Page 1

Santa Fe’s Monthly









of and for the Arts • August 2010

FirstIndigenous VirtualBiennale

Interview: Ryan Rice, Curator at the Museum of Contemporary Native Arts Is Your Indian Art Legal? What To Do When the Feds Knock at Your Door Universe of N. Scott Momaday: Writer, Poet, and Artist

page 51

VIRGIL ORTIZ Thursday, August 19, 2010, 6-8 p.m. 1610

A Thriving Society, A Foreign Arrival, A Cultural Exchange, A Grand Transformation


A Pueblo Revolt


ANNUAL OPENING EVENT: Saturday, August 14, 2010, 6-8 p.m.


LECTURE SERIES: Friday, August 20, 2010

1:30 p.m. JARED CHAVEZ San Felipe Pueblo, Printmaking 2:30 p.m. DARRYL AND REBECCA BEGAY 2009 Best in Show Winners, Tufa Casting RSVP for Lecture Series – 505.982.8478







Universe of writer, poet, and artist N. Scott Momaday


Studio Visits: Teri Greeves, Douglas Miles, and Diego Romero


Food for Thought: A Bar at the Folies-Bergère, by Edouard Manet


Food for Thought: what we eat when we eat alone, by Deborah Madison and Patrick McFarlin


One Bottle: The 2006 Joseph Drouhin Puligny-Montrachet “Folatières,” by Joshua Baer


Dining Guide: Nostrani, Saveur, and Pizzeria Mozza, Los Angeles


Art Openings


Out & About


Previews: August Exhibitions at the Museum of Contemporary Native Arts; Birds on Pueblo Pottery at Adobe Gallery; and Bill Eppridge at Monroe Gallery of Photography


International Spotlight: First Indigenous Virtual Biennale, by FREEAPACHE


Interview: Ryan Rice, Chief Curator at the Museum of Contemporary Native Arts, by Guy Cross


Feature: Is Your Indian Art Illegal?–What To Do When the FBI Knocks on Your Door, by Joshua Baer


Critical Reflections: Clayton Porter at Launch Projects; Currents 2010 at El Museo Cultural de Santa Fe; Divergent Works at the Webster Collection; Richard Berman at Linda Durham Contemporary Art; The Dissolve at SITE Santa Fe; and Self and Family... A Recent Look at Charlotte Jackson Fine Art


Artist at W Work: Phillip Vigil, photo-assemblage by Matthew Chase-Daniel


Green Planet: Jodie Evens, co-founder of Code Pink, photograph by Jennifer Esperanza


Architectural Details: The Old Lamy Church, photograph by Guy Cross


Writings: Honeysuckle for Little Sister, by Sasha Pimentel Chacón

Americans have had a century-long, passionate love affair with the automobile. Photographer Lee Friedlander took to the road in a rental car and over the course of a year made the 192 black-and-white photographs that comprise America by Car (Fraenkel Gallery, $49.95). The style is distinctly “Friedlander”—oblique, abstract, off-kilter, and kaleidoscopic. As well as details of the interior of the car itself, the photographs include landscapes, farm animals, trucks, industrial sites, signage, homes, churches, and people—all loaded with layers upon layers of visual information. Friedlander’s images are so uniquely composed, and comprised of so many elements, they could almost be read as collages.

To Go Very Softly Photographs by J EAN - L U C M YLAYN E

No. B, Novembre – Décembre  – Janvier  c-print  x  inches. Collection Lannan Foundation

saturday 14 august: reception 5 – 7 pm and gallery talk 6 pm

Please join us for a reception and gallery talk with Matthew Witkovsky, Curator and Chair of the Department of Photography at The Art Institute of Chicago. FOUNDATION GALLERY Telephone .  .  ext.   Read Street Santa Fe, New Mexico gallery hours: sat ur days an d s u n days n o o n – : p m WEEKENDS ONLY



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 KenJiJ Barrett lori Johnson S TA F F P h O T O G R A P h e R S dana waldon anne staveley CALenDAR eDITOR liz napieralsKi COnTRIBUTORS

diane arMitaG ita e, Joshua Baer, aline Brandauer, itaG Jon Carver, sasha piMentel entel ChaC ha ón, Matthew Chase-daniel, Mideo M. Cruz, Kathryn M davis, Jennifer esperanza, BoB haozous, KiMBerly harG ar rove, alex ross, patriCia sauthoff, and riChard toBin COVeR

KiMBerly harGrove


the MaGazine: 505-424-7641 Cynthia Canyon: 505-470-6442 vinCe foster: 505-690-1010 lori Johnson: 505-670-8118 eli folliCK: 505-331-0496 DISTRIBUTIOn

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

Work by Luis Jiménez at the Anderson Museum of Contemporary Art, 409 East College Boulevard, Roswell

TO THE EDITOR: I must tell you that from cover to cover your July issue looks fantastic! THE magazine keeps getting better and better. With eager anticipation, I wait for your next issue. –sharon adler, new orleans TO THE EDITOR: To Joshua Baer. Thanks so much for “One Bottle.” I’m sending your current “One Bottle” article to my kids in New York City. They are rassling with issues about integrity, making sense of life, big plans, re-arranging memories—all that serious stuff. I’m sending your article to cheer them up, not necessarily as a cure. Last time I sent my daughter one of your articles, she quit her job and went to Africa. So I know your articles work. I’ve been liking your articles for a long time, but only recently have I realized they can be applied medicinally. I am a beer drinker these days. I still like direct perception, the actual roll in the hay, or the roll with the punches even more than savoring the idea of hay or punches. And wine makes me all philosophical or metaphorical—something less active than rolling. Beer doesn’t seem to slow me down in the least. I still feel frisky and flexible and curious and reasonably innocent. I don’t want to waste a moment of those abilities, so maybe the mellower, or melancholier, abilities that wine enhances are waiting just around the bend for me, when I might have aches and pains and regrets— many of which I am currently able to outrun. Maybe I’m just too young and free again (at 53) and just a naïve dumpling at heart. Even my scars and permanent damage look smooth for the moment— so beer is plenty of medicine for me. The starry night and the smell of smoke is enough to get me philosophizing, and doesn’t make me drowsy. But for those rassling with issues or pain—I’m sending your words and recommendations. Thanks, I appreciate and enjoy your writing. I’m sharing your writing with family and friends, and probably there’s a bunch of us fans out in the general public that do too. – aMie BrytowsKi, santa fe –J TO THE EDITOR: The Paolo Soleri Amphitheater stands eccentric in a world of increasingly generic architecture. The late Lloyd Kiva New, artist and educator, worked with Soleri in 1965 to design the Amphitheater, and built it with help from students on the Santa Fe Indian School’s Cerrillos Road campus. The Paolo, as it is called for short, shares the legacy of these two far-sighted men. Lloyd Kiva New nurtured Native

American arts as a cosmopolitan visionary, a rare type in our age of opportunists and reactionaries. The late Stuart Udall admired Kiva New and the way he represented Native American arts. Said Udall in Native Peoples magazine, “Who would have thought forty years ago that there would be a beautiful Museum of the American Indian on the National Mall in Washington? That’s a measure of how far we’ve come in this country.” Soleri, whose best-known vision is the project Arcosanti, in the Arizona desert, drew upon the past to design the future in the Amphitheater, planning it for the Indian School theater department as an interpretation of the Elizabethan stage. “We were hoping actors would not just use the stage, but also the area above it, and that’s why we designed the bridge and other have action taking place on different levels...” was how Soleri described the design process in a Cosanti Foundation press release made public recently. To justify the building”s demolition, SFIS Superintendent Everett Chavez has cited costs of maintenance and renovation, along with an issue of “educational sovereignty.” Yet some of the most ardent supporters of the Amphitheater, like activist Frances Abeya, consider those contentions utterly baseless. What is true is that the Paolo has been woefully under-utilized. As Bruce King, a former SFIS faculty member, wrote in the Santa Fe New Mexican, “No one seems to understand that the facility was meant as an instrument to present Native American theater, not as a concert or lecture hall, and that when functioning at full capacity, the structure comes alive and we understand the artistic and creative equity that this facility houses.” Of course, thousands of concert-goers and performers have felt the Paolo fuse a special intimacy between audience and player. The Paolo should live up to its potential as a vital and viable performance space. The amphitheater could be architecturally modified with a retractable roof, to make the structure useable year-round in all types of weather. Addition of the roof, restrooms, and performance support areas would avail SFIS students and the community of the Paolo during the winter, as well as in warm weather. Immediately, the amphitheater’s utility and value would increase. Then the Santa Fe Indian School would have a lasting asset. The preservation of the collaborative legacy of Soleri, a significant architect, and of Kiva New, educator, would exemplify the stewardship of history and endure as an object. Soleri recently wrote, “Imagination was at the origin of the theater, imagination is essential now.” What else do we need? I believe the word is “angels.” —Conrad sKinner, first puBlished at adoBeairstreaM.CoM

Letters: or 1208-A Mercantile Road, SF 87507. Letters may be edited for clarity or for space consideration.

| august 2010



| 5


1919 - 2009



Manjari Sharma


Paani July 9 - August 20


Photograph: James Hart

ULPTOR UNTITLED #362193 1993 22 x 14 x 9.5 in

Opening porcelain Friday, July 31st 5 - 7 pm

JULY 2 - AUGUST 8, 2010 Reception, Friday 130 x 12 x July 16 inches9, 2010 5 -7 PM NUDO 1 2009 fiber, gesso, acrylic paint

Bellas Artes 653 Road Santa Santa Fe, 87501 NM 87501 505 983-2745 653Canyon Canyon Road Fe NM 505 983-2745

Richard Levy Gallery

Go to page 38

• Albuquerque • • 505.766.9888


Works from the Florence Pierce Estate AUGUST 13 - SEPTEMBER 4 Opening Reception / Friday, August 13, 5 - 7 p.m. Gallery Talk / Saturday, August 14, 3 p.m. Gallery Talk by Joseph Traugott, PhD, Curator of 20th Century Art, New Mexico Museum of Art

CHARLOTTE JACKSON FINE ART Railyard Art District / 554 South Guadalupe, Santa Fe, NM 87501 / 505-989-8688 /

Upcoming at SITE Santa Fe this summer: TUESDAY, AUGUST 10, 6 PM


Artists Talk about Artists Jennifer and Kevin McCoy Co-sponsored by David Richard Contemporary


My Life in Art Talk and Draw Patrick Oliphant and Morley Safer Co-sponsored by Gebert Contemporary

ADJAYE ASSOCIATES, Exhibition Designer

Through JANUARY 2, 2011


Live at SITE: Gallery Gig FOLKy TONK: Weedpatch or Bust Co-sponsored by Allsup’s and Coca-Cola Free admission; suggested donation $1 Part of RAD Final Fridays




Ticket Information $10 for adults; $5 for students, seniors, and SITE members at Friend and Family levels. Free with advance reservation for members at the Supporter level and above. The Art & Culture series is made possible by a generous endowment from the Marlene Nathan Meyerson Family Foundation.

1606 Paseo de Peralta, Santa Fe, NM 87501 | 505.989.1199 |

SITE is greatful to the following for their generous support of this Biennial: HONORARY CHAIRMAN Agnes Gund HONOREES Jeanne & Michael L. Klein LEAD UNDERWRITERS Anonymous, The Andy Warhol Foundation for the Visual Arts, The Burnett Foundation, National Endowment for the Arts EXHIBITION PATRONS Anonymous, Agnes Gund, Jeanne & Michael L. Klein, Anne & John Marion CURATORS’ PATRONS Toby Devan Lewis, Marlene Nathan Meyerson CATALOGUE SPONSOR Rosina Lee Yue & Dr. Bert A. Lies EXHIBITION SUPPORTERS Karen & Steve Berkowitz, Cornelia Bryer & Herman Siegelaar, Katherine & James Gentry, Jeanne & Jim Manning / The Azalea Fund, Millstream Fund EXHIBITION FRIENDS Terry K. & Richard C. Albright, Dottie & Dick Barrett, Gay Block & Rabbi Malka Drucker, Suzanne Deal Booth, Carmel & Tom Borders, Century Bank, Étant Donnés: The French American Fund for Contemporary Art; Susan Foote & Stephen Feinberg, Christopher Hill & Rodolfo Chopoena, Mondriaan Foundation, Rita & Kent Norton, Linda Pace Foundation, JoAnn & Steve Ruppert, Courtney Finch Taylor & Scott Taylor, Ann Tenenbaum & Thomas H. Lee, Kathy & Charles Webster, Zane Bennett Gallery CORPORATE SPONSOR UBS Financial Services, Houston BIENNIAL WEBSITE SPONSOR Avalon Trust PANEL DISCUSSION SPONSORS TAI Gallery, Alicia & Bill Miller, Nancy Ziegler Nodelman & Dwight Strong SITE GUIDE SPONSOR Marcellin Simard, MD/Santa Fe Cardiology; and the SITE Board of Directors. This announcement is made possible in part by the City of Santa Fe and the 1% Lodgers Tax.






August13–September 3, 2010

Opening Reception Friday August 13 5 –7 PM



WALDRON New Sculpture


Lost Worlds-Ruins of the Americas


Line, CuRve, FoRm July 20–auGust 28, 2010 | OpeninG Reception SatuRday, July 24, 2010, 5:00–8:00 PM a GRoup shoW featuRinG: Simon Aldridge, Alex Couwenberg, Mark Emerson, Julie Karabenick, Scott Malbaurn and Richard Roth

SCott MAlbAuRn

RiChARd Roth


SiMon AldRidgE

AlEx CouwEnbERg


130 lincoln Avenue, Suite d, Santa Fe, nM 87501 | p (505) 983-9555 | f (505) 983-1284 |

LewAllenGalleries EmilyMason



R a i lya R d

color revelations

april 30– june 6. 2010

Georgia O’Keeffe, Series 1, No. 4, 1918. Oil on canvas, 20 X 16 in. Städtische Galerie im Lenbachhaus, Munich. Gift of the Georgia O’Keeffe Foundation. Georgia O’Keeffe, Series I–No. 3, 1918. Oil on board, 20 x 16 in. Milwaukee Art Museum. Gift of Jane Bradley Pettit Foundation and the Georgia O’Keeffe Foundation. M1997.192. Photography by Larry Sanders. © Milwaukee Art Museum.





1 2 ,

2 O 1 O


desaparecer may 7– 31.2010 Reception: Friday, May 7, 5:30-7:30 PM

2 1 7 J O H N S O N S T R E E T, S A N T A F E





Support the Arts & Enjoy 365 Days of Free Museum Admission Become a Member Today at OKEEFFEMUSEUM.ORG

LewAllenGalleries presents the inaugural exhibition of


Vanishing Points Saul Becker Martí Cormand Steve Robinson A p R i l 3 0 – J u n e 6 , 2 01 0

C u R At ed By A l e x R oS S

Railyard: 1613 Paseo de Peralta (505) 988.3250 Downtown: 129 West Palace Avenue (505) 988.8997

S A N TA F E C L AY CONTEMPORARY CERAMICS DAVID HICKS · PATRICIA SANNIT July 9 - August 21 545 Camino de la Familia, Santa Fe, NM 87501 505.984.1122

ChRis KahleR AuGust 31 – OctobeR 9, 2010 | OpeninG Reception with Artist Friday, Sept. 3, 5:00 – 8:00 pm


D e tA i L : Dy n a m i c H y b r i D c-1 , 2010, 36" x 72" Acrylic and oils on canvas

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

TO N Y A B E Y TA Ne w Wo r k s i n Je w e l r y


T O N Y A B E Y TA Friday, August 20, 5–8 pm


130 Lincoln Ave nue, Suite C B L U E R A I N G A L L E R Y. C O M











H O P I M O N TA G E # 2 0 Acrylic on Canvas 48" x 36" ©2010 Dan Namingha

PA L H I K M A N A # 2 Texas Limestone and Basswood 12" x 10" x 3.75" ©2010 Arlo Namingha


B L A M E I T O N T H E A LT I T U D E ( S A N TA f E c L I c H E S E r I E S ) Inkjet on Paper Edition of 3 33" x 24" ©2010 Michael Namingha

Artist reception, friday, August 20, 2010 5:30 pm to 7:30 pm

125 Lincoln Avenue • Suite 116 • Santa fe, NM 87501 • Monday–Saturday, 10 am to 5 pm 505-988-5091 • fax: 505-988-1650 • nimanfineart@ •

BIRDS on Pueblo Pottery Opening Reception August 9th, 4-7 p.m.

221 Canyon Road Santa Fe 505.955.0550

atÊ theÊ HeardÊ MuseumÊ Shop a whole new way to buy Contemporary ameriCan indian art for today’s ColleCtor ALL AN HOUSER • G. PETER JEMISON • ROSEMARY LONEWOLF • NATHAN HART FRITZ SCHOLDER • STEVEN YAZZIE • HOKA SKENANDORE • JULIE BUFFALOHEAD JOE








Coming soon: nw X sw: Glass Featuring Preston Singletary Tony Jojola + Rosemary Lonewolf october 16 – november 15

steven yazzie, Navajo/Laguna Pueblo, “death of a Curator,” oil on canvas, 30”h x 36”w

for more information, please visit us online at Phoenix: 2301 n. Central ave., phoeniX, aZ 602.346.8250 north ScottSdale: 32633 n. sCottsdale rd., sCottsdale, aZ 480.488.9817



A U G U S T 7 – 14 , 2 010 Artist Reception Friday, August 6, 5 – 7pm

TA I G A L L E RY 1601 B Paseo de Peralta Santa Fe, New Mexico 87501 Across from SITE Santa Fe 505.984.1387

I S O HI S E T S U K O Rain Shower 2010 11 diameter x 16 inches Photo by Gary Mankus



of photography

Museum Quality Works on Paper For the New to Experienced Collector
































An American Treasure

The Beatles arrive in New York, February 7, 1964

Exhibition continues through September 26

BY APPOINTMENT 505.988.1166

Open Daily


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

A N D R E W S M I T H G A L L E RY, I N C .

