that best exemplifies her entire process from scanned images to computer-driven loom. Her mammoth curtain for the newly designed Oslo Opera House is sensational. Called Metafoil, the curtain is a trompe l’oeil rendering of crumpled aluminum foil and it is dazzling in every sense of the word—from concept to context. White says of this work, “Metafoil Metafoil takes advantage of the captive gaze of the audience, introducing a foil, a false reflection, an illusion of depth, a novel typography that disrupts expectations….” Combined with the fabulous architecture, White’s magnificent piece seems Wagnerian in its impact; this is achieved because the work is part of a multi-dimensional environment that represents some of the best aspects of cultural collaboration. Her huge tapestries at SITE, for all their bravura— and there’s no denying that—eventually feel oppressive, fall flat, and miss their mark. Each one needs a strong and meaningful contextual foil in order to hit the high notes and shatter glass.

—dianE armitagE

Top: Suzanne Bocanegra, Little Dot, ballet shoes, staging, speakers, 82” x 192 1/2” x 268”, 2010 Bottom: Pae White, installation view of tapestries. Foreground work: Hollywood Crinkle, 2010

| august 2011

tHE magazine | 63

Faux Burl 4" frame black rope gesso concave panel antique gold sight moulding

What would you put in it? fdf

Randolph Laub studio 303 825-9928

The Andrew Smith Gallery, INC. Presents

Louviere + Vanessa Exquisite Collaborations: Concerto da Camera Continues through September 10, 2011 The Andrew Smith Gallery is pleased to introduce New Orleans multimedia artists Jeff Louviere and Vanessa Brown to Santa Fe. Known artistically as Louviere + Vanessa, the couple have been collaborating on photographs, films and multimedia prints since 2004. Louviere + Vanessa have created a fascinating hybrid of photographically generated prints and objects from an arsenal of antique and modern technologies. Unlike so much contemporary photographic work that merely documents or constructs events as technically proficient but artistically inferior digital prints, Louviere + Vanessa’s art works transcend imagery. Instead, they craft exquisitely beautiful objects rich in physicality that are also supremely intelligent.

To The Flower, The Sun Is More Amazing Than God, 2011 © Louviere + Vanessa

122 Grant Ave., Santa Fe, NM 87501 Next to the Georgia O’Keeffe Museum •

505.984.1234 •




Phillip Dvorak, Red, etching with gouache and watercolor, 9” x 6”

| august 2011

Boing, Boing, hyper hyper-realistic painter Mark Dennis creates a different kind of still life, centered on a haphazard pile of old dolls and giddy-faced stuffed animals. The feeling of childhood nostalgia brought on by the motley assortment of toys is complicated by a pair of skulls nestled among them. Delicate winged insects exaggerate the other-worldliness of the composition; butterflies flit above one of the craniums and a katydid perches on a R Raggedy Ann doll. A crack in one of the skulls reveals a honeycomb, with a single bee close by. Maybe it’s the silly smiles on the dolls’ faces or the vibrant colors of their costumes, but despite the memento mori component, Boing, Boing feels undeniably optimistic. One of the larger, more commanding works in the show is Ian Troxell’s lushly painted Daniel. With his hands in his pants pockets and his black blazer casually left open to reveal large tattoos, the model exudes a mellow indifference. Because of the way this work is positioned on the wall, we are more or less at eye level with the subject’s life-sized belly button, eliciting a deep blush from my companion and me. The erotic undertones suggestive in Daniel are superbly heightened by the nonchalant, knowing look in the subject’s eyes. In exposing just the model’s torso, Troxell leaves plenty to the imagination in the clichéd but unquestionable truism that less is indeed more. Not every portrait evinces such a keen character study. In Pamela Wilson’s pervasively pink painting, The Superlative Muse, a ball-gowned woman with a mop of blond dreadlocks is perched on a railroad track car, a

