Page 1

Santa Fe’s Monthly









of and for the Arts • October 2011


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

5 Letters 12

Universe of photographer Jacqueline “Jax” Manhoff


Art Forum: Tom Chambers

19 Studio Visits: Michael Husband 21

Food for Thought: Raised-Bed Gardens


One Bottle: The 2009 Allegrini Valpolicella by Joshua Baer

25 Dining Guide: San Q and Tabla de Los Santos at the Hotel St. Francis 29 Art Openings 30 Out & About 36 Previews: Ashley Collins at Turner Carroll Gallery; Noël Hudson at Rio Bravo Fine Art Gallery (Truth or Consequences); and SUPERHEROES: Icons of Good, Evil and Everything in Between at 516 Arts (Alb.) 39 National Spotlight: Camera Solo: photographs by Patti Smith at the

Wadsworth Atheneum Museum of Art, Hartford, CT 41 Feature: Gertrude Stein’s Midnight by Kathryn M Davis 45 Critical Reflections: Black Mountain College and New Mexico at the Harwood Museum (Taos); Counting Coup at the Museum of Contemporary Native Arts; Dancing Earth at the James A. Little Theater; David Taylor at James Kelly Contemporary; Erin Currier at Blue Rain Gallery; Jack Ox at Mesa Public Library Gallery (Los Alamos); Michael Cook at David Richard Contemporary; Particles + Orbs at Phil Space, and Paul Pascarella at Encore Gallery (Taos) 55

Green Planet: Rulan Tangen, Founding Director/Choreographer of Dancing Earth. Photograph: Jennifer Esperanza

57 Architectural Details: Bernal, NM. Photograph: Steven A. Jackson 58

Writings: “Mad Sonnet” by Michael McClure

CONTENTS “Take me now baby here as I am / pull me close, try and understand…” Almost ten years before “Because the Night” was released, Patti Smith—seventies rock and roll icon, author, songwriter, and activist—was just another young, unknown, New York City artist. In 1968, Smith became friends with Judy Lin, a budding photographer. Lin remembers, “Patti and I were friends the way children are friends.” They liked the same clothes, the same movies, the same coffee, and, unsurprisingly, the two began to make art together. Soon enough, Smith was posing before Lin’s camera. Lin photographs Smith putting on eyeliner, cradling a cat, kissing her boyfriend on the sidewalk, smoking, and simply goofing around. Smith describes the photographs as “tender and gritty.” Patti Smith 1969-1976: Photographs by Judy Lin (Abrams, $24.95) is poignant and lovely in its simplicity. The images are of Patti Smith—but they are also images of the hope, beauty, and brazenness of youth. It is not just a book for Patti Smith fans, but a book for anyone who has ever been young.

Tuesday 13 September


2011– 2012 EVENTS

Richard Wolff with Anthony Arnove 6:30 pm James A. Little T I C K E T S O N S A L E N O W

Wednesday 28 September

C himamanda Adichie with Binyavanga Wainaina 7:00 pm Lensic T I C K E T S O N S A L E N O W

Wednesday 26 October

Tariq Ali with Avi Lewis 7:00 pm Lensic T I C K E T S O N S A L E S AT U R D AY S E P T E M B E R 3 Readings & Conversations brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction, and poetry to read from and discuss their work. In Pursuit of Cultural Freedom features philosophers, journalists, writers, scholars, and social justice activists discussing political, economic, environmental and human rights issues not normally covered by the mainstream media.

Wednesday 16 November

Dinaw Mengestu with Penn Szittya 7:00 pm Lensic T I C K E T S O N S A L E S AT U R D AY O C T O B E R 1

Tuesday 6 December

Norman Finkelstein with Chris Hedges 6:30 pm James A. Little T I C K E T S O N S A L E S AT U R D AY N O V E M B E R 5

Wednesday 18 January

John Sayles with Francisco Goldman 7:00 pm Lensic T I C K E T S O N S A L E S AT U R D AY D E C E M B E R 3 For author biographies and photographs visit our website:

Tuesday 24 January

David Shirk with Peter H. Smith

Lensic Performing Arts Center 211 W. San Francisco St, Santa Fe, N M 87501. Events begin at 7:00 pm.

6:30 pm James A. Little T I C K E T S O N S A L E S AT U R D AY D E C E M B E R 3

James A. Little Theater 1060 Cerrillos Rd, Santa Fe, N M 87505. Events begin at 6:30 pm.

7:00 pm Lensic T I C K E T S O N S A L E S AT U R D AY J A N U A RY 7

Wednesday 15 February

Michael Ondaatje with Carolyn Forché Wednesday 22 February

Brian Jones in Howard Zinn’s play, Marx in Soho 7:00 pm Lensic T I C K E T S O N S A L E S AT U R D AY J A N U A RY 7


Tuesday 20 March

All tickets for all events are sold at the Lensic Performing Arts Center. Tickets can be purchased in person, by telephone, or online at: Lensic Performing Arts Center, 211 W. San Francisco St, Santa Fe, N M Tel. 505.988.1234. Box Office hours: Monday – Friday 10am – 4 pm; Saturday – Sunday; Noon to show time

6:30 pm James A. Little T I C K E T S O N S A L E S AT U R D AY F E B R U A RY 4

Tickets are sold separately for each event and go on sale the first Saturday of the month prior to the event. General Admission $6 and Senior / Student with ID $3.

Chris Williams with David Barsamian Wednesday 28 March

Ann Beattie with Michael Silverblatt 7:00 pm Lensic T I C K E T S O N S A L E S AT U R D AY F E B R U A RY 4

Tuesday 10 April

Phyllis Bennis with David Barsamian 6:30 pm James A. Little T I C K E T S O N S A L E S AT U R D AY M A R C H 3

Wednesday 18 April

W.S. Merwin with Michael Silverblatt 7:00 pm Lensic T I C K E T S O N S A L E S AT U R D AY M A R C H 3

Wednesday 16 May

Lydia Davis with Ben Marcus

7:00 pm Lensic T I C K E T S O N S A L E S AT U R D AY A P R I L 7



VOLUME XVIII, NUMBER XIII 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 arMitaG ita e, Joshua Baer, davis BriMBerG itaG er , erG Jon Carver, Kathryn M davis, Jennifer esperanza, anthony hassett, Kathy hirshon, Munson hunt, steven a. JaCK aCKson CKson, Marina la palMa, iris MClister, MiChael hael Motley, riChard toBin, susan wider, and donald woodMan COVeR

paris, 1920s

photoGrapher: unKnown

The 25th Annual El Rito Studio Tour takes place on Saturday, October 1 and Sunday, October 2, from 10 am to 5 pm. The work of more than fifty artists, photographers, and artisans will be shown, including santero Nicholas Herrera, (image on left), potter Barbara Campbell, mixed-media artist Julie Wagner, and photogapher David Michael Kennedy, along with many other established artists. The tour includes sculpture, pottery, weaving, welding, tin and iron work, paintings, drawings, printmaking, photography, collage, jewelry, handmade books, note cards, Spanish Colonial furniture, and carvings. Directions: 285/84 North towards Abiquiu. Turn right on Hwy 554 to the El Rito Studio Tour. Cool Detour: As you turn onto Hwy 554 to go to the El Rito Tour, go 3.75 miles, then turn right at Bean Creek Drive/Prado Valley Ranch. Turn right on Buffalo Trail and go to the Red Gate (#50), where you will find amazing sculptures and prints by Dana Chodzko (image on right). Saturday, October 1 and Sunday, October 2, from 11 am to 7 pm.


the MaGazine: 505-424-7641 edie dillMan: 505-577-4207 yvonne Montoya: 505-310-2200 sCott Johnson: 471-6994 vinCe foster: 505-690-1010 DiSTRiBUTiON

TO THE EDITOR: I enjoyed the premise—the title—of the article The Wild East in your September issue. By that, I mean what was missing in the piece was what was promised by the title—“wild” photography. The work shown was interesting but not wild. My sense is that the writer did not mine the work of avant-garde photographers in Russia, instead settling for work shown in various commercial galleries. A great idea, but not realized successfully. I am, sadly, disappointed. —l. K. wheaton, alBuquerque, via eMail

\\TO THE EDITOR: Thanks for the Roger Salloch article entitled The Wild East, which was informative and visually stimulating. Salloch, who I have read before in your pages, has again delivered a top-notch bit of writing. A wonderful Russian photographer who passed away recently— Serge Korniloff—is someone that I believe your readers should know about. I am attaching two photographs in the hope you might consider running them. Like them? To see more: —siMon polidori, new paltz, ny, ny via eMail

JiMMyy Montoya: 470-0258 (MoBile) THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bisop 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 permismagazine. sion from THE magazine. magazine. All submissions must be accompanied by a SASE envelope. THE magazine is not responsible for the loss of any unsolicited materials. As well, THE magazine is not responsible or liable for any misspellings, incorrect dates, or inc rect 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, 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.

| O C T O B e R 2011

the magazine | 5

Bruce Dorfman




Beauty’s Language Paintings


October 28 through November 18, 2011 Friday, October 28th, 5–7 pm


Artifacts Paintings

September 30 – October 22 RAILYARD ART DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 87501 505.820.3300 | WILLIAMSIEGAL.COM



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

IN THE GALLERY: DEBORA HUNTER / LAND MARKS: PHOTOGRAPHS FROM TAOS, NEW MEXICO JAMES KELLY CONTEMPORARY / OCTOBER 21– NOVEMBER 12, 2011 RECEPTION FOR THE ARTIST FRIDAY OCTOBER 21, 5–7PM In conjunction with Contemplative Landscapes / The New Mexico History Museum / October 23, 2011– December 31, 2012

GALLERY ARTISTS NEWS: DAVID TAYLOR Past, Present, Future / New Mexico Museum of Art / October 28, 2011– April 22, 2012 Working the Line: Photographs by David Taylor / The El Paso Art Museum / October 2, 2011– March 18, 2012

SHERRIE LEVINE Mayhem / A Retrospective Exhibition / Whitney Museum of American Art / November 10, 2011– January 29, 2012

VICTORIA SAMBUNARIS Taxonomy of a Landscape / The Albright-Knox Art Gallery / October 21, 2011– January 22, 2012

PETER SARKISIAN Videosphere: A New Generation / The Albright-Knox Art Gallery / July 1– October 9, 2011

KATHRYN WALKER Sangha / The Albright-Knox Art Gallery / July 22 – September 25, 2011

KEN PRICE Death Shrine I from Happy’s Curios / The Harwood Museum of Art / Ongoing

OLI SIHVONEN Oli Sihvonen: The Final Years / The Harwood Museum of Art / September 17, 2011– February 5, 2012

AGNES MARTIN Agnes Martin: Before the Grid / The Harwood Museum of Art / February 25 – June 17, 2012

ARLENE SHECHET XXIst International Ceramic Biennial ( BICC ) / Vallauris, France / July – November, 2010

NIC NICOSIA Forthcoming monograph from University of Texas Press / Fall 2012 Curating an exhibition by Sarah Canright / CUE Art Foundation, NYC

MARIE JUGNET AND ALAIN CLAIRET ( JUGNET + CLAIRET ) Un abrégé / Mamco, Museum of Modern and Contemporary Art Geneva October 19, 2011– January 15, 2012 Tapis Volants (Magic Carpets) / curated by Philippe-Alain Michaud Villa Medici, Rome / May 25 – September 16, 2012 Level 70 / Hangar à Bananes (Banana Warehouse), Nantes Winter 2012 – 2013 / Organized by the Art School of Nantes


William Betts

MONROE GALLERY of photography


BILL EPPRIDGE 2011 Lucie Award Honoree: Achievement in Photojournalism

©Bill Eppridge: A sign in rear window of car in Philadelphia, Mississippi: "You are in occupied Mississippi, proceed with caution", 1964

Eppridge has received some of the highest honors his profession bestows – the NPPA Joseph A. Sprague Award, and The Missouri School of Journalism Medal of Honor, and in October, 2011 he will receive the 2011 Lucie Award. For the first time, this exhibition presents many of Eppridge's most important photo essays together. Opening Reception Friday, September 30 5-7 PM Exhibition continues through November 20

October 14 - November 23, 2011

Richard Levy Gallery • Albuquerque •

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

Boyd&e vans Portrait of a Landscape


Road, 2002, oil on canvas, 30" x 48"

LewAllenGalleries AT T H E R A I LYA R D

Clee Hill, 2010, oil on canvas, 54" x 60"

1613 Paseo de Peralta Santa Fe, NM 87501 tel 505.988.3250

RIK ALLEN Adrift: New Works in Glass and Metal, October 7 –29, 2011 ARTIST RECEPTION

Friday, October 7th 5–7 pm in Santa Fe

Drifter Blown glass, silver, mixed metals 25.5" h x 16" w x 19" l

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


07 october 5 – 7 pm | opening reception friday evening, through 31 october 2011

Jacqueline “Jax” Manhoff has dedicated her time to The Queer Photo Project since 2006, shooting studio portraits in an old-fashioned, historicaldocumentary style—like a small-town photographer. Her subjects come to her studio decked out in their Sunday best—and in queer uniforms—to sit for their once-a-year portrait. For Manhoff, this project is a collaboration between subject and photographer. She writes: I am a gypsy, a fairy, an angel. a drag queen, a junkie, a convict. I’ve been burned in Salem gassed in Auschwitz hung in the deep South. starved in Bangladesh tortured in El Salvador and Bosnia. I am Cherokee, Tibetan, Algerian Black, White. Asian. Puerto Rican. I am Hitler and I am Mother Teresa. I am a homeless begger and a mystical saint. I am Krishna, Buddha, Jesus. I’ve been born and have died. I have traveled and gone nowhere. I have loved, hated, lied, and told the truth. I have given birth and committed murder. I am a baby. I am ancient. I know everything. I know nothing. 


The QUeeR PhOTO PROJeCT In doing this project I search for the moment of truth, which happens when the subject’s guard is down—just for an instant— and their strength and dignity is exposed. My mission in doing this project is to make a historical photographic documentation of queer and transgender people living in Santa Fe. I am trying to recreate portraits of our history, which has been sorely overlooked. We are a minority, one that has been discriminated against by our current society and by our government. In our lifetime this will change. And we are all part of this change.

The PhOTOGRAPh AS “eViDeNCe” The photograph provides evidence of a life lived—it is a mark made in time. Captured forever. It is the “decisive moment.” It is witness to the beauty and horror of life. My photography has left a trail of my own personal path of living. My earliest portraits were of my family, taken with my dad’s camera when I was in seventh grade. In the early 1980s, while attending Pratt Institute, in Brooklyn, New York, I started out as a street photographer. My shooting grounds were Coney Island, Chinatown, Little Italy, and parades and street fairs. In my twenties I traveled to India and Nepal to photograph. Throughout my life, I have photographed my relationships, family and friends, weddings, holidays, travels, births and deaths—the heart of life.

The Motorcycle Mechanic and the Stone Butch From: Queer Photo Project

wORK ThAT i hAVe BeeN ATTRACTeD TO I am drawn to the photographs of Diane Arbus, Richard Avedon, Robert Mapplethorpe, Helen Levitt, and Mary Ellen Mark. When I was young, I used to beg my mother to take down from the bookshelf her Diane Arbus book—the one with the twins on the cover. I have always been attracted to the unusual, to the humanness of regular people: to the circus, to Coney Island, to old sailor tattoos, to artists, to hippies and freaks. This is the true grit of life—raw and exposed, and unapologetic. Not a pretty picture.