Celebrating Contemporary Native American Photography

Hearing Trees Fall - from La Pieta, 2006 © Shelly Niro

Hotdogs, Corndogs & Cold Drinks, 1999 © Zig Jackson

The Three Graces, 2003 © Hulleah Tsinhnahjinnie

Exhibiting work by leading Native American Photographers: Hulleah Tsinhnahjinnie, Shelly Niro, Zig Jackson, Larry McNeil, Victor Masayesva, and Da-ka-xeen Mehner

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

• 505.984.1234 •


Thy Tender Mercies, 42 x 54, oil on canvas

view online catalogue at

n y a d a m o M Scott

1934 was born in ache, and p A , jo a v a N n the o d o o h d il h c anP a d and spent his a h I “ . t Southwes e h t f o s n io t e I r o f e b n Pueblo reserva e v e , hild c a s a e c n ie ring u d n e r e ft a s y Indian exper a He s ” . t n a e m m r e at t h t New t a in h d w le t t e s w e y n il k the fam , n io s s e r p e D t the Grea n day ia f d o In y it r r e e h v c e a s e t the a twoin t h g u a t s t writer. his paren a e r r e e h h t w o m , o ic is Mex ter and h in a p a s a w in d father e t s ’s e y r a d e a t m in o s M a l. w schoo and ld o h e s u o h e ativ e r c ian tribes, d a In s in u io p r a u v g w n “I gre ing up amo w o r G ” . n o ly r ords. a w e ir g e h in t it d r n a s w ie er of stor w o p reading and g n li a e h e h iation for t c e r p p ollections, a c n a y r d t e e p o p lo , e v ls e e v d cluding no Momaday in , s k o o b f o r merous f a numbe u o n r d o e h iv t e u c a e e r h s t a ure. He h lt u Momaday is c n a ic r e m A etters on Native L s k d r n o a w s t d r n A a f , o m e al Institut n io t literary criticis a N a , ip h s ard. im Fellow e w h a n y e r g a r g e u t li G t a s e g h Italy ’s hig , o ll e d awards, includin n o M le a n Internazio io r a r e t t e L io m e r P Award, and the

The Buffalo

sacred Places and The ThefT of The sacred

In Plains Indian culture the buffalo is the animal representation of the sun. It is at

Sacred places are places invested with deep spiritual significance, and they exist

least equal to the horse in its sacred aspect. A buffalo bull is the sacrificial victim

all over the world. Among them are special features in the landscape (Bear

of the Sun Dance. It is the one animal that sustained the Plains Indian at the peak

Butte, Devils Tower, etc.), battlefields, historic and prehistoric sites. The theft

of Plains culture physically and spiritually.

of the sacred is the deprivation of that which is of critical value to a people—the desecration of religious sites and/or objects, for example.

The Pan-IndIan exPerIence

I take it that “Pan-Indian” means the Indian across tribal barriers, Indians of

The WesT as a dream landscaPe full of sacred realITIes

multiple cultures languages. I have lived among Kiowa, Navajo, Apache, and

The West is a mythical landscape, having substance not only as a

Pueblo peoples. Thus I had a Pan-Indian experience in my formative years. It gave

physical geography, but as a landscape of the imagination as well. There

me a wider-than-usual experience of the Indian world.

is no America without the larger-than-life dimension of the Wild West. Ask your day-dreaming European. Ironically, the true history of the West is often

PassIng on The sTorIes, ProTecTIng The oral TradITIon

more interesting and romantic than the fiction of the Wild West Show and of

As a writer and one who has studied and taught the oral tradition for many years,

dime novels.

I have a keen interest in the element of language. I believe it is the principal factor in separating the human being from all other species. We think that writing

The Place of PassIon In PoeTry and In PaInTIng

is about six thousand years old. The oral tradition (language in the absence of

Poetry, painting, the arts in general, must be informed with passion—inspiration

writing) is inestimably older and in several ways more vital, albeit more fragile.

of a high order—or it is consigned to mediocrity. Mine is a proud calling; I am at

The oral tradition of the American Indian is very highly developed.

my best when expressing my spirit.



photoGraph By Jennifer

| august 2010




| 23

The Lofts at 10 12 M ARQUEZ PLACE BUILDING 1, SUITE 10 7A

50 5 . 9 9 5 . 9 8 0 0

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Thirty years on Canyon Road!

Native American Pottery Diego Romero | Alan E. Lasiloo | Nathan Begaye | Glen Nipshank | Samuel Manymules Kathleen Nez | Ortiz family | Tenorio family | Les Namingha | plus classic and historic pottery from collections 419 Canyon Road, Santa Fe, NM 87501 | 505.982.2145 |


(1) (1) If art is a crime, then I’m a repeat offender, a

PhotograPh of M iles by Dana WalDon

three-time loser, and public enemy #1. Depends on who’s watching, clocking, and tracking art (crime) movement(s), but as far as I’m concerned (my) art and the making of it is a crime of passion.

(2) The way of the artist is immediacy, and it is best to dash in, head-long. —d ieGo r oMero

—d ouGlas M iles A forty-foot wall installation, Apaches & Angels, by Miles and a trio of artists, opens Friday, August 1, 5 to 7 pm at the Museum of Contemporary Native Arts, Santa Fe. Indian Ink, at Legends Gallery, 123 Lincoln Avenue, is curated by Miles and opens on Friday, August 13. Reception from 5 to 7 pm. On Saturday, August 21, Skateploitation 2— a skateboard competition sponsored by SWAIA, Volcom Stone Age, and Apache Skateboards—takes place on Cathedral Street. Prizes, art, product tosses, DJs, bands, skateboarding, and more.

Romero is represented in Santa Fe by Robert Nichols Gallery and by Clark + Del Vecchio. His work can seen at the Indian Market on August 21-22, booth 243.

PhotograPh of roMero by anne staveley (3) The sheer will to not only survive, but to continue to express our cultures in the face of genocide, and in the last several generations—marginalization—has resulted in

DeGAS SAID, “A WORk OF ART IS A ThInG ThAT ReqUIReS AS MUCh CUnnInG AnD VICIOUSneSS AS The PeRPeTRATIOn OF A CRIMe.” ThRee ARTISTS ReSPOnD TO ThIS STATeMenT. stereotypical expectations. Perhaps for Native artists it is exactly cunning and viciousness that allows us to remind the world that the perpetration of a crime has happened, is happening, and will be processed through our creativity, regardless of what the “market” desires. —t eri G reeves Greeves is represented in Santa Fe by Shiprock Santa Fe. Her work has been exhibited in the New Mexico Museum of Art; the Royal BC Museum, Canada; the Fuller Craft Museum, Brockton, MA; and the Brooklyn Museum, Brooklyn, NY. Her work can seen at the Indian Market on August 21-22, booth 327 FR-N.

PhotograPh of greeves by anne staveley

(2) (3)

| august 2010

The magazine | 27


BAR MENU F R OM $ 3.50




A Bar at the Folies-Bergère by

Edouard Manet

Painted in 1882 at a time when the impressionist movement was giving birth to modernism, Edouard Manet’s last painting, A Bar at the Folies-Bergère, is a celebration of contemporary life. The principal character is a barmaid, Suzon, a young woman who worked at the Folies-Bergère and posed for this painting in Manet’s studio. Suzon stands alone in the crowded room looking both aloof and somewhat melancholy. She seems alienated from her surroundings. Directly behind Suzon, the reflection of the marble countertop holding several bottles—plausible replicas of those to our left—anchors the lower border of the painting. The only solid realities are the marble bar top and the objects on it—crème de menthe, champagne, English ale, a bowl of oranges, and two roses delicately placed in a vase. The symmetry of the main grouping on the bar reinforces the symmetry of Suzon’s pose—she stands in the center of the picture with both hands resting on the bar. This balance is softened by Suzon’s averted gaze, by the flowers and fruit, by the displaced symmetry of the lights on the pillars behind her, and by her own dislocating reflection. In the background, the brush strokes appear to be very thick and butter-like, yet manage to give the painting the ability to retain a symmetrical balance of space. Behind Suzon’s reflection, we see the cap of a champagne bottle, reinforcing that this is, in fact, a reflection. The champagne illustrates that many of the clientele came from a high social rank. The bottles of Bass Ale communicate Manet’s distinctly anti-German sentiments—the Germans had occupied Alsace, the main source of beer in France, so Manet dissed the Germans by painting English ale. D

| august 2010

THE magazine | 29

Jonas Povilas Skardis

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phone: (505) 577-2151 email: Serving Northern NM since 1996

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C A F E«

New owner Weldon Fulton invites you to

expierence the all new Museum Hill CafŽ . Equisite dining, breathtaking views and home to Santa Fe’s favorite special

occasions and catered events. Come enjoy the magic that is Museum Hill. 710 Camino Lejo Santa Fe, NM 87505 505 984-8900

for Fine Courtyard Dining and Ongoing Fabulosity! Exciting new Tapas menu and new wine options. Live music Friday, Saturday & Sunday 6-8pm See website for schedule. Artists Market every Friday, June ~ September 4–7pm With Nathan’s Hot Dogs by Gene

• • • • • • • • ~ op• • • • ro n t • • • • • • • • • • • • • • umm r ours • • • • 0– & 5–• • • • •• • • • • • • • • • • • • • • • • • • • • • • •• • • • • • • • •

Soups Salads Chile Pasta Stuffed Potatoes Garnish Bar and much more!

La Tienda Community Village Marketplace Eldorado


OPEN EVERY DAY • 11-7 • Take-Out Available


what we eat when we eat alone by

Deborah Madison and Patrick McFarlin

In what we eat when we eat alone: stories and 100 recipes (Gibbs Smith, $24.99), Deborah Madison, founding chef of Greens Restaurant in San Francisco, and the author of many books, including Vegetarian Cooking for Everyone and The Savory Way, and artist Patrick McFarlin pose the question: If you live alone, or are on your own while your partner is away, what do you cook for yourself? To find the answer, Madison and McFarlin asked friends, neighbors, empty nesters, colleagues, artists, foodies, and people they met on their travels about what they ate when they were by themselves. Some diners chose simple fare, others elaborate meals, while still others had somewhat bizarre choices—such as Saltines crushed into a glass of milk, bread soaked in Margarita mix, or a Spam sandwich with grape jelly. While Madison does not present guidelines for using Spam, she does offer a host of user-friendly recipes, as well as exploring how men and women approach eating alone. The accompanying sketches by McFarlin are wonderful—he really knows his stuff. Part memoir and part cookbook, this gem of a book will add to your enjoyment of those solo dinners. D

| august 2010

THE magazine | 31

memorable food...historic setting

“santacafé, a time-honored choice” lunch from $8.50 / dinner from $19.00 open every day

231 washington avenue - reservations 505 984 1788 menus, special events, instant gift certificates online locally owned & operated for over 25 years

What’s a Growler? Growlers are half gallon jugs you can purchase at the Second Street Brewery. The jugs are reusable and can be filled with any of our hand-crafted beers on tap. Once you purchase a Growler, there is no need to continue to buy bottles to throw away or recycle. After use, simply wash with water and leave it open to air dry. And bring it back to the Brewery for your refill. A half gallon Growler is 64 ounces, which equals four pints of our delicious beer. A Growler bottle is $4. A Growler fill is only $10.25.

Tres Equis Lager, XXX Second Street Brewery’s take on the German style lagers made in Mexico. This Amber lager features two German hop varieties—Perle and Hallertauer. This beer is sweeter and more malty in flavor than American IPA’s. With subtle notes of caramel and toast it pairs well with any spicy dish, especially on a long summer day.

Two Locations:

1607 Paseo de Peralta In the Farmerʼs Market Building 1814 Second Street at the Railroad Tracks


One Bottle:

The 2006 Joseph Drouhin Puligny-Montrachet “Folatières” by

There were two sadhus, and they were as different from each other as night was from day. The first sadhu was tall and thin and very brave. His eyesight was so good, he

Joshua Baer

The first sadhu stepped forward. “I do,” he said. Behind the rock, the first sadhu asked this question: “Lord Vishnu, how many more lifetimes do I have to endure before I attain perfect enlightenment and achieve

could see the colors of the stars. During meditation, his body did not move. Air

liberation from the physical world?”

flowed into and out of his lungs without a sound. During yoga, his arms, legs, and

“Two,” said Lord Vishnu.

hands performed a series of effortless gestures. When he fasted, his mind was free

The first sadhu threw himself on the ground. He grabbed a stick, put it in his

of all thoughts of food. On the roads and trails through the Himalayas, he was never

mouth and bit down on it, then he spit out the stick and screamed. His lips and tongue

short of breath.

were bleeding.

The second sadhu was slow, apprehensive, and fearful. His eyesight was good, but there were times when his visions made it difficult for him to see what was right in front of him. During meditation, he shook like a leaf. His breathing was nervous and sporadic, like the breathing of a man on his deathbed. During yoga,

“What’s wrong with you?” said Lord Vishnu. “I thought this was it!” said the first sadhu. “I thought this was my last incarnation. Damn you.” He got to his feet, wiped the blood from his lips, and left. The second sadhu came behind the boulder. “Lord Vishnu,” he said, “thank you

the second sadhu had a tendency to lose his way, find it, and lose it again. He

for being here. I also worship you. Please forgive me. My question is selfish, but this

never seemed to know what to do with his hands. When he fasted, all he could

may be the only time I get to ask it. How many more lifetimes are waiting for me?”

think about was mangoes. And on the roads and trails through the Himalayas, he was always short of breath. The two sadhus had met at the edge of a village, where a crowd

Lord Vishnu led the second sadhu to a ledge beyond the boulder. From the ledge, the second sadhu could see the whole canyon, the silver water flowing through the stream below, and the Himalayas in the distance. Lord

had gathered to watch the first sadhu do yoga. The second sadhu had

Vishnu pointed at a tree growing out of the rocks on the opposite side of

been in the crowd. After the crowd broke up and wandered back into

the canyon. The tree had bright yellow leaves. “Do you see the leaves

the village, the second sadhu went to the first sadhu and handed him a yellow flower. From that day on, the two sadhus fasted, meditated, and traveled together. One day, in the foothills of the Himalayas, the two sadhus were

on that tree?” he said. “Yes,” said the second sadhu. “The number of leaves on that tree—that’s how many lifetimes you have waiting for you.”

walking on a trail. With the exceptions of the garlands around their

The second sadhu looked at the tree for a long time, then he

necks and the paint on their faces, both men were naked. The

turned to Lord Vishnu and bowed. “Thank you, Lord Vishnu,” he

trail took them across a stream, then it led them up the west

said. “Thank you for all of them.”

side of a canyon. For a while, they could hear the water in the stream but soon the sound of the water faded into silence. As

Which brings us to the 2006 Joseph Drouhin PulignyMontrachet “Folatières.”

they climbed out of the canyon, they saw a ridge in the distance.

In the glass, the 2006 Joseph Drouhin Puligny-

They also saw the pass where the trail crossed over the ridge.

Montrachet “Folatierès” offers you a degree of clarity that

Halfway to the pass there was a white granite boulder the size of

does not exist between human beings. The fact that this

a house. The boulder looked like it was blocking the trail.

clarity can exist between a human being and a wine is a

One hundred yards below the boulder, the first sadhu told

paradox. Human beings love to lie. It is in our nature to

his mind to stop using the boulder as a reward. Walking was the

deceive each other and ourselves. So how is it that a human

meditation. Measuring the distance between himself and the

being can make a wine that has no guile in it?

boulder was a temptation, a trick of the mind.

On the palate, the 2006 “Folatières” reaffirms its clarity.

