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Santa Fe’s Monthly

m a







of and for the Arts • August 2012



Navajo Weaving: Sharing the Technique and Tradition Presented by Weaving Expert SUSANNE CL ARK RSVP Required



53 Old Santa Fe Trail

Upstairs on the Plaza Santa Fe, New Mexico


contents 5 Letters

37 Art Openings

20 Universe of artist Tammy Garcia

38 Out & About

24 Art Forum: Pow Wow Princess in the Process of Acculturation, by David P. Bradley

44 Previews: 50/50: Fifty Artists, Fifty Years at the Museum of Contemporary Native Arts; Bob Haozous at the Tower Gallery; and Rose B. Simpson at Chiaroscuro

27 Studio Visits: Tony Roxanne Swentzell



29 Food for Thought: Native Beans 31 One Bottle: The 2010 Domaine Abbatucci Ajaccio Rosé “Cuvée Faustine,” by Joshua Baer 33 Dining Guide: Terra Restaurant at Four Seasons Resort Rancho Encantado, Café Fina, and El Parasol

47 National Spotlight: A Song for the Horse Nation at the National Museum of the American Indian, Washington, D.C. 49 Person of Interest: Diego Romero, by Richard Polsky 51 Interview: In Alien Hands: Zig Jackson, by Carlyle Schmollinger


Critical Reflections: Currents at El Museo Cultural; Heads Up at Steven Boone Gallery; James Havard at Zane Bennett Contemporary; Joan Watts at Charlotte Jackson Fine Art; Judy Chicago at David Richard Contemporary; Lee Mullican at Capriccio Foundation; Nic Nicosia at James Kelly Contemporary; and Robert Kushner at Bellas Artes

59 Green Planet: Tantric Living, photograph by Jennifer Esperanza 73 Game: Zohn Ahl 62 Writings: “Sex in the Soda Shop,” by Ungelbah Daniel-Davila

Thanks to the Institute of American Indian Arts, more people are coming to recognize the richness and intelligence of contemporary Native artists. Determined to fill a gap in today’s art criticism, the Museum of Contemporary Native Arts in Santa Fe has published a comprehensive volume of works and criticism. Representing eighty artists from fifty-one sovereign nations, Manifestations (Museum of Contemporary Native Arts, $40) dedicates the first half of the book to scholarly essays that explore the world of contemporary Native art. The second section is devoted to important contemporary Native artists, representing a wide range of mediums and artistic statements, from Denise Wallace’s jewelry, which references her Aleut heritage, to the performance art of Anna Tsouhlarakis, which challenges modern perceptions of Native culture. Each body of work is subject to historical examination, often by a Native artist. Additionally, Manifestations includes criticism of local artists previously featured in THE magazine, such as Diego Romero and Rose B. Simpson. Edited by art historian Nancy Mithlo of the Chiricahua Apache nation, Manifestations serves as both a guide and an examination of contemporary Native art.

TURNED 20 YEARS OLD ON AUGUST 1, 2012 2400+ Art Reviews 200+ Universe of articles 110+ One Bottle columns 200+ Writing pages 450+ Studio Visits 800+ Previews 70+ Interviews Since 1992, THE magazine has been the eyes, ears, and voice of the art community in New Mexico To request a media kit: Visit us on Facebook


magazine VOLUME XX, NUMBER II WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 & 2006 Top-5 Best Consumer Tabloids P ublis h e r / C r e ativ e D ir e ctor Guy Cross P ublis h e r / F ood Editor Judith Cross A rt D ir e ctor Chris Myers C op y Editor Edgar Scully P roof R e ad e r S James Rodewald Kenji Barrett staff p h otograp h e rs Dana Waldon Anne Staveley Lydia Gonzales P r e vi e w / C al e ndar e ditor Elizabeth Harball WE B M E I S T E R Jason Rodriguez fac e boo k C h i e f Laura Shields C ontributors

Diane Armitage, Joshua Baer, David P. Bradley, Davis Brimberg, Jon Carver, Ungelbah Daniel-Davila, Kathryn M Davis, Jennifer Esperanza, Hannah Hoel, Ylise Kessler, Marina La Palma, Iris McLister, Katie Miles, Dan Perry, La Loca Linda Pinup-ology, Richard Polsky, Carlyle Schmollinger, Richard Tobin, and Susan Wider CoVER

Photograph by Zig Jackson Courtesy Andrew Smith Gallery, Santa Fe See interview on page 51

Three Visions of Northern New Mexico on view at New Concept Gallery, 610 Canyon Road, through September 1. Paintings by Reg Lovings and sculptures by Tim Prythero. Reception: Friday, August 3, from 5 to 7 pm. Photograph: Steven A. Jackson.



I find it a little sad that it is nowhere mentioned in the July 2012 issue’s Art Forum section on page 22 that the Julie Blackmon photograph pictured is a remake of Balthus’s famous painting Le Passage du Commerce Saint-André. This fact should be the starting point in any discussion of the photo and the artist’s intentions, not that the photo isn’t interesting in its differences from the painting. I think the participants’ responses are right on the money in the way they each attempt to interpret and decode the strangeness of the image, but the strange and suggestive quality in the photo is all Balthus’s creation. This spooky, quiet world of isolated figures by Balthus goes back to his first mature painting, The Street. Blackmon has found a very vital and satisfying way to remake the original image, and I do not mean to denigrate her or her artwork, which I happen to love. I always find her imagery fascinating. It’s understandable that not every viewer, even from the art world, would know the source painting, but I think it is an oversight by THE magazine not to get this fact into the discussion, and into the banner at the top of the page.

A movie theater has been in the plans for the Railyard since the original Railyard Masterplan was approved by the City Council in 2002. Mayor Coss and several City Councilors have been quoted as saying that the delay in developing the theater has caused the Railyard to languish. It is the single issue most often referenced when city officials explain the reasons for the Railyard remaining uncompleted. Recently, plans for a movie theater in the Railyard have once again moved to the forefront for the city. When the City Council approved the purchase of the top floor of Market Station in June (the building occupied by REI and Flying Star), the parcel designated as the site for the movie theater reverted to the Santa Fe Railyard Community Corporation to lease. SFRCC is actively seeking a developer to construct the theater, and Richard Czoski, Director of SFRCC, has been quoted in the newspaper saying that he is in conversation with two interested potential developers. The vacant lot between Flying Star and Santa Fe Clay has been designated as the location best suited for the movie theater, with its proximity to the underground parking garage. There is, unfortunately, the potential for the theater design to extend beyond this parcel to accommodate a larger cinema, which would displace Santa Fe Clay. Santa Fe Clay is a “legacy tenant,” operating in the Railyard since 1974. We are a full ceramic art center comprised of a ceramic supply business, a gallery representing the highest quality ceramic art from the national field, and an educational institution offering year-round classes for children, teens, and adults. Our Summer Workshop Program brings artists from the national field to teach weeklong workshops, and attracts participants from across the United States. As we await the theater plans, I am concerned about the possible displacement of this unique business. However, I have been assured by SFRCC that displacing Santa Fe Clay is not their intention, and that the design of the theater will conform to the desires of the community in scale and concept. I have also been assured that there will be opportunities for public input later in the theater development process. I urge everyone who is concerned about the final flavor, appearance, and function of the Railyard to become involved in this public process to ensure that this movie theater reflects the desires of our community. Details will not be known for several months, but we hope that, as they move forward, SFRCC and the City Council will take into consideration the impact a movie theater will have on the existing long-term tenants in the Railyard.

—Steve Halvorsen, Collections Manager, Tai Gallery TO THE EDITOR:

A D V e rtising S al e s

THE magazine: 505-424-7641 Edie Dillman: 505-577-4207 D istribution

Jimmy Montoya: 470-0258 (mobile) THE magazine is published 10x a year by THE magazine Inc., Address: 320 Aztec St. Suite A. Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road, Lamy, NM 87540. Phone: (505) 424-7641. Fax: (505) 424-7642, E-mail: Website: All materials are copyright 2012 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. THE magazine is not responsible for the loss of any unsolicited materials. As well, THE magazine is not responsible or liable for any misspellings, incorrect dates, or incorrect information in its captions, calendar, or other listings. The opinions expressed within the fair confines of THE magazine do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles and editorials represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel, and are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity or quality of objects and/or services advertised. As well, THE magazine is not responsible for any claims made by its advertisers; for copyright infringement by its advertisers; and is not responsible or liable for errors in any advertisement.

| august 2012

Once again, the Railyard may be railroaded by a movie theater corporation that declares they would love to plop themselves in the middle of the Railyard. And in order to make themselves viable, they must build fourteen screens—talk about a game changer! The city would be rescued from its continuing chagrin of a perpetually empty underground parking lot. Santa Fe Clay with its rich offerings of classes for all ages, studio space for clay artists, along with its artists’ gallery and summer workshop series, would be wiped out.The master plan for the Railyard would be ignored and marginalized by pandering to corporate interests. Wake up, Santa Fe citizens, elected officials, and city councilors! Please, Mr. Mayor: Do not succumb to the dazzling numbing numbers of fourteen screens, which could become a possible white elephant. When movie patrons learn they will have to pay-to-park to go to Hollywood movies, and when they realize they don’t have to pay for parking at the other Santa Fe bigscreen venues, this whole project could wind up a bust and another giant retail space would founder and remain an empty shell. Keep the vibrant master plan—attract a small community-supported theater, retain Santa Fe Clay, and use the empty lot that was set aside for human-scale entertainments. Please write letters to the editors of all Santa Fe publications. Call or write your councilors, the mayor, and most importantly, the leasing committee of the Santa Fe Railyard Community Corporation at 332 Read Street, Santa Fe, 87501. Act! Participate! Now! Before it is too late!







—Avra Leodas, Director, Santa Fe Clay

THE magazine welcomes your letters. Email to: THE magazine | 5

lewallen downTown


June 30 - August 4, 2012 Opening Friday, June 29,


5 - 7 PM

the line of nature: a continuing exploration august 3- September 2. 2012 artist reception: friday, august 3, 5:30-7:30 pM

TomPalmore catS, birdS, and a couple of MonkeyS august 3- September 2. 2012 artist reception: friday, august 3, 5:30-7:30 pM

CLEOME 2010 Oil, acrylic & gold leaf on canvas 48 x 48 inches

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August 11 - September 29, 2012 Opening Saturday August 11,

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Namche, Marsh Willow 2011 bronze, steel, paint 22 x 15 x 8 inches

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C A S E S T U D Y | J U LY 2 7 - A U G U S T 2 7 , 2 0 1 2

CHARLOTTE JACKSON FINE ART In the Railyard Arts District | 554 South Guadalupe, Santa Fe, NM 87501 Tel 505.989.8688 |

Judy Tuwaletstiwa pathways. silent collaborations

July 27– August 27







Recent Acquisitions of Ethnographic Textiles and Objects from Japan, Southeast Asia and the Himalaya Opening Reception July 8th, 6-9 pm

Upstairs at 129 West San Francisco Street - 505.989.9903 - Tuesday - Saturday 11-5 pm & by Appointment / Through August


651 Canyon Road Santa Fe, New Mexico 87501


Celebrating 25 Years on Canyon Road and Thanking all

of our Friends MARK & RICHARD

STEVE ELMORE INDIAN ART 839 Paseo de Peralta, Santa Fe • Free Parking between Palace and Alameda 505.995.9677 •

Anything Goes: Historic Hopi Eccentrics Opening Reception: Friday, August 10th, 5-7 p.m.

“The Destination in Santa Fe for Historic Native Jewelry and Pueblo Pottery.”

New Work by Mark Tahbo Opening Reception: Thursday, August 16th, 5-7 p.m.

JULY 27 – AUG UST 24, 2012

LATIN AMERICA: A Contemporary View José Bedia, Fernando Botero, Audino Diaz, Engels, Gay Garcia, Federico Herrero, Roberto Matta, Manuel Mendive, Juan José Molina, Carlos Rojas, Antonio Segui, Rufino Tamayo, among others ANTONIO SEGUI El Dueño de la Ciudad,

ed 134/150, 1996, 29.5 x 27.5 inches

435 South Guadalupe Street, Santa Fe, NM 87501 T: 505 982-8111 Railyard Arts District Walk last Friday of every month

Fritz Scholder

(1937 - 2005)

Vampire Kissing Fallen Angel, 1997, acrylic on canvas, 40 x 30 inches

Paintings, Sculpture, Drawings & Prints

August 8 - September 15, 2012 439 Camino Del Monte Sol

c h i a r o s c u r o 439 Camino del Monte Sol, Santa Fe, New Mexico


Steven J. Yazzie (Navajo/Laguna Pueblo), “The Visitor”, oil on canvas, 47” x 47” x 2.5”


Heidi Loewen Porcelain Receptions: Fridays, August 24 & 31

5 - 8 p.m.

Commissions Accepted • Demos Private Lessons as on the Food & Travel Networks 315 Johnson St. • Santa Fe, NM 505-988-2225 •


Tad’s Selections from Africa, Oceania & the Americas

Opening Reception: Wednesday, August 8 6-9pm

- Also see us at the Santa Fe Show, opening August 10 at El Museo Cultural in the railyard TAD will be exhibiting “Shields as Art”, Selections from his personal collection of 30 years

129 W. San Francisco St. 2nd Floor F





natIVE aMErICans On fILM

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Featuring O’Keeffe’s Camping Gear, Paintings, and Photographs of Her Beloved Southwestern Landscapes


Starting September 13 Robert Drummond, District Artereazione+Consonant, SYN

With ISEA 2012

Richard Levy Gallery


Through August 17



Xuan Chen Corydon Cowansage Alex Gross Norbert Marszalek Matthew McConville Richard Levy Gallery


Todd Webb, Georgia O’Keeffe at Glen Canyon, 1961. Gelatin silver print, 7 1/ 4 x 9 1/4 inches. Georgia O’Keeffe Museum, Gift of The Georgia O’Keeffe Foundation. © Todd Webb Estate.







ALAGalleries ARTSAtDISTRICT Lincoln Avenue

Come experience the exciting energy of the GALA Arts District, just off the historic Santa Fe plaza on Lincoln Avenue between Palace Avenue + Marcy Street. Every 1st Friday of the month, the GALA Arts District invites the public to join in the celebration of new and cuttingedge exhibitions. Discover the artwork of more than 500 contemporary artists in eight distinctive venues while strolling along prominent Lincoln Avenue where you will find renowned museums of art and history, exceptional shopping, innovative cuisine by award winning restaurants and nightlife all in a stimulating + welcoming atmosphere. Enjoy exploring Santa Fe’s most vibrant art community, the GALA Arts + Museum District!

first friday artwalk monthly ~ 5 - 7pm

Windsor Betts kevin red star

David Richard Contemporary munson hunt

Legends Santa Fe frank buffalo hyde

Blue Rain Gallery shelley muzylowski allen & randall lagro

Pippin Contemporary group show | what’s this journey about?

Allan Houser allan houser | quintessential works

Evoke Contemporary louisa mcelwain

Niman Fine Art dan namingha


Tammy Garcia

was born into an eminent line of potters from

the Santa Clara Pueblo, a line that boasts four generations of artists, including Serafina Tafoya, regarded as one of the finest Pueblo potters. Garcia learned the basics of pottery from watching her mother and grandmother at work, selling her first pot at the tender age of sixteen. Garcia carves her pots by etching the entire surface of the vessel, as opposed to a single band of design along the circumference. Although she draws inspiration from classic Pueblo motifs, she integrates non-traditional sources into her work. Recently Garcia has translated her imagery onto jewelry and glass. An exhibition of new works, including pottery will be on view at Blue Rain Gallery, 130 Lincoln Avenue, Suite C, Santa Fe. Preview: Friday, August 17, from 8 am to 9:45 am. Sale at 10 am. How I Carve my Pots I draw designs on the pots using a pencil while the pot is still moist. Using a variety of tools, I start the removal of clay around the designs. Different depths, tapers, shapes, and textures all take form in this stage. It is very detail-oriented work, and carving a single piece can take months. When the pot is dry, the refining process continues with the use of various tools including Exacto knives, precision screwdrivers, chisels, a near endless supply of more traditional clay tools, as well as the few odds and ends I’ve created myself. I’ve been collecting tools for twenty-six years, and to this day I still add to my collection.

Merging Classic Design and Modern Iconography I am inspired by historical Pueblo pottery and continue to use some of the more classic designs. When I think of ancient pottery I’m reminded of the stories that are within the lines of a design. When I’m designing I think of what story I will be telling—this year, Picasso and thunderbirds have been the themes of my inspiration. On one pot, I have three Picasso women sitting on chairs among their collection of Pueblo pottery and paintings. On another piece, a woman wears a turquoise bracelet. Picasso was once asked, “What is your favorite piece that you have painted?” He responded, “The next piece I make.”