clown doll splayed across her lap. Holding a pistol in her whitegloved hand, she snugly presses the barrel under her chin. This strange scene, with its suggestion of imminent self-harm, left me unsatisfied and perplexed. Maybe Wilson’s tough-girl aesthetic is one with which I am frumpily unfamiliar; after all, to explore the theme of decadence completely, one must take into account its aspects of moral depravity and desperation. My favorite piece in the exhibition was Red, a small etching of a nude by San Francisco artist Philip Dvorak. A long-limbed, Egon Schiele-esque female midsection is posed in muted colors against a black background. The eye travels from the figure’s breasts to her jaunty hips and finally to her long fingers, which are tugging down pink panties to reveal a shock of red pubic hair. Cut off at the neck and ending at the upper thigh, the form doesn’t feel objectified or impersonal, but instead offers a playful, unabashedly sexy invitation to explore female sexuality. In the exhibition catalogue, curator John O’Hern helpfully reminds viewers that the concept of decadence depends on our individual interpretation and experience, with O’Hern suggesting a definition of “romping with abandon through the vastness of life.” This exhibition was both harmlessly titillating and genuinely off-putting, allowing for a broad definition of human indulgence, and encouraging us to make room for whatever it is that sends us on our own pleasure-seeking romps, whether it be the mysterious stranger next door or chocolate cheesecake.

—iris mClistEr

Ian T Troxell, Daniel, oil on canvas, 74” x 48”

When I hear the word

“decadence,” I think of chocolate peanut butter cheesecake topped with bourbon whipped cream, eaten in bed, with reality television blaring. This is pretty tame in comparison with the smorgasbord of vices on display at EVOKE Contemporary’s exhibition of the same name. Exposing the disparate qualities we associate with selfindulgence and morally questionable conduct, the show’s thirtyone participating artists revel in exposing naughty behavior. Terror, by Charles Pfahl, is a rather unnerving charcoaland-graphite depiction of a long-necked, monstrous creature. Straight-jacketed and strapped to a wall by the wrists, the figure’s horrible claws are tensed. His misshapen head is thrust outwards and his mouth twisted open in an anguished scream. Pfahl’s creation of a truly nightmarish scene was successful, and led me to wonder how encountering something disturbing and even repulsive might actually be pleasurable. The act of being frightened may not fit into my personal understanding of decadence, but even those of us who watch scary movies only by peeking through the hands covering our eyes know that fear and pleasure are not mutually exclusive. On the other side of the spectrum is the trio of flower vases in Jeff Ripple’s Life in September. This sweetly rendered painting is composed of cut flowers and a bowl of figs set against a sunshine-yellow background. Its straightforward, accessible prettiness sets it apart from the rest of the exhibition, inspiring a simple, if not particularly decadent, sensory pleasure. With

eVoKe conteMPorary 130 lIncoln aVenue, SuIte F, Santa Fe

tHE magazine | 65

Joe Long Gallery Name; Photography student/faculty Randy Moreno Logo Design; Media Arts student P.L.Tobin Assistant Gallery Director Colleen McKeown Advertising Design & Placement; Media Arts Student, Intern Terry Colby Web Page; Media Arts student Gallery set up, exhibit installation, gallery management, & promotion Interns:

Melissa Dominguez Photography Intern Sam Haozous Photography & Gallery Management Intern Gayanne Robinson Photography intern George Rubottom Photography intern Catering of the Grand Opening Event: Culinary Students

Burcu Tuzen Paula Escudero Darlene Speiss Leslie Chavez-Kelly Kent Calhoun Dogucan Narkalain