The second sadhu had been watching the boulder for

You do not taste this wine so much as you wish you could be

a long time. As he climbed the trail, he used the boulder’s white

more like it. The prospect of living, breathing, and speaking with

shape to pull him up the trail. He knew this was an abuse of his

unmitigated clarity is thrilling, even if that prospect exists only

concentration but his legs ached and he was short of breath.

in your imagination. The finish reminds you

When the sadhus were ten yards away from the boulder,

of why you can never have enough white

Lord Vishnu stepped out from behind the boulder. Both sadhus

Burgundy in your cellar. The finish of a good

fell to their knees. After they touched their foreheads to the

white Burgundy lifts your spirits. The finish of

ground, they looked up. Lord Vishnu was still there.

a great white Burgundy lifts your soul. D

“Lord Vishnu,” said the first sadhu, “supreme lord of the worlds, I worship you.” The second sadhu said nothing. He was too frightened to speak. “Hello, boys,” said Lord Vishnu. “You each get one minute alone with me, behind the rock, and you each get one question. Who wants to go first?”

| august 2010

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 ©2010 by For back issues of One Bottle, go to Joshua Baer can be reached at

THE magazine | 33

il piatto

Real Food prepared by Real Chefs Featuring local farm fresh produce Three course Lunch prixe fix, 14.95 Three course Dinner prixe fix, 29.50

Dinner 7 Nights at 5 pm Lunch Monday – Saturday

Patio Dining

95 West Marcy Street One block north of the Historic Plaza Santa Fe, New Mexico


Photograph by Cassie Rainey


Winner of Gourmet magazine’s “Top 50 U.S. Restaurants”

Nostrani Ristorante 304 Johnson Street, Santa Fe Reservations: 983-3800




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... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: Reminiscent of an inn in the French countryside. House specialties: Earthy French onion soup made with duck stock; squash blossom beignets; crispy duck; and one of the most flavorful steaks in town. Comments: Recently expanded and renovated with a beautiful new bar. Superb wine list. New spring menu. A La Mesa! 428 Agua Fria St. 988-2836. Dinner Beer/Wine. Smoke-free. Major credit cards. $$$ Cuisine: Eclectic. Atmosphere: Bustling and friendly. House specialties: Start with the Calamari Jardiniere or the Tataki of beef. For your main course, try the Steak Frites or the perfectly cooked Salmon Osso Bucco. Comments: Good wine list. Amavi Restaurant 221 Shelby St. 988-2355. Dinner Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Mediterranean Atmosphere: Intimate. House specialties: Start with the Bistro Salad. For your main, we recommend the Pollo Mattone; the tiger shrimp with garlic, shallots, smoked pimentos, and sherry and the Olive Crusted King Salmon” Nicoise.” Comments: Chef Megan Tucker kitchen is cooking up a storm. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236. Breakfast/Lunch/Dinner Smoke-free. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American cuisine. Atmosphere: A casual and elegant room evoking the feeling of an Anasazi cliff dwelling. House specialties: To start, try the smoked chile and butternut squash soup with pulled spoon bread croutons and cumin crema. For your entrée, we suggest any of the chef’s signature dishes, which include blue corn crusted salmon with citrus jalapeno sauce, and the nine spice beef tenderloin with chipotle modelo glaze. Comments: Attentive service Andiamo! 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Cozy. 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. 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. $$$ Cuisine: Contemporary American. Atmosphere: 150-year-old adobe with pale, polished plaster walls and white linens on the tables. House specialties: Jumbo crab and lobster salad. The chicken schnitzel is flawless. Desserts are absolutely perfect. Comments: Seasonal menu. Chef/owner Mark Kiffin didn’t win the James Beard Foundation’s “Best Chef of the Southwest” award for goofing off in the kitchen. Copa de Oro Agora Center at Eldorado. 466-8668. Lunch/Dinner 7 days a week. Take-out. Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: International. Atmosphere: Casual. House specialties: Start with the mussels in a Mexican beer and salsa reduction. Entrees include the succulent roasted duck leg quarters,

and the slow-cooked twelve-hour pot roast. For dessert, go for the lemon mousse or the kahlua macadamia nut brownie. Comments: Worth the short ten-minute drive from downtown Santa Fe. Corazón 401 S. Guadalupe St. 424-7390. Lunch/DinnerFull bar. Major credit cards. $$ Cuisine: Pub grub. Atmosphere: Casual. House specialties: You cannot go wrong with the not-to-be-believed thin-cut grilled ribeye steak topped with blue cheese, or the flash fried calamari with sweet chili dipping sauce; or the amazing Corazón hamburger trio. Comments: Love music? Corazón is definitely your place. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Smoke-free. Patio. Cash. $$ 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. $$ Cuisine: All-American. Atmosphere: Popular patio shaded with big cottonwoods. Cozy bar. House specialties: The smoked brisket and ribs are fantastic. Dynamite buffalo burgers and a knockout strawberry shortcake. Comments: Lots of beers— from Bud to the fancy stuff. Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: For your main course, go for the grilled Maine lobster tails or the Southwestern Rotisserie, or the grilled 24-ounce “Cowboy Cut” steak. Comments: Good wine list and unique signature cocktails. Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Smoke-free. Patio. Cash. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room with small tables inside and a nice patio outside where you can sit, read periodicals, and schmooze. Over 1,600 magazine titles to buy or peruse. House specialties: Espresso, cappuccino, and lattes. El Farol 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$$

Cuisine: Spanish. Atmosphere: Wood plank floors, thick adobe walls, and a postage-stamp-size dance floor for cheekto-cheek dancing. Murals by Alfred Morang. El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego cheese marinated in extra virgin olive oil; sautéed spinach with garlic and golden raisins. Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Smoke-free dining room. Patio. Major credit cards. $$$$ Cuisine: FrenchAsian fusion. Atmosphere: Kiva fireplaces, a portal, and a lovely garden room. House specialties: Start with the superb French foie gras, Entrées we love include the green miso sea bass, served with black truffle scallions, and the classic peppery Elk tenderloin. Comments: Tasting menus for available. Il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Smoke-free. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Arugula and tomato salad; grilled hanger steak with three cheeses, pancetta and onions; lemon and rosemary grilled chicken; and the delicious pork chop stuffed with mozzarella, pine nuts, proscuitto, potato gratin, and rosemary wine jus. Comments: Prix fixe seven nights a week.

Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Smoke-free. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; soft shell crab; dragon roll; chicken katsu; noodle dishes; and Bento box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake. It is clear, smooth, and very dry—like drinking from a magic spring admist a bamboo forest. Comments: New noodle menu. Friendly waitstaff. Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ 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—BBQ beef, chicken, or shrimp with lemongrass, lime leaf, shallots, garlic, cucumber, pickled onion, lettuce, and fresh herbs on vermicelli noodles—it will rock your taste buds. Lamy Station Café Lamy Train Station, Lamy. 466-1904. Lunch/Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: 1950’s dining car. House specialties: Fantastic green chile stew, crab cakes, omlettes, salads, bacon and eggs, and do not forget the fabulous Reuben sandwich. Sunday brunch is marvelous. Comments: For your dessert, order the apple crisp.

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. You will love the East African coconut lentil stew. 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 hand-painted windows exudes Old World charm. House specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad with baked New Mexico goat cheese—both are absolutely delicious. For your entreé include the Braised Lamb Shank, served with a natural jus lie, spring gremolata, roasted piñon couscous, and fresh vegetables. Comments: Seasonal menus created by Chef Lane Warner. A good wine list and attentive service.

Josh’s Barbecue 3486 Zafarano Dr. Suite A. 474-6466. Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: Barbecue. Atmosphere: Casual, House specialties: Delicious woodsmoked meats, cooked low and very slow are king here. Recommendations: We love the tender red-chile, honey-glazed ribs, the tender brisket, the barbecue chicken wings, the smoked chicken tacquitos, and the spicy queso. Comments: Seasonal BBQ sauces. Josh’s was written up in America’s Best BBQs.

Luminaria Restaurant and Patio Inn and Spa at Loretto 211 Old Santa Fe Trail. 984-7915. Breakfast/Lunch/Dinner/Sunday Brunch Smoke-free. Valet parking. Major credit cards. $$$ Cuisine: American meet the Great Southwest. Atmosphere: Elegant and romantic. Recommendations: Start with the award-winning tortilla soup or the Maine lobster cakes. If you love fish? Order the perfectly prepared coriander crusted kampache or the Santa Fean Paella—it isloaded with delicious shrimp, salmon,

continued on page 37

| august 2010

THE magazine | 35






313 S. GUADALUPE ST.| 984.2002

Let us Cater Your Special Events!

…succulent, tender natural spare ribs…



TUES - SAT 11:30




· SUN 11:30






Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Start with the delicious cornmeal-crusted calamari. For your main course, we love the Santa Fe Rotisserie chicken, the Rosemary and Garlic Baby Back Ribs, and the Prawns a 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/American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily chef specials (try the maple-glazed pork tenderloin), gourmet and build-yourown sandwiches, the best soups, and an excellent salad bar (try Dee’s salad dressing). Comments: Wonderful breakfasts, organic coffees, and super desserts. A family-run restaurant.

Fresh and Delicious Food served buffet-style at SAVEUR 204 Montezuma Street, Santa Fe clams, mussels, roasted peppers, and onions. The flavorful New Mexico chile pork tenderloin is top notch. Comments: Organic produce when available. Maria’s New Mexican Kitchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: Rough wooden floors, hand-carved chairs and tables set the historical tone. House specialties: Freshly-made tortillas, green chile stew, and Pork spareribs in a red chile sauce. Comments: Perfect margaritas. Max’s 21st Century Food 401½ Guadalupe St. 984-9104. Dinner Beer/Wine. Non-smoking. Patio. Major credit cards. $$ Cuisine: Contemporary. Atmosphere: Small and intimate. House specialties: Wonderful variety of salads, succulent baby-back pork ribs, flavorful grilled baby lamb chops, and perfectlyprepared seared black peppercrusted yellowfin tuna. Comments: Organic ingredients when available. 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. All organic ingredients used when available. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: Noodle house Atmosphere: Casual and friendly. House specialties: Salmon dumplings with oyster sauce, and Malaysian Laksa (wild rice noodles in a red coconut curry sauce). Nostrani Ristorante 304 Johnson St. 983-3800. Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$$$ Cuisine: Regional dishes from Northern Italy. Atmosphere: An 1887 renovated adobe with a great bar. House specialties: For your main, try the Stuffed Gnocchetti with Proscuitto and Chicken, or the Diver Scallops. Comments: A garden where they grow produce. European wine list. Winner of Gourmet magazine’s “Top 50 U.S. Restaurants.” Frommer’s rates Nostrani in the “Top 500 Restaurants in the World.”

| august 2010

O’Keeffe Café 217 Johnson St. 946-1065. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwest with a French flair. Atmosphere: The walls are dressed with photos of O’Keeffe. House specialties: Try the Northern New Mexico organic poquitero rack of lamb with black olive tapenade. Comments: Nice wine selection. Pizza Centro Santa Fe Design Center. 988-8825. Agora Center at Eldorado. 466-3161. Lunch/Dinner Wednesday-Sunday Cash or check. No credit cards. $$ Cuisine: Real New York-style pizza. Atmosphere: Casual. Counter service and a few tables. House specialties: A variety of pizzas with names that reflect The Big Apple, a.k.a. New York City. Recommendations: The Central Park thin-crust pizzas is a knockout. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light, colorful, and friendly. House specialties: For your breakfast go for the Huevos Rancheros, the Chile Rellenos Omelet, or the Blue Corn Piñon Pancakes. The Brisket Taquito appetizer rules. Try the green chili stew. Railyard Restaurant & Saloon 530 S. Guadalupe St. 989-3300. Lunch Monday-Saturday/Dinner Bar menu daily Smoke-free. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: The appetizer we love is the Frito Misto del Mare (fried calamari, prawns, sardines, and oysters, presented with a spicy pomadoro sauce and caper salsa verde). For your entreé, order the Whole Cornish Game Hen, marinated in garlic and chili. Comments: Generous pour at the bar. 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 onsite organic garden. Atmosphere: Cheery, light, and downright healthy. House specialties: A salad sampler might include the red quinoa, roasted beets (both vegan), and potato with dill. The roast veggie panini is perfect. Muffins, croissants are baked in house. Wonderful soups and desserts are divine. Recommendations: Inspired breakfast menu and really fabulous coffee drinks.

Restaurant Martín 526 Galisteo St. 820-0919. Lunch/Dinner/Brunch Beer/Wine Major credit cards. $$$ Cuisine: Contemporary American fare. Atmosphere: Casual. House specialties: For your main course try the grilled Berkshire pork chop with shoestring tobacco onions and peach barbecue jus, or the mustard-crusted Ahi tuna. Comments: A chef-owned. Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Sunday Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ 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 strongly suggest that you choose the chocolate pot. Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Southwestern with French flair. Atmosphere: Elegant bar with a nice bar menu, sophisticated and comfortable dining rooms, and a lovely outdoor patio. House specialties: Mediterranean mussels in chipotle and mint broth is superb, as is the ahi tuna tartare. Comments: Ristra won the Wine Spectator Award of Excellence in 2006. San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: As American as apple pie. Atmosphere: Casual with art on the walls. House specialties: At lunch, do try the San Francisco Street hamburger on a sourdough bun or the grilled yellowfin tuna nicoise salad with baby red potatoes. At dinner, we like the tender and flavorful twelve-ounce New York Strip steak, or the Idaho Ruby Red Trout served with grilled pineapple salsa. Comments: Visit their sister restaurant at DeVargas Center.

Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers are outstanding, especially when paired with beer-steamed mussels, the beerbattered calamari, burgers, fish and chips, or the truly great grilled bratwurst. Second Street Brewery 1607 Paseo de Peralta. at the Railyard. 989-3278. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers are outstanding, especially when paired with beer-steamed mussels, the beerbattered calamari, burgers, fish and chips, or the truly great grilled bratwurst. The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: This local institution—some say a local habit—is housed in an adobe hacienda. House specialties: We suggest the stacked red or green chile cheese enchiladas with blue corn tortillas. Comments: Great chile here. Try their sister restaurant, La Choza. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Smoke-free. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell crab tempura; sushi, and Bento boxes.

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 and lobster. We suggest you try the pepper steak with Dijon cream sauce. Comments: One thing for sure, they know steak here.

S teaksmith

The Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork. Atmosphere: Casual. House specialties: We are fans of the Salmon Benedict with poached eggs, quiche, gourmet cheese sandwich, and the amazing Teahouse Mix salad, a wonderful selection of soups, and the Teahouse Oatmeal—some say it is “the best oatmeal in the world.” Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch No alcohol. Smoking/non-smoking. Major credit cards. $ Cuisine: New Mexican. Atmosphere: This restaurant is absolutely a Santa Fe tradition. House specialties: Green chile stew and the huge breakfast burrito stuffed with great goodies: bacon, potatoes, chile, and cheese. Tia Sophia’s is the real deal. Tree House Pastry Shop and Cafe 1600 Lena St. 474-5543. Breakfast/Lunch Tuesday-Sunday Smoke-free. Major credit cards. $$$ 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. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: Farm-to-table. Atmosphere: Light, bright and cheerful. House specialties: Salads are knockouts— fresh as can be. Try the Nutty Pear-fessor salad with grilled Bosc pears, bacon, toasted pecans, and Gorgonzola, Comments: Only organic greens are used, thus delivering the freshness that slow food promises. Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. PatIo. Major credit cards. $$ Cuisine: All-American. Atmosphere: Down home. House specialties: meat loaf, chicken-fried chicken, Possibly the best fish and chips in town. Comments: Friendly wait-staff. The hot fudge sundaes are always perfect and there are plenty of dessert goodies for take-out.

Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwestern. Atmosphere: Minimal, subdued, and elegant. House specialties: For starters, the calamari with lime dipping sauce never disappoints. Our favorite entrées include the perfectly cooked grilled rack of lamb and the pan-seared salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Pastry chef Cindy Sheptow’s Key Lime Semifreddo and Chocolate Mousse with Blood Orange Grand Marnier Sauce are perfect. Appetizers at the bar at cocktail hour rule. Santa Fe Bar & Grill 187 Paseo de Peralta. 982.3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$

On the Road with THE magazine

Squash blossom burrata pizza at Pizzeria Mozza, 641 North Highland, Los Angeles



| 37


AUGUST A R T Thursday, augusTT 5


by Melanie Wegner. New photographs by

nuart gallery, 670 Canyon Rd., Santa Fe.

St., Roswell. 575-624-6744. Butterfly Trigger:

Marilyn Conway. 5-8 pm.

988-3888. The Mergatroids Have Landed: new

murals by Larry Bob Phillips. 5:30-7 pm.

works about myth and legend by Santiago

sKotia K gallery, 150 W. Marcy St., Suite 103, Santa Fe. 820-7787. The New Metropolis:

Matrix fine art, 3812 Central Ave. SE, Suite

new works by Simon McWilliams and Valerio

100-A, Alb. 505-268-8952. Pieces: mosaics and

D’Ospina. 6-8 pm.

ceramics by Laura Robbins. 5-8 pm.

touching stone gallery, 539 Old Santa Fe Trail,

Perez. 5-7 pm.

Santa Fe. 988-8072. Tanba Masterworks: woodP eterson c oDy g allery , 130 W. Palace

fired ceramics by Tadashi Nishihata. 5-7 pm.

Ave., Santa Fe. 820-0010. Vistas & Venues:

ffrIday, augusTT 6 1228 P arKWay KW KWay a rt s Pace , corner of Parkway

Meyer east gallery, 225 Canyon Rd., Santa


Fe. 983-1657. Robert LaDuke: paintings of the

5-7:30 pm.





generator, 723 Silver Ave. SW, Alb. 505-463-

1930s-’40s. by LaDuke. 5-7 pm.

Drive and Rufina Street, Santa Fe. 603-1259.

P roJect s Pace 805, 805 Early St., Building

3995. Impossible Objects: Various Small Fires: installation by Ed Ruscha. 5-7 pm.

New photographs by Luis Sanchez Saturno

neW grounDs Print WorKshoP & gallery,

C, 205-B, Santa Fe. 490-3203. Badlands: new

and new paintings by William Sorvillo.

3812 Central Ave. SE, Suite 100-B, Alb. 505-

photographic images by Leah Siegel. 5-7 pm.

5-9 pm.