Other Mediums I work in several mediums—coil-built pottery, bronze sculpture, and glass, as well as jewelry. I started making pottery when I was sixteen years old, and as a teenager I became bored quickly if interesting things were not happening around me. I used pottery to motivate me, and spent time building different shapes, using other designs and working in various sizes, while incorporating the traditional methods I was being taught by my mother and grandmother.

Next Challenge Today, the materials and the sometimes unexpected designs I use are an example of how I strive to continue evolving—challenging the bonds between tradition and exploration.

photograph by

Dana Waldon


| august 2012

THE magazine | 21


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Show & Sa l e benefitting the

American ≤uarter Horse Hall of Fame & Museum 2601 East I-40 • Amarillo, Texas

August 11- November 10 Save the Date for the opening event

Saturday, August 11 – 6:30-8:30 p.m. Cocktails, hors d’oeuvres and entertainment Can’t make the opening? Art available for viewing and purchase online at beginning August 13

For more information, call 806-376-5181 or e-mail

Funded in part by: He Knows His Job by Mary Ross Buchholz

Carl & Caroline Swanson Foundation

Amarillo Chamber of Commerce Arts Committee


The first idea that becomes apparent in

TH E magazine as ked a c lin ic a l p syc h o lo gist a nd t h r ee p eo p l e

this image is the intentional mimicking of one of the most well-known portraits

who love art to share their take on this 1990 acrylic painting—

in the world—Leonardo da Vinci’s Mona

Po w Wo w Pr i n c e s s i n t h e Pr o c e s s o f A c c u l t u r a t i o n — b y D a v i d

portraiture, and the classic look of an

P. Bradley. They were shown only the image—they were not told

familiar, while the use of color and line






aloof and mysterious expression are very

the title, medium, or nam e o f t h e a r t ist . T h e p a in t in g is in th e

make it much more modern and forceful.

col l e c tion of t he Plains A r t M u seum in Fa r go , N o r t h Da k ota .

then moves into the modern details. A

The viewer is drawn in by familiarity and swath of modern stereotypes surrounds the woman. The beaded crown implies

Leonardo da Vinci’s Mona Lisa, perhaps

by modern culture. Nature, with all of

villains, wise advisors, flighty suitors, jealous

royalty and a sense of where the woman

the world’s most famous and lampooned

its abundance, is seen in the distant past

competitors, and everything in between. So

may come from, while the money and

painting, is the subject of satire once more.

by a background of an overflowing river

what is bluebird’s advice? There is no going

cigarettes imply modern means and

She symbolizes beauty, wealth, and power

winding through purple mountains’ majesty.

back for our modern princess. Her journey is

monetary gains. This appears to be a

within Western culture. The most coveted

That was the era of the Noble Savage. In

strewn with the almighty dollar and the cow

woman caught between two worlds—one

work of art in the world, the painting has

the present foreground, the subject is a

that has seen better days. She’s come a long

of tradition and the other of modernity.

been the subject of many heists. Here,

Native American woman participating in a

way, baby. Freshly manicured and smoking

The painting is a satirical critique of these

the artist is a provocateur. Could a Native

beauty pageant—a celebration of mindless

a slim cigarette, she looks ahead with the

two worlds merging, with both an insider’s

American Mona Lisa ever hold as much

consumption and triviality. Her downfall

determination that nothing can get in her way.

and outsider’s perception of that merger.

fascination as the original? This Mona Lisa

is further celebrated by her placement in

Can it?

wears a beaded tiara that resembles a

a “scenic overlook,” smoking a butt, and

movie theater marquee or gambling casino.

wearing excessive cheap makeup, with the

—Ylise Kessler, Director James Kelly Contemporary, Santa Fe

—Katie Miles, Gallery Intern, William Siegal Gallery, Santa Fe

The beads—a classic Indian motif—are

payoff of a dollar bill hidden behind her. She

morphed into a materialistic symbol. The

ignores the advice of the bird whispering in

headpiece resembles a halo, which reminds

her ear to reverse course and flee Modern

me of Mary, the world’s most often

Culture. Her fellow Native Americans

artistically rendered woman. The woman

have also sold out, as demonstrated by

is listening to a little bird on her shoulder.

their teepee village, developed as if it

Is she being sent a message? Painted and

were a uniform tract home subdivision.

manicured fingernails, a wrist watch,

The pageant contestant is modeled after da

skyscrapers in the background, an asphalt

Vinci’s Mona Lisa, and Miss Indian USA gives

highway, and the fact that she is smoking in a

us the same knowing half-smile, indicating

non-ceremonial context all mark a modern

that she understands the bitter irony of her

Western influence. A dollar bill lies next to

transformation from a Child of Nature to

the woman. The artist suggests that an Indian

American Consumer.

participating in a silly beauty contest is a sell-

—Dan Perry, Art Collector, Santa Fe

out. Alternatively, the artist may be saying that a Native American woman should have

Following in the footsteps of his contemporary

the same allure and wealth as women of

Native American predecessors, this artist

the white majority. Why shouldn’t an Indian

uses a bold palette to interpret a changing

enter a pageant and win, if that’s what she

viewpoint of Native American life. This

wants? A cluster of teepees and an animal

modern-day Mona Lisa, with her serene

skull appear opposite the skyscrapers. One

expression, and sad but wise eyes, has her

world is separate from the other. This work

back to her tribe as she looks into the future,

is about the threat of the corruption of

prepared but wary of the pitfalls that lie ahead.

Native American culture.

The little bird has her ear, but what is the little

—Davis Brimberg, Clinical Psychologist

bird saying? In Native American mythology birds frequently serve as messengers from the

This painting depicts the ultimate stage

Creator, or between humans and the spirit

in the corruption of Native Americans

world. Some birds play the parts of heroes,

24 | THE magazine

| august 2012


Aristotle said, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Two artists respond to his statement. There is always something deep and meaningful in an honest work of art, although sometimes it’s not visible to everyone immediately. So, when someone says they don’t like something, that doesn’t mean a lot to me. I know when there is something there—it can be a baffling mystery, then amazing, only waiting to be deciphered and to be patiently understood.

—Tony Abeyta An exhibition of recent paintings and works on paper by Abeyta will be on view at Blue Rain Gallery, 130 Lincoln Avenue, Suite C, Santa Fe. Opening reception on Friday, August 17, from 5 to 7 pm.

When one is moved by a piece of artwork, it is because it touches something inside. The more it affects us, the deeper it went. I also believe that you can purposely aim for the “inside” with direct creations that represent what we humans feel. Within us and within art, there exist worlds that are keys to those doorways.

—Roxanne Swentzell Swentzell’s work can be seen at the Santa Fe Indian Market, Booth #400-WA-W, and at the Roxanne Swentzell Tower Gallery, Pojoaque, New Mexico.

photographs by

| august 2012

Anne Staveley

THE magazine | 27


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food for thought

Native Beans Since the early 1960s, diabetes has plagued American Indian tribes—especially those in the Southwest, where two hundred and fifty thousand Native Americans have the disease. According to the U.S. Department of Health and Human Services, American Indians are more than twice as likely to be diagnosed with diabetes than the average American. In 1983, an Arizona-based nonprofit called Native Seeds/SEARCH devised a creative method to combat this problem. By finding and preserving traditional Native American seed stock—seeds that grow diabetes-fighting foods such as Tepary beans—the organization is able to help local tribes access healthy, native foods. Tepary beans are native to the Southwest, don’t need much water, and—because they are low in carbohydrates—are a healthy alternative for diabetics. Native Seeds/SEARCH preserves and distributes Tepary beans to local American Indian tribes, allowing them to farm the same native plants their great-grandparents ate many years ago. Beyond Tepary beans, Native Seeds/SEARCH has successfully preserved about eighteen hundred different seed varieties, many of which are rare and endangered. Within their seed bank are thousands of years of plant evolution. D

| august 2012

THE magazine | 29

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The 2010 Domaine Abbatucci Ajaccio Rosé “Cuvée Faustine” by Joshua Baer There are two theories about the origins of wine. The first theory—let’s call it the

On the other hand, if you subscribe to the Dionysian Theory you allow for

Apollonian Theory—says that wine was a by-product of the Neolithic Revolution.

the fact that grapes grew in the wild before we learned how to cultivate them,

The second theory—let’s call it the Dionysian Theory—says that the Neolithic

and that certain hunter-gatherers—certain hunch-driven, thrill-seeking, hunter-

Revolution was a by-product of wine.

gatherers who liked to roll the dice—had the means, motive, and opportunity to

Of the two theories, the Apollonian Theory makes more sense and is more

taste the juice of a wild grape that had lingered on its wild vine, a wild grape in

popular. Anthropologists, historians, married women, and social engineers embrace

which fermentation had already begun—in short, a wild grape in the process of

the Apollonian Theory because it offers a linear explanation for the birth, childhood,

turning itself into wild wine. Nature before nurture, if you will. After tasting that

adolescence, and maturation of wine. The Dionysian Theory makes little or no

loaded grape, and enjoying the magnificent, languid feeling that accompanies the

sense. In fact, it flies in the face of all rational assumptions about the Neolithic

introduction of alcohol into the bloodstream, how long do you think it took for

Revolution. To characterize the Dionysian Theory as unpopular would be an

one of those hunch-driven maniacs to say to his or her friends, “You know what?

understatement. If you accept the Dionysian Theory’s premise, either by accident

We should pick these grapes, wrap them up in a goatskin, hang the goatskin in a

or by choice, you will lose friends and make enemies. Married women will give you dirty looks. However, for those of us who are addicted to sunsets and obsessed with French, Italian, and Corsican rosés, the Dionysian Theory is the only game in town. Here is Wikipedia’s précis of the Neolithic Revolution.

cave, come back in a year, and see what happens.” Which brings us to the 2010 Domaine Abbatucci Ajaccio Rosé “Cuvée Faustine.” In the glass, the 2010 Abbatucci Rosé “Cuvée Faustine” is the color of a classic sunset. If you are addicted to sunsets, then you are

The Neolithic Revolution or Neolithic Demographic Transition

probably addicted to great rosés, and vice versa. And when I say

was the first agricultural revolution. It was the wide-scale transition

“great rosés,” I do not mean pink wines made by trend-following

of many human cultures from a lifestyle of hunting and gathering to

winemakers who climbed onto the rosé bandwagon during the

one of agriculture and settlement which supported an increasingly

last decade. I mean a rosé made by a winemaker whose ancestors

large population. Archaeological data indicates that various forms of

made rosés.

plants and animal domestication evolved independently in six separate

Like all of Abbatucci’s wines, the 2010 Rosé “Cuvée

locations worldwide circa 10,000–7000 years BP (8,000–5,000 BC).

Faustine”’s bouquet has a raw quality, the feral counterpart

However, the Neolithic Revolution involved far more than the

to the celebrated barnyard odors that emerge from a glass of

adoption of a limited set of food-producing techniques. During the

pre-1990 Bonnes Mares. This is not an accident. The 2010 Rosé

next millennia it would transform the small and mobile groups of

“Cuvée Faustine” is seventy percent Sciacarellu, the Corsican

hunter-gatherers that had hitherto dominated human history into

grape that mirrors the idiosyncratic flavors and fragrances of

sedentary societies based in built-up villages and towns, which radically

the Pinot Noir grape.

modified their natural environment by means of specialized food-crop

On the palate, the 2010 Rosé “Cuvée Faustine” unfolds its

cultivation (e.g., irrigation and food storage technologies) that allowed

Corsican soul. Corsica has been described as an island that has

extensive surplus food production. These developments provided

never been conquered, inhabited by people who have never

the basis for high population density settlements, specialized and

been able to govern themselves. You do not taste the flavors of

complex labor diversification, trading economies, the development of

the 2010 Rosé “Cuvée Faustine” as much as you sort through

non-portable art, architecture, and culture, centralized administrations

them, looking for an answer to the question, “What is it about

and political structures, hierarchical ideologies, and depersonalized

this wine?” The finish is like a late-summer sunset in the San Luis

systems of knowledge (e.g., property regimes and writing).

Valley. Right before it ends, it holds still for a moment, allowing

The term Neolithic Revolution was coined in the 1920s by

you the chance to savor some—but not all—of its beauty.

Vere Gordon Childe to describe the first in a series of agricultural

You can buy the 2010 Domaine Abbatucci Ajaccio

revolutions in Middle Eastern history. The period is described as

Rosé “Cuvée Faustine” from Kermit Lynch Wine Merchant,

a “revolution” to denote its importance, and the great significance and

in Berkeley, California, for $36 a bottle. If they are out of the

degree of change affecting the communities in which new agricultural

2010 rosé, buy the 2011. A word of caution: Abbatucci’s wines

practices were gradually adopted and refined.

are more wild than tame. If you drink them on a regular basis,

So, if you subscribe to the Apollonian Theory you believe

they will convert you to the Dionysian Theory. While that

that the cultivation of vines, harvesting of grapes, transformation

conversion comes with significant risks, there are worse things

of grapes into wine, and enjoyment of a glass of chilled rosé before

in life than exchanging certainty for freedom. D

dinner all occurred after we gave up on hunting and gathering and taught ourselves to dig irrigation ditches and build fences. At the heart of the Apollonian Theory is the notion that the first wines were fermented from the juices of domesticated grapes.

| august 2012

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 ©2012 by For back issues, go to onebottle. com. Send comments or questions to

THE magazine | 31


Tuna Carpaccio and Watercress with Truffle Emulsion and Fingerling Potato Chips at the James Beard Foundation Charles Dale Scholarship Dinner at

Te r r a Re s t a u r a n t at Four Seasons Re s o r t Ra n c h o Encantado 198 State Road 592 Reservations: 988-9955 $ KEY



up to $14







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



$34 plus


Photos: Guy Cross

...a guide to the very best restaurants in santa fe, albuquerque, taos, and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, seared Pork Tenderloin, and the Black Mussels are all winners. Comments: A beautiful new bar with generous martinis, a teriffic wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. 317 Aztec 317 Aztec St. 820-0150 Breakfast/ Lunch. Patio. Major credit cards. $$ Cuisine: Cafe and Juice Bar. Atmosphere: Casual. House specialties: Breakfast: Eggs Benedict and the Hummus Bagel, are winners. Lunch: we love all of the salads and the Chilean Beef Emanadas. Comments: Wonderful juice bar and perfect smoothies. Andiamo! 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Good wines, great pizzas. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236. Breakfast/Lunch/Dinner Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American cuisine. Atmosphere: Elegant room. House specialties: Blue Corn crusted-Salmon with citrus jalapeno sauce, and the Beef Tenderloin. Comments: Attentive service. Aqua Santa 451 W. Alameda. 982-6297. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$$ Cuisine: American. Atmosphere: Casual House specialties: Start with the Pan Fried Oysters with Watercress. For your main, the perfect Wild King Salmon with Lentils or the Long-Braised Shepherd’s Lamb with Deep Fried Leeks. Comments: Good wine list, great soups, and amazing bread. Betterday Coffeeshop

905 W. Alameda St. Breakfast/Lunch Major credit cards. $ Cuisine: Coffehouse fare. Atmosphere: Casual. House specialties: Espressos, Lattes, Macchiatos, Italian Sodas, and Teas. Comments: Food menu changes daily. Bobcat Bite 418 Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Patio. Cash. $$ Cuisine: As American as good old apple pie. Atmosphere: A low-slung building

with eight seats at the counter and four tables. House specialties: The inch-anda-half thick green chile cheeseburger is sensational. The secret? A decades-old, well-seasoned cast-iron grill. Go. Body Café 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual. House specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Avocado and Cheese Wrap. Comments: Soups and salads are marvelous, as is the Carrot Juice Alchemy. Cafe Cafe Italian Grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad, the tasty specialty pizzas, or the grilled eggplant sandwich. For dinner, go for the perfectly grilled Swordfish Salmorglio. Comments: Friendly waitstaff. Café Fina 624 Old Las Vegas Highway. 466-3886. Breakfast/Lunch. Patio Cash/major credit cards. $ Cuisine: Contemporary comfort food. Atmosphere: Casual and bright. House specialties: Ricotta “pancakes with fresh berries and maple syrup; chicken enchiladas; a perfect green-chile cheese burger. Comments: Organic andhousemade products are delicious. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: The café is adorned with lots of Mexican streamers and Indian maiden posters. House specialties: Hotcakes got a nod from Gourmet magazine. Huevos motuleños—a Yucatán breakfast—is one you’ll never forget. For lunch, try the Grilled Chicken Breast Sandwich. Chopstix 238 N. Guadalupe St.  982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, Kung Pau Chicken, and Broccoli and Beef. Comments: Combination plates available. Friendly owners. (The) Compound 653 Canyon Rd.  982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: Contemporary. Atmosphere: 150-year-old adobe with white linen on the tables. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is flawless. Desserts are perfect. Comments: Chef/owner Mark Kiffin, winner of the

James Beard Foundation’s “Best Chef of the Southwest” award. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. Comments: Good selection of beers and wine. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: All-American. Atmosphere: Patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are fantastic. Super buffalo burgers. Comments: Huge selection of beers. Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: For your main course, go for the grilled Maine Lobster Tails or the grilled 24-ounce “Cowboy Cut” steak.