Red Dot Gallery



thoroughly Modern MaBel Author Lois Palken Rudnick is well known for her scholarly yet immensely readable works on the wonderfully complicated figure known as Mabel Dodge Luhan (for the purposes of this review, Mabel Dodge). Primarily recognized for her work on Dodge in New Mexico (see Utopian Vistas: The Mabel Dodge Luhan House and the American Counterculture, UNM Press, 1996), Rudnick has more recently been mining a key decade or so of Dodge’s life before she arrived in Taos, in 1917, and met and married Taos Pueblo native Antonio Lujan. At a fundraising luncheon hosted on June 30 by the New Mexico Committee of the National Museum of Women in the Arts for the Mining the Unconscious exhibition series, Rudnick delivered a lively preview of her latest book, The Suppressed Memoirs of Mabel Dodge Luhan: Sex, Syphilis, and Psychoanalysis, an examination of Dodge’s archetypal passage from a repressed yet proper Victorian lady to a freethinking proponent of sexual equality and avant-garde art. Basically, proposes Rudnick, Dodge and her circle gave a jumpstart to Modernism. Rudnick titled her talk Thoroughly Modern Mabel, and proceeded to elucidate her thesis that Dodge and those around her in the early twentieth century, particularly from about 1910 forward, explored their subconscious fears and desires, and in so doing, transformed the United States into a place that could accept all things modern, from art such as appeared in the Armory Show in New York City in 1913—which Dodge organized with support from her friend Gertrude Stein—to sexual liberation through psychoanalysis. In other words, Dodge slept her way to a utopianist consciousness (and Freudian-approved “vaginal orgasms”) that allowed for modernity to find its way into the puritanical United States. “Only in the U.S.,” says Rudnick, “was Freud seen as an agent for social, and not merely individual, transformation.” But boy, did we need it: He thought Americans were severely hampered by their “neurotic, civilized sexuality.” Dodge decided it was her calling to do something about those neuroses. Mabel Ganson was born a banking heiress in Buffalo, New York, in 1879. By the age of twenty-three, she had been married, given birth to her only child—a boy named John Evans—and widowed. She quickly married again, that being the only option, career-wise, for a lady of her era and class. She and husband number two arrived in Florence, where Dodge established a salon, seeking to recreate the Italian Renaissance at her palatial Villa Curonia. There she met, among others, Stein, who convinced Dodge to move to New York and use her “mercurial American temperament demonstrating that no human being is or ever ought to be crystallized into one static form.” (“A Steinian sentence if ever there was one,” Rudnick pointed out.) In November of 1912, Dodge rented a brownstone at 23 Fifth Avenue at the edge of Greenwich Village, and ditched her husband within months, using a doctor’s note to the effect that Edwin Dodge was “making her ill” to obtain a divorce. Mabel’s heyday in bohemian culture as a patron of the latest modern art and the embodiment of the prototypical Radical New Woman had begun. She organized the Armory Show, met and had an affair with New Journalism’s ultra-lefty star John Reed, and was psychoanalyzed; she continued the latter practice for the rest of her life. According to the New Psychology, Freudian analysis could put artists in touch with a universal “stream of consciousness,” a position the Surrealists took up with gusto in the ’20s and ’30s. During the years 1913 through 1915, Dodge’s

| august 2011

la PoSada BallrooM 330 eaStt Palace aVenue, Santa Fe Wednesday-evening salons were weekly news, with the papers faithfully reporting on who was there and what was discussed. Despite their intellectual magnitude, Rudnick finds that “until fairly recently, most critics have given very little attention to the cultural and political importance of salons, almost all organized and run by prominent women….” The author argues that salons have been producers of, rather than catalysts for, cultural change. “These salons,” she states, “brought together musicians and poets and politicians and were seedbeds for all kinds of phenomenal cultural and political activity.” Not least among topics discussed in her brownstone were issues of birth control and sexual equality; after all, Dodge numbered Margaret Sanger and Emma Goldman as her friends. The first wave of feminism was in full swing, as noted with dismay by President Theodore

Roosevelt, who wrote that “cities, which were the primary site of women’s new public visibility and activism, had ‘unmanned’ American men.” (Thus began the National Park Service.) When asked why she chose to devote her scholarly talents to the life of Mabel Dodge, Rudnick asserted that Dodge “was the transitional figure between Victorianism and Modernism.” A true seeker, Dodge studied Theosophy, Christian Science, and occultism, even as she continued with psychoanalysis and struggled through a bipolar disorder. It was a psychic in New York City who told Dodge that “Taos was the beating heart of the universe.” After her activism in Greenwich Village, off she went, beginning a whole new chapter that would assure her, and New Mexico itself, a place in the history of American Modernism.

—KatHryn m davis

Photographer unknown, Mabel Dodge in a turban, circa 1910-1915. Courtesy Greenwich Village History Archives