268-8952. Eclectic: monotypes by Gerald Fitz-Gerald. 5-8 pm.

saTurday, augusTT 7 sa

isaac’s gallery, Nesselrodt Building, 309 N. rosWell MuseuM anD art center, 100 W. 11th

Virginia, Roswell. 575-626-8626. New Work by

artistas De santa fe, 228-B Old Santa Fe Trail, Santa Fe. 982-1320. Grid Rocks!: paintings by George Duncan. 5-7 pm. bright rain gallery, 206 1/2 San Felipe St. NW, Alb. 505-843-9176. Augustine Romero: new wall sculptures. 6-9 pm. chalK farM gallery, 729 Canyon Rd., Santa Fe. 983-7125. Symbols and Stillness: recent stone lithographs, sculpture, and canvas giclees by Michael Parkes. 5:30-8 pm. gallery at Wells fargo banK, 241 Washington Ave., Santa Fe. 984-0442. Pueblo: abstract paintings by Dan McBride. 3-5 pm. geralD Peters gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Wayne Thiebaud: Mountains: retrospective of Thiebaud’s mountain scenes. 5-7 pm. glenn green galleries, 130 Lincoln Ave., Santa Fe. 820-0008. Summertime at Red Lake: new works on paper and bronze by Melanie Yazzie. 2-5 pm. high MayheM, 2811 Siler Lane, Santa Fe. 501-3333. Everyone Shimmers the Space Near: drawing, sculpture, performance, and video by Scott Moore. 6-8 pm. legenDs santa fe, 143 Lincoln Ave., Santa Fe. 983-5639. One + One = Two: collaborative works. 5-7 pm. leW Wallen galleries DoWntoWn, 129 W. Palace Ave., Santa Fe. 988-8997. Animal Farm: animal portraits by Tom Palmore. 5:30-7:30 pm. MariPosa gallery, 3500 Central Ave. SE, Alb. 505-268-6828. Art, Allegory, and Artifice: paintings by Jamilla Naji. Ceramic sculptures

| august 2010

New paintings by Darren Vigil Grey at Gerald Peters Gallery, 1011 Paseo de Peralta. Through August.

continued on page 42

The magazine | 39

WHO SAID THIS? “The artist is expected to appear after dinner. His function is not to provide food, but intoxication ”

1. Lucius Annaeus Seneca 2. Norman Mailer 3. Andre Gide 4. Jean de La Fontaine

HERE’S THE GREAT DEAL! $500 B&W full-page ads ($800 for color) in the September issue

for artists without gallery representation in New Mexico. Reserve Space by Monday, August 16. 505-424-7641

Forrest Moses 1982 Monotype

Contemplative and serene, this monotype reflects Forrest Moses’ studies of Eastern art.

$5,000 - 505-570-1460



Photos: Mr. Clix, Dana Waldon, Lisa Law, & Jennifer Esperazana


Albuquerque Artists Artists: drawing media and collage

Drive and Rufina Street, Santa Fe. 603-1259.

on paper by Cristina de los Santos. Abstract

Creative Soup Soup: group show of paintings. 5-8 pm.

compositions by Karl Hofmann. 5-7 pm. braD sMith gallery, 714 Canyon Rd., Santa Fe. las coMaDres WoMen’s gallery, 228-A

983-1133. Wings of Love: new paintings by Brad

Paseo del Pueblo Norte, Taos. 575-737-5323.

Smith. 5-8 pm.

Reflections: metal mirrors and lanterns by Jeanne Reflections Halsey. Glass works by Jo Ann Paulk. 3-7 pm.

charlotte JacKson fine art, 554 S. Guadalupe St., Santa Fe. 989-8688. Solo Show: encaustic

monday, augusTT 9 m

work by the late Florence Pierce. 5-7 pm.

aDobe gallery, 221 Canyon Rd., Santa Fe. 955-

geralD Peters gallery, 1011 Paseo de Peralta,

0550. Birds on Pueblo Pottery: bird motif–themed

Santa Fe. 954-5700. Los Colores de Otoño:

historic Pueblo pottery, 1850-1930. 4-7 pm.

woodblock prints by Leon Loughridge. 5-7 pm.

Wednesday, augusTT 11





Canyon Rd., Santa Fe. 984-2111. Steel wiretaD tribal art, 401 W. San Francisco St., ta

mesh sculpture by Eric Boyer. Mixed media on

Santa Fe. 983-4149. Personal Collections, Past

canvas and paper by Charlotte Foust. 5-7 pm.

Reflections: 24th anniversary show featuring Reflections antique tribal arts. 5:30-8 pm.

MarigolD arts, 424 Canyon Rd., Santa Fe. 820-1975. Allan Bass Bass: masks and sculptures by Allan Bass. 5-8 pm.

ffrIday, augusTT 13 neW W Mexico MuseuM 1228 ParKWay KW KWay art sPace P , corner of Parkway


art, 107 W. Palace

Ave., Santa Fe. 476-5072. Traces: oil and acrylic

Traces Traces—work by Johnnie Winona Ross at the New Mexico Museum of Art, 107 West Palace Avenue. Reception: Friday, August 13, 5:30-7:30 pm.

burnished on linen by Johnnie Winona Ross.

shiProcK santa fe, 53 Old Santa Fe Trail,

5:30-7:30 pm.

Santa Fe. 982-8478. Annual Opening Event: group show featuring works from Shiprock

WilliaM siegal gallery, 540 S. Guadalupe St.,

Santa Fe’s Historic Native Art Collection and

Santa Fe. 820-3300. New Sculpture: steel and

new works by Phillip Vigil and Jared Chavez.

wood sculptures by Tom Waldron. Lost Worlds—

6-8 pm.

Ruins of the Americas Americas: by Arthur Drooker. 5-7 pm.

tresa vorenberg golDsMiths, 656 Canyon Rd., Santa Fe. 988-7215. A Gem Packed Life: gold and

ssaTurday, augusTT 14

gemstone beaded jewelry by Donna Diglio. 11 am-5:30 pm.

203 fine art, 203 Ledoux St., Taos. 575-7511262. Fritz Scholder (1937-2005): Seldom Seen

zane bennett conteMPorary art, 435 S.

Works: rarely exhibited paintings by Scholder. Works

Guadalupe St., 982-8111. Santa Fe. Paintings,

5-7 pm.

Prints and Sculpture Sculpture: new works by Stephen Auger. Paintings, prints, and neon sculpture by

DevDan D Dan gallery, 6855 Fourth St. NW, Suite

François Morellet and Tony Soulie. 5-7 pm.

B-2, Los Ranchos. 505-342-9649. T.I.M.E.: Temporary Installations Made for the Environment Environment:

Thursday, augusTT 19

artworks related to sustainability. 12-6 pm. Morning star gallery, 513 Canyon Rd., lannan founDation D Dation , 313 Read St., Santa Fe.

Santa Fe. 982-8187. Reading Between the Lines:

986-8160. Matthew S. Wikovsky: reception and

contemporary ledger art. 5-7 pm.

gallery talk. 5-7 pm. MuseuM


conteMPorary native arts, 108

leDger gallery, 413 Broadway, Truth or

Cathedral Pl., Santa Fe. 424-5922. Dry Ice:

Consequences. 575-231-5295. Summer Solstice:

Alaska Native Artists and the Landscape Landscape: works by

abstract paintings by Joe Hutchinson. 6-9 pm.

contemporary Native Alaskan artists exploring the multiple meanings of, and associations

Morning star gallery, 513 Canyon Rd.,

with, the Alaska landscape. Oblique Drift:

Santa Fe. 982-8187. Identity & Pride: Aesthetic

Nicholas Galanin Galanin: Galanin examines globalized

Expressions in Plains Art Art: Plains art, including

culture(s), freedom of cultural expression,

beadwork, quillwork, and painted works.

and the manifestations of change in a world of

6-8 pm.

shifting cultures and ancestral echoes. 5-7 pm. Round-UP: Recent Video Work by Torry Mendoza Mendoza:

Animal Farm—animal Farm portraits by Tom Palmore at LewAllen Galleries Downtown, 129 West Palace Avenue. Reception: Friday, August 6, 5:30-7:30 pm.

neDra ra Matteucci galleries, 1075 Paseo de

Mendoza focuses on the re-appropriation and

Peralta, Santa Fe. 982-4631. Artistic Ensemble:

deconstruction of Native identity in popular

Doug Hyde, John Moyers, and Terri Kelly Moyers Moyers:

culture. It Wasn’t the Dream of the Golden

painting and sculpture. 2-4 pm.

Cities: Postcommodity Collective’s response Cities

continued on page 44

42 | The magazine

| august 2010

n e w

m e t r o p o l i s

opening reception thursday august 5th, 6-8pm | friday august 6th, 5-7pm

simon mcwilliams Born in Belfast, Simon McWilliams trained at the University of Ulster and then at the Royal Academy Schools in London. An award winning artist, his work can be found in many of the major collections of Irish Art today. Ranging from heavy impasto to the most delicate scumbles and washes, his work, first and foremost, is a celebration of painting. McWilliams’ work examines the timeless way in which the structural environment of a city intertwines with human presence, a subject that has resulted in seventeen awards for painting in the past eight years. Drawing on BelfastÕ s past, present and future, his paintings manage to combine both realist and abstract visions of a changing world where Palm houses come to occupy the same territory as modern office blocks and radio masts. Valerio DÕ Ospina is the perfect foil to McWilliamsÕ vibrant pieces. Born in Taranto, Italy in 1980, this young talent depicts a less optimistic urbanity with his quick strokes and sinister palette. DÕ Ospina studied at the Accademia di Belle Arti in Florence before traveling to Paris to absorb the work of his favorite artists, Gericault, Delacroix, David, Ingres, Rubens, Rodin, ToulouseLautrec, Manet and the Impressionists. DÕ Ospina moved to the US at the age of 27 to begin teaching Classical Drawing and Painting. Valerio is now based out of Indiana, Pennsylvania.

valerio dÕ ospina on thursday, august 5th from 6-8pm, skotia gallery will have an opening reception for New Metropolis, with new work from Northern irish artist simon McWilliams and italian artist Valerio DÕ ospina.


oth artists, though possessing very different stylistic sensibilities (McWilliams with his vivid, primary palette, and DÕ Ospina with his solemn monochrome), share a fascination with the man-made, and a curious rejection of the man himself. DÕ OspinaÕ s and McWilliamsÕ paintings are conspicuously devoid of humanity, and simply depict ghostly artifacts of constructed objects: giant skeletons of scaffolding, an empty room of old engines, a broken down bus deteriorating in a dusty shed. The images are ominous, and the sheer scale of the paintings leave one with the sense that these objects have taken on a significance that one wouldnÕ t ordinarily ascribe to such commonplace items. A fundamental shift in perspective happens at the societal level: McWilliams seems to revel in the wonder of progress, invention, construction, where DÕ Ospina laments that very same progress by depicting the fossils of a more optimistic industrial era. The tension between modern activity on one hand and the detritus it inevitably becomes on the other creates a soulful, profound, and incredibly beautiful essay on the materialism and industry of modern man.

1 5 0 w e s t m a r c y s t r e e t s t e 1 0 3 s a n t a f e n m 8 7 5 0 1 | 5 0 5 - 8 2 0 - 7 7 8 7 | 8 6 6 - 8 2 0 - 0 1 1 3 | w w w. s k o t i a g a l l e r y. c o m

s k o t i a g a l l e r y | 1 5 0 w . m a r c y s t s t e 1 0 3 s a n t a f e n m 8 7 5 0 1 | 5 0 5 . 8 2 0 . 7 7 8 7 | s k o t i a g a l l e r y. c o m


to the Santa Fe 400th celebration from a

glenn green galleries, 130 Lincoln Ave., Santa

Native perspective, while also critiquing

Fe. 820-0008. Indian Market Exhibition and Poster

aspects of the Indian Market. Matterings: work

Signing: signing by George Rivera. Work by Allan Signing

by Rose Simpson. Apaches and Angels: site-

Houser, Melanie Yazzie, Michael Kabotie, and

specific work envisioned by artist Douglas

James Faks. 4-6 pm.

Miles, incorporating hand-drawn, hand-cut stencil works from Miles’ Apache Skateboards

leW Wallen galleries DoWntoWn, 129 W. Palace

Team. Annual Denise Wallace Showcase at the

Ave., Santa Fe. 988-8997. Talismans: jewelry by

Museum Store and Lloyd Kiva New Gallery.

Carolyn Morris Bach. 5:30-7:30 pm.

4-7 pm. Morning star gallery, 513 Canyon Rd., shiProcK santa fe, 53 Old Santa Fe Trail, Santa

Santa Fe. 982-8187. Reading Between the Lines:

Fe. 982-8478. Revolt: new works in clay by Virgil

contemporary ledger art. 5-7 pm.

Ortiz. 6-8 pm. niMan fine art, 125 Lincoln Ave., Santa Fe.

ffrIday, augusTT 20

988-5091. New Works: paintings, sculptures, and photographs by Dan Namingha, Arlo Namingha,

arroyo, 241 Delgado St., Santa Fe. 988-1002.

and Michael Namingha. 5:30-7:30 pm.

Sacred Earth: The Missions of Alvin Gill-Tapia Gill-Tapia: new zane bennett conteMPorary art, 435 S.

work by Gill-Tapia. 5-7 pm.

New steel and wood sculptures by Tom Waldron at William Siegal Gallery, 540 South Guadalupe Street. Reception: Friday, August 13, 5-7 pm.

from Artists of Galisteo Galisteo: group show by Galisteo

Devargas center, 153-B Paseo de Peralta,

artists. 5-7 pm.

Santa Fe. 989-7667. From a Shaman’s World: archaic Himalayan ceremonial, ritual, and

Guadalupe St., Santa Fe. 982-8111. Yazzie canyon roaD conteMPorary, 403 Canyon Rd., Santa Fe. 983-0433. Molly Heizer: ceramic

Johnson + Gail Bird Bird: Native American jewelry by

neW e concePt P gallery, 610 Canyon Rd., Santa Fe. Pt

Johnson and Bird. 4-6 pm.

795-7570. Abstraction: abstract paintings, monotypes, and sculptures by six gallery artists. 5-7 pm.

sculptures. 5-7 pm.

ffrIday, augusTT 27

DWight hacKett ProJects, 2879 All Trades Rd., Santa Fe. 474-4043. Summer Landscape: work

santa fe clay, 545 Camino de la Familia, Santa

chiaroscuro gallery, 702 Canyon Rd., Santa

utilitarian objects.

by Jay DeFeo. Through Sat., Aug. 7.

Fe. 992-0711. Collected Voices: contemporary

1228 ParKWay KW art sPace KWay P , corner of Parkway Dr.,

Fe. 984-1122. Connections: functional pottery

Native art. 5-7 pm.

and Rufina St., Santa Fe. 603-1259. Retrospective:

by Ingrid Bathe, Hiroe Hanazono, and Deborah

eight MoDern, 231 Delgado St., Santa Fe.

abstractions by Mary Dinter Heimberg. 5-8 pm.

Schwartzkopf. 5-7 pm.

995-0231. Brand New, Slightly Used: abstract

Fe. 992-1100. Keiko Sadakane: To Garado: wall

box gallery,

ssunday, augusTT 29

by Ted Larsen.

sculptures. 5-7 pm.

989-4897. Past As Presence: scratched Plexiglas rrr ranch, Santa Fe. 967-5297. Pony Up: art

flux conteMPorary, New Mexico Design

auction to benefit Animal Protection of New

Center, 4801 Alameda Blvd., Space D-2, Santa

objects constructed from salvaged materials

gebert conteMPorary, 558 Canyon Rd., Santa 1611-A Paseo de Peralta, Santa Fe.

drawings by Joanne Lefrak. 5-7 pm. gebert





Guadalupe St., Santa Fe. 983-5444. Perla Krauze:

Karan ruhlen gallery, 225 Canyon Rd., Santa

Mexico’s Equine Protection Fund. 2 pm. Call

Fe. 504-9074. Telling Stories: work by Sharon

Imprints: site-specific installation. 5-7 pm. Imprints

Fe. 820-0807. Daniel Phill: paintings on canvas

for directions.


sPecIal sP IIal InTeres T T

galluP cultural center, 201 E. Historic Hwy.

and paper by Phill. 5-7 pm. geralD Peters gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. John Coffer: The Daily Tintype: wet-plate



5-7 pm.


66, Gallup. 505-344-9382. One Nation One Year:

la sala De galisteo gallery & MuseuM, Davis y Ortiz Hacienda, Route 41 & CR 42, Galisteo.

2010 sW sWaia Waia santa fe inDian MarKet Ket WeeK, Ket

book signing and talk with Don James. Tues.,

466-3219. Painting, Drawing, & Printmaking

Santa Fe. Native American art and events. Fri,. Aug.

Aug. 10, 5-7 pm.

13 to Mon., Aug. 23. For schedule: garcia street booKs, 376 Garcia St., 222 shelby street gallery, 222 Shelby St.,

Santa Fe. 986-0151. Readings: Tom Grimes,

Santa Fe. 982-8889. Nino Caruso Terra Cotta:

author of Mentor: A Memoir. Tues., Aug. 10, 5

work by Italian master ceramic sculptor

pm. Peter Lewis, author of Dead in the Dregs.

Nino Caruso. Through Sun., Aug. 29.

Fri., Aug. 20, 5 pm. Info:

abiquiu WorKshoPs, Abiquiu Inn, 21120 U.S.

gebert conteMPorary, 558 Canyon Rd., Santa

84, Abiquiu. 505-685-0921. Abiquiu Lectures

Fe. 992-1991. New Plexagraphs: new work by

Series: weekly lectures with artists, writers, Series

Michael Eastman. Through Sun., Aug. 29.

scientists, and historians. Through Thurs., Oct. 20, 7 pm. Info:

girls incorPorateD, Santa Fe Plaza and Lincoln Ave., Santa Fe. 982-2042. 38th Annual Arts and

Reading Between the Lines: Contemporary Ledger Art at Morning Star Gallery, 513 Canyon Road. Receptions: Thursday, August 19, 5-7 pm and Friday, August 20, 5-7 pm.

alaMosa booKs, 8810 Holly NE, Alb. 505-

Crafts Show Show: fine art and craftwork. Sat., Aug.