Comments: Great bar and good wines.

Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room with small tables inside and a nice patio outside where you can sit, read periodicals, and schmooze. Tons of magazine to peruse. House specialties: Espresso, cappuccino, and lattes.

Major credit cards. $$ Cuisine: New Mexican Atmosphere: Casual. House specialties: Tacxs, burritos, burgers. frito pies,, and combination plates. Comments: The best Carne Adovada Burrito (no beans) that we have ever had. Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: We call it French/Asian fusion. Atmosphere: Elegant. House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass, served with black truffle scallions, and the classic peppery Elk tenderloin. Il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad, the Lemon Rosemary Chicken, and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: New on the menu: a perfect New York Strip Strip Steak at a way better price than the Bull Ring—and guess what— you don’t have to buy the potato. Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo stuffed with spinach, black olives, feta cheese, roasted red peppers, over organic greens. Comments: Chef Obo wins awards for his fabulous soups.

El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish. Atmosphere: Wood plank floors, thick adobe walls, and a postage-stamp-size dance floor for cheekto-cheek dancing. House specialties: Tapas. Comments: Murals by Alfred Morang.

Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake. It is clear, smooth, and dry. Comments: New noodle menu.

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

La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian tamales. Recommendations: Sunday brunch.

El Parasol 833 Cerrillos Rd
Santa Fe, 995-8015 30 Cities of Gold Rd.,
Pojoaque. 455-7185 603 Santa Cruz Rd., 
Española. 753-8852 298 Dinosaur Trail,
Santa Fe. 995-8226 1903 Central Ave., Los Alamos. 661-0303 Breakfat/Lunch/Diinner

Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: The Pho Tai Hoi: vegetarian soup loaded with veggies,

fresh herbs, and spices La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Enclosed courtyard. House specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad with baked New Mexico goat cheese. For your entrée, try the Braised Lamb Shank, served with a spring gremolata, couscous, and vegetables. Comments: Seasonal menus. L egal T ender 151 Old Lamy Trail. 466-1650 Lunch/Dinner Beer/wine. Patio. Major credit cards. $$

Cuisine: New Mexican. Atmosphere: Casual. House specialties: Burgers, Pulled Pork, Lamy Cubano Sandwich, Braised Short Ribs, and the Wedge Salad. Comments: Huevos Rancheros, Belgian Waffle,and a Special Drink Menu at Sunday Brunch. Kid friendly. M aria ’ s N ew M exican K itchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner (Thursday-Sunday) Beer/wine. Patio. Major credit cards. $$

Cuisine: American/New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: Freshly made Tortillas, and Green Chile Stew. Comments: Perfect margaritas. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Mu Du is committed to organic products. New York Deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Hero Sandwiches, Pancakes, and over-the-top Gourmet Burgers. Comments: Deli platters to go. Nostrani Ristorante 304 Johnson St. 983-3800. Dinner Beer/Wine. Fragrance-free Major credit cards. $$$ Cuisine: Innovative regional dishes from Northern Italy. Atmosphere: Elegant. House specialties: Start with any salad. Entrees we love: the Veal Scalopinni or the Roasted Trout with Leeks, Pepper, and Sage. Dessert: Go for the Mixed Berries with Lemon. Comments: Organic ingredients. Menu changes seasonally. Frommers rates Nostrani as one of the “Top 500 Restaurants in the World.” Please note: fragrance-free.

continued on page 35

| august 2012

THE magazine | 33



DINNER NIGHTLY 315 Old Santa Fe Trail • Reservations 505.986.9190

Home of the Healing Arts The Spa at Encantado offers an innovative selection of spa and wellness services, honoring New Mexico’s indigenous healing traditions while paying tribute to Santa Fe’s established reputation for eclectic approaches to health and well being.



Wes Mills • Robert Stivers • Forrest Moses Edward Stanton • Kathleen Morris • John Nichols Rose B. Simpson • John Connell • Dana Chodzko and a host of other artists 505-570-1460 SOLD


877.262.4666 198 State Road 592, Santa Fe


The Organic Chicken Enchilada at

CAFÉ FINA 624 Old Las Vegas Highway, Santa Fe • 466-3866 Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light, colorful, and friendly. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile. Rasa Juice Bar/Ayurveda 815 Early St. 989-1288 Major credit cards. $$ Cuisine: Organic juice bar. Atmosphere: Calm. House specialties: Smoothies, juices, teas, chai, cocoa, coffee, and espresso—made with organic ingredients. Juice: our favorite is the Shringara, made with beet, apple, pear, and ginger. 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. $$$ Cuisine: All-American Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs, and Burgers. The Haystack fries rule Recommendations: Nice wine list and a good pour at the bar/ Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Patio. Major credit cards. $$$ Cuisine: Southwestern with a French flair. Atmosphere: Contemporary. House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Nice wine list San Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ Cuisine: Japanese Sushi and Tapas. Atmosphere: Large room with a Sushi bar. House specialties: Sushi, Vegetable Gyoza, Softshell Crab, Sashimi and Sushi Platters, and a variety of Japanese Tapas Comments: A savvy sushi chef makes San Q a top choice for those who really love Japanese food. San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: All-American. Atmosphere: Casual. House specialties: The San Francisco Street Burger, the Grilled Yellowfin Tuna Nicoise Salad, or the New York Strip. Comments: Sister restaurant located in the DeVargas Center. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwestern. Atmosphere: Minimal, subdued, and elegant. House specialties: The worldfamous calamari never disappoints. Favorite entrées include the perfectly cooked grilled rack of lamb and the pan-seared salmon with olive oil crushed new potatoes and

| august 2012

creamed sorrel. Comments: The daily pasta specials are generous and flavorful. Appetizers during cocktail hour rule. Santa Fe Bar & Grill 187 Paseo de Peralta. 982.3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmeal-crusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet. Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily chef specials, gourmet and build-yourown sandwiches, wonderful soups, and an excellent salad bar. Comments: Organic coffees and super desserts. Family-run. Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers are outstanding when paired with Beer-steamed Mussels, Calamari, Burgers, and Fish & Chips. Comments: Sister restaurant at 1607 Paseo de Peralta, in the Railyard District. Shibumi 26 Chapelle St. 428-0077. Lunch/Dinner Fragrance-free Cash only. $$. Parking available Beer/wine/sake Cuisine: Japanese noodle house. Atmosphere: Tranquil and elegant. Table and counter service. House specialties: Start with the Gyoza—a spicy pork pot sticker—or the Otsumami Zensai (small plates of delicious chilled appetizers), or select from four hearty soups. Shibumi offers sake by the glass or bottle, as well as beer and champagne. Comments: Zen-like setting. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff, Station 430 S. Guadalupe. 988-2470 Breakfast/Lunch Patio Major credit cards. $ Cuisine: Light fare and fine cofffee and teas. Atmosphere: Friendly and casual. House specialties: For your breakfast choose the Ham and Cheese Croissant a Fresh Fruit Cup. Lunch fave is the Prosciutto, Mozzarella, Tomato sandwich Comments: Special espresso drinks.

at El Gancho Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant House specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce. Comments: They know steak here.


Table de Los Santos 210 Don Gaspar. 992-5863 Breakfast/Lunch/Dinner Sunday Brunch Full Bar. Major credit cards. $$$ Cuisine: New Mexican–inspired fare. Atmosphere: Large open room with high ceilings House specialties: Try the organic Chicken Paillard with vegetables—it is the best. For dessert, we love the organic Goat Milk Flan. Comments: Well-stocked bar. Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork. Atmosphere: Casual. House specialties: We love the Salmon Benedict with poached eggs, the quiche, the Gourmet Cheese Sandwich, and the Teaouse Mix salad. Comments. Teas from around the world. Terra at Encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: Contemporary. Atmosphere: Sophisticated. House specialties: Start with the Risotto with Shaved Truffles. For your main, order the Harris Ranch Beef Tenderloin with foie gras butter, or the Fish of the Day. Comments: Chef Charles Dale knows what “attention to detail” means.

The Pink Adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club. For dinner, get the Steak Dunigan, with green chile and sauteed mushrooms, or the Fried Shrimp Louisianne. Comments: Cocktail hour in the Dragon Room is a Santa Fe tradition.

T une -U p C afé 1115 Hickox St.. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home, House specialties: Breakfast faves are the scrumptious Buttermilk Pancakes and the Tune-Up Breakfast. Comments: Super Fish Tacos and the El Salvadoran Pupusas are excellent. Now serving beer and wine.Yay!

The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: A local institution located just off the Plaza. House specialties: Order the red or green chile cheese enchiladas. Many folks say that they are the best tin Santa Fe.

V inaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: We call the food here: farm-to-table-to-fork. Atmosphere: Light, bright and cheerful. House specialties: All of the salads are totally amazing—as fresh as can be. We love the Nutty Pear-fessor salad, and the Chop Chop Salad. Comments: Vinaigrette will be opening a “sister” restaurant in Albuquerque in the fall.

The Ranch House (Formerly Josh’s BBQ) 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: BBQ and Grill. Atmosphere: Family and kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: Nice bar. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $ Cuisine: New Mexican. Atmosphere: Casual. House specialties: Green Chile Stew, the traditional Breakfast Burrito, stuffed with bacon, potatoes, chile, and cheese. Comments: The real deal. Tomme Restaurant 229 Galisteo St. 820-2253 Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Contemporary. Atmosphere: Casual and friendly. House specialties: Start with the Cheese Board. Entrée: Choose the Steak Frites, or the Southern Fried Chicken. Fave dessert: the Caramel Pots de Crème. Comments: Innovative cuisine Tree House Pastry Shop and Cafe DeVargasCenter. 474-5543. Breakfast/Lunch Monday-Saturday Major credit cards. $$$ Cuisine: Only organic ingredients used. Atmosphere: Light, bright, and cozy. House specialties: Order the fresh Farmer’s Market Salad, or the Lunch Burrito, smothered in red chile. Yum.

W hoo ’ s D onuts 851 Cerrillos Rd. 629-1678 6 am to 3 pm. Major credit cards. $ Cuisine: Just donuts. Atmosphere: Very, very casual. House specialties: Organic ingredients only. Comments: Our fave donut is the Maple Barn. Z acatecas 3423 Central Ave., Alb. 505-255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo cooked or the Slow Cooked Pork Ribs with Tamarind Recado-Chipotle Sauce. Over sixty-five brands of Tequila are offered. Comments: Savvy waitstaff. Z ia D iner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: All-American diner food. Atmosphere: Down home baby, down home. House specialties: The Chile Rellenos and Eggs is our breakfast choice. At lunch, we love the Southwestern Chicken Salad, the Meat Loaf, all the Burgers, and the crispy Fish and Chips. Comments: The bar is the place to be at cocktail hour. Sweets and pastries are available for take-out.

El Parasol —since 1958— 5 LOCATIONS

The Palace Restaurant & Saloon 142 West Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: Modern Italian Atmosphere: Victorian style merges with the Spanish Colonial aesthetic House Specialties: For lunch: the “Smash” Burger or the Prime Rib French Dip. Dinner: Start with the Marlin Sashimi. For your main, go for the Herb-Crusted Chicken Breast, the Alaskan Halibut, or the All-American Steak au Poivre. Comments: Kid’s menu available. Good wines list and a great pour at the bar. The Pantry Restaurant 1820 Cerrillos Rd. 986-0022 Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: New Mexican/American. Atmosphere: Bustling with counter service and extra-friendly service. House specialties: Breakfast rules here with their famous stuffed French Toast, Corned Beef Hash, and Huevos Rancheros. A hand-breaded Chicken Fried Steak rounds out the menu. Comments: The Pantry has been in the same location since 1948.

Best Carne adovada burrito, EVER!

THE magazine | 35

Tadasky The CirCle re-Viewed: 1964 To 2012 Tadasky, D126, 1965, Acrylic on canvas, 57 x 57 “

august 17 - september 22, 2012 Opening reception: Friday, august 31, 5:00-7:00 PM

Leo Valledor, Rothkokoro, 1988, Acrylic on canvas, 96 x 96 “

LeO VaLLedOr Shapin’ Up August 17 - September 15, 2012 Opening reception: Friday, August 31, 5:00-7:00 PM

Also featuring:

JuLian sTanczak GridS and planeS

Laura de sanTiLLana MeTeorS Railyard Arts District

544 South Guadalupe Street, Santa Fe, NM 87501 p (855) 983-9555 | f (505) 983-1284


augustArtopenings FRIDAY, AUGUST 3 Axle Contemporary, at the Railyard, Paseo de Peralta and Cerrillos, Santa Fe. 670-7612. CutGlueFold: group show. 5-7 pm. Blue Rain Gallery, 130 Lincoln Ave., Suite D, Santa Fe. 954-9902. Two Man Show: works by Randall LaGro and Shelley Muzylowski Allen. 5-7 pm. David Richard Contemporary, 130 Lincoln Ave., Suite D, Santa Fe. Sculptured—Wood and Glass: works by Munson Hunt. 5-7 pm. Evoke Contemporary, 130 Lincoln Ave., Santa Fe. 995-9902. Oil of Joy: paintings by Louisa McElwain. 5-7 pm.

Stranger Factory, 109 Carlisle Blvd. NE, Alb. 505-508-3049. Spirits: works by Travis Louie. 6-9 pm. Wade Wilson Art, 409 Canyon Rd., Santa Fe. 213-788-7609. Solo Show: paintings of chairs by Tom Berg. 5-7 pm. Weyrich Gallery, 2935-D Louisiana Blvd. NE, Alb. 505-883-7410. Context and Content: clay works by Betsy Williams. 5-8:30 pm. William and Joseph Gallery, 727 Canyon Rd., Santa Fe. 982-9404. Blossoms: encaustics by Richard Potter. 5-7 pm.


Jane Sauer Gallery, 652 Canyon Rd., Santa Fe. 995-8513. SOFA Lost and Regained: group show. 5-7 pm.

VERVE Gallery of Photography, 219 E. Marcy St., Santa Fe. 982-5009. The Anasazi Project: Joan Gentry and Don Kirby. 2-4 pm.

Las Cruces Museum of Art, 491 N. Main St., Las Cruces. 575-541-2137. Drawing—X Marks the Spot: works by Carol Meine. What I See, What I Saw: installation by Marianne McGrath. Indra’s Net: installation by the Praxis Collective. 5-7 pm.

WEDNESDAY, AUGUST 8 John Ruddy Textile and Ethnographic Art, 129 W. San Francisco St., Santa Fe. 989-9903. Ethnographic textiles and objects from Japan and SE Asia. 6-9 pm.

Taylor Dale Fine Antique Tribal Art, 129 W. San Francisco St., Santa Fe. 670-3488. 25 Years in Santa Fe—Tad’s selections from Africa, Oceania and the Americas. 6-9 pm.

FRIDAY, AUGUST 10 Eight Modern, 231 Delgado St., Santa Fe. 9950231. An American Knockoff: paintings by Roger Shimomura. 5-7 pm. El Museo Cultural de Santa Fe, 555 Camino de la Familia, Santa Fe. 660-4701. The Santa Fe Show—Objects of Art: more than 70 exhibitors showing all types of fine art. $50 6-9 pm. Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Speed and Rizzie in One Room: works by Julie Speed and Dan Rizzie. 5-7 pm.

Lucky Bean Café, 500 Montezuma Ave., Santa Fe. 438-8999. 4 Indigenous Perpetrators of Words: poetry reading. 5:30-9 pm. Marigold Arts, 424 Canyon Rd., Santa Fe. 982-4142. Mesa Days: transparency tapestry weavings and large format tapestries by Barbara Marigold. 5-7 pm. Meyer East Gallery, 225 Canyon Rd., Santa Fe. 983-1657. Mixed Repertoire: works by Melinda K. Hall. 5-7 pm. Nuart Gallery, 670 Canyon Rd., Santa Fe. 9883888. Terra Firma: paintings by Erik Gonzales. 5-7 pm. Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-3432. Pattern + Flow: jewelry by Claire Kahn. 5-7 pm.

Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. Beyond Form: sculptures by Eric Boyer. Paintings by Charlotte Foust. 5-7 pm.

Silver Sun Gallery, 656 Canyon Rd., Santa Fe. 983-8743. Ghost Dreamers: monotypes by Gary McCabe. Sculptures by Ken Tohee. 4:30-7:30 pm.

James Kelly Contemporary, 550 S. Guadalupe St., Santa Fe. 989-1601. Back and Forth: new paintings by Robert Kelly. 5-7 pm.

Steve Elmore Indian Art, 839 Paseo de Peralta, Santa Fe. 995-9677. Anything Goes—Historic Hopi Eccentrics: ceramic works. 5-7 pm.

LewAllen Galleries, 125 W. Palace Ave., Santa Fe. 988-8997. The Line of Nature—A Continuing Exploration: works by John Fincher. Cats, Birds, and a Couple of Monkeys: paintings by Tom Palmore. 5:30-7:30 pm. Manitou Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Works by Jim Eppler and B.C. Nowlin. 5-7 pm. Meyer East Gallery, 225 Canyon Rd., Santa Fe. 983-1657. Amor Fati: works by Nathan Bennett. 5-7 pm. Mill Fine Art, 530 Canyon Rd., Santa Fe. 2012 New Mexico Contemporary Glass Invitational: group show. 5-7 pm. New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Three Visions of Northern New Mexico: works by Steven A. Jackson, Reg Loving, and Tim Prythero. 5-7 pm. Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-3432. Form 2 Function: jewelry by Claude Chavent and Erich Zimmermann. 5-7 pm. Peyton Wright Gallery, 237 E. Palace Ave., Santa Fe. 989-9888. Color Equations: new paintings by Jack Roth. 5-8 pm. Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1122. Works by Christina Bothwell, Myungjin Kim, and Robert Turner. 5-7 pm. Starbucks, 106 W. San Francisco St., Santa Fe. 670-8004. Santa Fe and Abroad: paintings by Dominic Monti. 5-8 pm.

50/50: Fifty Artists, Fifty Years at the Museum of Contemporary Native Arts, 108 Cathedral Place, Santa Fe. Also, four concurrent shows—Red Meridian; Vernacular; Deconstructing Dualities; and GRAB—The Movie. Reception: Friday, August 17, from 5 to 7 pm. Image: Hulleah Tsihnahjinnie

continued on page 40

| august 2012

THE magazine | 37

Brian Clary You will be missed 6-18-44 6-29-12

THE magazine Is now available for your Ipad at the Apple Newsstand. Go to the “App Store.”

HERE’S THE DEAL for artists without gallery representation in New Mexico. Full-page b&w ads for $600, color $900. Reserve your space for the September issue by Wednesday, August 15


OUT AND ABOUT photographs by Mr. Clix, Dana Waldon, Jennifer Esperanza, Lydia Gonzales Lisa Law, and Anne Staveley

Jonas Povilas Skardis

Mac (and PC) Consulting WHO SAID THIS?


“I dream my painting and I paint my dream.”


Training, Planning, Setup, Troubleshooting, Anything Final Cut Pro, Networks, Upgrades, & Hand Holding

phone: (505) 577-2151 email:

1.Joan Mitchell 2. Vincent Van Gogh 3. Henri Matisse 4. Henri Matisse Serving Northern NM since 1996


Transcendence Design Contemporary Art, 1521 Upper Canyon Rd., Santa Fe. 984-0108. Full Circle: group show. 5-7 pm.

SATURDAY, AUGUST 11 Bellas Artes Gallery, 653 Canyon Rd., Santa Fe. 983-2745. Travel—Rome, Namche: works by David Kimball Anderson. 4-6 pm. Caldera Gallery, 933 Baca St., Santa Fe. 9261242. Inside the Outside: installation by SCUBA. 5-9 pm. Nedra M atteucci G alleries, 1075 Paseo de Peralta, Santa Fe. 982-4631. All Over the Map: works by John and Terri Kelly Moyers. 2-4 pm.

Museum of Contemporary Native Arts, 108 Cathedral Pl., Santa Fe. 983-1777. 50/50—50 Artists, 50 Years: group show. Vernacular: works by Jeff Kahm. Red Meridian: works by Mateo Romero. Deconstructing Dualities: works by Debra Yeppa-Pappan. GRAB—The Movie: work by Billy Luther. 5-7 pm. New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Ethnic Pottery Prints: works by Julia Roberts. 5-7 pm. Robert Nichols Gallery, 419 Canyon Rd., Santa Fe. 982-2145. Native Modern: clay works by Diego Romero, Glen Nipshank, and Alan E. Lasiloo. 4-7 pm.


New work by Julie Speed at Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. Reception: Friday, August 10, 5 to 7 pm.

Scripps Fine Art, 821 Canyon Rd., Santa Fe. 982-3379. Second Annual RISD / New Mexico Alumni Show. 5-7 pm.

Blue Rain Gallery, 130 Lincoln Ave., Suite D, Santa Fe. 954-9902. Solo Show: paintings and works on paper by Tony Abeyta. 5-7 pm.

works by Martha Rea Baker, Ellen Koment, Jinni Thomas, and Kevin Tolman. 5-7 pm.

Estudiantes y Soldados: works by Erin Currier. 5-7 pm.


Blue Rain Gallery, 130 Lincoln Ave., Suite D, Santa Fe. 954-9902. Celebration of Contemporary Native American Art: group show reception, Thurs., Aug. 16, 5-8 pm. Tammy Garcia pottery preview, show, and sale, Fri., Aug. 17, 8 am-11am. Group show reception: Fri., Aug. 17, 5-8 pm. Glass blowing and bronze patina demonstrations, Fri., Aug. 17 and Sat., Aug. 18, 11 am-4 pm.

Manitou Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Works by Billy Schenck. 5-7:30 pm.

Canyon Road Contemporary Art, 403 Canyon Rd., Santa Fe. 983-0433. Aspect 3: paintings by Mark Horst. 5-7 pm.

Robert Nichols Gallery, 419 Canyon Rd., Santa Fe. 982-2145. Classic to Contemporary: pueblo pottery by artists from King Galleries of Scottsdale. Visit with Charles King. 2-4:30 pm.

THURSDAY, AUGUST 16 Caldera Gallery, 933 Baca St., Santa Fe. 9261242. Bahama Kangaroo: work and installation by Yukako Ezoe and Naoki Onodera. 5-9 pm. Canyon Road Contemporary, 403 Canyon Rd., Santa Fe. 983-0433. Explorations of Native Culture and Natural History: ceramic totems, kachinas, and animals by Molly Heizer. 5-7 pm. Legends Santa Fe, 125 Lincoln Ave., Santa Fe. 983-5639. Comanche Land, Comanche Stories: works by Nocona Burgess. 5-7 pm.

Chiaroscuro Contemporary Art, 702 1/2 Canyon Rd., Santa Fe. 992-0711. A Life Worth Living: works by Rose B. Simpson. Opuntia: works by Emmi Whitehorse. 5-7 pm. Eggman and Walrus, 131 W. San Francisco St. and 130 W. Palace Ave., Santa Fe. 660-0048. Low-Rez: pop-surrealist Native art group show. 5:30-9 pm. Karan Ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-0807. The Abstract—New Mexico’s Own:

Mark Sublette Medicine Man Gallery, 602A Canyon Rd., Santa Fe. 820-7451. Works by Shonto Begay. 2-4 pm. McLarry Modern, 225 Canyon Rd., Santa Fe. 9838589. New Works: works by Poteet Victory. 5-7 pm. Weyrich Gallery, 2935-D Louisiana Blvd. NE, Alb. 505-883-7410. Context and Content: clay works by Betsy Williams. 5-8:30 pm. Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Indian Market Shows: photographs by Virgil Ortiz. Paintings by David Johns. Jewelry by Yazzie Johnson and Gail Bird. 4-6 pm.

SATURDAY, AUGUST 18 Andrew Smith Gallery, 122 Grant Ave., Santa Fe. 984-1234. Native American Veterans: photographs by Zig Jackson. 2-5 pm.

FRIDAY, AUGUST 24 Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Singular Visions:
watercolors by Harold Gregor, Keith Jacobshagen, and Suzanne Siminger. 5-7 pm. GVG Contemporary, 202 Canyon Rd., Santa Fe. 982-1494. Southwest Abstraction: group show. 5-7 pm. Mill Fine Art, 530 Canyon Rd., Santa Fe. 9829212. Tone Poem: work by Gail Factor. 5-7 pm. Silver Sun Gallery, 656 Canyon Rd., Santa Fe. 983-8743. Ancient Stories of Inspiration, Imagination, and Journey: oil paintings by Dale Amburn. 4:30-7:30 pm.

Shimomura: An American Knockoff: paintings by Roger Shimomura at Eight Modern, 231 Delgado Street, Santa Fe. Reception: Friday, August 10, from 5 to 7 pm. Artist’s lecture at SITE Santa Fe on Thursday, August 9, at 6 pm.

Marigold Arts, 424 Canyon Rd., Santa Fe. 9824142. New Work: turned-wood vessels by Jim McLain. 5-7 pm. Nuart Gallery, 670 Canyon Rd., Santa Fe. 9883888. Theory of Forms: paintings by Erin Cone. 5-7 pm. Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Message From La Habana—Six Contemporary Cuban Artists: group show. 5-7 pm.

SPECIAL INTEREST 5G Gallery, 1715 5th St. NW, Alb. 505-9779643. Far Flung—A Three Person Exhibition: work by Lauren Greenwald, Brooke Steiger, and Cedra Wood. Through Mon., Aug. 6. By appointment. Ahalenia Studios, 2889 Trades W. Rd., Unit E. Santa Fe. 699-5882. Zombie Skin—Salon de la Vie Morte: zombie-themed group show. Wed., Aug. 15 through Sun., Aug. 19. Special Sunday closing reception: 6-9 pm. Altermann Galleries and Auctioneers, 345 Camino del Monte Sol, Santa Fe. 983-1590. August Auction in Santa Fe. Sat., Aug. 11, 10 am. Arroyo Gallery, 200 Canyon Rd., Santa Fe. 988-1002. A Santa Fe Gathering: group show. Fri., Aug. 10 through Wed., Aug. 22. Recent Southwest Works: works by David Dunlop and Helen Frost Way. Fri., Aug. 24 through Tues., Sept. 18.


City of Santa Fe Community Gallery, 201 W. Marcy St., Santa Fe. 955-6705. Elements: ceramic and glass art. Through Mon., Aug. 20.

Blue Rain Gallery, 130 Lincoln Ave., Suite C, Santa Fe. 954-9902. Students and Soldiers/

The Couse Foundation, 146 Kit Carson Rd., Taos. 575-751-4308. Open house honoring continued on page 42

| THE magazine

| august 2012

TO M B E R G Opening Reception Fr id ay, Augus t 3 , 2 0 1 2 5 pm - 7 pm

4 0 9 C a nyo n R o a d Santa Fe, NM 87501 ph: 281. 788. 7609 www.wadewilsonar

o n vi e w t h ro u gh S atu rday, S eptemb er 15, 2012 image above: Pale Frontal oil on panel, 16 x 12 in.


Virginia Walker Couse. Sat., Aug. 4, 5-7 pm. Eldorado Community Center, 1 Hacienda Loop, Santa Fe. 466-7323. 13th Annual Ice Cream Social and Silent Auction: benefit for Vista Grande Public Library. Sun., Aug. 26, 1-4:30 pm. El Museo Cultural de Santa Fe, 555 Camino de la Familia, Santa Fe. 690-1928. Make Art, Not War: anti–nuclear weapon demonstration and exhibit. Fri., Aug. 3, 5-7 pm; Sat., Aug. 4, 9 am8 pm. Encaustic Art Institute, 18 County Rd. 55A, Santa Fe. 424-6487. The Art of Papermaking/ Encaustic on Paper: with Jacqueline Mallegni and Sherry Ikeda. Sat., Aug. 4 and Sun., Aug. 5. 10 am-4 pm. Gebert Contemporary, 558 Canyon Rd., Santa Fe. 992-1100. Han Sugbong porcelain by Han Do-hyun. Through Sat., Aug. 18. Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. A Modern Epic Vision: works by Gaston Lachaise. Fri., Aug. 10 through Sat., Sept. 22.

of Taos: works by Beatrice Mandelman, Alyce Frank, and Gisella Leoffler. Through Wed., Aug. 15. Marx Contemporary, 15049 State Hwy. 75, Peñasco. 575-779-7097. Remarkable Women Artists 1970-2012: group show. Through Sun., Oct. 21. Museum of International Folk Art, 706 Camino Lejo, Santa Fe. 476-1200. Arts Alive: workshops. Tues., Aug. 7 and Thurs., Aug. 9, 10 am-2 pm. Fri. evenings free through Aug. 31. Railyard Artisan Market, 1607 Paseo de Peralta, Santa Fe. 983-4098. August Showcase Market: featuring Raku pottery by Miya Endo, glassware by Bob Hazeltine, and fiber art by Erika Eckerstrand. Sundays in Aug., 10 am-4 pm. Santa Fe Area Builders Association, various locations in Santa Fe. 982-1774. Haciendas— A Parade of Homes: open house series. Fri., Aug. 10 to Sun., Aug. 12 and Thurs., Aug. 16 to Sun., Aug. 19.

lectures, Wed., 7 pm. Private and group lessons through Summer 2012. Silver City Clay Festival, at various locations in Silver City. 575-538-5560. Silver City Clay Festival—For the Love of Clay: workshops, demonstrations, exhibits and more. Fri., Aug. 3 through Sun., Aug. 5. SITE Santa Fe, 1606 Paseo de Peralta, Santa Fe. 989-1199. “An American Knockoff”: lecture by Roger Shimomura. Thurs., Aug. 9, 6 pm. South Broadway Cultural Center, 1025 Broadway Blvd. SE, Alb. 505-848-1320. Liquid Currency 2012—Spend It Like Water: panel discussion
sponsored by Amigos Bravos/Friends of the Wild Rivers. Sat., Aug. 18, 1-4 pm. Art show through Fri., Aug. 24. The Taos Art Museum at Fechin House, 227 Paseo del Pueblo Norte, Taos. 575-758-2690. A Russian Night in Taos: artworks for 8th annual gala and auction. Through Thurs., Aug. 23. William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. pathways. silent collaborations: works by Judy Tuwaletstiwa. Through Mon., Aug. 27.

Ghost Ranch, 1708 U.S. 84, Abiquiu. 505-2101092. Art Through the Loom Guild: annual exhibition. Through Sun., Sept. 23.

Santa Fe Art Collector, 221 W. San Francisco St., Santa Fe. 988-5545. Native Echoes: oil paintings by Americo Makk. Sculptures by Brian Jones. Fri., Aug.17, 5-7 pm; Sat., Aug. 18 and Sun., Aug. 19, 9:30 am-7 pm.

Girls Inc. at the Santa Fe Plaza, Santa Fe. 9822042. 40th Annual Arts and Crafts Show. Sat., Aug. 4, 9 am-6 pm; Sun., Aug. 5, 9 am-5 pm.

Santa Fe Art Institute, 1600 St. Michael’s Dr., Santa Fe. 424-5050. “Design Stories—Beginning, Middle, (No) End”: lecture by Courtney E. Martin and John Cary. Mon., Aug. 6, 6 pm.

Harwood Museum, 238 Ledoux St., Taos. 575758-9826. Bea Mandelman—Collage. Through Oct.

Santa Fe Indian Market, Santa Fe Plaza, Santa Fe. 983-5220. Santa Fe Indian Market: festival and art fair. Sat., Aug. 18 and Sun., Aug. 19.


Heinley Fine Arts, 119-C Bent St., Taos. 617947-9016. Summer Show—Remarkable Women

Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1122. Summer Slide Series: weekly

Aux Dog Theatre Nob Hill, 3011 Monte Vista Blvd. NE, Alb. 505-254-7716. Corrie Remembers: theatre performance. Aug. 3-4, 7 pm; Aug. 5, 2 pm.

Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Indian Market Shows: photographs by Virgil Ortiz. Paintings by David Johns, Thurs., Aug. 16; fine art jewelry by Yazzie Johnson and Gail Bird, Fri., Aug. 17. Reception: Fri., Aug. 17, 4-6 pm.