tHE magazine | 67



Southern calIFornIa PaIntIng: PaIntIng Per Se Painting Per Se,

the first of an ambitious series of shows exploring southern California painting in the 1970s, of opened o pened on July 1 at David Richard Gallery. Spotlighting tthe he period of time from 1970 to 1979 and the protean ggeography eography of greater Los Angeles, curators Peter Frank and David Eicholtz have assembled a diverse range of work. The focus in this show is on painting on more or less traditional picture supports and surfaces (canvas, paper, panel). Related upcoming shows over the next few years will branch out into the subsequent explosion and expansion “off the canvas.” But there is evidence here for that impulse “to stretch the definitions of painting almost to the breaking point” that Peter Frank points out as a hallmark of the era. Already straining at the limits, Tony Delap’s Whim of Tituba tweaks the canvas-stretcher format; his Dedi of Desnefru juts into three-dimensionality in a subdued and hyper-elegant way. Merion Estes’ Lavender Twins carries this rebellion further, acting out the break from canvas-on-stretchers by painting on two suspended sheets of clear vinyl. The artists included are at different stages of their journeys and by no means constitute a “generation”—ranging as they do from Hans Burkhardt, born in 1904, to several who were born after World War II. Many of the artists are still working today, and this collection illuminates their current work, fostering an appreciation for the nearly obsessive span of painters’ attention as they grapple with visual ideas over the years.

In less able hands, Southern California Painting: Painting Per Se could have been a double-edged conceit that obscured as much as it clarified. But the overall impact of this show is a bracing, if by no means exhaustive, survey. It is inspiring to perceive, in work from four decades ago, the stirrings of the artists’ later experiments with related themes in different media, materials, styles, and formats. Four Chuck Arnoldi canvases enact small meditations on frozen movement and the formal relations of parts, while looking forward to his explorations of the line as twig and twig as line. Conversely, with some pieces one is struck by the courage and originality of simply doing that thing in that way at that time. Admiration for Judy Chicago’s 1971 eight-foot square, sprayed acrylic on acrylic Sky Sun–Flesh Garden, which takes “finish fetish” to a sublime point, is heightened by knowing that Chicago, who has long lived in New Mexico, is still producing innovative work. Several emblematic Matsumi Kanemitsu watercolor and acrylic works display the kind of balance between gestural spontaneity and cultivated composure that animates Zen ink drawings and stops us in our tracks. Hans Burkhardt’s larger canvases hover authoritatively between alluding to Franz Kline and prefiguring Anselm Kiefer, but it is the small Vietnam, hung high on the wall in a corner, that most eloquently expresses the monumentality of loss. The most successful works here retain a timelessness: Margaret Nielsen’s acerbic Asparagus Tips (in which a pair of rubber

daVId rIchard conteMPorary 130 lIncoln aVenue, Santa Fe gloves morphs into vegetable form) and Usual Suspects (a clothes-line-up of dead rats supplemented by one high-heeled shoe.) Peter Plagens’ canvases, which sensuously juxtapose flat with nuanced color in eccentric skewed shapes, and Scott Grieger’s Match Man, share in this undated quality. Grieger’s punchy and abrasive Past History has a now-refreshing mideighties feel. Doug Edge’s canvases feel quite new, even as they mirror the minimal and serial practices that in the 1970s retuned audiences’ eyes and ears to the impact that small variations can have within an established pattern, whether musical or optical. Like all good art, these works ask the viewer to slow down and at least temporarily suspend preconceptions. Maxwell Hendler’s small watercolors demand a pensive attention to enter their depths. Ynez Johnston’s intricate hatchings in thick paint yield exotic, invigorating results when studied at close range. Tom Wudl’s Homage to Buckminster Fuller, and an untitled 1979 work—both on perforated paper—stand out as heavenly marriages between precision and mystery. The impression that endures is of loving fabrication. Regardless of whether the hand wields a brush, spray-gun, or carpenter’s tool, whether it exercises total control or allows the materials to shout, these unique objects are first and foremost handmade. This is clear in the seductive up-close beauty of Karl Benjamin’s 1977 #25, which no reproduction could begin to capture.

—marina la Palma

Margaret Nielsen, Usual Suspects, acrylic on paper, 18” x 24”, 1974

| august 2011

tHE magazine | 69

2011 SFO THE magazine Savage HP:Layout 1


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“The Over th e top sleep e fun! — J r hit o ame s M. f t he se Kelle r, The ason N ew .” M ex ic an





A rich American wants his anthropologist daughter to marry an Indian prince. But when she captures what she thinks is the “last savage,” she loses her heart and opts for the simple life. Menotti’s tuneful comedy is a hilarious sendup of the complex lives we lead. Enjoy video clips online. Don't pass it by! Call or click for tickets. 505-986-5900



g.. Wahl


“I don’t think when I’m working. I just know. I just do. Basically, my art is my tether to this world; it keeps me from sailing away out into the universe.” —Genevieve W Wahl ahl