The New wORK I have been working on a project called “unlikely landmarks.” I have photographed things like the Thunderbird Motel, on Cerrillos Road, with bullet holes in the windows. I am dreaming a new project of shooting portraits of Santa Fe artists, underground artists, not only famous artists with gallery representation. Perhaps we are living in a Renaissance, a Golden Age of art in Santa Fe now. The Writer and the School Teacher From: Queer Photo Project

photoGraph of Manhoff By dana waldon | O C T O B e R 2011

the magazine | 13

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Silver City Fiber Arts Festival Friday and Saturday November 11– 12, 2011— 10am to 5pm

Vendors of fiber art supplies & fine handmade fiber art Free Admission! Classes - Workshops - Demonstrations Lectures - Special Exhibits Grant County Conference Center 3031 Highway 180 East Silver City, NM

For more information and to register for classes: In Silver City visit The Common Thread 107 W. Broadway To benefit the SW Women’s Fiber Arts Collective Ad paid for by the Town of Silver City Lodger’s Tax


THE magazine asked a clinical psychologist and three members of Santa Fe’s art community to share their interpretations of this photograph by Tom Chambers. They were shown only the image— they were not told the name of the artist or the title of the photograph. Their responses follow. Highly symbolic and mysterious, the lizard has captivated many cultures. The pubescent girl in the work is frightened by the animals (perhaps komodo dragons). One approaches her invitingly: “Look at me to see where you’ve come from.” She appears to be the female of the mated pair of reptiles. There is a nineteenth-century quality to this image: the girl’s nightgown and the background woman’s skirt, the oil lamp and furniture, and the locked window—this is the time of Charles Darwin’s Origin of Species. Three types of laboratory glassware remind us of the battle between science and Creationism. The older woman blocks the window, preventing the girl from leaving and ultimately transforming. Does she also fear the child’s sexual awakening? —Davis K. Brimberg, Ph.D., Clinical Psychologist In the sleepy Mexican village... this scenario is loaded with implications. An older—possibly more mature female—stands on a window ledge to get away from the iguanas. They have come to approach the women; one is knowledgeable enough to know not to have an encounter with them, the other is possibly curious—a bit tentative but not guarded. The reptiles are bold, cold blooded, and in a begging stance with the young female. Though her body language is all tucked up, she may have been already like that, rocking on the rocking chair, dreaming away before the intrusion. She wears a pure, virgin-white gown; the woman standing on the ledge does not wear white, but wears colors that convey the experience of her young life. There are empty vessels on the table: an oil lamp, two decanters, two beakers, and a bottle in front of the oil lamp—Virgins. Under the table is an empty bowl made of glass: a bowl to be filled with hope, or with the potential of life ahead. The floor is marked in a pattern used in quilts for a bed—to cover the bed and keep one warm and cover the sleeping unguarded body. A rocking chair is on the left, almost identical to the one the young girl sits on. It is empty, waiting for someone to rock gently on it, or to soothe a baby, or to smoke a cigarette, or to pass the time of one’s full and long life. The shutter of the 16| THE magazine

Tom Chambers, from the series Dreaming in Reverse Courtesy: photo-eye Gallery, Santa Fe

window is green and fertile, the yellow walls are as warm and welcoming as summer morning. This image seems to be about the moment when innocence is about to be lost—a part of life inherent in all of us. —Munson Hunt, Artist, Santa Fe Is this a manipulated photograph? We see a drama, crafted with three components: a staged setting, costumed characters with an implied motivation to act, and lizards. The artist is a master of theatrical lighting techniques— intense, hot color dominates a domestic, closed room, after dark. Red light covers the walls and most furnishings, but does not touch the characters’ clothing. How can these white clothes reflect no color from the room? The scene is deliberately made dirty: vessels, beakers, and cut-glass bowl are empty, dusty and dry. Subtle textures and patterns may vary the warm color scheme, but black shadows are sharp and deep. Against this carefully designed backdrop, the two female models contrast powerfully. They are lighted to appear fresh and clean. Lace-trimmed and pressed, they are posed in a recoiling tableau. The models form a visual triangle with the reptilian presence, which the artist has contrived to place on the floor. The triangle moves our eyes up the skirted body on the window ledge, then over to the seated girl, then through her down to the lurking iguanas beneath the table. The artist takes us up, over, and down that triangle, again and again. One face is the focal point, bright skin framed in dark hair. What are we asked to see? Are these animals predators or pets? In the light of that one human face, what is being expressed? If this work is a photograph, is the true artist the conscious technician with the camera or the enigmatic actress in the chair? Like theater, it seems a collaborative work.

Then again, there are photorealistic pastel artists and painters whose craftsmanship can fool and amaze! I almost wonder if this could be one of those.... —Kathy Hirshon, Artist, Santa Fe Allegorical photography has been around since the beginnings of photographic history. Early examples can be seen in the works of William Henry Fox Talbot, Oscar G. Rejlander, Henry Peach Robinson, and later Julia Margaret Cameron, to name just a few.All of them—without the aid of Photoshop and computers—imbued photo imagery with rich and intricate visual meanings. Contemporary practitioners of this same approach include Cindy Sherman, Jerry Uelsman, and Maggie Taylor, whose images subscribe to the postmodernist theory that reality is a construct. And even though Taylor employs digital methods, her imagery is entirely convincing. In contrast, this particular image strikes me as very simplistic. I read it as an allegorical story about human response to the strange, the unknown, and the different. But I find it very difficult to read or understand the symbolic, visual references represented by the various objects included in the picture. Although I admire the inventiveness and fanciful imagination of the best practitioners of allegorical photography, I do not practice it myself. I find that I am sufficiently challenged with the complexities of the world (as we humans have constructed it) and find it always to be an interesting source for my own image making without having to resort to visual tricks. Moreover, it seems that this photographer does not build on the rich history of allegorical photography, but rather seems intent on reinventing the wheel. —Donald Woodman, Photographer, Belen, NM

| october 2011



Dawn Hamilton © 2011 Daniel Quat

creative photography for creative people


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In 1988,

Chuck Close experienced a tragedy that influenced his painting style. He had a spinal blood clot, which left him a quadriplegic, unable to move either his legs or his arms. With a paintbrush clamped between his teeth, he developed a new way to paint, using his “mouth-brush.” Since 2002, Santa Fe artist Michael Husband has been afflicted with Wegener’s Disease, a rare condition that aggressively attacks the respiratory system and the kidneys. It destroys tissues and damages vital organs. Husband talks of how he continues to make art despite the obstacles he faces: “As far back as I can remember, I firmly recall my passion for the deconstruction of anything I could get my hands on. When I was quite young, I remember getting a Mr. Operation, which required the removal and/or replacement of body parts by the game’s surgeon of the moment. I would carefully remove the body parts—external features like ears, hands, feet, eyes, hair—and trade or replace them with the various body parts of a GI Joe or Betsy McCall doll, or the latest Big Daddy Roth’s Hot Rod Mama. The years have passed so fast since then and the things I thought I was going to achieve fell by the wayside. To this day, my ultimate grown-up fantasy has been to be an artist. I finally may have become the artist I always knew was inside me; I was only waiting for that little animal inside me—my confidence—to come out. I have been physically challenged by a terminal illness—passed on genetically—for the past nine years. I live with a life expectancy prognosis that should discourage me from doing anything. Instead, knowing that my life is going to end in the not-too-distant future has somehow—at last—given me the confidence to take anything apart and to join or exchange disparate objects exactly as I wish. I make these new objects, my “art.” strictly for myself. As for my late-in-life confidence, confidence is all an artist can hope for (in these end days).”

Self-portrait by Michael Husband

Husband has shown his photography and mixed-media shadow boxes at Laura Gilpin Gallery, Jean Cocteau Gallery, and POP Gallery in Santa Fe, and Orlando Gallery in Los Angeles. Private in-studio showings may be arranged by contacting the artist through his website: Michael Husband, God’s Favorite Angel, 2006

Michael Husband, Your Betrayal of Me Was in Full View, 2009

Organizations that assist artists with disabilities

| octob e r 2011

THE magazine | 19


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Raised-Bed Gardens Nobody needs to be reminded about the state of the economy. In these times of high unemployment, plunging stock markets, and a national debt that defies comprehension, it might be a good idea to explore a more self-sustaining lifestyle. One of the most effective ways to do this is to start a garden. The price of food continues to rise. According to the United Nations’ Food and Agriculture Organization, this can be attributed to increasing oil prices and therefore to increasing export costs now that so much of agriculture is petroleum-dependent. A home garden eliminates the “middle man”—not to mention the gas-burning drive to the grocery store—and provides fresh, bountiful food, with the proper care. However, New Mexico soil can be difficult to manage. It can be hard, sandy, and lacking in organic matter, making it difficult for plants to take in nutrients. A common solution to this problem is to install a raised-bed garden. Growers can bring in quality soil and mulch, and soil conditions are more easily controlled in the isolated beds. Raised-bed gardens also solve common New Mexico drainage problems and make it easier to control weeds and pests. Summer covers are made of material that allows water and 85% of sunlight to shine through, while providing organic pest control. Winter covers are made of UV-treated plastic that creates a mini greenhouse, allowing food production to continue through the winter. Not sure how to get started? Several local businesses are here to help. Veggiegrower Gardens of New Mexico, in Albuquerque, and Grow Y’Own, in Galisteo, are both excellent resources for products and advice. Ken Kuhne, the owner and founder of Grow Y’Own, has developed a covered raised-bed system that produces year-round crops. Kuhne states, “One durable garden bed will cost less than your summer salad grocery bill.” What could be better than eating home-grown vegetables and salads in the dead of winter, especially knowing that you’ve saved on gas, while contributing to a sustainable future?

| octob e r 2011

THE magazine | 21

“Elegant, yet informal, with sucessfully inventive dishes, it is widely considered to be the city’s finest restaurant.” —Travel & Leisure

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one bottle

One Bottle:

One Bottle: The 2009 Allegrini Valpolicella by Joshua Baer

Before Elkhart, Indiana, became an American city, it was a gathering place for

he told his mostly Republican, mostly working-class audience that, “Elkhart has

members of the Chippewa, Ottawa, and Potawatomi tribes. In 1829, Anglo-

been hit with a perfect storm of economic troubles,” and offered his stimulus

American settlers from Ohio established a village called Pulaski on the north

package as the solution. Last month, Elkhart’s unemployment rate hit 18%.

side of the Saint Joseph River. Pulaski consisted of a post office, a mill, and three

Right now, Elkhart’s future looks bleak. American corporations have

log cabins. In 1831, Dr. Havilah Beardsley purchased a square mile of land from

developed an appetite for foreign workers and a pronounced distaste for the

Pierre Moran, a half-French, half-Potawatomi chief who claimed sovereignty

American worker, so it may be a while before Elkhart’s economy revives.

over the region. Dr. Beardsley’s intention was to establish a town called Elkhart as a rival to Pulaski. In 1839, Pulaski was incorporated into Elkhart. There are conflicting theories about the name “Elkhart.” One theory is

On the other hand, in 2006, Elkhart’s economic future looked bright, so there may be some consolation in the fact that economic expectations are often followed by the opposite of what they anticipate.

that an island in the Saint Joseph River at the center of town forms the shape of

My obsession with Elkhart is based on my relationship with Volcano Pizza,

an elk’s heart. Another theory is that the town was named after Chief Elkhart,

a locally owned take-out establishment with three locations in the city. If you go

a cousin of the famous Shawnee chief Tecumseh. Given that the nearby town of

to Urban Spoon or Yelp, you will come upon heated debates about the relative

Mishawaka was named after Princess Mishawaka, Chief Elkhart’s daughter, the

merits of Volcano’s pizza. Those debates miss the point. People who like to eat

latter theory may be the more likely of the two. Elkhart’s central location—one hundred and fifty miles north of Indianapolis, one hundred miles east of Chicago, and seventy miles northeast of Fort Wayne—made it a crossroads for transportation

do not go to Volcano Pizza for the pizza. We go because Volcano makes the best meatball sandwich in the world. Volcano’s meatball sandwich comes to you on a toasted bun, and when I say “toasted,” I mean that both the inside and outside of

and a Mecca for skilled workers. During the late nineteenth and

the bun have that crisp, medium brown, marginally bitter quality

early twentieth centuries, the town’s economy was driven by

that fresh bread acquires when it is toasted within a few hours of

drugs and music. In 1884, Dr. Franklin Miles, a specialist in the

being baked. Inside the bun are pickled jalapeños, mushrooms

treatment of eye and ear disorders, founded the Miles Medical

sautéed with bell peppers and onions, Volcano’s homemade

Company in Elkhart. The company’s factory manufactured

marinara sauce, Volcano’s homemade mozzarella, and Volcano’s

a patented medicinal tonic called “Dr. Miles’ Nervine.” The tonic

homemade meatballs. It is difficult to describe a world class

became popular as a treatment “for nervousness or nervous

meatball without resorting to words like “mouth-watering” or

exhaustion, sleeplessness, hysteria, headache, neuralgia,

“epiphanous.” Those words apply to Volcano’s meatballs, but so

backache, pain, epilepsy, spasms, fits, and St. Vitus’ dance.”

do words like “humbling” and “solid.” You do not eat Volcano’s

In 1935, the Miles Medical Company changed its name to Miles

meatball sandwich as much as you allow it to stun you.

Laboratories. Nervine remained on the market as a “calmative”

Great food deserves great wine, but there is something

until the 1960s. In 1979, Miles Laboratories was purchased by

elitist about drinking a Dujac Echezeaux or a Cheval Blanc with

the German medical conglomerate, Bayer AG.

the world’s best meatball sandwich, especially in a city where

In 1923, the Elkhart Band Instrument Company was

the unemployment rate stands at 18%. What you want in these

founded by Andrew Hubble Beardsley, a direct descendent

kinds of circumstances is a blue collar wine, a wine that does its

of Dr. Havilah Beardsley. By 1940, Elkhart was home to sixty

job and gets out of the way without patting itself on the back.

independent musical instrument companies, including Conn-

In other words, you want a wine that manages to be authentic,

Selmer (trumpets and trombones), E. K. Blessing (clarinets,

reliable, and delicious for less than $20 a bottle.

euphoniums, flugelhorns, saxophones, and tubas), and

Which brings us to the 2009 Allegrini Valpolicella.

Gemeinhardt (flutes).

In the glass, the wine is a clear, beguiling crimson with

In 1936, Wilbur Schult, a local promoter and retailer,

scarlet shadows at its edges. The bouquet is more evolved and

bought the Sportsman Trailer Company from its founder,

more intricate than you expect it to be. On the palate, the 2009

Milo Miller. Between 1940 and 1970, dozens of motor home

Allegrini Valpolicella lays some—but by no means all—of its cards

companies—including Dutchman, Jayco, Kropf, Thor, and

on the table. This is a wine of soul and substance, but it delivers

Winnebago—opened factories in Elkhart. Today, Elkhart is

that soul and that substance in a quiet way.

home to the RV Hall of Fame and bills itself as “The RV Capital

The finish is like a New Mexico sunset.

of the World.”