City of Las Cruces at Young Park, 1905 E. Nevada Ave., Las Cruces. 575-541-2200. Music in the Park Series: free outdoor concerts. Through Aug., Sundays at 7 pm. Dance Exposé Productions at Sandia Prep Theater, 532 Osuna Rd. NE, Alb. 505-610-6064. Don’t Stop: dance performance. Fri., Aug. 10, Sat., Aug. 11, 7:30 pm; Sun., Aug. 12, 2:30 pm. Lodge at Santa Fe, 750 N. St. Francis Dr., Santa Fe. 577-6306. Juan Siddi Flamenco Theatre Company. Tues. through Sun., 8 pm. Through Aug. 12. Lodge at Santa Fe, 750 N. St. Francis Dr., Santa Fe. 577-6306. 2012 Heritage Performance Series— Shelley Morningsong’s Full Circle: Native American fusion music. Fri., Aug. 17 to Sun., Sept. 2. Wed.-Sun. at 7 pm, Sat. at 1 pm.

SWAIA’s Santa Fe Indian Market 2012 on the Santa Fe Plaza. Over 1,100 Native artists show and sell their art on Saturday and Sunday, August 18 and 19.

42 | THE magazine

Museum of International Folk Art, 706 Camino Lejo, Santa Fe. 476-1200. Japanese Taiko drumming. Sun., Aug. 19, 2 pm. Music from Angel Fire, various locations in and around Taos. 888-377-3300. Music from

U.S. Caravan for Peace with Justice and Dignity—led by poet Javier Sicilia and victims of the Mexico drug war—travels from Tijuana to San Diego and across the country to Washington D.C. Rally on the Santa Fe Plaza on Monday, August 20, from 11 am to 2 pm. Be there, it matters!

Angel Fire: chamber music festival. Fri., Aug. 17 through Sun., Sept. 2. Rio Grande Theatre, 211 N. Main St., Las Cruces. 575-523 6403. Performances, exhibitions, and events throughout Aug. Santa Fe Chamber Music Festival at St. Francis Auditorium, 107 W. Palace Ave., Santa Fe. 982-1890. 40th Anniversary Season: chamber music performances. Through Mon., Aug. 20. Santa Fe Concert Association at the Scottish Rite Masonic Center, 463 Paseo de Peralta, Santa Fe. 988-1234. Luca Pisaroni, bass-baritone. Sun., Aug. 5, 4 pm. Santa Fe Playhouse, 142 E. De Vargas St., Santa Fe. 986-1801. Drummin’ Man: John Trentacosta celebrates Gene Krupa. Sat., Aug. 4, 7:30 pm; Sun., Aug. 5, 2 pm.

CALL FOR ARTISTS City of Santa Fe Arts Commission, 120 S. Federal Pl., Room 323, Santa Fe. 9556707. Common Ground: City of Santa Fe Art Exhibit and Prize. Deadline: Mon., Aug. 13. La Casa Holiday Bazaar at Las Cruces Convention Center, 680 E. University Ave., Las Cruces. 575-526-2819. Seeking artists for 2012 La Casa Holiday Bazaar. Deadline: Sat., Sept. 1. Las Cruces Museum of Art, 491 N. Main St., Las Cruces. 575-541-2137. Seeking proposals for solo and group exhibitions for 2013 show. Deadline: Thurs., Oct. 18.

OUT THERE Museum of Northern Arizona, Hwy. 180, Flagstaff, AZ. 928-774-5213. The Navajo Way of Being: 63rd Annual Navajo Festival. Sat., Aug. 4 and Sun., Aug. 5. CALENDAR LISTINGS FSOR SEPTEMBER ISSUE DUE BY AUGUST 15. EMAIL:

| august 2012

Aaron Bass: Borderlands

Leich Lathrop Gallery August 3 to September 5 2012 10 - 5 Reception: August 3 5:30 to 7:30 PM 323 Romero St. NW, Albuquerque, NMN 87104 ph 505-243-3059

Transformations of Rorschachian Icons

Jeff Laird

1622E4, Austin; powder coated perforated steel, 36” x 46”.


Gallery and Sculpture Garden

2839 NM 14, Madrid, NM | Open Daily 9-5 | 505-424-3813


50/50: Fifty Artists, Fifty Years August 17 through December 31 Museum of Contemporary Native Arts, 108 Cathedral Place, Santa Fe. 888-922-4242 Reception: Thursday, August 16, 5 pm. The Institute for American Indian Arts is a local gem—for fifty years, the Institute has helped young people of Native American heritage hone their artistic voices, and it has helped their voices to be heard. When it was founded in 1962, the IAIA rejected the notion that American Indian artists should only produce “feathers and leather,” and allowed many well-respected Native artists to break new creative ground, including painter Fritz Scholder, sculptor Allan Houser, and poet Joy Harjo. During the past halfcentury, the Institute has twice changed its location and has grown from a high school into a one-of-a-kind fine arts college. However, the Institute’s mission has remained the

Debra Yepe-Pappan, Divine Spirits, (detail), 2012    

same: “To empower creativity and leadership in Native arts and cultures.” In celebration of their anniversary, the Museum of Contemporary Native Arts is exhibiting a survey of fifty different Native artists who completed work at the IAIA. The show is curated by Tatiana Lomahaftewa-Singer, who has selected works to represent each decade in the Institute’s history, including sculptures, jewelry, and prints. The exhibition will also include a digital installation representing the college’s future and audio recordings of IAIA writers and poets.

Bob Haozous: Objects of Power Tower Gallery, 78 Cities of Gold Road, Pojoaque. 455-3037 Open Discussion with Bob Haozous: Thursday, August 16, 1 to 3 pm. Chiricahua Apache sculptor Bob Haozous’ latest works are not for sale. Nor is he making some kind of statement against money, per se. Objects of Power, a six-year project, was created as a reminder that Native art has a purpose beyond decoration, beyond the kitsch that litters tourist shops throughout the Southwest. Rather, the exhibition hopes to re-focus and “reawaken” viewers, granting them a new perspective on the environment, as Western society has become increasingly distanced from the world that surrounds us. This is not a new theme for Haozous, and the artist’s sense of urgency has never waned. He is outspoken about his views, and his art has always contained strong messages. “At a certain point I began to realize that if things go as they are, children are going to have to live in an artificial environment because they won’t be able to breathe the air or they won’t be able

Installation view

to tolerate the sun or they won’t be able to drink the water or use the land,” he said in an interview with Larry Abbott,.“We’ll accept the artificial over nature any day now.” Haozous, an accomplished sculptor, has participated in the Venice Biennale, and his work is in the collections of museums worldwide.

Rose B. Simpson: A Life Worth Living Chiaroscuro, 702½ Canyon Road, Santa Fe. 992-0711 Friday, August 10 through Saturday, September 8 Reception: Friday, August 17, 5 to 7 pm. The multi-faceted Rose B. Simpson isn’t even thirty yet, but her work has already captured Santa Fe’s imagination. Last year, THE magazine featured Simpson’s first major show after completing her M.F.A. at the Rhode Island School of Design— Thesis at Chiaroscuro—which our reviewer called “deeply effective” and “cerebral.” In this show, the artist expressed elements of her Pueblo heritage, as well as her more European influences. One year later, the gallery is featuring Simpson’s work again, and her art has evolved in such a way that it’s worth a second, careful look. A Life Worth Living is Simpson’s attempt to quietly accept the experiences and emotions she habitually channels into her work. Simpson’s primary element is clay, but her ceramic work goes far beyond the traditional expectations of pottery. She is fearless with her use of other media, using found objects and fabric to enhance her work. The result is edgy, otherworldly, and thought provoking.

44 | THE magazine

Installation view

| august 2012

MONROE GALLERY of photography

PEOPLE GET READY The Struggle For Human Rights

Ken Regan: Women's Liberation March, New York, August, 1970

Exhibition continues through September 23 Open Daily

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


Annual Pottery Show | Friday, August 17, 2012 | Preview 8:00–9:45 am | Sale 10:00 am Blue Rain Gallery | 130 Lincoln Avenue, Suite C | Santa Fe, New Mexico 87501 | 505.954.9902


Crow War Pony by Ksennard Real Bird


Over three hundred years ago in Santa Fe, the Pueblo people were held under Spanish colonial rule. After watching their religious leaders tortured and hanged, the Pueblo people rose against the Spanish colonial leaders in what is now called Popé’s Rebellion, capturing Santa Fe and forcing the Spanish settlers to retreat. In their haste, the settlers left about 1,500 horses behind, horses that became the forebears of the tribal herds trained and used by American Indians across the nation. The Pueblo people traded their horses with the Navajo, Ute, and Apache tribes. Soon, horsemanship became a way of life for American Indians. Horses were immensely valuable for transportation and for war, equal to the worth of ten guns or eight buffalo robes. Naturally, horses were incorporated into American Indian arts and crafts. Now at the Smithsonian’s National Museum of the American Indian, in Washington, D.C., an exhibition entitled A Song for the Horse Nation showcases a wide range of art and objects inspired by the horse’s presence in American Indian life, including intricately beaded saddle blankets and a sixteenfoot-tall tipi from the 1800s, on which a hundred and ten brightly colored horses are painted. The exhibition runs through January 7, 2013, at the National Museum of the American Indian, Fourth Street and Independence Avenue Southwest, Washington, D.C. D

| august 2012

THE magazine |47

ROBERT NICHOLS GALLERY s a n ta f e historic , classic and innovative native american pottery

Left to right: Alan E. Lasiloo, Diego Romero, Glen Nipshank, Virgil Ortiz

indian marKet events classic to contemporary, pueblo pottery by master artists from King Galleries of scottsdale Wednesday, august 15, visit with charles King 2:00 pm - 4:30 pm native modern, works in clay by diego romero, Glen nipshank and alan e. lasiloo thursday, august 16, reception 4 – 7 pm 419 canyon road, santa fe, nm 87501 | 505.982.2145 | |

Diego Romero



R ichard P olsky

indigenous creatures, such as hares, Gila

By doing so, you get a sense of how the work

monsters, and tortoises. Mimbres artists,

is aligned with nature, drawing strength from

who some anthropologists believe were

the Southwest’s remarkable physical beauty,

“Did you hear the good news?” asked Cara

of Design in Los Angeles, where he earned his

exclusively women, also lined the rims of their

and the mysterious spiritual undercurrent

Romero. “Diego’s now in the collection of the

BFA. During the 1990s, Romero found himself

bowls with tight geometric patterns. These

that runs through it. There’s also the region’s

Met!” She was referring to the Metropolitan

in the graduate program at UCLA, studying

vessels possessed a timeless beauty, looking

vast cultural history. Anyone who has visited

Museum of Art in New York City, often called

under the highly regarded ceramicist Adrian

as fresh and original as anything by Ken Price

the Taos Pueblo, Georgia O’Keeffe’s home in

America’s Louvre. Diego Romero had reached

Saxe. From day one, there was a clash of wills

or Arlene Shechet. Romero’s breakthrough

Abiquiu, or Santuario de Chimayo, has a far

the acme of success as a visual artist. It had

and personalities between student and teacher.

was to appropriate the Mimbres format. He

better chance of understanding the art that

been a long haul: from coming “this close” to

According to Saxe, an object wasn’t a work

illustrated his bowls with images lifted from

comes out of the area.

being thrown out of graduate school at UCLA

of art unless it was grounded in some form of

life as a contemporary Native American

With that in mind, Romero invited me

to being included in the permanent collection

intellectual bedrock. Though it was obvious

that reflected his wry sense of humor and

to watch him participate in a traditional Corn

of one of the world’s great museums.

to Saxe that Romero possessed the technical

irony. One of his classic bowls depicts a male

Dance, during the summer of 2011, and

But that’s getting ahead of the story.

chops, he felt he was intellectually lazy. Worse,

Indian out on the golf course. The figure’s

I enthusiastically agreed to come to New

Diego Romero was born in 1964 and

Saxe accused him of making “Santa Fe” art. It

hair is pulled back in a traditional bun—what

Mexico. When I arrived at the Cochiti

grew up in Berkeley. His mother was white,

got to a point where he told Romero that if he

Romero refers to as the “Chongo-look.” As

reservation, about an hour’s drive from Santa

his father was a Cochiti Indian, and both were

didn’t step it up a notch, he could forget about

the golfer is about to tee it up, you’re struck

Fe, the dance was already in progress. At the

well educated. As a youngster he was a typical

seeing his master’s degree.

by the comical nature of an Indian trying to

time, the Los Alamos fire was continuing to rage

kid who enjoyed sports and liked to read comic

Something clicked. Romero dug deeply

play a white man’s game. As Romero once

in the distant forest and hills. Ninety-degree

books. Soon, he began to draw his favorite

into his Native American heritage and

said during an interview, “I like to chronicle

heat and a smoky haze hovered over the town

superheroes, displaying a sense of draftsmanship

discovered the wondrous pictorial ceramic

the absurdity of human nature and there’s

square, creating a slightly spooky atmosphere—

that was already startling. As his natural artistic

bowls of the ancient Mimbres people, who

nothing more absurd than an Indian playing

it felt like it could have been a century ago.

ability continued to develop, Romero decided

flourished one thousand years ago in the

golf.” He continued, “Most pueblo pottery,

Perhaps two hundred dancers, male and female,

to pursue a career in art. He attended the

Mimbres Valley, located in the southwest

the historic stuff and even the contemporary

began to snake through the dirt, propelled by

Institute of American Indian Arts in Santa Fe

corner of New Mexico. Their pottery was

work, addressed a dialogue with fertility, rain,

chants and a circle of drummers. Then I spotted

for one year, moving on to Otis Parsons School

decorated with stylized human figures and

growth, and animals associated with that,

Romero. He was stripped to the waist, covered

M y di a l o g u e cent er s ar ound t h e co m m o di f i ca t i on of Ind i an l and , w a t e r, a l co ho l i s m … whereas my dialogue centers around post-

in green paint, adorned in necklaces, and sported

industrialization, the commodification of Indian

a small evergreen tree branch protruding under

land, water, alcoholism….”

each armband and ankle band. Sweat poured off

It’s this dichotomy of trying to retain his

his body as he labored to keep his dancing strong.

Indian roots while being an artist very much

I barely recognized him. He had morphed from

of his times that gives his work its edge. Like

a hip contemporary artist to a mystical shaman

Fritz Scholder and T.C. Cannon, who set the

from days of yore. The transformation was

table for contemporary Native American art,

remarkable. Suddenly, I understood his art. D

Romero isn’t afraid to tell it like it is. He feels a responsibility to comment on life’s social issues. Romero completed a number of bowls

Richard Polsky, a private art dealer and author of The Art Prophets, is based in Sausalito. He can be reached at

that made references to concerns as varied as the AIDS epidemic, repatriation of Native Indian bones from ethnographic collections to their rightful place in tribal burial grounds, and rampant alcohol abuse on the reservations. The writer and Navajo blanket expert Joshua Baer, whose One Bottle column appears in THE magazine, explained to me that in order to truly understand Native American art you have to walk the land where it was created.

photograph by Anne Staveley | august 2012

THE magazine | 49

The Andrew Smith Gallery, INC.

M a s t e r p i e c e s

o f

P h o t o g r a p h y

Zig Jackson Native Veterans August 10 - 31, 2012

Zig Jackson, Rocky Boys, 2001

Special reception for the artist Saturday, August 18 from 2-5 p.m.

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

The Andrew Smith Gallery celebrates Indian Market in Santa Fe with Native Veterans by award-winning Mandan/Hidatsa/Arikara photographer Zig Jackson.

• 505.984.1234 •


In Alien Hands:

The Zig Jackson Interview

The American Indian has quite literally ­been wiped off the map. At by

Carlyle Schmollinger

the time of the early colonists, tens of millions of indigenous peoples occupied North America; a fraction of that number remains.