344-9382. Book Signing: Nasario Garcia will sign

7, 9 am-6 pm. Sun., Aug. 8, 9 am-5 pm. Info:

copies of Fe Y Tragedias. Sat., Aug. 7, 11 am.


conteMPorary arts, 1050 Old

Ja aMes

Pecos Trail, Santa Fe. 982-1338. 10th Annual


Native Cinema Showcase Showcase: Indigenous-produced


film and video. Thurs., Aug. 19 to Sun., Aug. 22.



Kelly de Shine: Shine Nagle.




sculptures Through


and Sat.,

1601 989-1601.






continued on page 46

44 | The magazine

| august 2010

Alexander Calder July 23 - October 2, 2010

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

Collar, Silver, 17 3/4 x 5 inches. Image courtesy Gerald Peters Gallery. Š 2010 Calder Foundation, New York / Artists Rights Society (ARS), New York


leW Wallen galleries

at the

railyarD, 1613



inDian arts

culture, 710


Paseo de Peralta, Santa Fe. 988-3250. John

Camino Lejo, Santa Fe. 476-1250. Breakfast

Fincher: Enduring Terrain Terrain: recent paintings and

with the Curators Curators: series of lectures and artists’

monotypes. Through Sun., Sept. 5.

presentations. Fri., Aug. 13, 20, and 27 at 8:30 am. Info:

linDa Da DurhaM conteMPorary art, 1807 Da Second St. #107, Santa Fe. 466-6600. Where


Have You Been? (Come to Your Senses) Senses): new work


by Erika Wanenmacher. Through Sat., Aug. 21.

5213. 61st Annual Navajo Festival of Arts and



northern arizona, 3101 N. Rd.,




Culture: Navajo artists, music, dances, and Culture MiraDor, 616 Canyon Rd., Santa Fe. 995-1977.

Heritage Insight programs. Sat., Aug. 7 and

Christoper Merlyn Merlyn: opening will take place on Fri.,

Sun., Aug. 8, 9 am-5 pm. Info:

Aug. 6. Meryln will be present. nagasaKi Peace MuseuM, Nagasaki, Japan. MuseuM

conteMPorary native arts, 108

Nagasaki: Eternal Peace Peace: Paintings made from 1985

Cathedral Pl., Santa Fe. 424-5922. Museum

to 2010 by Judy Asbury. On view from Tues., Aug.

Members’ Reception and Gallery Tour of New

10 to Sun., Aug. 29. Also on view at the Nagasaki

Exhibits. Sat., Aug. 7, 2-4 pm. The ‘80s: A Exhibits

Airport from Thurs., Aug. 12 to Mon., Aug. 23.


Totally Rad Revolution Revolution. Dinner, silent, and live art auctions. Benefit for student services and

neW W Mexico history MuseuM, 113 Lincoln

scholarships at IAIA. Wed., Aug. 18, 5 pm at

Ave., Santa Fe. 476-5200. Diné/Navajo Women:

La Fonda on the Plaza, 100 E. San Francisco

At the Intersection of Nation, Gender and

St. Tickets: 1-800-804-6423. Artists’ Reception

Tradition: lecture by Jennifer Nez Denetdale. Tradition

for Postcommodity Collective Collective. Wed., Aug. 18,

Sun., Aug. 22, 2 pm.

4-5:30 pm. Call for info. Panel Discussion with Postcommodity Collective Collective. Fri, Aug. 20,

origins, 135 W. San Francisco St., Santa Fe.

11:30 am-1 pm. Annual Members Appreciation

988-2323. Jewelry Trunk Show: features Hari from

Breakfast. Sat., Aug. 21, 7:30-9 am. Alumni and Breakfast

East India on Thursday, Friday, Saturday, Sunday

Student Artist Market Market: Sat., Aug. 21, 8 am-5pm.

and Monday, August 19-20-21-22-23 (11:00 am-

Info: 983-8900. Alaska Native Artists’ Panel. Sat.,

6:30 pm Thurs./Fri./Sat. and 11:00 am-6:00 pm

Aug. 21, 1-2 pm. Info: 428-5922. In Session: A

Sun., and 11:00 am-3:00 pm on Mon.) Mon.).

Conversation with Rose Simpson and Michelle McGeough. Sat., Aug. 21, 3-4 pm. Info: 983McGeough

Preston conteMPorary art center, 1755

8900. Meet the Postcommodity Collective. Sat.,

Avenida de Mercado, Mesilla. 575-523-8713.

Aug. 21, 9 am-5 pm. Info: 428-5909. Featured

Artist Dialogue Dialogue: dialogue with Louis Ocepek and

Artists at the Lloyd Kiva New Gallery and Museum

Francisco Saenz. Sat., Aug. 28, 1-3 pm.

Terra cotta sculptures and monoprints by Nino Caruso at 222 Shelby Street Gallery, through Sunday, August 29.

Store: Sat., Aug. 21, 8 am-5 pm. Info: 983-8900. Store Reading and Signing of Shrouds of White Earth with

riva yares gallery, 123 Grant Ave., Santa Fe.

Dr. Gerald Vizenor Vizenor: an innovative novel about a

984-0330. New Paintings: new work by Christian

auction Fri,. Aug. 20, 1 pm. Old Friends, New

Season: musical performances. Through Fri., Season

contemporary Native American artist. Sun.,

Bonnefoi. Through Sun., Sept. 12.

Faces: Indian Market sales exhibition. Thurs., Faces

Aug. 13. Info:

Aug. 19 to Sun., Aug. 22. Call for info.

Aug. 22, 3-5 pm. Info: 428-5912

PerformIng arTs Perform T Ts

santa fe art institute, College of Santa Fe, Tipton Hall, 1600 St. Michael’s Dr., Santa Fe. 424-

WhitehaWK hiteha



5050. Jennifer Levonian Lecture: talk with the painter

Convention Center, 201 W. Marcy St., Santa Fe.

albuquerque theatre guilD, 712 Central SE,

and animator. Mon., Aug. 23, 6 pm. Nancy Reyner:

32nd Annual Invitational Antique Indian Art Show Show:

Alb. 505-341-9590. August 2010 Performances:

Artist’s Talk and Book Signing Signing. Mon., Aug. 30, 6-7 pm.

antique Indian art. Sun., Aug 15 to Tues., Aug. 17.

weekly performances through August. Info:




shiProcK santa fe, 53 Old Santa Fe Trail, Santa Fe. 982-8478. Shiprock Santa Fe Lecture Series:

WilliaM r. talbot fine art, 129 W. San Francisco

lensic PerforMing arts center, 211 W.

printmaking with Jared Chavez. Fri., Aug. 20,

St., 2nd floor, Santa Fe. 982-1559. Shorelines: 20th-

San Francisco St., Santa Fe. 988-1234. A Gala

1:30 pm. Tufa casting with 2009 Best in Show

century landscape art. Through Sat., Oct. 9.

Evening: performance by the Aspen Santa Fe Evening Ballet. Fri., Aug. 6 and Sat., Aug.w 7, 8 pm.

winners Darryl and Rebecca Begay, Fri., Aug. 20,

musIc m

2:30 pm. Info:

beethoven, The Kosmos, 1715

outPost PerforMance sPace P , 210 Yale Blvd. SE,

resources, 725 Camino Lejo, Santa Fe. 983-

Fifth St. NW, Alb. 505-234-4611. August

two blocks south of UNM, Alb. 505-265-2020.

6155. Rag Rug Festival & Design Collective: benefit

Performances: chamber music performances. Performances

Come Into My Parlour Parlour: performance by American

for New Mexico Women’s Foundation. Fri., Aug.


Vaudeville Museum Performance Project. Sun.,

steWart W Wart l. uDall D center




Info: of

Aug. 8, 4 pm.

13, 4-7 pm, Sat., Aug. 14 and Sun., Aug. 15, 10 am-4 pm. WheelW heel right MuseuM of the aMerican inDian, Photographs by Luis Sanchez Saturno and paintings by William Sorvillo at 1228 Parkway Art Space, 1228 Parkway Drive. Reception: Friday, August 6, 5-9 pm.

46 | The magazine



angel fire, various locations. 888-

377-3300. 27th Season: chamber music. Aug. 20

theatre grottesco, Fashion Outlets of Santa

to Sept. 5. Info:

Fe, 8380 Cerrillos Rd., Santa Fe. 474-8400. OM: Ten Tiny Epics in an Outlet Mall Mall: theatrical

704 Camino Lejo, Museum Hill, Santa Fe. 9824636. 2010 Benefit Auction: live and silent

santa fe Desert chorale, 811 St. Michael’s

performance. Thurs., Aug. 27 to Sun., Aug, 29,

auction. Preview Thurs., Aug. 19, 4-6 pm. Live

Dr., Suite 206, Santa Fe. 988-2282. Summer

7 pm. Info:

| august 2010

The Encaustic Art Institute A non-profit arts organization presents

Wa y n e T h i e b a u d Mountains Wayne Thiebaud, Yosemite Ridge, 1975, oil on canvas, 72 x 36 inches, signed and dated on verso: (heart) Thiebaud 1975. © 2010 Wayne Thiebaud, courtesy Gerald Peters Gallery. Art © Wayne Thiebaud/Licensed by VAGA, New York, NY.

A Show of 3-DIMENSIONAL Encaustic Art Opening Reception: Saturday, August 21, 1 - 6 pm

EAI also offers many different Encaustic Workshops. For more info go to


18 County Road 55A(General Goodwin Road), Cerrillos, NM 87010

18 miles south of Santa Fe on scenic Turquoise Trail, 2 miles north of Cerrillos

Anita Louise West

August 6 - September 25, 2010 Opening Reception: August 6, 2010 from 5-7pm Rancho, Oil on Linen, 11” x 14”

Gallery J


To view all the works please visit 1011 Paseo de Peralta, Santa Fe, NM 87501 | tel (505) 954-5700 216 Washington Ave | Santa Fe, NM 87501 505.992.3391 |


Torry Mendoza, Kemosabe Version 1.0, video still, 2008

Bill Eppridge, burned master print of Robert F. Kennedy Shot, Ambassador Hotel, Los Angeles, June 5, 1968.

Six exhibitions, including Matterings by Rose Simpson and It Wasn’t the Dream of the Golden Cities, an installation by Postcommodity collective August 2, 2010 to January 2, 2011 Museum of Contemporary Native Arts, 108 Cathedral Place, Santa Fe. 983-8900

Bill Eppridge: An American Treasure Show runs to September 26, 2010 Monroe Gallery of Photography, 112 Don Gaspar Road, Santa Fe. 992-0810

After being closed for several months for major roof repairs, the Museum of the Institute of American Indian

Bill Eppridge are guaranteed to awaken memories of the sixties: family members

Arts is celebrating with a grand reopening, featuring six exhibitions offering to the public a “complex view

attending the funeral of a civil rights victim, the Beatles arriving stateside, marines

of contemporary Native art that reflects its diverse cross-cultural influences and explores its complicated

in Vietnam. By far, however, Eppridge’s name is associated with his pictures of

historical development through its educational programming.”

Bobbie Kennedy campaigning for the presidency. His photograph of RFK’s life

More than fifty images in color and black-and-white by eminent photojournalist

Look for local Santa Claran artist Rose Simpson in her solo show, Matterings, inaugurating the new Vision

bleeding out while a busboy tries to comfort him, in June 1968, is, like so many

Project Gallery. For this exhibition, Simpson works with clay to investigate her own creative process, unraveling

images from the late sixties, sadly iconic. Eppridge’s first professional assignment

the paradoxical inspirations of comfort and fear. Using video in his show Round Up: Recent Work, Torry Mendoza

was a nine-month, worldwide shoot for National Geographic. That story ran

investigates the dialectic of the “Hollywood Indian” compared to what indigeneity looks like in contemporary,

thirty-two pages. The magazine wanted to put him on staff, but on advice from

everyday life. In particular, he remixes a conversation between Tonto and the Lone Ranger, revealing a hierarchy

the soon-to-become Geographic editor, Eppridge went to New York City to

of master and servant. In the Main Gallery (West), Alaskan artist Nicholas Galanin explores the authentic versus

renew some friendships he had made at LIFE. Eppridge’s work in LIFE, beginning

the imaginary in terms of visual stereotyping of Native peoples, taking on the colonial gaze as manifested through

in 1962, was as epic as the times themselves.

photographic images by Edward S. Curtis and his “noble savages.” In the South Gallery and outdoors in the Allan Houser Art Park, a group of four young artists called Postcommodity, who maintain that “the Pueblo Revolt has not ended…[but] evolved,” presents a series of installation works that celebrates and memorializes indigenous local histories. In the Main Gallery (East), Dry Ice: Alaskan Native Artists and the Landscape explores the artists’ relationships to their changing Arctic land, as well as deflating the notion that their art and culture are “frozen in an ancient past.” Finally, running throughout the halls like the graffiti-inspired work it emerges from, is Apaches and Angels, a series of hand-cut stenciled works from Douglas Miles’ Apache Skateboard Team.

Birds on Pueblo Pottery August 9 to 31 Adobe Gallery, 221 Canyon Road, Santa Fe. 955-0550 Opening reception: Monday, August 9, 4 to 7 pm. Historic Zia Pueblo Polychrome Olla with Birds

Stylized birds paired with geometric elements suggest a katsina mask: The design chases itself around the flat shoulders of a clay vessel built near Zuni pueblo. This spectacular antique pot dates to just before the Pueblo Revolt of 1680, and is a marvelous example of the sophistication and aesthetic appeal of historic clayware, as well as a superb introduction to the exhibition Birds on Pueblo Pottery. In a recent piece, from circa 1910, unknown hands from the pueblo of San Ildefonso built and decorated a storage pot with a gentle floral motif, out of which flies a bird, its feathers outlined to suggest full wing and tail plumage. It’s entirely different from the style that would come to dominate the pueblo just a few years later: the black stone-polished ware of María and Julian Martínez that is recognized for its excellence around the world today. These are just a couple of examples of the historic polychrome pots to be found in this exhibition. The bulk of the objects shown are from between 1850 and 1930. A Pueblo-style reception is planned for the exhibition’s opening.

48| THE magazine

|august 2010


& Design Collective A women’s cottage Industries program helping to create a more abundant life for New Mexico’s women and girls.

Stewart Udall Center for Museum Resources 725 Camino Lejo • Museum Hill Friday • August 13th 4pm – 7pm Preview Reception and Sale $50 • Reservations Saturday and Sunday • August 14th & 15th 10am – 4pm Festival Open Free Admission • Free Parking

Holistic skin c are

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Healthy Skin. Healthy Body. We can help you with either, or both.

This project is made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endowment for the Arts. Shannon Plummer Doctor of Oriental Medicine Certified Elina Skin Care Specialist Board Member Association of Holistic Skin Care Practitioners

New Mexico Women’s Foundation 551 Cordova Road #411 • Santa Fe 87505 • 505.983.6155

Make It in Kiln-glass Bullseye Resource Center, Santa Fe CLASSES



Next Classes:

N e x t D eMOs & talKs:

Writing artist statements august 14

Printmaking for Kiln-glass august 4

survey of Kiln-glass september 9–14

Drawing with Glass august 11

Painting with Glass september 23–26

What Is Kiln-glass? september 1

a Particulate language september 28 – October 2

805 early street, Building e 505-467-8951


For a Free consultation: (505) 699-7258



2010, by Mideo M. Cruz

First Indigenous Virtual Biennale The primary aim of the First Indigenous Virtual Biennale is to serve as a catalyst for an honest depiction of indigenous identity. This prodigious task, led by the group FREEAPACHE, aims to stimulate contemporary indigenous people to direct their art statement inwardly, and to tackle vital cultural issues—drug and alcohol abuse, violence, poverty, diet, language, spirituality, group identity, cultural responsibility, the defilement and continual loss of homelands, and youth suicide—through their art. Other questions that must be addressed: Does the Stockholm Syndrome (“love of one’s captor”) contaminate indigenous thought? Is current Western contemporary art a meaningful forum for indigenous artists? Do marketplace restrictions degrade an indigenous artist’s honest expression? Does Western colonized thinking minimize genuine indigenous art expression? Do contemporary art movements disregard indigenous cultural art statements? FREEAPACHE is convinced that internal cultural dialogue among indigenous artists will result in meaningful discourses— conversations that will transcend the current market-driven art production that is prevalent among many contemporary artists. View the First Indigenous Virtual Biennale at D | august 2010

THE magazine | 51


he Native people performers in front performative fantasy

THE magazine: Talk about the first art you were exposed to growing up and the impact it made on you. Ryan Rice: I actually had two experiences with art growing

up. One was with our Catholic church, built in the 1700s. There were beautiful, ornate images on the ceiling, so in church on Sunday I sat there and looked up at the images. TM: Was it magical? RR: It was pretty magical because you had the traditional Western


art styles and many paintings from Italy. And there was the Crucifixion, the sculptures,

is a Mohawk

and all the Christian iconography, with Mohawk language added to it. I wondered what these things were about. I found that I was more interested in looking at these things than sitting in church and listening to the priests. Most churches have amazing things

from Kahnawake, outside of Montreal,

to look at—it’s like going to a museum. The second experience was with a tourist

and the new chief curator at the Museum

people. There I got to see a pan-Indian representation of Indian kitsch and “Made in

of Contemporary Native Arts in Santa Fe. In 2009, at the Harbourfront Centre in Toronto, Rice brought together artists from across Canada and the United States for the exhibition AlterNation to explore the topical shifts in traditional and contemporary indigenous cultures through photography, video, and mixedmedia installations. THE magazine met with Rice to discuss his curatorial plans and upcoming exhibitions at the Museum of Contemporary Native Arts.