A sampling of Genevieve Wahl’s

mixed-media work at McLarry Modern more than hints at sailing away. Wahl takes her viewers inside a house of cards, or into the streets of Paris, or up the steps toward a throne. Her large abstractions are as varied in style and composition as they are in color and use of materials. Some canvases are dense with layers of collage and paint. Others feature empty space and air around the figures. Wahl keeps her viewers guessing about her choice of materials and techniques. Is that really a piece of packing tape under the top layer of paint? Could that middle section be a piece of unraveled canvas? Did she apply paper, paint over the paper, and then tear some of it off to create those pure white sections? Wahl titles her paintings in a way that offers guidance. A cursory look at a large, near-monochromatic painting leaves the viewer wondering about content and meaning. A glance at the wall title results in an “aha” moment. Madame it says, and the woman leaps into view. Wahl creates a similar “now-I-get-it” experience with her titles for La Maison des Cartes and Streets of Paris. In Puzzled, the viewer could indeed feel this way—puzzled. From a distance there is an impression of a red-and-yellow circus setting, or a child’s nursery, with shimmery figures emerging from the paint. On top of these figures are two large red painted circles in the upper right and lower left quadrants of the painting. Wahl sneaks in a splash of turquoise at the far right to create a triangle shape with the two red circles; this unifies the work and pulls the eye deep into the right edge of the picture. Up close, the circus impression gives way and Wahl’s self-described knowing and doing emerges. The center dotted section turns out to be part of the paper image of a carp. The furry creature above it is formed from flattened curly fibers. And best of all, Wahl offers a real conclusion in this puzzle. Literally. Under the upper red circle is an upside-down fragment, from an article or a textbook, positioned so that the title word CONCLUSION is inverted under the red paint. Puzzle solved? Another clever, inverted image peeks through the paint in Wall 2. It is an upside-down review of another artist’s work, seeping through the lemon-yellow paint. The painting’s rectangular denim-blue center section suggests the torso of a statue or a mythological god. But within the inverted V-shape formed by the figure’s body and left arm, Wahl hides an invitation to climb a staircase leading to a throne. Is this invitation intentional? Or did she just mean to apply the paper image of the stairs to lend depth and shading to the painting’s background? She could be drawing the viewer in, or simply drawing in. Madame (2002) highlights Wahl’s ability to create compelling movement and drama with the simplest

Mclarry Modern 225 canyon road, Santa Fe suggestion of line. As the woman in question glides from right to left across the canvas, her left arm trails behind her. Wahl uses a single bold S-curve to convey the arm’s position and character. It is the sort of arm that would elongate into a beautiful hand, carrying a silverfiligree cigarette holder. A touch of Kelly green—the brightest color in the picture—signals the elegance of Madame’s Klimt-inspired skirt. Near Madame’s vaguely suggested face, the discerning viewer can spot snatches of the words “Talking about” collaged underneath and emerging through the paint—right side up this time. And just above Madame’s head is the word “moved.” Is it because she did move, or because she is moved? With these little surprise touches throughout her work, Wahl keeps us both challenged and guessing. McLarry Modern previously had a long association with Wahl and recently

began representing her work again after rediscovering her in Denver, her current home. Unfortunately, Wahl’s work competes for space in the crowded gallery. One of her canvases hangs above a tall table used to display the work of two sculptors. This configuration blocks sight lines, encroaching on the bottom of Wahl’s painting. In other cases, it isn’t safe to back up far enough to take in a painting’s full effect without the risk of jostling other artwork. Fortunately, Wahl’s paintings are surrounded by marvelous wood frames—suggesting silver-grey granite— by Randolph Laub, which accomplish Laub’s self-described goal. “Framing is set design,” he says. “I believe one appreciates a good performance, in part, because one is taken with the atmosphere of the stage design.” Together, Wahl and Laub create beautiful performances.