You keep waiting for the end, then you

Elkhart’s status as a manufacturing center made it

realize that the end came and went

a boom town during the Great American Bubble. However,

twenty minutes ago and that you are at

the post-Bubble years have not been kind to northern Indiana’s

rest in the darkness, wondering what you

economy. In 2006, Elkhart had an unemployment rate of 4%.

did to deserve such a charmed life.

In 2009, its unemployment rate reached 15%. Elkhart’s status as an economic bellwether has not been lost on American politicians. During his election campaign, Barack Obama visited the city twice. In February of 2009, when President Obama came to Elkhart to promote his economic stimulus package,

| octob e r 2011

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 | 23


Spicy Tuna Haru Maki at

SAN Q Japanese Sushi & Tapas 31 Burro Alley (next to the Lensic)

992-0304 $ KEY



up to $14







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



$34 plus


Photos: Guy Cross

...a guide to the very best restaurants in santa fe 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. 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. $$$ Cuisine: French. Atmosphere: Reminds on of an inn in the French counyside. House specialties: Steak Frites, seared Pork Tenderloin, and the Black Mussels are all winners. Comments: A beautiful new bar with generous martinis, a teriffic wine list and a “can’t miss” bar menu. Winner of Wine Specator’s Award of Excellence. A zur 428 Aqua Fria. 992-2897 Dinner Wine/Beer Major credit cards. $$$ Cuisine: Mediterranean. Atmosphere: Intimate restaurant housed in a small adobe building with a charming bar. House specialties: If available, try the stuffed trout. Over a dozen tapas, including the wonderful grilled cauliflower tapa with grain mustardcaper vinaigrette. We also liked the stuffed Piquillo peppers with pork belly and blue cheese crema. Comments: For dessert, we loved the pineapple crumble, served with caramel sea salt ice cream. 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 superfresh 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. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: All-American. Atmosphere: Popular patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are fantastic. Super buffalo burgers and a knockout strawberry shortcake. Comments: Lots of beers. Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Smoke-free. Major credit cards. $$$$ 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.

Comments: Tasty seasonal BBQ sauces. Josh’s was written up recently 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 pan-fried 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.

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.

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 handpainted 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

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, honeyglazed ribs, the tender brisket, the barbecue chicken wings, the smoked chicken tacquitos, and the spicy queso.

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. Comments: For dessert, choose from a variety of pasteries, cookies, pies, cakes, and gelato.

continued on page 27

| octob e r 2011

THE magazine | 25


TwenTy classic & signaTure salads builT upon organic greens & produce from our Ten-acre farm in nambÉ

shibumi Savory soups, griddled sandwiches, wines by the glass & housemade desserts supplement the bistro menu. 709 don cubero alley santa fe, nm 87505 505.820.9205


The gallery will be conducting its Holiday SmallWorks Group Show opening November 4th and running through the Christmas season. The deadline for applying is Oct 15. Artists working in WOOD, CLAY, GLASS, METAL, PRINTMAKING, PAINTING, PHOTOGRAPHY, & MIXED MEDIA of less than 8”x8”, are invited to submit images, brief bio, and price list as email attachments to Sorry, other forms of submittal cannot be reviewed. Work submitted for consignment to the gallery must be titled, signed, and ready to exhibit. Please contact Gallery

Director, Verne Stanford, with questions. Thank you.

530 CANYON ROAD • SANTA FE • NEW MEXICO 87501 USA • 505.982 .9212 W W W. M I L L F I N E A R T.CO M








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


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. 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,

Chicken Paillard with Organic Vegetables at

Tabla de Los Santos 210 Don Gaspar at the Hotel St. Francis • Santa Fe • 992-6354 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.

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.

specialties: Try the Northern New Mexico 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. $$ Cuisine: Real New York-style pizza. Atmosphere: Counter service and a few tables. House specialties: Try the Central Park and the Times Square thin-crust pizza. Comments: A taste of the Big Apple. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Smoke-free. Major credit cards. $$$ 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.

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.

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.

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

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

| octob e r 2011

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 Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ Cuisine: Japanese Sushi and Tapas. Atmosphere: Large open room with a Sushi bar and table dining. House specialties: Sushi, Vegetable Gyoza (dumplings), Softshell Crab, Yaki Noodles, Sashimi and Sushi Platters, and a selection of Japanese Tapas (Izakaya). Comments: Good selection of boutique sake. San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ 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.

Second Street Brewery at the Railyard 1607 Paseo de Peralta. 989-3278. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers are outstanding, especially when paired with beersteamed mussels or the beer-battered calamari, burgers, fish and chips, or the truly great grilled bratwurst. Comments: Fun bar and great service. Shibumi 26 Chapelle St.At Johnson St. 428-0077. Lunch/Dinner Smoke-free/Fragrance-free Cash only. $$. 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. 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. T abla


L os S antos

210 Don Gaspar at the Hotel St. Francis 992-6354 Breakfast/Lunch/Dinner/Sunday Brunch Smoke-free. Patio Full Bar. Reservations suggested Major credit cards. $$$ Cuisine: New Mexican–inspired fare. Atmosphere: Moorish/Spanish tables and leather chairs inside; archways leading to a patio for al fresco dining. House specialties: The Chile Relleno del Cielo is the signature appetizer: stuffed with mushrooms in a pinto bean–garlic sauce, it’s bursting with flavor. The warm Ensalada Repollo de las Nubes (red cabbage salad) is sauteed with bacon and Roquefort cheese delivering a pungent and unforgettable dish. The organic Chicken Paillard with chile caribe is grilled and served with fresh market potatoes and locally grown vegetables. Recommendations: If the calamari with butter-garlic sauce is available, get it! For dessert, the organic goat milk flan is decidedly the best. Comments: Chef Estevan Garcia creates a brilliant menu of complexity and simplicity . T eahouse

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. $$$$ Cuisine: Contemporary. Atmosphere: Elegant, with great views from the dining room and the bar. House specialties: Enjoy cocktails with appetizers in the cozy ambience of the bar. At lunch, our faves are the Wild Mushroom Quesadilla and the Encantado Burger, with perfect Pomme Frites. For dinner, start with the Risotto with Shaved Truffles. For your main, order the Harris Ranch Beef Tenderloin served with foie gras butter, or the Fish of the Day. Comments: Excellent ervice. Chef Charles Dale certainly knows what “attention to detail” means. The Pink Adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Full Bar Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: 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. The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: A local institution just off the Plaza. House specialties: You can’t go wrong ordering the stacked red or green chile cheese enchiladas. Comments: Try their sister restaurant, La Choza. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch No alcohol. Smoking/non-smoking. Major credit cards. $ Cuisine: New Mexican. Atmosphere: This restaurant is absolutely a Santa Fe tradition. House specialties: Green chile stew and the huge breakfast burrito stuffed with bacon, potatoes, chile, and cheese. Comments: The real deal. Tree House Pastry Shop and Cafe 1600 Lena St. 474-5543. Breakfast/Lunch Tuesday-Sunday Smoke-free. Major credit cards. $$$ 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. $$ Cuisine: American, Cuban, Salvadorean, Mexican, and, yes, New Mexican. Atmosphere: Down home, baby. House specialties: Breakfast faves are the scrumptious Buttermilk Pancakes and the Tune-Up Breakfast. Comments: The El Salvadoran Pupusas are excellant. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Smoke-free. Major credit cards. $$ 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.

THE magazine | 27

Charles Hinman & Robert swain on and off the Grid

CHARLES HINMAN, lemoN twist, 2010, Shaped Canvas, 52x36x9�

October 5 - 30, 2011 | Opening Reception Friday, October 7, 5:00-7:00 PM

Also Presenting:

jerrold burchman, Paintings and Collages peter demos, New Paintings

David Richard Contemporary 130 Lincoln Avenue, Suite D, Santa Fe, NM 87501 | p (505) 983-9555 | f (505) 983-1284 |


OCTOBER A R T O P E N I N G S FRIDAY, SEPTEMBER 30 eiGht moDern, 231 Delgado St., Santa Fe. 9950231. Three-person exhibition: Michelle Cooke, Lora Fosberg, and Shaun Gilmore. 5-7 pm. eye on the mountain art Gallery, 127 Bent St., Taos. 928-308-0319. Grand Opening Event: works by Dana Cohn and music by D.J. Event Primitiv. 5-9 pm. hunter KirKlanD contemPorary, 200-B Canyon Rd., Santa Fe. 984-2111. Stone and bronze sculpture by T. Barny. Oil paintings by Gregory Frank Harris. 5-7 pm. international GuilD of realism at Sage Creek Gallery, 200 Old Santa Fe Trail, Santa Fe. 988-3444. 6th Annual International Juried Exhibition Exhibition: realist paintings. 5-8 pm. isaac’s Gallery, 309 N. Virginia Ave., Roswell. 575-623-8778. An Artist’s Gift: retrospective of work by Donald B. Anderson. 6:30-8:30 pm. Jeanette Williams fine art, 802 Canyon Rd., Santa Fe. 982-1535. This Mad and Beautiful Game: works by pop artist Shelly Johnson and Game abstract expressionist Lori Swartz. 5-10 pm. meyer east Gallery, 225 Canyon Rd., Santa Fe. 983-1657. New Works: paintings by Michael Workman. 5-7 pm. meyer Gallery, 225 Canyon Rd., Santa Fe. 983-1434. Oil paintings by Vachagan Narazyan. 5-7 pm. William sieGal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. New Work: paintings by Paula Roland. Artifacts: paintings by Signe Stuart. 5-7 pm. zane bennett contemPorary art, 435 S. Guadalupe St., Santa Fe. 982-8111. Contemporary Masters IIII: prints by George Condo, Richard Diebenkorn, Roy Lichtenstein, Edward Ruscha, and others. 5-7 pm.

SATURDAY, OCTOBER 1 516 arts, 516 Central Ave. SW, Alb. 505242-1445. Superheroes: Icons of Good, Evil and Everything in Between Between: group show. 6-8 pm. la tienDa D exhibit sPace Da P , 7 Caliente Rd., Santa Fe. 466-2838. EX.EX. VI: invitational group exhibit. 5-8 pm. richarD levy Gallery, 514 Central Ave. SW., Alb. 505-766-9888. 20 in 2011: group show. 6-8 pm.

FRIDAY, OCTOBER 7 bacon-richarDs stuDio, 227 Don Gaspar Ave., Santa Fe. 310-2955. Resonance—A Fashion Show: fashions by Dawn Bacon-Richards. 6-8 pm. blue rain Gallery, 130 Lincoln Ave., Suite C, Santa Fe. 954-9902. New Works: glass works by Rik Allen. 5-7 pm.

New sculptures by David Simon at Evoke Contemporary, 130 Lincoln Avenue, Suite F. Reception: Friday, October 7, from 5 to 7 pm. c o n t i n u e d o n p a g e 3 62

| october 2011

the magazine | 29

WHO SAID THIS? “Have no fear of perfection, you'll never reach it. ” 1. Lewis Carroll 2. Martin Kippenberger 3. Keith RIchards 4. Vicki Goldberg 5. Maureen Dowd

HERE’S THE DEAL! $500 B&W full-page ads ($900 for color) in the November issue for artists without gallery representation in New Mexico. Reservations by Friday, October 14. 505-424-7641

OUT & ABOUT Photos: Mr. Clix, Dana Waldon, Lisa Law, Linda Carfano, and Jennifer Esperazana

Read THE online at

Randolph Laub studio 303 303 825-9928 825-9928

briGht rain Gallery, 206½ San Felipe St. NW, Alb. 505-843-9176. Everything Sing: paintings by Travis Bruce Black. 6-8:30 pm.

meyer east Gallery, 225 Canyon Rd., Santa Fe. 983-1657. Fun and Games: paintings by Natalie Featherston. 5-7 pm.

DaviD richarD contemPorary, 130 Lincoln Ave., Suite D, Santa Fe. 983-9555. Paintings and Collages: works by Jerrold Burchman. On and Off the Collages Grid: works by Charles Hinman and Robert Swain. Grid New Paintings Paintings: works by Peter Demos. 5-7 pm.

P atina G allery , 131 W. Palace Ave., Santa Fe. 986-3432. Being Here: tapestries by Laura Foster Nicholson. 4-7 pm.

el museo cultural De santa fe, 555 Camino de la Familia, Santa Fe. 992-0591. Retrospective: works by Sergio Moyano. 5-8 pm. evoKe contemPorary, 130 Lincoln Ave., Suite Fe. 995-9902. Santa Fe. Solo show: sculptures by David Simon. 5-7 pm. GeralD Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. American Realism: group show. 5-7 pm. heiDi loeWen Porcelain Gallery, 315 Johnson St., Santa Fe. 988-2225. Ebbing Tide, Upward Motion: porcelain works by Sara Kathryn. Motion 5-7:30 pm. in nPost artsPace P Pace at the outPost Performance sPace P , 210 Yale Blvd. SE, Alb. 505-268-0044. This is This—Largely Small Paintings Paintings: works by Michael Hudock. 5-8 pm. Jay etKin Gallery, 703 Camino de la Familia, Santa Fe. 983-8511. Paintings by Carvel Glidden. 5-7 pm. manitou Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Paintings by Bruce Cody, William Haskell, and Jurgen Wilms. 5-7:30 pm. mariPosa osa Gallery, 3500 Central Ave. SE, Alb. 505-268-6828. Angel Dust: work by Sam Esmoer. Annual Day of the Dead Show: group show. 5-8 pm.

P eyton W riGht G allery , 237 E. Palace Ave., Santa Fe. 989-9888. The Post War Works: works by Herbert Bayer. Paintings Works by Raymond Jonson. 5-8 pm. r eD D ot G allery , 826 Canyon Rd., Santa Fe. 820-7338. Lumen. Sculpture & Fiber: sculpture and fiber works. 4:30-7:30 pm.

What’s Left Behind: Behind photographs by Anne Staveley at Gerald Peters Gallery, 1011 Paseo de Peralta. Reception: Friday, October 7, from 5 to 7 pm.

s tranGer f actory G allery , 109 Carlisle Blvd. NE, Alb. 505-508-3049. Bewitching: invitational group show. 6-9 pm.

work by Kathryne Cyman. 5-8:30 pm.

turner carroll Gallery, 725 Canyon Rd., Santa Fe. 986-9800. Solo show: paintings by Ashley Collins (see preview, page 34). 5-7 pm. t ybie D avis s atin m emorial a rt G allery at the Santa Fe Public Library, 145 Washington St., Santa Fe. 819-7996. I See Me: self-portrait photography by Lisa Blair. 4-6 pm. v i v o c ontemPorary , 725 Canyon Rd., Santa Fe. 982-1320. Close Encounters: photographs of organic materials by Jane Rosemont. Strata— Life Layers Layers: abstract calligraphy and book art by Patty Hammarstedt. 5-7 pm. W ells f arGo b anK , 241 Washington Ave., Santa Fe. 984-0500. October: works by P.E. Baldwin, Carole Whitmore, Paula Shaw, and Pat Berger. 4-6 pm. Weyrich Gallery/the rare vision art Galerie, 2935-D Louisiana Blvd. NE, Alb. 505883-7410. Interactions—Art in Use: porcelain

SATURDAY, OCTOBER 8 encore Gallery, 133 Paseo del Pueblo Norte, Taos. 575-758-2052. The View from Here— Nine Months of Meditation Meditation: works on paper by Theresa Gray. 4-7 pm. stables Gallery, 133 Paseo del Pueblo Norte, Taos. 575-776-2506. Seed 3: art inspired by the seed. 5-8 pm.