Indian village called “Chief Poking Fire’s Indian Village” that catered to non-Native China” trinkets—totem poles that were crudely made in the Northwest Coast style, Plains headdresses, all kinds of wacky stuff that was not Mohawk-related or Mohawkidentified. It was a tourist-embellished business. TM: Did it bother you at all? RR: Well, at that time culture was more in flux, and the idea of an Indian identity was more of a generic pan-Indian thing. It was an interesting period for me because growing up in Kahnawake we had Quebec language laws and separation issues, along with identity issues, to deal with. It was also a turning point in time because of the civil rights movement. TM: For those who don’t know, what does pan-Indian mean? RR: Pan-Indian is an idea, a stereotypical viewpoint embellished through the Hollywood Indian—all Indians wear headdresses, all Indians live in teepees, ride horses, and so on. TM: How did you come to be interested in curating? RR: Curating came to me as a sort of need. In the late eighties there was not even a handful of active Native curators. Artists didn’t have curators to work with, our works were not being shown, and we weren’t being visited by curators. Then the Columbus Quincentennial happened—and in 1992 everybody in North America had their Indian show. But after 1992 that stopped. TM: The job of a curator? RR: The job of a curator is about multitasking. It’s about developing a community. And it’s about giving voice—creating a visual language—and coordinating or building or growing an idea based on artists’ works. TM: Tell me the kinds of shows you like to curate. RR: I like to have a lot of perspective, a lot of diversity, and a lot of different media. I like the group show and the big show because it gives people a lot to see. I’m not opposed to solo exhibitions, which I think are extremely important and needed, especially in the Native arts field because we’re always grouped together. However, I like to do the big group show.


who posed for Curtis’s photographs of his lens, so he created a somewhat world that we are still dealing with today. TM: Curators you admire, and why. RR: Marcia Tucker, the founder of the New

TM: The Museum has six shows opening in August. Talk about the shows in

Museum in New York City. I admired her outlook on art because it was inclusive and it

terms of what they are about. Are they happening simultaneously? RR: Yeah,

was about diversity. Social implications were involved, identity was involved, and culture

they’re happening simultaneously, and they’re very diverse. Rose Simpson is

was acknowledged. I thought her work was groundbreaking for a white, Jewish woman

inaugurating the Vision Project Gallery, which is to complement a major project

in New York City.

that we’re working on called The Vision Project that’s meant to move the discourse of Indigenous art forward. Rose is going to be our first artist represented in that

TM: What most interests you in Native art? RR: The narrative—the oral tradition

space. A group of artists that I’m working with is a collective called Postcommodity.

continued. What I find with Native art, and what I really love, is that there is always an

The title of their show is It Wasn’t the Dream of Golden Cities. I visited them in

underlying narrative that you have to find. There are so many layers involved, and what

Arizona last September and saw new and conceptual work. They’re working with

I want to do is create a presence for those layers. What I’m looking at is diversity, and to

sound, which is very innovative. They’re excited, enthusiastic artists, so it was

show what is happening in the contemporary field, and to expose those layers.

great to start working with them on a project. I haven’t seen much agitation going on, or even discussion around the 400th Anniversary of Santa Fe. To me, that’s

TM: What latitude of freedom do you have to curate shows here in Santa Fe? RR:

a red flag: There needs to be an intervention and there has to be a response. So

I’ve been given a lot of creative freedom. Patsy Phillips invited me to work here.

I invited Postcommodity to respond conceptually to the anniversary, to the idea of

Joseph Sanchez was retiring. And the museum changed its name to the Museum of

the market, and to the commodification of art.

Contemporary Native Arts, which changed the whole premise for me, because as a student coming here the IAIA Museum felt very local.

TM: Next? RR: Dry Ice: Alaska Native Artists and the Landscape is a show that’s been touring. It looks at the changes that are affecting people. Oblique Drift is by Nicholas

TM: Give me some short responses on a few Native artists. Marcus Amerman. RR:

Galanin, who is also in Dry Ice. It’s a solo exhibition critiquing the mass marketing of

He’s known for his beadwork, which is amazing. And I’ve noticed he’s breaking out

Native products and how photographers like Edward S. Curtis created a false persona

into other media—glass, painting. It’s interesting how Santa Fe creates artists but also

of the Native American.

boxes them in. Artists can’t be confined only to this market—they want a broader stage. So if glass is doing it, let’s go work in glass; if video is accessible, let’s pick up the video

TM: How did he get away with it? RR: People love the photographs that Curtis made.


People wanted Indians to look like that. People still want that romanticized vision.

TM: Diego Romero. RR: Diego Romero is an interesting artist because his work is

TM: Does that depress you? RR: You look at Curtis’s work and you know that he was

traditionally and locally based on pottery and narratives. Now he’s moving it forward

a brilliant artist and photographer to come up with these ideas. But he was basically

into printmaking and painting. He’s bringing forward these icons and characters from

setting the stage. The Native people who posed for Curtis’ photographs became

the past and portraying them as present day. It shows that Indians are contemporary.

performers in front of his lens, so he created a somewhat performative fantasy world that we are still dealing with today. Then there is Round-Up—a collection of short videos

TM: Rose Bean Simpson. RR: I’ve seen one work of hers from the Comic Art Indigène

by Torry Mendoza that takes on Hollywood stereotypes by remixing and mashing up

show—the five cutouts of the women—which I tried to get for a show last year in

footage, to reclaim the identity of Native people. Mendoza looks at Tonto, he looks at

Toronto, but her work was going to the Smithsonian.

Dances with Wolves, and he critiques them in a very short video format. Also, Apaches and Angels is an exhibition featuring Douglas Miles, of Apache Skateboards.

TM: How about Nora Naranjo-Morse? RR: Nora Naranjo-Morse is very respected. She’s moving forward in her career, bridging the traditional and the contemporary. Her

TM: All of these shows will be shown simultaneously? RR: Yes. The museum re-opens

work challenges the market, it challenges the idea of commodity, and it challenges the

August 2 and we’ll have the public reception on August 19.

art world’s definition of nature, beauty, and life. TM: Your motto in life—something you live by. RR: Not taking everything so seriously. TM: Roxanne Swentzell. RR: I’ve seen her work for years in magazines. She’s had an

As long as nobody gets hurt, everything is okay. D

interesting career and is well collected. I went to the Poeh Center recently and it’s pretty exciting to see what she has created.

| august 2010

Interview and photograph by Guy Cross.

THE magazine | 53

Margarete Bagshaw

Copyright Cradoc Bagshaw

Helen Hardin (1941 - 1984)

Copyright Margarete Bagshaw

Pablita Velarde (1918 - 2006)

Copyright Margarete Bagshaw

Your Art Should Say Something

3 Generations of Talking Art .

Margarete Bagshaw Opening Friday August 20, 2010 5:00pm

201 Galisteo St., Santa Fe, New Mexico 87501 - 505-988-2024 - *Exclusive Estate Representative for Helen Hardin and Pablita Velarde

t s u B s t c ifa t r A in d e t s e D__o__z e__n__s__A__rr_________________________________ ea rc h ed S e om H e F ta an S ’s er n w O ry E x- G al le ac ts Ca se ... A7 tif Ar in s st re Ar r ve O sm ci iti Fe ds Fa ce Cr an di ng ... A8 Bl ar Ne ad De d un Fo t ec sp Su t Ar tif ac t Th ef

IsYourAmericanIndianArtIllegal? What To Do When The FBI Knocks On Your Door by J oshua


you collect American Indian art and you saw last summer’s headlines, you may have wondered if you own anything illegal. This is the reaction the federal government wants you to have. They want you to look at your American Indian art and be afraid. They want you to think twice before you buy or sell another work of American Indian art. Fear is an effective weapon and our government knows how to use it. There is nothing you can do to change that. What you can do is educate yourself about what is legal and what is illegal. After you learn the difference, you will know what to do and what to say in the event that the FBI knocks on your door and presents you with a search warrant. If you own works of art signed by contemporary American Indian artists, then you are safe. If you own historic works of art signed by American Indian artists, then you are safe. However, if you own unsigned, historic works of American Indian art, and any of those unsigned, historic works of art were either used in ceremonies or excavated from burial sites, then it is illegal for you to sell those works of art, or to buy more works of art like them. And if any of your unsigned, historic works of American Indian art have eagle feathers attached to them, then it is illegal for you to sell those works of art, too. It is also illegal for you to buy any works of art with eagle feathers attached to them. If you own prehistoric pottery created by American Indian artists, then you have some decisions to make. If you can document the fact that your prehistoric pots were legally excavated on private land, then it is legal for you to sell those pots. If your documentation is inconclusive, or you have no documentation, then you are probably safe as long as you keep your prehistoric pots in your house and make no attempt to sell them. If you own the human remains of American Indians, then you are engaged in a perversion, and criminal prosecution is the least of your worries.


Bird Treaty Act of 1918 (MBTA) online. Read the texts of these

Let Your Attorney Speak for You. After the FBI searches

laws, read the commentary about these laws, and discuss these

your house or business, it may be months before you hear from

laws with your attorney. If you are ignorant of these laws, your

the federal government. During that waiting period, you may

ignorance will be used against you.

be contacted by the media. Refer all media inquiries to your

attorney. No matter what they promise you, do not speak to

Beware of Inquiries. Right now, there are undercover agents

reporters. Prosecutors thrive on publicity. Each time you speak

and government informants at work in the antique American

to a reporter, you strengthen the prosecution’s case against you.

Indian art business. Their mission is to create illegal transactions, which will result in criminal prosecutions. If you receive an inquiry

Try to See Both Sides. Since 1492, European-Americans and

regarding works of ceremonial American Indian art or works of

Anglo-Americans have actively oppressed American Indians. In

prehistoric pottery in your collection, tell the person making the

some cases the oppression was religious. In other cases it was

inquiry to contact your attorney. If the person making the inquiry

political. In all cases the oppression was brutal. In the United

is either an informant or an undercover agent, anything you say

States we use terms like “genocide,” “holocaust,” and “ethnic

to her or to him will be repeated to a prosecutor, and it will be

cleansing” in reference to the Nazis, the Serbians, and the

repeated in such a way that will characterize you as a criminal.

Rwandans, but we refuse to use those terms in reference to ourselves. The facts tell a different story: more than twenty million American Indians died as the result of the European colonization of North America. Some of those twenty million deaths involved self-defense. Most of them did not. Women,

Beaded War Bonnet with Eagle Tail Feathers, Arapaho Culture, circa 1880. Legal or illegal?

children, sick people, and the elderly were murdered. During

What to Do If the FBI Knocks on Your Door

the laws of the United States to lift their people out of poverty

In the current environment, the chances of the FBI knocking on

and to increase their political powers. Laws, like people, are

your door and presenting you with a warrant are small. However,

imperfect. If mistakes are being made in the applications of

if you think there is any chance of this happening, the following

ARPA, BEPA, MBTA, and NAGPRA, you have the right to speak

recommendations will save you time and money.

out against those mistakes. But before you label American

Indians, the Department of Justice, or the FBI as your enemies,

Hire an Attorney. This is the most important piece of advice

try to understand what they are doing, and why. What you

on this list. If you ignore it, do not bother reading the rest of the

learn may not comfort you but it will surprise you, and it could

list. If you already have an attorney, ask your attorney if he or

change your life. D

the last thirty years, many American Indian tribes have used

she is capable of representing you in a criminal matter regarding American Indian artifacts. If his or her answer is “No,” ask him or her to recommend a criminal defense attorney who can

Ceramic Bowl with Man and Bear Pictorials, Mimbres Culture, circa 1100. Legal or illegal?

represent you. Do not wait for the knock on the door. By that time, it will be too late.

Answer the Door. If the FBI or any other law enforcement

agency comes to your home or business with a search warrant,

Document Your Art Collection. Take photographs of all of

answer the door. Read the warrant, then ask the agent in charge if

the works of American Indian art in your collection. If you have

you can have an attorney present before the agents conduct their

receipts and/or cancelled checks, scan them into a digital file

search. The sooner you and your attorney are in the same room

that includes an image of each work of art, the date you bought

with the agents, the better off you will be.

it, where you bought it, and the amount you paid for it. After you complete the file, print out a copy, sign it, date it, and give

Do Not Answer Questions. When the FBI raids an art

it to your attorney. When the FBI seizes art collections, they

collector’s residence or business, they usually serve the collector

seize illegal and legal works of art. If you and your attorney have

with a search warrant but they rarely arrest the collector. Why?

a record of each work of art in your collection, you will improve

Because when you arrest someone, you have to read him his

your chances of having your legal items returned.

rights, and when you read him his rights, you are required by

law to say, “You have the right to remain silent. Anything you

Back Up Your Computer. If the FBI raids your house or

say can and will be used against you.” When the FBI raids your

business, they will probably take your computer. If you back up

house or your business, they do not want you to remain silent.

your computer at one of the online data storage sites and your

They want you to tell them how and where you acquired the

computer gets seized during a raid, you will be able to access your

works of art in your collection. One of the phrases the FBI uses

data on another computer until the FBI returns your computer.

is, “At your sentencing hearing, the judge will look kindly on any cooperation you can give to us.” If an FBI agent says this

Know the Laws. You can read about the Native American

to you, tell the agent that you cannot talk to him until after you

Graves Protection and Repatriation Act of 1990 (NAGPRA), the

speak with your attorney. Say this politely but make sure the

Archaeological Resources Protection Act of 1979 (ARPA), the

agent understands. You will not be speaking to him. You will be

Bald Eagle Protection Act of 1940 (BEPA), and the Migratory

speaking to your attorney.

| august 2010

Dance Mask of the Sivi-i-qiltaqa, or Pot Carrier Kachina, Hopi Culture, circa 1890. Legal or illegal?

THE magazine | 57


Tesuque Pueblo Flea Market 6 miles north of Santa Fe on U.S. 84/285 MEET THE ARTIST: Fri-Sun 8am-4pm

The Dissolve: siTe T sanTa Te T F e ’ s e ighTh i nTernaTional B iennial Ta


1606 Paseo


siTe T sanTa Te T Fe Ta PeralTa T , s anTa Ta T Fe Ta

The underworld is an innumerable community of

discussion, becomes a distinct reality, borne out as if

Walker uses her handheld shadow-puppet technique

figures. The endless variety of figures reflects the

by a magical decree.

to interrogate America’s racial past and, by inference,

endlessness of the soul, and dreams restore to

The Dissolve contains, within its separate film/

consciousness this sense of multiplicity… Dreams

video/computer-enhanced projects and its catalogue,

Artist Christine Rebet has a room of her own

show us to be plural and that each of the forms that

references to the entire history of moving-image arts.

for her two-channel video The Black Cabinet. In an

figure there are full of potentials of behavior.

However, this history of time-based images in motion

environment of classy Victorian-era wallpaper, a rug

goes further back than the nineteenth century, with

on the floor, and a fancy antique chair not meant for

its crude but effective devices for animating images.

the viewing public to park itself in, Rebet’s stylized

—James Hillman, The Dream and the


its still incomplete and lopsided racial narratives.

As participating artist Martha Colburn stated in a

late-Victorian protagonists attempt to contact spirits

book The Dream and

roundtable discussion last fall, transcribed and included

from the world of the beyond. Animated in a jittery

the Underworld was originally intended to provide

in the catalogue, “Well, cave paintings could be seen as

way, her hand-painted characters are more suggestive

new insights to understanding our dreams and what

the first animation. Any Animation 101 book is going to

than finely articulated and convey an essential

the process of dreaming signifies in our daily life. But

tell you to look at cave paintings.” So the long reach of

mindlessness as they participate in their parlor game.

it’s also a book that sheds light on the nature of our

art history has embedded within it the ongoing desire

Instead of a figure from someone’s past, however,

unconscious and the visions that arise from it. The

for static images to move—to run, float, fly, melt,

the séance conjures up a twentieth-century military

Dream and the Underworld draws the reader into a

dance, fight, fool around, act as a more comprehensive

despot who first rants and then winds up throwing

virtual world of shadows and fugitive experiences

witness to historical facts, or flesh out a narrative’s

grenades back in time that land amidst the séance and

just as The Dissolve does. And like the space of the

potential for a more engaging storyline. But this is only

explode the scene.

dream world, The Dissolve offers multiple relationships

a partial list about why the human imagination wants

Initially, I didn’t feel particularly drawn to Joshua

on view in a heavily modulated light with an endless

to see itself reflected in moving images—it’s simply

Mosley’s A Vue. His computer-animated Gumby-like

permutation of colors, sounds, textures, and dialogue

a natural desire, however capricious and arbitrary an

figures, moving in a bleached-out and sterile-looking

spoken by characters human and inhuman, in an

artist’s vision may appear in the finished work. It is this

environment, appeared abject and stilted. But a quiet

atmosphere of smoke and mirrors that also references

universal desire for images to appear more dynamic

melodrama unfolded in Mosley’s spare watercolor

the dream world’s essential nature—ambiguity—even

that casts a long shadow over the already dense and

images of a company town whose socioeconomic poles

in light of the dream’s sense of absolute authority.

shadowy world of The Dissolve—that and the full-

oscillated between a fiber-optic factory and peanut

throated wish to showcase work that looks handmade

farming symbolized by a giant sculpture of George

or references the body in some way.