The contrast between the native peoples of the land and their European counterparts has been emphasized and exploited throughout the centuries. The American Indian has become an object at which tourists, government officials, and ignorant bystanders gawk. Photography is the leading force behind this phenomenon. In the hands of those in the white majority, the camera adopts a new identity—it becomes a manipulator, portraying long-held stereotypes. The photographic relationship—or rather, abuse—imposed by whites onto Native Americans is that of predator and prey, respectively. Zig Jackson, an American Indian of Mandan, Hidatsa, and Arikara descent, exposes the inhumanity portrayed not only toward his culture but toward all tribes and persons of American Indian descent. Jackson captures the stark and unsettling reality of Euro-American relations with those whose country they overtook. An exhibition of photographs by Zig Jackson will be on view at Andrew Smith Gallery, 122 Grant Avenue, Santa Fe, from Friday, August 10 to August 31. Reception: Saturday, August 18, from 2 to 5 pm.

o nn tt ii nn uu ee dd o o nn pp aa gg ee 55 20 cc o

|| august august 2012 2012

magazine||51 5 THE THEmagazine

TM: The reasoning behind the series Indian Photographing Tourist Photographing

it in San Francisco, one under the title Indian Man in San Francisco. Did you get

Indian? ZJ: Ever since I was young, tourists would come to the reservation to take

comments from people when you were walking around? ZJ: I got a few comments.

photographs of Indians, and as I got older wherever I would travel I would see people

But it was San Francisco, so people thought I was just another crazy person. But that

taking pictures of Indians. So, I started taking pictures of tourists taking pictures of

whole series—Entering Zig’s Indian Reservation—is about reclaiming the land, taking

Indians. It wasn’t spite—it was done just to see what they were shooting. Before that,

back what belonged to us.

I did a series called Indian Photographing Tourist Photographing Sacred Sites. I traveled the country taking pictures of sites that were sacred to Native Americans. I would

TM: Do you consider yourself an artist? ZJ: I do fine art. I have a Holga camera in my

see tourists at Native dances, and then I would take pictures of the tourists taking

car and I use a Hasselblad to make pictures. If I see something artistic on the side of

pictures of Indians. I use that body of work in my classes to talk about the sacredness

the road, I’ll take a picture of it. I consider myself more an artist than a photographer.

of photography—just because you have a camera, it doesn’t give you the right to shove it in someone’s face.

TM: So when do you actually go out and photograph since you are a teacher at the Savannah College of Art and Design? ZJ: After school is out, I pack up my van and

TM: Do you consider your work to be political? ZJ: I’m fine with being called a political

head across the country, stopping at reservations, power plants, and various Native

artist, although I don’t buy into labels, so I won’t lose any sleep over it. People always try to

American sites. If I get a photograph, that’s fine; if I don’t, that’s fine too. I have to

put me in the category of a political artist. I don’t see myself as a political artist, but more

respect the people and the land. You have to know about a culture before you go on

as a teacher. I want people to learn. There is a political undertone to my work, and that’s

their land. Stereotypes are what I try to break. My photographs are real. There have

okay, but my main thing is to teach. I’ve become more political in my work in the sense

been these stereotypes made of us—like Indians always have stoic faces.

that I’ve become more environmental. I will take my war bonnet and photograph myself sitting next to a power plant. On my Website there is an image of me sitting next to the

TM: Reminds me of Edward Curtis. ZJ: Oh yes, Curtis. Definitely. And it is from

Kennecott Copper Mines. In that respect I’m becoming more political.

Curtis that Hollywood draws its ideas about Indians.

TM: Speaking of your war bonnet, there are also images on your site of you wearing

TM: I’ve been thinking about what it means to be a part of a culture. Being white, I

Because you have a camera, it doesn’t give you


don’t really feel that I have a culture—or at least I don’t know what it is. I have a close

landscapes, his ability to bring me back to life and keep me grounded, and for his love

friend who is Mexican and she is so into her culture. I feel like it’s the same for Native

of the land. I also like Lee Miller because of her beauty, her strength, and what she had

Americans—there is so much to be proud of. ZJ: Of course you have a culture. You find

to endure as a woman trying to make it in photography. Berenice Abbott, Dorothea

culture wherever you are. It is not just who your ancestors were. You are a student in

Lange, Diane Arbus, Nan Goldin, Francesca Woodman, Jack Fulton, Hank Wessel,

a university—that is a culture. You are from the Bay Area—you are an urban American.

Ann Chamberlain, and Jock Sturges—these people are all great mentors. I could go

Cultures are a proud thing to have, whether it is Native American, Irish, French,

on and on. I also love a great many painters besides many photographers.

Mexican, or whatever. Everyone has a culture and they should be proud of that culture. TM: How do you feel about white people who want to do what you do? In other words, TM: You went to a boarding school as a child. What was that like? ZJ: The boarding schools

those who want to learn about Native American culture and various tribes and take

were awful. They were like concentration camps. They used religion to break down our

photographs. Should they? ZJ: More power to them. Who said I have to give permission

culture using the divide and conquer technique. A lot of child molestation happened at the

to everyone to shoot tribal peoples? I am just a person who loves to take pictures who just

school. Priests did bad things to tribal people. And then I was shipped to the Intermountain

happens to be a Native American. The number one thing a photographer has to remember

School, in Utah, which was much better. It was a tribal school, and that’s where I really

is that we’re educators.

learned about Native Americans. Everyone had stories about where they came from. We all experienced the same thing; there was a spirituality shared among us.

TM: Meaning? ZJ: Meaning that we educate people about culture. A photographer always wants his images to be seen—“Hey, look what I photographed!” We are

TM: Who do you look to for inspiration? ZJ: I was influenced greatly by my peers

educators. We teach people by what our subject matter is. People need to learn

and by my photography instructors: Tom Barrow for his way of pushing the limits

about the Native Americans, and who better to show them than photographers?

with photography, Betty Hahn for non-silver techniques, Linda Connor for her way

It doesn’t matter what race you are. If you do your craft with dignity and respect you

of teaching me to stand up for myself, Rod Lazorick for being raw on his subject

should be free to take pictures of any culture. D

matter, Patrick Nagatani for his love of his culture in picture taking, Joel-Peter Witkin for his craziness in subject matter and for not backing down, and Ansel Adams for his

Carlyle Schmollinger studies Art History and Curatorial Studies at Brigham Young University.

the right to shove it in someone’s face

| august 2012 | august 2012

THE magazine | 5 THE magazine | 53


“Flying Fish,” Monumental sculpture, 17’ tall, 3 tons


“Anastasis” (“Resurrection”), Terra Cotta, 17 3/4” x 16 1/2” x 3 1/2”

“School of Fish,” Italian Alabaster, Belgium Marble, 27” x 24” x 24”

Born in France in 1948 in an artistic and culturally rich environment, Girault came to the united states in 1973 and currently resides in santa Fe, new mexico. Girault’s involvement with “les Beaux arts” is part oF his early upBrinGinG. le louvre, l’oranGerie, and le Grand palais in paris were his playGrounds. Girault is a selFtauGht artist who has studied the classics, as well as the latest avant-Garde art masters oF our time. his sculptures are in national, international, private, and many corporate collections.

“Christ on the Cross and his Two Angels,” Bronze, 13” x 11 2/3” x 1 1/2”


Joan Watts: poems and more “From yet another vantage the search for abstraction, the means to communicate that which is otherwise impossible to project, has come full circle: the inchoate abstraction of the Symbolist generation now reappears in the paintings of contemporary artists, who have so thoroughly absorbed lessons drawn from the history of nonrepresentation as to make the issue of abstraction less poignant.” —Maurice Tuchman, “Hidden Meanings in Abstract Art,” from The Spiritual in Art: Abstract Painting 1890-1985

I often go back

to the book The Spiritual in Art: Abstract Painting 1890-1985, and not always for the same reason. This is a profoundly important piece of scholarship about the development of abstract art. Supported by its wealth of images, it delves into the nature of our evolving consciousness and, by inference, the nature of our longing to circumvent our ties to the material world and yet make visible and comprehensible

Joan Watts, Untitled 22, oil on canvas, 36” x 36”, 2011

what is essentially an intangible aspect of our being. Or, if not to circumvent matter, then at least to open it up so that form yields its endless digressions about the power and the gravitas of formlessness. The Spiritual in Art is like a passport to realms of speculation about what lies inside the visible—what we have for thousands of years projected on the interior, porous membranes of our freely associating minds. You could think of this book as an atlas of relationships concerning our experiences of the world juiced by our imaginative interpretations of what lies in the realms of the unknown. In trying to find my particular relationship to Joan Watts’ new body of work, poems and more, I needed to lay some groundwork to understand these extraordinary paintings whose eloquence is both complete and self-assured in each image, and yet each work is dependent on the whole; I would almost say severely dependent. Theoretically speaking, could you pull one painting out of this exhibition

Charlotte JaCkson Fine art 554 south Guadalupe street, santa Fe without some kind of conceptual collapse? Yes and no. Let me put it this way: This work is analogous to the act of breathing— an involuntary process where each breath, whether shallow or deep, is inextricably linked to an ongoing vitality. You can’t say “I won’t breathe for ten minutes and then will begin to breathe again as if nothing has happened.” Short of a miraculous intervention, you are not going to be able to pick up where you left off. Breathing must go on regardless of what tricks our mind thinks it can play on itself. So it is as if each of Watts’ paintings inhales and exhales in a continuum that both radiates an intense and meaningful beauty and is utterly indifferent to our individual concerns for beauty or even our own truths about the nature of reality. How then does one locate oneself in this work? As abstract paintings, Watts’ images are immensely satisfying in the understated rigor of their making—in the way they follow a certain order in their

conceptual underpinnings—as if we are witness to the vibratory nature of thought itself. If one looks closely at each painting, the brushstrokes assume the appearance of waveforms, and these waveforms suggest that matter is always in motion, just like our minds. But just when you think you begin to understand the artist’s wavelengths, you are back where you started—at the bottom of a well looking up at the light. Actually, the experience of being at the bottom of a well was my second reaction to poems and more; my first response was that I was looking at representations of a lunar surface or that of some other celestial orb. Watts’ extremely subtle color modulations create a sense of dimensionality, as if she had carefully studied photographs of the moon, but it’s an embodiment that quickly transitions into a dematerialization—matter seems to disintegrate into a series of visualizations of altered states. These paintings are not images of runaway psychedelic explosions, however, but the kind of psychic retrieval that comes from years of practicing meditation, of looking inward by way of the art of selflessness with all its oscillations between being and nothingness. Yet, there is another level operating in this work: that of producing abstract art for its own sake and discovering what new revelations abstraction can give us regardless of our interest in Watts’ private spiritual path. What makes these paintings especially poignant for me is that they provide one more sampling of incarnation. Because that is what abstraction is all about— making incarnate some idea, some association of one thing to another. This obviously could mean an infinite number of explorations—into color, for example, or the distillation of emotional states into some kind of visual space. And that is why contemporary artists have uncovered more, not less, poignancy in their honest search for equivalents to what it means to be alive in this particular web of time and space—more fraught than ever with complexity and the possibility of emergent orders of behavior drifting up from the bottom of every well of consciousness. Trying to reach the light, you realize that making art is, as Robert Frost wrote, “a momentary stay against confusion…. A backward motion toward the source….”, a source we can only hint at with our abstractions, make vague references to, or suggest by our oblique stabs in the dark.

—DianE armiTagE

THE magazine | 55

Nic Nicosia: In





James Kelly Contemporary 550 South Guadalupe Street, Santa Fe

Nic Nicosia doesn’t take pictures, he makes them. For his latest body of work, In the Absence of Others, the Santa Fe– based artist assembles small, diorama-like settings and adds chalk-white clay figures in alternately playful and sinister postures. These peculiar little tableaux, imbued with shafts of stark light or obscured shadows, are photographed in black-and-white. The works are hung salon-style in James Kelly’s sleek gallery space, which helps to temper the severity of the presentation’s color scheme. Nicosia’s figures feature outsized hands and clumsily large feet, but despite their ghostly pallor and disproportionate appendages, they are indubitably anthropomorphic. Their bald pates and cartoonish bodies, not to mention their placement in theatrically appointed sets, give them the look of clay animation characters resting uneasily between takes. Nicosia conveys a curious sense of space and place with the works, and initially it’s hard to determine if they are life-size or miniature. The figures, all of which appear to be male, are mostly alone, and posed in deliberate, outgoing stances or captured in moments of meditative calm, as though preparing for a religious ceremony or ritual. Nicosia cleverly manipulates his light sources, creating bluntly effulgent spotlights and contrasting areas of darkened, shadowy patches. Accordingly, his spaces are charged with a subtle, buzzing energy—like the uncomfortable white noise between radio stations. In Twins, two clay figures stand back to back, each one with its left arm outstretched and pointer fingers extended. What’s really striking about the picture, besides an abrupt cropping that excludes the figures’ heads, is its staging. The composition clearly takes place on a stage of some sort; the clay people cast shadows onto a draped curtain behind them, and the viewer’s perspective is that of a first-row member of a theater audience—dramatically thrust upward. The work is deliberately artificial, yet intimately, cinematically narrative. An overhead light shines down onto a round-bellied little figure in And the Ego Goes Where. The character has his head cast down, his feet together, and his hands clasped behind his back in a poignant posture of submission or subservience. Encircling him is a fence-like array of sticks or spikes. Other works are more pointedly suggestive of unrest or loneliness. The spare setting of The Illusion of Wistful Thinking looks like

it was photographed from inside a plywood box. One wall of the box features two cleanly drawn geometric forms. To the left, a figure sits across from a detached head in profile, identical to his own but humongous in scale. The only light source comes from behind this head, which casts a long shadow across the scene. The composition feels like a cross between a dream and a nightmare. Perhaps it speaks to our culture’s emphasis on individualization and our corresponding isolation and deepening need for human relationship and interaction. There is a sense of anxiety present even in works that are less demonstrably melancholy: a sense that the artist is working through something. In the center of the gallery, charcoal cloth is suspended in front of a large display containing half a dozen clay figurines, some of which are recognizable from the photographs. By putting them behind a veil, Nicosia creates a space that’s only semi-accessible to the viewer. Background music, which Nicosia himself composed, performed, and recorded to accompany the work, adds additional drama and makes a fascinating companion to the work. As a whole, the exhibition achieves a transformative atmosphere one associates with a good film. In fact, the individual works are like paused movie scenes—little vignettes full of intrigue, with the enigmatically romantic undertones of a Fellini film. The proliferation of social media in our culture has been accompanied by a staggering increase in image sharing. We are at a unique point where anyone with a camera or smartphone can take pictures and immediately share them with an audience. In the midst of this democratization of photography, though, we also live in a time when Cindy Sherman’s recent retrospective of photographs at MoMA garnered breathless media attention. Nicosia’s interest for some time has been on the subtle and slow—the sober and serious. But he also has an unexpectedly dreamy approach, whereby he’s able to effectively suspend reality for his audience. The little figures that populate his work are certainly unusual, but despite their strangeness they retain a distinctly human quality. The settings they inhabit don’t exactly seem real, but they are jarring and sometimes uncomfortable in the way that only the most lucid dreams can be.

—Iris McLister

Top: Nic Nicosia, An Illusion of Wistful Thinking, archival inkjet print on watercolor paper, 24” x 36”, 2010 Bottom: Nic Nicosia, And the Ego Goes Where, archival inkjet print on watercolor paper, 40” x 27”, 2010


Judy Chicago: ReViewing PowerPlay David Richard Gallery 544 South Guadalupe Street, Santa Fe

The exhibition

title invites us to ReView Judy Chicago’s PowerPlay, but for many of us it’s our first time. Originally exhibited in New York City, in 1986, and greeted with silence, the works—with only a few exceptions—have been stored in Belen, New Mexico, ever since. Created between 1982 and 1986 in a gallery on Santa Fe’s Canyon Road, PowerPlay is at once protest art and message art. “I use the male body to critique masculinity,” Chicago explains. It was the beginning of her visual dialogue about how men act and an exploration of their negative use of power. This at a time when there were few gender studies and no queer theory. But it is not unusual for Chicago’s work to take decades to be understood. The works in the PowerPlay series include paintings, drawings, weavings, bronze reliefs, and cast paper. The show at David Richard Gallery presents twenty-six of these works. Many of the paintings are massive to convey the massive aggression, massive anger, massive destruction exhibited by Chicago’s male subjects. The largest painting is nine feet by twenty-two feet, and the main gallery’s huge white walls and excellent blend of natural and artificial lighting are perfect to emphasize Chicago’s luminous over-the-rainbow colors. Six of the works on paper are displayed in the gallery’s intimate viewing room by the front entrance. The lithograph Rather Rage than Tears (2009) frightens both in its likeness to George W. Bush and in the way Chicago

portrays rage as the easier, more natural emotion for the depicted figure. In the Shadow of the Handgun (1983) frightens in a different way. A large painting displayed in its own giant alcove, the work presents a muscular, prismatic man and his blue shadow. His right index finger is a gun that has just fired blood and smoke, which blends into the smoke from the shadow gun. What is frightening is that the man is not looking at his target; he is looking at his perpetrating hand. With determination? With disbelief? No, with pride. Woe Man 1 (1986) is a lost wax–cast bronze bas-relief. The figure’s upturned face exposes a vulnerable throat lined with what could be muscles, wrinkles, even labial folds, as one scholar suggests. There is despair in the blue eyes. Stand to the left and this individual has given up. From the right, the figure appears even more tortured. And since wrinkly old women often look like old men, perhaps she is. Woe Man with Blue Eye #9 (1986) introduces a different element of power. Here Chicago used sprayed acrylic and oil on handcast paper. The blue eye in this case refers to the figure’s right eye. The eye itself is not blue, but Chicago has traced around it with the same vibrant blue that she uses in nearly every work in PowerPlay. The resulting outline creates the head of a hawk or an eagle overlaid onto the figure’s face. In Disfigured by Power 1(1984) it is hard to find the disfigurement. This man looks like every boss I’ve ever had, male or female. Chicago frightens me with how completely normal her subjects’ emotional extremes seem.