—susan WidEr

G. Wahl, Madame, mixed media on canvas, 52” x 38”, 2005

| august 2011

tHE magazine | 71

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danIel BrIce: PaIntIngS Son of Malevich: in the Modernist traditionof non-objective painting the quadrangle—square or rectangle—was never as much the motif as it was the mise-en-scène of the painting. The geometric forms comprised not only the design but also the visual narrative of the composition. The status of the composition as pure abstraction—purged of any local, individual, and hence subjective visual allusion to objects (natural or man-made) experienced in the world—enabled artists to create a pictorial structure in the service of a deeper reality—spiritual, metaphysical, utopian. In a word: universal. The dynamic, romantic current of Malevich and Russian Constructivism and the classic, cerebral vein of Mondrian and Dutch De Stijl are (mixing metaphors) two sides of that geometric abstract coin. Over the course of twentieth-century Modernism these two paths to pure abstraction have converged and, at times, subtly merged. What both had in common was the concept of what Malevich referred to as “the supremacy of pure sensation,” in which the color and line of (geometric) shapes in pure abstraction had primacy over painting’s capacity to depict visible phenomena. The oil-on-burlap paintings of Daniel Brice’s current show at Chiaroscuro are a marked departure from his earlier abstract work dating from 2009. Then, Brice pursued the parallel, organic tendency of non-objective abstraction with a series of spare paintings whose pastel-on-paper surfaces were defined by a gestural line in charcoal. What created the tension in these earlier works—apart from the contrast

chIaroScuro 708 canyon road, Santa Fe in scale between the large expanse of surface and its often solitary calligraphic stroke—was the ambivalent identity of each mark, much like a brushstroke on parchment might convey an identity as calligraphic script whose meaning is unknown to us but legible to those who know its signs. Yet, as the viewer continues to look, each amorphous, usually broken line on the paper’s surface appears close to revealing itself as part of some larger, recognizable entity—the curve of a breast, the contour of a torso, the thin line of some deep cleft winding down a canyon floor far below. Each painting in the current series evokes Color Field composition with its large area of bold, intense chroma coextensive with the canvas. The featured painting OX 12 (oil on burlap) recalls Barnett Newman’s large canvases with their saturated, single-color shape inflected by a bold vertical stripe of contrasting color. Brice’s choice of earth-based hues and satin finish adds strong visual appeal to the work. If that were all that was going on here it would be enough for a strong show, which it is. What makes the show an engaging one as well is the tension that Brice builds into the series, as he did with the earlier “biomorphics.” This is not simply an homage to Color Field painting. Rather it’s something of a riff—a respectful one—on this by-now iconic phase of late Modernist painting. For as the viewer spends more time with a painting like OX 12, the color-field aspects of the work appear more self-conscious, and provide subtle visual disparity with traits in the painting that belie the color-field effects—and hence their intent. As in most of the paintings in the series, OX 12’s

monochrome image spans a field comprised of panels joined together—two in this instance. The vertical line of shadow marking the division provides a virtual “stripe” countered by the strip of exposed under-paint on the other side of the larger panel whose “zip” is zapped at the bottom by a competing broad horizontal band of the under-painting. That band arrests the monochrome yellow field’s extension to the bottom of the canvas. Throughout the series, the actual narrow slit between joined panels vies with a virtual stripe produced by a slightly darker painted line (for example, in OX 17) or a lighter one (as in OX 20) that only simulates a partition. In OX 12, the holistic aspect of the monochrome yellow is further compromised by a thin yellow band of more reddish hue painted across the top and a thicker one at the bottom. In several paintings, Brice introduces adjacent bands of color as a hedge against holism. And in OX 14’s broad span of the reddish-orange color field, his grounding of its virtual stripe in a contrapuntal patch of complementary green is a credible rumination on the intent of Newman’s Vir Sublimis Heroicus. These painterly interventions are reinforced elsewhere in the series by complementary vertical “drips” and patinas. Thus the unified image of the saturated Color Field painting is consistently declined by Brice for the immediacy of painted canvas (here, burlap). So, in this self-conscious reprise of late Modernist non-objective painting, the canvas itself becomes the object. The result is a painting series that renders homage to the primacy of pure sensation.