SUNDAY, OCTOBER 9 ray DreW W Gallery at New Mexico Highlands University, Las Vegas, NM. 505-425-7511. Sixteen Years Years: paintings by G.J. Marranca. 4-6 pm.

FRIDAY, OCTOBER 14 222 shelby street Gallery, 222 Shelby St., & 333 Montezuma Montezuma. Santa Fe. 982-8889. Fall Spotlight: Group show. 5-7 pm. Spotlight nüart Gallery, 670 Canyon Rd., Santa Fe. 988-3888. Marking Time: paintings by John

Tarrahteeff. New Work: paintings by Guillermo Porras. 5-7 pm. selby fleetW leet ooD Gallery, 600 Canyon Rd., Santa Fe. 992-8877. Flora Fantastica: botanical art by MF Cardamone. 5-7 pm.

SUNDAY, OCTOBER 16 las Placitas Presbyterian church, Placitas. 505-867-8080. Placitas Artists Series: group show featuring Lisa Chernoff, Ming Franz, Jo Schuman, and Natalie Searl. 2-5:30 pm.

FRIDAY, OCTOBER 21 Palette contemPorary art anD craft, 7400 Montgomery Blvd. NE, Alb. 505-855-7777. Emergence: paintings/prints by Ian Campbell. 5-8 pm. Emergence site santa fe, 1606 Paseo de Peralta, Santa Fe. 989-1199. Agitated Histories: group show. 5-7 pm.

SUNDAY, OCTOBER 23 neW mexico history museum, Palace of the Governors, 105 W. Palace Ave., Santa Fe. 476-5100. Illuminating the Word. Contemplative Landscape. 2-4 pm.

FRIDAY, OCTOBER 28 DelGaDo street Galleries, 225 Delgado St., Santa Fe. 990-2133. Discover Delgado 4th Friday Gallery Walk Walk: featuring Pippin Meikle, INART, Hasson Gallery, Ordover Gallery, and Art of Russia Gallery. 5-7 pm. zane bennett contemPorary art, 435 S. Guadalupe St., Santa Fe. 982-8111. Mixedmedia works by Bruce Dorfman. Sculptures by Rachel Stevens. 5-7 pm.

SPECIAL INTEREST abiquiu WorKshoPs With Ghost ranch, US Hwy. 84, Abiquiu. 575-685-0921. Dwellings— Landscapes Of The Heart/Creative Writing from Nature: workshop with Linda Hogans. Oct. 17Nature 21. american cancer society at Villa Linda Park, 4250 Cerrillos Rd., Santa Fe. 820-3538. Making Strides Against Breast Cancer Cancer: five-mile walk fundraiser. Sat., Oct. 8, 9 am.

Sculptures by Munson Hunt at the Center for Contemporary Arts, 1050 Old Pecos Trail. On view through January 8, 2012.

city of santa fe arts commission at the Santa Fe Community Convention Center, 201 W. Marcy St., Santa Fe. 955-6707. Ceremony for recipients of 2011 Mayor’s Recognition Awards for Excellence in the Arts. Thurs., Oct. 27, 6:30 pm.

continued on page 34

32 | the magazine


2011 |

A National Juried Encaustic Art Exhibition Juried by Linda Durham, founder of Linda Durham Contemporary Art Featuring 40 works by 29 artists nationwide, representing a wide range of processes, including photography, printmaking & contemporary hot-wax painting. Awards for Best of Show & Award of Excellence. “Longing” by Judy Gardner (Co.)

October 8th - 30th Opening Oct. 8th, 1 pm - 6 pm

The Encaustic Art Institute

18 County Rd. 55A (General Goodwin Rd) Cerrillos, NM Douglas Merhans 505-424-6787 Open Weekends April – October: 1-6 pm or by appointment EAI is a registered 501c3 non-profit

discover delgado

The Encaustic Art Institute presents

c a n yo n roa d ’ s h i d d e n t r e a s u r e



gallery walk October 28

5-7 pm

Fine Art ~ Music ~ Faire ~ Fun Pippin Meikle Fine Art

Aleta Pippin

Art of Russia Gallery


Dave Sisk

Ordover Gallery

Lisa Ross

Hasson Gallery

Randall Hasson

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

TaosArtCalendar:October2011 HARWOOD



Ongoing Exhibits

Encore Gallery Exhibits

Literary Events

Agnes Martin painting installation Ken Price altar installation through february 05 Oli Sihvonen: The Final Years, Black Mountain College and New Mexico

october 8 – november 30 The View From Here: nine months of meditation – ninety works on paper – by Tres Orejas artist Theresa Gray

TBA Dixon Studio Tour: 30 Years Creating Art & Community, book launch

Stables Gallery Exhibits

october 02 Readings from Etruscan Evenings by Linda Lambert Hotel La Fonda, 4-6pm

Taos Ongoing Events

Yoga in Agnes Martin Gallery, Wednesdays Selected Events

october 01 Marwencol, documentary film october 01 Family Day at the Harwood

october – all month Third Annual "Seed" Exhibition Ongoing Events

Movies at the TCA Sunday 2 pm, Monday & Tuesday 7:30pm Events

october – every wednesday night SMU-In-Taos & UNM-Taos, Free Lecture Series

october 08 Over Your Cities Grass Will Grow, documentary film about Anselm Kiefer october 09 Esmeralda from the Bolshoi Theater, Live in HD

october 07 One Man, Two Guvnors from National Theatre of London, Live in HD

october 19 92Y Live with Andy Borowitz

october 27 ARCOS Dance Repertoire concert

october 22 Alan Pasqua, jazz concert

october 29 Mozart’s Don Giovanni from the Met, Live in HD

october 15 Donizetti’s Anna Bolena from the Met, Live in HD

october 29 Bauhaus in America, documentary film



october 07 Lecture: Cherie Burns, author Searching for Beauty: The Life of Millicent Rogers Harwood Museum of Art, 7pm october 21 – 22 12th Annual Taos Storytelling Festival featuring headliners Regi Carpenter and Jackson Gillman Taos Community Auditorium Ongoing

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

See more at


Dana choDzKo K stuDio, Open Studio: sculptures Ko and prints. Hwy 554 towards the El Rito Tour. Go 3.75 miles. Right at Bean Creek Drive/Prado Valley Ranch. Right on Buffalo Trail. Go to Red Gate (#50). Saturday, October 1 and Sunday, October 2, from 11 am to 7 pm. 505-685-0068.

every week at 8:30 pm. Greer Garson theatre at santa fe university of art anD DesiGn, 1600 St. Michael’s Drive, Santa Fe. 988-1234. Season opens Friday, Oct. 7 with a performance of The Odd Couple. Four plays pla will be presented by performing arts students and faculty this year.

el rito stuDio tour, venues throughout El Rito. 575-581-4780. 2011 El Rito Studio Tour. Sat., Oct. 1 and Sun., Oct. 2., 10 am-5 pm.

mine shaft tavern anD olD West saloon, 2846 Hwy. 14, Madrid. 473-0743. Various live music performances in Oct. themineshafttavern. com

GeorGia o’Keeffe museum, 217 Johnson St., Santa Fe. 946-1000. From New York to Corrymore—Robert Henri and Ireland Ireland. Through Sun., Jan. 15, 2012. Various events through October. harW ar ooD museum, 238 Ledoux St., Taos. 575-758-9826. Oli Sihvonen—The Final Years. To Feb. 5, 2012. Black Mountain College and New Mexico Mexico. On view through Feb. 5, 2012. lannan founDation D Dation at the Lensic, 211 W. San Francisco St., Santa Fe. 988-1234. Tariq Ali with Avi Lewis. Wed., Oct. 26, 7 pm. Info: las cruces museum of art, 491 N. Main St., Las Cruces. 575-541-2137. From the Ground Up XXV XXV: juried exhibition of contemporary ceramics. Through Sat., Oct. 15. museums muñoz Waxman Gallery at the Center for Contemporary Arts, 1050 Old Pecos Trail, Santa Fe. 982-1338. Munson Hunt Exhibition: sculptures by Munson Hunt. Through Sunday, January 8, 2012. national hisPanic P Panic cultural center, 1701 4th St. SW, Alb. 505-246-2261. ¡Fabuloso!— Figures in Clay from the Van Deren and Joan Coke Collection. Through Summer 2012. Collection neW mexico DoGs Deserve better, a fundraiser for a local charity that rescues chained, abused, and neglected dogs. Event will be at High Desert Arts, 7511 Mallard Way (off Constellation Drive) in Santa Fe. Sat., Oct. 22, noon-6pm. Music, food, and drink. Silent auction, 4-5 pm. 982-9875. santa fe art institute, 1600 St. Michael’s Dr., Santa Fe. 424-5050. Lecture by filmmaker,

International Guild of Realism presents the 6th Annual International Juried Exhibition of Realist Paintings at Sage Creek Gallery, 200 Old Santa Fe Trail. Reception: Friday, September 30, from 5 to 8 pm. Image: Juan Medina. photographer, and video installation artist Monika Bravo on Tuesday, Oct. 12, 6 pm at Tipton Hall. Reception and dance party. 7:30-9 pm. santa fe arts commission community Gallery, 201 W. Marcy St., Santa Fe. 955-6705. Artist Demonstrations and Workshops Workshops: Sat.,Oct. 8: Felicia Trujillo Willow Basket Workshop Workshop. Saturday, Oct. 15: Robb Rael Painting Demonstration. santa fe community colleGe, 6401 Richards Ave., Santa Fe. 428-1776. The Santa Fe Literary Review 2011 Edition Reading & Reception: Tuesday, Oct. 4, 5-7 pm in the Jemez Room. Free and open to the public. santa fe Poetry anD Prose meetuP GrouP, 92 Camino Chupadero, Chupadero, NM. 9881082. Language of Memory: readings by Susan Gardner and Gary Worth Moody. Sat., Oct. 1, 6 pm.

st. John’s uniteD methoDist church, 1200 Old Pecos Trail, Santa Fe. 670-6649. 10th Annual Eldorado Arts and Crafts Fall Show Show: group show. Fri., Oct.28, 5-8 pm; Sat., Oct. 29, 10 am-5 pm. taos art museum at Fechin House, 227 Paseo del Pueblo Norte, Taos. 575-758-2690. Passion of Paint Paint: works by Mary Dolph Wood. Through Sun., Nov. 27. Women Painters of Northern New Mexico: works from the museum’s collection. Mexico Through Dec. Info: university of neW mexico arena, 1414 University Blvd. SE, Alb. 505-925-5858. A Night of Hope Hope: ministry with Joel and Victoria Osteen. Fri., Oct. 7, 7:30 pm. zane bennett contemPorary art, 435 S. Guadalupe St., Santa Fe. 982-8111. The Garden of 1,000 Buddhas—An International Peace Garden: fundraising event. Sat., Oct. 1, 6-9 pm. Garden


selby fleetW leet ooD Gallery, 600 Canyon Rd., Santa Fe. 992-8877. James Koskinas reads from his novel-in-progress, Sailor in the Rain. Sat., Oct. 29, 5 pm. RSVP: 603-1706

albuquerque theatre GuilD, P.O. Box 26395, Alb. Performances through Oct.

society of the muse of the southWest at Taos Ctr. for the Arts, 133 Paseo del Pueblo Norte, Taos. 575-758-0081. 12th Annual SOMOS Taos Storytelling Festival. Fri., Oct. 21 and Sat., Oct. 22. Festival

antonio GranJero & entreflamenco at The Lodge at Santa Fe, 750 N. Saint Francis Dr., Santa Fe. 988-1234. Flamenc@s: flamenco song and dance. Through Sun., Oct. 23. Wed.-Mon. of

santa fe PerforminG arts anD the Drum is the voice of the trees at the Armory for the Arts, 1050 Old Pecos Trail, Santa Fe. 4746381. And They’re Burning: drumming and percussion concert. Sat., Oct. 22, 7:30 pm.

CALL FOR ARTISTS 516 arts, 516 Central Ave. SW, Alb. 505242-1445. ISEA2012 Albuquerque—Machine Wilderness: exhibition and call for proposals. Wilderness Deadline: Sat., Oct. 15. 516 arts, 516 Central Ave. SW, Alb. 505-242-1445. New Mexico Showcase Showcase: juried exhibition of New Mexico artists. Deadline: Thur., Dec. 1. artforms artists association of neW mexico, P.O. Box 1944, Las Cruces. 575-5270020. For the Love of Art Month 2012. Deadline: Mon., Oct. 31. the city of santa fe community Gallery is seeking artists to participate in the upcoming Odes and Offerings exhibition in collaboration with Santa Fe Poet Laureate, Joan Logghe. Submit a portfolio to: Community Gallery, P.O. Box 909, Santa Fe, NM 87504 by Fri., Oct. 28. santafearts santa fe WatersheD association at La Montañita Coop, 913 W. Alameda, Santa Fe. 8201696. Create Recycled Art Contest/Clean Up the Santa Fe River. Sat., Oct. 15. For pre-registration, contact: scottsDale D Dale center for the PerforminG arts, 7380 E. Second St., Scottsdale, AZ. 480-874-4694. 42nd Annual Scottsdale Arts Festival Festival. Deadline: Wed., Oct 14.

Richard Deacon with Matthew Perry; Sinners & Saints; An Inquisitive Eye, Seeing into Prints; and Re-Imagining American Identity at the University of New Mexico Art Museum, Albuquerque. Through December 18. Image: Richard Deacon

34 | the magazine


2011 |


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

Blue Rain Gallery rik allen | new works in glass and metal

Pippin Contemporary nancy reyner | sea of glass

Evoke Contemporary wade reynolds and david simon

Allan Houser allan houser | benchmark works 1939 – 1994

Niman Fine Art michael namingha

Windsor Betts kevin red star

Legends Santa Fe frank buffalo hyde

One Artist Road Fine Art featuring frank balaam

David Richard Contemporary jerrold burchman | paintings and collages



Noël Hudson: Abstraction October 8 through November 15  Rio Bravo Fine Art Gallery, 110 North Broadway, Truth or Consequences. 575-984-0572. Reception: Saturday, October 8, 6 to 9 pm. Salon discussion with the artist at 5 pm.  The Bosque del Apache National Wildlife Refuge, in Socorro County, New Mexico, is rich with life. It is an oasis for sandhill cranes and migrating arctic geese. The refuge’s native plants provide a healthy habitat for wildlife—and inspiration for local artist Noël Hudson. She studies the light and color in the refuge’s acequias, grasses, and trees, using her observations as inspiration for her recent body of work, a series of linear and patterned abstract paintings. Hudson began her art career focusing on ceramics, and studied with master ceramicist Paul

Noël Hudson, Dance of Light, oil on canvas, 36” x 48”

Soldner for fifteen years. She moved to Taos, where she began painting, in 1980. Hudson has lived and worked in the Santa Fe area for the past thirty years and teaches painting at Santa Fe Community College. In addition to the plants of the Bosque del Apache refuge, her current paintings are influenced by landscapes she has experienced throughout her life—elements of California, Japan, Southeast Asia, and New Mexico can be detected in her gestural, abstract works. Abstraction is an exhibition of twenty-five paintings and works on paper, all created during Hudson’s time in New Mexico.