Bottom: Judy Chicago, Rainbow Man, sprayed acrylic and oil on Belgian linen, 108” x 252” 1984

| august 2012


Have we become so used to violence and abuse that it now appears normal, almost natural? Chicago’s triptych Rainbow Man (1984) anchors the exhibition. This man presents us his gift of a rainbow, and its colors whirl around the gallery in nearly all of the other works. Gallery owner David Eichholtz, with Chicago’s blessing, arranged the art so that we are enveloped in this rainbow effect. After generously presenting the rainbow—an offer of love—in the left-hand panel, the center panel shows the man defending himself against the emotion that flows back to him. By the time we reach panel three on the right, he is overwhelmed and repulsed by the reciprocity. Chicago’s critical images of men in PowerPlay grew out of her own frustration with

how men act and what male power does to the world. Her use of the heroic male nude evolved from her first trip to Italy in 1982. “I think through making art,” she says. “I did think my way out of anger and into empathy.” For many of the paintings she used Belgian linen and a special gesso that would show the linen. They are under-painted with sprayed acrylic and over-painted with oil paint, not a medium she normally uses. At the 1986 exhibition, PowerPlay may have been misunderstood or perhaps arrived ahead of its time. Today Chicago’s imposing male figures and opalescent colors tempt us to say that this disturbing subject matter is beautiful. But how can we?

—Susan Wider

Top: Judy Chicago, In the Shadow of the Handgun, sprayed acrylic and oil on canvas 108” x 144”, 1983. Photos: Donald Woodman

THE magazine | 59

Ice Cream Social & Silent Auction

Sunday, Aug 26, 1-4:30 pm Eldorado Community Center “All You Can Eat” Ice Cream Silent Auction Under the Big Top Music “The BEST Family Event of the Summer”

Tickets available at the library 14 Avenida Torreon Visit for more information

or call 505-466-7323


Robert Kushner: Wildflowers/Garden Flowers

In 2004, Robert Kushner wrote, “Don’t carrot sticks look more inviting when framed by a nipple? And what about a glimpse of hair behind the mesh of a hot-dog apron?” Nowadays, food seems to have lost its eroticized quality, with dining relegated to a sterile void while fingering long-stemmed wine glasses amid candlelight is ancient history. Yes, cold, bagged baby carrots are devoid of sensuality, even if they are organic. But there was a time when Kushner tried blending food and sensual pleasure together. In 1972, he created costumes that hung like sides of beef on gallery walls before having models come out and dress. “The biggest surprise,” wrote Kushner, “was the shock of placing a thoroughly-chilled ensemble over my nude torso.” After a parade of fashion and culinary narration, the performers

turned to eating, in what sounds like an orgiastic performance. Suckling the fibrous filaments of a fellow string bean cummerbund is perhaps a shocking exaltation of the private as public—or public as private. Kushner’s career—from an animate Bacchus to the decorative gilded artichoke in Artichoke Apotheosis, to August Wildflower Convocation at Bellas Artes—reads like an ensemble of still lifes (or permutations of fiber). The clusters of cornucopia from the days of yore, full of fruits and flowers, were beautiful because they were short-lived, just like performance art. August Wildflower Convocation presents a seventy-two-by-seventy-two-inch canvas loaded with lush, feral botany sprung from the center of some watery blue surface. Kushner’s painting imparts an elegant rusticity, where the viewer is thrust into Arcadia worshipping the sultry and

animalistic Pan. The still life is as pleasurable as ever in August Wildflower Convocation with its deep, maritime blue and washed white that feels moist and fluid. A sprinkling of actual plant matter is hidden beneath the paint, and the little bits of roughness are a whispering of mythos that litters an otherwise earthen surface. Kushner paints a tangled array of colors and shapes shooting up vertically. The image is a meeting of wildflowers that celebrates them as if flowers weren’t allowed to be wild. They parade like a Victorian tomboy, appealing and deliciously unruly. In Kushner’s consistent tango with the feminine, he crocheted with his mother, called upon serious menu planning and preparation skills normally suited for large dinner parties for his performance art, and invoked flower arranging to prioritize the hearty and delicate foods for his sartorial endeavors. He was a founder of

Bellas Artes 653 Canyon Road, Santa Fe the Pattern and Decoration movement, and his current work looks delicately nurtured by knowing hands, which reproduce the subtleties of bamboo stalks and peony petals with the kind of learned apprenticeship undertaken by a sushi chef. Indeed, Kushner copied Japanese screens and textiles for almost forty years so it’s no surprise that his current show at Bellas Artes inspires the delicate ethereality found in Japanese screens. In 2005, Bellas Artes presented a whole show of antique screens repainted by the artist with his signature flowers. Although readily available at places like Hobby Lobby, the Japanese screen still holds an allure like that of French perfume. At once a tool for concealing and revealing, the imposition of its stretchedsilk panel holds inherent in its placement the sequestering of the private. Japan’s celebrated first novel, The Tale of Genji, narrates an epic tale of romance that just would not work without the mystery inherent behind the Japanese screen. In Pink Camellia Sutra, six yellowing antiquated pages are filled with Sanskrit text and arranged in two columns. Unbound and rejoined side by side, the repurposed pages cascade fold after fold. As if silhouetting the mere wrist of a lover, Devenagari Script provides a thin base for the outline of a powdery pink camellia. It’s impossible to ignore the reference to illuminated manuscripts with the decorative gold leaf and oily brush strokes that seep luxuriously into the paper. Pink Camellia Sutra privileges the Sanskrit sutras of eastern religion over biblical and indeed Western narrative. The pink flower and the sutras become elements among many with line, color, gold leaf, and image uniting to form something akin to a textile. This brings us back to the beginning— the still life as drapery. Kushner successfully fashioned a sardine and anchovy necklace atop a Jewish rye bread mini-vest. He covered the nude with “clothes” that will rot in a humorous punch at the fashion industry but it’s the textiles he designed and painted that could offer lasting carnal cover. Indulging in pastimes that still celebrate the feminine, Kushner is a master of bringing the domestic and the private out of seclusion. Whether it’s eating grapes off of Dionysus, weaving textiles, or repainting Japanese screens, the artist has no fear of the intimate and pleasurable. Kushner reminds us of how good it feels to linger, admiring a peony’s petals or fingering the stem of our wine glass. Even if we, like the still life, will rot away, Kushner provides a sequestered moment. Complete with antiquated book interiors, Shakespeare, musical notes, dead Eastern languages, used Parisian metro tickets, and enough gold leaf to make even plant fiber sacred, Kushner’s latest works brave the world as tousled beauties that speak of age and wisdom.

—Hannah Hoel Robert Kushner, August Wildflower Convocation, oil and acrylic on canvas, 18 1/4” x 27”, 2012

| august 2012

THE magazine |61

THE-MartinCary:Layout 1


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Santa Fe Art Institute Award-Winning Author Courtney E. Martin & Design Activist John Cary Mon 8/6, Lecture/Reception, ‘Design Stories: Beginning, Middle, (No)End’ 6pm Tipton Hall/SFAI Mon 8/13, Workshop ‘Feminism in the New Media Landscape’ 6-8pm Tipton Hall August Open Studio. Thurs 8/23, See what our August Artists and Writers in Residence are doing in Santa Fe, 5:30pm SFAI Dancer/Choreographer Rulan Tangen Mon 9/10, Lecture/Reception, ‘The Dance of Waters’ Sat & Sun, 9/8 & 9 Workshop, ‘Of Bodies Of Water’ WWW.SFAI.ORG, 505 -424 -5050, INFO@SFAI.ORG. SANTA FE ART INSTITUTE, 1600 ST.MICHAELS DRIVE, SANTA FE NM 87505 | SANTA FE ART INSTITUTE PROMOTES ART AS A POSITIVE SOCIAL FORCE THROUGH RESIDENCIES, LECTURES STUDIO WORKSHOPS, EXHIBITIONS, COMMUNITY ART ACTIONS, AND EDUCATIONAL OUTREACH FOR ADULTS AND YOUNG PEOPLE. SFAI IS AN ENVIRONMENT WHERE CREATIVITY, INNOVATION, AND CHALLENGING IDEAS THRIVE. PARTIALLY FUNDED BY CITY OF SANTA FE ARTS COMMISION AND 1% LODGER’S TAX AND BY NEW MEXICO ARTS, A DIVISION OF DEPARTMENT OF CULTURAL AFFAIRS

FORREST MOSES painting for sale by private collector

Carmel by the Sea, 1960 3’ x 5’ , Oil on Masonite FORREST MOSES produced this oil on masonite board painting while visiting in Carmel. This painting is in its original frame. Santa Fe critics have deemed it “Stunning.” $95,000 or best offer. Seller will pay for delivery to any of lower 48 states. Contact 434-250-2176 or


James Havard: Staying Ahead

James Havard’s

July exhibition at Zane Bennett Contemporary Art served as a striking retrospective, presenting two of his greatest periods as an American artist of consequence in the late twentieth century. The 1980s saw Havard rise to prominence as the Abstract Illusionist painter—a movement that emerged in New York during the late 1970s— while the nineties gave way to his darker and more introspective mixed-media assemblage boxes. The chief advantage of this two-part show, with large paintings from the eighties downstairs and the smaller box pieces upstairs,

of the


lay in how it brought to light art-historical references from Robert Rauschenberg’s combines to Willem de Kooning’s astonishing use of color and his seemingly raucous (though, in actuality, carefully considered) application of paint to canvas. Rauschenberg was willing to use just about any object to make art; his combines are three-dimensional paintings that display an extraordinary sense of design. Havard’s works demonstrate an equally flawless attention to the elements of design, with Hulk-like strength in the use of color and composition. One of Havard’s greatest talents is his ability to handle paint as if it were

Zane Bennett Contemporary Art 435 South Guadalupe Street, Santa Fe something solid to be picked up and placed on the canvas—a feat that stemmed from the movement he claims to have invented. In these paintings, Havard squeezed lines of pigment straight out of the tube; next, a shadow inserted below the line or blob of paint causes it to appear to float atop the canvas—a neat bit of trompe l’oeil responsible for the “illusion” of Abstract Illusionism. The exhibition in the downstairs gallery is a glorious display of large canvases in this vein. De Kooning–esque, they are lush, ripe, and pretty as peaches just off the tree—and as blatantly sensual. The whites and pinks and iridescent blues and greens ooze

sex appeal, while Havard’s content is always intellectually satisfying. Viewing his paintings from forty years ago is a delight; a visitor cannot help but conclude something along the lines of “Damn! This guy is one helluva a painter.” The joy of mastery over medium is evident, and a sheer pleasure to witness. The canvas Posted Mimbres Forest, from 1987, is a prime example of Havard’s aptitude for using color as a tool in a surprise attack on would-be skeptics. Sharing space with artworks of this caliber is as exhilarating as it must have been to stand, gooseflesh and all, onstage while Luciano Pavarotti belted out an Italian aria. Havard moved to Santa Fe in 1989, a change that prompted experimentation in his art. Long a collector of prehistoric indigenous objects, he began to generate a more “primitive,” drawing-based style that articulated his romance with the anthropology of the Southwest. The boxes in the upstairs exhibition are a product of this move; they reference ancient Apache cradleboards as much as they do art history in general. In 2006, at the peak of his career, Havard suffered a lifethreatening stroke, collapsing after his opening reception at Allan Stone Gallery. Since then, he has slowly recovered to the point that he can use his damaged right hand to create paintings that are “figurative.... They’re just me. I’m trying to paint from that, my way of drawing, my way of painting.” His earlier, pre-stroke shapes had been called “paint people,” and recent work evokes that same scratched-out scrawling feel of the marks made by Jean-Michel Basquiat. Havard has said that he admires the work of Antoni Tapies, Cy Twombly, and Kurt Schwitters; he cited Joseph Beuys as “one of my favorite artists of all time.” Havard’s work retains signature traces of that ineffable something inherent to being human, something before—or underlying— language even, those “dark, humorous symbols” that filmmaker David Lynch (a fan of Havard’s work) described in an essay from the early 2000s. Since 2006, Havard has experienced a “hard recovery.” Having faced his own death, he stays ahead of the beast through his art. Now seventy-five and confined to a wheelchair, he’s had to give up his home and studio, as well as an extensive and exquisite collection of Mimbres and Mesoamerican art, for a single room in a retirement community. Havard likens his struggle on this mortal coil with that of the sixteenth-century, post-Conquest American natives: “The Aztecs and Mayans must have felt like they were trying to stay ahead of the beast…. There’s [always] something out there that is going to get you.”

—Kathryn M Davis James Havard, Posted Mimbres Forest, acrylic on canvas, 72½” x 66½”, 1987

| august 2012

THE magazine | 63

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Currents 2012

Currents 2012,

the annual New Media Festival of Santa Fe that started as a CCA exhibit in the middle 1990s, has evolved ever further, and represents Santa Fe’s contemporary art at its best. The festival is home-grown and international. The organizers are super smart and inclusive. Smart enough to include the best local digital artist and smart enough to put out an international call to new-media and video pioneers across the globe. They’re also smart and insightful about how the show reads overall, about what pieces should be given prominence, and about how the darkened spaces of the exhibition are experienced as a whole. Today the show exists throughout town in multiple locations and, smartest of all, it’s free, because the Currents crew is also smart enough to land enough philanthropic funding so that you, dear citizen never have to pay a dime. From the perspective of Santa Fe as a gift exchange economy, organizers Mariannah Amster, Frank Ragano, et al., hold all the wealth because of their incredible capacity to give. Robert Drummond’s District, an eighty-seven-minute video-loop of collaged stills and video imagery, is an apt metaphor for the show itself in being technically accomplished, full of content, and with

El Museo Cultural de Santa Fe 555 Camino de la Familia, Santa Fe dreamlike glimpses of true beauty. Calvinoesque in conception, a series of slow pans across walls of still-shot windows reveal collaged-in moving images. Momentary glimpses of the private lives of others within what a final pan-out reveals to be a relatively large mountain town creates a voyeurism versus viewer-ism that elegantly sustains the piece’s astounding length. Sophie Clements’ mesmerizing piece, There, After, is the runaway showstopper and an incredible work of art. Clements inhabits the largest wall in the smaller half of El Museo’s interior with a gigantic, threechannel video triptych that is magical beyond belief, scientific in origins and execution, and almost impossible to take your eyes off of. Commissioned by a team of physicists, this tri-partite masterpiece of suspension and collapse is divided elementally into fire, water, and wood. On the far left screen, in a mostly empty warehouse space, an explosion dances in the center of a large room in a kind of suspended, upended time as the camera circles. It builds to a crescendo, explodes, and, after a stillness, a slow process of reassembly begins. How exactly an explosion is reassembled is part of the light and magic of the situation, and has to be seen. In the center of the space, as the camera continues to spin, the explosion

crackles away, apparently gaining some kind of critical mass on the way to another crescendo. It explodes with a loud bang into real time, the smoke rises, and sans interruption the loop begins again. The other two screens are filled with similar incidents, though all take different lengths of time, as a volume of water hangs suspended in the space, wiggles, jiggles, and dances before finally falling to the floor with a loud splash. The third channel, on the right side, enacts the same phenomena with a big bunch of two-by-four planks. They appear to writhe on the floor, then rise upright into the air where they dance and collide loudly for some time before finally crashing back down to earth, where, after the sawdust settles, they begin their strange movement all over again. Loops are to video what edges are to painting, a demarcation of the viewer’s allotted spacetime in a created world. Susanna Carlisle and Bruce Hamilton’s collaborative piece established an initial partial perimeter upon entry into what has become a hallmark of the Currents exhibitions, a large, dimly lit room of technology and sorcery, somewhere between an art-tech-Wonka-world and a super-chill nightclub, with few formal dividers between pieces. The wonder of this room is not only in the strong individual work on display, but

also in the visual vignettes formed by the frisson of simultaneous broadcasting. Sea Wall is two simple, low, stacked blocks of recycled glass bricks. Two video projectors send imagery documenting ripples on the water of a bracken-laced shoreline. The imagery moves through the glass blocks, refracts and abstracts brilliantly like a moving Monet. Just behind it is Madelin Coit’s Tesuque: Day and Night, a hypnotizing time-lapse record of her backyard garden peacefully, reassuringly, and somewhat jubilantly spinning the seasons. Marion Wasserman’s Burnt juxtaposes elements of Japanese-themed fashion shoots and altered digital footage in a lovely mélange accompanied by a soundtrack that asks hard questions about the bombings of Hiroshima and Nagasaki. The piece has a veneer of ironic detachment that covers a heart of gold, and presents issues of contemporaneity versus historicism in the face of a corporate global media culture obsessed with forced forgetting and dismissal of political critique. Perennial critics’ pick for subtlety and style, Hsiao Ihara’s evolving black-and-white binary divisions of a large vertical rectangle is surprisingly viewable, demonstrating that time can play a role in constructivist imagery and hard-edged abstraction. Move over, Frederick Hammersly. Here comes Hsiao.