Washington Carver looming over the landscape.

James hillman’s

On my first visit to The Dissolve, I thought of Hillman’s book. The exhibition seemed to be an actual representation of Hillman’s underworld, peopled by

In About to Forget, South African artist Berni Searle

As slight as the plot and the dialogue are, Mosley’s

various characters in a dim and wondrously mythic

created a montage of family photographs in red crepe-

poignant scenario, cradled in a kind of existential void,

space that was a living presence in and of itself—a

paper silhouettes and then immersed the figures in

took me by surprise and A Vue became an example of

space of whispered and mumbled sounds and flickering

water. The viewer is caught up in a literal dissolve as

style wedded to substance—a work with unpredictable

images that could be vaguely seen through the layers

the figurative elements float away in wisps of color,

roots and an equally unpredictable outcome. This can

of translucent material that defined separate viewing

becoming a bath of blood red that turns to gray.

also be said of most of the projects in The Dissolve.

areas throughout the building. Thanks to architect

Searle explained, “Working with temporal dimensions

The animated works in the show defy an

David Adjaye, spaces were distinct from one another

and movement further activates the image to evoke

easy formal classification and wind up straddling

but persuasively intimate all the same. Every time SITE

or suggest a feeling or memory, which is fluid and

boundaries between drawing and painting, sculpture

Santa Fe has presented a biennial its interior has been

constantly changing.” Searle’s commentary on her own

and performance, live-action narrative and computer-

physically transformed, but never like this—never with

piece’s fluidity and change is a thread, or a dissolved

enhanced collage, or a combination of these and

such an enveloping sense of purposeful alteration.

subtext if you will, that connects all of the work in the

other techniques that, in general, make no effort to

Even if a viewer decides not to spend more

biennial. Yet, not all of the pieces could be viewed in

hide the evidence of the handmade. Although no two

than a couple of minutes looking at each of the thirty

terms of fluidity per se. Colburn’s jarringly illustrated

works are alike, there is a double-helix connection that

works in the show—both historical and contemporary

and activated figures in Myth Labs are meant to provoke

underlies The Dissolve’s essential plurality of means—

examples of moving-image art—he or she could pass

and even disgust; she tweaks our whitewashed, colonial

as if all the separate pieces were projections from the

from area to area countless times and never have the

perspectives on America’s sense of its manifest destiny.

consciousness of a polyvalent creator. And in a sense

same experience twice because The Dissolve is such a

As Colburn sees it, America’s history, from its pilgrim’s

this is true and what makes this exhibition a uniquely

mutable whole, a highly unusual visual and aural arc of

progress to today’s outlaw meth labs, is one long

fascinating experience. The polyvalence belongs to

intentions that doesn’t force its underlying curatorial

continuum of manifest addictions—whether based in

the curators Sarah Lewis and Daniel Belasco, who

conceits, but lets the individual visions “conjugate

religion or in actual substances. Certainly not all of

conceived of this biennial as an organic whole with many

each other” within architect Adjaye’s subtle and

the projects in The Dissolve are political by nature, but

trajectories that go back and forth in time, pointing to

unifying design. This idea of conjugation, voiced by

many are, and some, like Kara Walker’s Six Miles from

antecedents in film history along with contemporary

co-curator Sarah Lewis in the opening weekend panel

Springfield on the Franklin Road, are devastatingly so.

cross-fertilizations and hints of future directions in art.


The 3-D video projection After Ghostcatching is a collaboration by the legendary dancer and choreographer Bill T. Jones and OpenEnded Group which includes Marc Downie, Shelley Eshkar, and Paul Kaiser. This is a breathtaking piece, haunting and exquisite both visually and aurally. After you don the 3-D glasses, the images float in front of you in wave after wave of a technological brilliance that never eclipses the human roots at the heart of this piece—although you might think the opposite would be the case when you’re handed the 3-D glasses. If any work could be said to be a masterpiece that wedded computer-generated animation to the human body with all its poetry of motion, After Ghostcatching is a marriage made in heaven. What gives the experience of this piece its final measure of ethereal beauty are the heartbreakingly lovely snatches of gospel and hymn music, humming, the sounds of breathing, and the simple recitation of the first letters of the alphabet. Sound combined with motion-capture technology and the traces of a moving body produced three-dimensional drawings in a space that defies description. My feelings about After Ghostcatching can be summarized in my favorite Hillman quote: “...where each image coordinates within

Berni Searle, About to Forget, three-channel video projection transferred from 35mm cinemascope with sound, 2005. Courtesy of Michael Stevenson, Cape Town

itself qualities of consciousness and qualities of world.” This review only scratches the surface of the work that constitutes The Dissolve. For example, Lotte Reiniger’s 1928 animation classic The Adventures of Prince Achmed is a study unto itself, and I particularly liked Jennifer and Kevin McCoy’s Traffic # 1: Our Second Date which is an immensely clever send-up of JeanLuc Godard’s 1967 film Weekend. Laleh Khorramian’s Water Panics in the Sea is a riveting and strange work filled with sumptuous, painterly images that create a hypnotic and sweeping mythic space—as if Khorramian had re-visioned Homer’s Odyssey for the twentyfirst century. The Dissolve, while singularly unified and artfully stratified, is a very complex exhibition that functions dialogically. The curatorial choices, the historical reach, the exhibition design, and the individual visions—every aspect does indeed conjugate the other. Everything converses, questions, offers poetic moments; is soothing, challenging, irritating, funny, disturbing, sinister, meditative, refractory. And every visit could conceivably provide fresh insights into the artistic process, interesting ideas about the history of moving images, or new perspectives on Lewis, Belasco, and Adjaye’s elegantly orchestrated labyrinth of ravishing dreams set in an atmospheric space not easily forgotten. —Diane Armitage Bill T. Jones and OpenEnded Group, still from After Ghostcatching, stereoscopic display with sound, 2010. Courtesy of Bill T. Jones, Marc Downie, Shelley Eshkar, and Paul Kaiser

| august 2010

THE magazine | 61



an D


Family… a recenT look

From art’s beginning

charloTTe Jackson Fine arT 554 souTh guaDaluPe sTreeTT, sanTa T Fe Ta

in the caves,

window onto the subject’s identity. In another series

The least satisfying works in the show belong

portraying oneself and one’s kin has been front

O’Neal has created a twenty-two-foot box in which

to Sandra Scolnick, whose surrealizing self-portraits

aand nd center. All the silhouettes of hands on cave

people pose. The box is a plain backdrop—literally

involve a dreamlike, allegorical focus on her own

walls w alls say “Kilroy was here,” but they also betray an

a frame—in which the sitters represent themselves.

mortality. The work, while certainly haunting, does

objectification o bjectification of one’s self. Narcissus didn’t just see

In Mercury Khalsa the artist’s son almost disappears

little to move past the weakest of the Surrealist painters

h imself, but imagined his beauty while gazing into the himself,

in the corner, while O’Neal’s parents are dressed up

from half a century ago.

lake. In Self and Family… A Recent Look, curator and art

and almost dancing across the space. Taking a cue from

Ellen Harvey works her face in both pieces in

maven Bobbie Foshay inaugurates Charlotte Jackson’s

modernist artists, O’Neal here strips the environment

this show. Her ID Card Project (1998) consists of

air- and light-filled new space in the Railyard by posing

of signifiers beyond the box. Portraiture, having been

nicely rendered images that the artist paints from her

these questions anew.

liberated by photography in the nineteenth century from

impressive collection of identification cards. Harvey is

Interestingly, Jackson and Foshay wanted to have

recording the trappings of class and profession, could

captured twice: in the official documentation and in

an exhibition that would contrast sharply with the

then concentrate on revealing the inner world of the

her reinterpretation of those moments of identity fixed

gallery’s usual fare. Foshay chose seven contemporary

subject, as in Edouard Manet’s 1868 portrait of Théodore

within the culture. Twins consists of two small screens:

artists who address how to depict people. Hendrik

Duret in which the only clues to the sitter’s world are

one of Harvey’s face, the second of a self-portrait that

Kerstens’ C-prints of his daughter Paula hark back

his clothing and a lemon. It is a short jump from there

she is drawing. The space between these two images is

directly to Vermeer’s paintings, with their lambent

to attempts to represent interiority (as in the German

where the meaning is really situated. The viewer steps

atmosphere and delicate but exacting rendering of

Expressionists) or transcendental purity (the Russian

into the haptic/optic split and tries to rectify it.

young women. Kerstens, however, has an update: lowly

Suprematists). Like Richard Long’s Movable Picture

household objects that he uses to mimic the shape of



and works that Foshay has brought together reveal major

headdresses from an earlier era. The photographer’s

create a “window on the world”—the box can be

questions about portraiture through contemporary eyes.

documentation of Paula’s life illustrates one of the

anyone’s setting.

—a line b ranDauer





Self and Family… A Recent Look succeeds. The artists

reasons for a portrait—the attempt to memorialize a moment. Colombian artist Monika Bravo takes the Narcissus angle further. As the viewer peers into mirrors mounted at the perfect height and proportion to look like a bathroom cabinet, subtle statements are projected through the glass. “Time,” says one, “is motion of the mind.” The moment that Kerstens seeks to hold onto is revealed as fiction by Bravo. As in a contemporary memento mori, one’s image is fleeting, and the pleasures of the world die over time. Kiki Smith’s Mortal depicts her dying mother’s hands, head, and feet. Using the woodcut—a medium that cannot help but underline suffering, and which reminds one of Kathe Kollwitz when combined with grim subject matter—Smith pours compassion into her subject. Alex Katz’s cool, flat portraits of his wife Ada have staying power. Katz has used his wife as a subject since they met in 1957. This ongoing collaboration has presented Ada as an almost abstract entity because of how familiar we have become with her image. Katz often names the pictures by a time or an article of clothing, in order to further dislocate the image. Coke Wisdom O’Neal’s portraits stem from alternative devices in portraiture. In the triptych Family Portrait the photographer portrays his family through their medicine cabinets: The artist’s is Sterile, his sister Georgia’s is Skin Caviar, and his parents’ is Big Pain. We see personalities and lifestyles revealed by cosmetics and medicine. Georgia’s is filled with natural products, while the parents’ is filled with lots of allopathic medications. O’Neal’s cabinet looks very no-nonsense, with supermarket brands of shaving cream and OTC drugs. In traditional Western portraiture the sitter is identified by objects that pertain to his occupation and his social standing. O’Neal uses our private arsenal of making ourselves up in the world as the

| august 2010

Hendrik Kerstens, Napkin, C-print, 2009 Courtesy Charlotte Jackson Fine Art

The magazine | 63

Le Bal Macabre


richarD Berman: rise



Fall linDa Durham conTemPorary arT 1807 seconD sTreeTT #107, sanTa T Fe Ta

The wars in Afghanistan and Iraq lack several

Through his art, Berman reminds those on the home

a taboo symbol makes his work all the more powerful. This

things: foreseeable ends, an abundance of media coverage, and easily

front of military action—past and present. He throws in

image, juxtaposed within the same body of work, carrying the

demonized enemies. Al-Qaeda just doesn’t have the visual branding

our faces the preconceptions we have of ourselves and

same theme, the same name, and the same artistic aesthetic

the Nazis, the kamikaze pilots, or even “Charlie” had during previous

of international conflicts, and forces us to re-evaluate our

as an icon Americans find not simply harmless but comforting,

wars. Sure, there’s Saddam Hussein, but he’s dead. And, no matter

position. What we know of the men who brandished the

asks us to see that symbol as the other, from another point of

how the propagandists might try, Osama bin Laden is just no Hitler.

swastika in Europe is enormous in comparison to how little

view, and feel empathy for the victims of the American Dream

Actually, he’s more like Bigfoot at this point—a dangerous creature,

we know of the ones who fight in the deserts of the Middle

both at home and abroad.

occasionally sighted, with no real evidence of where he lives.

East and South Asia. That Berman is willing to engage us via

—Patricia sauthoff

For an artist such as Richard Berman, whose works are both

politically charged and actively engaging, propaganda is a necessary piece of the puzzle. Berman takes symbols of the American flag and the swastika and remixes them for his own purposes, creating an aesthetic similar to the movie-like imaginings of World War II and the protest-heavy ideals of the Vietnam era. Though all the works in his exhibition are called Rise or Fall, they do not focus on the same ups and downs. Rise or Fall, #1 through #3, focus on

the American dream. The acrylic and mixed-media works feature classified ads layered with American flags. These flags are not the patriotic, waving flags of baseball games and the Fourth of July. Instead, these flags are folded into themselves, the apexes of their cones pointed in the direction in which they plummet—save for the flags that have already landed, and rest, seemingly broken, on the dirty, newsprint-stained ground. Ten of Berman’s works focus boldly on the image of a swastika—ranging from the blatant to the discreet. Each work incorporates obituary notices as its background, and in works #5 and #6 it is the texture of these notices under a blanket of red paint that reveals the iconic shape. These seemingly standard contemporary works challenge the viewer, forcing him or her to think about why the artist chose a swastika, and what that symbol means. Most obviously, in the Western consciousness, the swastika is associated with the Nazi regime of World War II. It brings to mind massacre, consolidated and unchecked power, and attempted conquest. It reminds us of the rise and fall of a political system so frightening that its symbol is still illegal in the country from which it sprang. Elsewhere, however, the swastika has many other meanings. For Hindus, the right-facing swastika found in Berman’s work is representative of universal evolution—a concept that requires death in order for rebirth to occur. For many Buddhists, the insignia is one of eternity and can protect children from evil spirits that haunt the world. It gives the visual story of the formation of Mount Kailash, a peak sacred to Hindu, Buddhist, Jain, and Bon religions. The Hopis saw the swastika as a symbol of wandering and the Navajos believed it to be a mystical device of healing. But knowing all this doesn’t make Berman’s work any less political. By placing the swastika over newsprint he reminds us that in the past we read about war in the papers, that every day the headlines told us how the effort was going and who had been lost to the enemy. In today’s wars those lost soldiers go unnamed, and so Berman uses the everyday people of the United States, who die through a variety of causes, as stand-ins. In turn, those substitutes also become the nameless many dying on the other side of the conflict, the civilians who are caught in war, not through patriotism but because of geography. The names in the work’s obituaries could easily have ended up there through more violent means, if the war had been fought at home. Richard Berman, Rise or Fall #3, acrylic and mixed media on panel, 2009

| august 2010

The magazine | 65



DivergenT Works The Divergent Works exhibition at Webster

Collection features two artists based in New Mexico. The show is comprised of a series of works on paper by Carolyn Mills and two series by Luca Battaglia, one consisting of cibachrome archival prints and the other of small chromatic metal plates recycled from vintage cars. The “divergent” in the show’s title refers to the contrast in styles and media of the two artists—the graphic, print-based approach of Mills’ works on paper versus Battaglia’s painterly archival prints and metal plates. But a larger reference is suggested by the very nature of the show itself for Webster Collection, which has historically focused on ethnic and indigenous art and artifacts. The current show of work by two contemporary artists represents a departure from this traditional role in that the Webster Collection functions here as a venue for debuting accomplished artists with a view to facilitating future affiliation with a contemporary gallery. The venture is off to a good start with the work of Carolyn Mills and Luca Battaglia. Mills’ works on paper mesh traditional media and digital technology as effortlessly as their cryptic narratives suspend memory within a thin emulsion of biography and personal myth. Mills' probing of the sensory and the subconscious deploys dreamlike effects of the dot matrix and video-still transfer to belie the veracity we tend to associate with the photographic image. In ID (oil, silk, silver, digital print on paper) Mills pairs a cutout female figure with a coil of string, each blue-toned form overlaying a ghostly surrounding sepia outline that isolates both images at the same time as it ties them to each other in a metaphoric link of person and event.

Luca Battaglia, Freedom, cibachrome archival print, 5” x 7”, 2010

| august 2010

WeBsTer collecTion 54 ½ lincoln avenue, sanTa T Fe Ta A similar configuration in Shadow Self (oil, video-still

Luca Battaglia’s cibachrome prints have the quality of

transfer on tissue, monotype) is reinforced by a strong

intimate still lifes. The precise, painterly strokes in Freedom

field of pattern fragment that subtends both figure and

attain the delicacy of a Dürer gouache of blades of wild

string coil, thrusting the motifs into the foreground. In

grass. The vertical bands of the grooved wooden panels

Incubo Awakening (oil, video-still transfer on paper) Mills

in his Mollette conjure a detail of a barn door by Andrew

reduces the female figure to a generalized form, and finally

Wyeth. If Battaglia’s abstract cibachrome prints evoke still

to the masklike face of In Utero (oil, video-still transfer

life, they also serve as a source for the gestation of the latent

on paper), while in Daydream State of Vapor, Self-Portrait,

landscape imagery of his chromatic metal plates. Battaglia’s

and two versions of Childhood Memory the artist shifts

reworking of the surfaces of flattened twelve-inch squares

toward representation, replacing the abstracted female

of metal from vintage cars devolves the craftsman’s process

figure with recognizable portrait heads that underscore

of layering sprayed and hand-rubbed lacquers over epoxy-

the autobiographical character of the narrative. Finally,

based primer coats. Yet Battaglia’s reduction of all or part of

the composition is tightened in two versions of Incubo

the high gloss finish and his sealing of the resulting surface

with Electrical Storm (oil on silk and paper, xerox) with

with beeswax reveal a different kind of chromatic depth

the integration of a personal image, coil motif, and pattern

and richness, one that transforms the colored squares into

into a layered collage in which the self-portrait element is

large frescoes or distant topographies. One chalky red

now symbolized by the photo collage of the artist’s hands.

panel recalls the cinnabar walls of the Villa of the Mysteries,

The recurring motifs of the female figure, the string coil,

Pompeii, and the sea green and cerulean blue surfaces of

the amorphous outline, and the pattern fragments form

several panels become aerial vistas of the Mediterranean.

a lexicon of Mills’ conceits. As highly personal as this

In two works in which Battaglia has arranged multiple

vocabulary is, their selection and combination by Mills

metal plates into the columns and rows of a rectangular

manages to create a narrative which, however idiomatic,

composition, the effect resembles an aerial view of some

evokes an empathetic response in the viewer. And the

richly cultivated farmland of ancient Roman Campania.

photographic image, in Incubo with Electrical Storm, of

For all the painterly quality of the cibachromes and the

hands actually grasping the coil in the center of a unified

sculptural immediacy of the metal sheets, Luca Battaglia

composition conveys an aesthetic resolution of the

succeeds in converting each print or plate into a pictorial

artist’s stated intent to explore “the layered fragments of

tableau that serves as a kind of synecdoche for a larger,

memories, history, and human experience,” resulting in

encompassing landscape.