Ashley Collins October 7 through November 7 Turner Carroll Gallery, 725 Canyon Road, Santa Fe. 986-9800. Reception: Friday, October 7, 5 to 7 pm. Michael Carroll of Turner Carroll Gallery believes that to understand Ashley Collins’ work the viewer must know about her childhood bond with a horse named Chief. Collins met Chief when she was eleven years old. Both were in need of a friend. Chief was once a working horse, but he had developed a hoof ailment and could no longer carry an adult, so he rarely received human attention. One day, Collins came across Chief in a pasture ten miles from her home. The horse’s owners agreed to let Collins ride Chief in exchange

Ashley Collins, Siri (Secret), diptych, mixed media, oil and acrylic on aged paper, panel, hand-fired resin finish, 48” x 72”

for his care. The horse became her best—and only—friend. Today, Collins has become a successful artist, but she has not forgotten Chief. Many of her large-scale paintings are of horses. The size of these works—some as large as seven feet by five feet—reflect the size and power of the horse. Collins paints her equine figures on the pages of old books, which she ages by leaving them outside her house to absorb the wind, rain, sun, and other elements before she assembles them on panels. She then applies a hand-fired resin finish, which often reveals results that are as surprising and unpredictable as the horses she paints.

SUPERHEROES: Icons of Good, Evil and Everything in Between October 1 through January 7, 2012 516 Arts, 516 Central Avenue SW, Albuquerque. 505-242-1445. Reception: Saturday, October 1, 6 to 8 pm. What makes a superhero a superhero? Super powers, of course, such as the ability to fly or extraordinary strength. A flashy super-suit is also essential to bolster a superhero’s image. Sometimes, a sidekick is necessary for assistance and comic relief. Most importantly, a superhero must be willing to fight evil and defend the good at any cost. SUPERHEROES: Icons of Good, Evil and Everything in Between is a multi-media group exhibition exploring the superhero icon and its effect on modern culture. Photographer Lawrence Getubig’s Space Caper, a part of his Action Figure Cutouts series, will be featured. In this work, Getubig made a cardboard cutout of a superhero, accompanied by a cardboard cutout of Getubig himself. Getubig created the Action Figure Cutouts in order to imagine himself as a superhero’s cohort and lover, and to examine his attitude toward the white male in general. Other works include a towering, one-eyed assemblage entitled Mr. Bends by Santa Fe’s Esteban Bojórquez, and Ends Man—a hollow, wilting super-suit knitted by Mark Newport. The opening reception will feature live music by Django Rhythm Meat Grinder. Several other super-hero-themed events will accompany the exhibition,

Lawrence Getubig, Space Caper, analog C-print, 30” x 24”, 2009

including a poetry reading and a film series. Details:

36| THE magazine

| october 2011

The Andrew Smith Gallery, INC. Ansel Adams • Gems From New Mexico Photographs from the David H. Arrington Collection Through December, 2011 Gems From New Mexico includes classic photographs as well as seldom seen prints that demonstrate Adams’s full range of vision from early soft-focused prints to crisp, dramatic expressions from his later years. The sixteen masterworks on exhibit were photographed in New Mexico from the late 1920s through the early 1970s. On view is the very first print ever made of the legendary “Moonrise, Hernandez, New Mexico” 1941. Also displayed are some of Adams’s studies of New Mexico churches and spectacular, lesser known landscapes taken at Ghost Ranch and Penasco. Ansel Adams, Moonrise, Hernandez, New Mexico, 1941, Printed 1941 © 2011 Trustees of Ansel Adams Publishing Rights Trust

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

505.984.1234 •

A n n e S tAv e l e y | W H At ’ S l e F t B e H I n D october 7th through November 20, 2011 opening reception with the artist: Friday, october 7th, from 5-7pm

For more information contact: Peter Marcelle, or Evan Feldman,

to view more works visit SHE KNOWS, light jet print mounted on aluminum, editions of 5, 24 x 32 inches. © 2011 Anne Staveley, courtesy Gerald Peters Gallery.

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

Sweet Salsa A Chocolate Covered Dance Contest


DINNER, DANCE CONTEST, SILENT AUCTION October 22, 2011 Tickets $100 includes dinner


6 - 10pm

dance contest

SANTA FE COMMUNITY CONVENTION CENTER 201 W. MARCY ST., SANTA FE, NM A fundraiser for the CENTER FOR CONTEMPORARY ARTS Musical Entertainment by EL SAVOR Dinner catered by LA BOCA Chocolate provided by NORTHERN NEW MEXICO’S FINEST CHOCOLATIERS Mojitos and Chocolate Martinis

LATIN BALLROOM DANCE CONTEST 7:30-10:00pm Tickets $50 Couple or $30 Single includes 1 drink per person + chocolate tasting + contest registration


does not include dinner

First Prize Second Prize Third Prize

$1,000 $500 $300

Benefits from SWEET SALSA support programming at the Center for Contemporary Arts 1050 Old Pecos Trail, Santa Fe, NM 87505 505.982.1338 The Center for Contemporary Arts of Santa Fe, Inc. is a New Mexico Non-profit Corporation under section 501 (c)(3) of the IRS code


Jesse with Flower Unique Polaroid print, 2003 by

Patti Smith

It was not a musician, but a visual artist who inspired Patti Smith to embark on her path to stardom. After seeing a retrospective of Andy Warhol’s work, in Philadelphia in 1976, Smith left for New York City, where she would meet photographer Robert Mapplethorpe, poet Janet Hamill, and playwright Sam Shepard, among others. With the inspiration and support of her friends, Smith pursued—and continues to pursue—art with a capital A. Smith’s photography is one of the many manifestations of her creativity—she photographs unassuming yet meaningful objects, such as poet Arthur Rimbaud’s fork and spoon, or Mapplethorpe’s slippers. The photographs are intimately composed, oozing a dreamy nostalgia—an ode to all those who have inspired her over the years. Smith uses an old, black-and-white Polaroid camera: it is convenient to use while she is on tour, but more importantly it provides her with immediate artistic satisfaction, unlike writing or recording. Camera Solo is an exhibition of more than sixty of Smith’s soulful photographs, in addition to two multimedia presentations. This is the first large-scale exhibition of Smith’s work in the United States in almost ten years. The exhibition is on view from October 21 through February 19, 2012, at the Wadsworth Atheneum Museum of Art, 600 Main Street, Hartford, Connecticut.

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THE magazine | 39


Astilli provides professional hands on fine art services and projects for the


protection and preservation of fine art and valued objects. Established in 1997, we have maintained a reputation of integrity and excellence. We created our 7,000 square foot facility solely for the purpose of safely and securely storing fine art and to provide related services. Our storage facility is secure and climate controlled, including humidity.

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Gertrude Stein’s Midnight


Kathryn M Davis

Ah, the romance that was Paris in the 1920s! It is so ingrained in our collective consciousness that even today, almost one hundred years later, a trip to Paris is de rigueur for artists, poets, and anyone with a streak of romanticism “like a nasty smear of paint,” as a critic referred, scathingly, to Henri Matisse’s initial Fauvist paintings. And if you can’t get there— or even if you lived there for some time—there’s Woody Allen’s Midnight in Paris to satisfy your craving for bohemia.

continued on page 43

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THE magazine | 41


have been enchanted this year by Midnight in Paris, probably one of the most held-over feature-length films across the country. The movie’s premise gives us protagonist Gil, a contemporary would-be novelist, who entertains fantasies about leaving his current position as a Hollywood hack to live in Paris and write great books. (Who hasn’t had that fantasy?) At the end of an evening, our hero, more than a bit tipsy, decides to walk back to his hotel. Along the way, magically, an antique car full of passengers dressed in the latest fashion—of the twenties—picks up Gil and transports him to a bar full of revelers. Gil is transfixed with delight as he recognizes Cole Porter at the piano, Josephine Baker shaking her stuff, and is taken into the kindhearted, if loopy, custody of Zelda and Scott Fitzgerald. They, in turn, introduce Gil to Ernest Hemingway, and in a conflation of historical accuracy with artistic license, Gil meets the Surrealists Salvador Dalí, Luís Buñuel, and Man Ray. Naturally, the latter trio finds Gil’s time traveling perfectly normal. Through Hemingway, Gil is taken to Gertrude Stein’s apartment—most likely the flat at 27 rue de Fleurus, which she, in real life, shared with her constant companion, Alice B. Toklas. The women held Saturday-evening salons at home, and everyone who was anyone wound up there. By the early twenties, the apartment was hung with mostly Cubist paintings, covering nearly every inch of the walls. The standout picture: a portrait of Stein by Pablo Picasso, who was, along with Matisse, a frequent guest of Stein’s. In the movie, Hemingway hands Stein Gil’s unfinished manuscript—Picasso’s portrait behind her—for her to critique, which she does, crisply and confidently. The real Stein, you see, was herself a writer. “A rose is a rose is a rose is a rose,” she penned in 1913, claiming to have captured in print the essence of the bloom for the first time since the Romantic poets.

she did Picasso, But who else, really, was Gertrude Stein, and why does she figure so prominently in the so-called Lost Generation of American ex-pats and French avant-garde figures? Why would Hemingway have valued her opinion enough to deliver text for her perusal? And what was up with those strange, yet vaguely familiar, paintings on the walls of her flat in Midnight in Paris? In a case of sublimely serendipitous timing, the San Francisco Museum of Modern Art is featuring a major exhibition, The Steins Collect: Matisse, Picasso and the Parisian Avant-Garde, that recreates in several galleries the fearless art collection that Gertrude and other members of her family pursued well before the rest of the world had even glimpsed what was going on in the ateliers of Paris. The extensive exhibition is not as shinybright as a Hollywood movie set, and more exhaustive than a screenplay would allow for. But The Steins Collect presents its case impeccably: Gertrude Stein, her brother Leo, and their brother Michael and his wife Sarah, were boldly progressive when it came to buying art by the burgeoning avant-garde of Paris in the early 1900s. They helped make artists’ careers, and they did it not as outsiders to the scene, but as an integral part of it, Gertrude in particular. Gertrude Stein was born in 1874 to a wealthy Pennsylvania family. She was irrefutably intelligent and attended Radcliffe College, where she studied with psychologist William James, from whom she developed the stream-ofconsciousness style of writing that was to become her trademark. Stein’s physical appearance has been described by Catherine R. Stimpson, writing in Poetics Today, as “invigorating… capacious… the eyes, nose, sweat, hair, laugh, cheekbones… at once strange… original, and right.” She wore her hair wound up on top of her head until Toklas cropped the steel-gray curls into a crew cut. Toklas herself wore her dark hair with a flapper’s bangs; in fact, Kathy Bates, who plays Gertrude Stein in the movie, models Toklas’s flapper ’do. Where Stein was hefty, Toklas was slim; when Stein was silent, Toklas chattered. But the two were partners for life, and when Stein wrote her autobiography, in 1933, she


If Stein liked you, as no spat could last long titled it The Autobiography of Alice B. Toklas, and wrote it in the style of Toklas’s speech. Stein had Toklas say this about her, Gertrude: “She was good humored, she was democratic, one person was as good as another, and she knew what she wanted done. If you are like that she says, anybody will do anything for you. The important thing, she insists, is that you must have deep down as the deepest thing in you a sense of equality. Then anybody will do anything for you.” If Stein liked you, as she did Picasso, for example, no spat could last long. And while the others made art that she collected, Stein kept writing, producing a vital oeuvre of her own that remains all-too unfamiliar today, although it was recognized by progressive publishers in her time. Neither Stein nor Picasso remembered exactly how it came about that he painted her portrait, but indeed he did, with Stein trekking uphill to his studio in Montmartre for some eighty to ninety sittings beginning in 1905. The effort resulted in what is now one of the most exciting examples of the Spanish painter’s transition from the “Harlequin, the charming early Italian period” (according to the Autobiography) into early Cubism, surpassed only by the Demoiselles d’Avignon (1907). After all those sittings, Picasso exclaimed, “I can’t see you any longer when I look,” and painted out the head. No one seems to remember what it originally looked like; what we do know is that Picasso, having recently been exposed to Iberian, Roman, and African sculptures, painted the mask-like face of Stein in the autumn of 1906. According to her Autobiography, Toklas “murmured to Picasso that I liked his portrait of Gertrude Stein. Yes, he said, everybody says that she does not look like it but that does not make any difference, she will, he said.” Apparently she liked it very much: the portrait is predominant in photographs of Stein at her desk; although she got rid of paintings right and left as her taste and the latest trends changed, she kept that picture near her always. After her death, in 1946, New York’s Museum of Modern Art acquired the Portrait of Gertrude Stein in a generous bequest.

| octob e r 2011

Around the time of the portrait, Matisse met Picasso at Gertrude Stein’s home, which she shared with her brother Leo, who had been living in Paris since 1902. Devoted companions in their early lives, the siblings’ personalities had clashed one time too many by 1914, when he left rue de Fleurus, and they spoke no more. However, it was their early alliance in collecting art that would prove to make such a difference in our understanding of early modernism as it developed in Paris, particularly vis à vis the combative friendship between Matisse, who felt he was losing the Steins’ patronage, and Picasso. Says Toklas through Stein in the Autobiography, “It was Matisse who first was influenced… by the African statues and it was Matisse who drew Picasso’s attention to it just after Picasso had finished painting Gertrude Stein’s portrait.” Matisse had been collected by Leo and Gertrude immediately upon their first look at the Fauvist painting Woman with a Hat (1905), which is startlingly attractive in person, with its saturated green, blue, purple, and turquoise hues. When Leo arrived in Paris, he acquired a tiny treasure, Five Apples (1877-78), by an artist whom the younger painters greatly admired: Paul Cézanne. His Bathers of 1895-1900 depicts an active scene; the figures seem ready to turn around and spring right off the canvas. Leo collected, he said, “just as a botanist would”: the best of each species. Gertrude would, however, as she grew into the world she inhabited, have her favorites; it turned out that Matisse was right to be insecure about her loyalties. Again from the Autobiography, we have this telling passage: “Matisse intimated that Gertrude Stein had lost interest in his work. She answered him, there is nothing within you that fights itself and hitherto you have had the instinct to produce antagonism in others which stimulated you….” Better criticism of Matisse’s later work has never been uttered. As Picasso moved into Cubism, the visionary Stein sold older paintings to acquire more of this latest and most significant movement in modern art, a movement that shattered, literally, two-dimensional painting and presaged what was to follow up to the mid-twentieth century.