—riCHard tOBin

Daniel Brice, OX 12, oil on burlap, 55” x 96”, 2011

| august 2011

tHE magazine | 73


James Kleinert

Emmy Award–winning filmmaker

“If we are going to redeem ourselves as a people, we must first commit to embracing and protecting the animal that has been our greatest companion in the long course of our national history. We must save the American Wild Horse.”  In his international award-winning documentary film Spirit Riders, director James Kleinert followed an American Indian peace movement as they made their historical horseback ride to Wounded Knee. Spirit Riders shows how American Indians have reclaimed their sacred way of life by reconnecting with the horse.  Kleinert’s latest documentary is titled, Wild Horses & Renegades. Shot in high definition, Wild Horses & Renegades captures the stunning beauty of horses in the wild, in contrast with the mismanagement of our last wild public lands. Filled with dramatic footage, the film tells the heartbreaking story of wild horses in America. Wild Horses & Renegades exposes abusive taxpayerfunded roundups of the few remaining wild horses, which are malnourished, abused, and sold for adoption, or sold to Mexican slaughterhouses for human consumption. Kleinert’s film examines the plight of America’s wild horses and the rapidly deteriorating condition of public lands in the majestic American West.  Through interviews with scientific experts, ranchers, historians, wild horse owners, animal rights activists, environmentalists, movie stars, uranium





characters, Kleinert examines the origins and effects of the recent “Burns Bill,” which gutted the Wild Free Roaming Horse and Burro Act of 1971, clearing the way for the slaughter and removal of wild horses in America. Greed and corruption take center stage here, exposing how the United States’ failed energy policy—and the current rape and pillage of western public lands by oil, gas, mining, and corporate cattle grazing—is leading to the extinction of America’s wild horses and burros. To learn more about the plight of the American Wild Horse: D

Photographed July 3, 2011 in Abiquiu, New Mexico by Jennifer Esperanza | august 2011

THE magazine | 75

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Near Coyote, NM Photograph by Guy Cross | august 2011

THE magazine | 77


Prayer for Words B By

n. sCott MoMaday

“My voice restore for me” —Navajo Here is the wind bending the reeds westward, The patchwork of morning on gray moraine. Had I words I could tell of origin, Of God’s hands bloody with birth at first light, Of my thin squeals in the head of his breath, Of the taste of being, the bitterness, And scents of camasroot and chokecherries. And, God, if my mute heart expresses me, I am the rolling thunder and the bursts Of torrents upon rock, the whispering Of old leaves, the silence of deep canyons. I am the rattle of mortality. I could tell of the splintered sun. I could Articulate the night sky, had I words.

N. Scott Momaday is one of New Mexico’s most respected authors. Both of his parents are of Native American descent, and during his childhood, he was exposed to Kiowa, Cherokee, Navajo, Apache, and Pueblo traditions. Momaday’s poetry blends Native American verse rhythms with more modern forms of poetry. In the Bear’s House (University of New Mexico Press, $24.95), Momaday’s latest poetry collection, examines primal themes through the image of the bear. Momaday has received the Pulitzer Prize, a Guggenheim Fellowship, the Academy of American Poets Prize, and the National Medal of Arts.

78 | tHE magazine


2011 |

l A n d u s E Misuse The Celebration and Exploitation of the American Landscape

Harold Gregor, Flatscape #102, acrylic on canvas, 65 1/2 x 84 1/2 inches. Š 2011 Harold Gregor, courtesy Gerald Peters Gallery

WOrk by: Eric Aho John AlExAndEr chEstEr Arnold olivE AyhEns subhAnkAr bAnErJEE dEnnis blAgg grEgory botts Will clift WilliAm clift stEvE copE Jim dEnnEy J. hEnry fAir briAn fArrEll chuck forsmAn tony fostEr

John gAnis hArold grEgor stEphEn hAnnock kEith JAcobshAgEn kArEn kitchEl kAthlEEn kolb JAy moorE gWynn murrill michAEl scott suzAnnE simingEr don stinson WAynE thiEbAud tom uttEch crAig vArJAbEdiAn

A u g u s t 5 - OctOber 1, 2011 Forum Discussion with the Artists: Friday, August 5th, at 3pm Opening Reception with the Artists: Friday, August 5th, from 5-7pm For additional information please contact Evan Feldman, Contemporary Art, or (505) 954-5738 catalog will be available for purchase

viEW morE Works At

1011 Paseo de Peralta, Santa Fe, NM 87501 | 505-954-5700

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August 13 - September 10, 2011

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& 708 Canyon Road, at Gypsy Alley Santa Fe, New Mexico 505.992.0711

THE magazine August 2011  

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

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