—Jon Carver

Sophie Clements, There, After, video triptych, 2012

| august 2012

THE magazine | 65

LIFE IS ART IN GUNNISON-CRESTED BUTTE. Come and share a slice of our life.

Paintings by Shaun Horne, Oh-Be-Joyful Gallery, Crested Butte, CO



Lee Mullican: The Taos Clay Until a few years ago, students of the art world’s Modernist pantheon who espoused the work of California abstract painter Lee Mullican would have been counted children of a lesser god. Mullican, who died in Los Angeles in 1998 in his seventy-ninth year, was a major figure in late Modernism whose pursuit of his career in California primarily and in Taos, New Mexico, far from Modern art’s nucleus in New York, was a large factor in his being long overlooked in art historical accounts of postwar American art. Mullican’s deep interest in Surrealism through his association in the 1940s with British artist Gordon Onslow-Ford and Austrian artist Wolfgang Paalen led to the collaborative exhibition Dynaton in 1951 at the San Francisco Museum of Art. Similar to the Surrealist experience of the New York School on the East Coast, Dynaton reflected the Abstract Expressionist recourse to mythic and mystical sources found in preColumbian and Native American cultures as well as in Zen Buddhism. Critical for this new movement and for Mullican’s later art was the elemental role of nature. In an essay for the exhibition catalogue, Paalen wrote that for Onslow-Ford nature was the element of water; for himself it was fire; as for Mullican, “… Air is the element for Lee, and all it carries, pollen, feathers, the dreams of birds and spikes of stars and the holy nest of winds ... the ray of sun on the straw.” While Mullican’s art consists primarily of drawings and paintings, his openness to nature is perhaps even more manifest in the Taos Clay exhibit of wood-fired clay sculptures, dating from 1990, currently on exhibit at Capriccio Foundation’s 222 Gallery. The gallery text for the exhibition notes that “The work speaks of wind and water, eroded rock formations and enigmatic canyon walls. The spirit of New Mexico landscape is in the complicated surfaces and surreal forms that are at once torsos, heads, or gods from an ancient and unknown culture.” No less a factor here is Mullican’s broad knowledge of Western and non-Western art gleaned from frequent visits to East Coast museums during his stint in the Army Corp of Engineers in the early 1940s, and his Corp training in the topography that likely helped define his embrace of abstract linear pattern and striated lines. These influences underwrite and find direct expression in the work’s diverse, wide-ranging visual conceits and evocative motifs. Two aspects of Mullican’s facture

| august 2012

give this eclectic series its stylistic unity in diversity. First, his clay firing technique involves the anagama kiln process. An anagama (“cave kiln” in Japanese) is an ancient type of wood-fired pottery kiln producing fly ash and volatile salts that settle on the pots during firing and interact variously with their mineral content depending on heat, moisture, and the placement and proximity of the pots which affect the flame path as it rushes through the sloping tunnel of the single chamber. The process yields pockmarked, crackled ceramic surfaces that run from the glazed look of off-white porcelain to the matte finish of gray to deep charcoal stoneware. The second unifying element, borrowed from his painting style, is Mullican’s incising of hatched lines into the clay’s surface prior to firing. This calligraphic device pulls the viewer’s attention to the object’s surface; it creates an ambivalent effect that oscillates between plastic to pictorial and so transforms a crafted object to an allusive image that infers its own narrative. In Untitled #20, one of several pieces in the show that reflect Picasso’s ceramic sculpture of the 1950s, the squat form, hacked lines and crudely scribbled wildeyed face evoke Woman I (1950-52) from de Kooning’s seated-woman series of the same period. Virtually all Mullican’s sculptures bear zoomorphic features quickened by his graphic markings. The dark gray figures of Untitled #27 and Untitled #28 recall primitive monoliths by late Modern sculptors of the 1950s. On a different tack, the arched figure of Untitled #12, formed of flattened and looped coils of clay with Leger-like stenciled surfaces, strides forward like the Keep on Truckin’ character of artist-illustrator Robert Crumb. Camp comics are reprised in Untitled #7 and again in the amorphous shape of Untitled #2, recalling Philip Guston’s images drawn from similar pop culture sources. Untitled #30 seems to enshrine the ineffable grace of a Taoist temple. But the most meditative work in the exhibit is found in sculptures such as Untitled #1 and Untitled #19, whose primal shapes and elemental figures suggest the lost world of Mesoamerica. Perhaps the most potent is the hieratic figure of Untitled #17, which captures the essence of myth at the same time as it conveys it in the artist’s rich motley of Modernist idioms. Mullican’s anagama woodfiring process is an apt metaphor

holy nest of winds ... the ray of sun on the straw.” tradition to his uniquely American Surrealist aesthetic, Mullican empowered elemental forms of nature to convey authentic, transcendent experience, “the dreams of birds and spikes of stars and the

—Richard Tobin

Lee Mullican, Untitled #17, wood fired clay, 11”h x 9”w x 6½”d, ca. 1990.

Taos Clay:

Capriccio Foundation 222 Gallery 222 Shelby Street, Santa Fe

THE magazine | 67


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Heads Up: The Art

of the

Portrait Steven Boone Gallery 714 Canyon Road, Santa Fe


humans h a v e always loved to look at other humans—for good reasons, since in our evolutionary past, we were dependent on the group for survival, and even today we live in a world largely mediated by others. Could you or I grow our own food, build our own shelters or deal with basic life maintenance without other people’s knowledge and labor? So it is with an acute sense of curiosity that we turn to representations of others in the form of portraits. We know from the evidence that the ancient world in the centuries before the common era painted and sculpted images of people to memorialize them. At least since the Renaissance in Europe, the individual, in the West, has been the foundational unit of meaning. We look to see what a particular person is, says, means, hoping thereby to better understand the human condition. We pose for pictures with the sense that some essence of who we are might be conveyed through an image—whether by pencil marks, brushstrokes of paint, pixels transmitted via electronic impulses or godknows-what. So it stands to reason that there would be an art of this mediation. Every attempt to capture what is unique about an individual’s essence or identity is a sally against the cosmic indifference of time. Steven Boone Gallery has mounted an exhibition—Heads Up: The Art of the Portrait— of representations of people in a wide variety of styles and media: photographs, oil paintings on linen, panel or canvas, wax modeled heads, bronze sculptures. The works in this show range from grotesque to bland, from poignant to derivative. One thing that is terribly hard to ignore in this show is the disjuncture between photography and painting. It’s hard to hold them in the same critical space. A photo of Aaron Copland is interesting if one knows the music and wants to see the living face of the person who created it. If not, it may be just a picture of an aging intellectual. Classic blackand-white photography has a certain power that is different from that of painting. Dan Barsotti’s photograph of two men, Union Station, shows two faces powerfully marked by life. The fact that it is dated 1973 means they could be transients or workers coming off a shift. Today they read as “homeless” or disenfranchised people; and such an intimate look at them is an aesthetic experience loaded with implications. As I drive down Cerrillos past Pete’s Pets, where homeless people are fed and housed, could I stop and take a photo of two men in a similar

situation? As a WPA photo it would have a certain bonafide gravitas. In this context it stands out as an image of two individuals surely less privileged than most of the other subjects depicted. Barsotti’s photo of a boy whose raised arms are inserted in a vacuum cleaner hose cleverly conveys the eccentric freedom of childhood. Paint applied by a human hand holding a tool has great scope for expression. Richard by Daniel Hughes, embodies the grotesque aspect of portraiture. The subject seems to be in some extreme state but we have no data on why or wherefore. Fish Hooks, an oil on panel by Charles Pfahl, achieves the same loaded intensity through its handling of paint and the subject’s grimace. Pfahl’s Alton also suggests an intimate glimpse into someone’s world. Done in oil paint and silver leaf on linen, the work comprises a central panel showing a man’s face, flanked by four symmetrical narrow panels depicting the view from above and below, and with both profiles of the face. The preciousness of medieval madonna allusions is offset by the goofiness of looking up someone’s nose. William Barnes works in egg tempera and casein. In his Wind Chill Lake a man’s head in the lower right corner of a wintry landscape conveys a tense isolation. David Kirkwood, a bronze head by Matthew Gonzalez, is a simple and lovely rendering; the best view of it comes by kneeling on the floor in front of it. Allowing someone to paint one’s portrait can be an act of theater or it can be a surrender. Some individuals just seem to be quirkily interesting. Michael Grimaldi’s picture of Trinette captures its subject at an angle that implies a certain idiosyncratic view of the world. Braldt Bralds’ technique rivals that of old Dutch masters; in one small painting he depicts a quill pen sporting flames in the hand of the German-Jewish Romantic poet Heinrich Heine, who studied with Hegel, was friends with Karl Marx, and spent the last twenty-five years of his life in Paris after falling afoul of the censors in his own country. Overall, this show, curated by Geoffrey Laurence, feels too crowded. I would have liked to see works by the same artist displayed together, which would have given more sense of intention and mitigated the jumpy feel of having so many works in so many styles so close together.

—Marina La Palma

Matthew Gonzales, David Kirkwood, bronze, 12”h x 8”d x 8”w, 2011

| august 2012

THE magazine | 69

jennifer esperanza photography

505 204 5729

new mexico



I love the intention of Tantric Living, which is to create and embrace the richest, fullest, most intimate experience in life, moment to moment, with everyone and everything we choose to connect with. I wish for all human beings to more fully experience and express their Essential Nature.”

— Julianne Parkinson

Julianne Parkinson - Tantric Living - photograph by Jennifer | august 2012

Esperanza THE magazine | 71

Who Reads THE magazine? Captain Jack on the Las Vegas Strip reads THE magazine, that’s who! Captain Jack subscribes. To subscribe:


z ran

er nif

pe Es

n : Je

oto Ph


Zohn Ahl


This is one of the Cross and Circle group of games which developed many variations among North American Indians. This game is related to Sho-Li-We (Game of Cones), still used a century ago by the priests of an esoteric war society among the Zuni Indians of New Mexico to



Any number divided into two

One flat or head side up

are thrown by each team

arrives back at the start


scores one point and if this is

alternately, every member


the “Sahe,” another turn. Two

taking turns in advancing

circuit the first lap is over


The casting sticks or coins


When the first runner completing



flat or head sides up scores



and the opposing team

Two markers; four counters for

two and if one of them is the

according to the number

has to pay a counter. The

each team.

“Sahe,” another turn. Three


winner of each lap gains a

foretell the future. Zohn Ahl is now played purely for


flat or head sides up scores


pleasure and only by the womenfolk of the Kiowa Indians,


three and if the “Sahe” is

Oklahoma. The rapid changes of fortune during this game

Four casting sticks or coins.

included, another turn. Four

it must return to the start

flat or head sides up scores six

and forfeit a counter to

carry the runner beyond


and another turn. Four convex

the other team.

the start, this surplus is

A race to get the marker around

or tail sides up scores ten and

the course and off the board.

another turn.

cause such great amusement that it is common for a party of women and girls to sit around a board for as long as half a day, laughing and joking as they follow the play.


If a runner lands in a river 7.

If the throw is enough to

used to begin the second 4.

A circle with tips of a cross is scratched on the ground

If a runner falls into a gully,


its team loses a throw.

or embroidered on cloth or a skin. The illustration shows a



Zohn Ahl board of hide embroidered with beads. Often the

Kiowa Indian, North America



The game ends when


one team has lost all its

into two teams, each having

meet on a space, the

counters; or if a time

a marker representing a



limit has been set, the

runner. These move in




team holding the most

opposite directions around

start again and also claims

counters at that moment

at the east and west are dry gullies. (See diagram.) Scoring

the board. Each team also

a counter from that team.

is the winner.

is by means of casting sticks about seven inches long, flat on

has four white pebbles,

one side and convex on the other. Three sticks have a red

shells or other small objects

stripe down the middle of the flat side and are therefore

which are used as counters.

board is a blanket with the track marked out by forty small stones. There are always larger spaces at the four cardinal “points”—the north and south represent a river in flood and

Any number can play, divided




two arrive



known as “Guadal” (red). The fourth, known as “Sahe” (green), usually has a green stripe on the flat side and an inscribed star on the convex side. These sticks are dropped against a flat stone, called an “Ahl,” placed in the center of the board. Coins make a very suitable substitute for throwing

Kiowa Indians, “Trailing-the-Enemy” and his wife. c. 1890

sticks, using three of one kind and one of another.

| august 2012

THE magazine | 73


Sex in the Soda Shop by

Ungelbah Daniel-Davila

The boys all want to be Elvis, the girls, Marilyn, but their parents don’t let them put peroxide in their hair so they bop around like little Norma Jeans, all bubble gum and ponytails, they smell like sunshine, like vanilla ice cream, I want to play them something that starts out nice and sweet and gets rougher slowly, meaner, a little dirty, show them to a room in the Heartbreak Hotel, and the boys, well, the baddest ones like to mix a little shoe polish with grease before they slick their hair, but they still look like babes, skinny and freckle-faced with pitch-black ducktails, it’s endearing the way they strut around like cocks, even the flat-top soces in their letterman jackets, they’re all trying to sort out the nuances of manhood, define their niches, pick out something dependable in themselves that will carry them through the next sixty years, through paradisiacal suburban tract houses, wives, babies, beer, whiskey, divorce, remarriage, death, slow or quick, nine-tofive-turned endless days, now carved out of blood and asphalt in the parking lot, on the field, in the backseats of their fathers’ borrowed Chevrolets, it’s all white and black and white again and gray and invisible and a driving bass line, a guitar, and the girls, oh, the girls, like frosting sculptures, timeless confections perfection, begging to be devoured, the girls songs are written about, their pink-tipped fingers like the rarest of sea shells sliding a nickel down my slot, makes me shake, rattle, roll, a bony hip against my side, the smell of leather and pomade, Morgans, Layrite, Sweet Georgia Brown, or field grass and gasoline, make me high, screaming Carl Perkins hallucinations the color of sugary soda shop drinks, heavy petting in a corner booth to the top twenty, I own the sway in your pelvis, the shiver in your ear, singing “Teenage Heaven” and I’m a neon god.

photograph by

La Loca Linda Pinup-ology

Ungelbah Daniel-Davila lives among the crystal peddlers and adobe prophets in the high desert mountains of New Mexico. Her lineage can be traced back to the outlaws of the American West, the Spanish land-grant people, and the Ashiihi clan of the Dine. She is a writer, poet, photographer, videographer, scholar, model, and muse who draws inspiration from her own multiculturalism and that of the unique place she inhabits as well as punk rock, human sexuality, and the likes of Charles Bukowski, Lydia Lunch, and Jonathan Shaw. She is the creator and editor of the online publication La Loca Magazine.

74 | THE magazine

| august 2012


Julie Speed, Blackbird, 2012, collage and gouache, 17 x 11 inches


Dan Rizzie, Little Tantric, 2012, collage, fabric on board, 7 x 5 inches © 2012 courtesy, Gerald Peters Gallery

IN ONE ROOM A u g u s t 10 – Se pte mbe r 17, 2012 Opening Reception: Friday, August 10, 5-7 pm

Mary Etherington, Director of Contemporary Art 1011 Paseo de Peralta, Santa Fe, NM 87501 | tel 505-954-5700

Emmi Whitehorse August 17 - September 8, 2012 Opening Reception, Friday August 17, 5-7 pm

Rose B. Simpson

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


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

THE magazine - August 2012 Issue  
THE magazine - August 2012 Issue  

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