THE magazine | 43

New oil paintings by STEVE ELMORE “The Tree of Life”

Ongoing • Steve Elmore Studio. 839 Paseo de Peralta, Santa Fe, (located between Alameda and Palace Avenue)

505.995.9677 •



E rin C urrier : S even M iles P er S econd

Blue Rain Gallery 130 Lincoln Avenue, Santa Fe

History is written by the victors, and Erin

corrupt rule of Hosni Mubarak. In a companion work to the

In fact, the only critique that might be made of Currier’s

Currier’s show at Blue Rain triumphs. The centerpiece of

Bouazizi piece, Currier presents another large-scale portrait of

powerful show here is that all the figures she depicts come

the show is a breakthrough six foot head-shot of Mohamed

Ai Wei Wei, the Chinese conceptual artist who was recently

from places other than the United States This is minor criticism

Bouazizi, the Tunisian produce vendor who lit himself on fire

unjustly imprisoned for his longstanding, outspoken critique of

of the good and important work she is doing, and I know that in

on the seventeenth of December, 2010 in protest of local

the Chinese government. We see political refugees who were

the past she has addressed these issues, especially in relation to

government officials’ failure to respond to repeated incidents of

unjustly imprisoned in Guantanamo Bay by our own repressive

Mexican immigration and the Civil Rights Movement, but given

police harassment, brutality, and extortion. In that act Bouazizi

government, and Santo Toribio Romo, the martyred priest who

the drift towards a corporate totalitarianism that is currently

sparked thousands of souls into social disobedience, ultimately

has become the patron saint for emigrants from Mexico.

underway on these shores, there is a very real sense that we need her here at home right now.

toppling the corrupt Ben Ali administration in January of this

Currier titles her show Seven Miles Per Second, after

year. Over five hundred people attended Bouazizi’s funeral.

the comic book created by the American artist David

Still, she long ago established herself as a citizen of the

His action and subsequent death galvanized youth protests

Wojnarowicz, who died in the first wave of the AIDS epidemic

world, and her excitement about the Arab Spring is palpable

and human rights activists. The people rose up, rioted, and

and was extremely politically active in his art. Tea Party–led

and positive. Her technique has only steadily improved

demanded the autocrat’s immediate resignation. The army

morons in the United States Congress recently succeeded in

over the years, making this her most powerful, mature, and

took the side of the people and allowed Ben Ali to flee to

shutting down a video by the artist that was part of a show

accomplished exhibition thus far. It will probably only be

asylum in Saudi Arabia where he is today.

at the National Gallery in Washington, D.C., demonstrating

surpassed by whatever she takes on next.

that repression has long found a home in the United States.

—Jon Carver

Bouazizi’ s action and the example of the successful exiling of a tyrant by the Tunisian people has led to the increased opposition to oppression and poverty under autocratic governments, a number of emulating immolators, massive protests, regime changes in Egypt and Libya, and the granting of concessions by governments throughout the Arab states, making Bouazizi’s act one of desperate, but successful, heroism. Currier’s large-scale portrait of Bouazizi is outstanding, in part because it is the first time she has worked on this scale with pure collage. Her unique approach to image construction has long been to gather litter, trash, and cultural detritus as the basis for her underpainting. Traveling the world, she ships home old suitcases and boxes full of these found materials and incorporates their commercial logos and piecemeal imagery into her compositions in ways clever, poignant, and pointed. She then completes the image with overpainting, allowing her source material to show through to greater and lesser degrees. In the case of the Bouazizi portrait she abandons paint in favor of pure collage, giving the image a raw immediacy appropriate to the subject, making this piece the most powerful in an overwhelmingly strong show. On a formal level, the portrait recalls Italian Renaissance marquetry work of the sort typified by the studiolo of the Duke of Urbino. Marquetry is the practice of composing illusionistic images with thin wood veneers of various tones—a kind of collage painting analogous to Currier’s made exclusively with small, carefully cut pieces of wood. In Currier’s case, the wood is replaced by smatterings of street posters, discarded packaging, and abandoned flyers. Prominent among the trash she redeems to construct her picture of Bouazizi is an advertisement for a festival of early 1970’s Blaxploitation films, linking the Tunisian uprising to the Civil Rights Movement in the United States. Currier’s consistent subject is the ennobling of the poor and downtrodden and the celebration of those individuals throughout the world who have in one way or another stood up for human rights, liberty, and equality through their brave and uncompromising actions. Her images present an alternative history to that promulgated by the corrupt media systems of our times. In this show, we see the Egyptian youth who took over Tahrir Square earlier this year to bring about an end to the

| octob e r 2011

Erin Currier, Mohamed Bouazizi, mixed media, 60” x 48”, 2011

THE magazine | 45





Phil Space 1410 Second Street, Santa Fe

Fritz Zwicky, the Swiss physicist (say that three times fast), posited way back in nineteen and thirty-nine the existence of a dark matter that neither gives off nor reflects light or any form of electromagnetic radiation. It made it possible to make the equations for galactic orbits make sense, so tricky Zwicky came up with this idea of a “matter” that couldn’t be seen (or detected by radio) that constitutes somewhere between seventy-four and eighty-three percent of the universe (depending on who you’re talking to). And because darkness only has a meaning relative to light (and light-interactive matter), Zwicky’s dark matter would really be more accurately described as transparent, invisible, and all-encompassing—making up the greater part of reality, functioning as its ground and sky. Or maybe not. These are just scientific theories after all, and therefore subject to change. The important thing to take away from Zwicky’s and other astro-minded maestros’ speculations is that, in point of fact, we really haven’t got a clue as to what exactly makes up most of the universe. Reassuring, huh? Oh, every once in a while somebody finds another particle in the heart of the “dark matter” and it shifts the balance ever so slightly, like say three-tenths of a percent in favor of what we know. Big deal, it’s not like there’s any cause for worry that somebody’s gonna figure it all out anytime soon. But say, how ‘bout those particles and their crazy quantum paths, their special way of apparently being everywhere and nowhere at the same time, their tendency to switch from particle to wave depending upon the viewer, etc.? All this and the deeply unknowable is what the visual physics of James Hart and Tom Martinelli’s exhibition at Phil Space have in common. Both artists make paintings that are hypnotic and investigative. The way art explores the universe is more intuitive and less data-oriented than the scientific method. But like science, it advances sometimes by blind luck and intensity of process. And like science, art is active in bringing visions of the future into being. In fact, great art is prescient, soothsaying, fortune-telling stuff that comes from somewhere out there in the Zwickified universe (that largest part of reality that we can’t identify) to arrive in our light-interactive midst shining like a beacon illuminating worlds to come. It does this in the way Neolithic cave painting is a means to manifesting a good hunt, or Cubism predicts Einstein. Particles and Orbs represents a kind of abstraction that puts in place certain perimeters, places certain limits upon paint application, color, order of painterly events, and then allows the work to enact its own solutions. The results are meditatively repetitive, like Islamic geometries, and often play subtle tricks on your perception of depth and shallowness, producing flutterings in your periphery. Or they go all-out hallucinogenic, making them an update of Op Art, championed most

James Hart, Pink Fours, oil on canvas, 30” x 24”, 2010

notably by Bridget Riley and Victor Vasarely. Martinelli’s paintings assert the picture plane with single or clustered dark circles arranged evenly and densely across the surface, leaving symmetrical negative shapes in a repeated pattern from the top to the bottom of each large canvas. The dark circles, which fill most of the field—say eighty-two percent or so—are built up in layers of thick overpainting. The resultant negative shapes, bright—and light-interactive—are the barely glazed ground shining through. Zwicky would be proud, and Tom Martinelli is clearly on to something well worth watching and wondering about. James Hart has for sometime now been pondering the nature of reality with paint in a quasi-scientific manner, which is really how all the great modern painters have proceeded. His paintings undulate somewhere between theoretical worlds and trance-inducing visual vapors, which does little to describe them, but does say something about how they behave. They are a delight to have at a party, and their well-reasoned sense of freedom from burdensome constraint recommends them. The optical qualities Hart achieves through his carefully applied, carefully loaded brushstrokes are stunning. Because the marks Hart makes contain a highlight, mid-tones, darks, and even reflected light, they act like little bouncy packets of Rinascimento space and/or volume. When he spirals them out across the field, or stripes them from top to bottom, or arranges them along equilateral triangular grids, they produce swellings, whirlings, and appear to breathe as the flippy-floppy now-volume, now-space brushstrokes do their magic. Magic is what they are. What painting is. What Particles and Orbs has to say is this: There is magic in seeing and in the possibilities inherent in visual perception that is the underpinning of all painting and art. So maybe we’ll leave it right there. And having traced that particular particle of electromagnetic what-not in its far orbit around the moons and galaxies, return to the deep peace of the unknowable undark. —Jon Carver Tom Martinelli, Light Sleep, acrylic on canvas, 19” x 18”, 1995


david taylor: WorkinG




JaMES kElly lly C ontEMPorary 1601 PaSEo dE PEralta, Santa FE


beige linens. Controlled and understated, this picture asks us for

for the United States Border Patrol, commissioned Taylor to

whatever you want to call it. You build it,” presidential hopeful

an interpretation rather than imposing one on us. Taylor has a

create photos about the experience of the patrolmen stationed

Michelle Bachmann recently said. “Every mile, every yard,

detached way of capturing his subjects, conveying the quietude

in tiny Van Horn, Texas. It’s fascinating that work concerning

every foot, every inch [should] be covered on that southern

of the desert and the no-man’s-land isolation of its inhabitants. In

such a potentially charged subject is simultaneously hanging in

border.” Entering into what will undoubtedly be a historically

Awaiting Processing, AZ, two men sit in a holding cell. Their heads

contemporary art galleries and rural security offices.

contentious election season, the topic of border enforcement

are hung in frustration or fear or boredom, and because their

A significant part of the show is dedicated to the

is set to be a hot issue. The work of photographer David Taylor

faces are hidden, the viewer is forced to focus on their posture

aforementioned Mexican border monuments. I didn’t find these

is therefore especially timely. Working the Line is an exhibition

and clothing. One of the men wears a baseball cap, which reads

particularly interesting, and without readily available background

comprised of several elements. Three years ago, Taylor and his

NEW YORK; the other wears a bright blue T-shirt with “United

information they are head-scratchingly vague. Still, the juxtaposition

camera embarked on a sort of Wild West scavenger hunt, intent

States of America” festooned above flying eagles and exploding

of the rustic, old boundary markers with the metallic, space-age

on documenting the monuments that originally demarcated

gold stars. You can just barely make out a segment of text on the

border fencing is affecting. With this group of photographs, Taylor

our border with Mexico. Built in the late 1890s, these modest

bottom, which proclaims, “...defending our...” This blunt irony

tackles a charged topic with straightforwardness and unexpected

obelisks evince an elegant and rather civilized way of marking

makes for a stimulating and somewhat humorous composition.

impartiality. In Working the Line, Taylor has blurred it, encouraging

one’s territory. Soon after Taylor began this project, the United

In Serenade, a brown-skinned woman in a long white dress

an apolitical dialogue about people with disparate goals and

States Border Patrol doubled in size, and an additional six

stands before two border patrol officers, a white shawl tied at

dreams. Indeed, Taylor assumes the role of a curiously neutral

hundred miles of new fence popped up in the desert. Taylor

her neck. With her chin up and tilted, her right arm stretched

activist, one who thinks in terms of relationships along the border

found his objective changing; his desire to document historic

out in a heartfelt posture, she is singing a ballad to the two

as being both precarious and plausible.

border markers merged with a curiosity about the experiences

uniformed men in her midst. The officers wear bemused and

—iris mclister

and challenges faced by American border patrolmen. His

quizzical expressions, and the fact that this strange scene is in

pictures tell this unfolding story dispassionately, neutralizing

the middle of nowhere gives it added intrigue; cactus-dotted

themes that are typically fraught with deep social and political

hills and tumbleweeds constitute an otherworldly setting.


Taylor seems reluctant to make sweeping statements with

In Detention Cell with Serape, an empty holding room is so

his work, the subtlety of which is sometimes consternating.

stark and sterile that it looks bleached. Along the wall, a metal

While learning about this artist, who comes from Boston but

bench is bolted to the cement floor. A thin stack of blankets is

lives now in Las Cruces, I stumbled across an intriguing tidbit

at the far end, topped with a neatly folded Mexican serape, its

from an El Paso newspaper article. Turns out the owner of a

cheerful colors in poignant contrast to the dull gray walls and

construction company, whose projects include designing offices

David Taylor, Serenade Serenade,, archival inkjet print, 29½” x 36½”, 2008

David Taylor, Detention Cell (with Serape), archival inkjet print, 24” x 31”, 2007

| O C T O B e R 2011

the magazine | 47


Dancing Earth:





James A. Little Theatre 1060 Cerrillos Road, Santa Fe

The visionary note, so often applied to descriptions

of the dancers danced in any way but beautifully. And this is

a percussion solo by Barrett Martin, the hoop sequence,

of Vaslav Nijinsky, easily persists in the accomplished

especially true for Serena Rascon. A native of Las Cruces,

the extended range of Tangen’s choreography—mixed with

miracles of speed, agility, grace, and sensuality that articulate

Rascon brings to this entirely indigenous creative team of

the improvisation and spontaneity of the dancers—all of

the choreography of Rulan Tangen’s extraordinary of Bodies

dancers, composers, and visual artists a concern for small,

it is a tribute to the dance knowledge, coaching, and talent

of Elements. Of Nijinsky, Paul Claudel once wrote, “For

precise movement as well as bolt-throwing power, with a

contained in this troupe of happy players. As I watched the

a second the soul carries the body, [then] this vestment

“balleto modern e brutto” attitude that is sensuous, confident,

finale of this irresistible performance, I was reminded of a

becomes a flame, and matter has passed.” In Tangen’s

and direct. In Act One, Rascon emerges slowly as an awakening

statement from the memoir of the great ballerina Suzanne

work, one can see this effect to its limit, an apotheosis of

force. By the time Act Two rolls around, she gathers every

Farrell. “I dance for God,” she wrote. “If others wanted to

the oblique, shaped, shaded, and nuanced—in hyperkinetic

inch of the stage into the passionate logic of her dancing. But

watch, that was their business.”

motion. Performed during the weekend of Indian Market

all of Act Two is full of surprises. The musical score, featuring

—Anthony Hassett

at the James A. Little Theatre, and staged coincidentally during one of the most spectacular lightning storms of the summer, of Bodies of Elements gathers every major dance trend of the past millennia into a portrait of the world that is as beautiful and disturbing as watching cell division under a microscope. Divided into two acts, it allows the principles of order and disorder to find a kind of grace in one another, and it provides a portrait of a world that can contain you and still let you be, through dance. This is the choreography of apparent randomness that congeals into joint purpose— when the dancers are together, they never lose their spontaneity; when they are apart, you still feel their secret communion. It’s been said that Twyla Tharp, in Deuce Coupe, invented the first cross-over ballet by juxtaposing ballet with her rock-based style; plumb-line pirouettes suddenly melted off sideways, grand battlements were so grand that they knocked the dancers off balance. Tangen’s Dancing Earth ensemble has taken the beauty, power, and wit of that sensibility further, combining powwow, ballet, modern dance, circus arts, capoeira, and b-boying into something acutely mythological: it’s the insolence of America melting into the timelessness of an adjacent memory. In place of the existential dread of Western cosmology, Tangen proposes a performance ritual that combines a number of indigenous origination stories. The sense of temporal progression begins in the universe, where our planet came into existence, moves into the eras from which our modern world unfolded, and now centers on the time and place where we currently swirl in a jetty of dreams and distorted perceptions. In both movement and story, Act One embodies the implicit and unique urgency that beats at the very heart of dance: the dancer’s entrance. And here we are shown wonder upon wonder—organisms emerge from dying stars, Sky Beings take shape in color, texture, and metamorphosing forms. Bodies surge across a vast stage— all doing what seem to be separate dances—and then a sudden catch, a wave of unison or counterpoint, brings the separate dancers together into an atmosphere of solidarity. For the end of Act One, Tangen contrives a Fosse-esque group pas de deux of caged resentment and rebellion, with couples squirming in and out of hellish embraces, all reckless tilts and lunges. Dancing Earth is an international ensemble staffed by a revolving cast of collaborative dance artists. One could imagine that, as a result, one might easily encounter a less than ideal cast. In the case of the Santa Fe performance, none Tree of Life, with Serena Rascon and Eagle Young. Photo: Paulo Tavares



Counting Coup

Museum of Contemporary Native Arts 108 Cathedral Place, Santa Fe

According to the book Plenty-Coups, Chief of the

who wants you dead, touching him with your bare hand, and

a video in which contemporary Indian individuals speak to the

Crows (University of Nebraska Press), authored by Chief Plenty-

turning around and speeding off, leaving your foe astonished and

unfortunate axiom, “The only good Indian is a dead Indian.”