“something beautiful, arcane, and familiar to ourselves.”

—richarD tobin

Carolyn Mills, Childhood Memory II, video-still transfer, silk, oil, 24” x 54”, 2010

The magazine | 67

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currenTs 2010 Art with a capitalist A

el museo culTural De sanTa T Fe Ta 555 camino De la Familia Lenka Novakova’s The River is a Mirror employed distortion

bubbled and burst

best intentions (they are, for example, listed as sponsors for

in conjunction with real estate and Wall Street late in 2008 to

Currents 2010) they can’t seem to shake this image. Putting

and refraction, respectively, to alter the projected images.

help kick off the Great Recession. Remember when Damien

Robert Storr’s grad students in charge of curation doesn’t

This concept of the “video object” as opposed to a narrative

Hirst took his wares to market for something like 200 million

exactly help to dispel this perception.

“movie” may indeed be what Santa Fe videographers do best.

bucks just as the New York Stock Exchange went into free

Mariannah Amster, Frank Ragano, and Paul Marcus—

A favorite for viewer interactivity was Albuquerque’s Dr.

fall? After a decade of auction houses pimping up the prices of

who refer to themselves as producers rather than curators for

Whoohoo!’s Walking Threw Dandelions. He graced a long wall

“contemporary artists” it was time for the big corporate war

Currents 2010—employed for their show the democratizing

of the entry hall with a series of constantly morphing abstract

and petrol profiteers and hedge fund managers to board the

powers of twenty-first century technology. First they gathered

flower/sea anemone–type forms that would chase and cluster

inspired investment vehicles that would carry them and their

their video-artist friends, regulars in the Santa Fe Currents

around viewers who stepped in the interactive zone of

wealth into the paradise they’ve planned. Life is short. But

group formed in 2002, and then put out an open call via the

motion censors. Using open source software, Dr. Whoohoo!

investing in Art is long, and what better place for your ill-gotten

Internet, and managed on a shoestring to assemble a video

promotes artistic and digitally democratic processes that are

capital during the severe and lasting downturn you’ve created?

show of both local and international scope—with many works

as inspiring as they are inspired. Other standouts included

Western Art’s ties to power and wealth are nothing

of outstandingly wondrous beauty and intrigue by artists who

Marion Wasserman’s gorgeous Elephant Memory, projected

new, and the idea that Art is something essentially aristocratic

(largely) haven’t had their creativity hyper-commodified,

on the down low and reflected in a pool of water; and the

has long been a part of Western colonialism. Though of

including an ample handful of budding high school kids. They

team of Steina, Woody Vasulka, and Rob Shaw, whose

course the term we use today is globalism. It’s a conceptual

didn’t pay any over-hyped architects to overcharge them for

untitled piece allowed you to glimpse your own head as a

connection we export alongside weaponry, war, corporate

scrims and screens, and with the artists pitching in they created

continuously spinning series of bizarre planetary topologies.

irresponsibility, and the systematic extermination of non-

a new media space of remarkable sociability and interaction, as

Hsiao Ihara contributed a three-channel video projection of

Western cultures and traditions. But after the Rococo

they’ve done on a lesser scale in the recent past at Salon Mar

pure and stunning color in motion, and David Stout and Corey

comes the French Revolution. The great thing about the

Graff and the Santa Fe Complex.

Metcalf dominated the large back wall of the main space with

wealthy sticking their noses so far up their own asses is that

One of the strong points of the show was that nearly

fascinating shape-shifting algorithms. Again, the Santa Fe video

alternatives to the systems they’ve come to dominate (like

all the artists considered the physical presence of their pieces

advantage seems to be that video is being used for time-based

Art today) develop necessarily. The desire to see good work

as sculpture and not just as screens. Robert Campbell’s Yellow

object-experiences that are richer the longer you linger,

remains, and desires exist to be filled. Some loser will be left

installation was most notable in this regard as it used five

but for the most part don’t require you to sit through some

with a leaky formaldehyde vitrine and rotten shark carcass

separate videos projected onto translucent sculptures and

ultimately unsatisfying narrative in a peep-show setting.

while real art will continue to happen elsewhere.

relief surfaces to create a fascinating, totalizing installation

Currents 2010 didn’t make it onto the Santa Fe map in

We got a good look at this principle in practice this

of moving light and color. Video teamsters Susanna Carlisle

the most recent issue of Art in America, though it was hands

summer in Santa Fe when Currents 2010, a homegrown video

and Bruce Hamilton took a similar approach by hanging glass

down the best show in Santa Fe this summer, making it clearer

extravaganza, utterly dissolved in its resounding wake the

baubles filled with various substances in front of the two

than ever just how little the established, big money, art world

underwhelming and irrelevant SITE Santa Fe “video” Biennial.

angled screens upon which their bright, abstracted moving

really matters.

SITE has long been perceived as elitist, and despite their

images played. Robert Drummond’s Emotion Anamorphic and

—Jon carver

Robert Drummond, detail from Emotion Anamorphic,, 2010

| august 2010

The magazine | 69

Ste p h e n

to n y


auger Soulie Morellet august 14 – September 10, 2010

opening reception:

Saturday, august 14th, 5–7 p.m.

yazzie Johnson + gail Bird a special opening during indian Market week featuring yazzie Johnson and gail Bird’s contemporary native american jewelry august 20 – September 17, 2010

opening reception:

Friday, august 20th, 4–6 p.m.

ZaneBennett contemporary


435 South Guadalupe, Santa Fe, nM 87501 t: 505 982-8111 Monday–Saturday 10:00–5:00 and Sunday noon–4 Railyard art district art Walk last Friday of every month

DAVID SOLOMON Social Networks Graphic Design Web Design E-Publishing Viral Marketing Earth Friendly clients: Bioneers EcoScapes NM Earth Care THE magazine Santa Fe Trend 316-0237

WORKS ON PAPER JAY ETKIN GALLERY Opening August 20, 2010 5-8PM 505 983 8511



clayTon PorTer:

Deer harT T , Dog Dick

Dear Hart, how like you this? —Tudor poet Sir Thomas Wyatt

launchProJ o ecTs oJ T Ts 355 easTT Palace avenue, sanTa T Fe Ta

only to the delightful agony of yearning but to a certain

The dog, for example, is trained to do its job and snarls

type of existential innocence. Porter investigates the

when we catch him getting pleasure from it. The face

taking of someone else’s “dear” as it relates to cultural

in the self-portrait is grotesquely distorted by a tumor

just past its fifth year,

proscriptions against emotional cheating. Cheating

of desire; it metastasizes to cripple the licentious

gloriously antlered and ready to rut. As chef Nichola

is not taboo because so few practice it; it is taboo

one, leaving him alone to make reparation. Despite

Fletcher described in her “Hart’s Desire” (Gastronomica,

precisely because uncovering it reveals its uncomfortable

the flatness of the image, sculptural references in the

Summer 2001), a stunningly poetic and historically

pervasiveness. Never mind the complications of need

landscape of the tumor make it appear to emerge from

fascinating preface to a recipe of venison osso buco:

across class lines: killing and eating a royal hart versus the

the drawing. Again, we sense the influence of Nauman in

practice of droit du seigneur.

Porter’s pushing his figures out of their comfort zones:

A hart is a stag

The strength and quick senses of deer earned them

enormous respect, and their extraordinary annual cycle

This is very intimate stuff, and the work is directly

Think of Nauman’s early videos of himself in misshapen,

of antler re-growth, culminating in the wildly extravagant

related to Porter’s intimate life. He reveals, quite slowly,

self-directed positions. It seems that we do what we can,

rutting behavior of the mating season, came to represent

the universality of the lure of the forbidden, and one of

literally. None of Porter’s creatures, in the end, have the

the marvel of nature’s eternal regeneration of life, as well

its results, shame. Desire and its sub-category of male

capacity to feel guilt, and therein lies their innocence and

as male potency.

potency are not inherently wrong or shameful. It’s the

their shame.

illusion of being in control of desire itself that destroys.

—Kathryn M Davis

Wait, did someone say “male potency”? Trouble of the semantic kind lurks here. Especially when we consider the fact that deer have been—and I’m skipping several steps here in the interests of brevity—linked to Christianity and its paradoxical absorption with innocence and sin. The white stag has even been equated with Christ himself: omnipotent in the joyous consequences of his wretched death, followed as it is by resurrection and everlasting life. To compare, by a twist of speech, the sufferings of Christ to lust (quite literally to horniness) is generally considered blasphemous. However, notions of temptation must, and do, accompany the Christ story, and what is temptation but unrequited desire? How many of us have the grit and discipline to delay the gratification of insistent longing for more than a short period of time? For most of us, when we want something badly, the time between the wanting and the getting passes with the agonizing slowness of a five-year-old’s Christmas Eve. All of this is to say that Clayton Porter chose some loaded imagery for his second solo exhibition, a show of four panels that reek of desire, covetousness, pain, and loss, in the forms of the stag, the hunting dog, and a human with a monstrous tumor covering his face. It’s taken Porter about six long months to eke out this quartet of drawings, cross hatching like a prisoner marking time. During all those days and nights of patient, faithful work, Porter’s been doing a kind of penance: In place of the rosary, he counts hatch marks on the impeccably rendered portraits of his subjects. Each panel is disrupted by a snake-like phallus that loops around its subjects. The phallus, colored like an exploding lollipop, embodies desire. The pictures, devoid of background and modeling, are as flat as Takashi Murakami wallpaper, long an influence on Porter’s art. Recently he’s become an aficionado of the work of Bruce Nauman, whose plays on words (Violins/Violence/Silence) compare with Porter’s implied terminology: not only “hart/heart” and “deer/dear” but “chased/chaste.” Once the “chased” is had, she is no longer “chaste.” Turns out the Elizabethans loved word play too; check your Shakespeare. It’s also a fact that during Shakespeare’s lifetime, poaching of the king’s deer by a commoner was punishable by death. Requited love, ultimately, serves as a death sentence not

Clayton Porter, Untitled (self-portrait as a monster), graphite and acrylic on panel, 60” x 48”, 2010

| august 2010

The magazine | 71

THE-aug.qxd:Layout 1



10:04 AM

Page 1


Santa Fe Art Institute ELEMENTAL: Earth, Air, Fire and Water Art and Environment

Painter and Animator

Jennifer Levonian 8/23 Lecture, 6pm Tipton Hall 8/21 KSFR - SFAI Jazz w/ John Trentacosta and Straight Up, 7pm Tipton Hall, $15 8/26 August Artist and Writers in Residence Open Studio 5:30pm SFAI. Admission free 8/30 Painter and Author Nancy Reyner Artist’s Talk / Book Signing, 6pm Tipton Hall ELEMENTAL: Earth Air Fire Water Exhibition, M-F through 8/27, 9am - 5pm





10A : 505.982.6726





PERECT FOR AN ARTIST Two properties sold together or separately in the town of Las Nutrias, just 45 minutes south of Albuquerque. Fully restored Victorian house built in 1890 on .98 acre. 1,950 sq.ft. Drip irrigation, mature garden, and trees. $242,000.

1,200 sq. ft. Art Studio on 1.8 acres. Heated, bathroom, cooler, insulation, new wiring, skylights, irrigation rights, pull-up garage door, drip system and an 800 sq.ft. adobe house with new well and septic. $85,000.

6-foot wall surrounds entire property

Coldwell Banker Legacy 505-293-3799 Call Mike Haley 505 280-4222


photo - assemblage of artist by

Phillip Vigil

Matthew Chase-Daniel

A one-man exhibition of Vigil’s work will be on view at Shiprock Santa Fe, 53 Old Santa Fe Trail. Opening reception on Saturday, August 14 from 6 to 8 pm. | august 2010

THE magazine | 73

New Mexico Academy of Healing Arts leading the way in holistic bodywork studies

Integrating Traditional & Contemporary Bodywork Training for 30 years in Santa Fe

OPENING September 2010 Integrated Bodywork Center Affordable, Professional Sessions Practitioners of Multiple Modalities New Treatment Rooms & Gardens

501 Franklin Ave, Santa Fe•505.982.6271•888.808.5188••


Jodie Evans political organizer, author, documentary film producer, and co-founder of

Code Pink: Women For Peace “Jodie Evans is a beautiful and remarkable woman of extreme courage and grace. She moves through the world with incredible energy and skill— working tirelessly on the most critical issues that face our fractured world. I am honored to call her my friend.” —Linda Durham, member of Code Pink

For over thirty years Jodie Evans has worked as a community, social, and political organizer. From 1973 to 1982, she served in administrative capacities in all of Jerry Brown’s campaigns. She worked in El Salvador and with the Zapatistas on civil rights issues, and has traveled extensively promoting the resolution of conflict by peaceful means—leading citizen diplomacy delegations to Iran, the Gaza Strip, and Afghanistan. Santa Fe gallery owner and human rights activist Linda Durham traveled to Baghdad with Evans to bear witness to the plight of woman and children during wartime. Code Pink was founded with a focus on ending the war in Iraq. The women and men of Code Pink strive to inspire and ignite a spark within other Peace workers. Their creative, provocative, direct, and powerful campaigns are often acts of performance art, as well as protest. Code Pink describes itself as a “grassroots peace and social justice movement working to end the war in Iraq, stop new wars, and redirect government other life-affirming activities.” After Evans disrupted Sarah Palin’s speech at the Republican National Convention in 2008, she was removed from the floor. After a peace-seeking trip to Afghanistan, she delivered to President Obama the signatures of Afghani women urging him to refrain from sending more troops to the area. In 2010 Code Pink showed up during a book signing by Karl Rove. Evans charged

Jennifer esperanza

resources toward health care, education, and

photoGraph By

the stage with a pair of handcuffs, stating that she was making a citizen’s arrest. She is also one of the producers of The World Festival of Sacred Music in Los Angeles.

| august 2010

The magazine | 75



R in


Ten Tiny Epics in an Outlet Mall

August 27 – September 26

Thursdays –Sundays: 7 pm at the Fashion Outlets of Santa Fe Cerrillos Road at I-25 $18 general admission; $8 students. OPENING NIGHT GALA! Friday, August 27, Tickets: $75 Pay What You Wish Performances: Aug. 29, Sept. 2, 9, 16, 23.

505.474.8400 or Drawing by Patrick McFarlin

Funded by New Mexico Arts: a division of the Office of Cultural Affairs and funded by the National Endowment for the Arts; the City of Santa Fe Arts Commission and the 1% Lodger’s Tax; the New Mexico Tourism Department; and the Santa Fe New Mexican. Theater Grottesco is a participant in the New Generations Program, funded by the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation, administered by Theatre Communications Group, the national organization for American theatre.



The Old Lamy Church photograph by

| august 2010

Guy Cross

THE magazine | 77


honeysuckle for Little Sister By sasha piMentel ChaCón

Sipping the blossom from its stem you pick the yellow flower for its stamen: the pollen bulb bobbing on a filament, bright as a blade so you gasp from the sheer arc of it, the sharp luxury heavy with want. This is the bloom you’ve peered in bush by bush for, your face pressing the glossy leaves, hunting for your longing, that smell a scrim of wet birth dropping down your nostrils— hurtling into your summer from two petals like crowns, one rolling up, the other swelling down the flower’s small opening, and you want to kiss it, hurting from your tightened mouth.

“Honeysuckle for Little Sister” is from Chacón’s first collection of poetry Insides She Swallowed (West End Press, Albuquerque. $13.95). Chacón recently won an Academy of American Poets prize and has had her work published in the American Poetry Review, Colorado Review, Callaloo, and other journals. She currently teaches creative writing at the University of Texas at El Paso.

78| The magazine

|august 2010

Collected Voices: Contemporary Native Art

All images: Rose B. Simpson, Pod II, 2010, ceramic, reed, string, 22 x 27 x 45 inches

August 13 - September 10, 2010

Opening Reception, Friday, August 20, 5-7pm Artists Include:

Harry Fonseca

Rick Bartow

Lisa Holt & Harlan Reano

Joe Fedderson

Rose B. Simpson

Yatika Starr Fields

Kay WalkingStick

c h i a r o s c u r o 702 1/2 & 708 canyon rd, santa fe


THE magazine August 2010  

First Indigenous Virtual Biennale, N. Scott Momaday, Studio Visits: Teri Greeves, Douglas Miles, and Diego Romero, Artist at Work: Phillip V...

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