Coups with Frank Bird Linderman, the notion of “counting

confounded by the nerve of your valor. The variety of subject

Stillness and fragility are the hallmarks of María Hupfield’s

coup” developed within historic Plains Indian warrior culture.

matter found in Counting Coup is broad, and includes images of

Jingle Dress, an obsessively accurate yet static representation

It means to strike a blow, often literally, while battling against

U.S. Natives who fought in two World Wars despite not having

of the ever-tinkling costume, here made from lined notebook

the enemy. “The most prestigious acts included touching an

the right to vote (here, photographer Tom Jones depicts Indians

paper. In real life, the dress constantly swings and sways with the

enemy warrior with the hand, bow, or with a coup stick, then

as regular Americans, not the Other), popular heroes such as

weight of hundreds of tinkling bells; the use of paper suggests

escaping unharmed…. Risk of injury or death was required to

Jim Thorpe, “the world’s greatest athlete” at the beginning of

the flatness of the public’s perceptions of traditional Native

count coup” (op cit, page 31). Not an act for cowards, then,

the twentieth century (a quilted and antlered piece by Marie

womanhood, limited to a Disney-fied princess. In contrast

and this is the juncture—for curator Ryan Rice of MoCNA—

Watt), and the whole of North and South America as Indian Land

to the elegance and restraint of much of the exhibition is Jim

that links his show to the term. Rice notes in the exhibition

(a graphically simple yet stunning print by Jesús Barraza).

Denomie’s monumentally scaled painting, Eminent Domain,

brochure that these works by eighteen contemporary artists

The use of graphics is a strength in this show, and nowhere

a Brief History of America. It’s a coast-to-coast extravaganza

indigenous to the United States, Canada, and Australia embody

more so than with artist Vernon Ah Kee’s text that declares in a

of Manifest Destiny in the twenty-first century that includes

“evidence of confrontation, interaction, and risk encountered

bold, black font: not an animal or a plant—a piece that manages,

a naked Statue of Liberty with a toilet for a plinth; Osama bin

through incessant forms of colonization.” He goes on to affirm

like Barraza’s, to be elegantly understated and brashly forthright.

Laden climbing the Twin Towers; Santa Claus; a hanging tree

the fact that “Native peoples are here today,” and examines

This type of art uses the tools of dignity and dark humor to

with, nearby, Indians plucking chickens; the railroad heading

the “who, where, and why” of their realities. Indispensable to

remove indigenous cultures from anthropologists’ specimen

westward, along with covered wagons, speed boats, water

the continued presence of indigenous peoples is the ongoing

boards. Nigit’stil Norbert and Paul Wilcken’s red-and-white print

skiers, and motorcycles (Evel Knievel flies over the whole

courage required to fight—legally and otherwise—for centuries

titled Indian Artists Here Today... acts as a sign in the semiotics of

country); villains of the past including Hitler, Ku Klux Klansmen,

to maintain and/or regain the autonomy and authenticity of

the commoditization of the Other, and is executed with clarity

and U.S. cavalrymen, collaborating on the Native holocaust; the

personal, tribal, and common identity.

and audacity. Graphical art is at the forefront in the hands of

Acoma Pueblo massacre; the beating of Rodney King; Japanese

Counting Coup is a robust exhibition, hung thoughtfully

Jason García, with his series Tewa Tales of Suspense, presented

planes bombing Hawaii. Next to a small figure of Marilyn

with an eye to the viewer’s aesthetic experience of it. It doesn’t

as comic-book illustrations. In an issue dated August 1680,

Monroe, under the Hollywood sign, ride the Lone Ranger and

beat the drum of Native presence into a mashup of background

Spaniards—conquistadores and padres alike—grovel before the

Tonto. The latter says, “You lied to me!” to which the Lone

noise. Rather, it serves to examine how the tactics of mundane

mighty superhero Po’pay, instigator of the Pueblo Revolution. Wit

Ranger responds, “Get used to it.” It’s a pretty fantastic picture,

survival can be subversive, even as blatantly courageous as

abounds in this exhibition, and the visitor is greeted with shouts

depicting in its own inimitable way a pretty fantastic history.

the actions of old: riding one’s horse pell-mell at an enemy

of laughter engendered by Thomas Ryan Red Corn’s Bad Indians,

—Kathryn M Davis

Thomas Ryan Red Corn, Bad Indians, still from video, five minutes twelve seconds, 2009

| octob e r 2011

THE magazine | 49


Paul Pascarella

Encore Gallery, Taos Community Auditorium 145 Paseo Del Pueblo Norte, Taos

“I paint almost as an act of automatic writing, walking the

suggests this Japanese theme. A closer look reveals touches

upon layer of color from the triptychs, often created with

line between the figurative and the abstract.”

of orange and baby blue—the latter often sneaks its way into

Pascarella’s same botanical effect from New Moon. Far below

Pascarella’s paintings.

the layers, greys from the original monotype emerge.

—Paul Pascarella

Five of the works in the show are triptychs. In Winter

The entire show is beautifully displayed and lit, with the

It is hard to decide which is more compelling,

Solstice and Dancing Dragons, Pascarella leaves wide areas of

large-scale paintings on view in the main gallery and the smaller

Paul Pascarella’s actual paintings or his vivid descriptions of the

empty space around the figures. The empty space is still painted

pieces in an adjacent hallway. Pascarella’s creams and pale

process he uses. What he calls the line between figurative and

in Pascarella’s layered style, but the pale tones he uses create a

yellows contrast nicely with the bright white walls; and the grey

abstract often manifests in enormous sweeping curves, waves

feeling of open air as the figures twirl within it. As his connection

polished floor and plum-tinged baseboards lead the eye right into

of paint and color that pull the eye around the painting in a kind

with his triptychs evolved, he wanted to fill every bit of space,

the darker pockets of color in the paintings. Even the polished

of dance. At other times his panels are dense with layers of

which led him to create New Moon and New Moon IV, Zap Pow,

wooden benches pull colors from the art. Birds is an example

paint that suck the viewer forward, much like the way you lose

both part of his New Moon Series. Both pieces are wild with

from a Pascarella series that combines two contrasting panels for

your balance while watching a wave recede from around your

color. “I layered until I was completely lost,” says Pascarella.

each work. He hand rubs oil and wax medium into gold paint on

feet. Pascarella says he uses intentional ambiguity and figurative

“So I did some more and it starts to come back.” New Moon

wood, resulting in what he calls a “cloud texture that is slightly

suggestion in his work, and describes painting with his entire

began as a horizontal triptych like Winter Solstice and Dancing

reflective gold.” Originally intended for use as a background,

body, as though painting were a sport or a dance.

Dragons, but only until Pascarella realized that the movement

Pascarella liked the effect so much that he began attaching these

This is Pascarella’s first show in Taos—his hometown since

and emotion were more powerful in a vertical alignment. He

golden panels as side-panels to other densely painted works.

the 1980s—in over ten years, and it is high time. The nine works

switched the panels often as he applied the media, with each

There are easily thirty layers of paint in the “painted” panel of

on display at Taos’s Encore Gallery reveal Pascarella’s personal

new configuration offering further inspiration for the evolution

Birds. (According to Pascarella, nothing happens until there are at

artistic evolution from 2006 to the present, while challenging

of the piece. It is sometimes difficult to tell which layer is really

least ten layers.) When attached to its smaller golden cloud panel

the viewer to try to see expansively. And this is his intent. “I

on the surface, and the panels are full of what Pascarella calls

the effect is like pairing a Zuni mosaic inlay bracelet with a wide,

think of the painting as an action,” says Pascarella. “It does not

“nice accidents.” A strip he tore from a favorite Hawaiian

gold bangle, an effect at once busy and restful.

become a thing until it is seized upon by a viewer’s imagination.”

shirt (think stars and ukuleles) and soaked in adhesive medium

Pascarella’s self-described “unorthodox toolbox” includes

Seize away. The Encore Gallery show includes Pascarella’s

becomes a raised and textured moment in New Moon. Just to

scrapers, wide brushes, and oddities from the hardware store.

largest work to date, Winter Solstice (84” x 144”). Here he

its left, Pascarella has applied, or perhaps removed, media with

Some of these tools are as easily used to remove paint as to apply

experiments with throwing the paint onto the canvas “like

something from his painting arsenal (most likely wax paper) that

it. He might use spray bottles to make water or turpentine run

I was throwing a curve ball.” The resulting movement in the

leaves the paint looking like feathery fern leaves. Often while

down the canvas. Sometimes he takes a trowel and smoothes

shapes is free and dancelike. Similarly, in Dancing Dragons, the

working on the larger triptychs, Pascarella takes paint and other

the paint like adobe, or uses a hand-sander to create patches of

overall impression of red, yellow, and black turns into sweeping

media he is using for that particular triptych and splashes them

matte background. He has gouged paint out of a picture with a

Japanese figures that evoke kites, or carp, or kimonos. Their

onto smaller works that began life as monotypes. This is the

screwdriver and even shot bullets into a panel. “This is where

swirling motion comes from painted strokes, directed splatters,

case in Hummingbirds and Island Sunset, the only framed works

the journey leads when you go past what you can control,” says

and the alignment of solid forms. A scattering of black, stylized

in the exhibition. Suggestions of hummingbirds and fiery palm

Pascarella. “This is the part of painting without the mind.”

Japanese characters, hidden in the dragons’ movements, further

trees appear in the top layers of paint. Beneath them lie layer

– Susan Wider

Paul Pascarella, Dancing Dragons, mixed media on wood panel, 60” x 90”, 2011



Michael Cook: Venetian

David Richard Contemporary 130 Lincoln Avenue, Santa Fe

I have to admit that part of my original take on

of work as the paintings slip in and out of their own surface

their rebus-like information. What seems hard, intensely linear,

Michael Cook’s recent exhibition Venetian was wrong in this

readings like a dolphin skillfully maneuvering through the waves.

and over-determined is just a mask for the indeterminate

sense: I thought the title of Cook’s show referred to Venice,

One could view the surface, with its linear notations, as the

nature of clouds or smoke, or dream-like sinuous shapes

Italy, and that city’s Venetian waters with their refractory, illusive

artist’s conscious mind, and below the cohesiveness of the linear

whose identities are vague. In such works as Venetian (Orange

surfaces. The water is never just water there, but a plateau of

are fleeting hints of Cook’s subconscious with its pool of desires,

Mesoscale), the artist offers the idea of a mask that both frames

mirrors. I initially saw Cook’s new body of work as yet another

its fears, its innocence, its dark side, its need to hide and to seek.

an idea and is a threshold into the artist’s vision of the fragility of

prism with which to view the slippery nature of images, the

There is a strong sense of visual discipline inherent in this

the land, or the odd schematics of what looks like a launch pad as

endlessly changing, liquid relationship between the viewer

work—an elegantly imposed order over the free-ranging mind

in Venetian (Violet Continent). But one thing is certain—although

and the viewed. And I may not be so far off, even if the artist’s

with all its repertoire of refractions and reflections. However,

Cook’s vistas of interior and exterior worlds are visually limited

paintings do not refer to the properties of Venetian waters per

Cook’s highly structured vertical grid doesn’t at all seem like an

by the implied frame of a window, the paintings don’t really have

se so much as the blinkered views from behind Venetian blinds.

imposition on the cravings of his Id, a word that often appears

a beginning or an end; though cropped, these views of real and

Underneath the surface of Cook’s paintings is the push and pull

in the titles of the paintings: as in Venetian Id (Yellow Greens)

imaginary terrain could go on to infinity.

of looking out and looking in. In his work, the blinds constitute a

with its bands of color that seem to morph from one color to

All contemporary painting is ultimately self-reflexive.

scrim, an ocular veil that admits or blocks information about the

the next; inflections of red, orange, and violet sections add an

The act of painting is an investigation into the process of what

world outside—the realm of facts, dead ends, dreadful realities,

almost undulating quality to the strictness of the lines. But what

it means to be an artist with an evolving lineage, and it is also an

dazzling vistas, and manifold delights.

is going on underneath the grid? There are schematic drawings

investigation into the nature of the self in relation to the world.

On the surface of these images are Cook’s meticulous

and diagrams—a happy face in the upper right-hand corner,

The artistic process attempts to anchor the individual in the ebb

renderings of a visual strategy—Venetian blinds turned on their

a frowning one at the lower left, and is that a crisscrossing of

and flow of life and provide a strategy for survival, for arriving at

axis from horizontal to vertical slats; the vertical lines become a

phalluses in the middle? It’s as if, under the surface, a physicist of

the slippery depths of a momentary certainty—but one that just

grid and the vehicle for color and manipulations of surface-to-

the erotic was at the drawing board illustrating a mind at play in

as quickly shifts toward uncertainty as information flows over

depth relationships. Embedded underneath the linear forms are

the fields of free association.

everyone’s highly personal and unlevel playing field. Cook’s

Cook’s paintings are powerful in the intensity of their

painting has always possessed brains and beauty, but it doesn’t

ones beyond an implied window or to clouds, abstract forms,

color relationships, yet the work runs the danger of being

rest in the realm of facile devices. His work represents hard-

even a bombing range, or to erotic configurations of male and

over-wrought for the sake of creating a visual style. However,

won pictorial truths on which the artist continues to build his

female symbols—products of the playful mind of the artist.

just when you think he’s gone too far with his idea, you quickly

unique plateau of mirrors.

There may or may not be a single key to unlocking this body

succumb to the undertow of the paintings’ sensual depths with

—Diane Armitage

| octob e r 2011

Michael Cook, Venetian (Alamogordo), oil on canvas, 36” x 48”, 2008

a series of changing landscapes that sometimes refer to actual

THE magazine | 51


Jack Ox: Ursonate

Mesa Public Library 2400 Central Avenue, Los Alamos visual

sources come from Merzbau, ambitious constructions in

that a performer adds to any rendition. In Ursonate, this

translation of Kurt Schwitters’ text/sound piece, Ursonate,

which Schwitters radically transformed house interiors.

produces an odd exhilaration, opening up new avenues

by Jack Ox, is rendered in oil paint on one-foot-by-four-foot

Shapes from Merzbau are used in Ox’s composition to

of perception and attention for the audience. Loree’s

Mylar strips. These are mounted continuously to form four

indicate specific consonant sounds. Vertical blocks of solid

vocalization ranges from quasi-singing to something that I

large panels high on the walls of the gallery/reading room

flat colors represent silences or pauses; a systematic glazing

experienced as being like speech in aggressive Norwegian

of the Antoine Predock–designed Mesa Public Library in

schema corresponds to vowel tonal quality. Although

(though of course a Norwegian would hear only nonsense).

Los Alamos. The cathedral-like space, with views of the

computers are involved in each stage, this is not “computer

As her versatile, sylvan voice travels through the score, one

Jemez Mountains, enhances the sense of something complex

art.” It may be obvious that a system underlies the work, but

begins to visually recognize recurring sound-shapes, getting

and enduring. Ox has been making such work for years. Her

it is by no means transparent what that system is. I find both

a taste of that relatively rare cognitive condition or ability

renditions of musical scores include a Bruckner symphony and

of these qualities laudable. Ox’s long-term intention is not

called synaesthesia. Schwitters’ training at the Dresden

Debussy’s Nuages. The painting has been shown in Prague,

only to produce individual works, but to create tools for this

Academy included applied arts, drafting, and understanding

Paris, and Lodz, Poland, and at the Albuquerque Museum in

kind of intermedia activity by other artists. She is currently

of machines, which later helped him earn a living. But this

2010, and is worth looking at simply on its own. Sometimes,

writing a dissertation delineating the theories behind it.

fecund artist also invented his own genres and movements.

An eight


Dick Higgins coined the term “intermedia” in the

He developed an alternative Dadaism he called “Merz,”

German artist Kurt Schwitters (1887-1948) worked

1960s, when artists began using data from one input (sonic,

publishing a magazine of that title from 1922-1932. The

in painting, collage, sculpture, graphics, typography, and

visual, numerical, social) to generate patterns in another

last issue contained Tsischold’s rendering of the Ursonate

proto-installation art. From 1922 to 1932 he worked

form. Emblematic of the genre was David Behrman’s Cloud

score. After being condemned as “decadent” by the Nazis,

on Ursonate—performing it many times under different

Music, in which data from a video camera pointed at the

Schwitters fled to Norway in 1937, and settled in England

conditions. The “Ur” in the name suggests a primal or pre-

sky went to a video analyzer that generated control voltages

in 1940. That fugue, and the constant transit, transition, and

grammatical use of basic sounds of language. Schwitters used

proportional to the light values. A digital sound system

translation that was Schwitters’s life and work—from one

German phonemes and structured the work in the classic

sensed voltage changes and converted them into harmonic

country to another, one medium to another, one language to

four-movement sonata form. The only remaining trace of

progressions and dynamic shifts—music!

another—are lucidly reflected in this collaboration.

however, a little background enhances appreciation.

Ursonate had been as a visual poem by Swiss typographer

On September 17th, in conjunction with the exhibition,

The painting is a visual interpretation of a copy of an

Jan Tsischold until Ox uncovered the only extant recording

a live performance was given at the Mesa Library. Kristen

iteration, a fractured palimpsest reassembled in mosaic

of Schwitters performing Ursonate (now available on

Loree performed the score vocally, while Ox sequentially

form; the performance a time-based rendering of that

the Wergo label), which is the basis for this painting. Ox

projected the frames of the painting that represent what

mosaic. Multiplicities of iteration, representation, and

undertook an analysis of the composition at the Phonetics

was being “sung.” Professional actress Loree had been

interpretation sing and signal to us from the mysterious

Institute in Cologne, and studied places where Schwitters

performing Ursonate for some time before getting together

realm of metamorphosis. The painting functions beautifully

lived in Germany, Norway, and England.

with Ox to collaborate on this rendition, which premiered

on its own as a visual display; the vocalization can be

at Seattle Chapel Performance Space in 2009.

experienced as a lovely sound experience on its own.

Each theme in the sonata has a corresponding image

But the intermarriage of disciplines undertaken here is more

based on one of these landscapes, documented through

There is always some interplay, even tension, between

photographs or Schwitters’ own paintings. Ox calls these

a system of notation designed to convey intention and ensure

than the sum of its parts.

“cognitive space transfer metaphors.” The other image

consistency and the variations—deliberate or inadvertent—

—Marina La Palma

Jack Ox, detail from Ursonate: an 800-square-foot visualization of Kurt Schitters’ phonetic sound poem in sonata form. Photo: Leslie Bucklin


Black Mountain College



New Mexico

Harwood Museum of Art 238 Ledoux Street, Taos

A movable feast—an apt metaphor to capture

of Black Mountain College—for example, in the music of

experience and in the role of the arts in learning, we have

Black Mountain College (BMC), evoking the Bauhaus

John Cage, the white paintings of Robert Rauschenberg, the

to go to organizations like TED (think Sir Ken Robinson),

with its aspirations, brief tenure (1933-1957), and

choreography of Merce Cunningham, and the poetry of the

a non-profit that advocates for creativity in education, or

lasting impact—due north to avant-garde New York and

likes of Charles Olson and M. C. Richards.

to the Venezuelan Youth Orchestra System (El Sistema,

as far afield as Taos and New Mexico. And it certainly

The trademark expression of the Black Mountain

think Gustavo Dudamel), which is literally transforming

fits the paired current exhibitions (to February 5, 2012)

College aesthetic came to be the annual Summer

society through music-based education. Closer to

at the Harwood Museum of Art in Taos that reprise the

Institutes begun in 1944, attracting many faculty and

home, we could start with the Harwood in Taos, whose

BMC experience for the contemporary audience. Black

students prominent—or soon to be—in later twentieth-

innovative exhibitions and educational programs over the

Mountain College and New Mexico features work by

century visual, literary, and performing arts. Yet for all

last few years demonstrate their belief in the educational

twenty-five artist alumni of BMC who later moved to, or

the fame, radical experimentation, and innovation that

role of the arts.

lived for a time in, New Mexico. One such artist is the

would contribute to late Modernism, the College’s

The alumni featured in Black Mountain College

subject of the second exhibition—Oli Sihvonen: The Final

fundamental mission was to explore art forms—from

and New Mexico make a compelling case for the abiding

Years—the first public showing of work by the BMC

the visual arts, literature, music, dance, and drama—

influence of BMC’s philosophy on the power of the arts

alumnus and Taos Modernist from the last four years

as instruments of learning, instilling habits of critical

to transform society. Brooklyn-born Oli Sihvonen went

of his life (1921-1991). The Sihvonen work reflects the

inquiry, self-discipline, and self-expression. That is

to Black Mountain College at age twenty-five and found a

import of the larger group exhibit: Jina Brenneman,

what its twelve-hundred alumni left with, including the

mentor in Josef Albers for a style of abstract painting that

Curator of Collections and Exhibitions, writes, “The

twenty-five artists in the Harwood’s current exhibition.

he would practice to his death in 1991. Though his work

exhibit has grown to become a memorial to the lives

The legacy of Black Mountain College is alive and

remained largely unrecognized by the art world, Sihvonen

of these extraordinary human beings who, together

well, but, alas, not in higher education’s anemic humanities

pursued his vision despite failing health and financial

with their contemporaries at Black Mountain College,

programs and moribund arts curricula, where little

constraints, painting prolifically in the last four years of his

changed the culture of our nation in ways we are yet to

sediment from any real philosophy of learning remains

life. In the philosophy of Black Mountain College, that is the

fully understand.”

in the wake of “no-file-left-behind” bureaucracies,

true measure of the man’s success. And that philosophy—


even more than the BMC alumni’s later achievements—is

We begin to understand some of Black Mountain’s




legacy when we look at the roster of faculty and students

market-driven goals of today’s colleges and universities.

the legacy of Black Mountain College.

during its tenure. It included Josef Albers, Willem

To find today any educational reform rooted in art as

—R ichard T obin

and Elaine de Kooning, Robert Rauschenberg, Merce Cunningham, John Cage, Cy Twombly, Kenneth Noland, Ben Shahn, Franz Kline, Arthur Penn, and Buckminster Fuller among those who had or would soon achieve international attention. Black Mountain College was an effort by educator John A. Rice to create a college guided by the progressive principles of education of the American philosopher John Dewey, whose writings on the role of the arts and humanities in society helped shape the century’s educational reforms. The opening of Black Mountain College in North Carolina in 1933 coincided with the closing of the Bauhaus in Berlin by the Nazis, leading to an exodus of progressive German artists and intellectuals, including the Bauhaus’s Josef Albers, BMC’s first art teacher. The essence of Black Mountain College’s educational philosophy was the belief in the study and practice of the arts as the core of a liberal arts education. A model for subsequent American progressive colleges, BMC advanced the belief in the fundamental link between the arts and society espoused in Dewey’s pragmatic philosophy and reflecting the Bauhaus approach to design as the democratic, creative principle subtending all craft, fine art, and architecture. There is a touch of irony in the links of Black Mountain College to the legacy of the Bauhaus, several of whose faculty would teach at BMC. The Bauhaus aesthetic, for all its innovation, embraced the theory of universal design principles pervasive in Art Deco in the arts and in International Style in architecture. That doctrinaire aesthetic was hardly in evidence in the freewheeling experimentation Trude Guermonprez, Robert Rauschenberg, Black Mountain College, c. 1949. Courtesy of the North Carolina State Archives

| octob e r 2011

THE magazine | 53

Ex. Ex. VI

There’s an artistic soul, an artistic process, and an artistic object. Inherent to them all, is artistic existence. Bob Bern Braldt Bralds Catherine Carr Catherine Weser Claudia Raphael Constance Hughes David Rubio Dean Howell Doug Duffy Douglas Fairfield Edward Fasula Ilan Ashkenazi Joe Mayer John Stevens Judy Bever Laura Tarnoff Lynn Parrish Hathaway Marc Hinkley Maurice Burns Margaret Bralds Miriam Feder Norman Allen Onde Chymes Paul Lewis Paul Reinwald Rebecca Lamoreux Rick Fisher Rodney Estrada Russell Doss Sally Fairfield Sue Latham Thor V. Sigstedt Tim Klabunde Wendy Jordan Willi Haye

Opening Reception Saturday, October 1 from 5 to 8 pm at The La Tienda Exhibit Space Show runs through October 29 7 Caliente Road Santa Fe, NM 87508 505.428.0024

hy jennifer esp p a r er an m 505.204.5729 z a p h o t o gr a pe THE-oct.qxd:Layout 1


jen niferes

8:20 AM

Page 1

Santa Fe Art Institute


Filmmaker, Photographer, and Installation Artist Monika Bravo Photo: Ad Design:

Lecture, Tuesday October 11, 6pm Tipton Hall $10 general | $5 students/seniors/educators

Monika Bravo Reception & Dance Party Tuesday October 11, 7:30-9pm SFAI FREE! The Well, a Workshop with Monika Bravo Saturday & Sunday, October 8 & 9, 10am – 4pm SFAI $200 – sliding scale fee and work trade options available

Monika Bravo & Greg Sholette Exhibition September 9 - October 31, 9am-5pm MF, SFAI FREE!

Artists & Writers in Residence October Open Studio, Thursday 10/27, 5:30pm SFAI FREE - 505-695-0777



“i have been

preparing for creation of the next cycle of dances by listening— and i heard the call of water ...” –Rulan Tangen

“As a choreographer of indigenous contemporary dance, I am making a cycle of dances at the request of Native female leaders that express the indigenous perspective about water. The collaborating artists of Dancing Earth bring the perspectives of the high desert and their own internal waters, reaching deep beyond the surface, into the life-blood of instinct. A shimmering mosaic in motion, evoking images of childbirth and loss, fears and mirrors, mining and sickness, dams and dreams— interwoven with mythical realism of tribal archetypes. Still in its early stages, working with a vast amount of intense source material from creation stories to hydrofracking the blood reserve as well as many other threats to water sources, we continue to listen and be shaped by the stories that water is giving us.” Rulan Tangen is the founding director and choreographer of Dancing Earth, the nation’s foremost indigenous contemporary dance ensemble. Tangen is a recipient of the Costo Medal for Education, a Visiting Distinguished Scholar of Washington University, and guest artist/educator for Stanford University’s Institute of Diversity for the Arts’ campuswide initiative “Race and Environment.” In this photograph, she is depicted in the role of Greed wearing a skirt— edged with trash—representing water. Dancing Earth’s dance collective spins, stomps, and spirals into life on the world’s dancing grounds—an embodiment of the unique essence of a distinctive inter-tribal worldview. Primal and contemporary, their dances are an elemental language of bone and blood memory in motion. Dancing Earth has received the National Museum of American Indians’ Expressive Arts Award and National Dance Project Production and Touring Awards.

Photographed by Jennifer Esperanza in Pecos, NM, October 2011 | O C T O B e R 2011

the magazine | 55


od go re a e fo l lik be na g h o in tc rs th tre pe my p. o n s y r u is a m fo n e and to er lea r e d m c Th nap hea roo thly g n I o m


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Bernal, NM photograph by Steven A. Jackson octob ee rr 2011 2011 || octob

magazine || 57 23 THE magazine THE


MSad sonnet Mad onnet    

MiChael MCClure by By Michael   McClure    



and shine  like  the  moron-­‐eyed  plumes  of  a  peacock   with  violetshine  and  yellow  on  shadowy  black.  

They spray  SPRAY  from  the  body  of  the  Beloved.  Vanes  shaking  in  air!    

AND I  DO  NOT  WANT  BLACK  PLUMES  OR  AGONY...AND  I  DO   NOT  SURRENDER.  And  I  ask  for  noble  combat!!   to  give  pure  Love   as  best  I  can  

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I have  not  seen  you  before  and  you’re  more  beautiful  than  a  plume!    

Stately, striding  in  Space  and  warm...(Your   human  breasts!)  




Michael McClure is an American poet, playwright, songwriter, journalist, and author. His long career began with the publication of A Fist Full, in 1957, and he is considered to be one of the fathers of the Beat movement. His innovative and controversial poetry has earned him both a Guggenheim Fellowship and an Obie Award. Critics detect echoes of Romanticism, Surrealism, and haiku in McClure’s work, but in an interview with The Huffington Post, the poet describes his work as an extension of his physical person. “Mad Sonnet” is included in McClure’s new book, Of Indigo and Saffron: New and Selected Poems (University of California Press, $34.95).

58| the magazine

| october 2011

Bale Creek Allen

Elizabeth Leary

Michael Scott

NC Wyeth

Christopher Armstrong

Carol Mothner

Marc Sijan

Brenda Zlamany

Bo Bartlett

Michelle Murphy

Julie Speed

and others

Christopher Benson

Yigal Ozeri

Andrew Wyeth

Victoria Carlson

Sergio Roffo

Jamie Wyeth

O c tO b e r 7 - N Ov e m b e r 1 2 , 2 0 11 Opening Reception: October 7th from 5-7pm v i e w m O r e wO r k s v i s i t w w w. g p g a l l e ry. c O m

For more information contact: Peter Marcelle, or Evan Feldman, All Image Details Š courtesy, Gerald Peters Gallery.

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

Gunnar P l a k e :

September 16 - October 15, 2011

Also on view through October: Mateo Galvano: John Geldersma:

c h i a r o s c u r o 702


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

THE magazine October 2011  

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

THE magazine October 2011  

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